Earle says he feels comfortable in this new setting and it all goes back to what he heard onstage almost two years ago. They will tour into the fall but then probably start up again next year. But when I stopped taking drugs, I stopped watching,” he says.
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Reality TV has done a lot of damage to this country. As for Republican nominee Donald Trump, he says, “it is dangerous to assume” he won’t get elected. The album has no such overtones, but Earle says he is an ardent supporter of Bernie Sanders and says he hopes he takes his message all the way to the Democratic convention. A compatibility that made it easier.”Ĭolvin & Earle appears amid what is sure to be a rollicking summer of political conventions and presidential debates – typically red meat for Earle, who was one of the most outspoken advocates against the Iraq invasion and subsequent pullback of civil liberties. And there is possibly a shorthand that comes with that. Colvin agrees: “When you’ve been through drug addiction and come out the other side, I just think there’s a sense of how you live and what you survived. “We have a language we speak that comes from recovery and 12-step programs that not everybody speaks that makes everything easier,” Earle says. Both songwriters say their shared experience helped them communicate. Both are recovering addicts – Earle from heroin in the early 1990s and Colvin from alcohol, which she chronicled in a recent memoir.
“It was the pleasure of coming up with the line that was powerful,” she says.Ĭonfronting trouble but not letting it lord over your life is another quality they share. After all, there are nine divorces between both songwriters, so they had little choice. On You’re Right, I’m Wrong, they pass regrets back and forth until the final line: “Maybe the truth is neither one of us ever loved anybody at all.”Ĭolvin says coming up with that line stunned them both. There is reckless love, too – the upbeat pop number You Were On My Mind channels the anxiety of going through your day missing someone lost to time. “Steve reminded me that if you’re agonizing over a lyric, let go of it for a minute and go in another direction.”įor the most part, Earle and Colvin sing as one, but for The Way That We Do, their vocals separate to describe a courtship told from two perspectives. “One of his mottos is ‘fear not the obvious’, which was revelatory to me,” she says. The simplicity is something Colvin said Earle pushed for in the writing. “Something’s gotta give, but it never did before.” Opposed to sounding weary, the acoustic guitars and stomping beat suit a bright Beatles-esque melody.
“Can’t live without each other, can’t take it any more,” the pair sings on opener Come What May. The struggle of sustaining a lifelong partnership is a theme that runs throughout this album. The songs, like their creators, have maturity to them. There wasn’t ego: we were opinionated, but it seemed to be in service of the same goal.” My tendency is to take an idea and run off in a corner and Steve allowed me to do that. “Put me in a room with a songwriter and I just clam up,” Colvin says. Collaboration did not come naturally, but they soon discovered that, once again, the spark they created in so short a time made the sessions effortless. There are certain things that are expecting of her that she is rebelling against on this record,” he says.īesides a cover of Ruby Tuesday by the Rolling Stones and Raise the Dead by Emmylou Harris, the songs are originals, written over time in Earle’s home in New York City, Colvin’s home in Austin, Texas, and a third session in Nashville, as well as ideas passed back and forth digitally via their phones. And she’s reveling in the chance to get a little tougher. “It’s not like I never sing softly, but I do change. In conversation, both quote producer Buddy Miller, who plays on the album, as saying they each “take a step toward each other” when they sing, with Earle shifting into a quieter tone and Colvin rising in temper. Instead, their closeness represents a kind of surrender to the other person in the room. But unlike other famed male-female duet partners George Jones and Tammy Wynette or Porter Wagoner and Dolly Parton, Colvin and Earle’s singing is not a metaphor for the relationship between men and women. Close melodic harmony singing has always served as a fundamental element of country music, from the Carter Family to the Louvin Brothers to the bluegrass of Bill Monroe. On the new album, their contrast in vocal styles – his rough, hers tender – came together to create a single voice that neither expected to hear.
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