Showing posts with label Jason Isbell and the 400 Unit. Show all posts
Showing posts with label Jason Isbell and the 400 Unit. Show all posts
Dec 20, 2017
Sep 1, 2017
Jason Isbell & The 400 Unit Performs "Whipping Post"
Aug 11, 2017
New Video: Jason Isbell & The 400 Unit "If We Were Vampires"
Labels:
Jason Isbell and the 400 Unit,
New Videos
Jul 20, 2017
New Video: Jason Isbell & The 400 Unit "Hope the High Road"
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Jason Isbell and the 400 Unit,
New Videos
Jul 15, 2017
Saturday Night Music: Jason Isbell & The 400 Unit
Interview first. Music starts at 15:36.
Jun 23, 2017
Jun 12, 2017
Album Review: Jason Isbell & The 400 Unit - The Nashville Sound
Album Review: Jason Isbell & The 400 Unit - The Nashville Sound
By Kevin Broughton
Last year was a
sonofabitch for nearly everyone we know.
-- Jason Isbell, “Hope the High Road”
A thought occurred to me while reviewing
Jason Isbell’s Something More Than Free
a couple years ago: “At some point, you run out of superlatives.” So let’s get
this out of the way. Right now, Isbell is without peer as a songwriter. He
couldn’t have a better band – and God bless him for giving The 400 Unit billing
on The Nashville Sound. Throw in a
producer – Dave Cobb – who should just buy a gadget that makes Grammy figurines,
and you have a legitimate American musical juggernaut.
And a quick word about the band. It’s proper that current
400 Unit – Sadler Vaden and Amanda Shires are newcomers since Here We Rest – gets a spot on the
marquis. When the book is written on this band, this lineup will be viewed as
the Mick Taylor-era Stones were.
There are several great songs on this record, bookended by a
pair of wholesome ballads. “The Last of My Kind” is just another great story of
an Isbell blue-collar guy, who wryly notes that some Scripture might only apply
when back home. “Something to Love,” on the back end, is a sweet, hopeful
homage to Isbell’s rural roots, a companion piece to his “God is a Working Man”
on Brother
Cobb’s Southern Family compilation.
More than one song recalls Isbell in his peak Drive By
Truckers days. (And no, they’ll never be that good again, and were never
better.) The driving intensity of “Cumberland Gap” captures the defiant malaise
of Never Gonna Change,
only in middle age. Here’s a guy who probably wishes he’d been thrown off the
Wilson Dam.
If you’re looking for other perfect B-sides, how about “If
We Were Vampires,” a sweet, morose counterweight to “Flagship,” till now
Isbell’s most tender love song?
Sadly, the album is not as good as the sum of its parts.
It’s a good but not great record, lacking the continuity and flow that made
Isbell’s previous three studio offerings so compelling. Consequently the default
focal point becomes the overtly political.
Have you ever thought about what a vile, racist country this
is? This republic that twice elected a black man president, with solid popular
and electoral majorities? No? You’re in luck, because Jason Isbell is here to
beat you over the head with it. “White Man’s World” would be better titled “White-Guilt
World.”
Granted, Isbell didn’t completely lose his mind the way his
50-something former band mates did last fall, stopping
just short of pissing on Old Glory and renouncing their citizenship in a
bid to curry favor with millennial piss-ants and Bernie Sanders-loving
losers. One wonders, though, how
many minds did they change? How many
people came around to their cop-hating, white-guilt, socialist point of view
because of DBT’s temper tantrum of an album? Likely none, though countless
bedwetting, gender fluid NPR fans got
enough affirmation to stave off being triggered for at least a day.
While Isbell employs a modicum of subtlety compared to
Cooley and Hood, “White Man’s World” is still heavy handed. And lest you think
blacks are the only oppressed people in this fascist nation: “I’m a white man
living on a white man’s street, got the bones of the red man under my feet.
Highway runs through their burial ground…”
Really?
Yeah. Step right up for self-flagellation, Cracker Boy. You
will be made to care. And never
mind that “red man” is way more than
a microaggression.
You want privilege-checking? Got some of that, too. “I’ve
heard enough of the white man’s blues, I’ve sang (sic) enough about myself” is our entry into “Hope the High Road,”
an otherwise hopeful postmortem of the 2016 election. Oh, and “Anxiety” will be
perfect fare for the “safe zones” (you know, where they exclude white people)
on the campuses of Mizzou, Harvard, Brown, etc. It’s just flat-out whiny. The crybabies
and victim-pimps will love it.
It’s a sad thing when music – something that should draw
everyone together to admire it as art for art’s sake – is politicized. More
than a couple of the artists I’ve interviewed for FTM have told me off-the-record why they avoid it. “You're 100 percent right about the music and politics thing,” one
told me recently. “I've worked really hard not to do that. The only thing that
can come from that is that you piss off half of your fan base. And you won’t
change anyone’s mind.” Indeed. But those on the Left seemed determined to
politicize every aspect of American life and culture, as we’ve seen happen in
the world of sports over the past few years.
Will Isbell lose some fans? A few. Not
this one, who hopes it’s a one-off. Still, look for plaudits from all corners:
“Jason Isbell courageously speaks his mind.” Yep. Takes a ton of courage to toe the Leftist line in song.
Ultimately, though, if you can do this, you can
do anything you want. Nice record, Jason. Wish it were better.
The Nashville Sound will be available everywhere this
Friday.
Jun 9, 2017
10 New Parody Album Covers: Isbell, Wetzel, Ballerini, Combs
Jun 5, 2017
Really Dumb Country Reviews: Wheeler, FGL, Isbell
Florida Georgia Line - Dig Your Roots
Wheeler Walker, Jr. - Ol' Wheeler
Good thing; it's not for kids, dumbass. *the *those? *to? |
Sam Hunt - Body Like a Back Road
A song about sex helped you through rough times? You need therapy. |
Jason Isbell and the 400 Unit - The Nashville Sound
If this record offends your sensibilities, you should probably move on over to pop country for however long Donald Trump is in office. It's going to be a rough time for you listening to Americana.
Thomas Rhett/Maren Morris - Craving You
Apr 14, 2017
Really Dumb Country Music Reviews: Apr. '17
Real reviews from a major music service.
Sam Hunt - Body Like a Back Road
Thomas Rhett w/Maren Morris - Craving You
Wheeler Walker, Jr. - Ol' Wheeler
Brett Young - Brett Young EP
Jason Isbell - "Hope the High Road" (The Nashville Sessions)
Miranda Lambert - The Weight of These Wings
Florida-Georgia Line - Dig Your Roots
Jul 8, 2015
Live Review: Jason Isbell w/Holly Williams, July 3, Livingston, MS
Jason Isbell w/Holly Williams
July 3, 2015, Livingston Live, Livingston, MS
Amid the spreading oaks and rolling farms of rural Madison County, Mississippi, sits the brick and steel adorned township (trendy farmers' market, sweet shop, restaurant, gift shop, venue, neighborhood? all of the above) of Livingston. It's a beautiful area with a hip, inclusive vibe - I recently saw Travis Meadows perform at the restaurant to an eclectic crowd of regular folks, politicians, some movie director, and local artsy elites.
Friday night, Jason Isbell and Holly Williams performed there in an open field just off the highway. It was an all ages show, so the crowd was mostly families, with plenty of college kids mixed in - probably half the audience there for the music, half for the fellowship. Happily, it was a respectful and attentive crowd - neither talking loudly during songs nor holding up cell phones the whole time - an oddity these days.
(L-R) Chris Coleman, Holly Williams, Becky White |
Among other songs Williams performed were "Happy," "Drinkin'," "The Highway," and an emotional take of "Waiting on June." She finished her set with a crowd singalong of her famous grandfather's "I Saw the Light." It was a fun show, certainly enough to please longtime fans and entertain the unaffiliated alike. I got to meet Holly at her merch booth afterwards, and she was engaging and very friendly.
With lightning bouncing through the northwestern clouds, Isbell and the 400 Unit took the stage a bit later. They led with "Palmetto Rose," a hooky throwback rocker from the forthcoming Something More Than Free album. Isbell said it was the first time they'd played it live, but they could've fooled me.
Jason Isbell and the 400 Unit w/Amanda Shires |
The stage and lighting were also quite complimentary. There was a set of 5 lights arcing across the back that looked like giant desk lamps pointed toward the crowd. They were a cool change of pace from the usual set. Those lights pulsed and faded depending on the song and mood. Overall, I couldn't be more pleased with the atmosphere and sound of the concert.
The next few songs included an emotional tour de force trio of Drive-by Truckers' favorite "Decoration Day" and the timely (it was July 4th weekend) "Tour of Duty" and "Dress Blues." Current single "24 Frames" ended with thunder creeping into the audio and spiderwebs of light filling the darkening sky. We'd have to take a short lightning break, according to Jason. That short break turned into an hour, and I was concerned that'd be the end of it.
Thankfully, Isbell and his Unit were up to the challenge and stuck around through the indeterminate delay. The crowd, thinned out and wet but still relatively large, returned from cars, underneath trees, and inside shops to fill the field again, the stage crew mopped and pulled tarps, and we were back up and running. The band settled into tunes from Southeastern and Here We Rest for the next few minutes.
Jason and the giant desk lamps |
Next was the band's first live performance of the catchy and surprisingly commercial-sounding new tune "The Life You Chose." Again, they sounded as comfortable with this song as they did with their two-hundredth rendition of "Outfit." "Children of Children," another new tune, was a showcase for the guitars in the extended coda. It brought to mind Wilco's more experimental rock songs (…at least the better ones - that have a clear purpose and direction to all the guitar shredding and not just a noodle-fest).
There were a few more tunes after that, then almost as soon as Isbell had reintroduced the band and thanked the crowd after "Super 8," fireworks hit the sky and we were done. It felt a little abrupt, but still… I can't complain much about getting 15 songs despite an hour-long weather delay, especially as good as the show was.
I've seen Jason Isbell and the 400 Unit once before, a few months after Here We Rest came out. They were very good then, a ragged but passionate bunch… probably one of the best bar bands in the nation at the time. Friday night, I experienced a different crew altogether. This was a band coming into their full potential - a true rock n' roll powerhouse, with a sound big enough to fill arenas but intimate enough to not clear a listening room. In a less divided and distracted era, they'd be one of the biggest bands in the world.
I've now lost count of how many concerts I've seen, but… if I had to pare it down to a handful, this show would easily make the cut. If these guys swing through your area, get your ass out there! No excuses.
Isbell & the 400 Unit setlist:
Palmetto Rose
StockholmOct 26, 2013
Saturday Night Music: Jason Isbell - Super 8
Aug 30, 2012
On Twitter and Musicians - by Mike Brooks
Sunday morning, coffee(s) in hand and here's the thing...
How does one work this Twitter thing? I am way outside the age demographic chronologically, and relatively new to the medium. I have found amazing resources and bands, no shortage of assholes and a bunch of acronyms I don't understand.
The ability to interact with an artist is great! However, I can't help feeling slighted when I see a tweet from a person I follow answering a question I have asked previously without a response.
I'm not talking about Gaga or Beiber not responding to my "go away" requests. I don't follow people with millions of followers, which is sad because those I follow IMO deserve them.
It is such a rush when an old man like me, that had lost all faith in music, gets a "thanks" from @hayescarll, or when @jasonisbell and I share a Clarence Carter reference. My highlight this year was @bonniewhitmore telling me I should come to her birthday show!
Chad Sullins, Blackberry Smoke, C-leb and the Kettle Black...Wow...way to make an guy feel like he is part of it. @USaquarium, I would never have found out about the band were it not for Twitter.
Of course, my iTunes account has not been the same since @twangnation!!
Keep us fans in mind, you artists and bands. After all, we think you are looking directly at us individually at the Shows, and in my case, you have read my diary before you wrote the songs.
I'm building you fans in Canada..hoping to drag you here...hey...maybe we can hangout!?
@1960Strat
How does one work this Twitter thing? I am way outside the age demographic chronologically, and relatively new to the medium. I have found amazing resources and bands, no shortage of assholes and a bunch of acronyms I don't understand.
The ability to interact with an artist is great! However, I can't help feeling slighted when I see a tweet from a person I follow answering a question I have asked previously without a response.
I'm not talking about Gaga or Beiber not responding to my "go away" requests. I don't follow people with millions of followers, which is sad because those I follow IMO deserve them.
It is such a rush when an old man like me, that had lost all faith in music, gets a "thanks" from @hayescarll, or when @jasonisbell and I share a Clarence Carter reference. My highlight this year was @bonniewhitmore telling me I should come to her birthday show!
Chad Sullins, Blackberry Smoke, C-leb and the Kettle Black...Wow...way to make an guy feel like he is part of it. @USaquarium, I would never have found out about the band were it not for Twitter.
Of course, my iTunes account has not been the same since @twangnation!!
Keep us fans in mind, you artists and bands. After all, we think you are looking directly at us individually at the Shows, and in my case, you have read my diary before you wrote the songs.
I'm building you fans in Canada..hoping to drag you here...hey...maybe we can hangout!?
@1960Strat
Jan 9, 2012
Is Dierks Bentley a Song Thief?
Surely by now, you've heard about the Twitter dust-up between Jason Isbell and Dierks Bentley over the weekend. If not, go read this article and get up-to-date.
Perhaps we should have noticed something was up a bit earlier.... when the single cover for "Home" was released.
Perhaps we should have noticed something was up a bit earlier.... when the single cover for "Home" was released.
Jan 1, 2012
FTM Best Albums of 2011: Kelcy's Ten
by Kelcy Salisbury
Well, it's that time of year. Time to look back at what happened, what we wish had happened, what didn't happen and most importantly, who released the best music. So here, just in time for your Christmas shopping, are the best albums that I heard amongst the many that were released this year. Keep in mind, that these will lean toward my favorite types of music (although my taste is fairly eclectic) and as a "real" person with a full time job and a life that doesn't involve occupying things, I didn't get to listen to every new album that came out, let alone all the ones I wanted to hear. So if your favorite new album isn't on here it doesn't mean I hate it (although I probably do, especially if you're a Deer Tick fan), I may just have been busy trying to keep my lights on.
Without further ado: The list, first the honorable mentions, followed by my personal top ten.
Honorable Mention:
This album will top many lists, and while I liked it and found it compelling in places it just didn't grab my attention and hold it throughout the way some of his earlier work (Sirens Of The Ditch) did. Still a worthy effort. Don't miss these tracks: Codeine, Passing Through, Alabama Pines and Go It Alone.
Could have easily made the top ten, but something had to get cut, and unfortunately for Mike, this album was one of the cuts. It's a solid country album with some incredibly clever songwriting. Don't miss Oldsmobile, Fools of Us All, Walking Into Walls and Nothing Left To Lose.
Much like Isbell's offering, I loved parts of this album but it didn't grab me as a body of work the way some of his earlier albums did. Can't miss songs are I Gotta Go, The Road Goes On and On, and Play A Train Song.
If I'd found this album a little earlier in the year it probably would have made the top ten. I find something more to like on every listen. The thing that makes this album stand out from the rest of the "honorable mentions" is that I felt like it needed and deserved to be heard as a whole. Perfectly laid out and beautifully arranged.
And now the top ten. The order of these (especially the top 5) could change depending on the day and my mood but each and every one of these albums can stand on it's own merits and would be a worthy addition to any collection.
This one may come as a surprise to some, but as I said before, my taste is fairly eclectic. I never expected to like this album and didn't even give it a thought until it was suggested to me by a friend whose taste I trust (you know who you are, I hope you're not upset it didn't get a higher position). James brings a ton of vocal ability to the table, pair that with solid songwriting and great instrumental work and you have one fine album.
I already reviewed this album in an earlier piece and I won't rehash that. I'll simply say that this album does a great job of combining working class concerns and social consciousness with hip hop beats with blues and country elements.
8. Adele: 21
Anyone that has the kind of pipes this girl possesses stands a decent chance of making a good song or two. This young lady has made an entire album of great songs. Her vocals are clearly the highlight, but the instrumentation is solid throughout. The only reason this offering didn't land higher on my list is that the songs are (thematically anyway) somewhat interchangable. As someone (I don't recall who) stated on Twitter, Adele's ex-boyfriend deserves a Grammy for inspiring this album.
The album that Cody had always wanted to make finally got made, and what an all star cast of musicians made it! Every song is a cover of a song by an Oklahoma born or based songwriter but The Departed make these songs their own. If I hadn't known better I'd have been easily convinced that these songs were originals. From the opening snippet of a voicemail from the legendary Randy Crouch to the rollicking take on Stand Up, this album is a pure slice of heavenly heartland rock n roll.
The lesser known half of the Braun Brothers have been steadily working towards this album and it's been well worth the work and the wait. The whole thing hangs together thematically from the heartbreaking story of the title track to the rocking Saint Lucy's Eyes. There is a story here and it takes all 11 tracks to tell.
Adams finally returns with an album worthy of his prodigous talent and reputation. Sobriety and a stable personal life have been good to the former Whiskeytown frontman and it shows. His songwriting is better than ever. His vocals are a perfect fit for the music and the music is pretty excellent. I had pretty well written off Adams as a waste of talent over the past few years but he proved me wrong in a big way and I'm glad for it.
The "Red Dirt Chinese Democracy" is here and it was worth the long wait. Stoney's sound has evolved over the years. Layers of lush instrumentation wash over his pitch-perfect vocals. Much credit is due to the influence of Mando Saenz who co-wrote the majority of the album but at the end of the day it is Stoney's name on the finished product and what a finished product it is.
Perhaps best known as Jason Isbell's girlfriend, Ms Shires deserves to be known as one of the finest musicians and songwriters on the planet. Elements of folk and bluegrass permeate this outstanding album. One listen to When You Need A Train It Never Comes and you'll be hooked.
The only criticism I heard of this album was that it was traditional country that didn't break new ground. In today's world, truly traditional country music is ground breaking in itself, so I don't see the problem. What I heard was the best country songwriter on the planet today providing socially conscious, thought provoking lyrics over the best traditional country sounding band you're ever likely to hear. Roger Ray's steel guitar work has only improved over the years, Brad Rice adds a new dimension to his drumming with heavy use of brushes instead of sticks, while Noah Jefferies and Jeremy Watkins provide outstanding fiddle work and Grant Tracy keeps the whole thing moving along with his bass work. This is simply the best offering yet from a band that never fails to deliver great country music for people who like country music.
It comes as no surprise to anyone who's read my prior writings that this album tops the list. There isn't much I can say about it I haven't already, so I'll just say that even after taking the time to seriously think about it and listen to tons of new music there was nothing I heard all year that grabbed and held my attention any more than this album. If you already own it, congratulations, and if you don't, do yourself a favor and buy it for yourself for a Christmas present.
Well, that's all for this year folks. I hope you enjoy the article and most of all I hope you enjoy the music.
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