Description
Safe as Milk is the solo debut album by the American singer and songwriter Michael Roe of The Seventy Sevens fame, released on VIA Records in 1995. The album was recorded and mixed by Guy Niosi and John Flanagan at Plaid Jacket in Fair Oaks, California; with Michael Roe producing. (Trivia: The album cover features a photo of Franklin D. Roosevelt, the 32nd President of the United States, when a child.)
Michael Roe has carved out a body of work that is broad, deep, well regarded and much acclaimed. In each of his recordings, Roe desires not only to put forth a finely crafted song but also to show himself real – writing from the experience of lifes difficulty and struggle as well as lifes joy and promise. – “These songs are a forum where I dialogue with myself and with God. A lot of these are prayers, some of them are promises I’m making to myself, some of them are just wishful thinking. Oftentimes my songs tell on me, they indict me, they provoke me, they convict me. We’re only here for a short time, in this veil of tears… I hope my songs help people in general to realize what we have been given and how much is available to us.”
One thing Michael Roe is not is shy. From the earliest days of The 77’s through this hard-hitting solo release, Roe has always worn his heart on his sleeve and invited us to note when it’s been broken, stomped on, etc. But he’s not a blame-thrower either; he’s always been quick to admit when he’s screwed up. And in the rare times when he’s found peace, he’s allowed us a peek at those intimate moments with his Maker.
Mike must have an interesting record collection, as he surveys a veritable lexicon of late 20th century pop music styles. «I Want Never Gets» mixes a slow, hip-hop style drum program with jazzy, Grateful Dead style guitar licks; «Smile» is the latest in his series of tributes to the Beach Boys; «Go With God But Go» and «Hold Dearly to Me» both draw deeply from the Dylan songbook, while other influences include Billie Holiday and Elvis. In «Till Jesu Comes», the longing in Roe’s voice is palpable, as he sings “He said to wait for Him and so / I sit and wait but I cannot wait”; «Hold Dearly» finds Michael admitting “I’ve got a heart that’s been broken over and over again / Some by lovers, some by brothers, most of all by my own dirty little hands.” Roe concludes the album with what may be his most vulnerable vocal yet on «I Need God».
With Safe As Milk, the 77’s leader has cut what is his most accessible album to date, either solo or with the band. Roe plays pop, rock, folk, gospel and country, with lyrics that are caring, caustic, cryptic and most important, Christ-centered. On thing that should be noted in conclusion. There is a second version of Safe as Milk available which contains three tracks considered “inappropriate for the Christian market” bye Roe’s label; you can only purchase the complete album at a mainstream retail. I personally found nothing offensive in these songs, but that’s your call. [Bruce A. Brown, CCM, April 1995]
For the few who have been privileged enough to stumble across his work with the 77’s and on his own, Mike Roe has been an inspiring artist. Not in the usual “Contemporary Christian/Inspirational” sense, but inspiring because of the honesty and integrity of his music. The topics of his songs are not always pleasant, but they are usually thought-provoking, causing the listener to question his or her own actions and motives, seeking out what is true and what is hypocrisy.
Roe also possesses the ability to musically “borrow” from other artists with impunity, without sounding like he’s ripping them off. He wanders from one style to another, trying this and testing that, and usually succeeding at making an indelible impression.
Safe as Milk, his most recent solo effort since the release of More Miserable Than You’ll Ever Be several years ago, (Roe also has a talent for finding catchy album titles) continues the history of diverse musical styles, as this one is all over the map. From synthesized pop, Beach Boys-style harmonies and free-form jazz to straight-ahead gospel, and all the manner of styles in between, the album has a surprise on every track. If you are someone who likes a recording that is musically consistent from beginning to end, this isn’t for you. However, if you have an appreciation for an artist who is willing to take chances, by all means, pick this one up. There are two versions of the album. The one most likely found in your local Christian bookstore has 9 cuts, while the other version that can be bought at a concert and probably will be available through mainstream sources, has 12 songs. The sequence of songs differs between the two. I first reviewed the “Christian” version.
The album starts off with the slower-paced «I Want Never Gets», a cautionary tale about love, with some good guitar work by Roe. It then slips into «Smiley-Smile», the “Beach Boys” tune that appeared as a snippet on the 77’s Pray Naked disc. Pure sunshine pop, it’s a sweet love song that leaves you humming the melody. It almost sounds like something Roe could have written to his daughter.
The record then turns to the bittersweet «Go With God, But Go», about a lapsed relationship. The music shifts more into the singer/songwriter vein, guitar-based and mid-tempo. It also serves as a showcase for Roe’s guitar skills, which sometimes don’t get the attention that they deserve. «You Leave Me Homeless» has a muted jazz musical background, with Roe’s voice wandering throughout the arrangement. Probably the cut that is the least commercial, it gives him an opportunity to work in a genre that he has claimed as a favorite. «Till Jesu Comes» has what is probably the strongest vocal on the record, at least when it comes to impact. Intimate and passionate, it’s one of my favorite cuts.
«Ache Beautiful» and «Holy Day» continue in more of the pop vein, and the album finishes out with two great songs, «Hold Dearly To Me» and «I Need God». «Hold Dearly To Me» could be a Dylan tune, and has great piano and sax work by Roger Smith and Mike Butera, respectively. Lyrically, Roe unabashedly reaches for the only thing that can satisfy us. “Let me sit at your Holy feet/ Let me count the hard cost/ Of what is right and what is wrong/ Of who is king and who can only be the boss/ Let me lie awake/ And seek the truth from Thy holy face/ Out of Thy holy mouth, thundering forth/ Out of a holy place.”
«I Need God» starts out with just Roe singing, backed by Smith on the piano. The song builds into an all-out gospel tune, complete with Hammond B-3 counterpointing the piano, and is a great finish.
The three songs that appear on the “other” version are a little more in the vein of stuff that Roe has done with the 77’s. «It’s For You» talks about our innate selfishness, and is a mid-temp pop/rock tune. «Sneakers» is a little harder and bluesier, while «The Stellazine Prophecy» has the somewhat ominous spoken-lyric approach that was on «Snake», from the 77’s last album. It also would probably be distressful to people who tend to take all lyrics at face value, and don’t delve into them. But then, Roe is used to controversy. One of the things he’s always been best at is shaking people up.
There are studio out-takes sprinkled through out both versions, which kind of give you hints into Roe’s personality. One of the things that I have always appreciated about him as an artist is his lack of pretense. There’s no whitewashing here – what you hear is what he is. [Beth Blinn, TLEM, April 1993]
> Apple Music (https://music.apple.com/us/album/safe-as-milk/412178963)
CD tracklist (Uncurdled Version):
01. Holy Day – 6:38
02. It’s For You – 4:15
03. Sneakers – 4:49
04. The Stellazine Prophecy – 4:06
05. Hold Dearly To Me – 6:10
06. I Need God – 5:35
07. I Want Never Gets – 5:41
08. Smile – 4:17
09. Go With God But Go – 3:00
10. You Leave Me Homeless – 2:59
11. Till Jesu Comes – 3:26
12. Ache Beautiful – 6:18
Note: Simultaneously released on cassette and CD by Via Records. The album was released as both a 12 song edition as well as a 9 track curdled version featuring the following tracklist: I Want Never Gets / Smile / Go With God But Go / You Leave Me Homeless / Till Jesu Comes / Ache Beautiful / Holy Day / Hold Dearly To Me / I Need God. (“Sneakers” featured on the uncurdled version actually is a re-named version of “Walking Shoes,” which Word dropped from the 77’s Drowning with Land in Sight album.) The uncurdled version of the album is available at Bandcamp: https://michaelroe.bandcamp.com/album/safe-as-milk-uncurdled-version
CREDITS. Produced by Michael Roe (and by Bongo Bob Smith on track 1). Recorded and Mixed by Guy Niosi and John Flanagan at Plaid Jacket, Fair Oaks, CA. Additional Recording at Mom’s Sewing Room, Sacramento, CA, by David Leonhardt, at Paradise, Sacramento, CA, by Craig Long (track 3), and at Studio Z, Sacramento, CA, by Bongo Bob Smith (track 1). Additional Mixing at Mom’s Sewing Room, Sacramento, CA, by Steve Griffith (track 3), and at Studio Z, Sacramento, CA, by Bongo Bob Smith (track 1). Mastered by George Horn at Fantasy, Berkeley, CA. Design and Cover Concept by UNIDEA. Executive-Producer: Stephen Murray.
Musicians: 7 AND 7 IS – Michael Roe (Kitchen Sink), Sam Pulcell (Pots and Pans). Also featuring: Mark Harmon (Bass, Electronic Percussion, and Keyboards on track 7, Voice on track 12), David Leonhart (Guitar on track 3), John Flanagan (Keyboards and Guitar on track 10, Special Effects on tracks: 4, 8), Roger Smith (Keyboards on tracks: 5, 6), Mike Butera (Saxophone on track 5), Aaron Smith (Drums on track 3), Guy Niosi (Voice on track 12, Percussion on tracks: 9, 10, 12), Bongo Bob Smith (Keyboards on track 1, Ethnic & Orchestral Percussion on Harder Days).
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