When Uncle Tupelo broke up in 1994, fans felt as if they had lost one of the few decent bands to come across the alternative countryside in recent years. But, just a year later, Uncle Tupelo fans have a pleasant surprise. Just like twin phoenixes rising from the ashes, both Wilco and Son Volt have spread their wings and are soaring as high as Uncle Tupelo ever did.
Jay Farrar fronts Son Volt along with help from Tupelo drummer Mike Heidorn, and Trace might as well be another Uncle Tupelo album. Like Farrar's previous work, Trace is an impeccable collection of country ballads, quiet folk songs, and straight-forward midwest rock. Brothers Jim and Dave Boquist fill out the band with bass, backing vocals, fiddle, banjo, and dobro, and they fit in with Farrar and Heidorn as if Son Volt had been around for years.
Farrar wrote most of the songs for Trace on his road travels through the midwest up and down the Mississippi River "Tear Stained Eye" is a reflection on the floods that threatened St. Genevieve, and "Ten Second News" is a slow, melancholy song that captures the emotions of driving past the dioxin poisoned remains of a town that was once Times Beach, Missouri. In other songs, the cheesy cliche's of country music are boiled down to direct truisms like "Too much livin' is no way to die." from "Loose String" and "You'd better find your focus or you'll find yourself out of the picture" from "Out of the Picture."
Even without the lyrics, the music of Son Volt is a reflection of the Midwest itself. The essence of the songs is a fundamental simplicity that is engaging and vital. Farrar's voice has a slight Illinois twang to it which is as captivating as Michael Stipe's southern drawl. In the acoustic tracks, six-string guitar and lap steel play off the drum set in a simple two-step that would have made Hank Williams proud. When Son Volt turns up their amps, the laid back feel of the quieter songs gives way to a driving determinism. The remarkable thing about Son Volt is that the tracks go from soft to loud with any break in pace or mood.
That proper combination of country and rock is hard to find. Bob Mould came close with his first solo album, Workbook, and The Eagles made it big with their L.A. version. Matthew Sweet made it work with his breakthrough album, Girlfriend, and R.E.M. rode it until they got bored and famous. But, although, Jay Farrar has perfected the incredibly enticing mix of sweet harmonies and chiming guitars, he hasn't gone on to other things. Son Volt continues where Uncle Tupelo left off, and Farrar's ability to capture the feeling and mood of the Midwest makes one wonder if the title, Trace, refers to a fleeting glimpse or a perfectly painted portrait.
