Old 97’s - Blame It On Gravity Review
Posted by Mitch Michaels on 06.07.2008
Will the Old 97’s first new album in four years be worth the wait?
My Story
Back in ’99, my brother caught the Old 97’s on an episode of “Austin City Limits” and fell instantly in love with them. A few Fight Songs later and I’d been converted, too. Old 97’s were one of my first favorite alt-country bands (though they, like most folks, rebel against the classification). It’s been a long time since the band released a new set of music (nearly four years), so how will this brand new studio album compare to the Old 97’s back catalog of classics?
Their Story
The Old 97’s got together in 1993, the product of Dallas area singer/songwriter/guitarist Rhett Miller and bassist Murry Hammond. Miller had cut his teeth as a Texas folk-pop singer and earned himself a creative writing scholarship to Sarah Lawrence College, but dropped out to lead the rock ‘n’ roll lifestyle instead. By the time he and Hammond joined up, Miller was already absorbing more of the Texas country influence into his songwriting. The duo added guitarist Ken Bethea to the line-up and hit the studio to record their initial demo at Cedar Creek in Austin, TX. The next year saw the permanent addition of drummer Philip Peeples and the release of the Old 97’s first LP.
Hitchhike To Rhome was released on the indie label Big Iron in 1994. The album, a frantic blend of rock ‘n’ roll and shuffling Texas county, was quickly championed by the burgeoning alt-country community and caught even the most stony country critic off guard with its infectious enthusiasm.
The Old 97’s signed to noted indie label (and ground zero for the burgeoning alt-country movement) Bloodshot Records for their follow-up, 1995’s Wreck Your Life. Life continued the high tempo country rock of their debut, but it also found frontman Rhett Miller stretching out as a songwriter, with his lyrics showing a bit more polish and edge. Fans and critics alike were finding themselves firmly behind this manic alt-country act. The major labels came calling.
The Old 97’s quickly jumped from Bloodshot to Elektra, and 1997 marked their major label debut, Too Far To Care. While the previous releases had been an exercise in bar band romp, Too Far found the 97’s venturing more into Miller’s favored pop territory. The melding was inspired, and Too Far To Care thrust the Old 97’s to the forefront of the alt-country movement, making them the poster boys for a genre that was at times hard to explain.
1999’s Fight Songs moved even further away from the band’s roots, replacing their twangy guitars with a distorted crunch more akin to pop-rocking. Even so, fans and critics enjoyed the album, and Fight Songs garnered the 97’s their first spot on the Billboard Charts, ranking #16 on the Heatseekers list.
The band began to move away from each other following Fight Songs, both literally and musically. Rhett Miller relocated from Dallas to Los Angeles, and he and Murry Hammond started working outside the group on a side project dubbed The Ranchero Brothers (that never really got off the ground). The band reconvened for 2001’s Satellite Rides, which furthered their movement towards hard hitting pop. The album was once again hailed by critics and fans who were taken in by the clever hooks and rough jangle of its songs. The album entered the Billboard 200 for the first time in the band’s career, topping out at #121.
Following Satellite, Miller took an official leave of absence from the band and began focusing on a solo debut. The Instigator, an album of pure power pop, hit stores in late 2002. During Miller’s time away, the band found themselves settling down a bit. Hammond had taken up residence with his wife in Burbank, CA, Miller had made the cross-country trip from L.A. to New York, and Philip Peeples and Ken Bethea were both married and raising kids at home in Dallas.
After a few years away from the spotlight, the Old 97’s reemerged on New West Records with 2004’s Drag It Up. While their last couple of efforts had been popish, Drag It Up was a full on, sweat-soaked bar room rock effort. The guitars were dirtier and grittier, the vocals achingly rougher, the drums crashed a little meaner. The album proved that the Old 97’s still had plenty of gas left in the tank.
The years after Drag It Up were a flurry of activity. Besides the promo tour, 2005 marked the release of the band’s first live effort, Alive & Wired, as well as a live DVD. Rhett Miller returned to the studio for his second solo effort The Believer, and, in 2006, the band’s pre-New West work was compiled and released as a Best Of set.
With all of that work, it’s hard to believe that four years have now passed since the last Old 97’s record came out. But don’t fret, the band returned to the studio recently and have now released their seventh studio set, led by the single “Dance With Me”. Following a string of in-store appearances, the band is currently supporting the new album with a lengthy tour, which kicked off May 30th. For tour dates and more info, just check out the band’s official site.
The Album
On May 13, 2008, New West released Blame It On Gravity, the seventh studio album by Old 97’s and the follow-up to 2004’s Drag It Up. The album is available on CD (in standard and deluxe versions) and vinyl. Retail bonus tracks include “Motorcycle Club (Demo)” (iTunes) and “Damn Your Misery (Demo)” (iTunes). A live version of “My Two Feet” was also made available through New West’s website.
The Band: 8.5
Rhett Miller: guitar, vocals
Murry Hammond: bass, vocals
Ken Bathea: guitar
Philip Peeples: drums, percussion
With fifteen years under their belt, the Old 97’s have become the unlikely veterans of the alt-country scene. Or perhaps they’re more like the survivors. No matter how you want to classify the sound, the Old 97’s were at the center of it in 1997 with the release of their major label debut Too Far To Car. Eleven years later and a lot has changed. And that’s a good thing.
When we last saw the Old 97’s, they were fresh off a jump to a new label, dealing with some major geographical issues (members were spread out in three of the four US time zones) and an itching by frontman Rhett Miller to be a full-on pop band. 2004’s Drag It Up tried it’s hand at rocking, sure, but the dreamy jangle-pop still stood at the center. Not that the band didn’t do it well – in fact, they did it so well that those who still pined for the glory days of Whiskeytown and Bloodhshot Records feared that we’d lose one of our last remaining heroes.
With Blame It On Gravity, the Old 97’s have finally proven they can have their cake and eat it too. The record is full of both lovely jangle pop and sweaty, dirty barroom country rock. Rhett Miller reminds us why we fell in love with him on angst- and alcohol-fueled rompers like “The Fool”, and why we still love him on mellow pop toe-tappers like “She Loves The Sunset”. Murry Hammond’s background vocals keep things a little country no matter what. Meanwhile, the rest of the band is equally ready for either direction. Ken Bathea’s perfectly distorted guitar can’t be suppressed, no matter what the other guys are up to, while the rhythm section of Hammond and Philip Peeples is just utterly alive. It’s the sound they’ve spoiled us on, and they’ve somehow made it new again.
The Songs: 8.0
1. The Fool
2. Dance With Me
3. No Baby I
4. My Two Feet
5. Ride
6. She Loves The Sunset
7. This Beautiful Thing
8. I Will Remain
9. Early Morning
10. The Easy Way
11. Here’s To The Halcyon
12. Color Of A Lonely Heart Is Blue
13. The One
Old 97’s kick the door down on Blame It On Gravity with “The Fool”, a fast shuffling number with an unmistakable sound. It’s immediately reminiscent of the band’s early years, something that fans have been waiting for years to hear. A good reintroduction to an old friend, no doubt. “Dance With Me”, the album’s first single, absolutely cooks, an atmospheric tune with a decidedly south-of-the-border feel.
Of course, the band hasn’t forgotten their pop side. Not by a long shot. Cuts like the sweet but melancholy “No Baby I” and the island groove of “She Loves the Sunset” find the band continuing the mellow vibe they found on Satellite Rides while also exploring new ground. Just more proof that Rhett Miller is one of the best (and possibly most underrated) songwriters around today. And when it comes to slower songs, “Color Of A Lonely Heart Is Blue” (written and sung by Hammond) stands as one of the Old 97’s best.
Still, the best moments on Blame It On Gravity are the fast-paced rockers, like the tough “Early Morning” and “The Easy Way” or the album closing “The One”, a song full of bank heists, love and country fun. Tracks like this will make it hard to wait another four years for a new album by this band.
The 411: Old 97’s have returned with Blame It On Gravity, their first album in nearly four years. It’s worth the wait, though, as the band has finally melded their alt-country roots with their pop side, crafting a set of songs on both spectrums. Longtime fans will love rockers like “The One” and “Early Morning”, but the more mellow cuts like “Dance With Me” and “She Loves The Sunset” will quickly draw you in. Blame It On Gravity is proof of why Old 97’s have stood tall while other alt-country bands have fallen.
