Album Review: Jason Isbell and the 400 Unit- The Nashville Sound

By evoking peak-era Bruce Springsteen & the E-Street Band during Ink’s Middle of the Map Festival at the Uptown Theater in May, Jason Isbell and the 400 Unit’s concert at the Uptown Theater momentarily restored my faith in the viability of traditional rock and roll.  The best songs on the setlist- “If We Were Vampires” and “Hope the High Road”- acted as previews of the forthcoming The Nashville Sound.  It’s a drag, consequently, that those songs are far and away the album’s best tracks.  I’ll probably listen to “If We Were Vampires and “Hope the High Road” for the remainder of my life, but I’m just not down with the rest of The Nashville Sound.


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I wrote a feature about Oleta Adams for KCUR.

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I reviewed Ann Wilson’s concert at the Uptown Theater.

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I reviewed George Clinton and Parliament-Funkadelic’s appearance at the Boulevardia festival.

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Willie Nelson was rained out on Saturday, but I reviewed opening sets by Dwight Yoakam and Robert Earl Keen.

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Concerts by John Legend and Portugal. The Man were my shows of the week for The Kansas City Star and Ink magazine.

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I named My Brothers & Sisters the KCUR Band of the Week.

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I take note of Gerald Spaits latest release at Plastic Sax.

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My weekly music previews for The Kansas City Star are here and here.

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Prodigy of Mobb Deep has died.

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Ben Goldberg School’s The Humanities is RIYL Henry Threadgill, the combination of clarinet and accordion, Don Byron.

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I had a spiritual epiphany while listening to the opening selection of Ahmad Jamal’s excellent new Marseille. Here’s a music video for the fourth track.

(Original image by There Stands the Glass.)

Más Música

I went to Mexico with the intention of rejuvenating my mind and resting my ears.  It didn’t work out.  I spent my evenings at a beach festival that showcased the folkloric music and dance styles of Latin America.  I caught dozens of amazing performances by ensembles from Chile, Argentina, Guatemala, Costa Rica and various Mexican states while sipping on dollar beers.  The rest of the music I heard was involuntarily imposed on me.  The hits that blasted in almost every public space drove me to distraction.  I must have heard Luis Fonsi’s “Despacito,” Juan Gabriel’s “Queiro,” the Eagles’ “Hotel California,” Bruno Mars’ “Uptown Funk” and Toto’s “Africa” a dozen times apiece.  Por qué?


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I spent the last three nights at Ink’s Middle of the Map Fest.  I reviewed a concert by De La Soul, Talib Kweli, Ro Ransom, Stik Figa and the Indyground crew on Saturday.  I admired Jason Isbell and Strand of Oaks on Friday.  I critiqued Erica Joy, the Uncouth, 34 and Jaenki on Thursday.

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I examined the 1975 in a preview of the band’s concert at Starlight Theatre.

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I praised Ibérica, the beguiling new album by Matt Otto and Ensemble Ibérica, at Plastic Sax.

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I write weekly music previews for The Kansas City Star and Ink magazine.

(Original image by There Stands the Glass.)

Concert Review: Jason Isbell and the 400 Unit at Crossroads KC

I'd worked up a mean thirst by the time Jason Isbell and the 400 Unit hit the stage at Crossroads KC last night.  Yet I'd already determined that I wasn't going to have a single drink.

After writing a few of the most harrowing songs about substance abuse of the past twenty years, Isbell has gone straight.  An excellent profile in The New York Times examined Isbell's recovery.  Out of respect for Isbell's bold change of course (as well as for the sake of my bank account), I abstained.

Based on the strength of the new album Southeastern, I knew Isbell and his band would be solid.  I wasn't sure, however, if he'd be willing to dip into his past work.  Much to my delight, he sang the disturbing ode to suicide-in-slow-motion "Goddamn Lonely Love" from the Drive-By Truckers' classic The Dirty South album with conviction.  "Codeine" and "Outfit" were similarly exceptional examinations of the dark side of life. 

As if to offer further proof that he wouldn't let his new perspective prevent him from addressing songs about decadence, he and his band covered the Stones' sordid "Can't You Hear Me Knocking."  Isbell is a hero.


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A remarkable footnote regarding last night's concert: Almost 1,000 people paid $18 or more to hear Isbell, American Aquarium and the Turnpike Troubadours even though the show conflicted with two free performances by country notables- current Nashville hit-makers Gloriana at the KC Live! stage and BR549's Chuck Mead at a suburban shopping center.  Kansas City really loves its country.

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Slim Whitman has died.  His 1951 version of "Indian Love Call," of course, is one of the most amazing documents of the 20th century.  And gee, does anyone else remember these Whitman infomercials?

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Let You Tell It is Stik Figa's new three-song EP.  RIYL: Mos Def, Tech N9ne, Topeka.

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The Guardian takes notice of Radkey.

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TIm Finn checks in with the Pedaljets.

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The jazz trio of Massot, Florizoone and Horbaczewski is RIYL Astor Piazzolla, Howard Johnson, travel.

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Regular reader BGO shared an amazing document with There Stands the Glass.  In an essay published by Negro Digest in 1961, Duke Ellington suggests that "Rock-and-roll is the most raucous form of jazz, beyond a doubt; it maintains a link with the folk origins, and I believe that no other form of jazz has ever been accepted so enthusiastically by so many."

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Are we living in the golden age of French pop music?  Maître Gims' "J'me tire" is RIYL: Akon, Wyclef Jean, Justin Timberlake.

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Have you heard ELEW, aka Eric Lewis? RIYL: Scott Joplin, Art Tatum, Brad Mehldau.

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Bill Frisell's Big Sur is spectacular.  RIYL: string quartets, Charlie Haden, Eric Dolphy.

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Gummy Soul created a mashup of Big Boi and Otis Redding.

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Kansas City Click: My official picks are published here.

(Original image by There Stands the Glass.)