Genre : Country
Latest Release : Live From Austin Texas
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Steve Earle did for country in the 1980s what Waylon Jennings did for it in the '70s--released it from the shackles of commerciality and overproduction by introducing a bad-ass, rock-friendly outlaw aesthetic. Besides his talents as a singer/songwriter, Earle is a producer/entrepreneur who's worked with many other artists (some on his own label) and helped foster a new wave of progressive country. He's also a dedicated political activist who's done much for a variety of progressive causes.
Texas-raised/Nashville-based artist Steve Earle got his start as a young teenager on the vibrant Texas coffeehouse circuit of the 1960s, absorbing the material and emulating the bad habits of his heroes Townes Van Zandt and Guy Clarke. Earle worked on-and-off as a staff songwriter in Nashville before he finally got a decent record deal of his own and released the chart-topping, critically acclaimed Guitar Town in 1986. The record combined twanging, tuneful Country Rock material with tough, unsentimental songwriting that had more in common with Bruce Springsteen than anything Nashville had going on at the time; the fact that it also yielded a couple of Top-10 hits was the icing on the cake. Earle continued to release ambitious Country Rock material, but he failed to repeat the chart success of Guitar Town, and a lifetime of substance abuse finally caught up with him. He wound up in a jail/rehab facility with an uncertain future, a dwindling fan base, and no record deal. He later emerged clean and sober, and proceeded to put out the best, most lucid work of his career -- Train a Comin', I Feel Alright, and El Corazon -- in quick succession. He also started his own record label E-Squared, on which he releases his own records and the material of other artists he admires.
Artist Biography - Steve Earle
Earle's second studio album of the new millennium, Jerusalem, proved to be one of the best and most controversial recordings of his career. A complex exploration of the artist's emotions following the terrorist attacks of 11 September 2001, the material cast a jaundiced eye over modern America's ills with the only hint of redemption offered by the closing title track. The song which attracted most attention was "John Walker's Blues", an attempt to explore the story of the "American Taliban" which triggered all sorts of opprobrium from America's moral majority. During this period, Earle also published the short stories collection, Doghouse Roses. The compilation set Sidetracks collected a number of his cover versions, including a particularly powerful version of Dylan's "My Back Pages'. The 2003 release Just An American Boy: The Audio Documentary was Earle's first official live release since 1991"s Shut Up And Die Like An Aviator.
While Earle had long displayed a strong political streak (particularly in his opposition to the death penalty), his leftist views took center stage on his 2002 album Jerusalem. Written and recorded in the wake of the terrorist attacks of September 11, 2001, Jerusalem dealt openly with Earle's divided feelings about America's "war on terror" and the West's ignorance of the Islamic faith, and included a song about John Walker Lindh, a young American who was discovered to be fighting with Taliban forces, called "John Walker's Blues". Earle's refusal to condemn Lindh in his lyrics quickly made the song (and the album) a political hot potato, but Earle embraced the controversy and became a frequent guest on news and editorial broadcasts, defending his work and clarifying his views on terrorism, patriotism, and the role of popular artists in a time of crisis. Earle's tour in support of Jerusalem was documented in the 2003 concert film and live album Just An American Boy, and in the summer of 2004, as the American occupation of Iraq dragged on and an upcoming presidential election loomed in the minds of many, Earle released The Revolution Starts … Now, an album of songs informed by the war in Iraq and the abuses of the George W. Bush administration.
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Earle's second studio album of the new millennium, Jerusalem, proved to be one of the best and most controversial recordings of his career. A complex exploration of the artist's emotions following the terrorist attacks of 11 September 2001, the material cast a jaundiced eye over modern America's ills with the only hint of redemption offered by the closing title track. The song which attracted most attention was "John Walker's Blues", an attempt to explore the story of the "American Taliban" which triggered all sorts of opprobrium from America's moral majority. During this period, Earle also published the short stories collection, Doghouse Roses. The compilation set Sidetracks collected a number of his cover versions, including a particularly powerful version of Dylan's "My Back Pages'. The 2003 release Just An American Boy: The Audio Documentary was Earle's first official live release since 1991"s Shut Up And Die Like An Aviator.
