Album Review: Jason Isbell and the 400 Unit – s/t
Posted on | February 17, 2009 | No Comments
1. I wasn’t sure what to expect from Jason Isbell after the uneven Sirens of the Ditch. I knew he could rock, and I knew he was a disciple of the Muscle Shoals soul he grew up around, but I wasn’t sure how exactly that would filter out away from the Drive-By Truckers. Turns out, he can still rock, evidenced by “Good”, a meat and potatoes banger where he drops the chestnut “I can’t make myself be good, I wish I could/Somewhere my conscience turned to petrified wood”. The soul influence is there too, in “No Choice in the Matter,” with its comfortable horns and sharp guitar. There are a lot more styles too – the swampy blues of “Seven Mile Island”, and the epic, untrue “The Last Song I Will Write”. What I learned to expect from Jason Isbell and the 400 Unit is that he is still finding his fit – from being expected to contribute 3 songs per record with the Truckers to putting out an entire album’s worth, he is growing as a writer, and that’s an exciting thing to see from someone with his pedigree.
2. The addition of ex-Son Volt keyboardist Derry DeBorja keeps Isbell from getting too close to the guitar heroics of his old band. DeBorja adds quick Wurlitzer runs to “Seven Mile Island” and the closer, but his showcase piece “Coda” in the middle provides the perfect transition between two slower songs — a welcome change of pace.
3. Isbell explores the Iraq War, which should be expected from an outspoken, self proclaimed southern Democrat, but expresses it through the lens of a fellow traveler. “Soldiers Get Strange” avoids the emotional punch of Sirens‘ “Dress Blues”, instead focusing on the social awkwardness of returning from a war, and finding a lack of rhythm at home. Following this with “Streetlights”, which mirrors the loneliness and distance he feels out on the road, Isbell shows his own first-hand experience with separation and the strain it puts on relationships. It is easy for an artist to rail against the president or the war, but more interesting to say that he knows what they are feeling.
4. Important to remember is that despite his well-worn voice, Isbell is only 30. He is going to do some growing up right in front of us, which occasionally gives us awkward moments like the key change that disrupts “Good”, or the duds that scattered Sirens of the Ditch. However, Isbell has roots in soul music that continues to endure after four decades, and to see him build onto that history is well worth the growing pains.