When in doubt, move on. No need to sort it out.
After abruptly leaving the pioneering alt-country group Uncle Tupelo, Jay Farrar assembled original UT drummer Mike Heidorn and Blomquist brothers Jim & Dave to write the next chapter in his musical journey - Son Volt. During the fall of ‘95, the quartet released their debut album and masterpiece,
Trace. Recorded in Northfield, MN and consisting of ten originals and one Ron Wood cover (“Mystifies Me“), musically speaking,
Trace is not a drastic departure from the final Tupelo album Anodyne, which featured ear-piercing electric guitar solos, alongside soul-soothing pedal steel-fueled country weepers. Jay adheres to the classic guitar-bass-drum arrangement, leaving room for tradition accents like fiddle, dobra, and steel guitar. He also champions the live-in-the-studio approach to album making, 100% committed to using analog tape. While Farrar decided to mine similar ground sonically, the songwriting on
Trace upped the ante significantly. I can’t emphasize enough just how strong the songwriting on this record is. Through stream of consciousness lyrics and a distinctive, melancholy vocal delivery, Farrar delivers an album that deals with concepts of time, alienation, travel and new beginnings. In “Route,” Farrar references “pillars of inspiration” then goes on to note they are falling down. I think this forms the basis of
Trace. The dissolution, or falling down, of Uncle Tupelo, serves as the pillar of inspiration for what rose in the immediate wake of this, obviously painful, experience for Jay -
Trace. So, without further ado, let’s get down to the first installment of the Son Volt discography.
“Windfall” (10)
They kick things off with the ultimate driving song. The best way to describe this one comes directly from a lyric contained in the song itself - “It sounds like 1963, but, for now, it sounds like heaven.” From there it goes on with a somewhat naïve, but hopeful desire of “May the wind take your troubles away.” An all-time great opening song for one of the greatest American albums ever recorded. You can’t set the tone any better than this.
“Live Free” (8)
After going acoustic to kick things off, Jay plugs right in signing about the “rhythm of the river.” That river, of course, is The Mighty Mississippi. Having grown up near it, Jay has long been mesmerized by the mythical powers of the Mississippi. This song is about missing someone you cannot be with (“Lights that shine are caustic without you.”), but holding out hope that someday you will meet again (“Someday we’ll be together, farther south than the train line. The delta mud will be there. We’re just living this way because we know no other.”).
“Tear Stained Eye” (10)
Staying plugged in did not last too long. Jay delivers his second masterpiece while “walking down Main Street, getting to know the concrete” and “looking for a purpose, from a neon sign.” Gorgeous pedal steel licks and sublime banjo picking put this song on a special level. Here we have another song inspired by the Mississippi River. This one is set in the riverbank town of St. Genevieve, MO (small town about 50 miles south of St. Louis.) Genevieve was originally settled around 1735, making it one of the oldest European settlements west of the Mississippi. During the massive flood in the summer of 1993, the town of and the town's historic district was threatened. People came from miles around to help build an enormous stone, earth, and sandbag levee to "hold back the water." It was a close call, but they ended up being successful, at least in the downtown area. The story got quite a bit of national attention at the time, Jay has said he heard about it on CNN. Inspired by the folks of Genevieve, Jay is looking to “hit the road, never looking behind” and to “throw away the bad news, put it to rest.” This song contains one of my all-time favorite lyrics (“If learning is living, and the truth is a state of mind, you’ll find it’s better at the end of the line.”) I mean, fuck, that’s some pretty powerful shit right there. There’s little doubt in my mind that this song represents part of the healing process from the failure of Uncle Tupelo.
“Route” (9)
I’m sensing a pattern here. Unplug. Plug in. Unplug. Plug in. This song sounds like something that would have not only fit it on UT’s
Still Feel Gone, but shined. “Route” is the most transparent song detailing the break-up of Jay’s old band. ("Reality, it burns. The way we're living is worse. The pillars of inspiration are all falling down. The clean-up won't work while the fallout goes on.”) From this he concludes - “Here for now, transient tomorrow, we're all living proof that nothing lasts.”
“Ten Second News” (7)
The pattern remains as we have another acoustic number nestled between two electric powerhouses. I like this song, but it is probably my least favorite on
Trace. I realize Jay is rather dour, but sometimes this one sounds and comes off just a bit too mopey. Jay uses Times Beach in Missouri (“Driving down sunny 44 Highway, there's a beach there known for cancer, waiting to happen.”) to remind us how quickly it can all disappear. The roads in the town were sprayed with oil to keep the dust down. The oil used had dioxin in it, and when the river flooded (“The levee gates are open wide. There's a cough in the water, and it's running into town.”), the whole town had to be evacuated. It has never recovered and now is a true ghost town. He juxtaposes this tale of woe with human feelings (“When you find what matters is what you feel, it arrives and it disappears.”) Needless to say, Jay does not exactly an uplifting outlook on things here. In trying to find what matters, he seems to come to the conclusion it doesn’t really matter in that everything you work for can be taken from you in an instant with no explanation or reason why.
“Drown” (8)
This song was somewhat of a hit on college radio when
Trace came out. Considering what was getting airplay at the time (hard, crunching, guitar-driven rock and grunge), you can understand the how and why. This is a take-no-prisoners electric assault, with catchy riffs. Lyrically, this song seems to be about a relationship that has suddenly turned sour. And how does Jay propose that we deal with it? “When in doubt, move on. No need to sort it out.” You know, kind of like how he handled the whole Uncle Tupelo situation.
“Loose String” (9.5)
The pattern is finally broken. We have a mid-tempo song to work with. And it’s a damn fine song. It’s dangerously close to being a masterpiece, but it falls just a hair short of songs like “Windfall” and “Tear Stained Eye.” Some outstanding lyrics support the fine playing by the band. Jay seems to be adopting a carefree approach to things ("Not a care in the world. No better way to go. It's fine here, watching it go down."). This is further supported with his claims that “Too much living is no way to die” & “Too many rules, it will bleed you dry.” Our defeatist recluse seems to be lightening up a bit. Ah, but will it last?
“Out of the Picture” (9.5)
It didn’t last too long. The return of cry-in-your-beer, fatalist Jay. I’m fine with that though. This song is pure fucking country bliss to my ears. Damn, damn close to another masterpiece from Mr. Farrar. That road-weary, well-worn delivery is simply perfect here. We return to many of the themes mined in “Ten Second News” (“You may be quite sure you know where you're going, but sooner or later you're out of the picture.”). Our fates are predetermined and there’s nothing we can do to change them. So, enjoy the ride, because it is subject to end abruptly, with little or no warning (“Somewhere along the way, the clock runs out. Somewhere along the way, it all stands still.”).
“Catching On” (9)
I love the tone of the guitar on this one. It reminds me a lot of “Chickamauga’s.” And, like “Chickamauga,” it also drives me to uncontrollably break out into air guitar solos when appropriate. I see this as Jay coming to terms with a relationship he once had high hopes for. I think he now sees he has been taken advantage of and has moved on (“When you don’t see me, I’m catching on to you. Another jail, another burned-out inside skeleton love left to die. Take whatever lies ahead, the good with the bad, and leave the rest.”).
“Too Early” (10)
Initially, this song didn’t jump out at me like “Windfall” and “Tear Stained Eye.” But over time, it has built up an ability to just knock me on my ass. I guess I wasn’t listening close enough before. Damn! This one is powerful. I LOVE the accordion on this song. Not since “4th of July, Asbury Park (Sandy),” has the accordion been so expertly worked into a song. The slide guitar is from another planet. The lyrics are my absolute favorite. Right out of the gate he nails it (“Mileage has taken its toll. Paved it with lines to show. You've had your fill of asphalt, cough tremors, and smoke filled doors. Look like the habit controls you. Look like you need a rest. Made it to the timber line. Don't know what to expect.”).
No Depression magazine’s co-founder Peter Blackenstock swears this song is about Townes Van Zandt. Considering the lyrics (“Song strains distant over barroom drink filled roar. The old folk singer lays it down. Not for long, no longer ignored, spinning tales of temptation, gambling days lost and won. No crimes committed here. Too much habit could be the one.”) and Jay’s affection for the deceased gypsy troubadour, he just might be on the money.
“Mystifies Me” (10)
Jay owns this Ron Wood song. This cover far surpasses the original. Obviously, Ron Wood wrote a good one, but Jay makes it great. He does so much so, that it is a masterpiece. “Stay a while and work it out of me. We've got time and we can cause it to. Just give me a sign. I’ll take your word. I’ll learn anything you want me to.” What happened to “When in doubt, move on. No need to sort it out.”? Considering all that Jay has laid out on the table, and painful situation he has just detailed, this is an interesting song for him to not only cover, but to use as the closer on this album. What’s he trying to convey here? As much as you try to have a personal philosophy, as much as you try to learn from your past mistakes and failed relationships, once you become smitten with someone, you lose all sense of reason and judgment? I don’t know, but obviously this song is about someone who can’t fully understand the object of their affection, but is willing to do whatever it takes to try and understand them and make it work.
Overall Score = 10 (One of the greatest albums ever recorded.)
You are entitled to your opinion, but you are not entitled to your own facts.
- DPM
