Posts Tagged ‘Justin Townes Earle’


One of the first releases of 2021 comes from Steve Earle and has a tragic back story: The album, “J.T.,” is a tribute to his son, the singer and songwriter Justin Townes Earle, who died from an accidental drug overdose in August. “I’ve never loved anything in this world more than him,” Steve Earle said. “I was connected to him in ways that, you know he’s my first born, he did the same thing I did and we both had this disease.” On the evening of August. 20th, Steve Earle spoke to his son Justin Townes Earle for the last time.

In a phone call initiated by Justin, they caught up on family business and Steve, the country-rock singer-songwriter, who struggled with addiction for years, told his son a lauded musician in his own right that he would support him if he was ready to begin his own recovery. “I said, ‘Do not make me bury you,’” the elder Earle recalled in an interview. “And he said, ‘I won’t.’”

That night, Justin, 38, died alone in an apartment in Nashville of an accidental drug overdose; an autopsy found evidence in his blood of cocaine laced with fentanyl, a powerful opioid. For Earle, the death of his eldest son set off waves of grief. He had watched Justin grow from a scraggly teenage hip-hop fan intrigued by Kurt Cobain to a rising star of Americana music the fuzzy intersection in the Venn diagram of folk, country and rock, where Earle has long been a looming presence.

Justin, who released eight albums and an EP over 13 years, had a mordant song writing style that bore the influence of Townes Van Zandt, the fatalistic folk oracle who was Earle’s mentor and the man he named his son after. It also had the unmistakable imprint of Earle himself, whose best songs, whether performed in loud bands or alone with an acoustic guitar, have always had a certain rock ’n’ roll sneer.

Justin, like his father, also spent years as an addict, using heroin since his teens. Alcoholism plagued him throughout his career, and took a hard toll in his later years. Justin was hospitalized with pneumonia over the summer, having aspirated vomit in his lungs, and was told by a doctor that he would die if he did not quit drinking, Steve said. But while Steve eventually got clean after spending time in prison in 1994 on drug and weapons charges his son succumbed to the disease. Among Justin’s survivors are his wife, Jennifer, and a 3-year-old daughter, Etta St. James Earle.

Within days of Justin’s death, Earle, 65, began work on what would become “J.T.,” an album of 10 of Justin’s songs, and one new track by his father, that will be released on January 4th, which would have been Justin’s 39th birthday. Proceeds from the LP will go to a trust to benefit Etta.

“His best songs were as good as anybody’s,” said Earle, whose Greenwich Village apartment is crammed with photos of Justin, including one black-and-white shot on the wall showing his 3-year-old son chomping on a candy apple. “He was a way better singer than I am, a way better guitar player, technically, than I am. His fingerpicking could be mind-blowing.” “He was just one of those people,” Earle added, “that never felt like he was enough.”

“J.T.” Justin’s childhood nickname is the latest entry in what has become a grim specialty for Earle: the tribute album for a departed musical confidant. “Townes” was released in 2009, a dozen years after Van Zandt died; “Guy,” a homage to the songwriter Guy Clark, came out three years after Clark’s death in 2016. But “J.T.” was made while Earle’s pain was still raw. During recording sessions in October, the official cause of Justin’s death had still not been determined.

Recorded with the Dukes, Earle’s longtime backing band — including Chris Masterson on guitar, Eleanor Whitmore on fiddle, Ricky Ray Jackson on pedal steel guitar, Jeff Hill on bass and Brad Pemberton on drums “J.T.” includes some of Justin’s best-known songs, like “Harlem River Blues,” “Champagne Corolla” and “The Saint of Lost Causes,” the title track of Justin’s final album, released in 2019.

Earle’s craggy-voiced performance underscores dark themes that were there all along. “Harlem River Blues” contemplates a drowning death. (“Tell my mama I love her, tell my father I tried,” it goes. “Give my money to my baby to spend.”) “Turn Out My Lights,” about the phantom-limb ache for a former lover, takes on an eerie double meaning when Earle sings:

Even though I know you’re gone, I don’t have to be alone now
You’re here with me every night, When I turn out my lights

Recording the album “wasn’t cathartic as much as it was therapeutic,” Earle said. “I made the record because I needed to.”

“J.T.” is, in a sense, a double portrait of father and son. Justin was born in 1982, while Earle was a journeyman songwriter in Nashville. He and Justin’s mother, Carol Ann Hunter, split up when Justin was 3, around the time that Earle’s recording career began to take off. For much of Justin’s youth, Earle was touring or lost in the depths of drug addiction.

By Justin’s teenage years once Earle was clean and out of prison he was living with his father, and they developed a close musical bond. Earle recalled a pivotal moment when Justin, still a guitar novice, was stunned by Cobain’s stark acoustic performance of “Where Did You Sleep Last Night” with Nirvana on “MTV Unplugged,” unaware of the song’s provenance from the folk icon Leadbelly. Earle pointed his son to the L section of his record collection, where Leadbelly abutted the bluesmen Lightnin’ Hopkins and Mance Lipscomb.

“Next thing I knew,” Earle said, “he was playing Mance songs that I had never been able to figure out.”

Justin played in two bands, the Swindlers and the Distributors, before going solo in his 20s. In 2007, Justin’s debut EP, “Yuma,” introduced him as a stylish traditionalist with a hint of punk-rock attitude. Within a few years, he was building a reputation in New York, appearing frequently (as performer or patron) at a bar near his East Village apartment. He developed an irresistible persona for the media, dressing in retro suits and hats, blithely recounting his struggle with drugs while revelling in the notoriety it brought. “There’s really no such thing as bad press,” he told The Wall Street Journal in 2010.

Shooter Jennings, the country-rock singer and son of the outlaw country legend Waylon Jennings — recalled Justin during this period as an almost intimidating talent, albeit one who still lived under the shadow of a famous father. “When you get out there, there’s going to be this built-in audience of people that are curious to see what Steve Earle’s son is like, or what Waylon Jennings’s son is like,” Jennings said. “So there’s this bit of distrust with the audience from the very beginning. Are they here because they like my music, or are they here because they like my dad’s music?”


To record “J.T.,” Earle, with the help of his son Ian, 33, winnowed Justin’s work to a list of 10 songs — two of them, “Turn Out My Lights” and “Far Away in Another Town,” Justin wrote with Scotty Melton and booked a week at Electric Lady Studios in New York. He worked fast, sending his band preparatory notes by text message. By the time they began recording, Justin had been dead for less than two months. (They began sessions before October 20th.) Earle, who had largely avoided speaking publicly about Justin’s death, wanted the album to be his statement.

He was also wary of being roped into anyone else’s memorial. “I did not want to be asked to be on a tribute record with several people that I thought absolutely were enablers and helped kill him,” Earle said, his words flecked with expletives. “So I thought the way to nip that in the bud was to make a record of my own.”

At this point in his career, Earle bespectacled, with a long salt-and-pepper beard is a Renaissance man for whom mortality and addiction have been perennial subject matter. In addition to his many albums, Earle has written a play about a woman on death row and a novel about the spector of Hank Williams, and contributed music to a recent play about a mining disaster in West Virginia. Lately he has been writing a science-fiction story intended for television.

The night before the first session for “J.T.,” Earle gathered the band at his apartment for a sushi meal. Ray Kennedy, Earle’s longtime engineer, recalls the time in Electric Lady as being celebratory but focused. They began each day at 10 a.m. and finished by 4 p.m., so that Earle could take care of his youngest son, John Henry, 10, who has autism. “It felt positive,” Kennedy said. “It felt like we were taking an expression of somebody’s art and creativity and giving it back to the world in a different package.”

Earle, slouching on his sofa with a green bandanna as a face mask, seemed almost bemused by the question of whether recording his dead son’s songs was difficult to get through.

“I inoculated myself to some degree,” he said. “I was prepared for it to be horrific. But the truth is, it was kind of business as usual in a lot of ways.”

Justin’s catalogue, with its frequent themes of the entanglements and disappointments of family, might seem a minefield for Earle. He did not record anything from his son’s albums “Absent Fathers” or “Single Mothers.” He also avoided one of Justin’s best-known songs, “Mama’s Eyes,” which begins: “I am my father’s son/I’ve never known when to shut up.”

Those songs, Earle said, simply didn’t hold up as well as others he chose, which showcase Justin’s economical storytelling voice. The choices also contrast the two men’s styles. “J.T.” opens with “I Don’t Care,” a jaunty, fingerpicked ditty from “Yuma.” The Dukes play it as a rollicking hootenanny, with Earle growling its sardonic twist on a folk cliché: “I don’t know where I’m going no more/I don’t know, and I don’t care.”

Steve Earle and Justin Townes Earle in 1999.

Other songs reveal an interplay between the two men and their music. Justin’s “Lone Pine Hill,” a Civil War ballad with a Townes Van Zandt-style guitar part, Earle sees as indebted to his “Ben McCulloch,” about a disillusioned Confederate soldier. For two of Justin’s earliest tunes, “Maria” and “Ain’t Glad I’m Leaving,” Kennedy dug out tapes of Justin’s original arrangements with the Swindlers, which he and Earle recorded in 2001, when Justin was just 19.

Earle said that in writing “John Henry Was a Steel Drivin’ Man,” from his most recent album, “Ghosts of West Virginia” (2020), he “deliberately emulated” Justin’s guitar part on his song “They Killed John Henry.” “It always made me incredibly jealous that Justin had a John Henry song and I didn’t,” he said.

The song that was the most painful to record is also the album’s most powerful: “Last Words,” a heartbreaking synopsis of a father’s journey, from holding his newly born son to speaking to him for the last time. Earle wrote it less than a week after Justin died, and he described it as “maybe the only song I’ve ever written in my life that every single word in it is true.”

“Last thing I said was ‘I love you,’” Earle sings, over acoustic guitar and ominous, droning feedback. “Your last words to me were ‘I love you too.’”

Steve Earle – Guitar, Mandolin, Octave Mandolin, Harmonica and Vocal
Chris Masterson – Guitar, Mandolin, 1 Finger Piano and Vocal
Eleanor Whitmore – Fiddle, Mandolin, Organ and Vocal
Ricky Ray Jackson – Pedal Steel Guitar, Dobro and Vocal
Jeff Hill – Acoustic and Electric Bass, Cello and Vocal
Brad Pemberton – Drums, Percussion, and Vocal
All songs written by Justin Townes Earle

Recording the album “wasn’t cathartic as much as it was therapeutic,” Steve Earle said. “I made the record because I needed to.”

When Justin Townes Earle died in August at the age of 38, the music world mourned the talented singer-songwriter, but none more than his musician-father, Steve Earle. To honour his son, Steve Earle and the Dukes decided to record an album with-songs written by Justin Townes Earle. The new album, “J.T.”, features 10 songs penned by Justin and covered by the band, plus one classic tune from Steve.

That song, “Harlem River Blues,” which was the title track of Townes Earle’s 2010 album, and was re-recorded by his father and his band at New York City’s Electric Lady Studios, the LP will follow on what have been Justin’s 39th birthday, January. 4th, 2021. The record is called “J.T.” because Justin was never called anything else until he was nearly grown,” Steve Earle said in a statement. For better or worse, right or wrong, I loved Justin Townes Earle more than anything else on this earth.

“That being said,” he continued, “I made this record, like every other record I’ve ever made…for me. It was the only way I knew to say goodbye.”. The album is described in a release as “sombre in parts. [but] ultimately a rousing celebration of a life lived with passion and purpose.”

The new album ‘J.T.’ is available January 4th , J.T., Steve Earle & The Dukes pay tribute to Steve’s late son, Justin Townes Earle (J.T.), who passed away on August 20th, 2020 in Nashville. The album will be released digitally on what would have been Justin’s 39th birthday, January 4, 2021, via New West Records. J.T. finds Steve Earle & The Dukes covering 10 of Justin’s songs – from “I Don’t Care,” which appeared on his 2007 debut EP, Yuma, and a trio of selections from his full-length debut album, The Good Life (“Ain’t Glad I’m Leaving,” “Far Away In Another Town” and “Lone Pine Hill”) to later compositions like 2017’s “Champagne Corolla” and 2019’s “The Saint Of Lost Causes,” which was the title track of Justin’s eighth and final studio album. J.T. closes with “Last Words,” a song Steve wrote for Justin.

100% of the artist advances and royalties from J.T. will be donated to a trust for Etta St. James Earle, the three-year-old daughter of Justin and Jenn Earle. While sombre in parts, the album is ultimately a rousing celebration of a life lived with passion and purpose. The recording features the latest incarnation of Steve’s backing band, The Dukes – Chris Masterson on guitar, Eleanor Whitmore on fiddle & vocals, Ricky Ray Jackson on pedal steel, guitar & dobro, Brad Pemberton on drums & percussion, and Jeff Hill on acoustic & electric bass.

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The music world this week lost a massive talent far too early when it was announced that Americana singer-songwriter Justin Townes Earle had passed away from undisclosed causes at the age of just 38.

He was the son of country music mainstay Steve Earle, and named for his father’s friend and mentor Townes Van Zandt, and this rich pedigree flowing through his veins was wrought clear by both his obvious musical acumen plus the way he was so defiantly determined to forge his own path and do things his own way.

Earle leaves behind eight beautiful albums – the most latest being 2019’s The Saint Of Lost Causes – and a tragically young family (he and wife Jenn Marie only welcomed daughter Etta St. James into the world in 2017), but also the indelible marks he made on the lives of countless people whose paths he crossed along his too-short but action-packed journey. A genuinely fun guy to be around, he was charismatic and opinionated and incredibly open about his own past, completely willing to steer conversation towards the many trials and tribulations he’d faced, and the addictions he’d battled since his early teens.

The impact of his immaculately authentic song writing and consummate performance skills was immediate and invigorating, and when he burst into a stripped-back but hauntingly beautiful cover of The Replacements’ Can’t Hardly Wait, a great version of which followed on Justin’s subsequent album Midnight At The Movies (2009).

From the very beginning was that this was a guy who was not living in his father’s shadow. He didn’t have to come out and say it, but you just knew it. He wanted to pave his own path, and he wanted to lay those bricks – rightly or wrongly – in the way that he saw fit and the way that he thought it should have been. I admired that, because it would have been very easy for Justin in the early stage of his career – around that first album [2008’s The Good Life] and EP [Yuma(2007)] – when it would have been very easy to talk up his father and milk those connections. There were references to it in interviews, but he’d never use it as a calling card. The Americana genre with which Earle is usually synonymous is a large and often nebulous catch-all, but Earle was equally at home mining sounds and emotions from the soul, blues, folk and even rock’n’roll realms as he was from the country music at Americana’s heart. More than that it was the way he so effortlessly brought a modern spin to those old-timey foundations that made his music so widely accessible. But they didn’t see a country act in Justin, they saw a guy onstage who knew his craft and knew his songs and knew how to deliver those songs in a way that made you feel sitting in the audience like you’re the only person there, in the way that Bruce Springsteen does.

“And you kind of get locked in this zone where you think that you’re the only person in the room and that is a gift – an absolute gift – that not many artists possess, but Justin Townes Earle, was one of those who could do it. He’d take you to a place night in, night out that you wanted to go to, because that’s why you were there. “And he knew that, because that was his job. He rolled up the sleeves, put the guitar on and went to work. There was a lot of fun along the way. But seeing Justin playing live is that every time he walked out onto a stage he was doing the best he could at that point.”

“I feel like Justin was a lynchpin to a whole lot of people who lifted their game because of him,” he offers sadly. “He came out kinda rippin’ at his guitar and it inspired a whole generation of songwriters to rip at that claw-hammer finger-pickin’ style and not be timid when you’re writing songs. “He had that Replacements kinda snowball – that relentless drive and that punk element – to country and modern song writing, . He was an important figure for everyone, it was just crazy. He was also a great raconteur – he’d always tell stories and he was always quite open onstage and quite honest. He was a great, great showman. The breadth of fans at his gigs was incredible, Justin would attract people like 70- and 80-year-olds who loved that classic throwback country songwriting – that dusty 78s-era gramophone country – but then you’d have rockabilly kids in their 20s and punk kids, people who love The Replacements. He had that extraordinary breadth of reach.

“Justin was such a rollercoaster ride of confidence and fragility – he was the extreme of every adjective you can imagine – and people could relate to his journey and his ride. People followed him and they related to him on his ups and his down and his variation from tour to tour in his states of mind, and that made him approachable and incredibly easy to follow and kind of befriend.

He was always incredibly interesting and a song writing genius – so you couldn’t really ignore him, and that’s really rare. He had a force of personality that’s really rare in the music industry these days, apart from the obvious loss – is just the talent that Justin had, it was so immense but in many respects it didn’t reach it’s peak, and that’s terribly sad.

He was a guy who gave a lot onstage, and the talent that Justin possessed was almost inconceivable. He brought a whole lot of rock’n’roll to Americana, he was a real rock star – and sadly you can’t help but feel that he had so many great songs left in him, that his best work was still to come.

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Justin Townes Earle, an acclaimed US songwriter and son of Steve Earle, has died, in news confirmed on the artist’s Facebook page on Sunday night.

“It is with tremendous sadness that we inform you of the passing of our son, husband, father and friend Justin,” the post read. “So many of you have relied on his music and lyrics over the years and we hope that his music will continue to guide you on your journeys. You will be missed dearly.”

Named for his father’s friend and idol Townes Van Zandt, Earle, 38, battled addiction throughout his life. He released eight albums across the course of his career, which saw him honoured twice at the Americana Music awards including for his best-known song, “Harlem River Blues”.

Many have paid tribute to the artist on Twitter, with the musician Samantha Crain reflecting on their friendship: “Such a tremendous songwriter. He took me on two tours and always treated me so kindly. He understood struggle, he understood joy I saw him at the peaks and valleys of both through the 13 years I knew him.” His friend and collaborator Jason Isbell said: “Had a lot of good times and made a lot of good music with JTE. So sad for his family tonight.”

“When you start with my middle and last names,”said  Earle, “how much worse can the expectations be? My father is one of the greatest songwriters who’s ever lived, and I couldn’t write a song like [revered singer-songwriter] Townes Van Zandt if my life depended on it. But you know going through the door you’re gonna be judged based on that, so you better be ready.”

By the time he was 14, Earle was doing residencies in the competitive Nashville songwriter’s scene. It was the mid-1990s, and artists in the so-called alternative country movement, spearheaded by acts such as Uncle Tupelo, BR-549 and Neko Case, were mixing post-punk energy with honky-tonk twang. Earle’s first three records were released by Bloodshot Records, one of the drivers of the scene and inheritors to Steve Earle’s 1980s blue-collar barroom country. Earle was an on-and-off member of the raucous country-rock band the Sadies. As Earle gained confidence, he committed to being a solo artist.

The writer and cultural critic Hanif Abdurraqib praised Earle as “an incredible writer of narrative – stories that flourished beyond the music they were laid over”. the NPR music critic Ann Powers described his last album, “The Saint of Lost Causes”, as “a powerful road map of America … we’ve lost someone with real vision.”

Earle is survived by his mother Carol-Ann Hunter, his wife, Jenn Marie, and their daughter, Etta St. James Earle.

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When you are a fan of an artist for a long period of time; consisting of multiple albums; it is natural to have you favorites and albums that you never play. Most people favour the early albums; Justin Townes Earle is one of those artists for me. While I really liked his album, Kids In The Street, I almost always find myself reaching for the older stuff. But I’m here to say that The Saint of Lost Causes is among his best work to date, his voice never sounding better. For his eighth album, Justin turned his gaze out – toward the state of America. Like the excellent,The Seduction of Kansas by Priests, Justin Townes Earle isn’t hitting you over the head with his rage. His imagery is pointed, yet subtle enough to requiring the listener to really listen.

The Saint Of Lost Causes is the 8th album from American roots troubadour, Justin Townes Earle. Earle’s latest album finds a songwriter and artist who is unflinching and unequivocal in his truth. When writing this album, Earle focused on a different America – the disenfranchised and the downtrodden, the oppressed and the oppressors, the hopeful and the hopeless. There’s the drugstore-cowboy-turned-cop-killer praying for forgiveness (Appalachian Nightmare) and the common Michiganders persevering through economic and industrial devastation (Flint City Shake It); the stuck mother dreaming of a better life on the right side of the California tracks (Over Alameda) and the Cuban man in New York City weighed down by a world of regret (Ahi Esta Mi Nina); the used up soul desperate to get to New Orleans (Ain’t Got No Money) and the sons of bitches in West Virginia poisoning the land and sea (Don’t Drink the Water). These are individuals and communities in every corner of the country, struggling through the ordinary and sometimes extraordinary circumstances of everyday life.

Over the course of the dozen tracks, Justin Townes Earle paints little stories of Americans that are getting left behind in this current shitstorm. He isn’t shy in pointing out his targets. It’s a powerful album digging so much deeper than the horrible outcome of a dead policeman.

Releasing such an outward looking album after the deeply personal and inward looking Kids In The Street was a nice touch. And he absolutely nailed it.


Justin Townes Earle – Vocals, Acoustic Guitar
Adam Bednarik – Upright Bass, Electric Bass
Joe V. McMahan – Acoustic Guitar, Electric Guitar, Slide Guitar, Baritone Guitar, Celeste
Paul Niehaus – Acoustic Guitar, Electric Guitar, Pedal Steel
Jon Radford – Drums, Percussion
Cory Younts – Harmonica, Wurlitzer, Piano, Fender Rhodes, Background Vocals

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A few lines and a guitar lick are all Justin Townes Earle needs on “Ain’t Got No Money,” the shifty roots rocker that will be featured on his just-announced LP The Saint of Lost Causes.

Something of a return to the familiar for Earle, The Saint of Lost Causes sees him reunited with longtime producer Adam Bednarik in Nashville after venturing out to Omaha, Nebraska, to record 2017’s Kids in the Streets with Mike Mogis of Bright Eyes. “Ain’t Got No Money” is lean and wiry, built around a locked-in riff that calls to mind James McMurtry’s “Choctaw Bingo” and never loses step with Earle’s bitten-off, occasionally slurred vocal about trying to find the cash to make it to New Orleans. “Give me some money or just leave me alone,” he sings in the refrain, over a panting harmonica that wails through the song’s middle fifth.

Due to be the second of 12 songs on The Saint of Lost Causes‘ running order, “Ain’t Got No Money” and its pared-down arrangement suggests a different direction from the fleshed-out, full-band approach of Kids in the Street, which centered around more personal tales inspired by Music City, his hometown. Earle and Bednarik cut the album at Sound Emporium in Nashville.

From the new album ‘The Saint Of Lost Causes,’ available May 24th

Ahead of his upcoming album Kids in the Street, Nashville native Justin Townes Earle has released his fourth single, “Maybe a Moment” accompanied by a new video. It comes as half of a two-song release, which also includes a cover of Paul Simon’s “Graceland”

The son of Steve Earle enlisted Bright Eyes’ Mike Mogis to produce the record, due May 26th

“Maybe a Moment” is the story of one of those nothing-to-do small town days in your teens. Why not drive to Memphis to just “get out of town,” Earle sings. He knows a place where a guy “sells anything to anyone / But I don’t know what time he closes up.” The rocking Americana track captures the impulsiveness of being young, when everything feels so important and critical. It’s Bruce Springsteen’s “I’m on Fire” ten years earlier, before that insistence gets dark.


Directed by Alicia J. Rose, who also helmed First Aid Kit’s “Walk Unafraid,” the video was filmed in Portland, Oregon and follows two young women early in their romance, overcoming the hate their attraction brings from a couple of ignorant men.  Kids in the Street, the follow-up to Townes Earle’s 2015 Absent Fathers, comes out May 26th and was recorded in Omaha, Nebraska .

The new song “Maybe A Moment”. You can now download this song along with the B-side cover of Paul Simon’s “Graceland” when you pre-order the new album .

Justin Townes Earle played a couple of songs from ‘Single Mothers’ Album for Rhapsody .Justin Townes Earle  is an American singer-songwriter and musician. Earle recently signed with Vagrant Records and has released five albums with Bloodshot Records since 2007. He released the album Single Mothers in September 2014 on Vagrant records with a follow up album named Absent Fathers released in January 2015. He is also the son of prolific alternative country artist Steve Earle, and is named after Townes Van Zandt. 


While down under in Australia , Justin Townes Earle  recorded a cover of the Fleetwood Mac hit, “Dreams” live for FBi Radio. Recorded live on ‘Tune Up’ with Stuart Coupe on FBi Radio Sydney 94.5 FM in Sydney, 14 October 2014. PO Box 1962, Strawberry Hills, NSW 2012


Following the success of his critically-acclaimed-fifth-studio-album, “Single Mothers”, Justin Townes Earle is pleased to announce the release of the companion album, “Absent Fathers”. Comprised of 10 tracks, “Absent Fathers” was recorded alongside “Single Mothers” as a double album, but as Justin began to sequence it, he felt each half needed to make its own statement and they took on their own identities. “Absent Fathers” will be released January 13th, 2015. See below for the complete track list.

Single Mothers was released on September 9, 2014 via Vagrant Records and is available now Combined with Absent Fathers”, the double album perfectly showcases exactly why Justin Townes Earle is considered a forefather of Contemporary Americana. Hailed as an album that’s “showing the world that alt-country can be pretty dope,” Single Mothers” has had great radio success, While down under, Justin recorded a cover of the Fleetwood Mac hit, “Dreams” live for FBi Radio.

Absent Fathers Track List:

1. Farther From Me
2. Why
3. Least I Got The Blues
4. Call Ya Momma
5. Day and Night
6. Round the Bend
7. When the One You Love Loses Faith
8. Slow Monday
9. Someone Will Pay
10. Looking For A Place To Land