While there was never much question that
Jay Farrar was the guiding light behind
Son Volt, he's managed to extinguish any lingering doubts about that issue with
Okemah and the Melody of Riot, his first album under the
Son Volt handle since 1998's
Wide Swing Tremolo. While
Okemah sure sounds and feels like a
Son Volt album, as it happens
Farrar is the only musician in the band's new lineup who had ever played with
Son Volt before, which for good or ill firmly establishes him as the sole architect of the group's musical approach. While it's anyone's guess why
Farrar turned from his solo career back to the
Son Volt format (especially since it's obvious
Farrar is the man in charge under either circumstance), whatever the billing the results are impressive --
Okemah and the Melody of Riot is a compelling, strongly focused work that stands as
Farrar's best music since
Son Volt's debut album, 1994's
Trace. While
Farrar's songwriting is still in his usual enigmatic mode on
Okemah, there is a noticeably stronger lyrical focus here, especially on the (apparently) anti-
Bush screeds "Jet Pilot" and "Ipecac" and the rabble-rousing opening cut, "Bandages & Scars";
Farrar obviously has something to say about the state of post-millennial America, and if the letter of the message is vague, the passion of his delivery speaks volumes. And while
Farrar's solo albums had an unfortunate habit of meandering,
Okemah thankfully sounds muscular and driven, with
Farrar and
Brad Rice bringing a healthy share of guitar firepower to the songs and bassist
Andrew DuPlantis and drummer
Dave Bryson charging the songs with lean but sinewy force. If much of
Jay Farrar's music since the breakup of
Uncle Tupelo sounds like the work of a man looking for a fresh direction and a true sound,
Okemah and the Melody of Riot finds him with a firm grasp of his talent and a fresh reserve of conviction; it's a bracing and welcome return to form for an important artist. ~ Mark Deming