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The 77s’ last pop record was 1992’s Pray Naked. Crows doesn’t have much in common with that record, other than that lead singer Mike Roe balances out his Robert Plant/Billy Corgan growl with his Brian Wilson croon. Pray Naked was a definite winter record, with the big pop hooks in songs like "The Rain Kept Falling in Love" and "Look" drenching the record in cold air and melancholy. The logical progression from that, of course, was 1994’s Drowning With Land in Sight, an album with all the pessimism of its predecessor but not half as many hooks. So we come to A Golden Field of Radioactive Crows, bound to go down in history as "The 77s’ summer album." 2001 finds Roe happier, though apparently in no fewer dysfunctional relationships than in years past ("You’re the last blast baby in a long line / Of ones who tried to change me," he wails in "You Are Trippin’"). Indeed, Crows has a definite 1960s pop sheen to it, although many of it songs are filtered through the same 1970s screen that did a number on Tom Tom Blues. "Mr. Magoo" appears here in the same form as it did on last summer’s preview disc, although its companion piece, "Related" is changed drastically, with the album version incorporating various aspects of trendy production, including turntables and samples (I vastly prefer the versions on the single). It is ironic that an album with so much musical sunshine would be so focused on death, but apparently the death of close friend Gene Eugene last year has left quite an impression on Roe. "Related" in particular finds Roe in grief, ululating in the chorus about not being able to "keep the box that we came in," then finding comfort in the next verse and understanding "the reason for the undertow." On "Genuine," meanwhile, he admonishes the listener to live life to the fullest, because "overnight, everything can be so undone." Is this the 77s’ best album? No. I’ve always found Roe’s sad songs to be his best. It is, however, the happiest thing they’ve put out in years, and with Spring having arrived and Summer on its way, that’s just what we need. Michial Farmer 4/8/2001
The last major release from the 77s was the album Tom Tom Blues. While a good album, it seemed to be missing some of the range of some of frontman Michael Roe's solo work (since The Boat Ashore had the same lineup as TTB, it seemed to fill the other end of the spectrum of Roe's playing). This new album blends the hard edge of the bluesy Tom Tom Blues with the more complex and interesting song structures of The Boat Ashore for a sonic masterpiece. It comes as no surprise that the term 'radioactive' features in the title of the album, since this album certainly could become radio-active in secular as well as Christian markets with the right sort of push. As far as lyrics go, Roe's lyrics are typically obscure, dealing more in thought pictures and emotions than direct story-telling or blatant evangelism. The lyrics are ideally suited to the music, and support it. "Genuine" is a straight-ahead rocker, which asks the question, "Are you strong enough to grow old?" "Down From You" has a very edgy chord structure which culminates in the loopy solo following the repeated phrase "shake the tree!" This trippy track is suitably followed with a song called "U R Trippin'." The whole album features this sort of internal continuity. If there's any weak spot on the album, it would be with some of the vocal effects on a couple of the tracks, such as at the beginning of "Rise." It's an interesting vocal effect, I suppose, but it does really nothing for the song as a whole. But fortunately "Leaving," an uptempo rocker, "Mr Magoo" and "Related" are very strong and overcome that minor weakness. It's nice to see the 77s back in the position of being able to get their album out readily to a wider market, and it's doubly nice to see them come out with a strong album, rather than just a retread of older-styled material. Alex Klages 4/18/2001
The new 77’s album is out, and their fans rejoice. I can attest to that fact because I count myself and my friends among the highly selective but significant throng. And better than just being new material, A Golden Field of Radioactive Crows is really good stuff. With that said, I’ll offer a little bit of context for this album and, hopefully, I won’t be considered heretical when I explain why this album seems so good to someone like me. In terms of their potential as a profitable mainstream rock band, the most significant watermark in the 77’s career would have to be the release of the band's self-titled album. However, as most fans know, the major label handling that album was Island, and the 77’s were overshadowed in the year of that release by another one of Island’s albums: U2’s The Joshua Tree. The story of Island’s missed opportunity has become nearly mythic. The 77’s were so close and yet . . . . I suppose I could be philosophical and suggest that the years between then and now forced the 77’s back to basics with vast improvements in style, substance, and technique. They incorporated and mastered many different influences on subsequent albums ranging from traditional blues to melodic pop to classic rock. Mike Roe’s maturity as a lyricist also grew in fantastic ways. While I believe all of that is true, I can’t forget that Mike Roe and his band consistently struggled to make enough money to live and make music. More important to this review, no single album was as well-balanced a rock creation as the band's self-titled album. While Pray Naked, Drowning with Land in Sight, and Tom Tom Blues all have individual strengths and collectively represent a body of great songs, each album lacks flow as a whole. Songs often “stick out,” and Mike Roe’s individuality is sometimes buried underneath his well-chosen influences. Judging from the statements he regularly makes at concerts, Mike Roe sees himself in the tradition of a classic bluesman. Like Son House, his music addresses both the sacred and profane. Rather than swinging from one extreme to the other as he has on some other projects, A Golden Field finds Mike Roe doing what all great bluesmen do--he allows tension to invigorate each and every song on the album. In many songs, sweet vocal melodies form a natural counterpoint to crunchy guitars. And all songs pair self-conscious and intelligent lyrics with catchy hooks to produce fun music. A Golden Field is a collection of great songs by musicians who know and love what they’re doing. Particularly notable songs include the 77’s newest depiction of love and longing “There Forever” and the playful “Mr. Magoo” (using the cartoon character as the personification of a lover’s blindness). One of my favorites is “Genuine,” which layers guitars and fully uses Mike Roe’s vocal talents (his delivery ranges from understated and delicate to loud and energetic). Lyrically, it’s a tale of desperate times: "We’re living in a time with all the borders tripped and mined / Days are gone when you could just be ordinary / Another patient on vacation / Gone for days without your medication.” Most surprising is the mix of “Related” (released previously as a single). Ostensibly a contemplation of death, the song delivers a message of connection and hope: “Now we know the reason for the undertow / So we don’t forget how deep the water goes / If you let me know what I can do / I will surely try to help you / We are related.” Including samples, scratching, and vocal distortions, this song is one of diverse pop influences unusual for the 77’s. However, the eclecticism pays off on this song and on the album in general. Like other rock musicians on the fringe such as Tom Waits, Peter Gabriel, and Bruce Cockburn, the 77’s bring together solid songwriting and musicianship with varied styles and electronic sources. In a significant coincidence, the 77’s have produced a worthy successor to their self-titled album in the same year that U2 has returned to a stripped-back style reminiscent of The Joshua Tree. In doing so, the 77’s have made good on the idea that they could be one of those bands that produce relevant yet incredibly accessible music. Terry Wandtke 4/28/2001
The Seventy Sevens inspire nostalgia. An early incarnation of the band was gleefully creating the landscape of alternative Christian music's future while most of today's hip stars and their fanbase were banging Legos and slobbering on pacifiers. Few bands that were categorized as valid alternative/modern rock options in the Eighties survived into the Nineties, not to mention this 21st Century. Among the handful of survivors were Daniel Amos, LSU, Adam Again, and The Choir. Today LSU and DA flirt with long bouts of hibernation, Adam Again is heartbreakingly no more, and only The Choir continues to enjoy a comparatively supportive and sometimes growing fanbase of younger listeners needed to help keep the bill collectors away. If The Choir was Christian music's sort of answer to bands like U2 (forgive the analogy to those old comparison charts), than the Seventy Sevens are the Led Zeppelin of Christian Rock (without the eastern mysticism, drugs, groupies and bad, greasy haircuts). Although a number of comparisons and contrasts can be made of these five bands, one fact resounds for all of them: their success at longevity stems from a refusal to release the same albums over and over again. Reinventing themselves yet again for the 21st Century, the Seven Sevens have released A Golden Field of Radioactive Crows (AGFORC). A few fickle fans will boo
hoo the Seventy Sevens for tweaking their sound again, but even a cursory
look at the range of their back catalog suggests that the band always has.
Although you'd think fans would have embraced this diversity by now, only
some have, and love the band for it, while others have not. The latter
usually poo poo the band for steering too far from the classic 77's sound,
whatever they mean by that phrase, and end up missing out. Such will be
the case for all those who don't embrace
Having said all that, despite
putting a slightly new spin on their sound, AGFORC still finds the
Seventy Sevens doing what they do best. The foundation in jazz, prog and
blues rock is still amply evident, and the trademark guitar sounds, rhythms
and Roe's vocal style haven't strayed far from past efforts. What
Roe & Co. have accomplished, however, is a generally more accessible
and straight-forward dance-step to their signature rock swagger. A little
beefed up here, somewhat bleached out there, the consistency of their songwork
still largely remains the same. Sporting the same lineup as Tom Tom
Blues and the EP, the new album bears comparisons to those works
and Mike Roe's solo albums Safe as Milk and Boat Ashore as
well as moments fleetingly reminiscent of their entire body of work.
Although this particular outing finds the Sevens twisting their tunes into
brighter pop territory, they haven't become the
On that note, Galaxy 21 Music is billing the 77's as "the only boy band that matters" and claims the new album is "scorching summertime rock and roll from the heroes of modern rock." A bit tongue in cheek, to be sure, yet with a ring of truth. Steven S. Baldwin 5/26/2001
The 77s' long-awaited return comes with a mix of old and new sounds. Easily-recognizable song styles from the first few 77s records take a leap forward to the digital age of 2001. The band combines well-produced multi-layering effects with the returning treasure of Mike Roe's ringing guitars beneath his emotionally energized vocals. As always, Roe's guitar playing is the shining center of the 77s sound, encrusted with the tasty bass of Mark Harmon and the spicy back beats of Bruce Spencer. Truly a group effort, the record is brewing with perfectly blended, tight musicianship and 77s-type harmonies. The rhythm section of Harmon and Spencer move from free-flowing jams or jungle beats, to the impressive straight-ahead modern rock that has made the 77s heroes for so long. Throughout the record, one is struck with the very fine production values. Inside each track are layers of added sound. There are blankets of guitars, of bass, and even drums. The first four or so tracks are animated, ringing modern rock numbers; tunes one can nod to with the satisfaction one gets from a new CD that brings instant smiles of recognition. In other words, it feels good to have some new 77s coming through the car stereo. Track five, "Rise," is a brooding song. Roe's crying guitar and emotive voice swim over low-fi mumblings and what sounds like Spencer's drum beat slowed to half speed and run backwards. But the pace quickly picks up again for "Leaving." A fast-paced rocker that sounds to me like Roe gives up the mic for a verse to share the vocal duties (my pre-release CD doesn't have that information, but I'm guessing Mark sings with Mike on this one). "Mr. Magoo" is the seventh cut, a cute psychedelic number that goes, "I may be Mr. Magoo but I see through you." "Related" is another many-layered acoustic-electric tune with a jungle beat, and includes DJ scratching and sampling for the first time on a 77's record. Roe's guitar is featured through the next two songs: "I've Got," a medium paced rock song, and "There Forever," a beautiful ballad of a love desired. Track eleven, "Mean Green Season" is a rockabilly song that lets Roe get rowdy with both his vocals and his guitar. "Begin" (a funny name for the final cut) is an epic that allows the band to pull out all the stops. The instrumentation is calculating and arty, and builds into some well-crafted jams. A Golden Field of Radioactive Crows is a great-sounding record. The obvious time and effort put into the recording process radiates in every track. The songs are very well-crafted. The musicianship is outstanding. Some are calling this a pop record, one to listen to while you cruise the beach. Although I do agree that it's a good summer record, it's not mindless entertainment. It's too deep and full to be wallpaper, too weighty to be background to your girl watching. But if you can multitask listening to beautiful rock music and piloting through the beautiful summer scenery, plug this one in and have a nice outing. Tony LaFianza 5/28/2001
t is a rare feat when a band
can actually become better with the loss of their best musician. But when
lead guitarist David Leonhardt
When Leonhardt was in the band, the tendencies were to try and give him "enough work," often making songs bigger and broader than they ever needed to be. This led into excessive solos and an inclination by Roe to overwrite the material. The new 77's, however, are a much leaner outfit, and Roe has finally learned the art of self-editing. The last six-plus years have seen the Sevens become tighter and tighter, and each album seems to signal a growth rarely seen in bands working and writing in their third decade. A Golden Field of Radioactive Crows, their new record, plays like a more focused (albeit less risky) version of 1995's Tom Tom Blues, easily one of the Sevens' least appreciated records. The songs are immediate and immensely hooky, crafting snappy hooks to go with Roe's ever-present lyrical genius. The highlights are plenty, from the hard-driving country-rock of "Leaving," to the love-lorn beauty "There Forever," to the epic closing tune "Begin." This is an aesthetically pleasing record, and that should give it some distinct identity down the road. Lyrically, Roe is a bit more
straightforward on Crows. He's always presented both emotional truth
and humorous cynicism as well
...from "One More Time":
what you meant when you said love is blindwith open eyes" and his willingness to share his struggles or his joys with faith, continue to encourage and empower his fans. Roe is a man of God, but he is still just a man. The fact that Roe, himself, knows just that, is a wonderful thing indeed. However, like all 77's records, there are the parts that don't work. The overly-ambitious or frightfully trite numbers that most certainly come from the best intentions, yet seem to get prematurely stuck in Roe's musical incubator. Past efforts like "Indian Winter," "Gravy Chain" and "The Rain Kept Falling in Love" come to mind. On Crows the disasters
are thankfully limited only to the hopelessly unhip "U R Trippin'" and
"Mr. Magoo." These are just poorly written songs; it's really as simple
as that. Roe is usually able to salvage his less-than-stellar compositions
with phenomenally vulnerable and poetic lyrics, but one look at the titles
of these two songs lets you know all you need to know about the material.
These two
A Golden Field of Radioactive Crows is far from perfect. It's too soft and too easy. But that's okay, it is different; but not just for different's sake. It's growth, and change, and challenges, and all the things that keep a band great. The 77's are now in their sixteenth year, and what a joy it is to see them refusing to rest on their laurels. There is a perfect, amazing and life-changing record in them somewhere, and I have faith that one day soon they'll pull it off. Here's to the future . . . Scotty Teems 7/12/2001
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