April 3, 2009
I don’t know if I’ve mentioned it before, but I happen to be a huge Steve Earle fan. I find the Virginia-born, Texas-inspired, former drug addict, political activist, actor/radio personality, singer-songwriter, and country-rock star simply irresistible. He is gifted with an instinctive ear for music (which he has generously passed on to his son, Justin Townes Earle), a curious mind, a keen awareness of the world and an empathetic heart.
Given these qualities, one of Earle’s most indelible contributions to country music will be as a songwriter. His empathy, awareness of the world around him and curiosity have allowed him to musically explore the human soul. He is uniquely unafraid to step out of himself and into another’s shoes, to feel another’s joy and pain and to tell his or her story. In many ways, Earle is “the seeker” he sings of in his song of the same title:
You can’t always believe your eyes
It’s your heart that sees through all the lies
And the first answer follows the first question asked
The mystery unmasked by the seeker
Earle broke onto the country scene singing songs with insight into the rock ‘n roll lifestyle, love and small towns. He moved on to tales of soldiers, bad boys and drugs (with no implied connection between the three). Later Earle unabashedly thrust himself into the realm of history, world politics and religion However, through it all, Earle’s music has remained true to the man and his apparent musical philosophy: seek the truth.
Whatever you want to say about Earle’s politics, very few of his songs, whether dealing with simple emotions or complicated situations, reflect anything other than that one maxim. To accomplish that end, Earle typically thrusts himself in the role of the protagonist, whether he goes by the pronoun “I” or refers to himself as Billy Austin or John Lee Pettimore. In this role, he rarely judges, but explores the potential thoughts, feelings and motivations of his assumed characters.
For example, in “What’s a Simple Man To Do?” Earle doesn’t comment on the immigration debate that occasionally flairs in Washington, he simply steps into the shoes of one man caught up in the dehumanizing political tug-of-war and tells his story. And in “Ellis Unit One,” Earle doesn’t espouse his strong views on the death penalty, but simply takes on the persona of a veteran and second generation prison guard who lives with the burden of working on death row. Regardless of your political persuasion, these songs stand alone as beautiful, emotionally honest stories.
Earle also seeks the truth in a range of emotions. Nobody is better at hitting on a specific emotion than Earle, whether it be slaying loneliness with songs such as “My Old Friend the Blues,” “South Nashville Blues” and “Lonelier Than This;” or tugging the heartstrings with “I Don’t Want To Lose You Yet,” “Sometimes She Forgets,” and “Poison Lovers.” He even kicks restlessness and rebelliousness in the arse with “The Week of Living Dangerously,” “Angry Young Man” and “The Devil’s Right Hand.”
Unsurprisingly, one of Earle’s most controversial songs may also provide the most striking insight into the man himself. Without commenting on whether or not I agree with “John Walker’s Blues” (or intending to start a discussion on it), the motivation behind Earle’s decision to write the song tells a lot about the man and how he perceives his role as a songwriter:
“I checked into a hotel, turned on my laptop and put in ‘islam.com’,” he says. “I was looking for a chorus. I found it as a sound file: ‘A shadu la ilaha illa Allah’. Then I sat up all night and wrote a song designed to piss some very important people off. But the main reason I did it was to humanise a young man that everybody seemed determined to vilify.”
It’s hard to hate and easy to love a songwriter who approaches his craft with such an intense focus on honesty and humanity. And if country music is truly “three chords and the truth,” Earle is (or should be, in my opinion) one of its greats.
Who is your favorite songwriter and why?