Steve Earle’s latest album Ghosts of West Virginia features music that mostly came out of a play about a mine explosion that killed 29 miners in April 2010. The play was starting a successful run in New York until the coronavirus pandemic shut everything down. But fortunately we have Earle’s music in one of his strongest recent albums.
Earle’s previous album that is most similar to Ghosts of West Virginia is his 1999 bluegrass album The Mountain. Like that album, Ghosts of West Virginia avoids some of the rock sound that appears on many of Earle’s other albums.
For the most part, one might never guess that the album originated out of a play. Although the first song on the album, “Heaven Ain’t Goin’ Nowhere,” is reminiscent of a typical opening chorus for a play, the rest of the album stands on its own with strong songs and performances, such as for one of my favorite songs on the album,”The Mine.”
Earle began working on the album after Jessica Blank and Erik Jensen contacted him about a play they were working on about the Upper Big Branch mine disaster called Coal Country. In making the album, Earle traveled to West Virginia with Blank and Jensen to interview survivors of the explosion for further inspiration.
Earle, a liberal activist, has asserted that in making the album he wanted to try to find some common ground with people who might disagree with him politically. For this album, he explained he wanted to create “a record that speaks to and for people who didn’t vote the way I did.”
For Earle, though, using his art to explore other personalities and other views is nothing new. It is what an artist does. Earlier Steve Earle songs have humanized murderers (“Billy Austin”), death row prison guards (“Ellis Unit One”), outlaws (“Tom Ames’ Prayer”), and real-life American-turned enemy combatant John Walker Lindh (“John Walker’s Blues”). Although the Lindh song earned Earle some scorn in some corners, it is doubtful that anyone on either side of the political divide will find much argument with the humanity of Ghosts of West Virginia.
Earle also has a history of generosity in giving space to other artists even if those artists may upstage him. For example, on his 1996 album, Earle sang a duet with Lucinda Williams on the final song, “You’re Still Standing There,” and it was only the strength of an amazing album that kept Williams from stealing the show. And on his 2003 live album Just An American Boy, Earle gave his son and emerging artist Justin Townes Earle the final spot with the son’s song, “Time You Waste,” announcing the arrival of a great talent.
Here, on Ghosts of West Virginia, Earle does something similar, giving “If I Could See Your Face Again” — a standout song from the point of view of a miner’s widow — to Eleanor Whitmore of The Mastersons. Whitmore’s performance and the aching song breaks your heart (perhaps the added emotion comes from the fact that the Steve Earle & The Dukes album is the first since Earle lost his bassist and band member of 30 years, Kelley Looney).
If there is any weakness to this Steve Earle album, it is the short runtime. Coming in at slightly less than thirty minutes, one wishes Earle could have added more music. By the time you become immersed n the world of this West Virginia mining disaster, the album ends. On the other hand, it is not such a bad thing that an album leaves the listener wanting more.
What do you think of Ghosts of West Virginia? Leave your two cents in the comments.
Steve Earle and the Dukes are celebrating the anniversary of the release of the album Copperhead Road, including a 
(1985) and Exit O (1987).
also featured one of the greatest songs ever written about guns, “The Devil’s Right Hand,” which was covered by Waylon Jennings.
, and watch for Earle in the Dukes, who will be touring this summer.