Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farrar)

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cortez the killer
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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by cortez the killer »

Yeah, Pitchfork seems to have grown very tired of Jay. Oh well...
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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by RolanK »

cortez the killer wrote:Yeah, Pitchfork seems to have grown very tired of Jay. Oh well...


What's the point they are trying to make? The album isn't any good because you can't dance to it?

(I haven't heard the album yet so I wouldn't know)
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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by cortez the killer »


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Stephen Deusner - Pitchfork Reviewer

Consider the source.
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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by Kudzu Guillotine »

Reviews for Farrar's book, Falling Cars and Junkyard Dogs, are starting to roll in as well. This one is from Esquire:

Jay Farrar's Tales From the Road

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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by RolanK »

cortez the killer wrote:

Image
Stephen Deusner - Pitchfork Reviewer

Consider the source.


Don't know that guy from before, but I just checked on their (Pitchfork) display of Best Music on the web site. Just to confirm they obviously live in a different universe than me. I guess I kind of allready knew that. Ironically, the "hip" music press over here constantly quote Pitchfork as if they were the keepers of some universal truth in music. Same goes for the hipster festivals. You can't book a band unless it's been approoved by Pitchfork. Lazy bastards.
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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by StormandStatic »

They do seem to knight a lot of bands, but sometimes they get it right. I've bee a fan of Katie Crutchfield/Waxahatchee for a long time, but they're helping to give her new album the coverage it deserves. That her shows will be swarmed by slimy hipsters is just part of the equation, I guess.

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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by cortez the killer »

Do honky tonk angels still walk this ground?
Image
“Honky tonk music is about heartache, heartbreak, the road.”
- Jay Farrar

Since the last Son Volt album, Jay Farrar has spent his time collaborating on a pair of projects focused on two of his heroes - one literary (Jack Kerouac) and one musical (Woody Guthrie). He also filled time playing pedal steel guitar in a St. Louis-based, country cover band, Colonel Ford. Learning how to play pedal steel inspired Jay to immerse himself in honky tonk music. This plunge into classic honk tonk is what drove Jay to write and record the music for the seventh Son Volt record, Honky Tonk. Honky Tonk was recorded over a two week period in Jay’s St. Louis studio. Back for more are Mark Spencer (bass, pedal steel, keyboards) and Dave Bryson (drums). Added to the fold are Brad Sarno (pedal steel), Justin Barnum (fiddle), Thayne Bradford (accordion) and Gary Hunt (fiddle, mandolin, electric guitar). The original Uncle Tupelo album, No Depression, took its primary inspiration from The Carter Family. Several decades later, Jay mines from a similar time period for inspiration. This honky tonk pre-dates the Buck Owens/Merle Haggard brand. The inspiration here is the honky tonk music played by Ernest Tubbs, Kitty Wells, Hank Thompson & Webb Pierce. Jay went far back in time, but still kept true to his own muse. In a recent interview he stated, “I realized I also wanted these songs to sound more contemporary and modern. There was no strict adherence to methodology of the past. You never want to be a nostalgia act.”

“Hearts and Minds” (8)
Circumstance, left to chance. That’s when the romance fires did burn.
We open with a song about the double-edged sword of love. We know the dangers, but we ignore them and jump in headfirst. “Hearts and Minds” mines similar territory that “Dynamite” and “Dust of Daylight” did on American Central Dust. Musically, the twin fiddles are on full display. This is a rare Son Volt song you can dance to, as it sounds like a mariachi band performing a country waltz.

“Brick Walls” (6)
Your heart is your fortress, ramparts and shackled doors.
Where the opening song detailed how easily we follow the lure of love, the next song details someone who refuses to allow it to enter their heart - protecting it with “brick walls and barricades.” As a wise man once said, “Fool me once, shame on you. Fool me twice, shame on me.” Fiddles present here again with some really nice pedal steel.

“Wild Side” (7)
You push that stone uphill. Nothing can change your way of living.
I’ve gotta believe this was inspired by Hank Thompson’s song, "The Wild Side of Life". While the subject matter is different, the inspiration is there. Unlike the Thompson classic, this song mines similar territory that “No Turning Back” and “Roll On” did on American Central Dust - those willing to to blaze their own trail paths, thumbing their noses at conventional wisdom. In other words, living on the wild side.

“Down the Highway” (9)
There’s a world of wisdom inside a fiddle tune.
THIS sounds like an outtake from Boquist Brothers-era Son Volt (Trace - Wide Swing Tremolo). Pedal steel melting all the fuck over the place. Mandolin killin’ it. The biggest irony is the absence of fiddle on a song that laments the “world of wisdom inside a fiddle tune.” Jay’s acoustic guitar sounds very crisp here. One of the central themes of honky tonk on full display here - love of ‘the road.’

“Bakersfield” (6)
In the fields of the valley, the sweat and toil, one with the land. No cup of gold, no Candy Mountain. No better place to make a stand.
After a trio of mid-tempo numbers, Jay delivers another danceable track, dripping with twang. Jay sings about those who work hard all week and play hard on the weekends - the ultimate honky tonk heroes. “Bakersfield” is the one song on Honky Tonk that sonically resembles that classic Buck Owens/Merle Haggard sound.

“Livin’ On” (7.5)
There’s a reckless side of tradition, a push of the tides having its way. Conventional wisdom doesn’t offer burning answers on display.
Jay evokes some of his favorite themes both past (time, “the river”) and present (matters of the heart). Musically, pedal steel and a rolling organ are featured. We get a splash of a rare electric guitar as well. Lyrically, this is a very strong song.

“Tears of Change” (7)
To believe in this love is to travel to the reaches and beyond without fear.
The classic country shuffle returns. The pedal steel shines brightly here. Jay’s favorite new subject (love and matters of the heart) are, once again, addressed.

“Angel of the Blues” (8)
Mississippi River, magnetic engines roar. Sad songs keep the devil away.
This song is oozing with quintessential Farrar melancholy. The Farrar faithful will eat it up. The non-believers will fall asleep. Time is slipping through, the Mississippi River is worshiped and Jay is in his lyrical comfort zone. Spencer’s piano adds a nice layer here.

“Seawall” (10)
Hell untold is the price paid down on living.
Nine songs in we get our lone masterpiece. This song is fucking amazing. The dude playing the pedal steel puts on a clinic for the instrument. The twin fiddles are transcendent. The true roots of this album are on full display here. This song is the epitome of an album that draws inspiration from the Kitty Wells/Hank Thompson side of honky tonk music. Maybe someday the pretentious, know-it-all hipsters like Steve Douchener (sic/pun intended) can wrap their head around it. Decades ago, Jay made a name for himself looking back to the early classics (The Carter Family’s “No Depression”). He continues to do so today with a wink and a nod to Kitty Wells and Hank Thompson.

“Barricades” (6.5)
Don’t let the barricades of life keep the wild spirit still.
As Kris famously stated, “Don’t let the bastards get you down.” Jay is beating us over the head with his theme at this point. This song is a kindred spirit to “Wild Side.” We get some cool accordion and some more muted steel.

“Shine On” (7)
Miles and years make it better through gilded tears.
The final song is a drastic departure, sonically, from the rest of the album. While much of the “alt” in the alt.country formula is missing from Honky Tonk, it returns here. "Shine On" sounds like Search-era Son Volt, which is far removed from the most recent incarnation of the band. Jay’s borderline-Buddhist philosophy is on full display.

Overall Score = 7.5 (This is a nice continuation from what Jay did on American Central Dust. The songwriting here is top-notch, the band is tight and Jay sounds great. This album is far more thematic and focused, but the songs aren’t as strong as they were on ACD. With more listens I can see album resonating with me more. For now, I see it as being slightly below some of his other brilliance.)
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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by RolanK »

That's pretty good ;)
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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by Iowan »

You underrated "Bakersfield". Big time. Its a shit-kicker.

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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by Clams »

Q&A with Jay Farrar in No Depression

The last time I interviewed Jay Farrar was roughly a year ago for his contributions to the Woody Guthie-inspired New Multitudes album he made with Yim Yames (Jim James of My Morning Jacket), Will Johnson, and Anders Parker.

I am thrilled to share a recent chat I had with Jay, this time focused on the new Son Volt album, Honky Tonk (Rounder). The new 11-song collection was inspired by the classic Bakerfield honky tonk sound, something Jay has been keeping a close ear to since picking up the pedal steel about two years ago.

Longtime fans of Son Volt will also be glad to hear that Jay and his band have brought the by-now comfortable, and well-worn acoustic sounds to the table, the same ones that keep Trace a mainstay in many record collections. But that said, this is not a nostalgia trip for either classic country or for Jay's earlier post-Uncle Tupelo work.

Honk Tonk is a new Son Volt record, and one that firmly stands on fertile ground. It is a lasting work that touches upon the band's past, while pushing ahead and building upon their last full-length player, American Central Dust, as well as Jay Farrar's recent accomplishments as solo artist, collaborator, and author.



When did you begin playing pedal steel?

Jay Farrar: I’ve been playing the pedal steel guitar for about 2 years. I’ve had lap steels for a long time but the different pedal and tuning combinations on a pedal steel really required a certain focus.

A guy at Scotty’s Music in St. Louis set up the steel and set me on the right path. A local legend has it that Jerry Garcia got his start on steel at Scotty’s...

Can you talk about playing with your St. Louis-based band Colonel Ford?

Jay: It was a trial by fire experience playing out live with Col. Ford, which is actually a great way to learn. We (Col. Ford) played quite a few gigs at a venerable old honky tonk just outside of St. Louis called “Stovall’s Grove” that has been in existence since the 1930’s.

What were you listening to for inspiration? Which artists and albums served as your roadmap for you?

Jay: I became immersed in the music of George Jones, Wynn Stewart, Ray Price and Buck Owens. There’s such an inherent energy to those late 1950’s and early 1960’s recordings. The use of “twin fiddle” was a parallel sound of George Jones and Ray Price while the pedal steel guitar playing of Ralph Mooney was the common thread with the Bakersfield contingent of Buck Owens and Wynn Stewart.

When did you begin working up material for what would become Honky Tonk?

Jay: When I started the process of writing songs for this record, it was really just second nature that the songs would be inspired by and reflect the "honky tonk" realm. There’s always been a duality to Son Volt in that there’s acoustic songs and electric songs, but this time the focus was the fiddle and pedal steel guitar aesthetic with an emphasis on the “twin fiddle" sound.

That’s what I had been listening to and that’s what I had been playing out live with Col. Ford. I wanted to acknowledge and pay homage to honky tonk music, yet not feel limited by the parameters. Some of the songs just needed to stretch out a bit like "Hearts and Minds", “Livin On” and “Shine On”. The instrumentation on those songs like Cajun fiddles or distorted harmonica, or the tremolo effect on pedal steel, is not typical honky tonk fare, but that’s what the songs needed.



Was there any overlap between the New Multitudes album?

Jay: There was some overlap with New Multitudes and writing Falling Cars and Junkyard Dogs. I had started doing some writing for the book just before we started touring for New Multitudes. We had more touring planned that fell through, so I really started focusing on the book. When trying to make sense of the world it is only natural to turn to Woody Guthrie’s snippets of wisdom like “Don’t let anything knock your props out from under you" or “Let your plans come out of mistakes”.

How does this record relate and/ or differentiate itself the last Son Volt album, American Central Dust?

Jay: One aspect that’s consistent on American Central Dust and Honky Tonk is that I played only acoustic guitar on both. Lyrically, this collection of songs on Honky Tonk is much more thematic that anything I’ve done before.

Listening to country music from the 50’s and 60’s for inspiration allowed these songs to flow creatively. It was a culture of commiseration and I was drawing from the lexicon of the times. I was writing within the “heartache and heartbreak" framework, yet hopefully there is still room for a redemptive spirit that I tried to put into these songs.



Was there a tune(s) that set the direction for Honky Tonk?

Jay: A few days into the recording we had a few songs behind us like “Brick Walls” and “Seawall” which established a core sound for the record. On “Hearts and Minds” we had to experiment until we finally settled on a Cajun vibe.

With most all Son Volt recordings prior to Honky Tonk, the emphasis was on doing a full live band in the studio and then adding instrumentation as needed. The approach for Honky Tonk was different in that it was more of a skeleton crew. So I was just doing vocals and acoustic guitar, and then Dave Bryson on drums with Mark Spencer on bass.

This kept things minimalist at the start, which allowed for more flexibility to change up tempos and the direction that each song needed to go. I think of it as “The Rolling Stones method": record live, raw tracks, and then add some polished instrumentation to it later.

I should also mention that Brad Sarno and Mark Spencer played pedal steel on the record. I didn’t play pedal steel on this recording. Brad ("Hearts and Minds", "Brick Walls", "Wild Side", "Tears of Change", "Seawall"). Mark ("Down the Highway", "Bakersfield", "Livin On", "Angel of the Blues", "Barricades", "Shine On").



Can you talk about writing Falling Cars and Junkyard Dogs?

Jay: Writing the book was like cognitive medicine. I had never written anything before except postcards and songs. It’s a retrospective view of real events that encompasses childhood years, getting started in music, and stories from the road, all in the form of short story vignettes.


http://www.nodepression.com/profiles/bl ... honky-tonk
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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by Cole Younger »

I love it.

It hasn't taken any warming up time for me. This may be my favorite thing that Son Volt has done.
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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by jr29 »

I cannot get over how great "Down the Highway" is.

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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by cortez the killer »

Iowan wrote:You underrated "Bakersfield". Big time. Its a shit-kicker.


This is Bakersfield Country shit-kicker.
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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by Clams »

Via facebook, courtesy of Smitty

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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by cortez the killer »

Image
That whole show is very good, Clams. It's "on sale" @ Amazon for $14.99.
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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by Cole Younger »

I like him but Jay Farrar is one weird dude.
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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by Daddy_played_poker »

I have somehow never made the time to dig into the Son Volt body of work. After a friend gave me an Uncle Tupelo cd I did the fast forward to Son Volt and Wilco. As some have said, Wilco hasn't tripped my trigger. Son Volt on the other hand -WOW!
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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by dime in the gutter »

Cole Younger wrote:I like him but Jay Farrar is one weird dude.

weird? how so?

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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by cortez the killer »

Jay Farrar on Art of the Song

Great, insightful interview. Lengthy, but well worth it if you're a Farrar lover. For those that like to skim:
6:10 - Introduction, background & upbringing
8:58 - The complexities of the pedal steel guitar
11:59 - Country, rock & alt.country
17:59 - Discussing the New Multitudes project
25:17 - Discussing the One Fast Move Or I'm Gone project
32:19 - Discussing Honky Tonk album
38:00 - The songwriting process
44:30 - The creative process
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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by jr29 »

cortez the killer wrote:Jay Farrar on Art of the Song

Great, insightful interview. Lengthy, but well worth it if you're a Farrar lover. For those that like to skim:
6:10 - Introduction, background & upbringing
8:58 - The complexities of the pedal steel guitar
11:59 - Country, rock & alt.country
17:59 - Discussing the New Multitudes project
25:17 - Discussing the One Fast Move Or I'm Gone project
32:19 - Discussing Honky Tonk album
38:00 - The songwriting process
44:30 - The creative process


I listened to this yesterday and it was definitely worth it. I want to hear someone ask Jay about his thing for the Mississippi River. It isn't as prevalent on the new album, but it is definitely a recurring subject in Jay's music. I would like to hear him discuss it.

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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by cortez the killer »

A couple of original Son Volt members (Mike Heidorn & Dave Boquist) are playing a free show Sunday with Peter Bruntnell in Belleville, IL. More info here.
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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by jr29 »

cortez the killer wrote:A couple of original Son Volt members (Mike Heidorn & Dave Boquist) are playing a free show Sunday with Peter Bruntnell in Belleville, IL. More info here.


That would be cool to see.
One piece I read about this show said Mike hasn't played since 2004.......not true. http://blogs.riverfronttimes.com/rftmus ... a_show.php
Apologies if that story has already been posted.

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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by jr29 »

It looks like Jay is going to start some sort of residency at a restaurant/bar in St. Louis on Monday nights. James McMurtry does something like this in Austin and I know there are others who do it as well.
Here is the link for anyone interested, Farrar info is in the first paragraph.http://nickidwyer.typepad.com/

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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by cortez the killer »

Jay Farrar tour dates this spring.

10 Apr 2014 City Winery Chicago, IL
11 Apr 2014 City Winery Chicago, IL
12 Apr 2014 Castle Theatre Bloomington, IL
16 Apr 2014 City Winery Napa Napa, CA
17 Apr 2014 The Center for the Arts Grass Valley, CA
18 Apr 2014 Don Quixote's International Music Hall Felton, CA
30 Apr 2014 The Clifton Center Louisville, KY
01 May 2014 Radio Radio Indianapolis, IN
03 May 2014 Strand-Capitol Performing Arts York, PA
04 May 2014 Club Cafe Pittsburgh, PA
06 May 2014 The Haunt Ithaca, NY
07 May 2014 Iron Horse Music Hall Northampton, MA
08 May 2014 Strand Theatre Rockland, ME
09 May 2014 Narrows Center for the Arts Fall River, MA
10 May 2014 The Press Room Portsmouth, NH
11 May 2014 Club Helsinki Hudson, NY
13 May 2014 Sellersville Theater Sellersville, PA
15 May 2014 The Southern Cafe and Music Hall Charlottesville, VA
16 May 2014 Harvester Performance Center Rocky Mount, VA
17 May 2014 Down Home Johnson City, TN
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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by bovine knievel »

Looks like I'll be spending my bday with Jay in Grass Valley 8-)
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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by cortez the killer »

bovine knievel wrote:Looks like I'll be spending my bday with Jay in Grass Valley 8-)

Spending the night in a town called Weed?
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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by LBRod »

cortez the killer wrote:
bovine knievel wrote:Looks like I'll be spending my bday with Jay in Grass Valley 8-)

Spending the night in a town called Weed?

Grass Valley and Weed are two different places, both close to BK (no surprise).
I'm looking at the next night in Felton.
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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by one belt loop »

April is shaping up!
Matt playing like an evil motherfucker w/ rhythm with a capital MPLAEMWR.

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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by Clams »

Having finally seen son volt last summer, I don't see myself driving an hour to catch farrar solo in Sellersrville, PA this time around.
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Re: Artist of the Week 12/19/10 & 7/11/11 (Son Volt/Jay Farr

Post by cortez the killer »

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Jay Farrar: 8-Track Heavana
Cool feature over on Adios Lounge.
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