By Kelly Dearmore
By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
By Anna Merlan
By Lee Escobedo
By Alice Laussade
Indeed, it has been years since such novices have been embraced and assisted by the local rock cognoscenti. Among those Tohlen refers to with affection are One Ton Records chief Aden Holt and former Theatre Gallery honcho Russell Hobbs, the latter of whom booked the band at his Christian club, The Door, to play the venue's grand opening last May. A gig at the Curtain Club, opening for Caulk's farewell show, followed; soon enough, Lewis became a regular fixture at the club. And the band's current cheerleader is producer Patrick Keel (Tripping Daisy, Hagfish), who can't express enough how much he "just loves this band." In fact, Keel approached Lewis with the offer to record a song--for free--to be included on Jeff Liles and Perla Doherty's 31-band compilation, Static Orange, which is being given away at local high schools and at area record stores. (Beaton concedes that the album is heavy on "male aggressive rock," but doesn't consider Lewis part of this genre.) On top of that, Lewis is currently at work on its first full-length CD. The band wanted Keel to produce it because during high school, they were such big fans of the Keel-produced Tripping Daisy debut Bill. The album will be released this summer on Deep Ellum Records, the resurrected label run by Keel and Hobbs--and, so very long ago, home to Three on a Hill and Feet First.
When these Dallas boys talk about their influences, they do not stray too far from home. They talk about Broose Dickinson's pop poppins with the devotion of the truly faithful. After all, Tohlen insists, "pop poppins made me want to be in a band--the energy they had and how passionate they were. I like music that's a dialogue, not just this band up here playing music and doing their own stuff, which is sort of vain. I like bands that make you feel like you're carrying on a conversation in some way and there's a connection out there." To that end, Lewis is most concerned with translating its live sparkle to tape without sounding canned or overproduced. Songs from its forthcoming CD, such as "Fitful Fire" or "Up for Air" (the jaunty, full-throttle track that also appears on Static Orange), certainly demonstrate the band's ability to play loud and hard without sinking in the mushy middle. That, all by itself, is worthy of commendation.
Winner for: Country & Western
It should be noted up front that the very week the Old 97's take home this award, the band is releasing a record that wouldn't know Country or Western if either one bought Rhett Miller a Pearl at Adair's. Granted, most of the readers who bestowed this accolade upon the 97's have not yet heard the released-this-week Fight Songs--unless they hang out at the Barley House. They know the 97's only from the band's three previous outings: Hitchhike to Rhome, Wreck Your Life, and Too Far to Care--discs that made Miller, Murry Hammond, Philip Peeples, and Ken Bethea the pull-out centerfolds in many an issue of No Depression, that bi-semi-annual-monthly magazine devoted to former pop musicians who discovered Johnny Cash in a box of Cracker Jack. They know the 97's as the band that filtered pop through a pilfered twang, that played "country" only by default, that put the honky in honky-tonk. How else to explain the Old 97's walking away with an award that was sure to go to odds-on fave the Dixie Chicks, who owned this thing well before they sold out their country souls for multiplatinum records and Grammy bookends? Say what you will about the Chicks--and God knows we've said plenty of late--but they're a lot closer to country than the 97's these days, even if that's just Nashville's idea of country...or music so slick, you can't even hold it in your hands.
Fight Songs is easily the best of the Old 97's records, if only because it feels the least forced, the most honest--especially compared with, say, Wreck Your Life, which sounds just like a "country" record released on a Chicago-based label. (In other words: tries too hard.) The new disc is a step backward for Miller and Hammond--I loved this thing the first time around, when it was released in 1990 and titled Under a Radio Sun by Sleepy Heroes--accompanied by a thousand leaps forward. No more hiding behind irony; no more substituting twang for substance; no more sad songs played at a thousand miles an hour. From Neil Young start to Seals & Croft finish (but in a good way, and there is such a thing), Fight Songs finally offers proof that when Rhett Miller and the boys put their minds and hearts to it, they can make a Pure Pop Record full of delightful songs, sad songs, jubilant songs, poignant songs. In other words: real songs.
Finally, the hiccup is gone from Miller's voice, replaced by a deepfelt clarity. After years of wondering whether it was the many mood of Rhett Miller, we find the boy's no longer afraid of the high notes or the low points or the ground in between. Listen only to "Jagged," a song that could easily have been buried beneath its borrowed godfather-of-grunge crunch. Once upon a time, Miller and Hammond would have played the song for kicks, laying down vocals like a construction worker building with brick and mortar: Hey, man, it's a job. But "Jagged," like the rest of the record, plays up the vocals and plays down the y'allternative cornpone. Never has Miller sounded straighter or sweeter in his entire life. Here's a guy you wanna root for, even if he's still the prettiest guy in all the land singing about how women break his little ol' heart. Top it off with Hammond's fuzzbox drawl and Bethea's distorto-drone on "Crash on the Barrelhead," and here's a record Elektra can finally work with. Never mind the embarrassment of riches elsewhere: "19," "Murder (Or a Heart Attack)," "Oppenheimer," and so forth.