Big Trouble - 20 Years And A Million Beers Ago: The Very Best Of Big Trouble

Big Trouble - 20 Years And A Million Beers Ago: The Very Best Of Big Trouble
2011, Retrospect Records

Popular music is often about being in the right place at the right time.  This lesson was not lost on James Schmitt, Mike Wilkes, Dan Call (The Villains) and Chuck Strawhand, who bands, Big Trouble, were the darlings of the heavy rock scene in Atlanta in the early 1990's.  Opening for bands such as Skid Row, Jackyl and Extreme, Big Trouble built a large following and looked to be on their way to the heights of the rock world.  Then a little song called "Smells Like Teen Spirit" took over the radio.  Grunge was here to stay, and hair metal was a thing of the past, soon relegated to retrospectives by a new generation of rock fans.  Two decades on, all four members of Big Trouble are making music in various capacities, but thought it would be neat to dust off the old masters and see what they had.  The result is 20 Years And A Million Beers Ago, a collection of eleven studio and three live tracks from the band's heyday, and one newly recorded track that looks back on it all with a decidedly different sound.  20 Years... is due out on May 10, 2011.

20 Years... opens with "No Stopping Now", featuring the big guitar sound and full frontal vocals characteristic of 1980's hair metal.  The band rocks out in grand fashion, although the vocals are a bit weak.  There's a fair amount of formulaic material here that fits well into the era but fails to stand out.  "Way Out" is an exception, sounding like a wayward cross of Poison and Van Halen.  Released five years earlier on a major label, this song would have been a huge hit for the band.  Big Trouble shows its chops on power ballads with "Accidental Angel", which would have been a favorite at junior high dances in the late 1980's.  "Lost In Your Love" takes another crack at the power ballad style, but with a bit less success.  Big Trouble revives such fan favorites as "You Might Get Lucky", "Now You See Me", "Hot Shot" and "Seeing Is Believing" along the way.  The band closes with a new track, "Popcorn, Whiskey and Beer".  This is a huge sonic departure, more of an alt-country number that reflects musical growth and change in the individual members over the last two decades.  It's an ode to glory days and the sustenance of the time.

Big Trouble includes, as a bonus, three live songs.  "Candyland" is a pleasant surprise, sounding radio ready for the day and perhaps even now.  "Life Rolls By" reflects the other end of the spectrum, with vocals that just don't sound up to par.  The band's cover of Van Halen's "Somebody Get Me A Doctor" is middle of the road, but buoyed by a wealth of enthusiasm.

Sometimes it's best to let the past stay buried; others it's hard to know which way to go.  Big Trouble fits into the latter category.  There's certainly some material here that stands the test of time, but without label backing and mired in 1980's technology, 20 Years... reflects a band good enough to open for some of the big boys of rock n roll on a local basis, but never quite accomplished enough to make it themselves.  20 Years... will be a great bit of nostalgia for folks who perhaps saw the band play in the early 1990's, but won't build a significant second life for a band whose members have all moved on.

Rating: 2.5 Stars (Out of 5)

Learn more about Big Trouble at www.reverbnation.com/bigtrouble1990.  20 Years And A Million Beers Ago: The Very Best Of Big Trouble drops on May 10, 2011.  You can get the album now from Amazon.com as a Download.  Keep checking for availability on CD if that's your thing.

Review: Sass Jordan - From Dusk Til Dawn

Sass Jordan - From Dusk Til Dawn
2010, RBE Music/Kindling Music/Fontana

Sass Jordan never goes away. The owner of twelve Top-40 singles in Canada (including two in the Top-10, keeps finding ways to express herself in the arts. The star of the off-Broadway hit Love Janis also served as a judge for six years on Canadian Idol. Her music has been featured on numerous television shows and soundtracks (including an iconic duet with Joe Cocker on The Bodyguard soundtrack. Jordan's toured with Aerosmith, Cheap Trick, Alice Cooper, Van Halen, Carlos Santana and Cocker, but always returns to her own solo performing as the root of her creativity. On March 16, 2010, Jordan releases her eighth album, From Dusk Til Dawn. Rather than coasting comfortably at a point her career when the Juno-Award winning songwriter might, Jordan sparks with the vibrancy that turned heads even back in her days with Montreal’s The Pinups.

From Dusk 'Til Dawn opens with the delicious Blues/Rock of What I Need. Jordan steeps herself in the roots of old school Rhythm & Blues with the sort of strong rock vocal performance she's become known for. It's a knock out track that could be a big winner over the radios and at the award shows. Fell In Love Again goes with a classic Motown feel. You could almost here Mary Wells digging into this one, and Jordan does a great job with it. Awake is a gorgeous ballad full of regret; a song about getting ready to move on. For a rocker with something of a rough edge to her voice, Jordan is surprisingly polished and nuanced on the ballads on From Dusk 'Til Dawn. Jordan's everywoman act continues on Why Did You?, where she slips in Americana shoes amidst a big hook and catchy arrangement.

Lonely blends Country, Blues and Rock, ala Bonnie Raitt. This is another tune that could conceivably be a big hit over the airwaves. Jordan goes for an almost Appalchian feel on Matter Of Time, using very basic song structure and minimalist arrangement accented by great vocal harmonies. The song is well written and expertly performed. Jordan aces her cover of Tom Waits' Ol' 55, going for a highly fluid and smooth rendition, which works wonderfully well with and in contrast to Jordan's rock diva rasp. Stronger is great Pop songwriting; perhaps not as elemental as the other songs presented here, but certainly a decent offering. Jordan closes with the folky Home Again, a solid closer that sees Jordan adding to her versatility as a performer.

I remember the days of Racine and Rats, when Jordan was challenging Lee Aaron for the title of Miss Thing on the Canadian rock charts. Jordan hasn't lost the edge that made her a hit in Canada back then, but as an artist she's matured; adding nuance and class to a dynamic voice and an ear for melody that goes well with her ability to blow the roof off a room. From Dusk 'Til Dawn isn't so much a mellowing of Jordan's style or sound as it is a broadening of horizons. It would appear several years of judging the performances of others has made Jordan even more astute in making her own musical choices. On From Dusk 'Til Dawn she executes nearly flawlessly without giving up an iota of the energy or passion that always gave Jordan her Sass.

Rating: 4 Stars (Out of 5)

You can learn more about Sass Jordan at http://www.sassjordan.com/ or www.myspace.com/sassjordan. From Dusk Til Dawn sees its US release on March 16, 2010. Expect wide availability, if you simply can’t wait, the album was released in the Fall of 2009 in Canada, and is available through numerous resources on the web, including MapleMusic.com.

Review: Social Code - Rock N Roll

Social Code - Rock N Roll
2010, Fifth Season Music

Edmonton, Alberta is the home to Social Code, the quartet led by vocalist Travis Nesbitt that has created waves in the Canadian Rock scene since their 2004 debut, A Year At The Movies. Social Code return with their third album (and US debut), Rock N Roll on March 23, 2010. Social Code is already impacting heavily on Canadian Radio with the opening single, Satisfied, and the future looks very bright indeed.

Talk about melting your face. Social Code doesn't just hit a home run with Rock N Roll, they tear the cover off the ball and pound the cork core into smithereens. Opening with the title track, Social Code eschews cliché by thoroughly failing to break into the big rock sound you expect to explode part way through the song. Travis Nesbitt’s tortured, needful vocal is more a song of longing than celebration; raw in emotion and powerful. It's a surprising and compelling start, and is likely to be talked about as one of the best Rock songs of the year. Nothing Left To Lose will put to rest any questions about whether Social Code is for real, ripping into a big Classic Rock sound that's part Aerosmith, part Whitesnake and part Bob Seger. Add in the big rock chorus and Arena-rock harmonies and you have something bordering on an instant classic.

Satisfied is an honest, up-front one night stand song. It's full of the testosterone-laden braggadocio and big hooks; a well-written tune with a high commercial ceiling. Perfect Grave is a sharp left turn, focusing on the death of a loved one at their own hand. It's a song of mourning as well as a statement of strength and perseverance. Creed fans will love the big open sound, which does sound a bit formulaic, but the content is meaty enough to avoid a purely "commercial rock" label. Social Code hits radio gold on Buy Buy Buy, a highly danceable dose of Rock N Roll that get you moving from it's opening notes and will stick with you.

Fight For Love is a strong Rocker with real Mix Tape potential; a romantic hip-shaker that's just great songwriting. You Never Know You Got Until It's Gone reminded me a bit of Sammy Hagar-era Van Halen because of the guitar work. The song itself is built on a great melody and a big hook, and is likely to be a fan favorite. I'm Not Okay goes a bit above and beyond the usual rock ballad; dealing with heartbreak in unvarnished terms. The songwriting here is surprisingly good, producing a song that's not only memorable but meaningful. Social Code close with Too Late For Tomorrow, a bit of a comedown from the rest of Rock N Roll, but decent for all that. I guess you could call it a safe, soft landing.

Social Code manages to put forward a highly commercial sound on Rock N Roll without sounding like they're trying to. There's a talent to this that some artists simply possess. It can't be taught or acquired, it's more of a touch. Whatever you want to call it, Social Code has it and exploits it thoroughly on Rock N Roll. It's hard to predict the next ten-plus months, but it's hard to imagine Social Code not landing on year-end lists with Rock N Roll (the album), and if there were ever a breakout Rock tune waiting to happen, it's Rock N Roll (the song). Make sure you introduce yourself to Social Code. I have a feeling they're going to be sticking around the party for a long time to come.

Rating: 5 Stars (Out of 5)

You can learn more about Social Code at http://www.socialcodemusic.com/ or www.myspace.com/socialcode. Rock N Roll drops March 23, 2010. You can pre-order a copy from Amazon.com, but expect wide availability across traditional and virtual retail as well digitally.

Review: Original Motion Picture Soundtrack: Alvin And The Chipmunks: The Squeakquel

Original Motion Picture Soundtrack: Alvin And The Chipmunks: The Squeakquel
2009, Rhino Records

In reviewing the 2007 Chipmunk Movie soundtrack, Undeniable, we noted that Ross Bagdasarian, Sr. would be mortified to hear his Chipmunks voiced as they were. That really hasn't changed for The Squeakquel. The voices still sound over-processed, losing all of the low-tech charm of the original Chipmunk recordings. Whether it’s the basic recording technique or the use of software to modify the voices, the sound just doesn't work for anyone familiar with the original. That being said, anyone young enough to have missed the 1980's cartoons will likely be charmed by this soundtrack (and likely the movie), particularly if they liked 2007’s Undeniable. Alvin And The Chipmunks: The Squeakquel features singing voices of Ross Bagdasarian Jr. (Alvin); Steve Vining (Simon) and Janice Karman (Theodore). Additionally, we are introduced to the Chipettes: Brittany, Jeanette and Eleanor (all voiced by Janice Karman).

The Chipmunks open with a cover of The Kink's You Really Got Me, although it's really a cover of the Van Halen version). Its predictable stuff for The Chipmunks; decent but not a standout track. The Chipettes are next with Hot N Cold (Katy Perry). The vocal effects here are even more cloying than on the Chipmunk recordings. Pink's So What works a bit better for the Chipettes, although the vocalizations still sound highly electronic. Dead Or Alive's You Spin Me Round (Like A Record) gets the Chipmunks treatment, keeping the same feel as the original. This actually works as well as anything on the soundtrack and might even chart as is. The Chipettes tackle Beyonce's Single Ladies (Put A Ring On It) in perhaps the biggest misstep on the album. Between the vocalization issues (or EFX issues, if you prefer) and a striving for sound over melody, the franchise seriously begins to lose the heart that made it work for all of these years.

The Chipmunks tackle an overly modernized version of Stayin' Alive that relies more on bass than rhythm to drive the track, leading into The Chipettes brightest moment. The Song features Queensberry and is probably the best offering on the disc. The Chipmunk's It's Ok, on the other hand, is nearly impossible to decipher. The speed, effects and lack of any sense of diction on the song make it an aural mess (albeit with a catchy melody). The Chipmunks move into even shakier territory on Peaches & Herb's Shake Your Groove Thing.

The Chipettes pipe in next with Corinne Bailey Rae's Put Your Records On, an ill-advised choice by the music supervisor on the movie. Rae is one of those artists you just don't cover unless you either have a distinctive take on her song or you can really walk the walk. The novelty treatment here just pales in comparison to the original. Perhaps even more amusing is the Chipmunk's take on Foreigner's I Want To Know What Love Is. The song is redone in full electronic arrangement that's more about beat than melody, which is the essential core strength of the song. The vocal harmony effect here is nice, but is brought down by the electronic buzz in the vocals. Sister Sledge's We Are Family gets updated as an electro-rock hybrid at super-speed. Once again, sound is given importance over such elements as melody, harmony and pacing. The result is a wreck in the happening. The wheels never come off the car because the computer keeps it together, but there's little gratifying in the end result. The Chipettes' No One and The Chipmunks' I Gotta Feeling close out a disappointing set.

The Chipmunks, in essence, have crossed over the line from character to commodity. Cheap/easy computer animation and electronic effects tied to a desire to appeal to the lowest common entertainment denominator have stripped Ross Bagdasarian, Sr.'s creations of their inherent humanity. They are now officially a product rather than their long-standing status as cultural icons. If you're interested in The Chipmunks, I would suggest you take the time to listen to some of the older recordings made by Ross Bagdasarian Sr. There was more craft, humor and humanity in one of those original recordings than you'll find in either movie soundtrack. Good natured humor and an essential love for the characters has been replaced by a cynical, hollow humor driven more about return on investment than a desire to entertain.

Rating: 1 Star (Out of 5)

You can learn more about Alvin And The Chipmunks at http://www.chipmunks.com/. You can purchase Alvin And The Chipmunks: The Squeakquel as either a CD or Download from Amazon.com.

Review: Jackdawg - Jackdawg

Jackdawg - Jackdawg
2009, Sonic Past Music

The long awaited and much discussed CD Jackdawg is due for release on March 17, 2009. This near-legendary album was recorded in 1990 and features John McFee and Keith Knudsen of the Doobie Brothers along with Creedence Clearwater Revival's Stu Cook. The band was an outgrowth of Southern Pacific and was recorded at McFee's Lizard Rock Studio in Solvage, Ca. The Jackdawg recordings stayed hidden in a vault until after Knudsen's death in 2005. The eponymous album includes thirteen original tracks plus covers of Roky Erickson's Cold Night For Alligators and Van Morrison's Wild Night.

Jackdawg opens with Bayou Rebel, an ode of sorts to Creedence Clearwater Revival. Bayou Rebel sounds like something that might have come out of CCR in their heyday but updated for the early 1990's when it was originally recorded. When The Sun Don't Shine is a tasty bit of modern rock with southern rock ancestors. The guitar work here is excellent, and the melody is quite memorable. The Men Who Would Be King was inspired by The Beatles, hinted at the by the harmonies at the end of each refrain and the occasional musical reference.

Hunger is a big stadium rocker that sounds like top-40 gold circa 1985. Ghost Dance has no pretensions about it, sounding more like something you'd expect to hear out of Lou Gramm than a conjunction of ex-Doobie and CCR guys. It's quite good, just a bit of a sonic surprise you might not have expected. Jackdawg returns to familiar territory with the old school R&B rocker Take It Off. Kisses In The Rain is another one of those songs that would have been a huge hit in a different era. This one sounds like a cross between Don Henley, The Beach Boys and Huey Lewis' backup band, The News.

Other highlights here include I Couldn't Help Myself, the big guitar rocker Quicksand, the Hagar-era Van Halen sounding Lookin' For Trouble, Young Ones, and The Girl From Oz. The Girl From Oz was inspired by the lead singer from The Divinyls, and sounds like someone took a variance on the bass line from Styx' Too Much Time On My Hands; added some Alex Liefson (Rush) style guitar work and a big 1980's rock chorus to create the perfect pop/rock song. The covers of Cold Night For Alligators and Wild Night are quite well done. They fit with the character of the rest of the album, but don't quite blend in the way the rest of the tracks do.
Jackdawg is a brilliant album. It's too bad this has been hidden away for almost two decades. If released back in 1990 it might have been a major hit for Cook, McFee and Knudsen. Today it will be appreciated by those in the know, but probably doesn't have the commercial reach it might once have had. Expect to hear a handful of tracks from this one show up on soundtracks, commercials or wherever else the marketing folks can find a spot. The music is excellent, and worthy of the resumes Jackdawg brought into the project.

Rating: 4.5 Stars (Out of 5)

You can learn more about Jackdawg at http://www.jackdawg.net/. You can order a copy of Jackdawg at Amazon.com.