lambchops's Full Review: A Retrospective 1995-2000 [Digipak] by Son Volt
When speaking of modern alt-country, a few modern bands come to mind. There are Wilco and Jim White, Lambchop and Lucinda Williams—and then there is Son Volt. Son Volt and Wilco both rose out of the ashes of Uncle Tupelo when the two leaders (Jay Farrar and Jeff Tweedy) were unable to resolve creative differences.
The band was fortunate enough to find major label support in Warner Brothers. Farrar (vocals, guitar), Mike Heidorn (drums), Jim Boquist (bass), and Dave Boquist (guitar, fiddle, banjo) made an impact with their 1995 debut Trace. That album was met with great critical support and a ready-made audience in college radio. There was no ignoring the fact that Trace was an entertaining, subtle, and emotional album that deserved all of the support it received.
Time passed and Son Volt continued to make albums. Sophomore effort Straightaways (1997) was similar in structure and sound to Trace and earned similarly positive reviews. The band continued to make music in the form of 1998’s Wide Swing Tremolo, but it seemed as if Farrar in particular was losing momentum. That album seemed as if he finally just gave up and made an album because, well, he had to. It wasn’t horrible mind you, but the alt-rock flavor wasn’t nearly as satisfying as the band’s prior efforts. Son Volt didn’t exactly break up, but they did go by the wayside as Farrar pursued a solo career which has to date resulted in three studio albums.
It came as a surprise earlier this year when it was announced that Son Volt was back. 2005 was to see two separate releases. First would be a somewhat overdue compilation titled A Retrospective: 1995-2000. The second would be the forthcoming Okemah and the Melody of Riot in which Farrar was the only remaining original member. The funny thing about Retrospective is that it’s not a perfect album by any stretch of the imagination. Trace was a great album however the 20-track Retrospective is a mixed bag that is as brilliant as it is flawed, as luminous as it is dim. The inconsistency is what bothers me most—I’m afraid that new listeners will pick up this album because it is by Son Volt and is a collection and will leave them with a bad impression.
In any case, I can’t say that Retrospective is bad or even mediocre. It’s just less great than Son Volt’s first two albums. The best bits are spread across the disc which makes it a somewhat difficult listen. Fortunately it begins strongly with the band’s only bona fide hit, Drown. The hip, upbeat, gorgeous song is the kind of easy-going affair that makes me feel great about myself. I want to roll down the windows and turn up the volume letting the wind whip through my hair. Windfall and Route are also excellent selections from Trace. I adore the banjo/slide guitar mix of Windfall while Route picks up the pace with groovy country-rock. I like them.
Rex’s Blues is something of a rarity having been culled from 1995 compilation Red Hot + Bothered. The Townes Van Zandt song is a lovely duet between Farrar and country singer Kelly Willis. The two sound beautiful together with light percussion, mild acoustic guitars, and a fiddle. It works wonderfully and is easily one of the album highpoints.
As Retrospective plugs along we are handed a mixture of album tracks, movies songs, and rarities. Looking at the World Through a Windshield is an easy traditional country “road song” from the 1996 film Feeling Minnesota. While not perfect it is still easy on the ears and heart. The songs seem to be arranged in chronological order. Next up is, of course, Straighaways. Back into Your World and Picking Up the Signal are worth hearing, but they aren’t as remarkable as some of the earlier picks.
Farrar next covers Woody Guthrie’s I’ve Got to Know. A bittersweet traditional country song, it stands out from the rest of the selections because of its pacing and incredibly stark and organic arrangement. The first choice from Wide Swing Tremelo is also the album standout. Straightface isn’t as country or alternative as the earlier songs, but the clear and concise arrangement and great performances make for a nice experience. It’s definitely plugged-in, but Son Volt still manages to throw in the occasional acoustic element or twang. From here on in particular the album becomes less interesting.
I want to really like Retrospective from start to finish, but starting at Tulsa County (The Byrds are best known for their version) things get pretty inconsistent. That song is dry, boring, unemotional, and repetitive. I can’t help but wonder if there is a reason why it is a rarity. Driving the View is similarly troublesome, but for a moment the album makes a reprieve with Ain’t No More Cane. Written by classic folkie Huddie Ledbetter it is one of the lengthier songs of Retrospective. It is also one of the quieter, more appealing, and most honest. Ain’t No More Cane is certainly an unexpected treasure.
The last five songs are hit and miss. The better are Holocaust in particular and Open All Night (recorded for Badlands: A Tribute to Bruce Springsteen’s Nebraska in 2000). The remaining three songs may be fine if they were totally new. Unfortunately, Son Volt recorded them for other offerings. Both of the four track demos (Tear Stained Eye and Loose String) were later re-recorded for Trace while the live Medicine Hat appeared on Wild Swing Tremolo. I appreciate the addition of these tracks and for that reason alone fans of Son Volt should seek out Retrospective. However, considering the audience for the album I find it a bit strange. I mean, if you buy a compilation isn’t it likely that you aren’t a huge fan—otherwise you’d already have all the songs in their original context.
In any case, Retrospective’s good parts slightly outweigh the bad. It’s by no means perfect, but fans of Son Volt will certainly be pleased to see them back. Watch in July 2005 for Farrar’s new Son Volt to release the band’s fourth studio album, Okemah and the Melody of Riot.
Rating: 3.5/5 rounded up
Track Listing:
01. Drown
02. Windfall
03. Route
04. Rex’s Blues
05. Looking at the World Through a Windshield
06. Too Early
07. Back into Your World
08. Picking Up the Signal
09. I’ve Got to Know (previously unissued)
10. Creosote
11. Straightface
12. Tulsa Country
13. Driving the View
14. Ain’t No More Cane (previous unissued)
15. Flow
16. Holocaust
17. Tear Stained Eye (four track demo)
18. Loose String (four track demo)
19. Medicine Hat (live—Acoustic Café)
20. Open All Night
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