Jay Farrar - Sebastopol

Sometimes a successful solo debut is more about honing an extant style than making wholesale changes. Here, Jay Farrar shelves his post-Uncle Tupelo band Son Volt and their Crazy Horse-meets-cowpunk sound in favor of a tuneful, acoustic approach. Solo or not, it's clear from the dark-hued melodies, obtuse lyrics, and yearning lead vocals on Sebastopol that this is obviously a Farrar record. No great stylistic leaps here, and, for fans, that's good news. An upbeat, repeat-chorused tune like "Voodoo Candle" would not be out of place on a Son Volt record. The twangy "Barstow" with David Rawlings on lap steel would have fit on a later Uncle Tupelo disc. And the mournful "Drain" is set to the tune Farrar has been writing since he began. The details are where things are different. From the violin-like keyboards of "Damaged Son," the drum machine and sitar intro of "Prelude (Make It Alright)," and the alternative tunings used throughout, it's clear that Farrar is now writing songs for himself and not a band. It's a change that casts the best moments of his craggy songwriting--the melodic turn of the chorus of "Feedkill Chain" and the solid craftsmanship of "Different Eyes"--in an even more beautiful light. --Robert Baird Amazon.com

 Remove the Filter and Enjoy
Check your Uncle Tupelo and Son Volt longings at the door and listen to this with fresh ears and an open mind. If you can do that, I think you'll be able to enjoy the richness and artistry that this project offered. March 26, 2008

 Jay's masterpiece
Not everyone will get this record. If I'm being honest, I thought it was okay at best after the first couple of listens but it seemed to grow on me with each additional listen. Its definitely a different sound than anything he's done with Uncle Tupelo or Son Volt. Its weird for me because Uncle Tupelo is my favorite band yet this is my favorite overall record that Farrar has put out. Sebastopol has so much emotion. Its hard for me to explain but its just a very serious record with great, heartfelt lyrics and great music. If you are a fan of Uncle Tupelo or Son Volt, at least give this a chance.......and buy EVERY Uncle Tupelo record. March 3, 2006

 Farrar Meets the Beatles?
Nothing in the recorded output of Jay Farrar (Uncle Tupelo through the 3 Sun Volt albums) prepared me for Sebastopol. And reading these reviews, it looks like a lot of people were equally unprepared. One review here calls it an "acoustic" record, while another complains of "shrill electronic sounds"... one seems to only like "Damn Shame" which is very unlike anything else on the record, another thinks "Barstow" is hackwork. Everybody's got two cents and I'm no exception.
I'm writing this in 2005, after "Terroir Blues" and the live records... and at this juncture, I'd say that Sebastopol is one of my favorite records of all time. As far as Farrar's work goes, I think it is second to "Trace" but just barely. What is very cool to me is just how different it is from his other stuff... what interesting stuff Jay can do when he decides to use the studio. Most of his records go for a more raw, "live band" sound which I love. But on Sebastopol, he had the time and money and desire to really use the studio step away from the formula. What he delivers is something that immediately struck me as a record that might have resulted if the Beatles were making Revolver in the 21st century with Neil Young in the band. I've never noticed a trace of Beatles in Jay, but there are moments here that feel like Rubber Soul, Revolver and even things like "It's all too much" from the Yellow Submarine album. And he does it without completely losing touch with the "cosmic American" sensibility that has been his signature.

Almost every song on this disk holds up well. Many are more tuneful and interesting than his average output, and it makes me wish that some of the Terroir Blues cuts had gotten a similar treatment. If you only like the more country edge of Jay, then you might not hang with Sebastopol. If you only like his hardest edged stuff, it might, I suppose, sound too "Pop" ... but if this is Pop, it's what I wish Pop would become. There is nothing "slick" here, nothing silly, nothing gratuitous. I wish the synth-string backing of "damaged Son" was a little less ponderous but other than that, I love it start to finish. And if you get the ThirdshiftGrottoSlack EP and burn your own disk with that following the Sebastopol cuts... (minus the noise tracks which I really don't like) You have a really fine record (and you REALLY hear the Beatles influence on a couple of those). Very listenable, very interesting. Lyrically fine, and well recorded. April 7, 2005

 Seriously, Folks....
This album has a certain depth to it that you feel almost immediately - the standout track, for me, is Outside the Door, where Jay sings about the "old" St. Louis. IT'S THAT DAMN GOOD. December 31, 2003

 Where�s the angst
I love Uncle Tupelo I believe that Jay and Jeff would feed off each other and reel each other in. Maybe it was that they were younger and had more angst. In any case there are a few good cuts on this CD Damn Shame being the strongest. Overall it was a good attempt but maybe they have been leading too much of the good life and needs to find the fire and passion and the angst of years past. November 14, 2003

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