Old 97s play their best album, 1997′s “Too Far to Care,” at the 9:30 Club tonight. Miller is second from the left.
Formed in Dallas in 1993, the alt-country act Old 97s combines the heart-tugging wordplay of Townes van Zandt with the attack of The Clash. After a couple of indie releases in the mid-90s, the group were the beneficiaries of a bidding war, signing with Elektra Records. Their major-label debut, 1997′s Too Far to Care, remains their best and best-loved album. Despite retaining a substantial following — their show at the 9:30 Club tonight is sold out — the group never reached the level of stardom their big label demanded. Since 2004, they’ve been recording for the New West label.
Their current tour supports a 15th anniversary reissue of Too Far to Care, which they’re playing in its entirety in sequence, along with a selection of other songs. I spoke with singer-songwriter Rhett Miller (whose career as a solo artist runs parallel to that of his band) by phone about the quest for perfect setlist, the excesses of major label recording contracts and the perils of singing songs you wrote at 25 when you’re 42.
This interview appears today on the Washington City Paper’s Arts Desk. Continue reading
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Tagged 9:30 Club, David Bowie, Exene Cervenka, interviews, Linda Ronstadt, music, Neil Young, Old 97s, Rhett Miller, The Pixies, The Wedding Present, Washington City Paper, X
John Tweel sits atop a throne of guitars as Hoss.
I struggled with Kathleen Akerley‘s production of Sam Shepard‘s The Tooth of Crime after I saw it last weekend. The play is a fascinating time capsule of how much danger and possibility pop music, and rock and roll specifically, must’ve still had when Shepard wrote it back in 1972. That gives it a charm that partially compensates for the fact the (apparently) postapocalyptic world it’s set in is so cryptic and thinly drawn. Continue reading
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Tagged David Bowie, John Tweel, music, pop music, rock and roll, Sam Shepard, Shakespeare Theatre Company, The Servant of Two Masters, The Tooth of Crime, theater, theatre, Tom Carman, Washington City Paper, WSC Avant Bard