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Sebastopol Titres bonus, Edition limitée, Import

6 d'occasion à partir de EUR 5,08
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Page Artiste Jay Farrar

Détails sur le produit

  • CD (25 septembre 2001)
  • Nombre de disques: 1
  • Format : Titres bonus, Edition limitée, Import
  • Label: Mis
  • ASIN : B00005OAI5
  • Autres éditions : CD  |  Cassette
  • Moyenne des commentaires client : Soyez la première personne à écrire un commentaire sur cet article
  • Classement des meilleures ventes d'Amazon: 422.335 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Feel Free
  2. Clear Day Thunder
  3. Voodoo Candle
  4. Barstow
  5. Damn Shame
  6. Damaged Son
  7. Prelude (Make It Alright)
  8. Dead Promises
  9. Feed Kill Chain
  10. Make It Alright
  11. Fortissimo Wah
  12. Drain
  13. Different Eyes
  14. Outside The Door
  15. Equilibrium
  16. Direction
  17. Vitamins

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Commentaires client les plus utiles sur (beta) HASH(0x8e900048) étoiles sur 5 72 commentaires
16 internautes sur 16 ont trouvé ce commentaire utile 
HASH(0x8e94aaf8) étoiles sur 5 Farrar Meets the Beatles? 7 avril 2005
Par Robert Ryan - Publié sur
Format: CD
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.
12 internautes sur 12 ont trouvé ce commentaire utile 
HASH(0x8e94ab4c) étoiles sur 5 More timeless music from Farrar 2 octobre 2001
Par Brianimal - Publié sur
Format: CD
If you've made it this far to the point where you're reading reviews to see if you should buy the CD I'll save you some time...Just buy it already! A very solid effort by all accounts. It's nice every now and then to not have to look for albums from the 60's and 70's to find music with actual content and feeling. These songs don't contain alot of catchy choruses or guitar hooks, but they'll grow on you fast and you won't be able to let go. The lyrics are standard issue Farrar, insightful, inspiring, determined, choppy, sometimes melancholy, but never boring. Overall, the CD is more listenable than Jay's last two albums with Son Volt. Two small complaints, all of the instrumentals are very short and don't really add that much to the album...similar to Jodel from Wide Swing Tremolo.....and some of the other songs come in at just over 2 minutes. However, I'm only going to deduct half a point and still round up to 5 stars.
11 internautes sur 11 ont trouvé ce commentaire utile 
HASH(0x8e94af84) étoiles sur 5 Transcendental Alt-Country! 29 septembre 2001
Par Un client - Publié sur
Format: CD
I have never been as big a fan of Jay Farrar as I am of Jeff Tweedy, and never will...but this album is pretty incredible. Many lame insults are thrown back and forth between the fans of Wilco and Son Volt. There may be some bitterness between the two stars, but how it effects the fans is beyond me. On to the album though...Jay is able to keep up his excellent lyricism and musicianship again on Sebastopol. With a variety of guests, including Gillian Welch on Barstow, this album maintains a solid feeling of hopeful isolation through every song. Farrar paints the picture of a rather desolate world, but puts in his two cents on how to cope with this planet of ours. With the inclusion of the little instrumental segways in between some of the songs, the album almost takes on the feel of a concept LP. Jay has begun to blend in more instruments, such as the sitar and some heavy synths on "Feed Kill Chain," which really haven't been incorporated into the genre before, outside of Wilco that is, and it's an overdue but welcome change. Jay's classic monotone voice is simply haunting in every way shape and form. My personal favorite tracks are the first single Voodoo Candle, Feel Free, Drain, and Make it Alright, but there is not a bad song on this album. If you love Uncle Tupelo, Wilco, and Son Volt or are a fan of great singer/songwriter music in's impossible to go wrong with this CD.
7 internautes sur 7 ont trouvé ce commentaire utile 
HASH(0x8e94d354) étoiles sur 5 You won�t like it �straightaway,� but give it a chance 28 mai 2002
Par Brad T. Hauck - Publié sur
Format: CD
The first time I heard Sebastopol, I was not impressed. The CD that had previously been enjoying steady rotation in my Walkman was Whiskeytown's Faithless Street, and compared to their rollicking honky-tonk anthems and Ryan Adams' rebel-without-a-shower attitude, Sebastopol hit me like a ton of lint. It sounded flat and morose, and the elaborate instrumentation seemed about as natural as tail fins on a pick-up truck.
However, as a long-time fan of Uncle Tupelo and the UT diaspora, I stuck with it. And I'm glad I did. More than a week after I bought it, Sebastopol has not left my CD player, and it continues to grow on me. What I am learning is that listening to the new Farrar is like breaking in a good pair of work boots: there's some initial stiffness, but over time you really appreciate the workmanship.
Jay Farrar has never aspired to demagoguery, but it is easy to understand how some fans have turned his opaque lyrics into a roadmap for modern asceticism, particularly when they are spiked with such disarming wisdom as: "when the way is finally found/ in the stacks and piles of dead promises/ that we keep around" (from Dead Promises).
Farrar may be breaking new ground with Sebastopol or he may be, as some reviewers suggest, hacking his way into a morass of self-indulgence. But it hardly matters to me: I'll follow him anywhere.
9 internautes sur 10 ont trouvé ce commentaire utile 
HASH(0x8e94d450) étoiles sur 5 Absolutley a must have for acoustic music lovers 11 mai 2002
Par Un client - Publié sur
Format: CD
Take it from a serious stundent of the Uncle Tupelo legacy. This is the best album produced by any of these offshoots (Son Volt, Wilco, Jeff Tweedy, Jay Farrar). If you've enjoyed Farrar's songwriting in previous albums, you will agree with me. While many artists lose depth with increasing popularity, Farrar gets better. Not only are the songs well written, but the production of this album is extraordinary. Farrar obviously has that talent, and produces the album along with John Agnello. A hard charging beginning with Feel Free and Clear Day Thunder. Distortion mixed with some clean acoustic rips and plenty of wah-wah pedal really get the album going. Gears change at Barstow, where Rawlings comes in with the dobro, and Gillian Welch sings backup. This may be the highlight for Dobro lovers, and the lyrics are brilliant. If you make it through Barstow without listening to that track six times in a row, the remainder of the album is a nice blend of acoustic variety, as well as a diverse array of moods and themes. Cheers to Farrar on a job well done.
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