this july, jay farrar's son volt returns with the release of 'okemah and the melody of riot'. go on and open up another window, check out that info, turn on jay's streaming radio and listen to some songs while you read this old interview of mine with the one time uncle tupelo member. this interview appeared in a spring 2002 issue of muddle magazine which for historical and coincidental purposes also carried a feature article interview of mine with clint conley and his discussing the then soon-to-be mission of burma reunion. okay, a new son volt release makes me think that an uncle tupelo reunion is not that far off. jeff...jay...now look...see? frank black and kim deal are playing nice, can't you?

Here was an opportunity to speak to someone whose music had basically been the soundtrack to my solo travels across the U.S. to live in North Lake Tahoe, California for a ski season. Not knowing where I would stay and knowing no one there, it was Jay Farrar’s music that, whether it was his Son Volt classic "Trace" or earlier Uncle Tupelo albums, the traveling and initial loneliness was a bit easier when somebody else was singing about what I thought were greater hardships, lonelier nights, and longer distances traveled. Beyond that, Jay Farrar (along with former Uncle Tupelo bandmate and current Wilco frontman Jeff Tweedy) can be seen as the father of Alt. Country, a termed genre of music that in the beginning was known for its rebellious lyricism and bands featured in the zine "No Depression", but later started to encapsulate all of those bands that had a noticeable twang mixed in with their alternative rock. But it’s been a while since Alt. Country was on the verge of having consistent mainstream radio airplay and it came to be that both Son Volt and Wilco would be released from Warner Brothers roster, a major label that was banking on continued commercial appeal. Artemis Records, knowing talent when they see that it’s available, took Jay Farrar up on his intent to release a record that would not be carrying a Son Volt title. Pushing himself to create something different is what marks Jay Farrar’s "Sebastopol" release. Truly innovative with the addition of effective keyboards from Flaming Lips member Steve Drodze and a bit more rhythm punch provided by Jon Wurster of Superchunk and Matt Pence of Centro-matic, the first Jay Farrar "solo" release is the ultimately recognizable voice and guitar of a seasoned artist with fresh accompaniment and even fresher song writing. What was definitely different about Jay Farrar for this tour in support of "Sebastopol" was his willingness to talk to the press about himself and this record. After a few games of phone tag, the following is on record:

muddle: You’re about to wrap up this tour. How’s the reception been for Jay Farrar?
jay farrar: I think people have had the record for a while now, so they’re familiar with the songs, so in that respect it doesn’t seem like a whole lot different from right when you tour after a record...

m: The record itself was released not too far before the tour itself, so have you gotten a reaction along the tour?
jf: Yeah, I think I’ve been able to tell along the way, I think where people have, you know, the longer the range in touring we’ve got, you can tell that more people are a little familiar with the songs. I think it’s a common case where people respond more to familiarity, you know, the songs off of previous records.

m: When you do a release, is that something you are looking for personally? Is that something you look forward too, trying to gauge that response or are you just doing the music and you’re pretty, much happy with...?
jf: Ummm, I think you start off the tour with the philosophy that you’re just doing the music, but along the way you sort of, you know, pick things up as far as how people react to certain things. You can change the arrangements of a song.

m: Does that affect you one way or another?
jf: Yeah, I mean, you basically try to craft the song so that it works better in the live context.

m: As the solo project, just basically your name being out there on this, how is that as opposed to having it be another Son Volt record?
jf: It was a weird concept for me at first. I was a pretty reluctant to do it, but I knew that I’d be doing it eventually and that time finally came now. In retrospect, you know, it’s not a big deal (laughs slightly) as far as being weird things.

m: I’m wondering where is home for you these days?
jf: St Louis...where you at Thomas?
m: I’m out in Massachusetts. The town is just West of Boston.
jf: All right...
m: And the weather today was unbelievable and really kind of odd. It’s like 70 degrees and sunny and it’s the first of December.
jf: Huh, that is strange.

m: With "Sebastopol", I think I can figure out how some of the guest musicians made it on to this project, but there are three in particular, I’m wondering how you hooked up with Steve Drodze from The Flaming Lips?
jf: Stephan had worked with John Agnello, who co-produced the record, before on other projects. John knew that I had been listening to The Flaming Lips record "The Soft Bulletin."
m: Now was that the case where you said I’d like to do something, or is that something John suggested? How does that work, do you just ask somebody?
jf: I think it was just kind of a mutual decision, you know? I mean, he (John Agnello) knew that I was looking for somebody to play keyboards, and he knew somebody...coupled with the fact that he knew I liked their last record.
m: I think Steve brought some great things to this album, that’s for sure.
jf: Yeah, he’s a great player.
m: And then Jon Wurster from Superchunk, how...?
jf: I’ve been friends with Jon for years, so, it just evolved finally to the point where we were able to work together.
m: Is that sort of the same for Matt Pence of Centro-matic too?
jf: Sort of, yeah, I had met Matt, his band Centro-matic had come to record at my studio and I met him.
m: And you’re you a fan? I mean, it’s quite different music alltogether for their respective bands?
jf: Yeah, I think they’re...well Superchunk, I mean, certainly admired what they’ve been doing for years and Centro-matic, you know, it was kind of a crash course, but, you know, Matt’s drumming in particular.
m: It was a surprising to see Matt on your album because his album "All the Falsest Hearts Can Try" was one of my surprise favorite albums for 2000.
jf: Yeah, definitely.

m: I’ll ask you about lyrics. My perception is that they are kind of humanistic as they might relate to the working class, a blue-collared worker, or perhaps someone down on their luck. What is it about you that relates to that as an artist or writer? Am I perceiving that correctly? I don’t want to declare artist’s intent...
jf: (big sigh) Uhh, yeah, it’s certainly is not like a manifesto or anything (laughs a little). It’s just, you know, certain songs I guess, it’s a pretty common theme in alot of stuff that I’ve listened to over the years from country music to folk music to blues, so it’s more or less a situation of what that’s what I was into at the time. I don’t know if any of the songs on this latest release relate to that theme.
m: I guess one of the other common aspects to your lyrics is that they also seem to be environmentally conscious? Again, what is about you that relates to that as an artist or writer?
jf: Yeah, there is some truth to that. I think it’s just a part of every day consciousness. You see it. A couple times I’ve left and gone on the road and have just been amazed at the new urban sprawl and things like that. It’s just something that you can’t help but think about every day.
m: ...and that affects your writing?
jf: To a very small degree, yeah, it finds it’s way in there.

m: What is the relation of Dade on this album, he’s your brother?
jf: Yeah, that’s right. He’s an older brother, so I grew up listening to alot of what he was listening to which was everything from punk rock to rockabilly to bluegrass.
m: Now, do you have another brother named Wade? I think I read that somewhere, so maybe that was a typo or something?
jf: No, that’s correct.
m: Oh it is! So there’s Dade and Wade and he’s older as well?
jf: Yep.

m: In a more recent interview you did, it’s been made apparent that a light remains on for, perhaps a future Son Volt record. Can you comment on that?
jf: Yeah, you know, it would be kind of speculating to say what exactly we’ll do. I think it’s a high probability that we’ll do something, I just don’t know if we’ll do the types of things we’ve done in the past.
m: In that same article, I read that "Sebastopol" hadn’t been out that long when the interview was conducted. How has the reaction been from band members in Son Volt and what do they think of this recording?
jf: Umm, I‘ll find out tonight.
m: Yeah, are they all in town.
jf: Jim and Dave Boquist are in Minneapolis, so that’s, you know...
m: Are they going to hop on stage?
jf: What’s that?
m: They going to hop on on stage with you?
jf: I don’t know.
m: You don’t know (laughing)?
jf: We’ll have to see. We haven’t planned anything like that.
m: You never know though, right?
jf: That’s right.

m: I’ll have to ask this question because it seems so possible, probably something that many would want to witness, and I’ve also been reading about an Uncle Tupelo anthology being released. Is there ever a chance that would spark a reunion type show?
jf: Who knows. That’s...that’s wild speculation (laughs).
m: (Note to reader: He didn’t say no.) Wild speculation! There’s not a...never say never?
jf: I mean, you know, taking it one step at a time to just see the actual anthology get out will be the first step.

m: Are you working on future material? I’m interested in your work ethic.
jf: Over the last year the only stuff I’ve done that’s not released is, I did some score music for a movie and beyond that I’ll probably won’t really start doing anymore writing until after I’ve toured the West coast.
m: Umm, I’m sure another thing that plays a part in your life that I’ve only recently learned about is that you have a son as well...
jf: Yeah, umm, yeah, it’s a...
m: Now, are you married?
jf: Yes, how about you?
m: No, I’m not. My girlfriend and I live together so we’re doing that whole "living in sin" thing...
jf: (laughs)
m: ...but we’re happy. I couldn’t even imagine trying to raise a child, I mean, I could see it down the road, but I could only imagine what that does for time. Is it tough for you to be on the road?
jf: It is and it isn’t. It’s just your way of life after a while, you know? I think someone has told me before that I probably see my kid more often than he sees his. You know, he goes to work 9 to 5 and probably gets to see his kid one hour out of each day or whatever.
m: So you get that more bulk time
jf: Right, exactly.
m: Is there alot of calls home?
jf: Yep, I have a cell phone...
m: (laughing) Yep!

m: Final thing I’ll ask, and it’s a light-hearted thing that maybe I won’t ask, is you might be aware already and I was doing some research on you and I came across this University of Oregon website called "Jay Farrar Ascetic Lifestyle" home page, have you seen this web page?
jf: (laughs a little) Uhh, only briefly once, uhhh, I didn’t...it past in front of me.
m: Okay, so would it bother you...there’s a list here of "Jay Farrar probably would never:" and then it’s a list of things and situations, and uhhh, if I were to read you some could you just say "yes" or "no?"
jf: aaaahhh...
m: I don’t want to annoy you.
jf: (laughs a little more) I’m sorry, it might be annoying.
m: All right, I won’t do it then.
jf: It’s actually been done once, a radio guy did it.
m: Okay, it’s just kind of funny, but I can respect that.
jf: It says it’s from the University of Oregon?
m: Well, it’s a uoregon.edu web address, you know the URL?
jf: Okay, somebody there on campus. It’s spreading.
m: All right Jay, I don’t want to hold you up anymore.
jf: Well, good talking to you Thomas.
m: Nice talking with you too Jay and thanks.