Getting busted and serving time no doubt saved Steve Earle’s life – the two big questions awaiting him on the outside were A.) could he stay clean and sober? and B.) would he/could he produce music once again?
Question B was answered pretty quickly with the string of albums found in this collection: 1995’s Train A Comin’, followed by I Feel Alright the following year and El Corazón in ’97 – each with its own sound; each a dose of pure Steve Earle; each a solid piece of work. One could say question A is still being answered 19 years later, but Earle’s talents have only increased with age and he knows what he’s talking about when he writes in the liner notes to The Warner Bros. Years, “Don’t let anyone tell you that there’s any correlation between being creative and being fucked up … I’ve done way more shit sober than I did fucked up.” And he continues to do so.
The three studio albums offered up in The Warner Bros. Years chart the momentum Earle hit the ground with upon his release. Train A Comin’ was recorded in January of 1995 – an acoustic record but not an “unplugged record” as Earle points out in the album’s liner notes, referring to the popular cable series of the period. “God, I hate MTV,” he proclaims.
No, this is the kind of music Earle grew up with: kitchen pickin’ parties and front porch stomps. Joining Earle are Peter Rowan (mandolin, mandola, guitar, and vocal); Norman Blake on a multitude of things with strings; bassist Roy Husky; and Emmylou Harris applying touches of vocal sweetness. The album roars in on the hard chug of “Mystery Train Part II” (an Earle original), already rolling as the tune fades in; it glides out on the gently fingerpicked heartbreak of “Tecumseh Valley”, a Townes Van Zandt song.
Some tunes Earle had lugged around for a while (he figured he wrote the lyrics to “Mercenary Song” on the back of a Ciraco’s Pizza menu while working there in 1974). The headshake-and-grin of “Angel Is The Devil” was written during what Earle refers to as “my vacation in the ghetto”; the sweet sadness of “Goodbye” emerged during the recording of Train A Comin’ ; and the Fab Four’s “I’m Looking Through You” feels right at home here. Blake’s beautiful solo guitar piece “Northern Winds” is the perfect intro to the Guy Clark-inspired “Ben McCulloch”, a gritty Civil War tale written by Earle 20 years previously.
Call it what you will; Train A Comin’ was the sort of soul music percolating inside the newly-clean Steve Earle who’d managed to keep a hold on his roots no matter how tough the going had gotten.
On the heels of Train came I Feel Alright, proving that sobriety has balls galore and its own style of swagger. The title cut leads things off with a tension-filled acoustic guitar riff that barely has time to give warning before a fully-fledged rocking/snapping/snarling groove takes hold. It doesn’t matter how autobiographical the tune “Hardcore Troubador” was – the title was the perfect description of the emerging Earle: real as hell; honest to the point of almost being uncomfortable; multi-faceted and comfy in any number of hats – from Celtic-inspired balladeer to growling rocker.
The upbeat tempo of “Billy And Bonnie” belies the trail of violence left by the pair (and leaves you unprepared for the final knockout punch); the gasoline shimmer of “The Unrepentant” is as advertised, right down to a showdown with the devil; and “CCKMP” (which stands for “cocaine cannot kill my pain”) is all the more frightening for knowing that Earle had been there and done that.
If Train A Comin’ was a check-in with Earle’s roots, I Feel Alright was a purge – and once again, you come away knowing that there’s not one word nor note that isn’t straight from the man’s soul.
Click HERE to read the conclusion of my Steve Earle review on Jambands.com