GRAB A STACK OF ROCK With Mike and the Mad Metal Man
🅻🅸🆅🅴 Episode
Episode 144: Top Five Artists Who Do NOT Rock! With Peter Kerr from Rock Daydream Nation
Peter Kerr is back! The Rock Daydream Nation host has been tearing up YouTube with mega interviews! John Corabi, Sebastian Bach, Reb Beach, and many more…but tonight he sits with Mike and Harrison about a decidedly different topic. Tonight, Peter discusses his Top Five Artists who do NOT rock!
We at Grab A Stack of Rock have diverse tastes from myriad genres. On tonight’s show, allow us to open your minds to the worlds of Pop, Disco, Jazz, Classical, Country and beyond. We will pick five each. Will there be overlap? What genres won’t we see tonight? Will Harrison demonstrate Polka dancing? We just don’t know!
For fans of physical media, tonight we’ll see releases on all four major formats: CD, cassette, LP and the mighty 8-Track cartridge. Don’t miss this live event. We love to interact in the comments, so join us at 7:00 PM EST!
Click here for the link to the live show
This will be the first COTTAGE SHOW of the 2026 season!
Friday April 24 at 7:00 PM EST, 8:00 PM Atlantic. Enjoy onYouTube orFacebook.
A reunion was in order! After our very fun Live Cut episode with Robert Lawson on Steve Earle’s Shut Up and Die Like an Aviator, I hooked up with John the Music Nut once again to dig into some cool country. The topic this time is Steve Earle’s Washington Square Serenade, a different album for him that took many by surprise. After a move to New York city, and falling in love with singer Allison Moorer, Steve shifted gears. Working with John King of the Dust Brothers, Earle incorporated loops and electronic elements into his music for the first time. The results were nothing short of astounding. “Purists” may balk at the idea, but what Earle recorded here is a very special album.
Please join John and I for an in-depth episode on this album and its contents. In his words:
On the latest episode of the Latter Day Albums series, our friend Mike Ladano from @GrabAStackofRocK returns to the channel as we discuss Steve Earle’s 12th album entitled Washington Square Serenade. Released on September 25, 2007, this would be the first of several releases on New West Records and would win the Grammy award for Best Contemporary Folk/Americana album in 2008. What do you think of Steve Earle’s music as well as this album? Please let us know in the comments!
STEVE EARLE – Shut Up and Die Like an Aviator (1991 MCA)
Steve Earle was nearing the end of the first chapter of his career, when he rolled into London and Kitchener Ontario, to record his live album Shut Up and Die Like an Aviator, with his band the Dukes. Amusingly, Kitchener is misspelled “Kitchner” on the inner sleeve, which led to no end of amusement to us who live here. Steve had a bad spell with drugs and jail before making a triumphant comeback with the albums Train a Comin’ and I Feel Alright. This is simplifying and shortening the story quite a bit, but the point is that the Steve Earle that was on tour supporting the album The Hard Way was not as strong as past or future Steves. Yet the album he made, his first live, remains an important part of the discography to own. He even produced it himself. The reality was, this was a contractual obligation album with MCA that received mixed reviews.
The brief album intro featuring news clips from the time sure brings you back to the early 1990s. Canadians will recognize the Oka crisis (which is addressed during the encores), and the Gulf War too is mentioned. It’s almost like Steve wanted a time stamp for his first live album.
The crowd fades in and we open with Guitar Town classic “Good Ol’ Boy (Gettin’ Tough)”, and indeed the live version is a bit tougher with louder guitars and backing organ. After a brief intro, a rasp Steve introduces “The Devil’s Right Hand”, and the cracks appear in the armor with a shaky start. According to the liner notes, all the lead vocals are 100% live (some guitars were overdubbed where there were technical difficulties). Even when Steve is pushing his voice, the Dukes are solid as rock, with solos and rhythm anchoring the singer.
A personal favourite, “I Ain’t Ever Satisfied”, one of the best songs from Exit 0, is a slightly more delicate song. Here, you wish the piano hooks and backing vocals were more audible, but it’s a beautiful song even in this rougher guise. Once again the Dukes save the day when Steve sometimes flounders. It leads well into the 1986 single “Someday” from Guitar Town, which is performed slower than the album, with crunchier guitars. Steve delivers a wonderful performance here.
A jamming “West Nashville Boogie” gives you a ZZ Top vibe. It’s over twice as long as The Hard Way studio version. It really smokes as an album highlight, and a showcase for the abilities of the Dukes. Zip Gibson rips on the solos with Bucky Baxter shredding the steel guitar, while bassist Kelly Looney holds down the groove with some flavour. Then a blazing “Snake Oil” from Copperhead Road keeps the momentum going. This is all before a big change of pace.
“Blue Yodel #9” is as folksy as it gets, a Jimmy Rodgers cover, which surprisingly leads into the ballad “The Other Kind” from The Hard Way, one of Steve’s best! Regardless of the state of affairs, it sounds as if Steve is pouring 100% of what he’s got into the song. The chorus still rings powerful. “There are those that break and bend, I’m the other kind, I’m the other kind.” The song seems to be expressing unhappiness in the face of success, but with Steve singing it in full rasp, it sounds like defiance. Listen to that beautiful mandolin accompaniment.
Sticking with the new album, it’s “Billy Austin”, captured big and bold on stage. “Doin’ fine,” says Steve to an audience member who asks. Unaccompanied, Steve and his guitar tell the story of fictional Billy, on death row. Again, Steve is a little shaky at first but he soon finds the notes. This long, slow version reveals both the flaws and the passion. This was Steve’s big statement on capitol punishment, which he is vehemently opposed to. “I didn’t even make the paper, ’cause I only killed one man. But my trial was over quickly, then the long hard wait began.” It really is chill inducing, as keyboards enter the fray to add soft backing texture. Even at a weaker moment in his career, Steve Earle manages to deliver an awe inspiring performance, and makes us question our hearts.
“Copperhead Road” was the big hit, and it lies somewhere in the the middle of the set. “My name’s John Lee Pettimore, same as my daddy and his daddy before.” The ode to moonshine remains a signature song. This is not a definitive live version (there is a brilliant later version on the bonus disc to Transcendental Blues). Once again though, the Dukes absolutely smash it. Even if Steve has trouble delivering, the guitars compensate.
A version of the ballad “Fearless Heart” features prominent drums by Craig Wright, but the song feels off. It’s the first Steve Earle classic that just doesn’t sound quite right. He’s very raspy in his A cappella intro to “Guitar Town”, but the song kicks. A little sloppy but full speed and it holds together, with all the hooks delivered satisfyingly. “I Love You Too Much” keeps that momentum going, a smashing performance. From there it’s goodnight and of course the obligatory three song encore: A punchy “She’s About A Mover” (Sir Douglas Quintet cover), ballad “The Rain Came Down”, and the Stones cover “Dead Flowers”. These are solid closers, of different styles. “The Rain Came Down” is raspy glory, while the other two songs just make you want to party.
Though a rough ride to the end, Shut Up and Die Like an Aviator should be applauded for its “all lead vocals are live” approach. It’s not as bad as some reviews would have you believe. It is most definitely a snapshot in a time of the life of Steve.
I was thrilled to be asked to join my friend John the Music Nut on his channel for the first time ever! John has been on Grab A Stack of Rock, and we’ve both been on Tim’s Vinyl Confessions and My Music Corner among other shows, but this was my debut on his channel and it was really, really cool. John wanted to do Steve Earle’s live album Shut Up and Die Like an Aviator for his series The Live Cut. Since that album was partly recorded in my home town of Kitchener Ontario, I immediately said yes. And then, something cool happened.
After posting the album cover on social media, author Robert Lawson mentioned that he was at both shows recorded for the album, and numerous other Steve Earle concerts too. It was a no-brainer to get him on too, and it’s a good thing because Robert is the star of this episode! He brought with him tickets stubs and merch that you won’t likely see anywhere else. He also has so much insight and relevant stories about the album and tour, that some Wikipedia articles might need some additions and corrections now.
Don’t miss this episode which will premiere Saturday, January 24. This is what John had to say:
On the latest edition of The Live Cut, I am joined by Mike Ladano (Grab a Stack of Rock) and author Robert Lawson as we discuss Steve Earle and the Dukes’ first live album, Shut Up and Die Like an Aviator. Released on September 17, 1991, this album features performances from October 5, 1990 at Centennial Hall in London, Ontario, Canada and the following night at Centre at the Square in Kitchener, Ontario, Canada, respectively. Robert attended both of these shows and shares his stories from seeing Steve during this era. What do you think of this album as well as Steve Earle and the Dukes’ music? Please let us know in the comments!
RECORD STORE TALES #1201: Reno Schmeno! (What A Song Should Do)
The things we find and re-discover during renovations are exciting!
I was extremely anxious in the months leading up to replacing our windows. As classic collectors of merch (aka “hoarders”), we had to move a bunch of stuff and make a lot of space. We donated a lot of clothes, and we dug up a ton of cool stuff that we forgot we had.
In a box hidden away, I found five sealed Transformers toys (including four 3rd party toys) that were San Diego Comicon exclusives. I bought them years ago, cheap. I just sold the first one for $250. I also dug up some musical treats and memories that are only the tip of the iceberg.
More discoveries included binders full of collector’s cards, and a box full of Jen’s teenage and mid-20s CD collection. Some surefire embarrassments in there that will make for a great video post someday soon. I also found a box full of memorabilia, which I have purposefully not dug into yet, because I want to surprise myself on camera when I open it up.
As the kids say, if you don’t do it on camera, what’s the point of doing it?
Finally after several weekends of work, we were ready. New windows going in July 28. I tore down my PC and relocated it to a safe room. I covered everything in sheets. We over-prepared. This caused all my anxiety to melt away and transform into excitement. Our old windows were 34 years old. Last winter, you could feel the draft, and this summer they started to leak.
The window renovations were scheduled for 8:00 AM. I woke Jen up at 7:00 to do the final prep. We set up a nice area in the kitchen to sit and stay out of their way. They would need access to all the other rooms. Four windows in total, including bedroom and en-suite bathroom…and of course Grab A Stack HQ’s window.
8:00 ticked by. No trucks outside.
“Maybe they’re eating breakfast,” said Jen.
8:30. 9:00. No sign of the workers. I was impatient, but knew they would get there eventually.
Finally at 9:30 a truck rolled in. As the workers poured out, a second truck (a foreman) also pulled in.
“You guys have to get here at 8:00 AM!” he yelled.
“We’re trying,” replied one of the workers.
“It’s 9:30!” yelled the foreman. “You’re at the shop at 7:30; it doesn’t take two hours to get here!”
Fortunately, the workers were efficient, considerate and friendly once the work started. I didn’t want to have to move my actual desk at Grab A Stack HQ. It would be easier for me to move the the PC and peripherals while leaving the desk intact. The main worker said “no problem”. They did a great job working around my small desk.
The windows were all ripped out by 11:00 AM. The guys took a lunch break. Gleefully, I stuck my head out the gaping holes, seeing my home from an angle I’ve never had before. I have to admit, I had fun.
The workers were based out of St. Thomas, where I assume country music is the norm. Their truck was backed in close to my open window holes. I got to hear every song.
Every. Damn. Country song.
The one that sticks out the most reminded me of Bon Jovi, but not in a good way. It went like this:
Hell yeah, Me too, Yeah, that’s what a song should do.
I laughed to myself. What shit! I wonder if Iron Maiden would agree that a song should make you go “Hell yeah, me too”?
I asked my buddy Tim Durling, who works in radio and was familiar with the song, who sang this atrocity?
“That guy,” he responded. I laughed. Turns out it is a Canadian country singer named Tim Hicks. Of course he would be named Hicks.
I didn’t hear one single country song that I recognized the whole day. They all sounded like stuff that could have been on Lost Highway by Bon Jovi. Awful, but I looked at it as a learning experience, as I did the whole day.
The guys were done by about 3:00 PM. I set up my computer and started to refresh Grab A Stack HQ around my new window. It went so smooth. We only had two issues. My security camera won’t power up. I guess I must have dropped it. We also needed to get creative when hanging the blinds back up, but they are only temporary. We will be getting new ones to go with the new windows.
Jen and I are thrilled with our new windows and brighter spaces. We can’t wait to continue this project into 2026.
Playing music in my new brighter HQ makes me happy. Isn’t that what a song should do?
BUBBLES and the SHITROCKERS – Longhauler – The Best of Bubbles and the Shitrockers (2024 Swearnet)
It’s right there in the lyrics to “Home Is Where Your Shed Is” – kitties, liquor and dope. That about sums up the major singing interests of the Bubbles character from Trailer Park Boys. The album Longhauler – The Best of Bubbles and the Shitrockers accompanies the new movie, Standing on the Shoulder of Kitties. As implied by the the title, many of these songs are familiar from the TV show or online episodes.
The question is, can you sustain the jokes for an entire album? A TV series or a movie is an altogether different comedic vehicle.
Fortunately, Mike Smith (Bubbles) is a worldclass musician from the Halifax band sandbox. This album will probably land in more ears than his conceptual indi rock band ever did, and for that reason, it is produced and engineered by none other than Eddie Kramer. It also features Billy Bob Thornton and Ronnie Wood in the credits on backing vocals, not that you’ll notice.
The direction is, with the exception of two tracks, country & western. Musically, this album is legit. Mike Smith plays most instruments, including guitar, mandolin, piano, mellotron and more. His backing band provides pedal steel, dobro, hammond, stand-up bass and all the trimmings. Smith is a seasoned musician and songwriter, and he knows his stuff. There’s nothing jokey about the music; just the lyrics.
Perhaps the part that wears out soonest is the Bubbles character himself. Singing like that, and the limited subject matter of the lyrics, over the course of a full album is a challenge to take in.
Songs you’ll recognize:
“Who’s Got Yer Belly?” featuring Mike’s pal Alex Lifeson from Rush
“Kitties Are So Nice”
“Liquor and Whores”
It is also great to have a copy of Bubbles’ pirate shanty, “The Kittyman”. This is one of the songs that doesn’t fit the country direction, and is a highlight for that reason. Plus it’s also just great fun.
Even songs that seem “clean” and safe to share with your cat-loving friends, such as “Kitties Are So Nice”, may not be safe to share after all. “Every kitty I ever met likes to fuck with string,” sings Bubbles in an earnest voice.
The album closes with the movie theme, “Standing on the Shoulder of Kitties”. Immediately with the mellotron, and the backing vocals later on, it’s more Beatles than country. It might be overreaching. The lyrics about how awesome kitties are will keep most people from caring. If you want to hear somebody do music like this, there are probably Oasis songs you haven’t heard yet. That’s the impression anyway. It’s more Oasis than Beatles, and more Beatles than country. “A kitty’s love is all it takes, la la la la la.” Not hiding the influences at all, Bubbles even sings that “all you need is love.”
This is a novelty album. However, if you have a cat lover in your circle, who doesn’t mind a little beer and liquor, then consider Longhauler as a thoughtful gift.
Billy Gibbons described the sixth ZZ Top album Tejas as “transitional”. Modern technology was creeping its way into the recording studio, but ZZ Top were still as bluesy and greasy as ever. Their palette was becoming more colourful, if anything. Not just the browns of desert landscape and beer bottles, but a broadening spectrum of shades.
Opening with fan favourite slow groove “It’s Only Love”, we are off to a stunning start. The high twang of the guitars contrast with the low thump of Dusty Hill’s bass, but it is the chorus most of us remember best. Frank Beard’s drums clank along creatively, and the band are cooking. Vocals are shared between Billy and Dusty. Three quarters in, the song shifts into something a little more tense, with a brilliant harmonica solo.
Things sound a little more familiar on the bouncing “Arrested For Driving While Blind”, a solid blue boogie. Listen to Frank shuffle while Billy effortless rips out one of his patented smokers. The grooves turn gently relentless on “El Diablo”, a nocturnal desert tale, with adventurous chord changes and rolling guitar work. Once again Dusty Hill creates a backdrop of low thunder. This ain’t blues, but a sci-fi hybrid. Likewise, “Snappy Kakkie” is not at all standard, nor is it a bizarre Frank Zappa workout. Yet it has certain adventurous and challenging elements that lend it a foot in many worlds. At the end of the day, that hook of “Say hey Snappy Kakkie!” keeps you coming back. The pace picks up on “Enjoy and Get It On”. This track is a serious deep cut; a nice little greasy blues blitz at the end of side one.
“Ten Dollar Man”, with Dusty on vocals, is a ripper. As Frank Beard deftly taps out the beats, Dusty and Billy get down to the business of cooking. A menacing track with plenty of head-bopping potential. Then you better solder your head on straight, for “Pan Am Highway Blues” rips! ZZ Top are never content to just play the blues. They have to throw a few tricks in the bag, and they do, but this song is focused more on the highway and the gas pedal. Billy takes advantage of the studio tech to overlay a few nice slide guitar lines.
Dusty takes the mic on “Avalon Hideaway” which features some tasty, pounding Frank Beard fills. The lead solo by Billy might be the best part, but the slightly funky vibe really makes it a mover. Beard is a busy drummer without sounding busy. “She’s a Heartbreaker” is a classic pop/country/rock/Top tune. The croonin’ melody of the chorus is a classic that will go down as one of ZZ’s best in their vast catalogue. “She’s a heartbreaker, she’s a love taker, but she can break a heart and take all the love she needs…” There’s a hint of violin just to nail that hoedown vibe. As far as Top tunes go, this one’s a masterpiece of musical fusion.
Tejas closes on a brilliant instrumental, “Asleep In the Desert”, which allows Billy to play both electric and acoustic, slow and easy, as the sun sets over the oasis and the sounds of the night begin to emerge…
Many ZZ Top albums can be considered among their best in the catalogue. In 1976, there was concern that ZZ Top was going too far country. Obviously in hindsight, that wasn’t the case, and we can appreciate Tejas for what it was. Because none of its songs were included on 1977’s Best Of ZZ Top, Tejas abounds in great deep cuts. It’s not the kind of album you buy and get all the hits you remember. It’s something far better. It’s an album you buy and learn a bunch of brilliant songs you might not have heard before. It’s a must.
4.5/5 stars
The 8-track release shuffles the track order, but no songs are split between tracks, which is always nice. “El Diablo” coming in second changes the vibe of the listen a bit.
Welcome, Mike ‘LeBrain’ Ladano! Join Mike & I as we discuss quadratic relation-esque running orders, why we avoid skipping so-called skippable tracks, and the ‘je ne sais quoi’ that makes certain albums magical.
BLUE RODEO – Daze In America (1995 Discovery Records promo CD)
Blue Rodeo have a number of promo-only releases of great value to fans. There’s the The Live CFNY Concert for one. “Diamonds in the Rough” / Demos and Other Stuff….. is another. Perhaps the most superb of them was 1995’s Daze In America CD, including five live songs but never released to retail on any Blue Rodeo album or single.
The sextet were riding high with the triumphant Five Days In July album, a surprise hit recorded spontaneously in…well, five days. An utter masterpiece, Five Days in July produced numerous classics that endured in setlists for decades. “Head Over Heels” was one such track, an upbeat Jim Cuddy stomper with harmonica, mandolin, and the kitchen sink. It’s the kind of Blue Rodeo track that gets people off their seats. The version here is the studio cut, which is logical since it was one of the big singles they were promoting at the time.
“Hasn’t Hit Me Yet” is live in Omaha, and it emanates energy from the crowd. “This ain’t nothing new to me, it’s just like going home,” sings Greg Keelor. “It’s kinda like those sunsets that leave you feeling so stoned…” Crowd roars. Live, Jim Cuddy’s harmony line is more prominent. Blue Rodeo’s best song, hands down. And check out Bazil Donovan’s lyrical walking basslines and tell me he isn’t one of the best bass players in this great nation of ours! Yes, “Hasn’t Hit Me Yet” is a freakin’ gem, where every facet matters, and elevates the song further.
Jim’s bluest ballad, “Bad Timing” is received by quiet punctuated with screams. If you see Blue Rodeo live, then you know this is a common reaction to Cuddy’s crooning, a country heartthrob if there ever was one. “Bad Timing” is sentimental, beautiful, and soothing in its own pain. The ultimate breakup song. It’s just bad timing, that’s all.
Casino‘s “Til I Am Myself Again” brings us back to one of those upbeat Jim songs that people love to dance to. Being seated during this song at a Blue Rodeo concert is not optional. Often a set opener, this one kicks! Laying back a bit, “Rain Down on Me” was another big hit, this time from Lost Together. The size of the chorus, a big huge cumulus, is one reason why it is so beloved. The pedal steel guitar solo by Kim Deschamps is outstanding. Then “Last To Know” is another Jim ballad, but with a monolithic chorus.
Ex-Andy Curran drummer Glenn Milchem is all over “Trust Yourself”, a real bolder-buster of a tune. It was always a bit of a jam, but live it just explodes from all its bounds. Then it descends in a two minute outro of solos and jamming. Blue Rodeo are one of the best live bands you’ll ever see, and this track shows why.
A great promo EP, somewhat rare, but worth the extra few bucks for these rare recordings.
One of the greatest albums of the 90s might never have happened if Steve Earle didn’t get addicted, go to jail, and finally clean up. Earle was always a formidable songwriter. “Ain’t Ever Satisfied”, “Someday”, and “The Other Kind” (to name only three) dripped with emotion and a certain perfection, insofar as art goes. Steve’s songs were always about life, but in the 90s, life got intense. I Feel Alright is the resultant album, a masterpiece that serves as the prototype for several more of Earle’s later works.
I Feel Alright was actually preceded by an acoustic album called Train A Comin’, made up of songs written from 1974 to 1995 In the liner notes, Steve tells the story.
“When I was locked up, I was getting ready to go off on this boy that stole my radio. My partner Paul asked me where I was going. I said, ‘To get my radio, and then go to the hole for a little while.’ He looked at me like I look at my 13 year old sometimes and said, ‘No, you ain’t. You’re gonna sit your little white ass down and do your little time and then you’re gonna get out of here and make me a nice record.’ SO, I MADE TWO.”
“I Feel Alright” opens with defiant chords, hands hitting the strings unrelentingly, and then Steve opens his mouth. It’s the same voice but somehow, now it feels like he really means it. “I feel alright tonight,” he sings reassuringly. Because we were worried about him! The worldly lyrics are backed by shimmering layers of guitar.
Fun hits hard on “Hard Core Troubadour”, classic guitars chiming away. Singing about a girl who’s seeing another guy on the side, Steve threatens him with the epic line: “Wherefore art thou Romeo, you son of a bitch?” It’s over and out in under three minutes, but the enduring adventure will be worth a repeat spin.
A blast of harmonica enters for the sentimental “More Than I Can Do”. Upbeat and unforgettable. Simple, impeccably constructed, and effective. Three perfect songs in a row.
The first ballad, “Hurtin’ Me, Hurtin’ You”, is the kind of song Steven Tyler has been trying to write since about 1993, except done right. This is what he’s been trying to write — the bluesy country heartbroken ballad with punch. Sorry Tyler, Steve’s got you beat. This song has “Crazy” beat by a country mile.
Upbeat harmonica enters the fray once again on “Now She’s Gone”, the story of a wild child. Something Steve probably knows a thing or two about. Vivid storytelling. “She met a boy up in Kentucky, Charlie was his name. Just when he thought he got lucky, she stole his watch and chain.” Most of I Feel Alright is short and sweet and this is no exception. With rough and weathered voice, Earle sings it with intent.
Side one closes on “Poor Boy”, traditional country a-la Johnny (Cash or Horton). Strong beat, light twang, and seasoned singing. This is the kind of country Steve would have grown up on.
Opening side two, “Valentine’s Day” is a somber apology. It sounds like Earle has made quite a few apologies in his day, and this represents them all. Gentle, with subtle country backing vocals and light strings.
The clouds give way to a fiery blaze in “The Unrepentant”. Steve’s hunting the devil himself this time, with a “bad attitude and a loaded .44.” He concludes his threat with, “You got your pitchfork and I got my gun…somebody’s gotta do it.” Fans of “Copperhead Road” will enjoy this song cut from a similar electrified cloth, though at a slower, more deliberate pace.
The only track on I Feel Alright that might be out of step is the blunt blues “CCKMP” (“Cocaine Cannot Kill My Pain”). It’s obviously dark, raw, and intense. Clearly born from Steve’s own experiences, and completely relevant to the journey. Will you enjoy listening to it? Difficult to say. What can be said is “CCKMP” is the dark point of this ride, the scary part in the tunnel. It has its place. It would have been wrong to leave out this crucial part of Steve’s journey.
“Billy and Bonnie” is a classic outlaw story, mandolin singing away while a driving beat takes us on down a dusty dirt road. A Cadillac, a gas station robbery, and a day in court make for a killer story (literally)! Then it’s a little bit of traditional country bluegrass on “South Nashville Blues”. Looking for a little company, with money in pocket.
Ending as strongly as it began, I Feel Alright goes out on a duet with Lucinda Williams. “You’re Still Standing There” is the love letter at the end of the story, the happy ending. More blasts of harmonica, backed by impeccable melodic construction. When you filter those melodies through the very human voices of Steve Earle and Lucinda Williams, you get a raw celebration of a closer that just makes you wanna smile.
The celebration is just that Steve survived. That he came back truly a stronger singer/songwriter is the remarkable part. Though he came close to perfection on followup albums like El Corazón and Trancendental Blues, song for song, Steve has never touched the level of I Feel Alright again. It’s one of those magical albums that’s composed of classic after classic after classic; songs you want to keep hearing over and over again. Very real performances, communicating human emotion efficaciously. A perfect record.
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