Old 97’s are sort of like the American version of Canadian band The Sadies. If you want rock and roll, they can dish it out as easily as they can roots rock, rockabilly or catchy, bar room pop. Led by Rhett Miller, the band get this 30-track collection off the ground with a rampant “Melt Snow” that leads nicely into a somewhat laidback, mid-tempo “The New Kid,” the latter sounding a bit like Blue Rodeo. And they are adept at doing it all, even the slow, honky tonkin’ “Barrier Reef” that ambles along.
As with several live albums, the audience plays a large part between songs but not too much during them, as the toe-tapping Americana comes through on “Lonely Holiday” and the ensuing “The Villain," with Miller and fellow vocalists Murray Hammond and Ken Bethea helping out. While the group tears through several of these gems, the songs still come off polished and not overtly rushed, particularly the picture perfect pop emanating from “King Of All The World.” The first miscue could be the adequate, mid-tempo “Rollerskate Skinny” that never really seems to find its footing. And the Jimmy Buffett feel on “Coahuila” is okay at best.
Old 97’s are best when they mix the country with just the slightest bit of pop as they do on the gorgeous “Iron Road” and the rowdier, quasi-rockabilly “Won’t Be Home.” And as strong as the first 15 gems on disc one generally are, disc two offers up a boatload of goodies. It runs from the rather ragged “Jagged” (hey, that rhymes!) that shows the group settling into a lovely, catchy melody with some high harmonies and an alt.country/rock guitar bridge, to the gorgeous “Designs On You” that you’ll find yourself singing along to halfway through.
The lone cover here is that of Merle Haggard’s “Mama Tried.” And here, Old 97’s tried but don’t come close to that of the original. Mama wouldn’t be so proud even though they did try. But they once again shine on the rowdy “If My Heart Was A Car.” The homestretch begins with what seems like the encore, including a murky, swampy “Stoned” and a quick run through of the tight, poppy “Can’t Get A Line.” Another sleeper pick is the fabulous “Big Brown Eyes,” the longest track here and one that never loses its steam.
The biggest problem with this album is that there are too many quality songs so there is hardly any filler. Just great songs by a band that is adored by those lucky enough to look a bit under the radar and find great roots rock jewels.
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