When the topic of discussion turns to legacy alt-country bands, it’s easy for the Old 97’s to get left out of the mix, and unfairly so. Since their epicenter revolves around Dallas, and not Austin, Nashville, or Los Angeles, it seems like they’re always a little more out-of-sight, out-of-mind than their mammoth output and legacy deserves.
Alt-country perennials The Old 97’s have been making the late night rounds to promote the release of their latest record Graveyard Whistling, and have been sharing that opportunity with some worthy east Nashville artists. Tuesday evening, The Old 97’s will be enjoying the company of Caitlin Rose on stage when they make an appearance on Conan O’Brien.
Originally cut in Nashville in 1996 and sitting on the shelf ever since, Old 97’s & Waylon Jennings is a remarkable little gem unearthed these many years later, offering a window into a time right before Waylon’s health began to fail him, and right as the Old 97’s were rising in the alt-country tide alongside bands like Wilco and Whiskeytown.
Alright look. I know that some of you have already grown tired of the back and forths talking about what to call music and how to manage it, and rather we all spend more time focusing on the actual music itself. I agree, and that will continue to be the main focus of Saving Country Music. But right now, I do not think there is a bigger issue facing the music we all love than this proposed XXX genre. I have already made my initial thoughts known, and had many critical things to say . . .
Dash Rip Rock, Drive By Truckers, Hank III, Jason Isbell, John Carter Cash, Lukas Nelson, Mojo Nixon, North Mississippi All Stars, Old 97's, Rhett Miller, Scott H. Biram, Shooter Jennings, Tommy Townsend, Whitey Morgan & The 78's