The Jon Spencer Blues Explosion, Plastic Fang (Matador) 9
Over the past decade, the Blues Explosion has proven itself repeatedly as indie rock's most dependable boogie rock band, mixing funk, soul, psychobilly and garage punk like a 90s ZZ Top (circa early 70s). Their shows are guaranteed to please, inspiring more ass-shaking in the nerd-chic thrift store crowd than anyone would ever guess. Think of them as sort of the hip cheek of butt rock. While JSBX are never afraid to jump between the sheets with newer experiments in hip-hop (Dan the Automator), dub and even digital hardcore (Alec Empire) mixes on Experimental Remixes EP and Extra Acme, they are less about innovation and big statements and more about groove and energy. And of course they do it with far more smarts and attitude than anyone. Few fans will place Plastic Fangs at the top of their Blues Explosion collection. It's not as exuberantly sexy and funky as Orange ('94) or Acme ('98), nor does it rock as hard as Extra Width ('93) or Now I Got Worry ('96). It is, however, their best sounding album. Produced by Keith Richards producer Steve Jordan, it's low ends are lower (despite the lack of bass guitar) and Russell Simins' meaty drumming is thicker than ever. Yet the newfound recording clarity manages to retain some surface grit. The Richards-inspired riffing is sufficiently dirty, and Spencer's hoarse shouting is far from glossy, though he does actually muster up snippets of melodic singing on stand-outs like "She Said." The album starts off with scratching guitar and pounding drums that sound like a sample from an early Shellac single. But soon it goes into standard JSBX fare. "Money Rock 'n' Roll" is a fine stripped-down Meters-inspired funk workout. "Mother Nature" has a slower Stones groove. "Mean Heart" starts out with a rare acoustic guitar and a Kiss-like riff. Aside from the gumbo ya-ya stew of "Hold On," mixing the guitar of Dr. John the Night Tripper (whose "Right Place, Wrong Time" they covered previously) and Bernie Worrell's keyboards, there are few surprises here. Nothing but instantly involving songs that give further reminders why the Blues Explosion continue to be one of the best live bands on the planet. That reason alone is good enough to recommend Plastic Fang as a souvenir for those fire-and brimstone performances.
