| JON SPENCER BLUES EXPLOSION / PUSSY GALORE
- RECORD COLLECTOR (PRESS, UK) |
|
DATE: APRIL.2000 |
LABEL: Parker Mead Limited | CAT. NO.: No. 248 |
|
|
ARTICLE TEXT: |
The Jon Spencer
Blues Explosion
The Underground Legend Relives His Career
by Jack Kennedy
|
The Jon Spencer Blues Explosion make music that is unhindered by boundaries. Recently
they have flirted with hip-hop, rockabilly and even a barbershop quartet to achieve
their unique sound. Always at the core is Spencer's love of blues and rock'n'roll,
which manifests itself most obviously when the band plays live. Here they are a
raucous, stop-start, almost punk threesome - as exhilarating as they are innovative.
The Blues Explosion's most recent album "Acme" finally saw an open acknowledgement
of funk and hip-hop's influence, a development that had been on the cards for some
time. Indeed, when Spencer enlisted the help of Judah Bauer and tub-thumper Russell
Simins
(formerly of the Honeymoon Killers) in New York in 1989, he had already sampled
Public Enemy with his previous hardcore outfit Pussy Galore.
A smorgasbord of producers and mixers helped with "Acme",
including Dr Octagon producer/artist
the Automator (aka Dan Nakamura). Also at the helm was the legendary Big Black leader
and one-time Nirvana producer Steve Albini, Dub Narcotic Sound System's Calvin Johnson.,
Cypress Hill's T. Ray, Sonic Youth and Public Enemy's Nick Sansano. If the phrase
"too many cooks" springs to mind, then perhaps it's worth looking back over the
band's career to understand fully how such a glorious amalgamation came to be...
PRIMAL
When the Blues Explosion began recording their sound was mildly reminiscent of Spencer's
previous band
Pussy Galore, with a primal 50s rock'n'roll slant, as their privately-pressed
debut "A Reverse Willie Horton" (later
reissued as the "Crypt Style" import and "The Jon Spencer Blues Explosion") reveals. There were songs about women and clothes
and, rather oddly, cheese. Spencer sang with the intonation of a sleazy blues singer,
fused with the raw energy of punk, while the band were an unusual combination of
two guitars, drums and no bass. Numbers regularly clocked in under two minutes,
and made more sense the louder they were played.
The follow up, "Extra Width", revealed more about the band's diverse influences.
Insistent and heavy, yet soulful and bluesy at the same time, the album touched
on many areas of American music. The band had developed into a disparate showcase
for savage catchy guitar riffs, pounding beats and wonderful female backing singers.
It became clear at this point that the
Jon Spencer Blues Explosion had its sights
set on something
higher than just ordinary rock music.
With 1994's "Orange",
the Blues Explosion shot out of cult rock status and into
the major league. From the opening track, the single "Bellbottoms",
the album yelled
sophistication and ingenuity. It boasted a unique sound, which still acknowledged
earlier influences, but embraced more besides. Strings were used for the first time,
to stunning effect, and there was even a guest rant from current boy wonder
Beck (a favour Spencer returned on the bonus track "Disko Box" on Beck's "Odelay" album).
The use of the vintage electronic instrument, the theremin, came to the fore in
live performances, which Spencer often played at the same time as his guitar. Its
spooky feedback-like sound complimented the power of the threesome handsomely. As
their sound blossoms and more techniques are used to create their records (sampling,
gospel sings, etc) the absence of bass becomes even more insignificant.
'96's "Now I Got Worry" was
The Blues Explosion's return to its rock'n'roll infancy.
It's less of a party album than it's predecessor, with the highlights somehow more
muso than "Orange". Bluesman R.L. Burnside and hip-hop hero Money Mark guest and
the overall mood is something more akin to "Crypt
Style". The weirdest moment, perhaps
of the band's whole career, has to be the cover of Dub Narcotic's "Fuck Shit Up"
which is a sonic blitz of almost unlistenable proportions. Also released at this
time was he promotional album "Controversial Negro",
which features the band performing
at a hotel in Tucson. Showcasing a set comprising songs from every stage of their
career, Simins is on top form, pounding the skins and keeping the whole group tight
as ever, with Bauer and Spencer clearly revelling in what must have been intimate
surroundings.
Which brings us to the live studio techniques of Steve Albini, evident on much of
1998's "Acme". The album captures the sound of a band taking musical genres in their
stride. Opener "Calvin"
sees the hip-hop that was long on the back burner come firmly
to the forefront, and "(Do You Wanna Get) Heavy" has the feel of a barbershop quartet!
Then there's the more traditional Spencer tunes - "High Gear" has more than its
fair share of adrenaline, with its lyrics (in a way only Spencer could manage) revolving
around road-kill and Christmas!
ORANGE
Spencer's packaging too was given a new lease of life. Gone were the grainy photos
of Pussy Galore days, replaced by slick computer graphics that nod more towards
Radiohead that Jon's brand of Rock'n'roll. The recent "Acme Plus" CD was presented
in a sealed rubber sleeve with a see-through window in the shape of the word "Acme".
The "Orange" album had a metallic silver sleeve, while "Now I Got Worry" featured
an elaborate logo more befitting of a stained glass window. The orange theme continues
on the most recent releases, with all the singles from "Acme"
daubed heavily in
the brightest tangerine. As Spencer admits, he has always overseen the design of
the records personally, even if he is not physically producing the art as he did
with Pussy Galore.
Spencer himself is an easy person to talk to, reminiscent of Elvis with his intonation
of "Thankyouverymuch". But there's always the possibility that he could blow his
top and yell like a man possessed, in keeping with the dynamic of the Blues Explosion's
live shows. Clearly, he has toned down his treatment of interviewers from the days
of Pussy Galore, when he often gave only monosyllabic answers, but there's still
the feeling that he's two steps ahead of the conversation...
What's the biggest mistake people make about
the Blues Explosion? Is it that you're
a blues band?
I think people get confused by the word 'blues' in the name of the band. I intended
the name to be something flippant or crude - a crazy name for a band y'know, and
like I said, some people get tripped up by the word blues, and others get confused
by the different influences in the music. The old music particularly, like blues,
rockabilly, country, rhythm and blues or soul music. Everybody in the Blues Explosion
listens to a lot of music. That comes through in what we write.
So is there any type of music you can't stand?
I guess what they call smooth jazz, things like Kenny G, easy listening kinda stuff.
I don't much care for that.
NO ACCIDENT
How important is a producer to you?
I think we only really started using outside producers, I think it was with "Acme",
I used to just do it myself. We sorta wanted to do it before with the "Experimental Remixes" record.
Do you still appreciate the different musical approaches that people like the Automator
bring to your music?
It wasn't an accident that we worked with Automator, we're fans of his, and we're
fans of the Dr. Octagon record, but I think the influence has always been there.
It may have not always been so obvious as far as the production was concerned, but
the music and what I'm saying and how I'm saying it has always had a strong influence
from hip-hop. Even in '95 we did that "Experimental Remix"
record, that was a pretty hip-hop thing. But even before
Blues Explosion, with Pussy Galore, it was always
an influence.
What else has influenced you?
Well, we gotta go way back to, like, '85, when I started with
Pussy Galore. At that
time - the mid-80s, I think, I was into indie rock. the independent scene. There
were definitely labels I was into, like Touch & Go, Homestead.
Did you collect them?
I don't think there's ever been something I've bought, just because it was on a
label. If I like the music then I buy it. I never went in for getting everything.
Although, y'know, Sub Pop had some good stuff, and what's that other one... Amphetamine
Reptile. Definitely labels that I liked a lot.
What's the underground music scene like in America at the moment?
It's definitely changed from the scene 15 years ago. Back in the day I definitely
felt part of something close to a scene, but I don't really now.
That sounds sad.
It's a little sad, but I think it's due to a lot of things. Different kindsa music
are being made now, that whole structure doesn't exist anymore because of, you know,
the success of Nirvana and everything. I'm older now - the kinda music I listen
to has changed. Most of what I listen to is old music. But there are still bands
around today that I like.
Like what? Do you listen to anything from England?
No, I make it a rule not to. Come on, if it's good it's good. Doesn't matter if
it's from England or Germany or Australia. I'll tell you what I've bought recently.
Or I could just look at it and you can guess what it is!
Get on with it...
Okay...I bought a collection of Everly Brothers from when they were on Warner Brothers
which was '69.
Is it their harmonies that appeal to you?
They sure do sing pretty, don't they? But I like the music too, of course. Speedy
West and Jimmy Bryant, kinda like western swing, instrumental music. What else...
Handsome Boy Modelling School - produced by Automator. I also got a compilation
of stuff by the Creation, a 60s English band. A collection of stuff from Mickie
and Sylvia, some Link Wray. The Make Up.
They always seem to get compared to you over here.
That's kinda old. I got some Kool Keith, Jurassic 5, Jim Morrison, Robert Ward,
Buddy Holly, Daisy Payton. A mix of old and new stuff, you know. There's a few people
from England in there. As far as the Make Up thing goes, that whole comparison,
that was like four or five years ago (seems genuinely perturbed) when they first
came out, everyone was saying that. I don't really care, you can say what you like.
To me they sound like a psychedelic group. They sound like Love.
Their earlier stuff was more like yours.
Well what can I say. They have good taste. I like their latest record.
It's hard to imagine you in a studio.
With the Blues Explosion?
Yeah.
Why?
Well, seeing you love, and then trying to imagine that condensed into the studio,
it's hard.
Oh...well, when we're making a record we start out playing live, but it's a different
thing. We do play live but we calm down. We concentrate on different things.
How did you learn to play the theremin?
I'm still trying to learn. It is a very hard instrument to play. It's the same as
anything. I just took
a stab at it. I think that if you wanna try it, go ahead and
try it. If you've got something in you, some sort of soul or music, then it'll get
out.
What about scratching?
I can't scratch, we get friends in. On "Acme",
most of the scratching was done by
Dan The Automator. we kinda had to twist his arm, he was bashful about it.
Does he ever play live with you?
We did one show in San Francisco about a year ago and Dan came up and got behind
the turntables, we don't normally have them on stage. Dan got up and did a five
or six song encore with us. We did all the songs that he worked on with us. He had
a sampler as well. He brought one record, a Frank Stallone record, and that was
the only thing he used. That was pretty impressive. So we only did it once and it
was a lot of fun.
You're currently a member of you wife's band,
Boss Hog, What's the difference between being in
JSBE and Boss Hog?
It's different roles. I guess the main difference is the people in the group. The Blues Explosion is my band, and I'm kinda leading the way. We are writing music
together, and it's the same thing with Boss Hog. Just a bunch of people writing
music together. So I guess the biggest difference is the people in the band.
What if you come up with a really good riff, how do you decide which band to put
it in?
A lot of people ask this question. It doesn't happen like that. Like I said, the
bands write together. I prefer to write with other people. We jam, it's not like
I sit at home scratching my head trying to bang something out. I like to write with
people, I think that's what I like most about music, it's making something with
other people. Especially when you play live, you get a whole lot more people. Creating
something and doing something and feeling something with a group, with other people.
Is that how it works when you collaborate with other artists?
It depends. As far as a musician or somebody adding something in the studio...it's
usually something that a lot of times will happen one of two ways. Either I get
an idea and think like "Oh, I can really hear this clarinet part" in a song if I
can't really play it - or a string section - I couldn't pull that off. If I can
fake it I'll just do it myself, 'cos I can hear a part in my head. But if I can't
get that out then we'll look around and try and find somebody, call somebody up
or hire somebody to play it.
A real sharing experience?
Yes, but it's not quite the same as writing with Judah and Russell, or as playing
a concert with them. I think hiring somebody to come in or having a guest do something
is not quite the same.
What do you think you added to "Exile On Main
Street" when you covered it with Pussy Galore?
Many layers of dirt and a lot of bad attitude. I don't know. I think it was an interesting
thing. It was a pretty fucked up thing. There are good parts. It's an interesting
document.
Do you like the Stones?
Yeah, at the time though I'd never listened to "Exile..."
and when Pussy Galore
did that project, one guy, Neil Haggerty, it was his job, because he's a very talented
person, he listened to that record and deciphered each song, he went through them
one by one and taught it to the rest of the band.
Do you have a picture of the sort of audience that you have?
I think I'm just thinking about myself. I'm making a record that I would enjoy.
That we would enjoy. I think people sit around and try and second-guess an audience.
Maybe some people can do that, but I think in most cases it doesn't make for very
good music. (yells) That's not wheat I'm interested in!
But you modelled in a Calvin Klein advert, didn't you?
They asked me and they offered me...
Free clothes?
No. Something better than that. Cash money.
Cash rules everything around you?
Well, you know... it does help with a lotta things.
What do you hate your music being compared to?
I can't stand it when people talk about the Make Up.
Shut up!
I think the thing that hurts the most is when critics try and read too much into
it. Not so much comparisons. They try and over intellectualise it, pulling something
out of the music that I really don't think needs to be done. Or there are people
that, err...I lost my train of thought.
Let's talk about noise then.
Let's talk about noise.
You didn't think "Afro" was loud enough, did you?
Then I remastered it.
Is noise important then, or volume or whatever?
Oh yeah. Mastering is important. I want my records to sound as loud as they can
be. I spend a lotta time and a lotta money on mastering, and I spend a lotta time
in the studio trying to get things to sound a certain way when I'm mixing. People
may listen to a record like "Now I Got Worry or
"Orange" and think that it's just
lo-fi and strange, but it's not like that. Lo-fi means that something's kind of
accidental you know, and there was a lot of time and care put into those records
to make them sound the way they do, and it was done deliberately.
Your records look fantastic too.
Oh thank you very much!
Do you still have a big say in that?
If I don't do it myself I get somebody else to do it. I think I've done everything
apart from the last album.
Is it important to you?
Yeah. It's like when I say about feeling good when you get something new, I think
that's part of it, the way the thing looks.
It sound like you're a control freak.
(firmly) Yes.
Does that make it hard for you to let people remix your work?
Not at all.
Who would you like to remix you that hasn't?
Let me think. We tried very hard to get Portishead to do something. The Bomb Squad
and people affiliated with the Public Enemy production team, a lot of kinda older
New York City DJs like Red Alert, Chuck Chillout, the Dust Brothers - the ones from
California, the Chemical Brothers - the ones from London, Rick Rubin...who else?
Flood, he's an English producer. They're people that we have approached to do mixes
in the past that influence us.
You worked with Dub Narcotic Sound System didn't you?
Yeah, on the "Experimental Remix" record in '95. They did a mix of Soul Typecast
for us, and then we did a whole album at their studio, that came out this fall,
and yes, it is on K records (see K records video reviews elsewhere in this issue).
I guess it's kind of underground and garagey.
Is the Blues Explosion the best band you've ever been in?
Yeah, I think it is. That's a nice thing to say.
But when you're in two bands, you don't want to start a war or anything?
No, and I'm not dead yet, either.
Jon Spencer Blues Explosion
Discography
UK Singles & EPs |
|
Cat. No. |
Title |
Current
Mint Value |
|
Matador OLE 077 7 |
Afro / Relax-Her (7", p/s, some in white vinyl,
7/94) |
£7 |
|
Matador OLE 111 7 |
Bellbottoms / Miss Elaine (7", p/s, white vinyl, 2/95) |
£10 |
|
Matador OLE 111 1 |
Experimental Remixes: Bellbottoms (Old Rascal Mix) / Flavor (Part 1) / Flavor (Part
2) (Beck & Mike D remixes) (12", p/s, 5/95) |
£6 |
|
Matador OLE 111 2 |
Experimental Remixes: Bellbottoms (Old Rascal Mix) / Flavor
(Part 1) / Flavor (Part 2) / Soul Typecast / Greyhound (Part 1) / Greyhound (Part
2) (CD, 6/95) |
£6 |
|
Matador OLE 227 |
2 Kindsa Love / Fish Sauce / Cool Vee (CD, 10/96) |
£4 |
|
In The Red ITR 042 |
Get With It / Down Low (7" with jukebox insert, 11/96) |
£5 |
|
Matador OLE 262 |
Rocketship (CD, EP, unreleased, 1997) |
£20 |
|
Mute MUTE 202 |
2 Kindsa Love / Let's Smurf (7", p/s, 10/96) |
£4 |
|
Mute CDMUTE 202 |
2 Kindsa Love / Fish Sauce / Cool Vee (CD, 10/96) |
£5 |
|
Mute MUTE 204 |
Wail (Video Mix) / Judah Love Theme / Radio Spot
(7", p/s, 1/97) |
£3 |
|
Mute LMUTE 204 |
Wail (Mario Mix) / Flavor (live) (7", p/s, grey vinyl, 1/97) |
£4 |
|
Mute CDMUTE 204 |
Wail (Video Mix) / Yellow Eyes / Buscemi / Turn Up Greene
(CD, B-side features Money
Mark, 1/97) |
£4 |
|
Mute MUTE 222 |
Magical Colours / Confused (7", p/s, yellow vinyl,
11/98) |
£4 |
|
Mute CDMUTE 222 |
Magical Colours / Bacon / Get Down Lover (CD, 11/98) |
£4 |
|
Mute MUTE 226 |
Talk About The Blues / Wait A Minute (7", p/s, orange vinyl, 3/99) |
£3 |
|
Mute 12MUTE 226 |
Talk About The Blues (For The Saints And Sinners Remix)
/ Lovin' Machine (Automator) / Calvin (Zebra Ranch) (12", stickered sleeve, heavy vinyl, 3/99) |
£4 |
|
Mute CDMUTE 226 |
Talk About The Blues / Lovin' Machine (Automator) / Calvin (Zebra Ranch) / Talk
About The Blues (For The Saints And Sinners Remix) / (Video)
(CD, sealed with sticker
sheet, 3/99) |
£4 |
|
Slut Smalls SMALL 004 |
New Year (Destroyer) / Barry Adamson: The Crime Scene
(split 7", p/s, 2,000 only,
6/99) |
£6 |
|
Mute MUTE 239 |
Heavy (Radio Mix Edit) / Give Ya Some Hell (7",
p/s, orange vinyl, 8/99) |
£3 |
|
Mute 12MUTE 239 |
Heavy (Radio Remix Edit) / 2 Kindsa Love (Duck Rock 105.9 Remix) / Attack (Detroit)
/ Do You Wanna Get Heavy? (Duck Rock Hip'n'Bass remix)
(12", stickered sleeve, heavy vinyl, 8/99) |
£4 |
|
Mute CDMUTE 239 |
Heavy (Radio Remix Edit) / 2 Kindsa Love (Duck Rock 105.9 Remix) / Blues Power /
Do You Wanna Get Heavy? (Duck Rock Hip'n' Bass Remix) / Attack (Detroit) (CD, 8/99) |
£4 |
|
Mute JSBX 4 |
Bacon (Radio Edit) / Not yet (Sci-Fi Mix) / Bacon (Dub) / Not Yet (Splatter Mix)
(12", mail-order only, 3/00) |
£4 |
|
|
|
|
|
UK ALBUMS |
|
Matador OLE 052 1 |
Extra Width (LP, 5/93, also on
cassette) |
£8 |
|
Matador OLE 052 2 |
Extra Width (CD, 5/93) |
£12 |
|
Hut HUTLP 3 |
The Jon Spencer Blues Explosion (LP, same as US PORK 01,
12/93) |
£8 |
|
Hut HUTCD 3 |
The Jon Spencer Blues Explosion (CD, 12/93) |
£10 |
|
Matador OLE 105 |
Orange (LP, silver sleeve, 10/94) |
£15 |
|
Marador OLE 105 |
Orange (LP, silver glitter vinyl, many are warped, 10/94) |
£20 |
|
Matador OLE 105 CD |
Orange (CD, silver sleeve, 10/94) |
£12 |
|
Mute STUMM 132 |
Now I Got Worry (LP, 9/96) |
£12 |
|
Mute CDStumm 132 |
Now I Got Worry (CD, 9/96) |
£15 |
|
Mute Stumm 154 |
Acme (LP, 10/98) |
£10 |
|
Mute CDStumm 154 |
Acme (CD, 10/98) |
£10 |
|
Mute Stumm 184 |
Acme Plus (LP, 9/99) |
£10 |
|
Mute CDStumm 184 |
Acme Plus (CD, 9/99) |
£10 |
|
Mute JSBX 1
|
Extra Width / Mo' Width (2-LP, reissue, 3/00) |
£15 |
|
Mute JSBX 1 CD |
Extra Width / Mo' Width (CD, reissue, 3/00) |
£15 |
|
Mute JSBX 2 |
Orange (reissue, 3/00) |
£10 |
|
Mute JSBX 2 CD |
Orange (reissue with multimedia videos for "Bellbottoms", "Dang" and "Flavor", 3/00) |
£10 |
|
Mute JSBX 3 |
Experimental Remixes (2-LP, includes "Tour Diary", "Implosion", "Explo [Plunderphonic
Remix]" and "Blues "XXX" Man [Prince Paul Remix]" 3/00) |
£15 |
|
Mute JSBX 3 CD |
Experimental Remixes (CD, includes "Tour Diary", "Implosion", "Explo [Plunderphonic
Remix]" and "Blues "XXX" Man [Prince Paul Remix]" 3/00) |
£10 |
|
|
|
|
|
SELECTED OVERSEAS SINGLES & EPs |
|
In The Red ITR 007 |
Shirt Jac / Latch-On (US 7", p/s, with jukebox insert,
10/91) |
£15 |
|
In The Red ITR 011 |
Son of Sam / Bent (US 7", p/s, with jukebox insert, 1/92) |
£12 |
|
In The Red ITR 019 |
Train No. 3 / Train No. 1 (US 7", p/s with jukebox insert, 3/92) |
£8 |
|
Clawfist 13 |
History of Sex / Write A Song / Smoke Cigarettes
(US mail order 7", p/s, 1,400 only, 6/92) |
£25 |
|
Sub Pop SP 180 |
Big Yule Log Boogie / My Christmas Wish
(US 7", 2,500, p/s, green vinyl, 11/92) |
£30 |
|
Au-Go-Go ANDA 231 |
Rocketship / Chocolate Joe (Australian 7", p/s, 4/98) |
£6 |
|
Au-Go-Go ANDA 231 CD |
Rocketship / Down Low / Dynamite Lover / Flavor / Full Grown (Australian CD, 4/98) |
£9 |
|
Au-Go-Go ANDA 251 |
Calvin / Wait A Minute / Get Down Lover / Confused
(Australian CD, 4/99) |
£5 |
|
Au-Go-Go ANDA 251 CD |
Calvin / Wait A Minute / Get Down Lover / Confused
(Australian CD, 4/99) |
£6 |
|
|
|
|
|
SELECTED OVERSEAS ALBUMS |
|
Pubic Popcam Productions PORK 01 |
A Reverse Willie Horton (US LP, privately pressed, same track
listing as eponymous release on Caroline, stickered sleeve, 500 only
2/92) |
£70 |
|
Crypt EFA115022 |
Crypt Style (US CD, includes all tracks from "A Reverse Willie
Horton", plus additional tracks, 4/92) |
£15 |
|
1+2 1+2 CD 024 |
Crypt Style (Japanese CD, 5/92) |
£15 |
|
Au-Go-Go ANDA 166 CD |
Mo' Width (Australian LP,
7/93) |
£20 |
|
Caroline CAROLCD1719 |
Jon Spencer Blues Explosion (US CD,
reissue of Pubic Popcam LP, 1/97) |
£12 |
|
Matador OLE 376 |
Xtra Acme USA (US 2-LP, 9/99) |
£15 |
|
|
|
|
|
IMPORTANT UK PROMOS |
| | |