The Old 97's: The Grand Theatre, Volume One

Then the major labels started calling, signed up the Dallas band, and released a series of increasingly poppy, overproduced, and profoundly less interesting records. I tried to stick with them but, as these guys morphed into true professionals, they'd all but lost their ragged charm. Still, their slick pop songs couldn't sell the volume of records the majors had hoped for. Singer Rhett Miller put out a couple of radio-ready singer-songwriter collections and The Old 97's, at that point, seemed to be side project for Miller.

Now, after a couple of decent if not revelatory records for indie alt-country label New West, the band is back with The Grand Theatre Volume One. The band sounds as tight as ever and has stripped away some of the sheen that covered records like Fight Songs and Satellite Rides. Three or four songs into The Grand Theatre, The Old 97's sound like a band simply trying to ape the unhinged alt-country sound that made them almost famous -- t

he near-constant harmonies, the shuffles and runaway train beats, Ken Bethea's unconventional lead guitar playing, and the Rhett Miller's knack at turning a phrase

But somewhere around track 5, "The Dance Class," an amped-up pub rocker, the band sounds refreshed and ready to set off in a new direction, and it's good to hear. And drummer Philip Peeples is still one of the best around.

05 The Dance Class

Best song: "Please Hold On While the Train Is Moving," a song that would make vintage Tom Petty proud.

Rotation: Medium-heavy

Deja Vu: The sound of a band coming into its own -- again.

I'd rather listen to: Too Far Too Care remains one of my favorite discs from the 1990s.

Grade: B