Steve Earle and The Dukes - Transcendental Blues (2004) MP3/Flac

Steve Earle and The Dukes - Transcendental Blues (2004)
Video: NTSC, MPEG2 Video at 5.093 Kbps, 720 x 480 (1.333) at 29.970 fps | Audio: AC-3 6ch. at

448 Kbps, PCM 2ch. at 1 536 Kbps, 48.0 KHz
Genre: Rock, Folk, Blues | Label: Artemis Records | Copy: Untouched | Runtime: 70 min | 3,79 Gb


'Transcendental Blues Live' is a no-holds-barred, shot-from-the-hip rock-fest from the old-

school rocker, Steve Earle. If this DVD is aSteve Earle and The Dukes - Transcendental Blues (2004)ny indication, Earle hasn't lost any of his drive over the

years, as he burns into his set with the agility of a 20-year-old.He hammers through the songs one

after another, blasting through a full 16 song set in barely more than an hour. The bulk of the tracks

are new ones, as Earle has obviously sought to reinvent himself in the present instead of relying on

old classics to carry him into the new millennium.

Steve Earle isn't a country artist; he's a roots rocker. Earle emerged in the mid-'80s, after Bruce

Springsteen had popularized populist rock & roll and Dwight Yoakam had kick-started the neo-

traditionalist movement in country music. At first, Earle appeared to be more indebted to the rock

side than country, as he played a stripped-down, neo-rockabilly style that occasionally verged on

outlaw country. However, his unwillingness to conform to the rules of Nashville or rock & roll meant

that he never broke through into either genre's mainstream. Instead, he cultivated a dedicated cult

following, drawing from both the country and rock audiences. Toward the early '90s, his career was

thrown off track by personal problems and substance abuse, but he re-emerged stronger and

healthier several years later, producing two of his most critically acclaimed albums ever.

Born in Fort Monroe, VA, but raised near San Antonio, TX, Earle received his first guitar at the age

of 11 and, by the time he was 13, had become proficient enough to win a school-sponsored talent

contest. Despite his talent for music, he proved to be a wild child, often getting in trouble with local

authorities. Furthermore, his rebellious, long-haired appearance and anti-Vietnam War stance was

scorned by local country fans. After completing the eighth grade, Earle dropped out of school and,

at the age of 16, left home with his uncle Nick Fain to begin traveling across the state. Eventually, he

settled in Houston at the age of 18, where he married his first wife, Sandie, and began working odd

jobs. While in Houston, he met singer/songwriter Townes Van Zandt, who would become Earle's

foremost role model and inspiration. A year later, Earle moved to Nashville.

Earle worked blue-collar jobs during the day in Nashville; at night, he wrote songs and played bass in

Guy Clark's backing band, appearing on a cut on Clark's 1975 album Old No. 1. Steve stayed in

Nashville for several years, making connections within the industry and eventually landing a job as a

staff writer for the publisher Sunbury Dunbar. He eventually grew tired of the city, however, and

returned to Texas, where he assembled a backing band called the Dukes and began playing local

clubs. A year later, he returned to Nashville, where he married his second wife, Cynthia. The marriage

was short-lived and he quickly married Carol, who gave birth to Earle's first child, a son named

Justin Townes Earle. Carol helped straighten Earle out, at least temporarily; for a while, he cut back

on substances and concentrated on music.

Publishers Roy Dea and Pat Clark signed Earle as a songwriter in the early '80s. Dea and Clark

brought "When You Fall in Love" to Johnny Lee, who took the song to number 14 on the country

charts in 1982. Additionally, Carl Perkins cut a version of Steve Earle's own "Mustang Wine," and

Zella Lehr recorded two of his songs as well. With his reputation as a songwriter growing, Earle

express a desire to become a recording artist in his own right. Dea and Clark had recently formed an

independent record label called LSI, and the pair signed Earle to their roster.

Earle's first release was an EP, Pink & Black, issued in 1982. The record featured a formative version

of the Dukes and found a warm reception among critics, one of whom -- John Lomax -- sent the EP

to Epic Records. Impressed with the songs, Epic signed Earle in 1983; meanwhile, Lomax became

his manager. After releasing the Pink & Black track "Nothin' But You" as a single, however, Epic sat

on the song and refused to promote the record. They concentrated on their new signing instead, and

relations between Earle and his label began to sour. Earle then entered the studio and cut an album of

neo-rockabilly songs that the label was reluctant to send to radio. They refused to release the record,

suggesting instead that Earle reenter the studio with a new, more commercially oriented producer,

Emory Gordy, Jr. The pair cut four more songs that were released as two singles, but the records


With his recording career quickly going nowhere, Earle lost his publishing contract with Dea and

Carter. He moved over to Silverline Goldline, where he met Tony Brown, a producer at MCA

Records. When Epic dropped Earle from their roster in 1984, Brown persuaded MCA to sign Earle

instead, and the songwriter further severed connections to his Epic days by firing Lomax as his

manager. He issued his debut album, Guitar Town, in 1986. Although Earle was grouped into the new

traditionalist movement begun by Dwight Yoakam and Randy Travis, he also gained the attention of

rock critics and fans who saw similarities between Earle's populist sentiments and the heartland rock

of Bruce Springsteen and John Mellencamp. Guitar Town became a hit, with its title track becoming

a Top Ten single in the summer of 1986 and "Goodbye's All We've Got Left" reaching the Top Ten

in early 1987.

Following the album's success, Epic quickly assembled a compilation of previously unreleased Earle

tracks; the collection was titled Early Tracks and released in early 1987. Later that year, the

songwriter released his second album, Exit 0, which bore a shared credit for his backing band the

Dukes. Exit 0 signaled a more rock-oriented direction and, like its predecessor, received critical

acclaim, even if it didn't sell as well as Earle's debut.

Though his career was taking off, Earle's personal life was becoming a wreck. He had divorced his

third wife, married a fourth named Lou, whom he quickly divorced, and then married an MCA

employee named Teresa Ensenat. He was also delving deeper and deeper into drug and alcohol

abuse. With his third album, 1988's Copperhead Road, Earle's rock & roll flirtations came to the

forefront and country radio responded in kind, as none of the album's songs charted or received

much airplay. However, rock radio embraced him, sending the album's title track into the album rock

Top Ten, which helped make the album his highest charting effort to date. Not only had Copperhead

Road been accepted by AOR, but it established him as a star in Europe, as it included a duet with

Irish punk-folk group the Pogues that signaled his affection for the area. In the late '80s, Earle

frequently toured England and Europe and even produced the alternative rock band the Bible.

Earle's acceptance by the rock community didn't please the country establishment in Nashville.

Although it briefly seemed as if Earle wouldn't need Nashville's help anyway, his newfound success

quickly began to collapse. Uni, a division of MCA Records, had released Copperhead Road; just

before the album went gold, the tiny Uni went bankrupt, taking Copperhead Road along with it.

Meanwhile, Earle's addictions and fondness for breaking rules began spinning out of control. On

New Years' Eve, he was arrested in Dallas for assaulting a security guard at his own concert. He was

charged with aggravated assault, fined 500 dollars, and given a year's unsupervised probation.

Sandie, his first wife, sued for more alimony, and he was served with a paternity suit by a woman in

The title of his 1990 album, The Hard Way, reflected such problems, as did the record's tough, dark

sound. Though the record was critically acclaimed and spawned a minor AOR hit with "The Other

Kind," it received no support from the country market and quickly fell off the charts.

The commercial failure of The Hard Way was just the beginning of a round of serious setbacks for

Earle. Later in 1990, he recorded an album of material that MCA refused to release. Instead, the label

decided to issue the live album Shut Up and Die Like an Aviator in 1991. They terminated Earle's

record contract shortly thereafter, and Earle delved deep into cocaine and heroin addiction

throughout the following years. He had several run-ins with the law, including a 1994 arrest in

Nashville for possession of heroin. Although sentenced to a year in jail, Earle served time in rehab

instead, and the treatment worked.

Earle was released from the rehab center in late 1994 and began working again. In 1995, he signed to

Winter Harvest and released the acoustic Train a Comin', his first studio album in five years. Train a

Comin' received terrific reviews and strong sales, despite Earle's claim that the label botched the

album's song sequence. The attention led to a new record contract with Warner Bros., who released

I Feel Alright in early 1996, again to strong reviews and respectable sales. Earle had returned from

the brink and reestablished himself as a vital artist. In the process, he won back the country audience

he had abandoned in the late '80s. The Mountain, a bluegrass record cut with the Del McCoury

Band, followed in 1999, and a year later Earle returned with Transcendental Blues, produced by T-

Bone Burnett.

While Earle had long displayed a strong political streak (particularly in his opposition to the death

penalty), his leftist views took center stage on his 2002 album, Jerusalem. Written and recorded in the

wake of the terrorist attacks of September 11, 2001, Jerusalem dealt openly with Earle's divided

feelings about America's "war on terror" and the West's ignorance of the Islamic faith, and included a

song about John Walker Lindh, a young American who was discovered to be fighting with Taliban

forces, called "John Walker's Blues." Earle's refusal to condemn Lindh in his lyrics quickly made the

song (and the album) a political hot potato, but Earle embraced the controversy and became a

frequent guest on news and editorial broadcasts, defending his work and clarifying his views on

terrorism, patriotism, and the role of popular artists in a time of crisis. Earle's tour in support of

Jerusalem was documented in the 2003 concert film and live album Just an American Boy, and in the

summer of 2004, as the American occupation of Iraq dragged on and an upcoming presidential

election loomed in the minds of many, Earle released The Revolution Starts...Now, an album of

songs informed by the war in Iraq and the abuses of the George W. Bush administration.

Live at Montreux, recorded at a 2005 show, was released in 2006, followed by Washington Square

Serenade (his first release for New West Records) in 2007. He also wrote two songs -- "God Is

God" and "I Am a Wanderer" -- for Joan Baez's 2008 album, The Day After Tomorrow, and

produced it. Earle remained with New West for his follow-up release, an album of Townes Van Zandt

covers entitled Townes, which was issued in 2009 and won a Grammy for Best Folk Recording.

Earle spent most of the year's remainder and all of 2010 writing and recording new songs while

playing the role of the musician Harley in HBO's acclaimed television series Treme. A song he wrote

for the series, "This City," was nominated for both Grammy and Emmy awards. In early 2011, Earle

emerged with his first new recording of original material since 2007 with I'll Never Get Out of This

World Alive, which found the songwriter re-teaming with producer T-Bone Burnett and New West.

Artists: Steve Earle & The Dukes
- Eric Ambel: Guitar
- Kelly Looney: Bass
- Will Rigby: Drums
- Steve Earle: Guitar, Vocals

01. Transcendental Blues
02. Everyone's In Love With You
03. Another Town
04. I Can Wait
05. The Boy Who Never Cried
06. Steve's Last Ramble
07. Interview
08. Lonelier Than This
09. I Don'T Want To Lose You Yet
10. Wherever I Go
11. Fearless Heart
12. Halo 'Round The Moon
13. The Galway Girl
14. Copperhead Road
15. Over Yonder (Jonathan's Song)
16. All Of My Life

- Music Video:
01. Transcendental Blues
02. Over Yonder (Jonathan's Song)

- Direct Scene Access
- Interactive Menu