Justin Townes Earle - Harlem River Blues

Justin Townes Earle has now released three full-length albums, displaying each time an increased proficiency in storytelling folk-and-country-infused songs. Harlem River Blues is another step forward in his musical progression, with songs that are at once emotionally indulgent and full of artistic restraint.

After being born and raised in Tennessee, Justin Townes Earle relocated to New York City recently. From that move, he seems to have been wholly inspired to write a "New York album." Complete from the disc's title track opener - a sort of suicide fantasy and love letter to the city - to his working man's tribute to the MTA, Earle is clearly fascinated and inspired by the City That Never Sleeps.

There have been countless tunes throughout history, written as a tribute to Manhattan. Earle breathes new life into the soundtrack of the Big Apple, though, blending Tennesse hills old timey fiddle tunes ("Wanderin") and honky tonk ("Move Over Mama"), with New York-style gospel (title track) and jazz-blues ("Slippin and Slidin"). The vaguely Springsteen-esque "Christchurch Woman" is mentionable, too, even though that's more of a Jersey energy than New York. Close enough, though.

It's been an interesting ride following the instrumentation Earle has chosen across his career. From the stark and stripped-down guitar-harmonica-mandolin string band vibe of his early recordings, through the lush rock band-backed energy of Harlem River Blues, it's clear his music has grown. Whether that's the result of having more money to spend in the studio - and more access to great players - or whether it's just the evolution of his artistic sensibilities is tough to call. What matters is that he's made that progression with some consideration and restraint, rather than throwing in a horn section simply because he might have access to one.

The arrangements on Harlem River Blues are indeed considerably more lush and ambitious than Earle has managed in the past, but they seek only to serve the songs, backing off when necessary, flowing through their various styles seamlessly. That Earle manages to marry so many elements on this record without making it sonically confusing is notable, as well. Then again, that's his greatest asset - positioning himself somewhere between folk, blues, country, and punk traditions, as the human fork in all those roads.

As has been true of his other records, Earle lets this disc steadily gain momentum, with every song incrementally better and more realized than the last one. This culminates with the ultimate song on the disc - the poetic and stirring "Rogers Park" - and a rousing crowd-sized reprise of the title track. As long as his career continues to follow this trajectory, building each tune on top of the one which came before, Earle will continue to be a growing force in the industry.

What do you think of 'Harlem River Blues'?