Plastic Fang April 9, 2002

“I crave the taste of blood, Good Lord Almighty, Good Lord above, My soul is lost, I said I curse the day that I ever was born.” — “She Said,” The Jon Spencer Blues Explosion

While the Vatican of Rock spans a wide range and often worships false idols, Jon Spencer and his Blues Explosion are particularly soulful pontiffs. Plastic Fang was recorded at Manhattan’s Oorong Sound, with Steve Jordan (producer) and Don Smith (engineer). Their combined experience includes time spent with The Rolling Stones, Stevie Wonder, Tom Petty, Bob Dylan, and countless other rock pioneers. Like those giants, there’s nothing small about Plastic Fang, and it marks the first time that this powerhouse band has been accurately represented on vinyl (or, you know, disc).

Jon’s voice has never sounded better; over time he’s developed the depth and control that characterize the best rock and soul singers. He and Judah’s guitar’s are massive here, yet retain the distinct qualities that were sometimes lost in the past, and Russell’s innovative style is in full flourish. Most importantly, this is quite simply their strongest collection of songs yet. With a tighter and more considered approach to writing and recording this time around, Jon’s growth as a songwriter is explicit, though the band’s style remains wild. With its vivid imagery and lustful, adrenalized music, Plastic Fang cages the resolute intensity of possibly the best live band playing today.

“Shakin’ Rock ’n’ Roll Tonight” and “Money Rock ’n’ Roll” are classic examples of the Blues Explosion’s rock attack. “Down In The Beast” exemplifies Jon’s allegorical storytelling style, finding him literally in the belly of the beast, the swinging rocker recast as an intoxicated Jonah at the bottom of the cold, black sea. “Sweet n Sour” provides a thunderous, menacing opener, “Killer Wolf” is a brooding chain-gang lament, and “Mother Nature” is a heartfelt lullaby. Other tracks, such as the lupine single “She Said,” smolder with a fiery blues/gospel intensity born of personal experience. Special guests Dr John and Funkadelic keyboardist Bernie Worrell contribute to the Big Easy-styled “Hold On” and the funky “Over & Over” respectively, but this is definitely the Blues Explosion’s eclectic floorshow.

Formed in 1991 after the demise of Spencer’s seminal hatefuck band Pussy Galore, the Jon Spencer Blues Explosion has always included drummer Russell Simins and guitar ace Judah Bauer. Taking cues from rock, punk, r&b, garage, hardcore, and hip hop idioms, while transcending the limitations of each, the Blues Explosion created a new sound which they’ve spent six records both honing and redefining. Plastic Fang encompasses everything that’s ever been great about this band, then ups the ante still more: It’s a mindbendingly soulful record by three musicians whose abilities have yet to be fully recognized, as deft and bold and life-affirming as the Meters, the Magic Band, or the Birthday Party.

Xtra-Acme USA September 14, 1999

“It all packs a surreal wallop. It’s the blues in the land of break beat, and it sounds real, real gone.” — Rolling Stone

XTRA ACME USA consists of outtakes and remixes from the most recent BLUES EXPLOSION studio album, Acme. This set of stripped-down funk, blues, and rock ‘n’ roll is more diverse than the tracks chosen for the album, with more excursions into scratches, beats and samples, and featuring a wide array of sidemen and producers.

As you know, THE JON SPENCER BLUES EXPLOSION have been reconstructing rock ‘n’ roll in their image since their inception in 1991. After the demise of his seminal hatefuck band Pussy Galore, Jon hooked up with Honeymoon Killers drummer Russell Simins and guitar ace Judah Bauer. Their cult of transgressive cool grew bigger with each release--Crypt Style (1992), Extra Width (1993), Orange (1994), Experimental Remixes EP (1995), Now I Got Worry (1996), and of course last year’s Acme.

Producers, mixers and remixers on XTRA ACME USA include MOBY, DAVID HOLMES, CALVIN JOHNSON, DANTE ROSS, STEVE ALBINI and THE AUTOMATOR. Sidemen include legendary rhythm-and-blues shouter ANDRE WILLIAMS ("Jailbait", "Greasy Chicken"), Delta fife-and-drum hero OTHAR TURNER, Beastie Boys organist MONEY MARK, Luscious Jackson singer JILL CUNNIFF, and THE LONESOME ORGANIST.

1. Wait a Minute Recorded by Steve Albini. Mixed by Moby. (Clavinet & Saw: Jeremy Jacobson. Percussion & Bass: Moby.)
2. Get Down Lover Recorded by Steve Albini. Mixed with Nick Sansano. (Trumpet: Mark Pender. Saxophone: Jerry Vivino.)
3. Confused Recorded by Steve Albini. Mixed by Jim Dickinson.
4. Magical Colors (31 Flavors) Recorded by Steve Albini. Mixed with Greg Talenfeld. (Piano & Organ: Jeremy Jacobson. Backing Vocals: Talenfeld.)
5. Not Yet Recorded by Suz Dyer. Mixed with Jamey Staub. (Piano: Joey Moskowitz.)
6. Get Old Recorded and Mixed by Calvin Johnson.
7. Bacon Recorded by Suz Dyer. Mixed with Nick Sansano and by Chris Shaw. (Violins: Ralph Farris & Krysztof Witek. Cello: Garo Yellin. String Arrangement: Kurt Hoffman.)
8. Blue Green Olga (Remix) Recorded by Suz Dyer. Remixed by Jim Waters, Scott Benzel, and Jack Dangers. (Backing Vocals: Jill Cunniff. Organ: Joel Diamond.)
9. Heavy (Remix) Recorded by Suz Dyer. Remixed by Dante Ross and John Gamble, the Stimulated Dummies for SD50 inc. Mixed by Syimulated Dummies and Jamey Staub. (Guitar, Piano, Bass: Gabby Abulruch. Backing Vocals: Dexter Conyers, Lee "Scout" Ford, Jerome "Rome" Cohen, and Jason Powell.)
10. Lap Dance (featuring Andre Williams) Recorded by Steve Albini. Mixed with Greg Talenfeld. (Vocals: Andre Williams.)
11. Leave Me Alone So I Can Rock Again Recorded by Steve Albini and Greg Talenfeld. Mixed with Greg Talenfeld. (Harmonica: Talenfeld.)
12. Soul Trance Recorded by Steve Albini, Scott Harding, and Greg Talenfeld. Mixed with Scott Harding. (Human Beatbox: Filet o’ Fresh.)
13. Electricity Recorded by Steve Albini. Mixed with Nick Sansano.
14. New Year Recorded by Steve Albini. Mixed with Greg Talenfeld.
15. Lovin’ Machine (Automator) Recorded by Steve Albini. Mixed with Dan the Automator. (Piano: Greg Foreman.)
16. Chowder Recorded by Suz Dyer. Mixed with Nick Sansano. (Piano: Money Mark.)
17. T.A.T.B. (For the Saints and Sinners Remix) Recorded by Suz Dyer, Calvin Johnson, and Greg Talenfeld. Remixed by David Holmes (with Tim Goldsworthy, Darren Morris and Phil Mossman.)
18. Hell Recorded by Steve Albini. Mixed by Jim Dickinson. (Sitar: Luther Dickinson. Washboard: Cody Dickinson.)
19. Calvin (Zebra Ranch) Recorded by Calvin Johnson. Mixed by Jim Dickinson. (Horn Section: Brass Monkey. Special Guest: Othar Turner.)

Acme October 20, 1998

October 20 sees the release of the latest, the greatest album by NYC’s own Jon Spencer Blues Explosion. Succinctly entitled Acme, this is the record that pulls together the wild and disparate world of the Blues Explosion into a sophisticated new dimension.

Acme was recorded and mixed by a multi-hued assortment of characters at six different studios throughout the early part of 1998, and boasts legendary rapper/rocker Andre Williams as executive producer. The sheer variety of participants shoehorned into its freaky grooves is mindboggling. The opening track "Calvin," for example, was recorded by love-rocker Calvin Johnson in his Dub Narcotic Studio in Olympia, then mixed by Cypress Hill veteran T Ray. On "Blue Green Olga," "Do You Wanna Get Heavy," "Torture," and the first single "Talk About The Blues," the band turned to Dan Nakamura (aka The Automator) for his freestylin’ hip-hop sounds.

Elsewhere, Jim Waters, who worked with the band on previous albums Now I Got Worry and Orange, reappears on "Lovin’ Machine"; Atari Teenage Riot’s Alec Empire joins The Automator for an all-out "Attack"; Big Star/Panther Burns producer Jim Dickinson grooves on "Calvin (outro)"; and good ol’ Shellac/Big Black man Steve Albini is all over "High Gear." Nick Sansano (Sonic Youth, Public Enemy) and Chris Shaw (Butthole Surfers, Weezer) continue the seismic production lineup.

Covering a full range of gospel, country, rock ’n’ roll, hip-hop, blues, and soul influences, Acme’s good times vibe reflects the party atmosphere of its recording. While in the studio with Albini, the band invited a host of friends into the studio with them, including Boss Hog’s Cristina Martinez and Hollis Queens singing backup on "Bernie," Delta 72’s Greg Foreman pimp-slapping the ivories on "Lovin’ Machine," Luscious Jackson’s Jill Cunniff’s vocal (and co-writing credit) on "Blue Green Olga," The Lonesome Organist’s keyboards on "Magical Colors," and Skeleton Key’s Rick Lee supplying shortwave radio noise on "Talk About The Blues."

As for Mr. Andre Williams, he was found playing at a Chicago bar, drinking gin and telling dirty jokes. Immaculately attired at all times, he took serious responsibility for providing entertainment and encouragement in the studio. His spirit and inspiration is palpable on Acme.

The Jon Spencer Blues Explosion have been reconstructing rock ’n’ roll in their image since their inception in 1991. After the demise of his seminal hatefuck band Pussy Galore, Jon hooked up with Honeymoon Killers drummer Russell Simins and guitar ace Judah Bauer. Their cult of transgressive cool grew bigger with each release--Crypt Style (1992), Extra Width (1993), Orange (1994), the Experimental Remixes EP (1995), and Now I Got Worry (1996).

Acme is the Blues Explosion’s fifth and best album, and one of the greatest party albums in ages. Gone are the punk remnants of last year’s Now I Got Worry, replaced by a reinvigorated sound which harks back to Orange, but is also one of the most modern-sounding records you’ll hear all year. This band is as bad-ass, sexy, and righteous as any band in the history of rock music. If you don’t already have a really cool record collection at home, you could always start by buying this and work backwards.

Now I Got Worry October 15, 1996

Dog shit. That’s what so-called blues bands lack. Honky motherfuckers lock themselves in dorm rooms and while away the hours pretending to be savage Robert Johnson, rehearsing licks ’til they sound like everyone else. Artists that distinguish themselves from the masses remember that Robert Johnson ended his life in a godforsaken country bar, crawling on all fours and barking like a dog, a dog that sounded like no other. And while that knowledge may sharpen a blues blade, only THE JON SPENCER BLUES EXPLOSION remembers the dog shit. Robert Johnson, exponent of the devil, howling like a bitch in heat. THE JON SPENCER BLUES EXPLOSION cannot be curbed.

Kindly note: this new recording features Rufus Thomas, whose "Bear Cat" was the first hit on Sun Records, the first rock and roll record label; whose "Cause I Love You" was the first hit on Stax Records; whose "Walking The Dog" and "Funky Chicken" initiated teen dance crazes that inspired the Rolling Stones and are here blended with fresh New York dog shit to create the all new and all inspired musical selection "Chicken Dog."

Kindly note: this new recording features "R.L. Got Soul," a tribute to R.L. Burnside, a Holly Springs, Mississippi blues man who has several times toured the U.S. with THE JON SPENCER BLUES EXPLOSION and taught the band a thing or two; who has wallowed in dog shit all his life; who has recorded five albums for various labels around the world, the latest of which, A Ass Pocket O’ Whiskey, is a rumble between his bassless trio and the bassless trio of THE JON SPENCER BLUES EXPLOSION.

Kindly note: this album features the keyboard dog farting of Msr. "Money" Mark Ramos-Nishita; who is the Beastie Boys’ Billy Preston; whose piano work can be heard on "Can’t Stop;" whose clavinet can be heard on "Chicken Dog;" and who plays organ on "Firefly Child."

Kindly note: this album features Doo Rag’s Thermos Malling, whose dessert percussion adds coyote piss to "Sticky" and "2 Kindsa Love."

Dog shit. Wallow proud.

Robert Gordon
author, It Came From Memphis

Experiemental Remixes May 23, 1995

Reshuffling of hits from Orange by:

U.N.K.L.E. -- "Bellbottoms"
Mike D. and Beck -- "Flavor" Pts. 1 & 2
Dub Narcotic Sound System -- "Soul Typecast"
Moby -- "Greyhound" Pt. 1
Genius from Wu-Tang Clan -- "Greyhound" Pt. 2

Everyone who thought that the Blues Explosion had nothing to do with hiphop wasn’t reading their Simon Frith closely enough... the pounding, glorious groove issuing from this matte little package takes the sweat-trance of Blues Explosion to a high, different level. Catch up on the remixes, review the history, new developments coming in daily.

Orange October 11, 1994

Jon Spencer is a rarity among blues shouters I have known in that he was born above the Mason-Dixon line. There is a Yankee ingenuity and simplicity in his approach to the blues that belies the complexity of his range of emotions. His songs, according to my friend, the eminent blues scholar L. Haddad (who has made a study of them), usually begin with a simple, emphatic statement of dynamic tension (e.g. "Bellbottoms!"). This statement is repeated several times, with Spencer eking every bit of emotion from it as he and the band build the musical riff into a pulsating frenzy that demands release. Finally Spencer elucidates the resolution ("Blues Explosion!"), the band charges into the tonic, and another cycle is begun. This dichotomy of tension-resolution builds and builds until by song’s end one is delirious, catatonic, or both. It should come as no surprise that the resolution so often includes the exhortation "Blues Explosion!" because Spencer’s explosion of blues is truly the only solution to the musical conundrums he postulates. Like so many of the blues greats that preceded him, Spencer is able to work this basic formula without ever appearing formulaic. That, I believe, is the greatest test of any blues.

On their latest release, Orange, the Blues Explosion open with a nod to a more plush, Stax feel for the blues with the aid of a full string section! Other unusual touches include the use of "scratching" and a guest appearance by media sensation and blues aficionado Beck. Despite these unconventional elements, the disc is solidly grounded in the blues and can definitely be seen as the Blues Explosion’s statement about the blues today. Other reviewers have dwelt on the diverse components of Spencer’s sound, and in truth, the rockabilly and soul influences are there to be enjoyed; however, it is obvious to me that first and foremost the Blues Explosion are a blues band as their name attests. In the little over three years since their nascence, they have leapt to the forefront of the modern blues revival. Along with their contemporaries the `68 Comeback, Workdogs, Bassholes, Railroad Jerk, etc., the Blues Explosion have found a new twist for an old form -- a method for transporting into the next century this quintessential music of American poverty. Few have been as blessed as I to have worked at one time or another with most of these bands, and to have witnessed them, Spencer in particular, perform an amazing magic. With the use of whiskey and a handful of broken-down amps they have conjured up the spirit of Howlin’ Wolf, Hound Dog Taylor and all the others and sent them careening into the future while somehow preserving the very essence of blues passed. This necromancy is not without its price: I witnessed the Blues Explosion break up three times during the recording of this disc.

Such internal pressures are not rare on the scene, with its grind of constant touring (the Blues Explosion are on the road three hundred days a year!). Add in the pressures of money, love and substance abuse problems and such break-ups are inevitable. One can only be elated -- as I am -- that the lads were able to put aside these petty concerns, to combine their particular chemistry, add in a full measure of the blues and explode!

Yves Bisquet
NYC, July 1994

The Blues Explosion:

Jon Spencer - vocals, guitar, theremin
Russell Simins - drums
Judah Bauer - guitars, vocals

Extra Width May 24, 1993

Formed in 1990, the New York-based Blues Explosion are led by Jon Spencer, the founding guitarist/vocalist for Pussy Galore, the group whose five year reign of confusion served to excite and/or offense most of the underground rock scene. Joined by former Honeymoon Killers drummer Russell Simins and guitar ace Judah Bauer, the Blues Explosion are an economical, yet strangely charismatic antidote to the bloated "expression" that passes for high n-r-g music today. While the twin-guitar/drums/no bass lineup has been attempted before (most notably in the Beatles after Paul broke his neck in the motorcycle accident), the call-and-response six-string effect only makes sense if one guy’s response is something other than "what? I can’t hear you." Flash musicianship, false starts, false endings, false middles too, the Jon Spencer Blues Explosion’s rich musical mosaic ties rock, punk, garage, hardcore and r&b idioms together in a way that celebrates the power of each, while transcending the limitations of the lot. As a matter of fact, categorization is such an evil, fascist thing, we’re busy organizing protest marches and die-ins in anticipation of the critics getting it wrong. While we do think there are a few other groups on Earth nearly this innovative, they all record for other record labels, so fuck ’em.