Drag It Up

Earlier this year the Old 97s held a pithy tour in order to test out a new batch of songs that would end up being their sixth album, Drag it Up. Thanks to a charitable birthday present, I was fortunate enough to attend. Aside from Rhett Miller’s new California threads, the show was a success. Most of the new songs felt provisional, thus, hard to judge; they did, however, sound more like a country rock band than a British pop band. That’s fine by me; either way, Autumn’s best rockers are back in fine form on their first album for New West Records. 

Miller’s 2002 solo album seemed to make sense as his next step away from the Americana sound, following the almost pure pop sound of the 2001’s Satellite Rides album. After moving to Los Angeles, marrying an exotic model and tweaking his looks, I figured Miller’s recent work with producer/musician Jon Brion would kill of his twangy spirits once and for all. Despite his unsettled new image, Miller and Co. have returned to the earlier country sound of Hitchhike to Rhome, Wreck Your Life and Too Far to Care for the almost satisfying Drag it Up.

Every Old 97s fan has an opinion on what has become known as the “Murray Song.” The newer fans who are used to the pop sound are habitually out for beer once Miller steps from the spotlight in favor of the 97’s mawkish bassist. Older fans likely opened Drag it Up, found the song-writing credits and skipped right to the Murray Song. I know I did.

Once a solo album is released within the confines of a band, the dynamics almost always slay. In most cases the singer sells his pretty face to the record label, tests the waters of a solo career, fails and comes back to the band an outsider who likely became used to complete creative control all too easily. Such is not the case with the Old 97s. Not only are there two Murray Songs on Drag, but for the first time guitarist Ken Betha gets in on the songwriting game with his surprisingly excellent “Coahuila.” Reformed as a seemingly solid, but slightly altered clique, the 97’s appear better off then they were for the recurrently iffy Satellite days that likely led to Miller’s solo endeavor.

Beginning with the laudable “Won’t Be Home,” the 97’s stammer back to their Too Far To Care era with a modestly produced blend of edgy guitars, rowdy vocals and upbeat rhythms about being reborn through ending a nearly “expired” relationship that never had a chance. “Smokers,” with its three-guitar assault, explores the dynamics of a mismatched relationship ending over the sound of Ken Betha’s excellent surf-guitar solo while Murray hoots and hollers in the background. Drag‘s two prominent stand out tracks, “The New Kid” and “Bloomington,” see the band revisit the catchy (almost) alt-country sound of Fight Songs. Either could easily be a radio hit if given proper promotion and a chance at radio play. Likely, one of the two songs will end up on a car commercial or something.

Half of Drag sees the 97’s committing themselves to slower, winsome songs that focus more on Miller’s fragile vocals and the bands taut playing. Each album has seen it’s share of downbeat songs but none to the extent of Drag it Up. With the band seemingly at another crossroads following Miller’s solo album, a label change and, most importantly, a significant drop in interest from music media, it seems that slower songs could be the key to the band’s future.

With their latest effort, Y’alternative’s darling band, now over a decade into their assiduous career, are still as fiery and proficient as ever.     7.5/10

Written by G. William Locke