Kelly Looney

REVIEW: Steve Earle – Shut Up and Die Like an Aviator (1991)

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.

3.25/5 stars

John the MusicNut: The Live Cut: Steve Earle – Shut Up and Die Like an Aviator with Mike Ladano and Robert Lawson

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! 

I will be posting my text review of the album on Sunday the 25th!

 

The 1002nd Album – S1E29. Steve Earle – I Feel Alright (Mike Ladano)

Thank you Geoff Stephen from the 1002nd Album for this chance to talk about Steve Earle’s immensely great I Feel Alright album.

Geoff’s words:

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.

Enjoy on Youtube below!

 

REVIEW: Steve Earle – I Feel Alright (1996)

STEVE EARLE – I Feel Alright (1996 Warner)

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.

5/5 stars