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Vital sense of now out of something that was so lovingly out of time.
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Rawlings, Justin understood how to make the antique contemporary, to create a Roots, influences and old school aesthetics. Gospel-flecked Harlem River Blues continued the walk-about through
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Known for her tenacity and ability to soothe troubled souls, the woman who’s gone on to manage Jason Isbell and was a force in the Drive-By Truckers’ world, Thomas was midwifing a tender heart who wrote with empathy and the cracked determination of an empty generation seeking their place. His manager Tracy Thomas, who’d worked for E-Squared when Steve and Jack Emerson founded a small label, looked every bit the proud mama. He showed up in Billy Reid, looking every bit the dapper young artist on the rise in a red velvet Billy Reid suit, closely tailored and retro enough to mirror his sound. He won the Americana Music Association’s 2009 Best New/Emerging Artist. There’s no genius pass when you’re a songwriter, no “just let it fly” when you were raised around the kinds of artists and music JTE was. Music and addiction give that to you, but the talent – that’s something you have to hone. We talked about the life he’d led, the drugs, the street running, the bad company, the broken heart, the lost child and always the hope. We laughed about that, about feeling old, sometimes lost and out of place, but knowing that fate understands what we all merely tilt at. Harder still to believe, in a true Ecclesiastes manner, I was profiling Justin for The Los Angeles Times, the same way I’d written his father’s first national piece for Tower Pulse all those years ago. Hard to believe the child I’d first met during the sessions for his father’s Exit Zero, the follow-up to Guitar Town, was embarking on the same dream. Long legs demi-tucked up and sprawling out under the table of the funky sports bar in East Nashville, on the verge of leaving for the first tour for his first album, we laughed about the déjà vu and the inevitability of it all. There was a Dickensian (Charles, but also Jim) innocence to the young man who’d already OD’d five times – and had lived to tell, not brag. Reined and the Opry was something people waited for on Saturday night radio’sĪ charming record, it introduced a young man with a lot of baggage, two big names to carry around and a musicologist’s sense of what he wanted to embrace – and. Field - offered anĪlmost time warping trip into ‘50s/’60s taverns where Wurlitzer jukeboxes
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But just as his father reset Nashville with his bulked-up blue-collar rock-country, JTE turpentined everything down to the essence – and wrote a record about lonely, broken, hopeful and a bit brash.Ĭharm –chartered in part by Mississippi roots master R.S. Stark, it featured Dustin Welch, Chris Scuggs and a very young Amanda Shires on the cover. In 2008, The Good Lifeappeared on Chicago’s insurrected Bloodshot, home to Robbie Fulks, the Mekons, Alejandro Escovedo, the Bottle Rockets and Neko Case. Started carving out a place for himself in the Americana world. There were pains in his heart, a joy inside, too, that needed to live in songs.Īnd so, after a few local bands, the inevitable rose – and Justin Townes Earle
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Even more than the drug addiction he battled from puberty, Middle name invoking his father’s mentor and friend Townes Van Zandt, wasĭestined for songs. Literal can be metaphoric and then literal again. Get some sleep, to dream and know he’s always loved. On the bus, Earle absorbs all he can – and tells his son not to be afraid, to A tiny bit of chanson verité, the erstwhile lullaby – a father stunned his child can answer the phone stumbles into the reality of “I guess I didn’t know you could do that/ Lord help me, have I been gone that long?” – in some ways set Justin Townes Earle’s destiny in motion.Ĭhild not to get his mama, savoring the few stolen minutes before getting back From a payphone somewhere near the Arkansas line. By the time, his dad had some success, the dark-headed child with the hubcap eyes that took in everything was immortalized on the second side of the iconic debut Guitar Town.Ĭaught between Earle’s self-defining declaration “Fearless Heart” and the acapella bluegrass of “On Down,” “The Road,” “Little Rock & Roller” was an aching phone call home. A lanky little boy, he’d turn up sometimes caught on fire and ready to take on the world. Justin Earle never seemed to be afraid of anything. Watching over you and your daddy tonight - Little Rock & Roller I know there’s an angel just for rock ‘n rollers