BIG Something

The Big Something Rumbling saxophone solos and processed guitars that seem to ding: this is a band where the tone is big. Like MGMT or the Flaming Lips, there are plenty of magical moments that make you wonder “how’d they get those sounds?” The answer may be in the keyboard flourishes from Josh Kagel or Casey Cranford’s sax that functions like a funk rhythm. Once known as the “Anonymous Band from Burlington,” these North Carolinian synth-lovers have gone beyond obscurity with some inimitable but captivating noises. Nick MacDaniels never sounds stressed at the helm with vocals: he’s too busy stretching out songs with relaxed grooves. Their sound doesn’t roll heads, but the popping beats will make heads bounce. - Creative Loafing Charlotte

Already the winner of Home Grown Music Network’s “Studio Album of the Year” award, along with being named the “New HGMN Band of the Year,” BIG Something’s debut release (Stories From the Middle of Nowhere) finds the band on a path rarely seen so quickly by most teams in this industry. Why are these guys so musically successful, so early in their catalogue? The answer is easy and obvious enough; these guys are great! The six piece brings a heavy A game. From the rocking guitar work, through the tasteful sax play, on to the funky keys, and the drum and bass backbone, BIG Something is a band that doesn’t fail the promising capacity of its name.
Heavy on the jam, this rock/funk/jazz-entwined album is inspired by the curious escapades of a pimp named Pinky (The lyrics aren’t totally about being a pimp; many of the songs have a much deeper thread than that.), and although this might seem something of an odd concept, the band pulls it off. The album begins with the adrenaline blast of “Pinky Goes to Jail,” where we find out that Pinky’s “been a long time running from the deputy,” and that’s never a promising start to a story. But, that’s just how Pinky operates. He later ends up in “Graham County” a country-rooted song with some select sax work (not often a country music instrument) along the way. Pinky’s had a hard time by this point in the album, realizing that “I gotta wait all day, ‘cause if you ain’t pleading guilty, they still try to make you pay.” Pinky’s having a rough go of things.
This album is ripe with hits. Running back, to back, to back, “Pinky’s Woman” starts off sounding like something from Pink Floyd’s canon, and then it turns into something from the more obscure, but great, Shuggie Otis; “Saturday Night Zombie” and “Josh’s Disco” are ready for a headlining set on someone’s foot loose and freaky festival grounds. There are truly no noteworthy flaws throughout the disc – here it should be added that the album was recorded and mixed by NC producer John Custer, known for his own labors with Corrosion of Conformity.
The final track is fire hot and a great way to end an album full of reasons why it won that “Studio Album of the Year” slot. With a dose of Funk/Jazz/Reggae Fusion, “In the Middle” ponders something we’ve all considered somewhere along the way. Longing for a place it’s often hard to get back to, the lyrics read, “Feel like I’m goin’ crazy in the big machine. Sometimes you think you know it all; sometimes you don’t know anything. But I wanna know, I want to know why’s it gotta be this way? And I wanna go, I want to go to how it was in the first place.” Maybe this is just Pinky’s final lament, but it’s certainly a universally applicable sentiment, and the music behind it is a joy.
Home Grown Music Network pulled a great one from the list of possible bands to honor this year, and the list of potentials is certainly ever growing and ever diverse. BIG Something just has that light that allows them to be seen through the haze of possible options. Assuming the basic skill sets exist, it’s easy enough to grab some gear, a few friends to jam with, and land some gigs; these guys have all of that, plus a little extra, and if that “little extra” were something easy to bag and tag, we’d all be in a great band! BIG Something is just lucky enough to have ability to spare, and Stories From the Middle of Nowhere should be enough of a propellant to send this band to wherever it decides to land itself.
- Jambands.com

For a band called Big Something, they surely live up to their name. Not only were their songs encapsulated by a bigger than life style, the group also took a large amount of synthesizers, horns, and shredding guitars that added to their big sound. If anything, I would have to describe the overall stage persona as a run by the numbers jam band, minus the boring instrumental sections that most groups in that classification have.

That’s what sets them aside from most bands like Widespread Panic and even the Grateful Dead, because the band works together in a way that adds a more pop-rock sensibility. I would compare that sound to groups like Bruce Springsteen and The Killers. Believe me, I had a hard time convincing myself of that comparison too, but somehow Big Something made it possible. The group’s piano and synthesizer sounds coupled with their sax player and lead guitarist’s blasting guitar work was a dynamic addition to their poppier elements. What’s even more surprising to me was that, like any jam band, they always have a unique element that they can call their own.

So what does it mean to sound like Bruce Springsteen? Well, their music not only builds on top of their already complex songs, but it’s the Springsteen-esque arena style rock that keeps them rooted on planet earth. Their songs segue perfectly from a complicated instrumental section to the bigger than life style of bands like Springsteen and The Killers.

Comparing them to Rush, Widespread Panic, or Bruce Springsteen is lofty praise. I honestly just stumbled on the band with no prior intentions of seeing them. In fact, they weren't even on the roster of bands for the weekend. Instead of getting billed, they were one of the smaller acts who played on the stages that patrons walk by as they go to watch groups like Side Real or Easy Star All-Stars, but I couldn't be more pleased with my luck.

Big Something blends an array of genres and creates those arena rock, jam band, and hard rock influences into something all its own. The only thing I can hope is that instead of Side Real or Pepper taking up the larger stages at Blackwater next year, it will Big Something playing the shit out of a much deserved bigger stage. - PopMatters

"It's not a good band, it's a great band" ----Artie Kornfeld on BIG Something (Kornfeld was the co-founder of Woodstock '69 and a former VP at Capital Records) - ArtistFirst

Though a debut release in the literal sense, the Big Something’s new release Stories From the Middle of Nowhere isn’t the first release from this talented sextet. Known as Anonymous, and later as the Anonymous Band, in a previous life their debut EP The Handout was a slick and sonically rich nugget of homemade jammy goodness. When they went into the studio to record their first full-length, their experience with Grammynominated producer John Custer was so enriching that it drove them to look at the band and its music in an entirely different way. Thus, they changed their name to the Big Something and the change from EP to LP is evident. Custer, who’s know most for his work with Raleigh metal band Corrosion of Conformity and being a master arranger, was given another talented group and has worked his magic yet again. Primarily driven by the combination of guitar, synth and sax, the Big Something offer a complexly interwoven series of grooves marked by rich and sonorous mixes. The recurring theme with most groove-heavy improvisational groups is that vocals are almost always going to be slightly quirky and while that’s occasional this case with lead singer and rhythm guitarist Nick MacDaniels, the warmth of his voice consistently comes through as its strongest quality. Lyrically, he provides strong hooks while leaving the focus on the band’s instrumental proficiency. They’re often humorous and pointed, as is found on the material about the recurring Robin Hood-like character of “Pinky Goes to Jail,” “Pinky’s Woman” and Pinky’s Ride,” which serves as a bonus since it’s the relentless jams like “Josh’s Disco” that really drive the album. - YES! Weekly

Guitar Center and Hip Hop legend KRS-One have teamed up to bring you Fresh Cuts Vol. 6. KRS-One has hand-selected 9 tracks from submissions by Guitar Center employees across the country. Fresh Cuts Vol. 6 also features the exclusive release of "Pass the Cordless," an original song by KRS-One.

Fifty thousand copies of Fresh Cuts Vol. 6 CDs are available now. Pick up your FREE copy at your local Guitar Center while they last!

Featuring the Big Something song "Pinky's Woman" as track 2 on the CD. See link. - Guitar Center

See Link - Home Grown Music Network

The roots of Big Something took hold after years of playing North Carolina as the Anonymous Band. In changing directions with their creative nomenclature, Big Something offers a compelling debut with the release of “Stories from the Middle of Nowhere.” This is an expansive concept album detailing the life and times of Pinky, a figure who is part Robin Hood, part Clyde, part neighborhood Pimp. The album offers excellent musicianship and a spirit of fun as it details these adventures, proving to be a remarkable debut for Big Something. The band features the talents of Nick MacDaniels on vocals and guitar, Jesse Hensley on lead guitar, while Joshua Kagel offers keys, synth, and trumpet. Doug Marshall plays bass, Hunter Gardner mans the drum kit, and Casey Cranford shows his talents on saxophones to complete the Big Something equation. The tracks on this album blend many different styles of rock and jam to create a savory package, lengthy in scope, well-delivered in execution.
The album begins with atmospheric horns and the nice layered passages of “Pinky Goes to Jail.” This song depicts the tale of Pinky, a down on his luck adventurer whose money is stolen by an unnamed, yet opportunistic femme fatale. The back story indicates that Pinky is on the run from “John Law,” who's “only in it for the money and the money's all gone.” The song weaves a colorful story and has segments defined by excellent guitar. “Big City Song” starts with lots of crunch and bluster before settling into a confident, bouncy groove. Lead singer Nick MacDaniels offers excellent, warm vocals throughout the recording and this is particularly evident on “Big City Song.” Crunchy guitar and synthesizer signal the arrival of “A Simple Vision.” The song ventures through various passages and moods, offering expansive jams and robust guitar before settling in sedate, calmer waters. “Amanda Lynn” is imbued with the spirit of Southern rock, utilizing liquor soaked guitar and wailing horns. If Pinky is the modern day Clyde, then “Pinky's Woman” tells the story of Bonnie. The song displays enthusiastic horns and silky vocals as it tells of “love and lies and love and lies, cherry lips and big old thighs.” Such distractions prove to be a possible downfall for Pinky, who dreams of the Big Heist and escaping with the woman of his dreams.
The next track begins with electronic flourishes, energetic horns and playful lyrics in detailing the story of the “Saturday Night Zombie.” This seems to be a tongue-in-cheek reference to the drug addled youth of the late night scene, apparent Zombies, who “spread the fever with just one bite.” Keyboards and guitar trade flourishes as the song ventures forth, offering a light hearted track that will be fun for the dance floor. “Josh's Disco” begins with a light Afro-Cuban groove, but ratchets up intensity on the strength of guitar and keyboard before yielding to Casey Cranford's polished saxophone. As with the other tracks on this album, confident, forward-moving jams are spiced with unusual electronic embellishment. The tunes on this album are hard to pigeonhole or categorize, as funk, classic rock, jam and world music are all fused into one dense, layered package. “Pinky's Ride” offers another chapter in the story of our hero, who relies on his “ride, his woman, and his six shooter” for a cross country journey from DC to Los Angeles. Jesse Hensley's blistering guitar meshes nicely with Cranford's saxophone and gives this track lots of bounce and “pop.” The understated “Sunday” stands in stark contrast to the rest of the album. Mellow, sedate guitar is plucked lonesomely against a backdrop of ambient noise. Although fairly disparate from other tracks on the album, “Sunday” is a lovely, arresting interlude. The album concludes with “In the Middle,” a reggae-infused jam that spotlights saxophone and warm vocals.
The debut of Big Something proves to be successful, as their richly layered jams offer lots to chew on. The tracks are imbued with elements of funk, jazz, fusion jam, and rock, while the story of Pinky provides a nice backdrop and centerpiece for the album. I rarely discuss packaging in my reviews, as that is often such a secondary concern. However, the lush colors and graphic design on display for the packaging of “Stories from the Middle of Nowhere” are definitely eye-popping and engaging. The CD case creates a nice first impression, while the tracks on the album will further strengthen and bolster such a feeling. In employing robust rhythms, technically polished playing, and a sense of flair that is fun and disarming, Big Something's debut release proves to be excellent.

- J. Evan Wade - Home Grown Music Network

Voting is now underway. - Home Grown Music Network

The Big Something brings a refreshing and eclectic blend of Rock and creative song craft to the growing NC live music scene. While combining unique electronic embellishments with funky alternative Rock, this 6-piece ensemble creates a massive signature sound primarily driven by guitar, bass, sax, synth and vocals.

Drawing from a diverse range of influences and the combination of each member’s unique personality, Big Something’s collection of original material is hard to classify under any one specific genre, as hints of Jam, Dub, Roots, Blues, and World music all make subtle appearances throughout their catalogue of post-alternative rock songs.

The common theme is a complexly interwoven series of grooves and high-energy instrumental duels complimented by warm vocals and catchy lyrics that are often humorous and pointed in their storytelling. The roots of Big Something can be traced back to the year 1999 when lead singer Nick MacDaniels, original bassist Patches Howard (who is now the bands graphic artist), and original drummer Hunter Gardner founded “The Anonymous Band.” Throughout the following decade that group brought its creative and joyful approach to Rock music to new heights and crowds throughout the Southeast.

Gradually, the band went through several growth spurts in their music, but also several changes to their original cast of musicians. In 2010, with a new lineup in place, the band enlisted critically acclaimed and Grammy-nominated Raleigh producer, John Custer to record a new album. Their experience with Custer was so enriching that it drove them to look at the band and its music in an entirely different way. Thus, they decided to change their name and the BIG SOMETHING was born with the debut of a new album, “Stories from the Middle of Nowhere.” - Home Grown Music Network

See link - Relix Media Group

The Anonymous Band has become a BIG Something. With a new name and new direction, Big Something “offers a remarkable debut album,” says Evan Wade of Leeway’s Homegrown Music Network.
“Stories from the Middle of Nowhere” was recorded and mixed in Raleigh by distinguished NC producer John Custer, who was previously Grammy-nominated for his work with the southern Metal band, Corrosion of Conformity.
While the Big Something is far from a Metal band, their groove-based Rock n Roll sound is still very large. But as the name suggests, this band is hard to classify. With a uniquely alternative and electronic sound, Funk, Soul and Rock n Roll are all fused into "one savory package, well delivered in execution,” says Wade on behalf of HGMN. “In employing robust rhythms, technically-polished playing, and a sense of flair that is fun and disarming, Big Something’s debut release proves to be excellent.”
According to the bands bass player, Doug Marshall, “recording with Custer was like getting schooled by a musical Jedi. He helped us realize our true potential as a band. And because making this album felt and sounded so dramatically different than anything else we’ve ever recorded, we knew it was time to re-think our band name.”
BIG Something will perform several concerts throughout the summer in support of the new album including a CD release show at the Pour House in Raleigh on July 15th, a three night run July 26 - 28 at the Southbound in Knoxville TN, and a marquee Saturday night set at The Getdown Music Festival on Labor Day Weekend. One of the album's new tracks A Simple Vision will also be featured on the CD sampler inside this July's issue of Relix Magazine.
Copies of Stories from the Middle of Nowhere can be purchased from the band’s website bigsomething.net where you can also stream the songs for free, check out tour dates, download live shows, read song lyrics and watch videos. The album is also available on iTunes, HomegrownMusic.net, Amazon.com, CDbaby.com, and many fine independent retailers throughout North Carolina, Virginia and Maryland. For more info check out www.bigsomething.net - PR Web