"Honky Tonks and Biker Bars"

Reviews of Son Volt & Wilco

For many, the battle of the ex-Uncle Tupelo members has always had one obvious champion, that being Mr. Jeff Tweedy. I swear that I don't deliberately try to be different, but personally, I've always been partial to the works of Jay Farrar. Some have criticized Son Volt's lack of adventure, but I think his solo work has been a successful enough avenue for his specific brand of experimentation. His band Son Volt, however, revels in consistency. When they release an album, I know that I am going to enjoy it, pretty much, from start to finish. It's going to have some great guitar work, obscure lyricism, and that voice! That Farrar vocal! Understated, yes, but still one of the most captivating voices in rock history, in my not so humble opinion. When it comes to Wilco however, I just don't know what to expect. This is good, I enjoy the challenge, but it does mean than not every album is going to hit a home run. While I'll admit that Farrar has never released an album quite as brilliant as Yankee Hotel Foxtrot, he has also never released anything quite as forgettable as Sky Blue Sky yet either.

I'll be the first to admit that reviewing both of these albums in the same post is a bit juvenile and silly, but I picked up the albums at the same time and I listened to them on the same day too. Add to that the fact that, as much as I try not to, I can't help but compare the two of them, and my hands become tied.

Son Volt - American Central Dust

For Son Volt's sixth release, the band once again goes back to the traditional country style of their masterpiece Trace, as opposed to some of the saxophone-y dabbling that they incorporated into 2007's The Search. This is an area that they're apparently very comfortable in, and although the argument has been made that the band is stagnating, I'm having trouble accepting that. Take for example Down To The Wire, a brilliant song that thumps along with a thick drum sound, tremolo guitar and a brash sounding electric piano, that is actually somewhat reminiscent of some of the songs on his underrated solo album Sebastopol. Sure, the lyrics are obtuse, but hey, Farrar just does that sometimes. It doesn't detract from the fact that the song is intoxicating in its grainy assertiveness. Cocaine and Ashes is another beauty, with Farrar's vocals accompanied mainly by a piano, fiddle and some slightly imperfect harmonies, which seems appropriate in a song that's inspired by Keith Richards. When The Wheels Don't Move is probably the heaviest track on the record, as it displays an arrogance that reminds me of some of Steve Earle's bluesier songs of protest. And then there's Sultana, my personal favourite song on the album. This mesmerizing ballad is about the greatest maritime disaster in U.S. history: the explosion of the SS Sultana in April 1865. Nowhere do Farrar's vocals haunt so successfully than on this track, which manages to reach epic proportions while still remaining interestingly subdued. Think of it as this generation's Wreck Of The Edmund Fitzgerald.

As per usual, Son Volt has crafted another album that is consistent as it boasts not a dud track in the lot. It's true that the album's subtlety may require repeat listenings for the full impact to take effect, but once it does, it just may be the second best album in the band's ever lengthening catalog.

Myspace: Son Volt
Download: Down To The Wire mp3

Wilco - Wilco (The Album)

I have to admit that I don't get as excited about a new Wilco album as I used to. They've easily secured a spot as one of my favourite bands of all time, and they would really have to screw up royally to be ousted out of there. But the last time that I remember being really blown away by a Wilco song was Spiders (Kidsmoke) from the Ghost Is Born album. Since then, they've been putting out songs that are very good, but pretty much leaving me stale upon repeat listenings. For the most part, this album is quite similar to the 70's AM radio sound of Sky Blue Sky, although there is a bit more adventure during the early stages of the album. By now, most have probably heard the opening track, hilariously entitled Wilco (The Song). It's a corny, but fun upbeat number, not unlike some of the rockers on Being There. Deeper Down is a progressive little number that actually ventures relatively close to being a bit of a chamber rock cut, with some stunning guitar work from Nels Cline. The fourth song on the album is one that will likely be amongst my favourite Wilco tunes of all time. Bearing some definite similarities to the aforementioned Spiders, Black Bull Nova has a steady new wave keyboard sound along with an immediate vocal by Tweedy. What makes the song so great is the instrumental breakdowns that allow the band to really shine, proving that they are definitely a collection of the most inventive musicians out there today. The song continues to build and build throughout the course of its nearly six minute length, culminating in a dual guitar assault that I dig immensely. After such a strong start, it's a shame that the rest of the album plays it so safe. That's not to say that all the songs are bad, they're just not the type of thing that I could see myself revisiting all that often. You And I, the much hyped Feist duet is sweet and sappy and pleasant enough, but ultimately forgettable. I kinda dig Sunny Feeling because it reminds me a bit of Big Star meets George Harrison. (Harrison-like guitar work also features prominently in You Never Know.)

Overall, the album has a bit more going for it than the last one, but I suppose the days of Tweedy getting really experimental and interesting are gone for now. I'll have to give the album a few more listens before I pass final judgement, but it's hard for me to do that when I keep putting Black Bull Nova on repeat before just going back to that awesome Son Volt album.

Myspace: Wilco
Stream: Wilco (The Album) at NPR music