You may not have heard of this guy. He opened for Van Halen on their latest tour and recorded a hit cover of “Edge Of Seventeen” in summer 2005. This disc has sold 50,000 copies, and with one listen it’s easy to see why.
Like Lenny Kravitz, Jonas lives in the past, and brings those classic rock sensibilities to his music. The opener “Daddy” is a Black Crowes song in all but name, but I’m so grateful to hear a guitar solo in 2005 that I’m willing to forgive this. Besides, sometimes plain old rock is needed to cleanse the soul.
My guess is that Jonas puts on a great live show, since there is a certain energy running through these 11 tracks. As mentioned above, Jonas doesn’t particularly bring any originality to his rock – he’s happy to add himself to the pantheon of blues rockers, and his voice is no better than any of them. “Burn The House Down” is essentially a remake of ZZ Top’s “La Grange,” but it’s a beat that never gets old, and Jonas’ rhythm section does a great job carrying the song.
When Jonas goes into all-out blues, though, the disc falters. “Like A River” reaches for the soul but feels like it’s been done before so many times, although Corey Diabo turns in a great guitar performance here and elsewhere. “Show Me” suffers the same fate, sounding like a slower Aerosmith ballad but with lines like “Oh you got to show me / I want to get closer / And tell me baby / I’ll hold you forever.” Hardly revolutionary.
“Fascination” is a highlight, again unoriginal but propelled by a great band performance, proving that Jonas would make a great bar band. “Something Beautiful” tries to break the mold by using bongo drums and a faux reggae beat, but it comes off as a gimmick, while “By the Bed” uses a slight country beat that sounded good…at least, until I realized the Black Crowes’ “She Talks to Angels” did this song already and much better.
“Same Ol’ G” is the obligatory I’m-real-though-I’m-famous song, though I like it because it’s the kind of music Aerosmith should be making instead of…well, everything they’ve done since 1989. It’s catchy, fun and even has a solo. Speaking of Aerosmith, they offer “When the Rain Stops” for Jonas to sing, but the song is obviously an Aero-ballad by the numbers, and I got bored right away.
Then, “Edge Of Seventeen” redeems everything. Jonas’ version adds an industrial kick to Nicks’ original, losing the fragile sensitivity but increasing the intensity. It happens to be Jonas’ best vocal performance on the album, from the howling chorus to the slightly-tortured verses, the kind of vocals Trent Reznor is capable of when he gets his head out of his ass.
What Jonas ultimately proves is that real rock and roll is not dead just yet. While he may bring nothing new to the table, it’s a treat to hear someone update the classic rock that is now being played to death. Once he finds his own voice, should that ever happen, Jonas will receive the stardom he likely deserves, if for no other reason than that great cover of “Edge Of Seventeen.”
