Chicago-based alt.country stalwart Bloodshot Records has signed Justin Townes Earle to a multi-album, world-wide deal. His debut full-length album, The Good Life is slated to hit stores in Spring 2008. Justin will make appearances at SXSW and tour with The Felice Brothers in March and April. Justin’s previously self-released EP “Yuma” will become available to wide release through Bloodshot soon.

The Good Life is produced by RS Field, who has made his mark on critically acclaimed albums by Billy Joe Shaver, Sonny Landreth, Webb Wilder and Buddy Guy. Recording is underway at House of David studios, the legendary room that has hosted sessions with George Jones, Yo La Tengo, Elvis Presley, Neil Young and countless others. Joining Earle in the studio are a cast of all-star players including longtime cohort Cory Yountes (Bobby Bare, Jr) on banjo and mandolin, pedal steel player master Pete Finney (Dixie Chicks, Patty Lovelace), bassist Bryn Davies (Patty Griffin, Guy Clark), drummer Bryan Owings (Buddy Miller, Shelby Lynne), keyboardist Skylar Wilson and fiddle player Josh Hedley.

Texas expat and roots rock legend will take time from promoting his latest album, Washington Square Serenade (9/25) and shooting HBO’s The Wire, where he stretched and portrays an ex-junkie, and heads uptown from his Greenwich Village residence (near where Bob Dylan’s Freewheeling cover photo was taken) to drop into the 92nd Street Y (1395 Lexington Avenue @ 92nd Street New York, NY) on October 9th and take a spin class….er I mean talk with music journalist Anthony DeCurtis about, what else, music and activism (tickets).

Earle joins a roster of politically active artists who have appeared at the Y including Pete Seeger, Joan Baez, Kurt Vonnegut, Jr., Tony Kushner and Alec Baldwin(!).The event probably won’t be as interesting (or contentious) as it might be if he held it in Lubbock Texas, but whether you agree with him or revile him, Steve Earle is anything but uninformed

Earle will also appear in concert at Town Hall on September 26 and also hosts a weekly radio show, Hardcore Troubadour Radio, on Sirius Satellite Radio.

Hank Williams III took time from the road to talk to KNAC.COM about his new CD, “Damn Right and Rebel Proud” (Curb - early 2008 release) his early inspirations, his country royalty legacyand the sorry state of Nashville.

KNAC.COM: Don’t you think there are still plenty of people out there who don’t have the two-story house and the car payment and botoxed wife? I mean, there are still people who live on the edge, don’t you think? Day to day with a lot of obstacles who just do what they do to get by?

HANK III: Yep. Right. The lawyers outsmarted all the musicians in Nashville, and that’s when it totally changed. We just do what we do. I’m going through the same fuckin’ bullshit on the new record that I just turned in. “There’s no country song for radio on here.” Well, it’s not my fuckin’ fault that I’m too country for radio or that my topics aren’t pristine or picture perfect. I just stick to my guns. “This is my record. These are my songs. If it’s not good enough for radio, that’s your problem—not mine. Our fans will still be here and we’ll still be doin’ what we’re doin’ with or without you, man.

KNAC.COM: This will be your fourth record though. At this point why would they expect that you had changed at all? I mean, you aren’t Rascal Flatts.

HANK III: I guess it’s just like the same reason Creative Artist Agency let me go eight months ago. They were like, “Are you gonna take the next step and go to the next level?” I’m like, “I’m gonna keep playing the bars—they’ve been supporting me since day one. If you have a couple of big shows, I’ll open for a band if the situation is right, but I’m not gonna say “Fuck y’all, see ya later!” to the bars that have kept us alive.” They fired me. I guess it’s the same mentality at the record label that I have to deal with now. Maybe they figure, “Hank’s getting older now—maybe he’s got this rebellious bullshit out of his system and do it our way.” Thank God that I’ve got a good manager and a good lawyer who believes in what I do.

Hank Williams III - Dick In Dixie

Popmatters.com has an excellent review of Robert Elfstrom’s documentary Johnny Cash: The Man, His World, and His Music (1969). The film highlights Cash at his career pinnacle and looks back at his upbringing in rural

Arkansas.From the review: More than that, he was content to dwell in contradiction; he didn’t try to resolve all his warring selves. He was equally the outsider rockabilly and the establishment patriot, the social protestor and the Billy Graham crusader. He gave us a model of cultural ambivalence that we could all identify with. He didn’t solve America’s identity problems, he showed us how to live with them. 

Two months before he passed. Sad but beautiful. Enjoy.