Album Review – Jason Isbell’s “Something More Than Free”

In the natural world they’re referred to as apex predators and alpha males. They’re the ones that rule the roost and crest the food chain. They’re the specimens of natural design that exhibit the ideal mix of physical abilities and/or favorable disposition to become the creatures all others are measured by.
It may be true that a good 90% to 95% of Americans wouldn’t recognize the name “Jason Isbell” if they were asked at random. That’s just one of the trappings of being an independent music artist . . . not necessarily a commentary on Isbell’s abilities or impact. But in the Americana phylum, and in 2015, Jason Isbell is the first suggestion one would have to offer if asked to give an example of the discipline. Jason Isbell would be the person pointed to when asked for an illustration of premier songwriting. Jason Isbell would be the name to give as an example of how country music could improve or “evolve” in the mainstream. And Jason Isbell would have to be person named as the one that rules the roost and is the measuring stick for sizing up his contemporaries, whether he relishes or even accepts that role or not.
Jason Isbell is the big dog, and you better pay attention when he releases an album, whether your wool is dyed in Americana colors, or you’re a country, folk, or rock fan peering into the Americana world from the outside in.
Anticipation is not always an artist’s best friend. The problem with releasing a career album that is showered with critical acclaim is where to go next. You try the same thing again and the audience may feel it’s a flat effort. You veer to far out-of-bounds and you risk losing your direction and the momentum behind it. Isbell’s last record Southeastern is still racking up plaudits in certain sectors, and here he is trying to get you to pay attention to a new one.
In the end that’s where the confidence of an artist must come in—to trust the direction of their methodology, and also be able to challenge themselves to match or exceed their previous output, even if this is accomplished by shoving all concerns of people’s conceptions and expectations aside, including the artists’ own. Nothing has materially changed in the Jason Isbell approach. Dave Cobb is still the producer. Isbell is still residing in the sobriety era of his adult life. Songwriter and fiddle player Amanda Shires is still the love interest. But possibly challenging Isbell’s material pool is the fading away of the memories of unhealthier times riddled with heartache that have been the thematic calling card with previous efforts.
But this concern in so many circumstances is the crutch that fails so many songwriters when they are faced with trying to match previous success. The world believes a soul must suffer mightily to give birth to a good song, and to have a song ring with authenticity. But the great songwriters who’ve been able to sustain noteworthy careers through significant life events, sobriety, stylistic changes in themselves and in music at large, are the ones who can pick up on universally-resonant themes and communicate them in a way that mesmerizes with its simplicity. Everything else is simply a distraction to someone with an open line of communication with themselves.
Something More Than Free is not going to reach out and grab you by the scruff of the neck musically or lyrically like moments in Southeastern did. There’s not the roaring guitars of “Stockholm,” or the heart wrenching story line of “Elephant” with its strategically-placed ‘F’ bomb. This one might task the audience to listen a bit more intently. It may be slightly more subtle in its approach, and stylized in its textures. But none of these observations are knocks or commentary on the quality of the effort. This is still the output of an apex Americana presence, and Something More Than Free overall might be the best representation of Isbell’s talents yet. It may just be advantageous to lure your mainstream-listening friends into the Isbell fold by playing more choice cuts from previous efforts before their acclimated and ready for the magic of Something More Than Free. Meanwhile listeners who need no such introduction will find the songwriting and approach of these new songs possibly more potent than ever.
Country music insurgents love to claim Jason Isbell as one of their own to co-opt the quality he delivers, even though a more honest categorization would put him firmly in the roots rock realm. But the first song from Something More Than Free called “If It Takes A Lifetime” shows how the roots of country are still most certainly present in the Isbell sound. Meanwhile “Life You Chose” relies on a hook and melody like a folk pop song, and the spatial and elongated “Children of Children” shows Isbell can present an idea, and then allow the music to tell the rest of the story. It is one of a number of more personal moments on this record, like the final song “To a Band That I Loved” that could be about the Drive-By Truckers he was once a member of, the bass player of the band he used to be married to, or something entirely different.
READ: Song Review Jason Isbell’s “Something More Than Free”
The center of the album—“The Life You Chose,” “Something More Than Free,” and “Speed Trap Town”—comprise the thematic heart of Something More Than Free as they explore the nature of fate and circumstance; how some struggle to control their destiny, others are overcome by it, and still others arrest control of their own fate. Enveloped in this exploration is the message to find the strength to forge your own path instead of falling prey to ulterior forces and living with regret. But of course the key is that Isbell never says this directly, for then the message would be lost.
Ultimately, writing a review for an album like this is pointless. If you fancy yourself a music fan, whether specialized to the Americana, country, rock, or folk realms, you probably already have an opinion on Jason Isbell, and you are going to want to be listening to this album and give it attentive consideration. Because it is the work of Jason Isbell, and it’s the one all others will be measured by.
Two Guns Up.
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July 16, 2015 @ 6:42 pm
It’s not as good as Southeastern, and there is no song that matches Cover Me Up here, but it’s still a good record in it’s own right. I like how he changes up his sound album to album and it manages to sound the same but still be different.
July 16, 2015 @ 8:14 pm
For me, the sound is too much like Sirens of the Ditch, And the 400 Unit and Here We Rest. There’s a weird sheen.
July 18, 2015 @ 3:57 pm
My exact thoughts. Very 400 Unit era in sound
July 18, 2015 @ 6:22 am
Keep in mind though, like Trigger said, “Southeastern” was such a career-defining albun that any subsequent album is going to be a difficult one to match up. Long-term, this one may end up being just as good as “Southeastern,” it just may take some time to catch up.
July 16, 2015 @ 6:50 pm
I have yet to understand why the woodrow for Isbell. I know I’m in the minority, its just for whatever reason his music is very boring and monotonous to me. I’ll give the new album a shot, though. Maybe the screw that was loose has been tightened.
July 16, 2015 @ 7:16 pm
I think you will like this one. I was able to listen to the whole album online. I too was like you, the music was good, just not my style. However this album I truly enjoyed. Definitely worth a listen!
July 16, 2015 @ 7:17 pm
Exactly. His lyrics are world-class, but the music and the vocals seem somewhat flat. Occasionally he can come up with fantastic melodies, such as “Traveling Alone” from Southeastern, or the title track from this album. However, most of the songs (such as “24 Frames”) just don’t give me the emotional high that I look for when listening to music.
July 16, 2015 @ 7:18 pm
Also, I previewed this album on NPR, and it seems like Isbell has significantly reduced the country sound for this project. That might be another reason why the songs on SMTF seem especially flat.
July 17, 2015 @ 12:15 am
I personally felt that as a whole this album sounded more country than any of his others.
July 16, 2015 @ 7:45 pm
I’m with you, Blackwater. Although I have to admit, I thoroughly enjoyed a few songs off Southeastern and probably will find some gems on this album too. I think Isbell is solid, but just that- solid. I would take Sturgill Simpson, Aaron Watson, or Jason Eady any day over him as far as non-mainstream guys go and I’m looking a lot more forward to Alan Jackson’s new album than this one. However, Isbell is one hell of a songwriter and a good singer. He’s just not my particular cup of tea.
July 16, 2015 @ 8:22 pm
I think that’s my problem Cooper. I really like the eclectic country stuff. And I listened to the two vids Trig posted above, and while they are not bad – it’s just not pulling me in. Sturgill is out of this world, but it’s stuff like the Boomswagglers, Whitey Morgan, or RT N the 44s (who I just discovered) that really draw me in. So while it’s not my cup of tea, I’ll probably let everyone else enjoy Isbell.
July 17, 2015 @ 2:37 pm
Whitey Morgan is the man. I’ve burned Sonic Ranch up since it was released, it’s been the soundtrack to my summer so far.
July 17, 2015 @ 10:43 am
Aaron Watson over Jason Isbell? That’s fucking blasphemous.
July 17, 2015 @ 2:36 pm
Hey man, to each his own. I like Isbell just fine, I think he’s a good artist and a great songwriter. I really enjoy some of his work (particularly the songs Traveling Alone and Relatively Easy). I just like my music to be a little twangier than what his is. I’m more of a country guy than the country/folk/rock Americana style that Isbell is, hence why I like Watson better. And that’s not a knock on Isbell, just a matter of personal preference.
July 17, 2015 @ 5:44 pm
Yeah, Isbell’s a great writer; his voice, though, is an acquired taste for sure. I’d probably take AW over him just for that. We’ll still be getting the album though.
(Of course, I’d take Jason Boland over either of ’em. He’s the whole damn package.)
July 18, 2015 @ 5:31 am
I’ve seen them both live and enjoy both Isbell and AW a great deal. But had more fun at Watson’s show. Like u said, just preference. I too like a little more twang sometimes.
July 17, 2015 @ 9:01 am
For me, it began with his contributions to the Drive-By Truckers. If “Outfit” and “Decoration Day” don’t grab you immediately, then maybe his style of storytelling just isn’t for you. For what it’s worth, what I like about him is his ability to create a whole little world in a four-minute song. He’s basically sketching out a character and giving you a glimpse into their world. It’s like listening to a collection of short stories.
July 21, 2015 @ 10:33 am
I hate to sound pompous….and I AM in my mid fifties these days…but if Outfit or Decoration Day don’t move a person they must not like rock, country, or have grown up in the South! I don’t own all of his records, but there are always at least 2 or 3 songs on each that are masterful IMO. And he still rocks out in concert. Can’t you hear me knocking was killer!
July 16, 2015 @ 7:01 pm
Can’t wait for this album, going to get it at midnight, hopefully it’ll be put out on shelves.
July 16, 2015 @ 7:07 pm
Oh and of course Alan Jacksons new album too, this weekend is going to be filled with me listening to both albums on repeat.
July 16, 2015 @ 8:09 pm
Jackson’s new album is pretty good I might add. It’s definitely worth the 10 bucks. Isbell is a great songwriter. Top tier? Absolutely. Single greatest? No. Sturgill is a fantastic writer, Holly Williams is great. Sean McConnell can deliver a hook like none other. Isbell is one of my favorites but I have a problem when people put him on a God like status they are just setting themselves up to be disappointed.
Also, this was meant to be a regular comment.. Not necessarily directed at you Dan
July 17, 2015 @ 12:19 am
I have put him on a pedestal since i heard sirens of the ditch and have yet to be disappointed. I agree that those writers are great. Isbell to me however is the closet thing that i have heard to Tom T in his writing. Tom T is probably my favorite writer of all time with his style of very realistic writing and Isbell seems to follow this. Isbell is one of the few artists that i can listen to and get goosebumps from the context of the songs over and over again. Maybe its just that a lot of the content of his i can closely relate to? i don’t know. Also i agree about AJs new album, i was pleasantly surprised.
July 18, 2015 @ 11:29 am
Isbell reminds me of TTH in how he can say so much with so few words. Tom T “God was on vacation for a while”. Isbell “A boy’s last dream and a man’s first loss”
July 17, 2015 @ 5:22 am
Yeah i saw where you were goin with that comment, thanks for the clarification though. BTW I picked up AJs new album a few hours ago and yeah I though it was great, 10 bucks very well spent!
July 16, 2015 @ 7:16 pm
Once again, a well-written review. I’ve heard the album in its entirety and there are some obvious gems and some that I will allow time to sink in. He’s stayed true to his course and I love that. I also love how he answers questions about the pressure to follow up Southeastern. This is the B-side of Southeastern, if you ask me.
July 16, 2015 @ 7:27 pm
The thing I love about Jason’s music is its relatbility. He recently said in an interview that he “doesn’t write songs for people who’s lives resemble Enterouge”, but “for people who hate their jobs but still do them everyday” or something very similar. That’s the heart of Country music to me, and a perfect illustration of why what’s on the radio is so out of touch with those who are truly the Country audience.
July 16, 2015 @ 7:27 pm
I managed to find this album a few months ago when it leaked. I was actually grabbed by this album much quicker than I was with Southeastern. As J Wallace said above, it manages to sound the same but yet different at the same time. I’m glad I’m not the only one to hear that. For me the album does seen to lose a little luster towards the end but overall it’s another solid release by Jason. This should sound great on vinyl and I’m hoping it gets here tomorrow so I can wear my needle down a little more through the weekend.
July 16, 2015 @ 7:35 pm
I have nothing to add … Great review.
July 16, 2015 @ 7:44 pm
Best songwriter of this generation, hands down
July 16, 2015 @ 10:53 pm
Joseph Huber
July 16, 2015 @ 8:00 pm
Some of yall hating on it… I understand it’s not your style. I love country music myself first and foremost, and this is a little different. But golly are his lyrics just real, if you’re a lyrics person, this is as genuine as it gets. Hooks and melodies are icing on the cake, and something he chooses well for the lyrics in my opinion. It’d be hard for a major label to pick these up and do much to spice them up at all. It’d be an injustice to boot
July 16, 2015 @ 8:07 pm
How about adding some steel guitar and maybe even piano? “24 Frames” could certainly be spiced up that way.
July 16, 2015 @ 8:10 pm
24 Frames doesn’t need to be spiced up. The instrumentation is a rollicking good time, and part of why it’s my favorite song on the album by far.
July 16, 2015 @ 9:35 pm
I think it is important for us to not look at Jason Isbell as a country artist. That is why I think a side by side comparison with Sturgill Simpson is a little unfair. He’s Americana. He’s roots rock. His songs don’t need steel guitar or to be countrified. That’s not his style. Obviously I love country, but Jason Isbell is one step removed, and that’s cool.
July 17, 2015 @ 12:28 am
Exactly Trigger hit the nail on the head. While he has a lot of country songs like codeine and his new one if it takes a lifetime its not fair to label him as a country artist. Isbell has never really referred to himself as a country artist either. In fact everytime i have heard him live he always started it off by saying something along the lines of “i look forward to playing some good rock n roll with you guys tonight.”
July 17, 2015 @ 4:26 am
Agreed Trigger. Let’s remember that Isbell comes from the Drive-By Truckers. Being upset his music doesnt sound “Country” is kinda funny since he literally comes from a Southern Rock band.
I have always thought of Isbell as the definition of Americana to me, a guy with very Country music style songwriting, in the purest form his songs tell stories or cover subject matter once reserved for Country music, while also being heavily influenced sonically, vocally and somewhat lyrically by artists and bands like Young, Dylan and the Stones.
Honestly, I think all of us should simply sit back and just enjoy the fact that intelligent songwriting can still come out of Nashville and represent that city. A city that Music Row has turned into the home of Affliction tees, spiked hair and songs about trucks. Isbell stands apart from the crowd, focusing on telling personal stories that are sometimes ugly and the stories of the corn and bible belts that are often portrayed as caricatures of themselves in mainstream Country music.
Is Isbell’s sound “perfect” for my tastes all the time? No, but damn if I’m not happy to see someone leading the charge to produce songs and music that do not actively insult my intelligence.
July 17, 2015 @ 4:36 am
Bingo. Couldn’t say it better.
To all the ‘too sleepy’ comments….. I don’t eat the same thing everyday same way I don’t listen to the same music everyday. Isbell has that perfect fit when I want to chill. If you play him hanging with a girl your probably about to get laid.
July 17, 2015 @ 5:06 am
Yup. He’s right at the intersection of roots-rock, folk and country…which is pretty much my ideal, haha.
It’s like being mad at Kim Richey, Tracy Chapman or JTE for not being country enough.
July 17, 2015 @ 7:20 am
Saw JI for the first time 10 days ago, Saw SS for the first time 2 days ago. I’ll take JI any day. Better voice, better lyrics, better band. SS runs a little to bluegrassy for me, he’s about the same distance away from my wheelhouse (Waylon being the perfect fit) as JI is with the more rootsy feel but was able to pull me in quicker and dig the vibe. The fact JI plays an electric guitar at least some of the time helps. With that said, neither act will be the one to break Nashville and get us out of this Hick-Bro trash cesspool we are in.
An act that is grabbing me more with each spin of his CD is Cody Jinks. He’s been the opening act for two recent concerts (one two days ago) and he has the potential to make some noise. Vocal power to burn, good solid writing. just hoping to see a little more of an edge come into his sound.
July 16, 2015 @ 8:09 pm
I’m a bit disappointed in this album, honestly. It feels overproduced, and “chill” to the point of being nearly antiseptic, like a John Mayer album, or even his first two solo efforts, whereas Southeastern’s sound was captivatingly organic.
It’s very good, but I get the feeling I’m going to prefer these songs on a live disc with a rawer sound…just like I prefer the Live in Alabama versions of the best cuts from his first two albums.
But, even though I’m disappointed…it’s still at least 1.5 guns up. Like you said, Jason Isbell is the standard by which all other singer-songwriters must be measured by.
July 16, 2015 @ 8:33 pm
“overproduced”, the number one reason that turns me off on any album. I like it raw and I think you just managed to kill my expectations. I think I’ll wait for Snakearm (Restavrant) for some countrified punk blues. I can’t wait for that to drop on the 25th! That and the new Bourbon Crow.
July 16, 2015 @ 8:39 pm
Listen to it on NPR, or on YouTube if they’ve taken the First Listen page down now that the album’s out.
After all, opinions, assholes, etc, etc.
July 16, 2015 @ 8:32 pm
First off I love a lot of Jason’s stuff, then again, some stuff is just a snooze-fest for me. That’s how Southeastern was and how this is for me. Some some songs I dig, big time. Some songs I almost fall asleep. Don’t get me wrong I am definitely supportive of him. Sometimes I think I’m just not smart enough for his tunes lol. This album is very good and incredible lyricism, but personally, I just am more into Randy and Wade or Stapleton or like another mentioned Aaron Watson. Just a little more simple to me. Anyways, keep jammin Isbell, cause I’ll keep purchasing.
July 16, 2015 @ 8:38 pm
I love every song on Southeastern, personally, but I had pretty much the same reaction on this one.
July 16, 2015 @ 8:42 pm
Also sometimes his vocals bother me. Like in the song ” Flagship”. Just a little too high pitched sounding to me.
July 17, 2015 @ 5:08 am
He’s got one of my favorite voices, functionally. The way his voice cracks as he hits a high note always gives me chills.
July 17, 2015 @ 5:34 am
I was “irked” on Southeastern by the way he backs off on his volume and then I turn it up and then he tries to blow the ceiling off on me. It’s an album that definitely requires adjusting the volume dial a few times.
July 16, 2015 @ 8:33 pm
Also, does anybody know why Hudson Commodore is labeled ” explicit” ?
July 16, 2015 @ 8:40 pm
Another brilliant album from Jason. I’m doing my best to avoid comparisons to Southeastern.
Note: To a Band That I Loved was written about Centromatic.
July 17, 2015 @ 3:43 am
Came here to make the Cento-matic point. Jason perfectly describes the weirdness and unexpected rock that made Centro-matic great.
July 19, 2015 @ 8:12 pm
As did I. I love Centro-matic and was lucky enough to catch their final show last December, and Patterson Hood (who opened) told the story of meeting centro-matic at a DBT show at a UNT football tailgate party of sorts – or maybe Will told the story that night, I can’t remember which. I had heard Isbell tell the same story in Denton on his first solo tour. When I read in an Isbell interview that “To a Band I Loved” was about Centro-matic and then gave it a first listen, I darn near cried.
July 16, 2015 @ 9:27 pm
I wish I had more to add to the conversation other than “I loved it” but here we are.
It’s a brilliant album. Through and through.
July 16, 2015 @ 10:28 pm
This is the first stuff I’ve heard from Isbell . If you want something more interesting and entertaining than mainstream ” country ” fare ( and who on God’s green earth doesn’t ? ) , this would be it …I’ll give it that. Lyrically/melodically it keeps me engaged if I allow it to..but often just barley .. as does much of what I’d call Americana . Musically/sonically , I’m spoiled by the cleaner , crisper , contemporary techniques found in almost all genres from Jazz to ‘Grass and underwhelmed by the approach on these particular tracks .Not deterred by that approach..just underwhelmed . I feel as though I’m listening to a songwriter’s purposefully unpolished demo sketches of ideas that could be taken in several different directions by another artist .Finally , Jason Isbell is a long way from the most unremarkable vocalist I’ve heard, but , for me unfortunately ,as far from the most inspiring and arresting on my list . His lyrics , while smart and entertaining , could not , I don’t think , do the heavy lifting emotionally that a voice such as Joe Nichol’s could , in my opinion , do effortlessly . And that may be my biggest concern about serious ‘ mass’ appeal for Jason .
I’m certain there is an audience for Jason Isbell and my understanding is that he’s slowly finding it . We should be grateful for the fact that he’s exposing people to a terrific option when it comes to finding the ‘ real deal ‘ and that that camp IS growing . I’m just not sure I’m ready to pitch my tent with that camp quite yet .
July 17, 2015 @ 5:09 am
Go listen to Southeastern. Yesterday.
July 17, 2015 @ 5:35 am
King of the commas over here
July 20, 2015 @ 5:44 am
Did I read that right? You think Joe Nichols writing is better than Jason Isbell’s writing??? Get off the crack.
July 17, 2015 @ 1:07 am
I get the praise and I understand the artistry but I’m a song AND DANCE man. I need music to make me move literally and Isbell doesn’t do that enough for me great though he is. I am drwan to folks like LIndi Ortega or White Morgan or Heather Myles, Miss Leslie, Sturgill, Dale Watson… maybe the lyrical side isn’t as great but it gets me hoppin’!
July 17, 2015 @ 2:07 am
Trigger well written and an excellent review. It does seem that Jason will never be able to answer those who loved “Southeastern” however this is a different CD and a progression. It is more singer-songwriter than much of the crap out there. I agree with your assessment that this is a 2 guns up release.
Only Chris Stapleton has a release that comes close to hitting what Jason does with this one. It is obvious that some will dislike it but it shows a great evolution of an artist while not sacrificing any of integrity that made him who he is.
July 17, 2015 @ 4:28 am
I think Isbell is one of the great Americana songwriters we have and could be one of the best of all time if he continues to grow. He writes songs about real life. Never co-writes (nothing wrong with) and records live.
Trig, ‘To a band I loved’ is written about a band named Centro-Matic. Isbell would play with them when the Truckers were off. Think they broke up. Great review.
July 17, 2015 @ 5:04 am
Jason Isbell needs a new producer. I said it about Southeastern, too.
Dave Cobb seems to be a sort of ‘single-track’ producer. Maybe he fits up with Sturgill better–I don’t know. I think Sturgill could sound much better than he did on Meta-modern.
I have no clue how the production process has gone with Jason. Maybe he is too involved–maybe not enough? Does he need a stronger voice coming from the producer’s chair? Hard to say from here.
And hard to argue with success. But something is keeping Jason from taking the world by storm. Something is keeping his name recognition in the 5 to 10% range. And it is not his songwriting. And it is not his performing. And it is not his cachet.
So what is it?
July 17, 2015 @ 5:11 am
It is his performing, songwriting and cachet.
He’s too damn good for mainstream country, and his music doesn’t translate to any other mainstream format.
July 17, 2015 @ 6:44 am
Yeah–there is that aspect of it. And really, that is what is important.
The gap between where Jason is and where he should be is the measure of the problem. That gap is what has been sucked up by music row, ran through the workings of its infernal machine, and spit out via the rotten soul of the likes of Dallas Davidson and his minions.
July 17, 2015 @ 9:17 am
“He”™s too damn good for mainstream country, and his music doesn”™t translate to any other mainstream format.”
You are absolutely right , of course . And If I had a nickel for everyone I could say that about in these times…(John Mayer , James Taylor , Gretchen Peters , Lindi Ortega , Claire Lynch , Joni Mitchell , Holly Williams , Dolly Parton , Patty Griffin , Paul Simon – the list is endless) I’d have a boatload of nickels . THESE are the people we DON’T get to listen to , be inspired , moved enlightened and educated by through mainstream avenues . It’s one of the great ironies and tragedies of our times , or perhaps ANY time , that the lowest common denominator is always the most sought after demographic in terms of generating revenue from your ‘product’ ( there’s that word again …) and yet its the demographic that would be the least aware and the least caring about that ‘product’ if the product wasn’t marketed so aggressively . Its just an easy target .
July 17, 2015 @ 7:30 am
According to Jason, it’s really because that isn’t what he wants. He’s had multiple labels try to sign him and he hasn’t done it. I forget where I read it but he essentially said that he likes having control of his music and walking to his mailbox to collect those checks. He doesn’t want to give that up to become “bigger”. He said he likes being able to go to Target and do his own shopping.
I love Jason’s music and I try to share it with as many people as I can, but I don’t get why so many people think that an artist has to become a household name to be successful. Why does he need to take the world by storm? Jason is comfortable where he’s at and I’m enjoying what he puts out.
July 17, 2015 @ 5:20 pm
Amen with a capital A! It’s true, believe it or not, some artists prefer not to be a pawn of the majors and the big machine. Also, as has been pointed out already, Jason isn’t Country. He’s roots rock/Americana/whatchamacallit. What used to be called just “rock” before pigeon-holing took over. I just call it good music myself.
July 20, 2015 @ 6:52 am
There’s too much folk and country in there to be just “rock,” unless you mean 50s-era Rock n’ Roll (what’s now called “rockabilly”), and even then it doesn’t really have the beat to fall into that territory.
It’s singer-songwriter, James Taylor stuff that defies easy categorization.
July 20, 2015 @ 7:59 am
Well, I mean I grew up during the era when Album Oriented Rock was a format in my region of North Carolina, and they played say, James Taylor, right beside Led Zeppelin, the Beatles, Charlie Daniels, and Black Sabbath. It just all fell under “rock” back then. Either way, I never liked labels and refuse to acknowledge them. Lol.
July 17, 2015 @ 5:44 am
Im hoping this album grows on me. I really love about half of it. Then the others just seem, I don’t know, monotone, just needing something. As someone above said, I think ‘Live In Alabama’ versions of all the songs are far superior to the studio cuts. I love Southeastern, but after seeing the guys a live a few times over the last couple years, they even up the level of the Southeastern songs playing live. I’m sure when they get out on the road, these songs will have that extra something from the contributing band to really make them shine. I just wish they would have done it more on the studio album as well.
July 17, 2015 @ 6:31 am
All these people that think his music is “boring” need to go check out a live show.
July 17, 2015 @ 6:49 am
Bingo.
July 17, 2015 @ 7:04 am
I agree, they kick ass live, but need to bring that into the studio more for me. Derry Deborja adds those organ licks here and there, Jimbo Hart & Chad Gamble really put down a groove, when Amanda is there she’ll throw in a weeping cry from her violin at just the right spot, Sadler and Jason take turns with little slide runs and solos. Just miss some of that on some of these songs, but yeah, like you said, go see them live.
July 18, 2015 @ 12:33 pm
I’ve seen quite a few Jason Isbell live videos on youtube (he’s never come by me since I’ve been a fan unfortunately) so I know he’s a sight to behold live.
But this is a studio recording, not a live recording. None of the live energy was captured here and consequently this record is boring.
July 19, 2015 @ 9:04 am
That’s fine if that’s how you feel but his music is more about the words than it is live energy anyhow
July 20, 2015 @ 6:53 am
But it’s wayyyyy better with the live energy. Dress Blues is very good on Sirens. It’s one of my very favorite songs of all time on Live in Alabama.
July 17, 2015 @ 6:39 am
I read an article once that explains why bands “used to be better.” See, according to the article, when discovering a new artist, the brain kicks in some hormone or other that it doesn’t use when the artist is familiar. That literally means that even if the band/artist has improved, the brain doesn’t realize that because that chemical or whatever it is isn’t there. So, I think people like Isbell, and Sturgill, have an uphill battle trying to release a second album after Southeastern and Metamodern because people with think “they used to be better.” I haven’t ordered a copy of “Something More than Free Yet” because I don’t get paid this coming week and I’ve already got six cds coming in the mail, but this one is high on my list.
July 17, 2015 @ 7:10 am
I believe that article. Kinda like the 2nd Alabama Shakes album didn’t do it for me.
July 20, 2015 @ 6:54 am
So you’re saying it’s super-impressive that everyone here loves Metamodern so much, since we all also sang the praises of High Top Mountain?
July 17, 2015 @ 6:46 am
his songs are boring and all sound the same. all of his songs are way too deep and serious. this guy must be exhausting to hang out with. but yall all know more about music than I do so I’m sure I’m wrong. I hate music.
two guns down.
July 17, 2015 @ 7:41 am
Isbell is funny during interviews and David Letterman apparently enjoys hanging out with him. He also seems to be extremely happily married. Those things would indicate he’s not a bad guy to hang out with. Why make such assumptions just because his songs don’t try to appeal to the lowest common denominator? When did depth as a songwriter and as a human being become a bad thing?
July 17, 2015 @ 8:00 am
Jim: Dale is a parody, it’s all done in jest, not for real.
July 17, 2015 @ 9:27 am
David Letterman hasn’t been funny for years, and he’s a stupid liberal. Look, you win. Any response you have will be better than mine. I’m sure he’s a great guy that lots of people love. Maybe I woke up on the wrong side of the bed. Sorry for writing in.
July 17, 2015 @ 8:00 am
but yall all know more about music than I do so I”™m sure I”™m wrong.
That’s because we all went to Belmont, Lil Dale.
July 17, 2015 @ 7:05 am
Brilliant !!! This album has a lot of fine points that manifest as you listen to it several times. Conceivably the album is a bit too glossy for my taste notwithstanding it shows Isbell’s commanding proficiency when it comes to writing a song.
July 17, 2015 @ 7:08 am
I love the new album. If you haven’t listened to Jason Isbell yet, wtf are you waiting for? I’ve seen him live a few times….there is no boring music with him. Not sure where these comments are coming from. If you think he is boring, do you think John Prine, Kris Kristofferson, or Neil Young circa “Harvest” is boring? I mean really. I can’t say he is a country music jesus, but damn, he is great in his own right. Anybody who hangs out with Todd Snider can’t be boring. Ha!
July 17, 2015 @ 7:29 am
Might be time of life dependent, but 24 Frames, even with the gloss on it, brings a tear to my eye. “This is how you make yourself call your mother, this is how you make yourself closer to your brother”….life/God being “something like a pipe bomb ready to blow”
And I like how Something More Than Free subtly plays both sides of the key line “I’m just lucky to have the work” — honest appreciation mixed with disappointment…He’s a writer first, even with him being as excellent a guitar player as he is…
I also appreciated the Southeastern songs more seeing them live (or at least on TV live, Austin City Limits, etc)….he’s compelling playing his songs live. Check out the “making of” 24 Frames video on Youtube with his band and Dave Cobb, pretty cool too….
July 17, 2015 @ 7:36 am
I’m trying not to compare it to ‘Southeastern’ as I believe each album an artist puts out should be given a chance to stand on its own hind legs. This is a good record that I will continue to revisit but my initial impression is that it won’t land in my Top 10 as I can think of at least a dozen 2015 release that I like better. It is similar to the new Richard Thompson in that regard, which I continue to revisit as his records sometimes kick in later. Perhaps this one will do that as well. Isbell is an excellent writer but to my ears is not on the level of John Moreland or Gretchen Peters (my two favorite songwriter records of the year with Peters being #1). That is no disgrace as this is a terrific era for performing songwriters.
July 17, 2015 @ 7:39 am
I’m trying to avoid comparing this to Southeastern because I love them both and they are different enough to stand on their own. However, Speed Trap Town is close to being this album’s Elephant. If you casually listen to it, you might not really grasp it the first time. But if you really listen to the whole story, it’s heartbreaking. The guy is at a point where he’s getting drunk at a Thursday night high school football game and deciding whether there’s anything or anyone worth staying in town for, while his dad is on his death bed in the ICU. He played it when I saw him and Dwight Yoakam and it was the song I was really looking forward to hearing when the album came out.
Like Southeastern, I feel like you really need to listen to the album more than a couple times before it all sinks in. It isn’t mindless music with a beat that you can just put on to pass some time. Lyrically, I don’t know that anyone is close to Jason in the Americana world.
July 17, 2015 @ 8:05 am
I will keep listening. Lyrics wise, I think Moreland and Peters are surely in his league. Peters’ “Five Minutes” from 2012 is one of my five favorite songs of the last 25 years. These last couple solo albums of hers are fabulous. Moreland’s ‘In the Throes’ is one of my 10 favorite albums ever. If I was younger it would be a life-changing record. This is a great era. I only hope people get out and support all the great indie music happening so it doesn’t one day disappear.
July 17, 2015 @ 7:52 am
Between Isbell and Alan Jackson this is the first new music release day of the year that I was genuinely excited about and neither of them disappointed.
July 17, 2015 @ 8:11 am
Woke up, fired up iTunes, downloaded the rest of the pre-ordered album.
So far I like it but it hasn’t quite hit me yet like Southeastern (even THAT album took a while before I got it; I’m also the same way with every Iron Maiden album, it’s never the first listen where it “clicks”) but a lot of that is because I do most of my listening while driving and also that I’m on no sleep so that doesn’t help.
I do appreciate that it’s not the same thing as Southeastern because that would just be boring.
July 17, 2015 @ 8:26 am
By the way, people should consider picking up the new Wilco album as the band is offering it as a free download. I am not a super fan by any means but am enjoying this record. You can’t beat the price 🙂 Talk about an act that tends to not repeat themselves.
http://wilcoworld.net/
July 17, 2015 @ 9:08 am
And cue the backlash . . . .
This album is amazing. Everything Isbell does is amazing, as far as I am concerned. Perfect? No. But is anyone really even in the same stratosphere as Isbell these days? No. No one is even close. We’re damn lucky to have him.
July 17, 2015 @ 6:17 pm
No one else is in the same stratosphere? You must not listen to much music.
July 17, 2015 @ 9:54 am
Here’s the deal, I’ve come to learn no one can REALLY tell whether or not a record is actually great until you’ve bought it, put it in your car and drove to the middle of no where playing it in its full. Then you can have an opinion about it.
July 17, 2015 @ 10:59 am
That’s how i fell in love with southeastern.
July 17, 2015 @ 6:59 pm
Not all records work in the car.
July 17, 2015 @ 10:31 am
I really like this album and the songwriting is out of this world, never really listened to isbel but I certainly will be now. Also Alan jacksons new album released today which is a breath of fresh air. Just nice to hear his voice again, hope the radio plays him some.
July 17, 2015 @ 11:21 am
Not to stray off topic, but I think we are going to get some really good Alan Jackson albums in the next couple years. I kind of felt like he tried a little bit too hard to keep getting played at radio with his last few “mainstream” albums. Sure, there were some damn good songs on those albums, but a few of them just felt flat. This album, much like the Bluegrass album, feels so much more alive. Like Alan has realized his days at radio may be over and that has liberated his sound some and breathed some life into his songwriting.
But I agree, between the Alan album and Isbell’s album, today was a good day for people who enjoy good songwriting that doesnt try to insult your intelligence.
July 17, 2015 @ 11:40 am
AND Wilco’s Album.. its a big day for music for sure
July 17, 2015 @ 11:34 am
What if Michelangelo only sculpted David over and over again an never painted the Sistine Chapel or created all of the totally different but equally great works of art because he was scared that they wouldn’t be accepted or liked? Every Isbell album cannot be and should not be Southeastern. This review was great, Trigger. You hammered the nail with a single blow.
I’m around live music 4 to 5 nights a week, and I have been for a long time. Some of the best singer/songwriters play in small rooms and you will never know their names. Last night I saw John Moreland open for BJ Barham. Most folks may have never heard his name, but that man writes music that is absolutely un-fucking-believable. He’s one of the very best songwriters of our generation. Musical success does not mean having the fandom of Taylor Swift. To me, being the absolute best at what you do is being successful, and the number of fans, followers, or money you make be damned. Jason Isbell is the absolute best at what he does. He writes deep and personal music and it means something. He is the Bob Dylan of our generation.
Personally, I really dig Something More Than Free, and the thing that I like about it most is that it is not Southeastern. Dave Cobb isn’t the flavor of the month for independent artists, he’s a fucking genius and amazing at what he does. The record isn’t over-produced, its very well produced. I will second that Isbell is not a country artist. He writes and plays some country tunes, but he is the definition of Americana. Something More Than Free is probably the closest thing that resembles a country album, but it is very folk sounding as well. Call it what you will, but what I call it is REALLY FUCKING GOOD.
Jason, Amanda, Jimbo, Derry, Chad, Sadler, and Dave Cobb, Thank you for a great album. It made a good small gift for my daughter’s 10th birthday today. This album will stand the test of time and Isbell will be remembered as one of the greats. After all, Ryan Adams isn’t a household name either.
July 17, 2015 @ 11:47 am
Ultimately, writing a review for an album like this is pointless.
just about sez it all. don’t it?
July 17, 2015 @ 12:17 pm
@ Jim Z said it right.
Review not necessary.
What a great album!
July 17, 2015 @ 12:18 pm
Where we are in obvious agreement is that this is another solid offering from Jason Isbell. Few songwriters are as illustrative, incisive and emotionally compelling as Isbell presently, and for the most part “Something More Than Free” is no exception.
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However, this would fall short of making my year-end Top Ten Albums of 2015 list, and also isn’t as solid as “Southeastern”, and I’m going to try and explain why.
Honestly, I”™m not exactly sure where to begin in explaining my argument. I think the best bet would be to reiterate why Chris Stapleton”™s “Traveler” is not a contender for Album of the Year in my eyes despite it still being unmistakably solid. With “Traveler”, as much as I praise that album for Stapleton”™s powerful vocal and earthy production, as well as a handful of solid well-written individual cuts”¦”¦”¦”¦”¦”¦..I couldn”™t help but feel a number of tracks like “Nobody To Blame”, “Fire Away” and “The Devil Named Music” sell themselves short in that, while they admirably at least try to be self-aware, they don”™t provide a lot of detail as to WHY he feels or is at fault, or punch deeper at the gut. They are excellent as kernels, but just came across more as good sketches of songs than full-blooded tracks where their subtleties are fully conveyed.
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And I feel a similar situation surfaces here and there on “Something More Than Free”.
Don”™t get me wrong: there are more than enough individual moments that make this more than worthy of a recommendation and size up well with his discography”™s best to date. “Speed Trap Town” is definitely a home run, as is the title track and to a slightly lesser extent “The Life You Chose” and even “Palmetto Rose” most notably, for exactly the reasons you state. I also feel the former three songs in particular kind of sum up the thematic arc of the record as a whole and, for that, this album clearly succeeds in its cohesion.
Yet I felt several other tracks left a little more to be desired. Again, there are songs like “Flagship”, “Children of Children” and even the album-closing “To a Band That I Loved” that lack much in the way of narrative wholeness. There”™s definitely a reflective quality intact of each of them, but they don”™t provide much in the way of conveying how their lessons, follies and heartaches from before have informed them now and how they”™ll inspire purpose or resolve moving forward. They seem particularly passive, actually.
And don”™t get me wrong. Sometimes that IS the point. The “We Report, You Decide” convention of songwriting has always existed, and sometimes it is really the job of the narrator to simply report what either her/himself is feeling or observing or processing, and leave some ambiguity in its wake for the listener to dissect. Anyone who has followed me along here knows I”™m a sucker for nuance and ambiguity in lyrics. But I couldn”™t help but feel the aforementioned tracks in particular fell a bit short in descriptive quality, and with that any deeper conversation or potential catharsis or urgency is undercut.
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Also, as much as the instrumentation and production, as a whole, fits the intimate vibe Isbell is aiming for”¦”¦”¦”¦”¦.it comes across as a bit too bland in places and I found “languorous” was the first adjective that popped next in my head. I would have loved to see Amanda Shires be let more loose on some tracks, for instance.
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Still, in the end, “Something More Than Free” is another all-around solid effort that, while not as great as James McMurtry’s “Complicated Game”, Whitey Morgan’s latest or even Brandi Carlile’s “The Firewatcher’s Daughter”……………….still serves as a case-in-point in how mainstream country would be wise to adopt more of his brand of emotional resonance to its lyricism and themes, and states that less can amount to a whole lot more often.
I”™m feeling 1 3/4 Guns Up for this one, honestly. I do like this slightly more than “Traveler” mostly because I think Isbell”™s vocals do a better job articulating nuance (while Stapleton is better at articulating emotive peaks)”¦”¦”¦”¦”¦.but both of their albums are somewhat flawed in not providing enough description and detail so to inspire a deeper connection to the narrator, which leaves them short of a timeless quality and urgency.
At any rate, it”™s good to have Isbell back, and here”™s cheering him on in seeing his fanbase grow like Zac Brown wants. =)
July 17, 2015 @ 6:00 pm
Interesting. Definitely McMurtry (for me) still holds album of the year honors. While I like Traveller, I agree with your assessment mostly, except for “Nobody to Blame” which I feel is much more powerful for what it doesn’t convey in the lyric.
I’m curious as to why you feel that way toward “Flagship”? I find that song says everything it needs to say, personally.
Something More Than Free is definitely solid and I love Isbell’s work. I don’t think the production needs anything taken away or added to it. For artists like Isbell, his albums are promotion for his live show, which I fully recommend. While I agree with some who wish he’d tear loose a little more in the studio, I mainly feel he’s right to save the big noise for when he hits the stage and the record is just the appetizer.
July 18, 2015 @ 12:01 am
It’s interesting, because while I initially felt “Flagship” was one of the weaker links on the album (though still quite decent, mind you)……………..I could also already see why it is a highlight to others and, after listening to the album again, I see potential for it growing on me even while I still feel it falls short in being as poignant as it could have been.
I’ll try and explain here.
“Flagship” definitely has a lot of picturesque imagery that draws me in similar to that of one of Counting Crows’ or The Shins’ better, though not absolute best, songs (two of my all-time favorite bands growing up). The second verse especially struck me as rather Duritz-esque for all the right reasons (meaning the ability to describe an emotional setting with such simple yet elegant imagery with a textured vocal that reflects conflicted emotions in the same breath, with “Possibility Days” being his most recent example).
While I do appreciate the way each chorus evolves and adds a little more, I can’t help but feel “Flagship” would have come across as a lot more poignant had he saved the gut-punching declaration “Baby let’s not ever get that way!” until immediately after the bridge. That line, though appearing utterly simplistic on the surface, is just the kind of line that can single-handedly define a memorable song……………….but I felt like Isbell wasted an opportunity to not holster it until the song’s end, so to set the listener up for another potential heartbreaker…………………only to subversively astound you with an affirmed unconditional love by the end.
Still, I get why plenty of others are citing this as a favorite, I really do. I admire Isbell for simply even trying to tackle decisively upbeat topics, especially after a devastating “Southeastern”. My personal favorites remain the title track, “Speed Trap Town” and “The Life You Chose”.
July 20, 2015 @ 6:58 am
I definitely agree that, like most things, the album needs more Amanda Shires.
July 17, 2015 @ 1:50 pm
My copy should arrive tomorrow, according to Amazon. I listened to 24 Frames once and avoided the stream on NPR. I plan on listening to it for the first time on my home stereo tomorrow, giving it my undivided attention.
July 17, 2015 @ 2:55 pm
came over to Alabama from Georgia with the wife for dinner and a little shopping. I will be picking my copy after dinner. Can’t wait to give it a go.
July 17, 2015 @ 5:58 pm
I went to the album release concert today at Grimey’s in Nashville and I must say that the songs truly come to life when played live. Don’t get me wrong, I think this new record is absolutely brilliant but I’d have loved for the studio recordings to sound a bit more free and organic. He served up “Palmetto Rose” as the opener and it was spectacular. Other highlights were “Speed Trap Town,” “Children Of Children,” and “The Life You Choose.”
It seems he’s trying to distance this record from Southeastern since he did not play anything from that album. The only non-SMTF songs in his set were “Decoration Day” and “Codeine.”
July 17, 2015 @ 8:32 pm
Call me crazy, but I don’t consider Isbell’s music to be all that country, at least not on his most recent albums. When I picked up my copy today (and also two years ago with Southeastern) the store had it labeled and filed away as rock, not country or Americana. Of course, a word adorning a barcode doesn’t mean anything in the grand scheme, but it’s still telling that Isbell doesn’t necessarily pass the eyeball or ear test at first. My favorite cut from his last album was the closer “Relatively Easy,” and by my recollection it was also the most country (not that those two elements are mutually inclusive, but it’s important to note). But you note this element, so that’s not really a criticism. Such are the benefits of something so vague as the “Americana” term; one can basically make any type of music they want within this as long as it has healthy roots influence.
Do we consider Isbell to be on the same plane as Sturgill Simpson or elsewhere? Not so much in terms of genre as the one that all others shall be measured by?
July 18, 2015 @ 12:16 am
Lyrically, I’d consider the bulk of his work to be stone cold country in its heavy bent on balladeering, picturesque realism and emotive intimacy.
Musically, it gets a lot more complicated. Even “Sirens of the Ditch” has always struck me as decidedly more blues-informed rock than country as a whole (awesome regardless). I’d say his pair of 400 Unit albums run the closest to country in his discography, but even there I feel they are more Southern albums than defined by any singular genre.
If I had a gun planted at the side of my skull and I was forced to label his music in one adjective, I’d dare say “Southern”.
July 18, 2015 @ 4:23 am
My two cents: I think this album is ten times better than Southeastern, primarily because I think this one doesn’t brood heavily compared to the last album. To me having a light atmosphere with good lyrics is what makes a good album i.e. In Pieces by Garth Brooks being the stand out for me where it had a light atmosphere even with it’s darkest song on the album (The Night Will Only Know). Fantastic work.
July 18, 2015 @ 5:39 am
Incredible work. Great songwriting, which is no surprise from Jason Isbell. But comparing this to Southeastern isnt fair. A comparison would be GNR. Comparing any one of their albums to “Appetite For Destruction” isnt fair to anyone. Comparing SMTF to Southeastern isnt fair. Its just, different, which isnt bad! The songwriting is still top notch, but a different style from his last album. Very happy with my purchase!
July 18, 2015 @ 5:59 am
I was very stoked to listen to this album. I’ve known of Isbell for a long while but never really got into him until this year. And by get into – I fell hard. I think he is the best songwriter of this generation, bar none, and I think he’s easily working his way up to being on par with the likes of John Prine. Sometimes some of his stuff is boring, you can’t have every song be perfect, but with each different live clip I see on youtube he surprises me more and more.
So I couldn’t wait to hear this record. I love 24 Frames so much, and one of my friends said that that was the 5th best song on the album (I was at work so I didn’t get to hear it until late last night).
I booted it up and gave it my full attention. Unfortunately I was disappointed. I’m not knocking on his talent whatsoever. Jason Isbell and Sturgill Simpson have consumed my life over the past 6 months in ways that musicians haven’t since I was a teenager. But I feel here he is moving into a more “mature” sound, with lyrics that are more figurative, and these songs sound like they’re trying to evolve past just being 3-4 minute long stories, or life lessons as in the case of Outfit. I listened hard to this record and unfortunately I was bored. I know Jason’ll bring these songs to life in his concerts, but for now I’m really digging this record. It’s too “soft”, too “ambient” in its sound. It reminds me of those indie folk bands like Bon Iver and such. 24 Frames is in my opinion this record’s saving grace, and it’s unfortunate that it was released months ago as the single because it hyped up the record for nothing, in my opinion.
This will obviously go into the Jason Isbell canon, and as Trigger said everything is going to be compared against it, but in my opinion this is something to put at the back of the closet to be only brought out in front of a hardcore fan.
Good, solid, record – nothing Isbell can do is bad in my opinion, but it’s not something I’ll be listening to often, very unfortunately.
July 18, 2015 @ 12:34 pm
Ooopppps. I meant to say “but for not I’m NOT really digging this record”
July 18, 2015 @ 6:54 am
Off topic a bit but I happened to be in the Rock and Roll Hall of Fame in Cleveland this week (bit of time during a business trip) and they had a “Right Here Right Now” section which included a couple of Jason Isbell items.
July 18, 2015 @ 7:08 am
Huh, interesting. My guess is we’d never see that at the Country Hall of Fame, though the “rise of Americana” would make for a good temporary exhibit. You could start with Uncle Tupelo, talk about Steve Earle and Lucinda Williams. Anyway…
July 18, 2015 @ 8:42 am
Upon downloading Isbell’s entire album and having listened to it several times, I feel compelled to comment further.
First , I’m in near awe of the consistent and incredibly high standard of his lyric writing , which is what most of the hoopla seemed to be about when I first began hearing/reading about him. While the lyric may be a tad oblique in spots , he never relies on or uses that approach as his motus operandi and this guy could obviously do just that. I appreciate that he challenges a listener just enough lyrically to entertain but the narrative is ALWAYS the real focus and accessible..as it should be , I believe.
Musically I was very pleasantly surprised by the record’s diversity (having only heard the two videos posted above )…from stripped down guitar/vocal performances to full-blown band arrangements and his awareness of when to use each approach . It has less ‘ clutter ‘ than I expected based on the few tracks posted. And again , the arrangements never compete with the narrative …they’re never ” in-your-face” loud . They are always interesting ..particularly rhythmically , to my ear , and executed with competence by some empathetic players.
Melodically ,the record seems to work given Isbell’s obvious respect for words . That is ….the melodies are never over the top and always seem to serve the narrative sentiment of the song ( prosody ).
Having given the entire record a chance , I’d amend my previous thoughts by saying that I think I’m solidly in Isbell’s camp of followers . In fact , I don’t even think I’d want to hear his songs on mainstream radio where they would most certainly never be given the attention and respect they are due. I think stuff like this needs to be considered in more reflective and relaxed states of mind ….something most mainstream audiences should perhaps allow themselves to be in more often if we ever hope to even slightly change the soundscape of mainstream country radio .
July 18, 2015 @ 11:29 am
Is this good as “Southeastern”? No, but that shouldn’t matter. What’s important is that this album has its own two legs to stand on. I like that there’s a lot of songs that listeners have to draw their own meaning from.
My personal favorites so far have been, “24 Frames”, “The Life You Chose”, “Something More Than Free”, “Speed Trap Town”, and “Palmetto Rose” (yes, I understand that this is the one that most people have disliked, but so be it). I explained what I would grade this in the Alan Jackson review, so there’s that.
I’ve switched between this and Alan Jackson’s ever since yesterday morning. They’re both so different, and yet they share the same roots, and are spectacular in their own right. My personal favorite album so far has been Gretchen Peters- “Blackbirds”, but both of these aren’t far behind.
July 18, 2015 @ 2:38 pm
I’m not a fan of Mr.Isbell’s music,but I think all the buzz & critical acclaim for his music is a victory.As long as he and a few others still make heart felt music it draws more attention to Americana/Country iin general while it’s not my cup of tea it’s good for music as a whole.
Quotable Country – 07/20/15 Edition | Country California
July 20, 2015 @ 2:30 pm
[…] else is simply a distraction to someone with an open line of communication with themselves. â— — Saving Country Music’s Trigger on Jason Isbell’s Something More Than […]
July 21, 2015 @ 2:55 pm
Great album,one of the highlights of the year so far.Songwriting of the highest order.The lyrics are there from the start and a couple of great tunes jump out on first listen – If It Takes a lifetime and the title track – but its on repeated listens that the songs and melodies really kick in to the mind and the album as a whole comes to life.Its a grower for sure but many of the most rewarding albums are
July 22, 2015 @ 2:00 am
Now that I’ve had some time to digest SMTF, there’s no denying Isbell’s growth as an artist and songwriter – a remarkable step forward.
If I were to pick one problem with the album, I’d say the production is predictable and stale, which is very shocking coming from Cobb. It feels very NPR, Adult Contemorary (today’s Americana, I guess) filmy … circa 2000 – Ryan Adam’s first solo albums.
I’m hoping with more spins, I’ll get over it and focus primarily on the songwriting.
July 22, 2015 @ 1:50 pm
This is indeed an album that grows on you. Trigger nailed this review, this Isbell album doesn’t grab you by the neck like Southeastern did and force you to listen immediately. These songs take a few spins and then grab you.
The quiet desperation of The Life You Chose is my favorite so far. That song knocked me on my ass after a listen or two.
July 23, 2015 @ 5:02 pm
Children of Children,that’s the one for me now after umpteen listens of the album.Poignant lyrics,well sung but it’s that extended musical outro with the strings and guitar that I just don’t want to stop.Shows that it’s not just about the singer/songwriter there are musical moments to savour on this record as well.
July 31, 2015 @ 1:19 am
I hate to feel this way, but after all these days and just two listens (not anticipating my third) I’m incredibly bored. I’m a huge fan of Isbell’s work, both with DBT and solo, but this album doesn’t do anything for me, at all. I’m pretty sure I like two of the songs, but I couldn’t tell you what they are. It’s a snoozefest to me. I could take a poll, take all of the lesser-liked songs from all the previous releases, burn a CD, and still like that WAY better than I like this one. A resounding “meh” for this effort. I’ve bought everything he ever put out, and I’m sure I’ll buy the next, but I’m not happy with this one. Several songs do sound like they’d be right at home playing in the 1970s during the filming of “The Last Waltz” but that doesn’t do much for me either.
August 1, 2015 @ 1:54 pm
On my fourth listen today it finally sunk in how terrific this album is. This was about the same listens it took for Southeastern to sink in, too. “Flagship” caught me off guard and reminded me to never be:
“She’s got nothing left to learn about his heart
They’re sitting there a thousand miles apart”
That, alone, was worth the price of the record.