I know this may sound ugly to any U.S. readers, but many people in the rest of the world views country singers (at least as represented by the Nashville-based country music industry) as a bunch of flag-waving morons. They've obviously never listened to Steve Earle. Or his mentors, Townes Van Zandt and Guy Clark. They should. Don't start with this live recording, though. However good the performance is, it may not be the ideal introduction as Earle uses the opportunity to talk about subjects that obviously important to him, such as war and the capital punishment (he's against both, something that's not as self-evident as it sounds to us Europeans). I personally find his long introductions articulate and entertaining, but some may see them as an unwelcome distraction from the music itself. I don't disregard the fact that, given the drowning out of dissenting voices in the U.S. and solidly reactionary world of country music (they almost lynched the Dixie Chicks for criticizing Bush's warmongering), Earle's speaking out through his records is probably of even importance with his musical contribution. But I'll review the album based solely on its musical merits. It opens up with a couple of raw and electrifying performances of "Amerika v. 6.0 (The Best We Can Do)" and "Ashes to Ashes". His backing band The Dukes crank up the volume here, sounding less like a country band and more like alternative rockers in the vein of Green On Red or Dream Syndicate. "Conspiracy Theory" is more of the same, with the addition of an R&B chorus. "I Remember You" is a country duet from the "Jerusalem" album (with female singer Garrison Starr standing in for Emmylou Harris). It sports some nice twanging guitar and prepares us for "Hometown Blues" and "The Mountain" which feature Earle in full-on bluegrass mode - fiddles, mandolins and all. Back in '88 Earle had collaborated with Irish folk-punk legends The Pogues for his Copperhead Road LP, so the Celtic spin he gives to the same-named song here should come as no surprise. "Harlan Man" and "Guitar Town" are ragged country/rockabilly hybrids, while disc 1 closes with "Over Yonder (Jonathan's Song)" and "Billy Austin", a couple of naked acoustic ballads reminiscent of Springsteen circa his Nebraska album. The mood remains the same for "South Nashville Blues" and "Rex's Blue's/ Fort Worth Blues", and then Earle decides to drop his "bomb": His swinging "John Walker's Blues" has seen him banned from many U.S. stations because of its controversial subject, as he dares to paint a human portrait of the notorious "American Taliban" arrested by the U.S. Army Forces during the Afghanistan invasion while fighting on the side of the Taliban. He's the average "American boy" of the title who, without having any relevant background, converted to Islam and went to a foreign land to fight for what he perceived as a just cause. It's followed by ringing folk-rockers "Jerusalem" and "The Unrepentant" and marathon talking blues "Christmas In Washington". The second disc ends with a couple of covers: An almost garage rock version of Elvis Costello's "(What's So Funny 'Bout) Peace, Love and Understanding?" and "Time You Waste", a ballad by his songwriter son Justin Townes Earle. Now, I know I've said this album isn't for the newcomer but after hearing it all again, I'm inclined to disagree with myself: The song choices are spot-on, performance passionate, and Earle's views presented in a heartfelt and humorous, non-preaching manner, so why the hell not?
**** for Amerika v. 6.0 (The Best We Can Do), Ashes to Ashes, Hometown Blues, The Mountain, John Walker's Blues, Jerusalem, The Unrepentant, What's So Funny About Peace Love & Understanding
*** for Conspiracy Theory, I Remember You, Harlan Man, Copperhead Road, Guitar Town, Billy Austin, South Nashville Blues, Time You Waste
** for Over Yonder (Jonathan's Song), Rex's Blue's/ Fort Worth Blues, Christmas In Washington
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