Snobbin: Beautiful Trash in the Pop Culture Gutter

I write about Jason Isbell a lot. And for good reason as he's one of my favorite guitarists and he's a great songwriter and singer, telling hard-edge slice of life stories that anyone can relate to. He made my top ten list for two subsequent records, placing in the number 2 spot for 2011 and 2013. Strangely, and unintentionally, he was beaten out by Ha Ha Tonka both times. This will be my last Isbell post for some time. Probably until his next record comes out, or I go see him live -- I haven't made it to a show since he was touring behind Jason Isbell and the 400 Unit . Lately, I've been hearing that many people don't like the first two albums. While I think Here We Rest is the best, the first two have a number of great tracks. Sure, there is some dross, but no record is perfect. While he has definitely grown as a songwriter deserving the acclaim he has been receiving, some of his earliest tracks still rank among his best. Drive by Truckers tracks, like "O...

10. Black Joe Lewis - Electric Slave (Vagrant) Black Joe Lewis and company serve up a healthy dose of lo-fidelity R and B that will get your ass shaking and leave a spring in your step. Rawer than 2011's Scandalous, but even more driving, if that is possible, Electric Slave pulses from the first dirty notes of "Skulldiggin" until the last of "Mammas Queen." The energy remains palpable and the melodies simmer long after. "Young Girl" is more garagey, but the tempo never lets up. "Dar Es Salaam" is just as manic as Scandalous' best cut "She's So Scandalous." While not as cohesive as that earlier effort, Electric Slave piles on one classic track after another, filtering it through a lens of blues, rock 'n' roll, and funk, and it just never lets up. 9. Subrosa - More Constant Than The Gods (Profound Lore) Salt Lake City's Subrosa slowly infiltrates the psyche. Their albums are like little else out there an...

Jason Isbell's Southeastern, is a rare thing -- an honest, singer-songwriter record that strikes a truly personal vein without drifting into the realm of the precious or overwrought. Isbell, wearing his proverbial heart on his sleeve, is getting the kind of press that he hasn't seen since he was part of the Drive-by Truckers. He might finally be leaving that part of his career behind, so that he can be respected on his own as the fine song writer that he has become with each successive record.   Southeastern's stripped-back arrangements allow the songs to breathe. His character sketches remain strong; in fact, they seem more grounded in reality than they have before. Isbell has created a record with truly believable characters, something he has been groping towards since Sirens of the Ditch. Here he is entirely successful because he doesn't try to experiment as much. Siren's great songs ran the gamut of rockers, blue-eyed soul, and folk. While they showed Isbell...