The tour will eventually end in Dallas, where Miller grew up and his bandmates still live. As the Old 97's stand at the beginning of what will certainly be a long road in support of Satellite Rides, their fifth album and third for Elektra Records, Miller is tired, sure, but he's also happy. And while he downplays his success somewhat -- "We're by no means rock stars," he says -- it feels like he's finally made it.
"On the one hand, your life is, in moments, uncomfortable," Miller admits, lamenting his seventh straight night of performing, the feeling of being "owned" by a record label (Elektra), and the seemingly endless "radio visits and record-store things, interviews, phoners, and photo shoots." "On the other hand, you're getting to live your dream. I feel really lucky, and I feel really good about it. I feel like we worked hard. It would be nice to be at a point where it was really comfortable and that it felt more like being at home. Maybe like Willie Nelson is, where your home is sort of your bus, and you can have your family with you and you don't have to run around doing the meet-and-greets and the grip-and-grins and the radio visits quite as much because you're more established. But I'll take what I've got now. I don't mean to be ungrateful."
Miller should be grateful, and he's right: The band has worked hard. He's been wrenching infatuated tales from his lovesick heart since he was a teenage folk prodigy, eventually forming the Old 97's in 1993. Five albums later, Satellite Rides marks the band's reclamation of the loud, desperate, backwoods feedback that initially magnetized fans. While the band's previous album, Fight Songs, was a fine vehicle for convincing Elektra of its commercial appeal, Satellite Rides is the Old 97's slamming that vehicle into a wall and recording the pieces shattering.
On Fight Songs, the band was so removed from its previous sound (unflinching and rowdy) and so close to Tom Petty's (middle-aged and inconsequential) that it seemed the band members had lost their luster and their will. Had they matured to the point where Miller was no longer interested in writing his trademark, self-deprecating love songs, and was the band no longer able to rock?
Satellite Rides responds with an affirmative return to the sound of the band's major-label debut Too Far to Care. That means plenty of clever word play and fat, angular guitar riffs. This time the production is finer, the vocals are stellar, and the group's experimentation in the studio has yielded some of the prettiest and most exciting moments of its career.
For instance: Bassist Murry Hammond contributes the foreboding "Up the Devil's Pay," which spotlights some of the group's best vocals yet. The track features lovely, nearly psychedelic yodeling from Hammond and Miller, testifying to Hammond's precious worth to this band. "Buick City Complex" is one of Miller's patented somber, steady tales of loneliness and anxiety ("I don't wanna settle down/I don't wanna make no plans/Except for what I'm gonna do with a pair of idle hands"). "Question" is a sweet-and-simple, man-and-his-guitar number, wherein the singer asks his girl "a question that you should say yes to, once in your life." It's further proof that Miller is an accomplished songwriter in need of no gimmickry to play it straight and smart.
Flipping that coin, "Bird in a Cage" is the pinnacle of Miller's wit, delivering more clever lines than Domino's does pizzas. (Sample: "A bird in the hand is worth a bird in a cage is worth a bird on a telephone wire.") "Am I Too Late?" is also vintage 97's: fast, twangy and flypaper-catchy. "Book of Poems" is a surprise with its Sugar-like full-throttle drive, the kind of song white guys of a certain age usually produce, and, in this case, that's a good thing.
Closing out Satellite Rides, "Nervous Guy" has the same miserable disposition as "Stoned," from the 97's full-length debut Hitchhike to Rhome, or maybe "Curtain Calls" from Too Far to Care. This time around, however, the song is fleshed out by Ken Bethea's howling guitar and Miller's wailing ("Goodbye, from a nervous guy") to full melancholic effect. With lines such as "In the way you cross your legs/In the way my right hand shakes/I can see how this thing is gonna end," Miller demonstrates his ability to hone in on a moment and resonate its tragedy. Or, as Miller puts it, "crystallizing some sort of pain or joy."