Steve Earle’s Sweet ‘Serenade’

Washington Square Serenade
Steve Earle
(New West)

Steve Earle has presented many sides of himself as a recording artist. He’s been a country singer, a roots rocker, a bluegrass balladeer, a hardcore troubadour and a political agitator. (Actually, he’s been an agitator while wearing all of those hats.) Earle’s latest disc, “Washington Square Serenade,” shows us yet another side: Smitten Steve, who is head-over-heels in love with his wife and adopted hometown.

Earle’s contentment had a positive effect on “Washington Square Serenade,” much of which is a heartfelt love letter to his spouse since 2005, singer-songwriter Allison Moorer, and their home in New York City’s Greenwich Village.

Unlike conventional letters, this one starts with a goodbye. “Tennessee Blues,” an update of Earle’s 1986 song “Guitar Town,” bids an unsentimental farewell to Nashville:

“Sunset in my mirror, pedal on the floor
Bound for New York City and I won’t be back no more
Won’t be back no more, boys, won’t see me around
Goodbye guitar town.”

Earle makes changes other than the physical move. “Washington Square Serenade” was produced by John King, who as half of the Dust Brothers has notably worked with the Beastie Boys and Beck. His collaboration with Earle results in a different sound, but it’s not really a big deal. The songs feature bubbling, scratchy beats, but they aren’t a distraction. “Washington Square Serenade” compares favorably to David Gray’s electronica-accented singer-songwriter album “White Ladder.” That is to say that the electronic elements are an integral part of the album, but they are secondary to the songs. Earle’s album is a well-written, largely acoustic disc first, and one made in the 21st century second.

“Washington Square Serenade” isn’t Earle’s first album of this decade, but it is his most personal. His past two outings, 2002’s “Jerusalem” and 2004’s “The Revolution Starts … Now,” were overtly political. This one is markedly personal. But even on his political records, Earle has included what he likes to refer to as “chick songs.” “Washington Square Serenade” includes two that indicate he has fallen completely under Moorer’s spell: “Sparkle and Shine” and “Days Aren’t Long Enough,” which the couple co-wrote. On the latter, Moorer proves to be as pleasant a duet partner as any in Earle’s career, a group that includes his sister Stacy, Maria McKee, Lucinda Williams and Emmylou Harris.

Earle also is clearly taken with New York City. He lives on the street where the cover photo for “The Freewheelin’ Bob Dylan” was taken, and “Washington Square Serenade” was recorded at Electric Lady Studios, the Village institution that was founded by Jimi Hendrix. “Down Here Below” gives us a bird’s-eye view of the city provided by Pale Male, the city’s famous red-tail hawk who perches above Central Park. Though he uses the raptor as a conduit, Earle can’t contain his enthusiasm when he sings, “He looks up and down Fifth Avenue and says, ‘God I love this town.’”

With Earle, the personal and the political aren’t mutually exclusive. “City of Immigrants” illustrates both, combining a comment on the immigration debate with a celebration of New York’s historically open arms. He is joined by NYC-based Brazilian band Forro in the Dark, who help him revel in the melting-pot mentality:

“Livin’ in a city where the streets are paved
With good intentions and a people’s faith
In the sacred promise a statue made
Livin’ in a city of immigrants.”

“Steve’s Hammer (for Pete)” also is a tribute. Earle’s ode to Pete Seeger’s activism (and pledge to continue his own) promises that he’ll drop his hammer “When the air don’t choke ya, and the ocean’s clean / And the kids don’t die for gasoline.”

Other high points of “Washington Square Serenade are “Oxycontin Blues,” an Appalachian banjo ballad for modern times; “Jericho Road,” and a cover of Tom Waits’ “Way Down in the Hole,” which will be used as the theme for the HBO police drama “The Wire” this season. Earle has a recurring role on the show as a recovering drug addict. But acting doesn’t factor into “Washington Square Serenade,” a genuine and genuinely affecting album that ranks among his best.