Everly Brothers tribute album is fresh yet timeless

The idea of jazz singer Norah Jones and Green Day frontman Billie Joe Armstrong collaborating on a country album is plain bizarre. The smooth crooner and the punk rocker are on opposite ends of the musical spectrum — a fusion of the two would be pure mayhem ... right?

With their Nov. 25 record, “Foreverly,” the unlikely pair completely shatters any and all expectations. Inspired by the Everly Brothers’ album “Songs Our Daddy Taught Us” (1958), “Foreverly” pays tribute to the legendary duo with a beautiful 12-song collection. A project like this could have gone seriously awry had Armstrong and Jones tried too hard to replicate the original versions of the songs. However, they manage to recreate the mellifluous harmonies and old-time feel of the classic album while simultaneously giving it a fresh 21st century makeover. It certainly helped that the record they chose to remake consists of classic Americana/folk tunes that the brothers reinterpreted themselves. “Foreverly” isn’t simply a set of Everly Brothers covers; it delves into the hearts of these traditional songs and revitalizes an almost-forgotten era of music.

Vocally, the album is almost flawless. Abandoning the rowdy, affected yell that works so well with Green Day, Armstrong reveals a remarkable tenderness and subtlety. Though his Green Day repertoire does include some ballad-esque tunes (remember 2004’s “Wake Me Up When September Ends”?), Armstrong’s voice in “Foreverly” is that of a far more mature man. Alongside Jones’ silky smooth harmonies, Armstrong’s vocals are pure magic. This, as well as tastefully added instrumentation and creative arrangements, is what makes the record so enjoyable.

“Roving Gambler” is the perfect opening track. It starts off with the strums of a simple acoustic guitar and eventually segues into a duet from Armstrong and Jones. The addition of Jones’ higher voice accentuates the beauty of the harmonies, further demonstrating the amazing blend of the two singers. While the intro stays true to the Everlys’ mellow version, the pace quickens as a thumping bass drum kicks in. Soon, the energy picks up even more with a full-fledged beat accompanied by the wail of a harmonica. These elements flesh out the tune as different sections come together like missing parts of a story started by the Everly Brothers and now completed by Armstrong and Jones.

The next song, “Long Time Gone,” is another highlight of the album. Calm but cutting, the lyrics talk about leaving an unfaithful lover: “You’ll regret the day you see me leaving / ’Cause when I leave, I’ll be a long time gone.” Armstrong and Jones’ joint falsetto during the refrain, along with the momentary absence of the drums, sends chills down the listener’s spine. Aside from these dynamic changes, the guitar solo also stands out, complete with classy double bends and pretty picking patterns.

The fifth track, “Down in the Willow Garden,” digresses from the previously upbeat tone of the album. Jones’ angelic upper register is well suited to this ominous tale of murder. In the context of the song, the purity of her voice is Siren-like — haunting and dark, yet remaining absolutely flawless. Though Armstrong may not stand out as much on this number, a close listen will reveal an emotive, heart wrenching vocal delivery. Throughout the song, gentle piano trills and long strokes of a violin create a somber backdrop that ultimately fades out, leaving eerily faint guitar feedback as an afterthought.

Armstrong takes a more pronounced role in “Barbara Allen,” while in “I’m Here to Get My Baby Out of Jail,” Jones dominates. The former sounds like a typical Green Day song with a couple of fiddles tossed in. Without Jones continually masking the rougher parts of his voice, Armstrong loses sight of some of the finer nuances that make the Everly Brothers’ version so poignant. Similarly, when Jones takes the lead on the latter, she regresses to her signature sultry, jazzy origins. It goes without saying that her style lends itself to the music more than Armstrong’s, so in this case, the sound works to her advantage. While neither song is bad by any measure, they don’t represent the best of the album. Indeed, the strongest moments of the album always involve stunning duets.

By joining forces, Armstrong and Jones took a risk. Needless to say, it paid off because “Foreverly” is surprisingly warm and enchanting. The success of their collaboration goes beyond just album sales. They’re introducing a set of classic songs to largely oblivious younger audiences, rendering them timeless. What’s more, the two have found in each other a promising collaborator who can tackle musical endeavors with prowess. Let’s just hope that this partnership lasts “Foreverly.”