Read Review of Sister Sweetly by Big Head Todd & The Monsters
Review Summary
About the Author
Sister Sweetly: Emotional Roots-Rock from Big Head Todd and The Monsters
Jan 12 '05 (Updated Jan 28 '05)
Pros Evocative, interesting, great melodies, good performances...
Cons Not necessarily the most creative thing I've ever heard...
The Bottom Line Strategem was a musical failure which led to my ignoring BHT&TM. Fortunately Sister Sweetly makes up for most of that album's mistakes.
Full Review
I've never been much a fan of Big Head Todd and The Monsters. I suppose my main issue with the band has to do with their 1994 album Strategem. It is this release that I was first exposed to them and it is also this release that is probably regarded as the band's least appealing effort to date. It is also for this reason that I held off on delving further into the Big Head Todd and The Monsters catalogue for years.
Strategem was a severe gaffe but a year earlier the same band released the album that is usually regarded as their best. I don't know what happened in the span of a year that so hurt them, but Sister Sweetly (1993) is certainly much more appealing and coherent than Strategem. Todd Park Mohr (guitar/keyboard/vocals), Rob Squires (bass), and Brian Nevin (drums) have released many albums of varied success and quality in their fifteen or so years of togetherness. Some have been good (none excellent), some have been mediocre, and a few have been bad (in addition to there being two full-length live releases). Still it is their most successful, Sister Sweetly, that captures my imagination. However, I will admit it--I've not heard everything from Big Head Todd and The Monsters and I probably won't ever be willing to partake in even half of their music. I'm still scarred by Strategem.
As much as I want to write BHT&TM off because of their many missteps and because of the fact that their sound is little different than a host of other mid-1990's roots-rock bands (Blessed Union of Souls, Gin Blossoms, Dave Mathews, Counting Crows) I cannot. Sister Sweetly is the reason. While it is not brilliant, not entirely original, and not necessarily my idea of a great album it is still incredibly appealing. BHT&TM are cool, smooth, and irresistible across their second full-length album. Three songs (Bittersweet, Broken Hearted Savior, and Circle) were surprise hits and the album landed itself on the Heatseekers and top 200 charts. It all came as something as a surprise and it was the careful production, swagger and confidence of Sister Sweetly that the band tried to distance itself from most notably on Strategem.
The main issue with Sister Sweetly is that it isn't very dynamic. When I listen to it I'm somewhat bored. Fortunately, the songs I'm bored with sound great. This is clearly the kind of album that's intended as chill out material. What impresses me about BHT&TM is that their sound is effortless and free without sacrificing style, substance, or entertainment value. I do enjoy Sister Sweetly despite its flaws because it flows with such gentleness across my eardrums.
Broken Hearted Savior, Bittersweet, and Circle were all fabulous choices as singles. The band manages in all these cases to give heavily produced and decidedly plugged-in songs a rootsy, emotional, and heart-felt underbelly that appeals to people of all ages and many musical interests. Broken Hearted Savior features Mohr singing with his usual level of urgency, but the melody, mid-tempo arrangement, and emotion are impeccable. Circle is similarly appealing, but it is Bittersweet that ranks as one of my two favorite songs of Sister Sweetly. As one of the lighter offerings it is immediately striking. Mohr croons along side modest percussion and eloquently strummed guitars. I'm impressed throughout by his controlled urgency and lovely style. It is this level of musicianship that makes this album worth having.
Fortunately, the appeal of Sister Sweetly is not limited to three songs. The whole album is peppered with remarkable moments (despite my continued inability to separate BHT&TM from their contemporaries) most notably in the forms of Brother John, Tomorrow Never Comes, and It's Alright. What impresses me so about Sister Sweetly is that it was never trendy, doesn't reek of mid-1990's sell-out no-talents, and should strike me in the same way a decade from now. Tomorrow Never Comes is even quieter and slightly darker than Bittersweet. Bluesy and languid it oozes sensuality. It's Alright is one of the more accessible offerings. Jevetta Steele's lovely backing vocals help to make it outstanding. However, it is album Brother John that is my second favorite song Sister Sweetly. Mohr's acoustic guitar is the perfect compliment to his uncharacteristically low-pitched voice. The song begins quietly and as it progresses it builds energy--this quality is what makes it particularly wonderful (in addition to the acoustic quality).
The other five songs are also worth hearing, though they just aren't as remarkable regardless of how you try to look at them. They are lovely and graceful, but lack the melodies and performances that make the best six songs good or great. Sister Sweetly is cohesive and entertaining but not what I would call revolutionary or creatively free. I like it and definitely recommend it to fans of Big Head Todd and The Monsters not to mention those bands whose names are scattered throughout this review. If you're looking for a calming, rootsy, and emotional rock album Sister Sweetly definitely will satisfy.
Rating: 4/5 stars
Track Listing:
01. Broken Hearted Savior
02. Sister Sweetly
03. Turn The Light Out
04. Tomorrow Never Comes
05. It's Alright - (with Jevetta Steele)
06. Groove Thing
07. Soul For Every Cowboy - (with Leo Kottke)
08. Ellis Island
09. Bittersweet
10. Circle
11. Brother John
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