by Hal HorowitzMoving even further away from their alt-country roots, the Old 97's fifth effort is a consistently engaging and unpretentious strummy power pop nugget. Bits of the effortless hook-driven approach of Marshall Crenshaw and Nick Lowe mesh with winning melodies that stick in your skull after the first spin. Hints of Brit Invasion Beatles/Badfinger-styled harmonies also infiltrate these songs, bringing a crisp vocal attack to play, especially in bassist Murray Hammond's subtle backing work. Guitarist/singer/songwriter Rhett Miller has honed his composing and arrangement skills to a fine edge, cramming these compact cuts (nothing runs over four minutes, most clock in around three) with smart lyrics and sharp, unaffected playing. There's still a little twang remaining from the old days in the driving double-time "Am I Too Late," and even a solo acoustic guitar ballad in "Question," but the band seems most comfortable pounding out crafty, infectious instant singles like "Rollerskate Skinny." Miller's voice is perfect for these songs, mixing just the right amount of pride, innocence, and youthful exuberance into the predominantly upbeat lyrics. But just as importantly, there's a presence and immediacy to Satellite Rides, partially due to the expert touch of mixer Tchad Blake, that makes it jump out of the speakers like the locomotive that provides the band with its name. Deftly incorporating their Texas roots with yodeling and a snappy punch makes "Up the Devil's Pay" one of the disc's most successful tracks, but there really isn't a lackluster performance here. The six-song live bonus EP that came free with early pressings proves how skillful the quartet is in concert, and that their biting, cohesive style is no studio-concocted fluke. The Old 97's sound is organic and natural, and on Satellite Rides they find the perfect balance between their roots in rugged country and pure chiming pop.