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.
4.5 tocks
Other coverage for this album
HM Magazine #89Reviewed by The Kern County KidIt was the "mean green season" at the St. Roe Motel, where hunters that craved the Northern woods jammed the logging trails and lodges for a 200 mile radius. It was a stressful time behind the motel office desk for Mark, a greasy introvert who never seemed to look visitors in the face. But all that changed the day that nun checked in. Her genuine smile did something to disarm all of his religious…The Phantom Tollbooth 2001Reviewed by Michial FarmerIt usually takes me a few weeks to really get into a new 77s release, so I approach this review (and its deadline) with some trepidation. To add to my cautiousness, A Golden Field of Radioactive Crows is the band's first full-length album since 1995's disappointing Tom Tom Blues and, by all reports, is the poppiest, sunniest album they've ever done. This is a good thing, as I've always preferred…The Phantom Tollbooth 2001Reviewed by Terry WandtkeThe 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…The Phantom Tollbooth 2001Reviewed by Steven S. BaldwinThe 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.…The Phantom Tollbooth 2001Reviewed by Alex KlagesThe 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…The Phantom Tollbooth 2001Reviewed by Scotty TeemsIt is a rare feat when a band can actually become better with the loss of their best musician. But when lead guitarist David Leonhardt left the 77's after 1994's Drowning With Land in Sight, it forced founder and frontman, Michael Roe to take over all guitar duties for the band. The result has been a shedding of the fat, a rebirth of a once-bulky guitar rock band, now a slim, trim power-trio more…Similar sounding releases
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