Steve Earle has always been intrigued by fighters, and by the reasons why they fight. He has championed union organisers, the impoverished, death-row inmates and indigenous rights activists. As one of America's most prominent songwriters, he has explored the character of outlaws and soldiers of many wars.

Earle's Civil War Confederate in “The Devil's Infantry” muses bitterly, “I don't even know what I'm fightin' for, ain't never owned no slave”, while his Vietnam combat vet in “Copperhead Road” returns home to take on the feds in armed battle.

In “John Walker's Blues”, the lead song on his soon-to-be-released album, Jerusalem, Earle examines the origins and motives of John Walker Lindh, the young American in prison for fighting on the side of the Taliban in Afghanistan.

The song is an exploration of how this young man's fate intertwined with our turbulent world, not an endorsement of his actions. Earle has commented that Walker Lindh is about the same age as Earle's own son, and that the story doubly fascinated him as a father and as a student of contemporary history.

The story is not so attractive to reactionaries in the US press and music business, who have condemned Earle's new album before it even hits the stores.

The media dust-up about Jerusalem and “John Walker's Blues” has included pointed references to Earle's self-description as a Marxist, and to the seedy side of Earle's past. The attacks on Earle have implied that this is some sort of dark secret about him.

In fact, Earle has been very frank about his successful battle against drug addiction and the ragged troubadour lifestyle, without resorting to any self-righteous preaching. He states flatly that recovery is the central fact of his life.

His album I Feel Alright is as cautionary a first person vision of the dangers of drugs as has ever been recorded. Likewise, Earle has always been upfront about his radical political views. Sprung from southern mountain folk via Texas, Earle belies the false stereotype of conservative southerners.

He has called Ronald Reagan a “snake oil” merchant, admired the fighting red flags of bygone US union struggles and prayed for the resurrection of the fearless spirit of Woody Guthrie in various songs. And Earle has put his body and his career on the line in dozens of benefit performances and rallies for human rights, anti-execution and economic justice causes.

In recent years, far from continuing the profligate pop star lifestyle, Earle has become decidedly bookish. He has published a critically praised collection of short stories, written a play and is most often seen in half-glasses reading novels and history tomes.

Earle divides his time between the US and Ireland and devotes considerable musical attention to the immigrant cultures that have built the US. He is just as likely to record a stunning bluegrass album as a rocker or down home country set. And he is still known for his rowdy humour and ready laughter.

Steve Earle has half-jokingly said that “John Walker's Blues” “may get me fucking deported”. If so, or if the effort to slander, discredit and black-ball him is redoubled when Jerusalem goes on sale, it will be a shame on the USA. But it will be to the great credit of Earle's courage and social-artistic commitment.

To suffer a similar fate as Paul Robeson, another proud popular American warrior, would surely be no disgrace. Earle should be listened to. Jerusalem promises to be one of the most important musical events of this new century. Its release is eagerly awaited.

[Bill Nevins is a resident of New Mexico, USA. He has written on Irish politics and cultural topics for a number of progressive publications.]

From Green Left Weekly, August 14, 2002.
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