Album Review – Jason Eady (Self-Titled)
Jason Eady can do what they can do, but they can’t do what Jason Eady does, which is strip it all back and have the appeal for the music rest entirely on the written composition of a song. Even the most minimalist of performers have to rely a little bit on style, groove, or some sort of window dressing. But for Jason Eady, it’s almost like a type of Zen to him—trying to find the slimmest, most fragile accompaniment to his words as possible where you can’t help but allow the theater of the mind to take over, and your thoughts be submerged in the story and message.
Such methodology in music is usually reserved for the shoegazing solo folk performer, or the stool-perched singer songwriter. Even going solo acoustic is in some ways its own musical accoutrement. But Jason Eady is definitely country music. He says he wanted this self-titled album to be a work he could replicate without electricity, and aside from a few contributions from steel guitar maestro Lloyd Maines, this is true.
It wasn’t always this way with Jason Eady though. The early records of his career are virtually unrecognizable from where his is today. In 2012, Eady released AM Country Heaven, and that’s where this run of songwriter-based, stripped back, but still somewhat hard style of country music began. This is also when Eady started to work with producer Kevin Welch, who collaborated with Eady on the equally-loved Daylight & Dark, along with this newest one. The writing is mostly Eady’s, but a few other notables chime in, like Channing Wilson, Trishas alums Jamie Lin Wilson and Kelley Mickwee on the song “Drive,” as well as Larry Hooper, Adam Hood, and Josh Grider who collaborate on one of the best songs on the record, “Barabbas” (read review).
As you can imagine, the songs are what the listener takes away from this self-titled album. This isn’t a knock on the players or Jason Eady’s performance, but the songcraft is so striking, it quickly becomes the centerpiece, even more so than the previous two records in this era of Eady’s career. His well isn’t running dry, it’s just now finding the sweetwater.
What comes across most starkly on this record is Jason Eady’s use of perspective in his writing. To put himself in the shoes of the man let free so Jesus could be crucified involves a depth of insight most of us just don’t have the discipline to explore. The timely “Black Jesus” pulls a similar maneuver, only more involved. This song is only capable from someone with a knack for seeing the world through someone else’s eyes, but exhibiting even more dexterity of perspective, Eady then looks back at himself through that same pair of foreign eyes to gain a whole new level of insight on his own original perspective not just to see the differences, but to espouse on the universal similarities. This is one step beyond what I believe the Millennials refer to as “meta.”
“Genie in a Bottle” is a little more classic in its songwriting approach, but still just as potent in its message. And Jason Easy doesn’t shy away from getting deeply personal in his songwriting, like the song “Not Too Loud” about the aging of his child, or “40 Years” pondering the aging of himself. The writing is intelligent and involved, but the stories and lessons are for everyday people and universal moments that range from the pleasant to the heartbreaking, and to the seemingly mundane that reveal themselves as prophetic.
Just like the moments in life, the more you listen and observe, the more a song can reveal its wisdom. It’s not just minimalism that’s at the heart of Jason Eady’s genius, it’s also the slow, careful pondering of moments. This is music for slowing down to—for taking stock.
Similar to how it takes a lot of discipline to resist the temptation to add layer upon layer of music to these songs of Eady’s, so does it take a level of discipline from the audience to settle themselves, and pay rapt attention to these songs without the showbiz or catchiness to suck you in. Jason Eady challenges you to listen, and though you will find few more revered songwriters by his peers throughout the Texas scene, Eady still remains a more niche performer because of this. There’s just not the infectiousness you’re going to find with the Turnpike Troubadours, for example.
And that’s okay. Because Jason Eady could do that if he wanted, and he chooses instead to play for those who are more apt to listen intently, and be patient for a story to develop. Whether that’s a few or many doesn’t matter as much as shepherding a song to the world in its most pure and potent form.
1 3/4 Guns Up (8/10)
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Josh Calahan
April 21, 2017 @ 8:37 am
Great review as always Kyle. I’ll give this album 10/10, two guns up after a few spins. Thanks for putting Mr. Eady on my radar with the Barabbas review a few weeks ago.
Kevin Broughton
April 21, 2017 @ 11:35 am
Best country album of the year.
jtrpdx
April 21, 2017 @ 8:40 am
Great review. In my view, Eady is right at the top of the best singer songwriter / country artists out there right now, and doesn’t get nearly enough recognition. Even vs. the Americana guy and Southern Rock guy who are fawned upon by the press as being the leaders of the non-radio country scene (not saying Trigg has said that). AM Country Heaven and Daylight & Dark are also superb country albums.
Whiskeytown
April 21, 2017 @ 9:42 am
Agreed. I’ve said it in previous post that Eady has everything it takes to be on that next level. Can’t wait to listen to this album, from Trigs review, sounds like Eady nailed it with this one.
You’ll be hard pressed to find another artist that can write, sing and play straight up country music like Eady does. Songwriting alone puts him in a league of his own. But to have it all in one package, pretty awesome and we are hearing it album after album. Glad to see he’s growing into himself from each release.
Ryan
April 21, 2017 @ 8:45 am
Good stuff.
I have to admit, I was turned off by the promo shots and album art for this release when they first came out.
“Oh, look how writer-ly he is. Sitting n a coffee shop, with his cup o’ Joe, trusty journal, and a pencil (of course), putting those feelings onto paper. Oh, and look! There’s the head of a guitar, too!”
It was too much like those damn curated lifestyle Instragram accounts.
But then I realized I was just being a little cynical and at least he backs it up in his songwriting.
Corncaster
April 21, 2017 @ 8:55 am
“trying to find the slimmest, most fragile accompaniment to his words as possible where you canโt help but allow the theater of the mind to take over”
now we’re talkin’
great review, Kyle, you have a great talent for empathy, and I believe that’s what deepens your criticism
I’ll pick this one up, Eady is a good guy. can you imagine him song-sharing with Scott H Biram? Jekyll and Hyde
TheRealBobCephus
April 21, 2017 @ 9:02 am
This is kind of an aside, but Barabbas is in G#, and I am always fascinated when a musician chooses to play a song in a key like that. It’s right between two wheelhouse keys (A and G), like why not just go up or down the half step and take the mental gymnastics out of it. Of course, guitar players are probably using capos, but a fiddle player would be hung out to dry.
Corncaster
April 21, 2017 @ 9:10 am
Probably more traditional to call that Ab instead. For guys with his kind of voice, the comfortable keys are flat ones: F, Bb, Eb, and Ab. Some Merle keys: “Holding Things Together” (Bb), “I Never Go Around Mirrors” and “Red Bandana” and “That’s the Way Love Goes” (Eb), “Workin’ Man Blues” and “Kentucky Gambler” (Ab). Hell, he sings “The Way I Am” in Gb.
It’s not unusual for someone to call a jazz blues in Db.
Megan
April 22, 2017 @ 12:05 pm
Corncaster makes a great point, but I’ll add the darkness of that key makes that song, in G or A it’s too bright.
albert
April 22, 2017 @ 9:14 pm
……don’t know this song specifically …but as a singer I can tell you that there is a sweet spot in a vocalist’s range which allows her to deliver without struggle and enables a conviction …….often those considerations don’t adhere to any laws of key choices that may make life easier for an accompanist . George strait likes Eb . C’mon man …E flat ?..just sing it in E why dontcha ? Nope …its gotta work for the vocalist , not the support crew . Besides , a guitar player gets to use a capo . A pianist or steel player or mandolinist , on the other hand , may be tempted to question their vocational choices at times . Saying this , though…..sometimes its simply the vibe of a certain tuning of the guitar …or the voicing it allows in those odd keys which gives the song an otherwise missing but integral characteristic . ( simple drop D , for example )
Corncaster
April 21, 2017 @ 9:03 am
dammit Jason
the guitar is John Prine, great, but you don’t have to *sing* like him
Merle sang from his belly and had a strong, pure baritone — you can too, but you gotta sing OUT more, and sustain those notes
Trig, I have this theory that we’re seeing a whole generation of male singers who’ve grown up singing into microphones. as a result, their voices are soft. they don’t project. there are exceptions, yeah, but I think it’s a tend, and it invites the idea that the males are singing tentative-like
that’s part of why Sturgill caused a stir — initially, he was a BIG voice, singing out, sturdy and defiant — and now, dammit, he often sounds like he’s swallowing the ends of his notes, like he has to back off for some reason
WTF
Eady, sing your ass off. we got your back.
Whiskeytown
April 21, 2017 @ 9:45 am
Interesting points. Can’t say I disagree with them.
OMFS88
April 21, 2017 @ 9:52 am
I like this guy
jtrpdx
April 21, 2017 @ 2:24 pm
Interesting point. However, I do think the overall feel, tempo and bare-er bones approach of the songs on the album fit his delivery just fine. As it relates to Sturgill, I agree that his vocal delivery sometimes leaves a few things to be desired on the slower tempo, less vocal forward songs on ASGTE, or a sonk like “The Promise”. I think he simply has a harder time than most maintaining clarity when he slows things down and sings more softly, and he doesn’t strike me as a guy who would get a vocal coach at this point, but who knows!. Also, as it relates to the recording and mixing quality of the ASGTE vocals, I think the final product would have benefited from someone in the studio critiquing and pushing him to do a few more takes or try things with a different approach. That’s what happens when you record an album in basically 5 days though…and produce it yourself.
jmarsh123
April 21, 2017 @ 9:37 am
I’m only about halfway through but really digging it so far. Was a bit worried it would be too minimalist from your review, but there is musical depth and complexity. It complements the lyrics well. It kind of reminds me of Brent Cobb’s album.
bless
April 21, 2017 @ 10:13 am
Love Eady. Some of these songs remind me of his earlier stuff as much as his AM Country Heaven and beyond material.
Des
April 21, 2017 @ 10:20 am
Jason Eady’s “Daylight & Dark” is one of the best country albums I’ve ever heard, and I have listened to it just as much as Sturgill’s “Metamodern Sounds..” since its release in 2014. I’ve now listened to this outstanding new album four times in the past 12 hours. It is a beautiful album that won’t have you tapping your foot to the honkytonk sound like “Daylight & Dark”, but I found myself focusing on the lyrics and contemplating their meaning. Songwriting is Jason Eady’s strength and he displays his talent in a captivating and throughly enjoyable way on his self-titled album. The album is just 33 minutes long, but quality over quantity is always welcomed in a music industry where that is not the norm.
Megan
April 22, 2017 @ 12:09 pm
Loose paraphrase from my review: Everyone was giving Sturgill Simpson Album of the Year in 2014, but if Country exclusive had existed, that would have belonged to Eady and Daylight and dark and without question.
Daylight and dark is one of the best country albums I’ve ever had the privilege of listening to…and this is a nice follow-up.
Jimmy Row
April 21, 2017 @ 12:13 pm
Praise the Lloyd! Glad to hear he’s still playing!
Kross
April 21, 2017 @ 12:14 pm
I like it. Hell of a nice guy too. I’m still glued to the Sam Outlaw record, but this is part of the new rotation
Corncaster
April 21, 2017 @ 1:32 pm
another promising writer is Holly Macve (“macvee”), from Galway — Trig, she on your radar? she was at SXSW and should’ve left a trail of open mouths and pounding hearts
Trigger
April 21, 2017 @ 4:59 pm
There were a lot of people at SXSW. A lot. Holly Macve is on my radar.
WRS
April 21, 2017 @ 3:47 pm
Jason is one of the best country singer/songwriters out there right now. I wish he got the recognition he deserves, it’s a damn shame that he isn’t more popular than he is.
Todd Villars
April 21, 2017 @ 6:46 pm
The modern day Don Williams, one of my favorite artist, another awesome album from him.
HayesCarll23
April 22, 2017 @ 11:29 pm
Speaking of Don Williams. Does anybody know where to purchase a physical copy of that new tribute album coming out, besides Amazon? I tried to pre-order on Amazon and I think it is sold out.
Wayfast
April 21, 2017 @ 7:09 pm
If this isn’t a 10, I don’t know what is. I’d be lying if I said “Not too hard” didn’t make me tear up on the first listen.
hoptowntiger94
April 21, 2017 @ 7:50 pm
THE DROUGHT IS FINALLY OVER!!
This was the longest stretch of no new music that I can ever recall – March 10 ( Marty Stuart ) – April 21 (Jadon Eady). 6 weeks!
HayesCarll23
April 22, 2017 @ 6:38 pm
Nah, Rodney Crowell and Sam Outlaw were two good releases in between.
hoptowntiger94
April 23, 2017 @ 8:36 am
Sam Outlaw is not for me. Nothing wrong with it, just not my style.
I have not listened to Crowell’s new album, yet. However, it’s been since Houston Kid since he released something I loved.
Scott S.
April 21, 2017 @ 8:21 pm
Been listening to this album all day. I love it. I’ve said it before, and I’ll say it again, Jason has one of the best voices in Country Music and deserves as much recognition as anyone out there.
DT25
April 22, 2017 @ 12:50 am
Trigger, just wanted to thank you for all your hard work. Because of you I’ve found SO MUCH new music in the past few years that I never would have heard of otherwise. I bet it accounts for half my iPod. Didn’t know I liked country music until I heard what it’s really supposed to sound like. Thanks!
DT25
April 22, 2017 @ 1:00 am
Black Jesus is fucking awesome.
sbach66
April 22, 2017 @ 8:12 am
What a great album. Trigger helps deplete my bank account once again.
jimsouls
April 22, 2017 @ 9:19 am
Really fine songwriting. An excellent year for new, roots-oriented music continues. I purchased nine April 21 albums on release day. That has definitely not happened before. Here are the nine. The only clunker is Sheryl Crow. Never cared about her music, but a reviewer suggested that it was the “perfect” summertme record. Scratch that reviewer off my list. I place Ray Davies, Robyn Hitchcock (Anne McCue on lead guitar) and Charliue Worsham at the top of this list. I like Angaleena Presley’s writing, but feel the risks she takes sometimes obscure the songs.
Be Myself โ Sheryl Crow
Americana โ Ray Davies
Robyn Hitchcock
Jason Eady
Turn Your Face to the Sun โ I Draw Slow
So It Is โ Preservation Hall Jazz Band
Wrangled โ Angaleena Presley
The Last Rider โ Ron Sexsmith
Beginning of Things โ Charlie Worsham
ShadeGrown
April 22, 2017 @ 10:08 pm
You should ad Joseph Huber’s “Suffering Stage” to that list
jimsouls
April 24, 2017 @ 8:40 pm
Great idea. Maybe I can get it in a trade for the Sheryl Crow album ๐
Larry
April 22, 2017 @ 9:24 am
Great album and great review. I hadn’t paid attention to him before this and now i’ve listened to his entire body of work twice in the last two days!
Megan
April 22, 2017 @ 12:14 pm
Jason Eady is one of the most underrated names in Texas and really in all of country music today.
Doug
April 22, 2017 @ 7:42 pm
Outstanding review.
Bertox
April 23, 2017 @ 10:05 am
Did anyone go catch Jason’s set at Cactus Records in Houston for Record Store Day yesterday? I almost went, but decided to go to the Continental Club to see the Cornell Hurd band instead.
Jtrpdx
April 23, 2017 @ 10:33 pm
Good question. On another note, I did ask my local hipster record store on Saturday if they had a pressing of the new Eady album, and they looked at me like I was from Mars. This is Portland, OR after all, and hipsters will be hipsters, so I wasn’t too surprised.
pjflyer
September 20, 2017 @ 12:37 pm
“Jason Eady can do what they can do, but they canโt do what Jason Eady does”
-huh?