By Andrew W. Griffin
pop writer
It's been a treat watching Dallas-based rock band Old 97's develop and change over more than a decade.
They had already been around for a few years before I paid much attention them. In fact, it was 1999's "Fight Songs" that really got my attention. Punch-drunk with nervous energy, smart-pop sensibilities and major-label support, the 97's could do no wrong with "Murder, Or a Heart Attack" or the insanely catchy "Oppenheimer." Count on guitarist Ken Bethea to land a knockout punch with his twangy Telecaster.
The years passed. Rhett Miller did the solo thing. And on 2004's spare "Drag It Up" it sounded like a confused band on the verge of throwing in the towel. Thankfully, they snapped out of their musical stupor and decided to give it another go, with their new record "Blame It On Gravity."
The results, music fans, are impressive if not outstanding.
I think the best way to put it is Old 97's sound like they're finally comfortable in their own shoes.
That's the vibe I get when I listen to "Blame It On Gravity," produced in Dallas by Salim Nourallah.
The guys -- Miller, Bethea, bassist Murry Hammond and the always reliable drummer Philip Peeples -- are making some alt-country-rock n' roll that doesn't compromise. In fact, the confidence on this record is palpable. Listen to "Ride." Miller's passionate vocal is as good as stuff he did on 2001's "Satellite Rides." Yet, this go around Miller and company seem to really mean the song they're trying to sell to their listeners.
And they're not afraid to experiment. "She Loves the Sunset" has a predictable beauty that has an appealing cocktail-hour honesty.
The hangover cure "Early Morning" recalls some of their early cowpunk material while their kiss-off to their hometown, "The Easy Way" sounds kind of sloppy in it's own, unique Old 97's sort of way.
The first single, "Dance With Me," sounds like a song featured in a high-seas murder mystery movie, slinks and leers and fascinates. Dig that surf guitar, gang!
And the jangly power-pop of "My Two Feet" has Miller telling a girl that he's leaving but that it's still a hard decision.
But then Hammond, with a penchant for the deeper things in life, pens the beautiful country ballad "Color Of a Lonely Heart is Blue" which is a top-shelf highlight.
Appropriately, the 97's wrap up things with a song called "The One," that harkens back to their early days and was written during the "Fight Songs" era. On this track, each band member is portrayed as a bank robber who is wondering how to best make it out with the money they feel they deserve.
Sure, it's cocksure but it's reflective of a band that saw things only getting better.
Now they're older, wiser and sound like a mature rock band that still has a lot to say.
Oh, and on a personal note, I had a chance to see Old 97's in Dallas last fall when they performed at Carter Albrecht's memorial concert. The album, it's noted in the liner notes, is dedicated to Carter, my friend whom I dearly miss.
Rating - A
