Jon Spencer Blues Explosion Albums (6)
What The Critics Say
The Jon Spencer Blues Explosion's funky wild blues on critical albums like Orange and Now I Got Worry defined the band as being in a league of its own. With an intoxicating and sexy vocal growl, Spencer united with bassist Judah Bauer and drummer Russell Simins to define raw rock & roll outside of grunge, post-grunge, and modern rock throughout the 1990s. The bamboozled electronica mold of 1998's Acme album was sophisticatedly different, but the grit found in the band's previous work was a bit lax. The band might have known it as well; however, a change in direction was happening. The Jon Spencer Blues Explosion's eighth record, Plastic Fang, doesn't overlook anything this time, for the album exudes a new power. Spencer and his mates sought the expertise and slick work of musician/producer Steve Jordan, who brought brashness back to the front on Plastic Fang. "Sweet n Sour" flourishes with a huge guitar blast, and Spencer's tangy cool vocal howl has never sounded better. "She Said" is comprised of typical swagger, but it's the Rolling Stones-like romp of "Mean Heart" that's truly killer. It's Spencer's best take on a ballad, too, and it's bittersweet, but he's not totally hung up on love. The explosive wail of "Down in the Beast" definitely says so and the chug-chug-chugga rawk of "Money Rock 'n' Roll" rollicks even harder. As a songwriter, Spencer is impressive, and the Blues Explosion's collaboration with Dr. John and Bernie Worrell on the seductive, bluesy, and brooding "Hold On" suggests that Plastic Fang isn't exactly focused on one particular sound. It's simple, and the depth behind the band's musicianship has expanded into something fiery once more. With Jordan's assistance, Plastic Fang sounds live and abrasive, and it's infectiously undeniable. ~ MacKenzie Wilson, All Music Guide
What The Critics Say
Part of the reason the Jon Spencer Blues Explosion is so distasteful to the legions of blues purists is that Spencer cherishes not the mythology of the blues or the songcraft, but the groove, the actual sound of classic blues records. He could care less about songwriting or technique; what's important is the feel and the grit of the performance, whether it's on-stage or on record. Often, that means that the Blues Explosion's records are better when they're playing than they are in memory, but there's no question that ever since Extra Width, the New York trio was exceptionally shrewd in crafting albums that pack real sonic force. They also were sharp enough to subtly explore new territory with each album, gradually moving from the Stonesy blooze of Extra Width through the funky Orange and gutbucket Now I Got Worry to Acme, where pure sound matters more than ever. Like the Stones, the Blues Explosion never abandon their signature sound, even when they're branching into new territory. No matter how many electronic bleeps, hip-hop loops, or cut-and-paste arrangements rear their heads on Acme, or how many producers or remixers are employed (including Calvin Johnson, Steve Albini, Suzanne Dyer, Alec Empire, Jim Dickinson, and the Automator), the primal, two-guitar racket remains at the center of the Blues Explosion's sound. But the electronica and hip-hop flourishes aren't folly, either -- they confirm Spencer's ultimate goal of sound over structure, force over sense. And while there are only a handful of songs to latch onto -- the slow, sexy "Magical Colors," the gonzoid rant "Talk About the Blues," the Jill Cunniff duet "Blue Green Olga" -- the dynamic explosions of sounds guarantee that Acme is a captivating listen, at least the first time through. While frequently exciting, the sonic experimentations sound cerebral instead of primal. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Where Orange had some awkward attempts at funk, Now I Got Worry is a raw bloozy workout, full of harsh guitars and barked vocals. The sound of the Blues Explosion is so fiery and alive that it overshadows Spencer's habit for campy posturing, and that's what keeps Now I Got Worry afloat. Once it's finished, it becomes hard not to second-guess Spencer's intentions, but the album is the closest the Blues Explosion have come to capturing their wild, intense live show on record. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
By this juncture, you either love Jon Spencer enough to listen to every record, or you've heard plenty and are decidedly uninterested. Still, Orange mines the same territory as Extra Width, and that may not be enough. At times, even during Orange's best tracks ("Bell Bottoms"), the thin, retro-'70s worshipping sounds phoned in and lacking in real emotional commitment. But, as with a lot of junk rock, sometimes it can be appreciated for simply being junk, and that's fine. But it's likely that Spencer's core fans like the idea of the blues more than the reality. In other words, they don't mind the pose, nor do they mind the facade. In Jon Spencer's world, image is everything. ~ John Dougan, All Music Guide
What The Critics Say
Extra Width is a crankin' piece of bluesoid ranting, with Jon Spencer working up one hysterical performance after another. "Afro" sounds like an old Curtis Mayfield track. Similarly, "Soul Letter" is a hefty chunk of riff-muck, as is the noisy bliss of "Soul Typecast." The playing is energetic and unhinged, and Spencer drives the engine with his whoopin' and hollerin'. Plenty of noticeably '70s production techniques add to the atmosphere, contributing significantly to what may be Spencer's best record. ~ John Dougan, All Music Guide
'Jon Spencer Blues Explosion'
Release Date 1/1/1992
Tracks 20
Label Caroline
See Album Tracklist and Review
