by Steve EarleSteve Earle


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In his brief liner sketch on this album of Townes Van Zandt covers, songwriter Steve Earle writes: "I always read everything Townes told me to read. All of us did; we who followed him around, or simply bided our time in places along his migratory path, for we were indeed a cult, in the strictest sense of the word, with Townes at its ever shifting center." While what it was he read isn't worth spoiling here, it's the last part of that long sentence that really matters. Van Zandt inspired a cult, and an even bigger list of pale imitators. Earle may lionize the man and the artist (hence the tribute record), and may have even begun as an imitator, but he became something else entirely -- an iconoclastic (and iconic) artist and producer in his own right who can interpret these songs as such. Van Zandt may have indeed been Earle's "schoolmaster," but it's Earle who does Van Zandt's artistic legend justice in these 15 diverse, yet stripped down performances of his songs. Many of the choices are obvious: "Pancho and Lefty," "To Live Is to Fly," "White Freightliner Blues," "Delta Momma Blues,"and "Don't Take It Too Bad" among them. Some would be less so, save for an artist of Earle's particular vision and world bent: "Mr. Mudd and Mr. Gold," "Rake," "Marie," "Colorado Girl," and "(Quicksilver Daydreams Of) Maria." That said, none of these arrangements are predictable, and yet all of them work. Earle's approach is very basic with some interesting twists and turns. Acoustic guitars, upright basses, mandolin, Dobro, banjo, fiddle, and mandola sit alongside electric guitars (thanks to Rage Against the Machine's Tom Morello) and basses, harmonium, and effects. The distorted blues harp and hand percussion on "Where I Lead Me," is an excellent touch, but the megaphone vocals, ambient and feedback noise, and drum loops and electric guitar crunch on "Lungs" make it sound more like Black 47 covering Van Zandt. The reverb and loops on "Loretta" juxtapose beautifully against the acoustic guitars and the fiddle. The version of "Marie" is less harrowing than its author's; it feels more third-person narrative than first-person horror story -- thank goodness. "White Freightliner Blues" captures the free-in-the-wind bluegrass nature Van Zandt intended, perhaps more so than his own world-weary delivery, thanks in large part to Tim O'Brien's mandolin, Darrell Scott's banjo, and Shad Cobb's fiddle. Earle would have had a hard time blowing this record. Certainly, he's closer than most to the material as he was to the man, but more than that he's a great songwriter and an avid folk music enthusiast. He understands lineages and the way the tales get told matter in order for them to live on. That's the easy part; the more mercurial thing is how well he succeeded. Earle made Townes' songs seem like an extension of his own last album, 2007's Washington Square Serenade. The same anything-goes-attitude, the adherence to all kinds of folk music, whether it's from across oceans, terrains, or alleyways, whether its roots are rural or urban, permeates this recording, making it an Earle record most of all; and that is about as fitting a tribute as there is to Van Zandt.

Product Details

Release Date: 05/12/2009
Label: New West Records
UPC: 0607396616428
catalogNumber: 6164
Rank: 28368

Album Credits

Performance Credits

Steve Earle   Primary Artist,Guitar,Harmonica,Mandolin,Percussion,Harmonium,Vocals,Mandola
Dennis Crouch   Bass,Bass Guitar
Tom Morello   Electric Guitar
Greg Morrow   Drums
Tim O'Brien   Mandolin
Darrell Scott   Banjo,Dobro
Allison Moorer   Vocals
Shad Cobb   Fiddle
Steven Christensen   Percussion
John Spiker   Electric Bass
Justin Townes Earle   Guitar,Vocals

Technical Credits

Steve Earle   Producer,Liner Notes,Audio Production
Danny Goldberg   Management
Matthew Moore   Composer
Townes Van Zandt   Composer
John King   Producer
Tony Fitzpatrick   Cover Art
Brady Brock   Publicity
Ruben Studdard   Composer
Steven Christensen   Engineer
Ray Kennedy   Engineer
Dave Nokken   Management
Jesse Bauer   Management
Amanda Hale-Ornelas   Publicity

Customer Reviews

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Townes 3 out of 5 based on 0 ratings. 3 reviews.
elsiecow More than 1 year ago
While this lacks some of the dynamism found in other Steve Earle collections, this is intended as a tribute to Townes Van Zandt and holds its own as such. Earle interpets the music of his friend/mentor beautifully, bringing a sensitivity that only he could. Not what you might be used to from Earle, but definitely not to be missed.
marcogarcia More than 1 year ago
Me country does not possess certainty of the existence of the legend Earle is. To me when I first heard the sublime when I fall, I decided I would sing it in me wedding day; bride is yet to be discovered, but the song is set. I spent a long time deciding whether write about the story or the cd. Both are so beautiful it is with regret that I had to decide. Reading about tragic Wounded knee opens the story behind the cd. Mr Townes told Mr Earle to read the story & that very anecdote inspired the making of it. From "Pancho & lefty" to "white freightliner blues" to "don´t take it too bad", it is to unveil new generations there was a time when music mattered. Wonderful
YO-MAN More than 1 year ago
i am a big steve earle fan but no album by him has left me as cold. AND i have heard Van Zandt albums. i think earle was just too close to the guy and this is TOO low key and pitying. i know THIS sounds COLD but music is music and this seems like a wake.I really hope it grows on me but I played it in the car for days and just stopped. SORRY