** 1/2 SON VOLT, “Straightaways,” Warner Bros.

Of all his peers in the welcome alternative-country rock movement, Jay Farrar probably relates to the musical legacy of the late Gram Parsons as well as anyone on the ‘90s scene.

He sings with a soulful ache that captures nicely the melancholy currents of Parsons’ music, slurring and holding words in ways that suggest a man searching for understanding. His band’s arrangements frame the vocals with winning, authentic accents.

So why does “Straightaways” seem so ordinary? The problem is central: the songs.

Parsons would have been quick to point out that songs are the foundation of a recording. And Farrar’s songs--no matter how well he packages them--don’t speak with the originality or revelation of truly involving works.

Because his country-edged style is so far out of commercial favor in the ‘90s pop world, Farrar no doubt feels he is contributing something meaningful by simply working in the style. But that’s setting your sights too low.

The achievement in such Parsons recordings as “Sin City,” which he co-wrote with Chris Hillman and recorded with the Flying Burrito Brothers, was that the song spoke so provocatively about such themes as innocence and temptation. The country feel only added to the song’s bold commentary.

To matter as an artist, Farrar has got to write about the human experience in a more meaningful and insightful way. Otherwise, he’s just going along for the ride.

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