Bigger Fish to Fry available everywhere 29 July 2026!

The year was 1994 and my band at the time was called Urban Sturgeon. Unless you were in the music scene in Buffalo in those days, you probably never heard of us. Urban Sturgeon was Roger Hooven on vocals, Mark Umphred (RIP) on bass, Mark Masters on drums and yours truly on guitar.

At various times we had Lynn Dixon and Sharon Bailey on background vocals. We went into Trackmaster to make a record with Mike Sak behind the board. Ed Supple produced the and Terry Sullivan was around a lot too, giving us some really good advice. We called the record, Bigger Fish to Fry.

None of us in the band had ever made a “real” record, so this was pretty exciting. Umphy and I worked hard on writing and arranging the music, and had considerable disagreement about whether or not we were “ready” to go into the studio. Umphy never thought we were ready for anything, but nothing in my experience with him was as meltdown-inducing as going into the studio. I would reassure him and tell him he was terrific (he really was), the songs were as good as we could do at the time, and we’d make another record down the road that will be even better. Alas… Five years ago, I reached out to Mark, who passed away earlier this year, for his memories of making Bigger Fish to Fry. His frame-worthy reply is at the end.

Yours truly at Trackmaster holding track notes. Pic by Paris Roselli.

Ed Supple offered to produce Bigger Fish to Fry and we happily accepted. I was so green when it came to choosing guitar parts to multi-track and sounds, and Ed was so helpful and patient with me. I shall be forever grateful. As I listen to the record now, I can still point out parts, really key parts, that Ed suggested.

With Ed Supple. Pic by Paris Roselli

Mike Sak and I were already pretty good friends by 1994, having worked together on Employeez recording sessions as far back as 1981 or so. Mike resisted the producer hat on everything we ever recorded. He wanted bands to make the records they wanted to make. Mike was and remains one of the greatest recording engineers I’ve ever known, aside from being a lifelong great friend. Total hero for all the way-beyond-the-call hours he spent working on my projects. I’m forever grateful for Mike, too.

I was just getting my feet wet on lyrics in those days, and wrote Rita and Personal Hell by myself. Sam Miserendino and Roger wrote most of the lyrics on Bigger Fish to Fry. I remember one night when I was living on Park street in Buffalo, playing a new piece of music while watching a movie. My girlfriend at the time said ‘what’s that one going to be about?’ I said I had no idea, and she suggested I write about Rita, our then 4 month old golden retriever. Later when our relationship went the way of the dinosaurs and she asked if she could move in to my new apartment “temporarily” pending a new job out of state (and I said "yes"), I wrote Personal Hell. True story. That happened quickly enough that both songs ended up on the same record.

Recording at Trackmaster. Pics by Paris Roselli. *I wish I could find more pics of the guys in the studio, but I couldn't, unfortunately.

When I moved back to Buffalo from California last year and unearthed my old storage, among the dusty crap I saved and paid to save for reasons that elude me, were several large boxes of shrink-wrapped Urban Sturgeon CD’s. I thought to myself, “I didn’t lose enough money, making this f&*king thing, I paid to store the CD’s!!!” So, with amusement and malice, I tossed all of them so they could never be a threat again. Also among the stuff I stored because I couldn’t make decisions about what to get rid of were the 24 track 2” Ampex tapes, in which were all Mike Sak’s original studio notes, tracklists, lyrics and times. Those are all included in a gallery below. But just this morning I noticed that two of the tracks we apparently recorded, “Bomb” (actually titled “You Fell Like a Bomb”) and “Drive Like Hell,” neither of which made the record. If memory serves, and it often doesn’t, those were holdovers from the latter stage Employeez and/or Radio Art days. I’d love to hear them, and have reached out to a friend about getting those tapes baked so I can safely find and transfer those two songs to digital.

Why now? A few years back, well 2021 (which I know because Mike put the date on the files he subsequently remastered — tempus fugit!) I put this record on and hadn’t listened to it for a long time. I was instantly quite proud and excited about this record all over again. So I phoned Mike and asked him if he was up for remastering it. He was, and did a fabulous job. I heard things I never noticed, and the clarity and simplicity all came through. All that analogue gear…the fact that we did so much of it live as a really well rehearsed band, the warmth…it all comes through. If you were a fan of this band and this record, you’ll dig this and it will take you back. And if you never heard of it, well, I hope you like it.

I reached out to the gang for some memories and Mike, Mark Masters, Ed Supple and even Umphy were kind enough to jot down a few notes for this post, included below. I got in touch with Roger for his memories, and he said he didn't remember much other than late nights, Mike Sak, Terry Sullivan and that "priest guy" (Michael Oliver) being around during some of our sessions or otherwise in passing.

From Mike Sak, 21 July 2026

"When Michael Lee Jackson asked me for a few notes about my memories of the making Urban Sturgeon’s Bigger Fish To Fry, I agreed readily. Only after trying to conjure those memories, did I realize how far away that time has drifted. I tend to be forward-focused, and looking back has never been one of my strong suits. I wish I still had my old studio calendar. But here are my recollections, nonetheless.    

MJ and I had known each other for some time before 1994, but the making of Bigger Fish To Fry absolutely cemented our lifelong friendship. I know many of you reading this also share that close relationship with him and can relate to the unique and authentic way he treats everyone in his life.

The actual recording of Bigger Fish To Fry was, frankly, unremarkable in its execution. It was a typical set of sessions during an incredible era in the mid-1990s at Trackmaster Audio in Buffalo (now Robby Takac’s GCR Studios). The small front waiting room, kitchen, and stairway leading up to Studio “A” were always filled with a bevy of Buffalo musicians, artists, radio / tv / theater and advertising agency royalty. Hanging out, drinking coffee, swapping stories, arguing viewpoints, culture, and bullshit. What a mosh. It was creative heaven.

MJ’s affable, outgoing personality and the Urban Sturgeon project fit perfectly into that artistic pastiche. His developing riff-based songwriting and aggressive guitar work, the impressive rhythm section power and precision of the “Marks” Umphred and Masters, and Roger Hooven’s unique vocal presence set the stage for the creation of a timeless sonic memento from a very special period in my career.

The recording sessions were fueled by MJ’s incredible positivity and energy, which were further elevated by the support and confidence of the selfless Ed Supple. Terry Sullivan provided Roger and his manic intensity with invaluable vocal guidance, along with the added threat of “spinning” him if he fucked up. Mark Umphred hated everything he amazingly played.

All of this created the perfect environment for the straightforward recording approach we used. Live takes, minimal overdubs, classic amps and basic production. The band was well prepared, and they recorded quickly and efficiently. Listening back now, it remains one of the best examples in my discography of how that iconic Trackmaster space at Franklin and North captured the raw, classic-rock energy of Buffalo in 1994.

The pure analog tone that everyone kills for now!  That awesome Auditronics 532 console—one of only six in the world. The Otari MTR-90 two-inch multitrack tape machine. Ampex 499 tape. JBL 4311 monitors in your face. 1176 and LA-2A compressors. Classic U87, MD421, and SM87 microphones.

No computer. No click. No ProTools. No Undo.   A rock & roll masterclass."

_____________________

From Mark Masters, 15 July 2026

"Michael and I started jamming together around 1979 in my parents’ basement. Just guitar and drums and it was clear even then, that this man was determined to pursue a career in rock ‘n’ roll. We eventually ended up in the same band, Urban Sturgeon ,and when it came time to record, Michael made no bones about the fact that he was seriously considering replacing me with a studio drummer as my level of commitment did not match his. I had some bad habits, but he gave me a chance and I remember walking out of Trackmaster studio after cutting the final tracks for bigger fish to fry and thinking if I died that night, I would be happy, because I had recorded an album with my bandmates and at least I had accomplished something of lasting value — a record of all the hard work we put into this project.

No one had a studio on their laptop back then,and it was such an honor to set up my drums in the finest drum room in western New York, Trackmaster studio, now the home of GCR Studios. It was a big deal to record an album in those days,and I am still proud of the work we did on this album with the guidance of Ed Supple and Michael Sak behind the board.

Much thanks Michael for having faith in me to be part of this project. I wish Mark Umphred were here to listen to the remastered album. Cheers!"

______________________

From Ed Supple on 25 July 2026:

“I heard Michael and his band and I offered to help them in whatever way I could. There was a lot of talent and energy in the group. I produced the recording, but there was a lot of input from Michael, the band, and Mike Sak. It was great fun, and I'm honored to have been a part of this project!”

From Mark Umphred, 15 February 2021 

“I found my copy of "Bigger Fish to Fry"  I thought the drums and bass on this get real tiresome.  My constant pedaling instead of finding any real space of harmonic interest against what is basically the same drum beat for every song is painful. Roger has a great tonal quality to his voice but is unfocused, melodically and passionately challenged. 

I think for the most part there were good guitar moments in tone and content and your performance was the most professional sounding.

Personally I don't see any good reason to release this recording let alone wasting money on it. 

Best of luck.”

Liner Notes

2" real to real, as nature intended, & Mike Sak's studio notes