Guitar Town
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Guitar Town

March 28, 1988

Song Title
Guitar Town (Album Version)
Goodbye's All We've Got Left (Album Version)
Hillbilly Highway (Album Version)
Good Ol' Boy (Gettin' Tough) (Album Version)
My Old Friend The Blues (Album Version)
Someday (Album Version)
Think It Over (Album Version)
Fearless Heart (Album Version)
Little Rock 'N' Roller (Album Version)
Down The Road (Album Version)

Product Details

  • Label: Geffen
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 34:28
  • Genres:
  • ASIN: B000VZZ20W
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (12 customer reviews)
  • Amazon Best Sellers Rank: #16,015 Paid in MP3 Albums (See Top 100 Paid in MP3 Albums)

Customer Reviews

Most Helpful Customer Reviews
9 of 9 people found the following review helpful
5.0 out of 5 stars Not God, but man August 26, 2000
Format:Audio CD
I have a friend named Steve Barker who usec to listen to all this really cheesey music like Englebert Humperdinck and then country music like Marty Stuart. He played Steve Earle for me and it struck a chord in me. I don't think Steve Earle is God. I think that is always an absurd comment towards someone who writes songs and plays rock and roll. What I appreciate about Steve Earle is that he writes about a side of humanity that I don't live. He writes about irresponsibility, about separation by choice, about the rambles of a man who searches but never seems to find. Steve Earle's tribulations are well known and rather unimportant to mention . With his many great albums behind him, it is important to remember Guitar Town, a terrific piece filled with a variety of styles and the kernal of all the things Earle still seems to represent. I don't know why I felt like writing this today, but perhaps that is a good leaving off place. Steve Earle seems to be always questioning why. and with Guitar Town, the questioning has never been more succinctly stated or as catchily written.
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8 of 8 people found the following review helpful
5.0 out of 5 stars One of the most endearing and moving records ever made November 9, 2000
Format:Audio CD
After an indie EP release and an aborted recording career at Epic (some of which saw the light on "The Early Years" after "Guitar Town" established itself as a hit), producer Tony Brown convinced MCA to pick Earle up, and the result is perhaps one of the greatest singer-songwriter country-rock LPs ever recorded.
Earle's early mentoring by Townes Van Zandt and Jerry Jeff Walker informs the brilliance with which his lyrics describe a character's emotion and turmoil from the inside, while the burgeoning neo-traditional Country (Travis, Yokam) and blue-collar rock (Springsteen, Mellancamp) give his music its kick.
Ten originals, nearly every one a classic in its own way. Even the trifles (e.g., "Little Rock 'n' Roller") add to the album's overall feeling of characters in need of release - emotional and physical. His tales range from kids stuck in small towns nurturing their big dreams (bringing to mind Brian Wilson's "I Get Around" and the movie "Footloose"!) to broken hearts that have nothing more to cozy up to than their own sadness. It's rare to find a writer who so transparently translates his emotions into words, and a songwriter who so transparently translates his words into music.
Recorded in Nashville with Tony Brown's guidance, Earle's LP debut is his most consistent and potent release to date.
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3 of 3 people found the following review helpful
4.0 out of 5 stars Good, honest music February 18, 1999
By A Customer
Format:Audio CD
Steve Earle's "Guitar Town" is an album that speaks to anyone who grew up in small town America. Whether it be the breaking free notions of "Someday" or just the upbeat flare of "Think it Over", this album has something for anyone with country/rockabilly leanings.
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2 of 2 people found the following review helpful
5.0 out of 5 stars Guitar Town April 8, 2002
Format:Audio CD
"Guitar Town" is essentially a roots rock album with a heartland, hillbilly twist. Steve Earle wrote six of the ten tracks, and cowrote the other four. His voice cuts through the listeners ears, giving you chills. From start to finish, the record is filled with outstanding songs that you'll never forget.
As a songwriter, Earle uses razor sharp lyrics, particularly noticable on the title track: 'Everybody told me you can't get far on thirty-seven dollars and a Jap guitar.' He wrote that song after arguing with his girlfriend on the telephone while he was out on the road doing concerts! *Fearless Heart* is a fantastic rock ballad--watch for the spine-tingling guitar solo. Earle brings in jangly guitars on tracks like *Gettin' Tough* and *Goodbye's All We Got Left* and also includes some hard, natural country on songs like the bouncy *Think it Over*, the working-class *Hillbilly Highway*, and the acoustic *My Old Friend the Blues*. *Someday* is the best cut of the record. This wonderfull storytelling song includes a beautifull electric guitar solo after the second chorus, and a timeless hammered-chord acoustic strum. Steve closes out the album with the smooth *Little Rock 'n Roller* and the mandolin-drenched *Down The Road*.
Steve Earle delivers each and every song with all the confidence and conviction of the long-time veteran he was when this recording was released. Using studio musicians rather than his band seems to be the only flaw, but the remarkable high quality of the songs overcomes that. Definitely an essential recording for any alternative country/roots rock music fan.
Thank You!
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2 of 2 people found the following review helpful
5.0 out of 5 stars Steve Earle... like Waylon... does it his way February 19, 2002
Format:Audio Cassette
Steve Earle could have been in the top with Randy Travis, Dwight Yoakum, etc back in the late 80's and early 90's but due to the political bull**** from the record labels, producers like Tony Brown, etc.... they just don't know what the heck they're doing. You can't make a true artist do things politically correct, for then you rob them of the talent of what they are all about. So, just like the rebel Waylon Jennings was... that's Steve today. Just try it out... if you like true country music... this is great! Don't forget...Exit 0 is another great album by Steve Earle.
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2 of 2 people found the following review helpful
5.0 out of 5 stars A Masterpiece September 30, 2001
By A Customer
Format:Audio CD
Inspired by Earle's attendence at a Bruce Springsteen concert, this singer/songwriter masterpiece lovingly exploits the conflict between the hero's desire to stay in a small town and the need to leave. Set in 1980's Reagan-era America and featuring Duane Eddy-style reverberated guitar lines blazing through dangerously infectious melodies, Guitar Town's dusty, blue-collar vignettes relentlessly engage and tug at the heart strings, and Earle's stark character development revives desperate ("Someday") and exhuberantly hopeful ("Guitar Town") emotions from the listener's childhood. This 'Dylanesque-country' sound inadvertantly awakened a young, rock-loving, college-educated country audience yearning for the disappearing rock sounds of John Mellencamp and Bruce Springsteen. Earle set the mark on the top rung for this type of new country, and with the public expecting only the best, Nashville delivered its finest and most daring projects of the post-Hank Williams era. Easily the most groundbreaking Nashville recording since Waylon Jennings' "Honky Tonk Heroes" sessions, Guitar Town was named one of Rolling Stone's Top 100 Recordings of the 80's and was praised in the rock press (Robert Cristgau's "The Village Voice" and Dave Marsh's "Rock and Roll Confidential") long before receiving favorable country reviews. Guitar Town continues to exert a massive influence on songwriters 16 years after its release and is widely regarded as a cornerstone of the 1980's "New Traditionalist" movement in Nashville. Earle may never understand the full impact this recording will continue to have on future generations of songwriters. As his music continues to move towards exclusively political themes, it becomes clear he will not visit Americana territory again, but since he virtually defined the genre with this monolithic MCA debut, he can leave well enough (or, in this case, near perfect) alone.
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