The 88 Albums (3)
'Not Only... But Also'
Release Date 10/28/2008
Tracks 11
Label Island
See Album Tracklist and Review
What The Critics Say
Power pop is a genre that never seems to go out of style. Ever since the Beatles invented it back in the 1960s, each subsequent decade has spawned countless bands that specialize in tunes that walk the line between sticky sweet pop and good old-fashioned rock & roll. As evidenced by their 2008 release, Not Only...But Also, a leading candidate for the "early 21st century power pop award" is the Los Angeles, CA based trio, the 88. The group's third full-length overall (but first for major-label Island Records) was produced by a pair of gentlemen who have scored their fair share of hits over the years -- Babyface and Matt Wallace (the latter best known for his groundbreaking work with the great Faith No More). And while the majority of the album is quite upbeat (especially such jolly ditties as "Coming Home" and the album opening "Go Go Go"), there are a few detours into melancholy ("No One Here," "Save Your Breath") that momentarily break up all the sunshine. Pop music of the early 21st century is largely comprised of youngsters who seem satisfied with their mere 15 minutes of fame, but with Not Only...But Also, the 88 have put together a consistent pop album from front to back. ~ Greg Prato, All Music Guide
What The Critics Say
L.A. power pop/rock never dies, it seems; it just slightly transmogrifies. So if the line of descent from Love to the Knack to Jellyfish to the 88 is more indirect and generalized than specific, the 88 are nonetheless heirs to a tradition, one that the band's sophomore album does little to disrupt. Over and Over starts off with a clipped riff followed by Keith Slettedahl's creamy/dreamy (and slight ghost of Marc Bolan) vocals, and by the time the band kicks in fully on "Hide Another Mistake," the band's many core strengths and unavoidable weakness -- simply put, the 88 bring terribly little new to the table -- are clear. Song for song, Over and Over is the bubblegum chewed because it's so familiar rather than because it's strikingly new: post-Beatles melodies here, glam swagger there, piano-led jauntiness courtesy of Adam Merrin everywhere (the unspoken roots of the band might actually be early Squeeze). That said, the members of the 88 are absolutely crackerjack at what they do, whether it's the big beat stomp and wailed vocal break on "All 'Cause of You" or the steady build in intensity of "Battle Scar," each verse and chorus seeming more powerful than the previous. Ethan Allen's production and engineering might just be the secret weapon throughout -- he makes the rhythm section of Carlos Torres and Mark Vasapolli sound massive while never drowning out Merrin's piano at the same time. The resultant balance of sound (and volume) makes for an immediately enjoyable listen, while the occasional curve balls add just enough variety as well -- there are the unexpected percussion breaks on "Nobody Cares"; the near-epic wallop and slow, measured stomp of "Bowls"; the tender acoustic guitar and vocals of "You Belong to Me." Over and Over won't surprise anyone -- but it entertains start to finish, flat out. ~ Ned Raggett, All Music Guide
What The Critics Say
The 88 play a relatively inoffensive and imaginative brand of indie rock. At times reminiscent of Pavement or the Flaming Lips or power pop revivalists like Brendan Benson, they also throw enough curves to keep things interesting. Kind of Light is full of energy, swerving from the straight-ahead rock of "How Good It Can Be" to the grunge-lite balladry of "Kind of Light" to the keening country-rock of "No Use Left for Me" (which calls to mind the Kinks circa Muswell Hillbillies) to the horn-driven orchestral pop of "Melting in the Sun." The vocals are strong throughout -- each bandmember is credited with vocals and they harmonize very well. The best songs on the record are the bursting-with-energy, up-tempo tracks like the twisting "Sunday Afternoon" and the hard-driving "All the Same"; the rest of the record gets bogged down in mid-tempo sameness after a while. Still, this is a very promising record by a band whose heart and influences are in the right place. After all, anyone who can call up classic Kinks comparisons can't be all bad. ~ Tim Sendra, All Music Guide
