Son Volt: Jay Farrar (vocals, guitar); Dave Boquist (guitar, lap steel guitar, fiddle, banjo, dobro); Jim Boquist (bass, background vocals); Mike Heidorn (drums).

Additional personnel: Eric Heywood (pedal steel guitar); Dan Newton (accordion); Marc Perlman (bass); Craig Krampf (drums).

Recorded at Salmagundi, Northfield, Minnesota in November and December 1994.

Personnel: Jay Farrar (vocals, guitar); Dave Boquist (guitar, fiddle); Dan Newton (accordion); Craig Krampf, Michael Heidorn (drums); Jim Boquist (background vocals).

Recording information: Emerald Sound Studios, Nashville, TN (11/1994-12/1994); Salmagundi Studio, Northfield, MN (11/1994-12/1994); Sixteenth Avenue Sound, Nashville, TN (11/1994-12/1994).

Like a phoenix rising from the much-grieved-over ashes of Uncle Tupelo, Jay Farrar's Son Volt brings a balance of heart and mind back to the country-rock community. Which isn't all that surprising, considering it was Farrar who added that indeterminable sense of melancholic reserve to UT's albums in the first place. Son Volt retains Farrar's Gram Parsons-like ideal that traditional music works best when contemplating simple emotional truths not diluted by narrative or melodic cliches. From his ex-UT partner, Jeff Tweedy (leader of Wilco), Farrar also learned that the thick and speedy guitar textures of punk rock are just as adept at baring the honesties of the soul--that punk rock has become the modern folk music.

TRACE constantly wanders between such apparent opposites. There are fiery, passionate declarations propelled by crunching and thick electric chords that never fall prey to roots-rock sloganeering--songs like "Loose String," a mid-tempo stomp with the dark observation that "too much living ain't no way to die," and "Route," a charging rocker that paints the life-on-the-road cliche within rarely explored borders. There are also soft, thoughtful musings on the virtues of life's searches ("Windfall") and of metaphysical existence ("Tear Stained Eye"), lifted above the fray by Dave Boquist's heavenly accompaniment on various string instruments.

What unites these disparate pieces are Farrar's dark sweeping world-view and the plaintive voice with which he presents it. "When we're all passed over, the river will remain," he asserts on the bleak "Live Free," as a wailing lap-steel veils a vintage Stones beat. It is an image that exposes the pastoral as a timeless ideal, and man's reign as temporary--an image that weighs heavily throughout TRACE, and exposes Farrar for the folk philosopher he is.

Rolling Stone (1/25/96, p.41) - Ranked #9 in the 1996 Critics' Poll.

Entertainment Weekly (11/10/95, pp.66-67) - "...Call it hillbilly alchemy: Son Volt turns heartland rust into gold." - Rating: A

Alternative Press (3/01, p.104) - Included in A.P.'s "10 Essential Alt-Country Albums".

Alternative Press (12/95, pp.97-98) - "...Son Volt are, in essence, western balladeers. The difference is Farrar's mentality and restraint, which he lends expertly to simplistic, acoustic-flavored arrangements and classic western instrumentation. TRACE is like sensible shoes: nothing to kick-ass with, but just what you need when you need it."

Musician (11/95, pp.88-90) - "...In a sane universe, Jay Farrar's gang would be rich and famous, thanks to his soulful, toe-tapping songs and sad-sack vocals....Son Volt is a welcome antidote to the new country blahs."

Village Voice (2/20/96) - Ranked #13 in Village Voice's 1995 Pazz & Jop Critics' Poll.

NME (Magazine) (12/9/95, p.38) - 8 (out of 10) - "...the sound of electricity humming through the wires above a back-woods country road....Jay Farrar hears the ragged rage of grunge in Hank Williams...seeks wounded solace in the sweet whine of the pedal steel and the bloody, blistered fingers of the weekend chickenwire thrash..."