Jared Weeks - Lead Vocals
Jason Null - Guitar, Backing Vocals
Scott Bartlett - Guitar, Backing Vocals
Eric Taylor - Bass, Backing Vocals
Michael McManus - Drums
Backyard barbecues, front porch jams, old-fashioned family values and hard-partying rock n' roll is the name of the game for Saving Abel. The no-frills, no pretension and down home charm driven compositions from these Southern boys have burned up the radio charts with soaring melodies and crunching hooks, caused guys and gals alike to shake what their momma gave 'em while pumping a fist in the air and served as feel good anthems for American troops on military bases abroad.
Saving Abel combined meat and potatoes rock with bombastic hooks and stormed the mainstream with their debut in 2008, landing a gold plaque in the process with well over 500,000 in domestic sales and topping the Billboard "Heatseekers" chart, to boot. The eponymous record spawned the platinum single "Addicted" and the followup barn-burners, "Drowning (Face Down)" and the emotional "18 Days." Their second album, Miss America, topped the Hard Rock chart and imprinted the hearts and minds of radio listeners with the title cut, "Stupid Girl (Only in Hollywood)" and another Top 10 single, "The Sex Is Good." Enduringly bound together by the creative nucleus of singer Jared Weeks and lead guitarist Jason Null, Saving Abel is poised to do it all over again in an even bigger way with their eOne debut, Bringing Down The Giant. The album runs the gamut of all of the heart and soul at the center of Saving Abel, exploring new depths and broadening the band's horizons to incorporate the best of what the hard rock genre has to offer in 2012. "Bringing Down The Giant," the title track, is raunchy enough to give Disturbed, Metallica or even Pantera a run for their money. It's the type of song that will blow down the doors if the WWE or UFC gets a hold of it. On the other end of the spectrum, the plaintive ballad "Picture of Elvis" somehow surpasses the emotional intensity and heart-string pull of "18 Days." And then for total balance, songs like "Michael Jackson's Jacket" bridge the gap with a smooth, poppy, groovy vibe that shows off Weeks' impressive range in a Maroon 5 like fashion.
Saving Abel is rounded out by rhythm guitarist Scott Bartlett, bassist Eric Taylor and former 12 Stones drummer Michael McManus. The committed road warriors spent several years on the road supporting their first two albums. The touring lineups looked like a who's who of real deal radio rock, with Saving Abel sharing stages with their peers and contemporaries in major acts like Nickelback, Hinder and Buckcherry. Saving Abel road appearances have also included radio festivals, biker rallies, state fairs and anywhere else that people appreciate dyed in the wool, real-deal rock n' roll with musical chops, expert songwriting and authentic groove and feel.
"We're just a bunch of Southern dudes who have had music in our lives since we were little boys. We like to have a good time no matter where we go, man," says Weeks. "I grew up on the front porch listening to my papa play the guitar. We'll always bring that Southern hospitality and that heritage. We try to spread the love around. We love music. Nobody in the band hates anyone else in the band and we have respect for what we do. This is our job and it's what we love doing."
Bringing Down The Giant stands alongside the best and brightest in modern rock but at the same time carries an ace up its sleeve in the form of its traditional roots backbone. Foot stomps, mandolins, jaw harps, banjos and even some empty water jugs (blown into by Jason) make an appearance on the record. It's a firm reminder that Jason and Jared are the same two guys who once defeated a small army of electrified groups at a battle of the bands wielding nothing but acoustic guitars.
On the new album, "We brought out every Southern, redneck, hillbilly style you can think of, man," says Jared with a laugh. "A lot of times it's really easy to get lost out there when you write music you think people will like or what they want to hear. We want to talk about sitting on the front porch in Mississippi with the heat, sitting out there having a great time drinking beer. We're more true to ourselves on this record, more true to our nature [than ever before]," he adds proudly.
The raw and down home feel of the melodic hard rock all over Bringing Down The Giant recalls the most vital and energizing aspects of the humble beginnings of the band, which stretches back to the local scene in the small town of Corinth (population: just over 50,000) in Alcorn County, Mississippi. "I'll never forget the day I met Jason, man," says Jared. "We were at a party where a couple of people put on some instruments. He was playing guitar and I just started singing."
"I had a band with a local following. Jared was like my little brother when I met him," says Jason. "There was just a big jam going on. I was learning some songs for a cover band and I started strumming and he knew the song and sang it. I thought, 'Well, this guy sings pretty good!' I couldn't believe that nobody in that room had asked him to join a band yet. So we exchanged numbers and within a couple of days we started getting together and soon we had written an album's worth of material." After a few false starts, the guys reconvened roughly a year later to write some more music, penning twenty songs together with an acoustic guitar.
Saving Abel tracked down producer Skidd Mills (12 Stones, ZZ Top, Saliva), who helped them craft extremely strong demos. Their manager, who was consulting for a major label, brought them to the attention of the A&R guy who signed who had signed bands like Matchbox 20 and Collective Soul. He offered Saving Abel a deal on the spot. The band arrived in the consciousness of rock fans with a thundering "boom!" Their album connected on a deep and visceral level unmatched by cookie cutter groups and the type of bands who simply followed the trends instead of following their hearts. The old cliche about having your whole career to write your debut and six months to write the followup proved true for them, as they cobbled together the basic song ideas, structures and arrangements for Miss America partly on tour.
While the followup album achieved all sorts of successes for them again and has already stood the test of time as a red blooded slab of American rock, Bringing Down The Giant is the type of album that fully delivers on the promise of everything that has come before with Saving Abel. It's a definitive statement of their intentions.
The band returned to the loving arms of their longtime comrade Skidd and ended up writing over 40 songs for their third album, many of them across a wide variety of genres from country to Christian and of course their patented hard-driving radio rock. "It was hard to choose which songs wouldn't make the album."
"We had been on the road for a long time. They boys were all pretty tired but we were still very anxious to get in the studio and start writing this album," Jared explains. Parting ways with their former label partners gave Saving Abel some nice breathing room to make the album they wanted to make without external pressures, artificial deadlines or anyone breathing down their necks but themselves. "It was such a blessing. It relieved so much of the pressure. We had the album basically finished, all but the cover artwork, before we even signed the contract with eOne. In the past we always had to get into the studio, get the album done. I don't want to talk badly about our old label, but, at eOne, we can tell they are really excited about us and we are at the top of the list of things for them to do." Saving Abel has built a large following and a consistent catalog in their still young career with no signs of stopping or slowing down anytime soon. Their connection with their roots, their audience and their presentation is palpable and something to be admired. "I hope, God willing, we tour until we're old men," says Jason.
It comes down to that personal connection with the crowd. "I don't care if I'm playing in front of 75,000 people when you can't see everyone's faces; the important thing is that there's one person out there that's enjoying the music and that moment we are in together," Jared says. "If we can get that on person's attention? Man, that does it for me! It makes me feel like everything I'm doing isn't in vain or done for no reason." That feeling is particularly strong when playing for the troops.
The end goal for Saving Abel is something that dawned on Jason one day while he was driving down the road and some song on the radio instantly took him back to a cherished childhood memory. "It automatically took me back to this time and place where I had heard the song for the first time. It was one of those moments where I could almost smell the room I was in and from that, I jotted it down in my notes that music is the only true time travel that we will ever know as human beings.
"I just hope that there's that 16-year-old kid that can do that with one of our songs," he adds. "They can pop it in and it takes them to a happy place; music that people remember and love. When I was growing up you had your bands like Def Leppard, ZZ Top, AC/DC and Van Halen. I thank God every day that I get to do what I love for a living. You can get aggravated and get tired of any job, but I'd much rather be aggravated playing music for a living rather than working at K-Mart."
With an album like Bringing Down The Giant, there's no chance that the guys in Saving Abel will be looking for retail gigs in this or any other lifetime.