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Midnight at the Movies

by

Justin Townes Earle

 
Midnight at the Movies
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Avg: 4.0 (370 ratings)

Earle lives up to his namesake with a record as luxurious as a glass of porch-brewed sweet tea

  • We Say...

    Most country music that's not pop-polished or staunchly traditional gets slotted into the much-reviled "alt-" ghetto, but Justin Townes Earle (son of Steve Earle, and named after Townes Van Zandt) makes modern country music that defies categorization. Heavily influenced by his Nashville forefathers — Buck Owens, Hank Williams, Chet Atkins — and by folksingers like Bruce Springsteen and Woody Guthrie, Earle is an effortless vocalist, and his third album, Midnight at the Movies, is as soft and luxurious as a glass of porch-brewed sweet tea.

    Earle has relocated to New York City from Tennessee, but the most visceral – and enticing – part of Midnight at the Movies is its gentle southern pacing: Even "What I Mean to You," with its prancing piano and lonesome steel guitar, feels preternaturally effortless. In "Mama's Eyes," Earle croons and chokes (his vocals can be eerily similar to Ryan Adams' — especially on "Can't Hardly Wait" — although they lack Adams' acidity and desperation), directly addressing his lineage: "I am my father's son / I've never known when to shut up." Lyrically, Earle spits a charming mix of self-skewering barbs (he spent most of his adolescence strung out on heroin), and vivid details; like all good country singers, Earle is a storyteller above all else, and Midnight at the Movies is deliciously specific.

  • They Say...

    "I am my father's son/ I've never known when to shut up/I ain't foolin' no one/I am my father's son." These words lead off the fourth song on Justin Townes Earle's second album, Midnight at the Movies, and given that many people still know him as the son of iconic singer/songwriter Steve Earle, it's a brave and startling statement. But at the same time, much like his 2008 debut The Good Life, Earle's second album works because he seems determined not be his father's son; the tone and the feel of this music owes precious little to the family line, and Earle sounds appreciably more relaxed, confident, and in control here than he did on his fine debut. Earle's music has one toe tangled in hillbilly tradition on the folk ballad pastiche "They Killed John Henry," the uptempo string band number "Black Eyed Suzy," and the honky tonk swing of "Poor Fool," but he can write about love and life with a clear and unaffected eye that's effortlessly timeless. The title song is a musical snapshot that gets its Nighthawks details just right, "Someday I'll Be Forgiven for This" and "Here We Go Again" are painfully intimate examinations of what can happen between people who care for each other, and while "Poor Fool" and "Walk Out" sound jaunty, they have a weight behind them that's telling. And while Earle doesn't sound like a guy who should be covering the Replacements, his version of "Can't Hardly Wait" finds a sweet heartache at the core that Paul Westerberg was afraid to show in his recording. Midnight at the Movies plays more like a subtle step forward for Justin Townes Earle than a quantum leap, but if the The Good Life suggested he was a talent to watch, this record confirms that he's a new writer to be reckoned with who doesn't need to trade on his family name.

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