Slacker Country reviews Old 97’s latest album

by Jitter of of Slacker Country

Back in the day, when “alt country” was still an indefinable thing, something you couldn’t really nail down specifically but you always knew it when you heard it, before the corporate record music people got together and dubbed it and anything remotely like it “Americana,” the Old 97's were in the vanguard of that insurgent sub-genre.

And like just about every other band that got tagged as “alt country” back then, they’ve spent the last decade or so trying to shed themselves of the label and become a regular old pop band.

Go figure.

In their early shows and records (Hitchhike To Rhome, Wreck Your Life), they managed to combine the frenetic energy of Killbilly (the legendary Texas bluegrass ensemble that Rhett Miller and Murry Hammond played in just before its demise) with sharp lyrics, insanely catchy melodies and a general sense of balls out fun. And they did it all with a nod and a wink to old-timey country music.

They were, in essence, a punk country band.

Their later output has had moments of real inspiration but it’s been over ten years since they put out anything as satisfying on the whole as Wreck or it’s follow up, 1997’s Too Far to Care.

Until now, that is. Blame It On Gravity, their newest, is a genuine return to form for fans of the old Old 97's.

Don’t get me wrong, this isn’t just a repackaging of their earlier sound, it’s more of a refining. Rhett and Murry have grown as songwriters and it definitely shows. Where Rhett used to bob his head and wail about lovesick obsessions, insecurities and revenge fantasies over a charging acoustic rhythm while Murry played an acoustic bass guitar and injected some old fashion sin and redemption country themes through an aw-shucks grin; Gravity displays some impressive lyric subtlety. That’s evident on tracks like Rhett’s “She Loves The Sunset,” “Here’s To The Halcyon” and especially Murry’s ballad, “Color of A Lonely Heart Is Blue,” the album’s prettiest song.

One real happy surprise on this disc is the prominent featuring of guitarist Ken Bethea. He rocks and grinds and power strums and cha-chas on just about every track like he did on the best songs from TFTC. On Rhett’s “I Will Remain” he even tosses off some tasty soul riffs.

The High point of the record is the country blues stomp, “Early Morning.” It’s hands down the rockinest thing they’ve done since “Four Leaf Clover.” Just like he did on that one, Bethea throws down some Billy Zoom style crunch, complete with feedback laden twang and drummer Phillip Peeples pounds out a relentless driving beat. It’s great stuff.

How well it holds up remains to be seen but I’d be willing to step out on a shaky limb and say it might just be their best record yet. Their last studio release, Drag It Up, fell on these ears much more easily than its two predecessors, Fight Songs and Satellite Rides. Those two sounded a lot like the band softening up and Drag had a bit more of the old edge. Now, with Blame It On Gravity, it sounds like the Old 97's have not only moved back into the house that used to be but also tastefully updated the furniture.

I, for one, couldn’t be happier to hear it.

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Mike Orren, says:

Additional 97's happenings today, via New West:

Wednesday, May 14 Watch the band perform 2 songs live on Fox-TV's Good Day Dallas. Then, if you are a hockey fan, the band will be at the American Airlines Arena performing between breaks at the Dallas Stars/Detroit Red Wings Western Conference Finals game.

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1 year, 6 months ago
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Mike Orren, says:

Great review, Scott -- I was on my way to saying the same half as well and in twice as many words and you saved me the trouble :-)

Can't resist adding a couple other thoughts, though:

As expected, Salim Nourallah's production made this sound different from any 97's album before it (at least that's where my untrained ear lays a good hunk of the credit). As Scott points out, the 97's have always had pop tangled up in their roots, but some of their earlier pop attempts sounded like someone said "let us now right a pop song" and tried to do so by formula. These songs sound like the guys wrote a great song and performed it effortlessly but expertly without worrying about categorization.
There are more instrumental layers in these songs (Hi, Salim!) than in any you've heard out of the band before. Philip's drums in particular are displayed to better effect. Go listen to these songs on some nice headphones-- your jaw will drop.
That said, my only fear about the boys recording with Salim was somewhat realized. The result is at times a really pristine sound and vibe (see praise above) that is difficult to accept when you fell in love with a sweaty, boozy, off the rails powerhouse that left string breaks and their aftermath on final recordings. It only effected me on the rave-ups, and really on the first couple listenings. I can't wait to hear those numbers live.
"The Fool" is a perfect track one for this album and really sums up the new old sound.
Overall album is lyrically smashing with lots of the signature double entendres and cultural references.
I'm really conflicted on "Dance With Me." I initially wanted not to like it because it seemed like too much of a retread musically ("This Is What We Talk About" + "Smokers" = "Dance With Me") But dammit, I'm a sucker for whistling in the dark apocalyptic lyrics and it's really sticking to the ribs now.
The Murry songs seem less of a shift from the rest of the album than in the past. If you've <a href="http://www.pegasusnews.com/news/2008/apr/20/cd-review-murry-hammonds-i-dont-know-where-im-goin/">heard his solo album</a>, you'll hear the connection.
Although I like it all, "side 2" (for vinyl lovers) is the strongest. "Here's to the Halcyon" is already on my all-time fave list.
Only possible exception to that is the closer, "The One." I'm going to need to give it a few more spins, as it seems an allegory on the band's label career, but as a song it initially came off as too insidery and indulgent. It's "Friends Forever" with more name-checking. But I have a feeling that live, after a Shiner or seven, it'll be a favorite.
The promotion machine seems intent on telling us all that this is the band's return to the form of Too Far to Care. If I was to engage in such soundbitery, I'd say it sounds like a hybrid of Hitchhike To Rhome and Fight Songs.

First time in a long time that I've listened to an album straight through ten times in as many days. Great success!

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1 year, 6 months ago
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Mike Orren, says:

Other reviews: http://hitbyatrain.com/news/index.htm...

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1 year, 6 months ago
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Scott Miller, says:

OK Mike- I just gotta ask...

Where the hell did you score a vinyl copy?

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1 year, 6 months ago
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Mike Orren, says:

Sorry-- Should have been clearer. I was speaking metaphorically about the latter half of the disc. Another good reason for you to write the review instead of me...