Aggression, Harmony, and Shot Baker makes Calie Happy.

It is Halloween of 2006 in Woodstock, Illinois at the compound of a decrepit basement-venue nicknamed “The White House.” A 17-year-old suburban punk rock chick is dressed in suit pants, suspenders, coattails, and a styrofoam mask of our 16^th president. She insists to be addressed as “Babe-raham.” It is not her first time in the rank residents that smells of under aged booze consumption, pot, and adolescent armpits, and nor will it be her last. Halloween calls for a special occasion, though, for the local bands on the bill are set to perform as their idols. Vacation Bible School will be The Vindictives; 40 Oz. Sidekicks and House Of Normandie will unite as NOFX; and an up-and-coming band from Park Ridge will perform as Minor Threat. With a crowd of 75 hoodlums elbow to elbow, Shot Baker takes the “stage” (a.k.a. the far corner of the basement) to perform everything from “Straight Edge” to “Filler.” The five-foot even “Babe-raham” jumps in front to witness her new favorite band scream and sweat and bleed. It is her first encounter of pure honesty, emotion, determination, and passion- something that Shot Baker only gained when creating their 2^nd full-length album “Take Control.”

Released on Riot Fest Records, “Take Control” begins with a shrill scream of a child, which is soon halted by distorted punk rock that never slows or quiets. With the melodic bass of Nat Wright, the fast paced beat of drummer Chris Gach, the metallic punk guitar (comparable to Naked Raygun) of John Krohn, and the aggressive vocals of Tony Kovacs, the album is refreshing and exhilarating. Each song is filled with momentum and intensity, complimented by lyrics of self- realization (“Lost Today”), and social commentary (“Falling Apart”). The power chord is given new life through each 11 tracks; songs like “Little Bird” and “Setting Sun,” make distortion and feedback a pleasant sound for the ear. But the highlight of the album is Tonys roaring vocals and harmonic back-ups, ensuring sincerity and enthusiasm.

Shot Bakers’ “Take Control” doesn’t hold back any emotion or feeling. There is no shame on the album, only an intense dose of aggression, integrity, and angst. For some bands, the eagerness for music only comes through during an impersonal performance for a big crowd. But for Shot Baker, this enthusiasm shines through constantly- whether on a record, the stage of the House of Blues in Chicago, or a smelly old basement in the middle of nowhere. “Take Control” just further proves that Shot Baker always provides powerful music with no apologies and plenty of excitement.

Baby Calie enjoying her first taste of Shot Baker on Halloween, 2006. Classy.