In the Old 97's newest album, "The Grand Theatre, Volume One," the band departs boldly from tradition by including not just one, but two entire songs that are not about love.
Of course, apart from that ballsy deviation, every other song on the album deals with all facets of love, including such well-traversed topics as getting a lover, not having a lover, a lover that is leaving and unrequited love. Even if the song doesn't revolve around love, it at least mentions it.
Their single-mindedness isn't necessarily a bad thing. Like so many other bands, the Old 97's are comfortable with their genre — alternative country — and have produced a few respectable love songs in the past, so really they can't be blamed for sticking to their guns.
"The Grand Theatre, Volume One" is the eighth studio album by the band, who have been releasing albums for 16 years. It is a well-crafted and enjoyable album, and although it is not groundbreaking, it is still solid.
Part of the enjoyment comes from the lyrical skill of frontman Rhett Miller. Little phrases such as, "If you die fearin' God/And painfully employed/You will not go to heaven/You'll go to Champaign, Illinois" (from "Champaign, Illinois") add levity to the album and showcase the band's sense of humor. Some of Miller's lyrics form a story, and others are a more traditional style of songwriting, but almost all of the lyrics are enjoyable.
The second track, called "Every Night is Friday Night (Without You)," belies the tone of the more upbeat half of the album. The Old 97's marry tracks bearing Friday-night energy with quieter and more melancholy country tunes.
While both styles are enjoyable, the high-energy songs stand out a little more overall. "Every Night Is Friday Night (Without You)" is rich with hooks that pique listeners' interest.
Other recommended catchy, lively tracks include the title track, "The Grand Theatre" and "The Dance Class," a song about a hermit who falls for the beauty of someone he sees in a dance class across the street.
Some of the mellower songs pack a punch, too. "You Were Born to Be in Battle" and "Love Is What You Are" are both highly listenable, sporting rhythmic beats and catchy pop melodies. The only complaint with the lower-energy songs is that they don't match the emotional intensity of their predecessors on previous albums, such as "Salome" from "Too Far To Care" (1997).
The album flows smoothly from start to finish. The band kicks off the CD with three fast-paced songs, and transitions to mid-tempo beats, dwindling towards a more easygoing end. Right before it seems like a certain song style is getting old, the album changes pace for a respite.
Despite the high-quality songs and organization of the album, "The Grand Theatre, Volume One" does not represent the band's best work.
The Old 97's have stuck with the pop/alternative/country style that has served them well for years, but something is lacking in the way of country on this album. Though the country bass lines are still there, they are trounced by the romping guitars that feature more heavily in this album. In eschewing their more traditional musical formula, the Old 97's become considerably less charming.
While there are no fundamentally bad songs on "The Grand Theatre, Volume One," the songs that stand out aren't quite as good as the ones that stood out on their previous albums. Although it may not be the best album they have ever made, The Old 97's have created a well-crafted album here that is easily worth listening to.
