Sam Quartin (vocals, guitar), Kendall Wind (bass), Macky Bowman (drums), and Nick Casa (guitar) kick up quite a rollicking ruckus on Skin Suit which is filled with energetic, gritty, passionate, and rhythmically antic tracks. One such number is the jaggedly lurching and way-too-brief “Move.”
Broadcast on 29 October 1996
Presented by Toby Amies
Produced by Katelijne De Backer
Assisted by Nick Hutchings
Directed by Nick Wickham
Fuck Shit Up
Love All of Me (False Start)
Love All of Me
[Band Introductions / Instrumental Interlude]
Get With It
Vacuum of Loneliness
01. Sugar – Gift
02. Superchunk – The First Part
03. Sebadoh – Beauty Of The Ride
04. Shudder To Think – X-French Tee Shirt
05. Lotion – She Is Weird City
06. Girls Against Boys – Don’t Got A Place
07. Pond – Young Splendor
08. Madder Rose – Car Song
09. Built To Spill – Car
10. Robert Pollard – Psychic Pilot Clocks Out
11. Sunny Day Real Estate – 8
12. The Jon Spencer Blues Explosion – Bellbottoms
13. The Grifters – Last Man Alive
14. The Jesus Lizard – Fly On The Wall
15. Red Red Meat – Chain Chain Chain
“Meanwhile, our rifftastic covermount CD gathers the best mid-’90s US alt-rock from Sebadoh, Sugar, Superchunk, Jon Spencer Blues Explosion and more. Inside the issue: Jon Savage relives 1970 – rock’s first watershed year; Art Garfunkel waxes strange; Jarvis Cocker strikes back; Margo Price marches on. Plus: how ‘The Ox’ was felled; the new Pearl Jam album; The Jesus & Mary Chain map their Darklands; The Black Crowes bury the hatchet; The Psychedelic Furs’ Richard Butler ’fesses up; Andrew Weatherall, Ivan Kral, Andy Gill, Joseph Shabalala and David Roback are remembered. And: The rise, and fall, of The Wobbles!”
It takes a lot of balls to try and pull off a Bo Diddley cover. So it seems pretty apt that the female-fronted garage punk band The Bobby Lees not only attempt it, but do so with amazing results.
“I’ve heard people say ‘you can’t cover Bo Diddley, you just can’t’ so I thought fuck it, let’s try,” said frontwoman Sam Quartin. “We had a lot of fun recording ‘I’m a Man.’ As far as the gender thing, when doing PR for this record, I’ve been asked what I want to be called.
“When I look at anyone else or myself, all I see is energy trapped inside a bag of flesh, so you can call me whatever you’d like! And sorry Bo Diddley, we failed but we love you.” – blurtonline.com
“With its angular guitar riffs and vocals that build from muffled to manic, the track feels like a dream tumbling into a nightmare. Quartin starts off mumbling vocals over guitar distortion. Halfway through, the song turns even darker, and Quartin starts bellowing over epic guitar shreds and trembling backing vocals…
…The Bobby Lees Are The Giant Green Cyclops of Rock ‘n’ Roll.” – BTRtoday
“When you can claim that your album was produced by Jon Spencer, you’re going to get my attention. The latest single from Woodstock, NY’s The Bobby Lees definitely has some serious Jon Spencer vibes to it, but The Bobby Lees have their own sound. “Coin” is dirty blues punk that is dripping with attitude. It brings this intensity that is missing in a lot of music today, but it also has this slinky groove throughout. At times it can’t quite tell if it’s a punk song, a more traditional blues jam, or noise rock, and that just might be the brilliance of The Bobby Lees.” – If It’s Too Loud
“Their raw and unapologetic energy promises to make you feel alive.” Listen to them and see for yourself.” – Audiotex UK
“We have seen the future of rock and it begins anew with The Bobby Lees…
…The band’s delivery is visceral in every aspect of the word and the young bone-shaking Garage Rock band hails out of Woodstock, NY.” – Ghettoblaster Magazine
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#4: “The blues is number one!” – Jon Spencer destroys the Recovery set
The much-missed tonic for Saturday morning hangovers, Recovery added an extra element of risk in that musical performances were genuinely live, rather than mimed. Like Countdown, though, it was recorded early in the morning – a challenging time slot for any band, let alone a high-energy act like the Jon Spencer Blues Explosion, who – in September 1997 – were themselves recovering from a show the night before, at the end of a long tour.
From the depths of exhaustion, Spencer went berserk: mics were thrown, props torn down, cameramen shoved aside, and host Dylan Lewis sat upon, before the singer waded into the audience as bandmates Judah Bauer and Russell Simins maintained maximum rock’n’roll behind him.
If excitement was the sole criteria, the JSBX’s performance would top this list, as Spencer channelled the spirit of Little Richard and the young Elvis.
“The surprise opener for night 8 was Jon Spencer and his non-Blues Explosion solo project, The HITmakers, whose lineup includes Sam Coomes (Quasi), Bob Bert (Sonic Youth) and M. Sord. They played a quick-n-dirty set accented by crunchy riffs, howls and yelps, with Bert literally banging on trash cans with hammers.”
“The Bobby Lees are a young bone-shaking Garage Rock band out of Woodstock NY. Their new record “Skin Suit” is produced by underground punk legend Jon Spencer of the Blues Explosion, and mixes classic garage-punk hits with raw and emotive storytelling.
In the past year they’ve played with The Chats, Future Islands, Boss Hog, Daddy Long Legs, Shannon & The Clams and Murphy’s Law. They will be on tour in the US and Europe throughout 2020.
“The Bobby Lees Are The Giant Green Cyclops of Rock ‘n’ Roll.” – BTRtoday”
“Quien sabe cuántas personas he conocido a lo largo de mi vida que han pedido y pedido a promotores que viniera Jon Spencer y fue Georgetown Records quien nos hizo el milagro de traer a uno de los mejores frontmen de todos los tiempos en un formato inmejorable: celebrando tres décadas de carrera y su primer LP solista, Jon Spencer tocando en una sola noche temas de todos sus proyectos: Blues Explosion, Heavy Trash y Pussy Galore, en compañía de Sam Coomes de Quasi (y alguna vez miembro de la banda de Elliot Smith), el percusionista M. Sord de No Monster Club, y la leyenda viviente del Noise, Bob Bert, baterista original de Sonic Youth, Lydia Lunch y los mismos Pussy Galore ¡Imperdible!”