Jason Isbell & The 400 Unit - Weathervanes
I've been listing to this one a lot since it was released.
Yep, it's pretty damn solid from top to bottom. My track-by-track thoughts:
“Death Wish” – The definition of a ‘grower,’ this initially made for an underwhelming introduction. Still, the minor-key song has grown on me tremendously, and when heard within the context of the album, it feels like an obvious album opener.
“King of Oklahoma” – Where “Death Wish” revels in somewhat experimental waters, “King of Oklahoma” is vintage Isbell, a mid-tempo slice of Americana that would be right at home on any of his prior releases.
“Strawberry Woman” – A case could be made that Isbell should carve out more space (or perhaps dedicate an entire album) for his low-key, fingerpicked ballads. The man is aces on his instrument, and it’s on tracks like this where his playing (and vocals) really shine.
“Middle Of The Morning” – With lyrical references to the pandemic, Isbell nails that difficult-to-describe mix of boredom and dread that accompanied lockdowns (something that most of us would rather forget). “Middle Of The Morning” is a fine song (and an obvious single), but if I had to cut one from the album, this would probably be the first to go.
“Save The World” – At first glance, this up-tempo number finds Isbell in his comfort zone, but once you zero in on the thought-provoking lyrics, you can’t help but notice the pure emotion blanketing each and every line. The only thing working against this song is the painfully ‘real’ subject matter.
“If You Insist” — Another understated number, this song is a classic example of an excellent mix elevating an already ‘good’ song to great. From the quasi-shuffle rhythm to the judicious use of strings (Shires for the win!) and organ, there’s a lot going on here. Somehow, Isbell’s vocal floats above it all, preserving the potency of yet another fabulous lyric.
“Cast Iron Skillet” – My favorite of the pre-album singles, this is vintage Isbell and features some of the singer’s best lyrical wordplay to date–instant classic.
“When We Were Close” – Presumably a tribute to Justin Towne Earl (who died in 2020), this floor-stomper is in contention for the album’s loudest moment, and fittingly so, given the subject matter.
“Volunteer” – A mid-tempo gem in six/eight that feels like the spiritual successor to “Stockholm,” “Volunteer” features one of the album’s strongest choruses.
“Vestavia Hills” – A massive-sounding ballad that’s drenched in tasteful leads, this track is yet another example of why Weathervanes features Isabell’s best vocal performance to date.
“White Beretta” – A common theme for this album, “White Beretta” is a prime example of Isbell’s ability to offer a vivid, almost voyeuristic glimpse into someone else’s story via a three-minute pop song.
“This Ain’t It” – A six-minute rocker in the vein of “Anxiety” that features some incredible lead work and some pretty brilliant lyrical sass, “This Ain’t It” has ‘stage-ready-anthem’ written all over it.
“Miles” – A tremendous album-closer that feels like a lost track from Neil Young’s Zuma sessions, “Miles” is an emotionally-charged epic that explores the seemingly inevitable slide that seems to confront all long-term relationships. Tucked away at the end of an hour-long album, this is just the sort of gem that will likely fly under the radar for most casual listeners. For this writer, however, when it comes to the ‘epics’ “Miles” is up there with “Children of Children.”
Topic: What album are you listening to v.8 (Read 186081 times)
