Description
Eighty Eight is a live album by the American rock band The Seventy Sevens, released on Brainstorm Artists International in October 1991, manufactured and distributed by Word. The album was recorded live at The Warehouse in Sacramento, California; on March 12, 1988. Recorded by Daryl Zachman with The 77s guitarist Michael Roe producing. Mixed by Steve Griffith of Vector fame. According to All Music Guide “Mike Roe’s guitar playing can easily rival that of most of rock & roll’s guitar heroes, but regrettably, his is a forgotten and ignored name.”
Eighty Eight is a “killer” live album recorded in the prime of the original 77s abilities in front of a fanatical hometown audience. It was originally conceived as a double-LP follow up to the band’s self-titled Island Record, but got shelved for three years when that deal fell apart. When it finally saw the light of day courtesy of Brainstorm Records three years later, it was shrunk to a single disc collection including a spirited cover of the Yardbird’s “Over, Under, Sideways, Down.” Featuring four new 77s songs (“Wild Blue,” “Mary and the Baby Elvis,” “Closer” and “Where it’s At”), not available anywhere else. (The 77s line-up: Michael Roe, Jan Eric, Mark Tootle, and Aaron Smith.)
The Seventy Sevens have frequently been considered some sort of “studio auteurs,” simply because they rarely tour nationally. While it’s true that relatively few people outside of California have actually seen them perform, the band has hundreds of dates under its belt, and as 88 attests, a live concert is the best place to enjoy the Seventy Sevens.
88 is a document of one night – March 12, 1988 – when the original line-up was at its hottest and most productive. The band was performing at clubs and other venues around its Sacramento base, and busy demo-ing many of the songs which would eventually surface on last year’s Stick and Stones. So, the engineers simply stretched the mic cables down the hall from the band’s studio to Warehouse Ministry’s auditorium, and invited a packed-out house to rock with them. There are 11 songs on 88, of which only three have previously appeared on compact disc, and five are tracks which only the most devoted Seventy Sevens collector could possibly have in his collection. In all, 76 minutes worth of mostly new music.
The Seventy Sevens’ three original studio albums often seemed disjointed, as though the band couldn’t settle on a musical direction. But by 1988, the group was pretty deeply immersed in a roots-oriented rock sound, which incorporated the fire of ’50s rockabilly with ’60s harmonies and blistering, “Let It Bleed”-era Stones blues-rock. Few groups have done more with (as Bono said) “three chords and the truth” than the Seventy Sevens
After bowling the crowd over with a scorching «Perfect Blues» and the more reflective «I Can’t Get Over It», vocalist Mike Roe introduces «Wild Blue», the best of the new numbers.
Over a Clapton/Cray groove of bluesy organ and guitar, Roe sings of never having enough time to attend to the really important things in life. «Mary and the Baby Elvis» follows, with a title much more provocative than the subject matter – longing to go home to the Lord. «Closer» is a Creedence-like bayou stomp, reminding folks that the path to God is best walked on one’s knees. The next three tracks examine man’s obsession with materialism and pleasure. «Where It’s At» is a simple rockabilly shuffle about a wanna-be hipster; «The Lust, The Flesh, The Eyes & The Pride of Life» speaks of fulfilling one’s desires at any cost to self or others. Rounding out the trilogy is a cover of The Yardbirds’ «Over Under Sideways Down», a paean to the “Swinging ’60s.”
Just how tight the original Seventy Sevens were live is proved by a rave-up, 11-minute version of «Mercy Mercy», which features a jazzy Aaron Smith drum solo and some fervent backing by bassist Jan Eric and guitarist Mark Tootle. The band interpolates Van Morrison‘s and Them’s «Baby Please Don’t Go», rockabilly preacher Jack Scott’s «Save My Soul» and Ricky Nelson’s «Waitin’ in School» with the extended Bo Diddley riff. For encores, they serve up a Jagger-meets-Morrison version of «You Don’t Scare Me» and «I Could Laugh», both also clocking in at over 11 minutes.
Quite often, live albums are used as contract breakers or fulfillers. Occasionally, an artist will release a live album in lieu of a studio “greatest hits” package, assuming many fans have the original recordings, and deserve the tunes in a (hopefully) more exciting setting. 88 doesn’t really fit either of those slots; instead, you could make a case for it being the definitive Seventy Sevens album released to date. [Bruce A. Brown, CCM, October 1991]
Album sales notwithstanding, the main objective of a live album should be to provide the listener with the next best thing to being there. It should not be just a collection of hits that were needlessly doctored up in the studio, accompanied by stadium-size applause carefully mixed in at the appropriate cues, clocking in at a mere 35 or 40 minutes. Due to prominent deficiencies and superfluous embellishments, very few live albums actually measure up. However, 88, by the arcane roots/garage rock band the 77’s, does. Recorded in 1988 in their old stomping grounds of Sacramento, CA, shortly after an unceremonious dumping by Island Records, the album wasn’t released until 1991. Taking full advantage of available disc space, 88 provides 77 minutes of brisk, gritty, and aggressive rock & roll. The jams are aplenty (three tracks in excess of 11 minutes), but thankfully lacking are the obligatory and clichéd guitar and drum solos that pollute every other live rock album. The bandmembers do, however, take the opportunity to showcase their abilities at the appropriate times, with much more spontaneous and tasteful results. Perhaps Island’s rejection added fuel to their fire during that period, because (while the 77’s have always been a tight and intense live act) the concerts from 1987 and 1988 were their finest hour. Mike Roe’s guitar playing can easily rival that of most of rock & roll’s guitar heroes, but regrettably, his is a forgotten and ignored name. Realistically, the 77’s have resigned their quest for stardom, opting just to play honest, impelling music for whoever is fortunate enough to cross their path. [Dave Sleger, AMG]
CD tracklist:
01. Perfect Blues – 6:00
02. I Can’t Get Over It – 6:10
03. Wild Blue – 5:45
04. Mary And The Baby Elvis – 4:25
05. Closer – 5:23
06. Where It’s At – 4:53
07. The Lust, The Flesh, The Eyes & The Pride Of Life – 3:57
08. Over Under Sideways Down – 2:56
09. Mercy Mercy – 11:15
10. You Don’t Scare Me – 12:20
11. I Could Laugh – 12:30
Note: Simultaneously released on cassette and CD by Brainstorm Artists International. Re-issued on CD by Millennium Eight in 2000, featuring a bonus disc entitled When Numbers Get Serious. Re-issued as a 3 Disc Set (Deluxe CD & DVD) as well as vinyl by Lo-Fidelity Records in 2021 through a 2010 Kickstarter campaign. (A triple disc slipcased set featuring the original ‘Eighty Eight’ live show, the rough mixes, along with a never before offered ‘Live at DNA Lounge’ DVD, featuring the very nearly last show from the same year with this particular line-up. Includes a companion disc ‘When Numbers Get Serious’, a collection of other live performances culled from the archives, featuring various other members through the years. Also included are a half dozen ‘distinctive rhythm instrumentals’ closing the album out. Featuring an accompanying photo booklet, wonderfully written and rich with recollection.)
Available at Bandcamp:
https://the77s.bandcamp.com/album/eighty-eight-2021-2cd-1dvd-remaster
https://the77s.bandcamp.com/album/eighty-eight-2021-vinyl-remaster
The 77s, Live at DNA Lounge, 1988-11-13
CREDITS. Produced by Mike Roe. Recorded by Daryl Zachman. Mixed by Steve Griffith. Recorded Live March 12, 1988, at The Warehouse, Sacramento, CA. Project Coordinator: Shalom Aberly.
Musicians: Mike Roe (Voice, Guitar, Mouth Organ), Mark Tootle (Keyboards, Guitar, Voice), Jan Eric (Bass, Guitar, Voice), Mark Harmon (Bass on track 11), Aaron Smith (Drums – Forever Pounding & Thrashing). David Leonhardt (Grand Piano on track 1), Roger Smith (Hammond B-3 Organ on track 11).
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