STEVE EARLE and THE DUKES: Terraplane

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STEVE EARLE and THE DUKES
Terraplane
New West 6329
As a teenager in Texas, Steve Earle heard plenty of blues ⌠though, until now, the blues had usually been less in his own musicâs foreground than rock, folk and country. As he writes in his new blues albumâs notes, âFor my part, Iâve only ever believed two things about the blues: one, that they are very democratic, the commonest of human experience, perhaps the only thing that we all truly share, and, two, that one day, when it was time, I would make this record.â
As usual with Earleâs albums, Tony Fitzpatrickâs detailed cover art merits scrutiny, and thereâs what Steve calls a state-of-me song (maybe two). Propelled by Eleanor Whitmoreâs lithe fiddling, buoyant âAinât Nobodyâs Daddy Nowâ comes in the wake of his divorce from Allison Moorer. Their marriage lasted way longer than any of his many previous ones during his bygone years on the needle. Still, when unfettered âNobodyâs Daddyâ (think of Greg Brownâs âJust by Myselfâ) segues into the sad resignation of âBetter Off Alone,â we wonder if heâs of two minds about the split.
Like vintage blues, Terraplane is hardly all downhearted. Goofy romance boasting a Chicago harp riff opens the disc as âBaby Baby Baby (Baby)â proclaims love for a woman standing all of âfive feet ainâtâ down in a town called Shut My Mouth. The singer crows that he can see his beloved whenever the moon is blue. Gee, how fulfilling. Even more cheerful is âBabyâs Just as Mean as Me,â a fond duet with Whitmore that approaches John Prineâs âIn Spite of Ourselvesâ with Iris DeMent. Fans seeking Steveâs political songs can stick with earlier albums.
So what does the CDâs title signify? A Terraplane was a 1930s car made by Hudson. âTerraplane Bluesâ was Robert Johnsonâs first release in 1936. Steveâs compositions on his album Terraplane show plenty of the bluesâ faces over the decades. Ably picked âGamblinâ Bluesâ has a vintage white country blues vibe. Earleâs harp on âThe Usual Timeâ channels Buster Brownâs l960 hit âFannie Mae.â
As for the bluesâ dark side, âIâm the last word in lonesome and the king of the blues,â he sings on the CDâs closer. The most powerfully fearsome track, mythology-laden âThe Tennessee Kid,â comes early on. Itâs a Faustian narration of a sold soul thatâs way more apocalyptic than the exaggerated legend of Robert Johnson (whoâs referenced in the lyrics).
Robert Leroy Johnsonâs spirit appears way at the end of a second disc (a DVD) that only comes in Terraplaneâs deluxe edition. The DVD starts with interviews with Earle, producer R.S. Field and long-time engineer Ray Kennedy. Then come solo acoustic porch performances of two songs on the CD plus one (the trad-based âSo Different Bluesâ) that isnât on it. Next is a 24-bit high-res audio version of the album. For a surprise hidden track, weâre treated to the packageâs only appearance of the song inspiring its title. Steve credibly covers Johnsonâs âTerraplane Blues,â whose carnal metaphors that typify the blues give way to one of the bluesâ most basic questions: âI want to know who been drivinâ my Terraplane for you since Iâve been gone.â
â Bruce Sylvester