By Brian Rock
Joe Ely has more albums than most Country singers have trips around the sun. His 29th solo album, not including releases with The Flatlanders and others, Love And Freedom, distills some of the insights he’s gathered over the years. Some songs paint broad strokes of war and peace, and some paint intimate portraits of a troubled soul. In either case Ely adopts the role of elder musical statesman; bestowing the wisdom of his years in mellow folk-rock tones that are equal parts Arlo Guthrie and Bob Dylan.
Singing about atonement on, “Here’s to the Brave,” Ely offers a folk rock tribute to Native Americans who fought for, lost, and then filed lawsuits to reclaim their land. Singing, “Here’s to the brave and courageous ones who settled this untamed land… Here’s to the ones who cried in the wind at the loss of their precious land… Here’s to the ones who made amends and took it back with their own hand…” Ely paints a vague picture of the plight of Native Americans. Although a sincere platitude; without specific incidents, nuance, or specific characters, the song lacks the impact of similar songs like Marty Stuart’s “Three Chiefs” or Johnny Cash’s “Ira Hayes.” “Sgt. Baylock,” on the other hand, is a much more compelling story of abuse of power and the power of contrition. Ely’s talking-Blues delivery adds to the intimacy of the story as he recounts being accosted by Sgt Baylock: “Son, I hate to ruin your day, but the city jail has reserved you a private suite.” As time passes, fates change, and fortunes reverse for both Ely and Baylock. Meeting years later at a bar, Baylock “slid me a hundred-dollar bill and said, ‘Let me pay you back for tossing your ass in jail’.” Ely promptly uses the $100 to buy drinks until both he and Sgt Baylock share a backseat in a Lubbock squad car for disorderly conduct. An example of the wit, humor, and humanity that has made Ely a legend, this song showcases Ely at his playful best. Although dealing with a specific pair of individuals, the story feels much more universal than the prior song.
Ely tackles warmongers and warriors with causes on, “No One Wins,” and “What Kind of War.” He sings of those running from their small-town homes on “Band of Angels;” and those running from their own mistakes on the Dylan-esque, “Today it Did.” He sings a playful ode to dice games on the modern outlaw country of “Shake ‘em Up.” Ely Flexes his storytelling skills again on the salsa flavored, “Adios Sweet Dreams.” Singing of the dreams and dangers of those hoping for a better life in El Norte; Ely tells the story of a Mexican national separated from his beloved Maria, and his attempts to find her again. Rounding out the set are Ely’s tributes to members of the celestial chapter of the Texas troubadour fraternity; “Waiting Around to Die,” and “For the Sake of the Song,” by Townes Van Zandt and “Magdalene,” by Guy Clark. Like his fellow troubadours, Ely proves he can still elicit the occasional tear or smile with his songs.
Brian Rock
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