Blues come effortlessly to versatile songwriter
Blues come effortlessly to versatile songwriter
September 25, 2010
Bruce McMahon
The Courier-Mail
JUSTIN Townes Earle is one tall streak of musical talent, a young man bridging the years between old and new with effortless charm and respect.
He brings to the stage – and now three albums – a spell-binding approach to simple story-telling, cowboy blues and old time honky tonk. He sings strong and clear, plays guitar with a laidback fervour – for Earle writes and plays with echoes of Hank Williams and early country heroes hovering in the background.
Yet the son of Steve Earle is his own man, exploring and recording some of the decade's best roots and Americana.
His newest work, Harlem River Blues, is a sweet progression from the much-acclaimed first two albums and his band of pilgrims continues to grow.
This album is more roots again, without forgetting the rock. It's one more gospel and more Guthrie, carrying the influences of both Earle's new home in the East Village of New York and the twang of Tennessee plus places in between.
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"I kind of always took my aim at different forms of country music, southern music, blues and gospel all together," says Earle, as he checks into a hotel in Portland, Oregon. "This time I had the chance to shoot more for the gospel side of things, trying to take it to a different place – which is what I like to do."
Earle, now 28, was a serious young Nashville drug addict.
These days he is the toast of Americana and been named as one of GQ magazine's 25 best-dressed men of 2010.
He's also toured Australia three times in less than 18 months, each time gathering another tribe of hard-core fans.
His early hard living, natural talent and ability to push the boundaries, while staying true to the cause, has earned Earle a major reputation in a short time.
Some of the attraction comes from keeping the music and lyrics simple but meaningful – less complication.
"And, yeah, that's important," he says.
"There's enough s--- out there to confuse people."
This time around, Earle has used the ambience of his new home to help flavour the work. Working for the MTA is a modern workingman's ballad, with hints of Woody Guthrie. The opening track, Harlem River, is filled out with gospel-style backing. There is a tonne of material to be mined, even in the big city.
"l live in the East Village and it's really, really similar to living in a small town. It's just so insulated, pays no attention to what goes on outside it," Earle says.
"And I think a mix of tempo and styles is important. I love hunting for the connections. I see direct ties from Carl Perkins to The Replacements and I don't think a lot of people think about music that way. But it all connects. There's been very few truly original artists."
Joining Earle for guest appearances on Harlem River are Jason Isbell and Calexico's Paul Niehaus, helping Earle run a gauntlet of styles and tempos.
It rocks and it soothes with a welcome pace.
"A good sequence is absolutely vital," adds Earle. "You can have a record full of the best songs ever written and it can be a s--- record if the sequence is bad."
There are no such issues here.
Earle's exquisite style of songwriting and playing – and his sense of tempo and pace – have produced another winner and a timeless classic.
For now he's touring the US with the new album, gratified to see ticket sales on the up but looking to get back to relaxing in New York and to heading to his favourite neighbourhood bar every afternoon at 4pm.
He says he's been working on a few ideas but taking it easy, believing that any artist is only allowed so many decent albums.
"I may as well take it slow, be patient and let it grow naturally."
But, yes, Earle has heard some talk about coming back to Australia for next year's Blues Fest.
He is not to be missed, a showman with stories to tell with an original take on each and the best of guitar work to back it up.
Harlem River Blues is out now.
