17 Songs, 1 Hour 16 Minutes

EDITORS’ NOTES

Singer/guitarist Michael Roe leads his bandmates through a brace of consistently strong songs that combine the melodic sparkle of classic California pop with the instrumental muscle of early-‘70s British rock. A natural showman, Roe delivers a spooky near-baritone vocal on “Pearls Before Swine” and unreels a jangling guitar lead on “The Lust, the Flesh, the Eyes and the Pride of Life” (featuring the Byrds’ Chris Hillman on bass and background vocals). Tracks like “What Was In That Letter” and “Bottom Line” touch upon God-centered themes in nuanced, intriguing ways. The most powerful track is the brooding acoustic number “I Could Laugh,” a portrait of a tormented young hipster sung by Roe with a bleak Lou Reed-like edge. Several upbeat tunes — especially “Do It For Love” and “Don’t Say Goodbye” — have the feel of hit singles. Seventy Sevens is a neglected gem, worthy of rediscovery by Christian and secular fans alike.

EDITORS’ NOTES

Singer/guitarist Michael Roe leads his bandmates through a brace of consistently strong songs that combine the melodic sparkle of classic California pop with the instrumental muscle of early-‘70s British rock. A natural showman, Roe delivers a spooky near-baritone vocal on “Pearls Before Swine” and unreels a jangling guitar lead on “The Lust, the Flesh, the Eyes and the Pride of Life” (featuring the Byrds’ Chris Hillman on bass and background vocals). Tracks like “What Was In That Letter” and “Bottom Line” touch upon God-centered themes in nuanced, intriguing ways. The most powerful track is the brooding acoustic number “I Could Laugh,” a portrait of a tormented young hipster sung by Roe with a bleak Lou Reed-like edge. Several upbeat tunes — especially “Do It For Love” and “Don’t Say Goodbye” — have the feel of hit singles. Seventy Sevens is a neglected gem, worthy of rediscovery by Christian and secular fans alike.

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