• Artist: Jawbox
• Album: For Your Own Special Sweetheart
• Label: Atlantic (Original), DeSoto (Re-issue)
• Release: 1994, 2009
• Links: DeSoto, Dischord

It is easy to criticize artists for signing to major labels until you realized how hard it is to be in a good or even successful band. Most passionate fans of independent music are guilty of this, including myself. I’m pretty sure I would give in to temptation if someone approached me with a large sum of money and the goal of helping me live out my dreams. Granted, the 90’s are full of horror stories about bands that were eaten alive when they signed to a major and then only fed the beast when they did indeed salt themselves artistically. Jawbox, one of the finest bands to ever come out of Washington D.C., are a peculiar case and an exception. They took the expected amount of flack when they, along with Shudder To Think, became the first bands from the beloved Dischord label to sign to a major. The amazing thing is that instead of degrading themselves, Jawbox grew as songwriters and put out their best music when they signed to Atlantic Records.

Jawbox’s major debut and third album overall, For Your Own Special Sweetheart, was released in 1994. Looking back, it shouldn’t have been a huge surprise that it wasn’t a crossover hit. In the wake of grunge, I would have no idea how to market a post-punk band with obtuse lyrics to a mainstream audience and my guess is that Atlantic didn’t have a clue either. The bizarre music video for “Savory” says it all. At least Atlantic tried harder than Geffen did for Jawbreaker, Jawbox’s west coast brethren. They even managed to get “Cruel Swing” played in an episode of My So-Called Life for about four seconds. Many parallels can be drawn between that program and the 90’s lost bands. Sweetheart has been out of print for years, but DeSoto, the label operated by bassist Kim Coletta and guitarist Bill Barbot, made it available on iTunes in 2006. In a move to take things full circle, Dischord stepped in to bring the album back in physical form with a fresh re-master from Shellac’s Bob Weston.

Re-mastering the album was a great move because it sounds better than ever and nothing has been sacrificed from what I can tell. Sweetheart was the first album that featured Zach Barocas on drums and his presence is huge on this re-issue. The same can be said for Coletta’s bass. There are so many moments on this record where everything comes together perfectly and Barocas and Coletta are a big part of that. They are the ideal compliment to the twin attack of Bill Barbot and the infamous J. Robbins. Good things happen when Barbot and Robbins play together. This was proved again when the duo re-teamed for Burning Airlines after Jawbox broke up. I can’t play a guitar to save my life, but even I know that the interplay on Sweetheart between Barbot and Robbins is a very special thing.

Hearing this re-issue has only enhanced my appreciation for Jawbox.  There is no denying that “Savory” is bigger than life and contains one of the best riffs of the previous decade. The scary thing is that songs such as “Breathe” and “LS/MFT” come close to countering it. I rarely have an idea as to what the underrated J. Robbins is singing about on Sweetheart, but his voice never sounded as powerful as it does here. It still gives me chills when he proclaims that “One hand will wash the other” on “Savory.” All of this admiration brings me to one conclusion: Jawbox and Fugazi are the kings of the D.C. scene and no one has come close to bettering them. My only hope is that DeSoto and Dischord have similar plans to re-issue the group’s self-titled swan song that followed two years later.

Jawbox will perform “Savory” on Late Night With Jimmy Fallon tomorrow, December 8th. No other reunion appearances are planned, but I’m sure that the 9:30 Club would welcome them with open arms.

• Artist: Nirvana
• Album: Bleach
• Label: Sub Pop
• Release: 1989, 2009

For nearly two decades, Nirvana has been the go-to angst band for alienated teens all over the world. For me, their music is a lot more effective now that I am more than six years removed from high school. It is a lot easier to appreciate their music when you aren’t trapped in hallways and classrooms filled with stoners that know every Nirvana song on their guitar by heart. I was angry too, but I’ve never really gone through a period where I was infatuated with Nirvana. The idol worship was a little overwhelming for me, but it is a testament to the group’s influence that they are still a major fixture in Washington D.C. suburbs that would make Kurt Cobain cringe for being so painfully dull.

This summer marked the 20th anniversary of Bleach and Sub Pop are celebrating by re-issuing the overlooked debut with a fresh re-master by album producer Jack Endino. The re-issue also comes with a live set from 1990 and a booklet containing rare photos of the pre-Dave Grohl incarnation of the band. It is appropriate that the booklet contains absolutely no writing with the exception of the credits. So much has been written about Nirvana that it almost feels pointless to add to the pile. If you’re skipping over this review, I understand. However, I believe that Bleach is worth critiquing because it is an album that exists deep in the shadows of the two albums that would follow it.

Krist Novoselic doesn’t get a lot of credit for his role in Nirvana, but he and Cobain simply click musically on Bleach. Listening to the duo of “School” and “Love Buzz” gets this point across. Badass is the only word that comes to mind when listening to Cobain’s violent riff on “School.” Dave Grohl and Cobain’s musical growth would make Nirvana a tighter, better band, but drummer Chad Channing serves his purpose on Bleach. Unsurprisingly, Cobain is the star of the album and it is amazing how confident he sounds. Most debut records would kill for a song as good as “About A Girl.” Few singers have ever sounded so comfortable in voicing their own straight-up, unhinged misery. That’s a compliment.

Messy albums like Bleach aren’t supposed to be perfect, which is kind of the point. It will never be spoken in the same breath as Nevermind or In Utero, but it still impresses. It is nice to be able to listen to a Nirvana record that doesn’t have so much legend and noise floating in the background. Bleach is great because it came before the storm. The notion sounds ridiculous at first, but you can sit back and pretend this is just another up-and-coming rock band making an album at the end of a decade that featured Hüsker Dü, The Pixies, R.E.M., The Replacements, Sonic Youth, and so many other great acts. Bleach was made during the most fruitful and exciting time underground rock has ever seen. Kurt Cobain didn’t want to be part of any scene, but if he saw the bands I just name-checked and not a genre title, I’d like to believe he’d be honored to be part of that club.

The deluxe edition of Bleach hits stores tomorrow, November 3rd.

• Artist: Visqueen
• Album: Message To Garcia
• Label: Local 638
• Release: 2009
• Links: Official Site, MySpace

It would be an understatement to say that a lot has happened in the five years since Visqueen released their second album, Sunset On Dateland. During that time, the group’s line-up rotated several times and singer Rachel Flotard appeared on two Neko Case records and toured as a member of Case’s band. In 2008, Flotard’s father George succumbed to cancer after Rachel had devoted a large chunk of the decade to taking care of him. Visqueen has returned with a solidified line-up and a record that is dedicated to the memory of Flotard’s father. Message To Garcia has its melancholy moments, but the record is dominated by Visqueen’s brand of mature power-pop that shines thanks to a refined confidence and more hooks than you can count.

Sometimes your allies rub off on you in the best possible way. Neko Case appears on five songs on Message To Garcia. Her presence is felt most notably on opener “Hand Me Down” and the equally outstanding “Forgive Me.” It is hard not to deliver when you have two beautiful voices like Flotard and Case sharing the mic. Case doesn’t appear on album centerpiece “So Long,” but her fingerprints are all over the gentle country ballad. By showcasing Flotard’s wide-ranging talent, it is a welcome reprieve in the middle of a hard-hitting album. Visqueen may have added two new members (Tom Cummings, Cristina Bautista), but Ben Hooker returns and his vigorous drums are an essential element to Visqueen’s sound.

Visqueen are picking up where they left off five years ago and they haven’t lost the momentum that gained them the attention of Ms. Case and many others. Not every record has to blow you away in order for it to be an enjoyable experience. Sometimes you just want to hear a well-crafted rock record and that is what Visqueen have brought to the table with Message To Garcia. There is nothing to genuinely dislike about this band. With a charismatic lead singer and the ability to fit what feels like a million hooks into a single track, Visqueen has a lot going for them. They almost make it look too easy.

• MP3: Hand Me Down