Isbell stays true to Twitter promise and releases new cover album

“If Biden wins Georgia, I’m gonna make a charity covers album of my favorite Georgia songs,” marks Jason Isbell’s Twitter on November 5th, 2020. A year later, he delivered on his promise with his brand new album, Georgia Blue. In another life, Isbell could have been a historian and scholar of any sub-genre that may find itself under the umbrella of country music. So when he decided to put this cover album together, it could’ve easily been guessed that only the most prolific and profound Georgians would make the list. From covers ranging from REM to James Brown and features ranging from Brandi Carlile to Béla Fleck, Jason Isbell and the 400 Unit are able to capture and entertain audiences through Georiga’s rich musical history.

“Nightswimming” kicks off the album featuring a banjo and acoustic guitar with a cover of one of Georgia’s most famous groups, REM. Being joined by Béla Fleck and Chris Thile, a grand piano is replaced with strings creating a sort of James Taylor’s effect—simplistic yet highly pleasing melodies lightly play behind the track’s intricate wordplay. After this cozy song, Isbell decides to change it up. Covering Drivin N Cryin’s “Honeysuckle Blue,” Isbell and the 400 Unit get to enjoy the viciousness of southern rock that sometimes makes an appearance in their music. From the first second of the song, this untamed sub-genre of country music is apparent. What makes this track particularly interesting—other than its hard guitars—is that Isbell invited his guitarist, Sadler Vaden, to sing instead of him on this particular track.

From here, the curtain is lifted for the first Motown cover with James Brown’s “It’s a Man’s, Man’s, Man’s World.” Aligning with who Isbell is as a person and his penchant for sharing the spotlight with those he deems deserving, he does not sing in this track at all. Instead, it’s carried by the church-taught, Baltimore-born powerhouse, Brittney Spencer. Being told from a woman’s perspective gives the lyrics new meaning; along with its bluesy swagger, this cover is one to watch out for.

The next time Isbell’s voice is heard is in his cover of the old Otis Redding tune, “I’ve Been Loving You Too Long.” Adhering to the calming and sentimental feel of the original, Isbell is too creative to leave out electric guitar riffs and rising strings to create his own version. Refusing the borders put on genre, Isbell and his unit climb back into the lap of southern rock with “Sometimes Salvation.” Just like any Georgia rock album would be incomplete without REM, it too would feel light without The Black Crowes and the energy that they bring. Isbell’s graveled vibrato croons over the violent drum strikings of an original band member, Steve Gorman.

Brandi Carlile and Julien Baker get features on this album and bounce off of each other seamlessly. In “Kid Fears,” an Indigo Girls cover, Carlile’s hauntingly gorgeous voice moves across the song, creating a foundation, while Baker provides punchy phrases and harmony. Mostly consisting of acoustic instruments, it allows space for Carlile and Baker to play off of one another. In this specific song, the only trace of Isbell can be found in the background at the end of this track.

At the end of the project, Brittney Spencer makes a comeback to take the reigns of another Motown song that Isbell knew (correctly) that she would perfect. “Midnight Train to Georgia” proves difficult to cover because of Gladys Knight’s vocal range; however, Spencer does Knight and the song its due justice. This Motown cover isn’t the only place that Isbell seems to find a groove at the end of the album. “Driver 8” is the final track on an album bookended by REM covers. Lighter and more lively than the opening song, Isbell’s signature acoustic drum and guitar sound give the instant knowledge that he is behind it. Though the drums are light, they offer a sense of urgency that is guided along by the longing in Isbell’s voice.

Though Georgia Blue may be a slightly unusual album, it holds up in multiple ways. First of all, it is yet another example of Jason Isbell continuing to deliver high-quality music. Also, seeing an artist hold true to a Twitter promise more than a year old is something that does not happen every day. Finally, the way he went about making the album—the charity and the tribute—speaks to his genius not only as a musician but as a person as well.