Song Review – Jason Isbell’s “Cumberland Gap”
The second song from Jason Isbell’s impending album The Nashville Sound all but certifies what we had suspicions of before and what Isbell has been saying in the media previously, which is the June 16th release will be a much more rock ‘n roll affair than some of his recent efforts, and the title is more tongue-in-cheek, or a type of positioning statement about the diversifying influences alive in Music City as opposed to an homage to old school country.
Jason Isbell has never been that “country” per se, but he’s never called himself country either. The reason country, Americana, rock, Southern rock, folk, and a slew of other genres look to claim Isbell as their own is because he’s just so damn good, and these genres salivate to assign him to their ranks.
What has always made Jason Isbell a strong cousin of country music is how his songs speak to the distinctly Southern, agrarian struggle that he experienced directly as an Alabama-born and Southern-raised product, who specifically came to consciousness just outside the Muscle Shoals city limits where the country music influences swirl and intertwine with Motown and rock ‘n roll like the mighty waters of the Tennessee River.
The Cumberland Gap is significantly north of Alabama, where the state lines of Tennessee, Virginia, and Kentucky intersect, but just like Muscle Shoals, it is a historic crossroads of cultures and commerce forced to intermingle through geography, while still defining a history that is definitely Southern. Like so many of the rural areas that mark the birthplaces of American music, hardship seems to be an ever-present burden for the people who dwell there. The natural beauty, the strong sense of home and familial ties keep people glued to these locations for generations, yet the economic forces at play have no qualm exploiting the people and the natural beauty wherever and whenever it is financially expedient to then only abandon them at a moment’s notice when the resources run dry.
It’s this tug and pull of hardship that makes the lives and landscapes of the Cumberland Gap so poetic, and able to birth such lasting expressions from bluegrass and mountain music that eventually turned into what we know as country music today.
As has been said, heavy times call for heavy music, and “Cumberland Gap” certainly is that. The rock edge doesn’t allow the same breathing room for poetic insight as Isbell’s more singer/songwriter material, and he makes it a bit harder for the listener from not being able to understand exactly what’s being conveyed in certain verses. Overall, “Cumberland Gap” is kind of a muddled, muddy recording. This isn’t necessary a damning element for the song, and it’s indicative of Dave Cobb’s production style in previous efforts. But the song relies more on brute force to get you to buy in, and then perhaps you take the time to behold the lyrics and message. It’s heavy, sludgy, hard and high energy, but not a track meant to have fun with.
Jason Isbell doesn’t record hits or singles, and so no song of his is probably fair to judge isolated from its album peers. “Cumberland Gap” could illustrate the farthest reaches into rock for the new record, or it could be presented as an element of contrast with other selections. But it does define the mixing of rock ‘n roll influences intertwining with Southern themes that have made Jason Isbell the favorite of many astute listeners, regardless of their genre allegiances.
(rating reserved until album release)
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April 27, 2017 @ 6:55 pm
I think some of the lines are well written, but it relies too much on the repetitive chorus. And yes, the production is very sloppy. I don’t dislike the song, but it is a slight disappointment in my opinion.
April 27, 2017 @ 7:00 pm
HOW DID I FORGET HE’S RELEASING AN ALBUM???
April 27, 2017 @ 7:12 pm
I prefer the 2nd South Carolina String Band version.
April 27, 2017 @ 7:32 pm
Meh…While JI is wallowing in white guilt, I’ll be over here listening to Sam Outlaw singing about bottomless mimosas.
April 28, 2017 @ 7:08 am
HAHAHAHAHA
April 27, 2017 @ 8:11 pm
Much better than most of the stuff I’ve heard of his. Kinda like it. Usually for me his vocals/vocal approach doesn’t do it for me so this adds some life to it for me.
April 27, 2017 @ 8:22 pm
Id say I like this better than the other one from this album for sure and is probably the best thing ive heard from him solo wise (could never get into his solo stuff). Straightforward and unpretentious. Chorus could be better the only thing repetituve about it is the words the melody/phrasing and frequency are good. Catchy upbeat little number doesnt knock my dick in the dirt or anything though. Seems fit for radio imo.
April 27, 2017 @ 8:33 pm
Huge fan of Isbell but this is boring Adult Contemporary Rock. Like later years Pearl Jam but nearly as good.
April 27, 2017 @ 8:36 pm
I agree it might not be the best song he’s ever written (chorus is weak) but his verse’s are still bad ass. Reminds me of the rock songs he wrote for the DBT.
April 27, 2017 @ 8:56 pm
I noticed his return to a southern rock sound is accompanied by a returned with the use of the 400 Unit name. I know I may be in the minority, but I prefer his 400 Unit albums to the solo titled ones. Southern Rock is where Jason should be in my opinion. I like this song.
April 27, 2017 @ 8:59 pm
This is almost hard to listen to, honestly. I am a huge Isbell fan, but this is awful. Sounds like a demo or something.
April 27, 2017 @ 9:07 pm
I’m an Isbell super fan and I don’t like either of the early releases from this album. Both of them are weak sauce IMO.
April 27, 2017 @ 10:03 pm
This can’t be the final mix. Sounds horribly compressed (drums especially). I am not sure what people see in this pop rock-ish Isbell (prior single as well). Then again I must be missing something, as people seem to give him praise no matter what he puts out. To me, if I wanted to hear this type of music, I would have been listening to the Goo Goo Dolls all these years. Or many others. I just don’t see how this is at all worthy of all the praise he will surely get for this song and album on here and alsewhere.
April 27, 2017 @ 10:07 pm
Actually, it just hit me. If you like this flavor of rock, go buy any of the Foo Fighters’ recent albums. . They do it much better. Isbell has never been my thing, but I do have respect for some of his earlier work, which I think suits him much better.
April 27, 2017 @ 10:40 pm
“I must be missing something, as people seem to give him praise no matter what he puts out.”
We must be reading two different comment sections.
April 28, 2017 @ 9:05 am
I really don’t like the production, which is simultaneously muddy and washed out (like his other 400 Unit albums).
Southeastern and Live From Alabama remain the standard, for me.
April 28, 2017 @ 10:05 am
Sorry, meant the praise for the last single. I agree that I spoke too soon about the “praise” for this one.
April 28, 2017 @ 1:27 am
I feel about these past two Isbell song releases much like how I felt about “Sugar Daddy” by Sturgill (one off song or not)… the songs would be great if they were sung or made by any other artists. But the songs don’t match the quality we have come to know them for.
April 28, 2017 @ 2:39 am
Damnation. Was hoping he’d recorded a version of Lonnie Donegan’s hit by the same name. That would have been a lot more fun than what he has released.
April 28, 2017 @ 3:47 am
Wow. I really don’t like this one. I didn’t think Jason Isbell could make anything dislikable. The chorus, especially, it’s just very weak as are the vocals.
April 28, 2017 @ 4:23 am
I saw Isbell last October and the show was great, he did tend to lean more on the “rock and roll” side of things but played cuts off of almost every album he has been a part of. He even said at one point, and I am paraphrasing “this looks like a rock and roll type of place”. I had a feeling this was going to be the sound he went for on his next record. I am skeptical so far and will likely wait to hear this album in full a few times before throwing any money at it.
Is this going to be the trend for these guys? Sturgill’s album was trending away from Country into every music category, Chris Stapleton released a song yesterday, “second One to Know” that sounds more ZZ Top then Country, which isn’t bad necessarily, both releases from Isbell so far have been more on the rock and roll side of his sound. I guess it’s partially expected from those 3 they are all great guitarists. If Cody Jinks does this I might be just a little upset.
May 3, 2017 @ 8:35 am
Speaking to your last paragraph, I agree with what you’re saying but I will say I’d rather have them explore other genres than phone in their particular brands of country. I’ll miss their country stuff if thats the routes they’ll be taking but at least we got some classics outta them.
April 28, 2017 @ 6:11 am
Not bowled over, but I am liking it more with repeated listens. As is typical with Isbell, it’s the lyrics that carry the song, although I agree with others that the repetitive chorus is a little tiresome. Also, the song ends right when I wanted a guitar solo. 😉
April 28, 2017 @ 6:16 am
I actually think the ragged & distorted production on this track fits the lyrics and feel that Jason was trying to convey quite well. I mean, That 3rd verse is a killer…..
I thought about moving away
But what would my mama say?
I’m all that she has left and I’m with her every day
As soon as the sun goes down
I find my way to the Mustang Lounge
And if you don’t sit facing the window
You could be in any town
April 28, 2017 @ 6:26 am
I don’t know what is going on…huge fan of Jason Isbell and so far I am disappointed. Same with Moreland’s two new songs and Joseph Hubers album as whole.
April 28, 2017 @ 6:59 am
I saw Jason Isbell this past weekend, where he toured with the 400 Unit. It was a very rock-leaning concert. They did a few Drive-By Trucker songs, but even his more singer-songwriter/Americana material had a Southern rock edge to them with the band. I would say that this is definitely the direction he is headed in right now. I don’t know if it is a phase like Sturgill and his horns on the last tour, but Jason put on a rollicking show. “Hope The High Road” really hit live and had more energy than the recording. He also did a new song off the upcoming album called “Vampires,” which is a slower tempo (but not slow) love song. I have a feeling that the new material will sound ok on the record but are at their best live. I also wonder if this is really stretching Dave Cobb’s producing style… this may not be his wheelhouse.
April 28, 2017 @ 7:21 am
Its OK. Jason’s lyrics are always a strong point, I think here as well, but I am of the opinion his music side has become a little bit stale. I can’t really knock it, who am I, but it doesn’t really excite me or draw me in. That’s what I look for in music. I’m thinking this material is probably going to be better in the live setting.
April 28, 2017 @ 7:22 am
Also dissappointed… this doesnt feel like jason isbell. Feels like a remix of greg kihn band-the break up song without a strong hook. Sonically reminiscent of DBT but maybe in standard tuning and cleaned up way to much. This song, if you couldnt hear the words, would fit right into a rocky movie. I like that depressing stuff and i like the way DBT rocks, this falls short on both accounts.
April 28, 2017 @ 7:35 am
Feels like a remix of greg kihn band-the break up song
It did remind me of that song in some places. Sonically, I think this song would have fit in OK on the Here We Rest album.
April 28, 2017 @ 7:23 am
“I really don’t like these last two songs. I’m disappointed in the new sound.”
— people who apparently have not listened to anything by Isbell prior to Southeastern.
April 28, 2017 @ 9:06 am
In fairness…Southeastern is the closest he’s ever gotten to reproducing his chills-inducing live sound.
April 28, 2017 @ 9:36 am
I have his first solo album sirens in the ditch, both the 400 unit albums, and stuff with the drive by truckers. I still dont like these songs
April 28, 2017 @ 8:11 am
Isbell could release an album of his farts and not only would I probably love it, but it would still be better than 90% of the other stuff released these days.
April 28, 2017 @ 8:15 am
“Maybe the Cumberland Gap just swallows you whole” – can’t get this phrase out of my head. I think the repetition gets to how your environment (physical, mental, cultural) exerts such a great gravitational pull on your life’s journey.
reminds me of:
“The past is never dead. It’s not even past.”
—-
It seems that both Jason and Sturgill use rock music to get to the urgency of their message, as if what they’re trying to say is bursting out of them, although the impetus for the urgency is different for both artists. I don’t think it means either of them are done with singer-songwriter or country music, they’ll have plenty of time to release quieter albums in their 50’s, 60’s & 70’s! And how awesome would a rockier Kacey Musgraves album be?! Like with a Kathleen Edwards or Kasey Chambers sound.
April 28, 2017 @ 8:50 am
Kathleen Edwards. Man, I miss her. I saw her only once in concert when she was touring on Voyageur (9:30 Club in DC). One of the best damn concerts I’ve ever been to.
I dig Kasey Chambers, too.
April 28, 2017 @ 9:10 am
I think there’s a lot of people who want Kathleen to put out new music. I know there’s a quite a few people in Nashville (and I’m sure other places) who would like to help her make it happen.
April 28, 2017 @ 8:58 am
It’s rock, I like rock, I’m good with it. I’m not going to put it on when I want country. I actually wasn’t nearly as much a fan of his previous two solo releases as others though. The easy listening/jazz part of Americana sound isn’t my thing.
April 28, 2017 @ 9:10 am
I wish these last two songs had the urgency of “Flying Over Water,” “Palmetto Rose” or even “Super 8.”
I’m sure they’ll be much better live.
May 7, 2017 @ 4:55 am
They are much better live
April 28, 2017 @ 9:37 am
Maybe I’m in the minority but I think this is fucking awesome. This coming from someone who loves his laid back stuff big time as well.
April 28, 2017 @ 9:39 am
I would not buy another album by someone if it was just more of the same as their last album. Why would I do that?
(Raised on the Beatles, the Byrds, Dylan, Hendrix, their goal was to explore, to do something new each time around. I guess people learned to like and expect that from musicians and bands.)
I will buy this album if this is a good indicator of what it’ll be like.
And I prefer live sounding music, don’t mind some flubs if the excitement is maintained.
Great tune, very intense.
April 30, 2017 @ 9:39 am
Right??! I’d sure hate if Flatland Cavalry or Turnpike Troubadours puts out another album as good as their last. Nobody would buy that shit. They should delve into jazz or soft rock.
April 28, 2017 @ 9:46 am
Wanted to also say….. The subject matter/lyrics are outstanding…. this is what songwriting is for, to me.
and also…
“Like so many of the rural areas that mark the birthplaces of American music, hardship seems to be an ever-present burden for the people who dwell there.”
Your review helped me understand the song.
April 28, 2017 @ 9:56 am
Well, you know me. I’ll buy it. Keep him in ‘taters until the next album. And yeah, rock tends to rock a little bit. Who knew?
April 28, 2017 @ 11:33 am
Not a fan of this song. Had a hard time hearing the words over the muddled instrumentation.
April 28, 2017 @ 11:54 am
Sounds like early 2000s Drive-By Truckers fucking 80s U2…can’t say I’m a huge fan. Instrumentation is muddled and seems to get slightly out of sync with vocals/each other at times.
April 28, 2017 @ 12:52 pm
I really like the song. I am anxious to hear the whole album. I see a lot of disappointment in comments, I cannot help but wonder if the new car smell is wearing off or if it is the subject matter that is getting at folks. Both songs we have heard so far rock as hard as anything since “The day John Henry Died” and lyrically his heart is right there on his sleeve for everyone to see. Dang he can turn a phrase
April 28, 2017 @ 1:10 pm
I couldn’t get past the first line before I turned it off. Too Rock for me.
I’ve always preferred Isbell’s “boring” stuff.
April 29, 2017 @ 3:31 pm
Wow. It would really suck if my tastes were that confined.
April 28, 2017 @ 1:17 pm
I like it, it is what you would expect from Isbell lyrically, with turns of phrase that make you stop and say “wow”. That said, I agree with other commenters that the production at times is a little too “muddy” for my tastes. Who am I to question Dave Cobb, but this is one rare instance where I wish they had cleaned up a song more than they did.
April 28, 2017 @ 2:54 pm
What the hell is making that galloping sound in the chorus? That’s the best part of this song. Everything else is…I dunno. I like it but he’s definitely made for an acoustic guitar and minimal accompaniment
April 28, 2017 @ 3:06 pm
I feel like he wrote a song that he knew wasn’t great and when he played it slow and acoustic it stood out as subpar, so he said “what if I sang it like Bruce Springsteen” and fired away, attempting to cover up the flaws with a rock rhythm
April 28, 2017 @ 4:18 pm
I like it a lot.
I could definitely see this getting spins on indie/alt rock radio.
Which may explain some of the criticism, I suppose.
April 28, 2017 @ 5:51 pm
Very disappointed with this song. In the comments section for Hope the High Road, (which I like), somebody paralleled his new album sound with Bon Jovi. This song confirms that. During his Drive By days he wrote and performed amazing southern rock, his last two albums were some of the best Americana/folk music since Bob Dylan. Not a big fan of this song, I hope the rest of the album is closer to Southeastern and Something More than Free.
April 28, 2017 @ 10:20 pm
I don’t think the Bon Jovi thing is a fair comparison at all. Especially since I don’t think Jon Bon Jovi is capable of writing anything half as good as even the most middling Jason Isbell song. Yeah, Isbell might have a more “rock” sound this album, but I expect the lyrics will remain top notch.
Plus, part of me kinda thinks Isbell just wants to break away from the acoustic/folk sound he had the last two album to avoid his sound becoming stale. It’s great and all that Isbell has gotten so much adoration from the “NPR crowd” over the last two albums, but he might understand that it is real easy to get pigeon-holed as the “acoustic guy who writes sad songs”. I’m not gonna fault Isbell for trying something new. Will it work? Who knows, but I don’t mind it when artists like Isbell or Simpson try something new. They have earned the benefit of the doubt in my mind.
April 29, 2017 @ 1:07 am
Hope it’s like Sturgills last album in that it went from hmm to wow when heard as a whole album
April 29, 2017 @ 7:55 am
I’m honestly not a fan of Dave Cobb with Jason Isbell. There is no need for all the over-production. There have been a good amount of songs on the last 2 records that I thought were “meh” until I saw Isbell do it live. The record store day release “Live From Welcome to 1979” was recorded completely live with no edits and it has become my favorite Isbell record. I have a feeling this song will be great live but I’m once again just not crazy about the production.
May 8, 2017 @ 11:29 pm
I’m gonna back peddle a little bit. The song has grown on me, as a lot of Isbell songs do, and I really like it now. Still not crazy about the production but oh well. I will say that I’ve heard Isbell do “Last of my Kind” and “If We Were Vampires” live in studio interviews the past week and thought they were both amazing songs. Hopefully the album versions sound similar to the live versions he did because I will be pretty disappointed if they are over produced and don’t sound as good.
April 29, 2017 @ 5:10 pm
Excellent song.
Lyrics are top notch as I’ve come to expect from Mr. Isbell.
Production on this track is killer. Truly creating a cinematic landscape for his stories.
Always.
Can’t wait for the album.
2017 is shaping up to be a stellar year for new music.
John Mellencamp and Rodney Crowell have both released amazing career defining albums(reviews for both would have been warranted) , Brad Paisley has just turned in a fine release, Willie Nelson continues to defy time with an absolutely amazing new album, Chris Stapleton will soon be touching down, Alison Krauss, Son Volt, Rhiannon Giddens, Justin Townes Earle ,Eli Young Band….and it’s only April.
April 29, 2017 @ 6:26 pm
I absolutely agree with you, but I gotta ask how you can lump Eli Young Band in with all those other artists you mentioned? Eli Young Band has been putting out some truly terrible singles for quite some time now and unless Mike Eli is ready to give up his bro-EDM dream I don’t see that changing.
April 29, 2017 @ 9:33 pm
I guess I am in the minority but I dig this as it sounds like his work with the Drive By Truckers. That is always a good thing for me. I would welcome an album along the lines of Never Gone Change.
April 30, 2017 @ 9:31 am
The production is a little muddy, no doubt. It’s a little better when you listen thru headphones or good speakers though. I agree with the comment about the missing guitar solo outro.
Not about to give up on the album until it’s in my hands for a while.
April 30, 2017 @ 5:00 pm
Mike W.
I’m hoping that the Eli Young Band are going to turn it around.
I think they are one of the most talented bands out there…maybe just got a little sidetracked?
While never truly a “country” band, I thought they were a pretty reliable southern rock band representing Texas just fine.
May 1, 2017 @ 6:38 am
As somebody who lives in the midst of stereotypical rural ‘white depression’ in the Blue Ridge I find that Sunny Sweeney’s ‘Pills’ hits a lot closer to the mark than this. I like it, don’t get me wrong. But it just sounds phoned in from a guy who’s good enough and written around the Southern / Rural experience long enough to be able to phone it in. Kind of like Springsteen’s later work. Give me ‘Outfit’ any day over an album of this stuff.
May 2, 2017 @ 1:31 pm
The vocal effect sounds too much like Springsteen’s “Working On The Highway” for me.
May 4, 2017 @ 9:08 pm
Very disappointed with the two releases so far.
He hit some serious brilliance as a singer-songwriter on his last two solo albums. Those are timeless albums that you can listen to beginning to end and marvel at them. The only shit song on his previous album (in my opinion) was that half assed rock song super 8. These songs both sound like it, maybe worse.
This sounds like shitty rock. The music itself is stale, but why the hell does the production itself also sound so bad? I can barely make out his words and the instruments sound like pure grade shite,