Son Volt

Son Volt

With Uncle Tupelo, the two friends Jay Farrar and Jeff Tweedy led the early 90s to the alternative country music movement until 1994 differences between them had opened, led the to the fact that they then smashing their separate ways. While Jeff Tweedy continued his career with other members of Uncle Tupelo under the new band name Wilco, Jay Farrar pursued his musical vision with his new band Son Volt on, which grossed three albums in the remaining 90, "Trace" (1995), "Straight Aways "(1997) and" Wide Swing Tremolo "(1998). Then Farrar of Son Volt put for a long time on ice to the three solo albums "Sebastopol" (2001), "Terroir Blues" (2003) and "Stone, Steel Bright Lights "(2004) record. Sometime but missed Farrar but again the free exchange of ideas with permanent partners and the surprises that inevitably arise when you work with a group of musician friends. And so he reactivated in 2004 Son Volt with a new cast.

"Solo albums can make be fulfilling, but you will also quickly realize the limits of their own abilities are," admits Farrar. "A band that, by any other experience brings and any all other stimuli are a very different dynamic. These impulses cause an often into the unknown, and that is a good place to make music. "
"American Central Dust" is for "Okemah And The Melody Of Riot" (2005) and "The Search" (2007) Son Volt's third album since the reformation. The new album is a fine specimen fOr Son Volt band dynamics and also for the rigorous aesthetics that Farrar's entire platesœuvre distinguished and be cast in the classical and contemporary elements in stunning new ways.

In the classical sense is this album in an energizing way the tradition of the Byrds, the Flying Burrito Brothers, Little Feat (in the "Sailin 'Shoes" phase), the Rolling Stones of "Exile On Main Street" and the early recordings SEM continues , "We wanted to return to more fundamental issues, both lyrically and musically, to make a more focused board," said Farrar. "In 'The Search' walked us more about expanding the range of song structures and instrumentation. this time I aimed at a certain simplicity, even build the songs. I've probably learned by that I listened to Tom Waits. In his simplicity can be a virtue. "
"How could see already in the previous albums, I have I the habit of daily news to pay close attention," continues Farrar continued. "And one or the other then takes up its way into my lyrics and my music." The material for "American Central Dust" he wrote in the summer of 2008, when it became increasingly clear that the financial crisis America's mid deeply shaken dignity. These twelve songs are about the anxiety of the people in the crisis, as the former confidante was always surreal and confirmed most evil premonitions. "American Central Dust" is an epic lamentation for the so-called heartland of Vereinigsten States. The songs are populated by easily recognizable characters, looking from where the most optimistic rusty against the backdrop of road signs and orphaned factories for love. In this world of "grays and blues", as Farrar writes, grab the people as they struggle to come over the rounds, desperate for all that is still accessible from the "American dream" What remains and for them.
These songs are sung modern equivalents to the photographs of Walker Evans, Robert Frank and William Eggleston: sharply observed, but compassionate images of the eloquent details of everyday life in hard times. Some of them turn out to be psychological Travelogues since Farrar moods captures moving. "I think that I collect ideas for my songs when I'm traveling," says Farrar. "But I'm always aware that people will listen to my songs on the go. Both are so linked together. "

At page Farrar stood in the recordings again drummer Dave Bryson (the live recorded since Farrar's third 2003 solo album "Stone, Steel Bright Lights "laid the crew heard) and bassist Andrew Duplantis (the case of recording of" pushed Okemah And The Melody Of Riot "to Son Volt). For the first time are guitarist Chris Masterson (Farrar to a few years ago discovered, than that played with Jack Ingram) and Mark Spencer (formerly Blood Oranges), which is herein alternately on keyboards, pedal-Steel- and lap steel guitar to hear , Except for Bryson all occur as a backing vocalist in appearance. "The band played in this line-up already about eight months along, as we did last October, the recordings made," says Farrar. Another instrumental dimension also contributed violinist and viola player Eleanor Whitmore.
The recordings were made in Farrar's own studio in St. Louis, which is crammed with equipment, the museum has value. Flott inspired the musicians the song of life and developed it during the recording continues. While certain pieces exude a subdued intimacy to Masterson and Spencer went so far with other songs to flaming interactions, as they are not normally encountered in such folk rock and country rock sessions.

When the recording was complete in the box, over-closing Farrar is the analog tapes producer Joe Henry (who himself songwriter, singer and guitarist, et al already Solomon Burke, Betty LaVette, Ani DiFranco, Meshell Ndegeocello and Elvis Costello Allen Toussaint produced) and engineer Ryan Freeland, who took care of together to the mix. "I liked Joe's production of Solomon Burke's album 'Do not Give Up On Me' and above all his attention to detail, which showed, for example, when re-amping of song and the strategically placed effects," says Farrar. The two met in the early 90's known as Uncle Tupelo toured together with Henry's band. The connection between them was reinforced when Eric Heywood and Jim Boquist, who had played in the joint tour in Joe Henry's band, members of the original lineup of Son Volt were.

In less than three minutes, the opening number "Dynamite" summarizes the themes of the album, in which love sprouting through cracks in the asphalt, and its sounds - literally, tight and timeless - together. "Plastic grocery bags fly from the trees / Proud symbols of cavalier progress", Farrar sings the catchy "Down To The Wire" About a martial beat and the sound seemingly dueling guitars (one with tremolo, the other distorted to the maximum) , What there like a guitar with fuzz sound is actually Spencers Wurlitzer, which was connected to a guitar amp. In "Dust And Daylight" dares to Fidel a two-step with a achtsaitigen fender pedal steel guitar - just such a Sneaky Pete Kleinow used way on the plates of the Flying Burrito Brothers; and Spencer plays its part here with similar passionate soulfulness as once in 2007 died Kleinow.
The song "Sultana", which uses the language of the traditional folk, tells the tragic story of the worst American shipping disaster on the Mississippi River just north of Memphis took its course 1865th "The Titanic of the Mississippi which the Sultana," Farrar sings, his detailed report on the sinking of this ship summarizing. The great river also plays in "Pushed Too Far" a unifying role. The play is about two cities: New Orleans (where he lived for a time in the 90s) and Farrar's hometown of St. Louis. In the song, there are allusions to the N'awlins-blues singer Snooks Eaglin and a native of St. Louis rock'n'roll legend Chuck Berry that there - now 82 years old! - Still occurs.
In "When The Wheels Do not Move" mimics a Fuzztone guitar the sound of grinding flywheel by while Farrar the ruins of a once flourishing pasta industry, which fell "hubris and greed" victim, staring and asks, "Who makes the decision / to feed the tanks and not the mouths / when the wheels do not move? "" This number was last year when gasoline prices in the HÖhe shot, "said Farrar. "I had to think about bands that are just starting their careers and asked me how to do it, Ever still to go on a tour then. Take in a gig perhaps 100 dollars, and it costs more to travel from one city to the next. "

When asked if any of these songs is to be a socio-political commentary, answers Farrar: "Indirectly, but I think this record is a little bit more positive than the previous ones. I was talking the other day with a friend over the past eight years. I have experienced as someone who sits in the car of a reckless driver in the back seat - you're nervous all the time and crying sometimes scared to 'No!'. But to a certain extent some of these new songs are introspective. "
The introspektivste of all is "Cocaine And Ashes", a great, lonely ballad that sounds as if it were a piece of the second page of "Exile On Main Street". The song begins with a the lines "I've had strychnine They thought I was dead / I snorted my father and I'm still alive." Farrar admits that inspired him for this piece the news reports, which stated, Keith Richards had claimed that he had mixed the ashes of his dead father with cocaine and then sniffed. The whole thing was of course only a slightly coarse joke of Rolling Stone guitarist. "Keith's idiosyncratic Liebesbeweis fOr his late father at that time really touched me somehow," says Farrar. "This is Keith's way of doing things; the Einschmeißen drug he knows his stuff. My piece is to be ultimately an empathetic song, and I hope that also comes across. "

Rarely succeed a musical work so powerfully capture the zeitgeist of a historical moment, while honoring the traditions of rock'n'roll with such bony grace. With "American Central Dust" have made a very big hit Jay Farrar and Son Volt.

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