Tag: Boss Hog

Video by William Ruben Helms

New Video: Jon Spencer Shares Swaggering “Knock ‘Em Out”

For the better part of the past four decades, Jon Spencer has been both an innovative force and stalwart in the independent music scene. He has an amassed a dizzying and disruptive discography as the frontman of bands like Pussy Galore, The Jon Spencer Blues Explosion, Heavy Trash and Jon Spencer & the HITmakers, as well as stints as a member of Boss Hog, The Honeymoon Killers, Gibson Bros. and Taxidermy Girls.

Spencer has also been a highly sought-after collaborator, who has worked with an eclectic array of artists including Steve Albini, Add N To X, Nicole Atkins, Beastie Boys, Beck, Bomb The Bass, R.L. Burnside, James Chance, Coldcut, Chuck D., Dan The Automator, Jim Dickinson, DJ Shadow, Einsturzende Neubauten, Guitar Wolf, GZA, David Holmes, Japanese Popstars, Dr. John, Calvin Johnson, Steve Jordan, Moby, Money Mark, The Muffs, North Mississippi Allstars, Princess Superstar, Puffy AmiYumi, The Sadies, Nancy Sinatra, Solex, Solomon Burke, Speedball Baby, Rufus Thomas, UNKLE, Unloved, Andre Williams and the late, great Bernie Worell among others.

As a producer, he has produced material by Cheater Slicks, Demolition Doll Rods, Experimental Tropic Blues Band, Perrosky, Mike Edison, Jesper Munk, Sunshine & The Rain, The Bobby Lees and the Grammy-nominated Samantha Fish and Jesse Dayton album, Death Wish Blues.

Spencer’s newest album, Songs of Personal Loss and Protest is slated for a June 12, 2026 release — both physical and digital — through Shove Records here in the States. The album, which features Spencer (vocals, guitar, synth, organ and percussion) and a backing band of Kendall Wind (bass, vocals. guitar, piano and organ) and Macky “Spider” Bowman (drums, vocals and percussion), best known for being members of The Bobby Lees, and was produced by Spencer and was recorded by Chris Bittner at Woodstock, NY‘s Applehead Recording in a one-day session last July, with the exception of “Vermin Attack!” and “Mr. Lion” which were recorded by Felipe Ruz and Perrosky at Santiago, Chile‘s Estudio Algorecords last April.

Thematically, Songs of Personal Loss and Protest asks a simple question: Can rock ‘n’ roll save the world? Spencer would answer emphatically, “YES.”

“I’m in a time of spiritual reckoning,” Spencer says. “These past few years there has been a lot of emotional conflict and personal loss — the passing of time takes its toll.  Losing friends, losing family, and all of this set against a world gone topsy turvy where it feels like we are losing basic freedoms… I’m trying to balance a lot of things, but the answer is always rock’n’roll.”

The 12-song album sees Spencer tearing his heart singing songs informed and inspired by the front page and beyond. The songs are futuristic power blues and garage punk explosions about the nausea, unease and paranoia delivered by a reality show president, and the power and resilience it takes to rebel. It may all be deeply personal — the fight to create and live, and push back against dark forces — but while never losing sight that we’re all in this together, for better or for worse.

“Rock’n’roll is America’s true gift to the world — the sound of revolution! It came out of the sky, a screaming, chrome-plated flying saucer, like an outer space monster, landed here on Earth so the freaks could have their say,” Spencer says. “It  is the hip-shaking sound of rebellion. The blues is my bible, rock’n’roll is our battle cry!”

“Knock ‘Em Out,” is a swaggering and rousingly anthemic tune that’s one-part rollicking battle cry, one-part sweaty old-school blues-tinged pub rocker, anchored by tight, funky groove. Rock should always be loud and bombastic — but it can also be about something bigger and important, too. We only have us, y’all. So let’s get to work before it’s too late.

The accompanying video is by Andrew Hooper and features studio photos by Skyler Smith, live concert photos by Masashi Yukimoto and live footage of Spencer and company rocking out.

Single Review by William Ruben Helms

New Audio: JOVM Mainstays The Bobby Lees Release a Grungy Garage Punk Anthem

The Bobby Lees — Sam Quartin (vocals, guitar), Kendall Wind (bass), Nick Casa (lead guitar), and Macky Bowman (drums)  — are a rapidly rising, Woodstock, NY-based garage punk act have received attention for a feral and frenzied sound and and an unpredictable, high-energy live show. Adding to a growing profile, the act has opened for The Black Lips, Murphy’s Law, Boss Hog, Future Islands, Daddy Long Legs, The Chats, and Shannon & The Clams. 

The Woodstock-based JOVM mainstays’ Jon Spencer-produced full-length album Skin Suit has been pushed back to July 17, 2020 as a result of the COVID-19 pandemic —but as you may recall, the album finds the band crafting forceful and self-assured material centered around some of the most blistering and dexterous guitar work I’ve heard this year. So far, the band has released a handful of singles off the album including the breakneck “GutterMilk,” a feral and gender-bending over of Bo Diddley’s “I’m A Man,”‘ that nods at George Thorogood, the  Jon Spencer Blues Explosion-like “Move,” the gritty, garage punk ripper “Drive,” and a grudgy and feral cover of Richard Hell & The Voidoids‘ “Blank Generation.”

“Wendy,” Skin Suit’s sixth and latest single is a garage rock track full of sneering, old-school punk attitude and sultry come-ons that will further cement the band’s reputation for crafting grungy and feral rock. 

Single Review by William Ruben Helms

New Audio: JOVM Mainstays The Bobby Lees Cover a Punk Legend

The Bobby Lees — Sam Quartin (vocals, guitar), Kendall Wind (bass), Nick Casa (lead guitar), and Macky Bowman (drums)  — are a rapidly rising, Woodstock, NY-based garage punk act that has received  attention here and elsewhere for […]

Video by William Ruben Helms

New Video: JOVM Mainstays The Bobby Lees Return with a DIY Visual for an Explosive New Single

Over the past roughly two years, the rapidly rising Woodstock, NY-based garage punk act The Bobby Lees — Sam Quartin (vocals, guitar), Kendall Wind (bass), Nick Casa (lead guitar), and Macky Bowman (drums)  — have begun to receive attention for a feral and frenzied take on garage punk and an unpredictable live show. And as a result, the rising punk rock act has opened for the likes of The Black Lips, Murphy’s Law, Boss Hog, Future Islands, Daddy Long Legs, The Chats, and Shannon & The Clams. 

Originally slated for a May 8, 2020 release through Alive Naturalsounds Records, The Bobby Lees’ Jon Spencer-produced full-length album Skin Suit has been pushed back to July 17, 2020 as a result of the COVID-19 pandemic — but what still remains is that the album finds the band crafting forceful and self-assured material centered around some of the most blistering and dexterous guitar work I’ve heard this year. So far, I’ve written about three of the album’s singles, the breakneck and explosive “GutterMilk,” a feral and unhinged cover of f Bo Diddley’s “I’m A Man,”‘ that nods a bit at George Thorogood‘s famous cover but with a defiant, gender-bending boldness and the sweaty, Jon Spencer Blues Explosion-like “Move.” 

“Drive,” Skin Suit’s fourth and latest single continues a run of grungy and gritty garage punk centered around enormous power chords, mosh pit friendly hooks and a remarkably self-assured delivery. For such a young band, they seem poised to take over the world — with a youthful brashness and zero fucks given air. 

The recently released video for “Drive” features the band performing the song in front of a divey tattoo parlor, and it should give the viewer a great sense of the band’s frenetic and unpredictable live energy. 

“A couple of months ago we were heading down to Austin, TX for SXSW and playing shows along the way,” the members of The Bobby Lees explain in press notes. “By the time we got to Tulsa, Oklahoma our 9 SXSW shows had been cancelled because of the virus. So we made the best of our time in Tulsa and shot a video with our friends, while keeping a safe distance.”

Video by William Ruben Helms

New Video: The Bobby Lees Release a Feral New Single

Over the past 18 months or so, the rapidly rising Woodstock, NY-based garage punk act The Bobby Lees — Kendall Wind (bass), Nick Casa (lead guitar), and Macky Bowman (drums)  — have begun to receive attention for a feral and frenzied take on garage punk and an unpredictable live show. And as a result, the rising punk rock act has opened for the likes of The Black Lips, Murphy’s Law, Boss Hog, Future Islands, Daddy Long Legs, The Chats, and Shannon & The Clams. 

Slated for a May 8, 2020 release through Alive Naturalsounds Records, The Bobby Lees’ Jon Spencer-produced full-length album reportedly finds the band mixing classic, garage punk hits, raw and emotive storytelling and some of the most blistering and dexterous guitar work I’ve heard in the past few months. So far I’ve written about two of the album’s singles: the breakneck and explosive  Fever to Tell-era Yeah Yeah Yeahs-like “GutterMilk,” and a feral and unhinged cover of Bo Diddley’s “I’m A Man,”‘ that nods a bit at George Thorogood’s famous cover — but with a defiant, gender bending boldness. Building upon the reception of the album’s first two singles, the album’s third and latest single “Move” continues a run of feral and sweaty garage punk that sounds like Jon Spencer Blues Explosion on steroids. 

The recently released video captures the band playing live and goofing off while on tour — and it accurately captures the band’s youthful and infectious abandon. 

Single Review by William Ruben Helms

New Audio: The Bobby Lees’ Feral Take on a Blues Classic

The Bobby Lees are a young, rapidly rising Woodstock, NY-based garage punk act, featuring Kendall Wind (Bass), Nick Casa (Lead Guitar), and Macky Bowman (Drums) — and over the past 18 months or so, the band has received attention for a frenzied and energetic live show, opening for a who’s who of contemporary indie rock — including The Black Lips, Murphy’s Law, Boss Hog, Future Islands, Daddy Long Legs, The Chats, and Shannon & The Clams. 

SKIN SUIT, the Woodstock-based punk outfit’s forthcoming  Jon Spencer-produced full-length album is slated for a May 8, 2020 release through Alive Naturalsounds Records finds the band mixing classic garage punk hits, raw and emotive storytelling and some of the most blistering guitar work I’ve heard in some time. Now, as you may recall, last year I wrote about “GutterMilk,” 94 seconds of explosive punk that will remind some listeners of Fever to Tell-era Yeah Yeah Yeahs and Jon Spencer‘s work with The Jon Spencer Blues Explosion. The forthcoming album’s second and latest single is a feral and unhinged cover of Bo Diddley’s “I’m A Man,”‘ that nods a bit at George Thorogood — but with a defiant, gender bending boldness. 

Video by William Ruben Helms

New Video: Up-and-Coming Garage Punk Act The Bobby Lees Release a Feral and Energetic Visual for “GutterMilk”

The Booby Lees are an up-and-coming Woodstock, NY-based garage punk act, comprised of Sam Quartin (vocals, guitar), Kendall Wind (Bass), Nick Casa (Lead Guitar), and Macky Bowman (Drums). And over the past year, the up-and-coming, garage punk quartet have honed their live show opening for The Black Lips, Murphy’s Law and Boss Hog. 

The band’s latest single, the Jon Spencer-produced “GuttterMilk” is 94 seconds of feral garage punk, centered around a rumbling and propulsive baseline, thundering drumming, buzzing and slashing guitars and Quartin’s howled vocals that nods at Fever to Tell-era Yeah Yeah Yeahs and Jon Spencer’s work with The Jon Spencer Blues Explosion. 

Directed by John Swab, the recently released video employs a simple concept — the band performing the song with in an abandoned building with raw and hungry energy. 

Video by William Ruben Helms

New Audio: JOVM Mainstay Jon Spencer Releases Kaleidoscopic Visuals for Bruising New Ripper “Beetle Boots”

Best known as a founding member of renowned local alt rock acts The Jon Spencer Blues Explosion, Boss Hog, Heavy Trash and Pussy Galore, Jon Spencer released his long-awaited solo debut Spencer Sings the Hits last November, and as you may recall, the Bill Skibbe-produced album, finds the renowned guitarist and frontman embracing a DIY approach while collaborating with Quasi‘s and Heatmiser’s Sam Coombes and M. Sord. So far I’ve written about two album singles — the blistering and abrasive ripper “Do The Trash Can,” a track centered around a snarling, garage punk attitude, abrasive and enormous power chords and an oddly danceable groove and “I Got The Hits,” an equally explosive ripper, featuring abrasive power chords, a shit ton of double entendres and a propulsive, junkyard groove that’s danceable yet mosh pit friendly. 

Spencer Sings the Hits’ latest single “Beetle Boots” is a straightforward garage rock ripper, featuring around a downright nasty, snarling, power chord-based guitar riff, a propulsive groove and shouted call and response lyrics centered around picking up a guitar, joining a band and trying to kick ass and take over the world — but with the reminder that being in a band ain’t easy; that if you come in faking the funk, the game will chew you up and spit you out. 

Directed and edited by Andrew Hooper, featuring photos from Jon Spencer, Michael Lavine, Ebru Yildiz, Patrick Houdek, Myranda Baert, and Bob Coscarelli, art by Katie Skelly Visual and visual elements by The Verite Messengers, the recently released video is a trippy and kaleidoscopic treatment that draws from found footage of 60s psych pop concert films, young bands jamming, photos of Spencer and his bandmates — and all of it serves as a powerful reminder: that being in a rock ‘n’ roll band is fucking awesome. 

Video by William Ruben Helms

New Video: The Wildly Psychedelic Visuals for Jon Spencer’s “Do The Trash Can”

Best known as a founding member of New York-based alt rock acts, The Jon Spencer Blues Explosion, Boss Hog, Heavy Trash and Pussy Galore, Jon Spencer’s solo debut album Spencer Sings the Hits is slated for a November 9, 2018 through In The Red Records. And as you may recall, the Bill Skibbe-produced album, fiQnds the renowned guitarist and frontman embracing a DIY approach while collaborating with Quasi‘s and Heatmiser’s Sam Coombes and M. Sord.

“Do The Trash Can,” the album’s propulsive and blistering first single will further cement Spencer’s long-held reputation for a scuzzy and abrasive sound that draws from the blues, industrial rock and metal centered around a snarling, garage punk attitude, caustic power chords and an oddly danceable yet mosh pit friendly groove — while kicking ass and taking names. Interestingly, the recently released video continues Spencer’s ongoing collaboration with director Alex Italics and it’s a wild, psychedelic nightmare that subtly comments on American consumerism and our predilection for fast food-like products. 

Video by William Ruben Helms

New Video: Jon Spencer Releases Dread-Filled Visuals for Scuzzy and Groovy “I Got the Hits”

Best known as the founding member of New York-based alt rock acts, The Jon Spencer Blues Explosion, Boss Hog, Heavy Trash and Pussy Galore, Jon Spencer will be releasing his first solo album, Spencer Sings the Hits! on November 9, 2018 through In The Red Records, and the Bill Skibbe-produced album, finds the renowned guitarist and frontman embracing a DIY approach while collaborating with Quasi‘s and Heatmiser’s Sam Coombes and M. Sord. Now, as you may recall, earlier this year, I wrote about “Do The Trash Can.” Spencer Sings the Hits!’ first single, a blistering, scuzzy and abrasive ripper that drew from blues, industrial rock and metal centered snarling, garage punk attitude, caustic power chords and an oddly danceable groove.

Unsurprisingly, the album’s second and latest single is the swaggering and scuzzy industrial, garage blues “I Got the Hits,” and much like it’s predecessor, it’s an explosive ripper centered around explosive and abrasive guitar chords, a shit ton of double entendres and a propulsive junkyard groove that’s manages to be danceable and mosh pit friendly.

Directed by Alex Italics, the recently released video for “I Got the Hits” delves into the darkest and murkiest corners of America, and throughout the video we see a completely immobilized and helpless Jon Spencer, as life and sinister and shadowy figures lurk move around. “Over the past year I kept seeing wonderful and strange music videos that had one thing in common: all were directed by an Alex Italics,” Spencer explains in press notes. “I determined to track down this young auteur with the aim of getting a similar cinematic sensation for my new album Spencer Sings The Hits!. Alex turned out to be a mild-mannered young man from Tucson, Arizona living in Southern California. I gave him a free hand to pick the song and devise a treatment. The result is the scary slice-of-life that you can now see for yourself.”

“I love the creepy contrast with the song’s punk abandon,” Spencer continues. “We filmed at a rented house in Santa Ana. At the end of each day, after the nearby nightly Disneyland fireworks had faded and the cast and crew had left, I would sleep in a bunk bed in the child’s bedroom. Turns out doing an entire video laying on the floor is harder than it looks!” 

Adds the video’s director, “nothin’ says ‘rock and roll’ like suburban angst, existential dread, and shadowy figures!”

Single Review by William Ruben Helms

Best known as the founding member of New York-based alt rock acts, The Jon Spencer Blues Explosion, Boss Hog, Heavy Trash and Pussy Galore, Jon Spencer will be releasing his first solo album, Spencer Sings the Hits on November 9, 2018 through In The Red Records, and the Bill Skibbe-produced album, finds the renowned guitarist and frontman embracing a DIY approach while collaborating with Quasi‘s and Heatmiser’s Sam Coombes and M. Sord. Now, as you may recall, earlier this year, I wrote about “Do The Trash Can.” Spencer Sings the Hits’ first single, a blistering, scuzzy and abrasive ripper that drew from blues, industrial rock and metal centered snarling, garage punk attitude, caustic power chords and an oddly danceable groove.

Unsurprisingly, the album’s second and latest single is the swaggering and scuzzy industrial, garage blues “I Got the Hits,” and much like it’s predecessor, it’s an explosive ripper centered around explosive and abrasive guitar chords, a shit ton of double entendres and a propulsive junkyard groove that’s manages to be danceable and mosh pit friendly.

 

 

 

Single Review by William Ruben Helms

Currently comprised of husband and wife and founding duo of Cristina Martinez (vocals) and Jon Spencer (guitar, vocals), equally known for his two other bands Pussy Galore and the Jon Spencer Blues Explosion; along with Jens Jurgensen (bass), who had a stint in renowned punk/metal band The Giraffes; Hollis Queens (drums, vocals) and Mickey Finn (keys), Boss Hog formed back in 1989 as a sort of accidental side project, when the band’s founding duo of Spencer and Martinez were told of a last minute vacancy on the bill at CBGB’s. Spencer and Martinez reached out to friends and collaborators and quickly put together a band featuring members of The Honeymoon Killers and Unsane, along with Spencer’s Pussy Galore bandmate Kurt Wolf. That first gig together was reportedly an underground sensation — partially because Spencer played the entire set completely naked. And although the band has gone through a series of lineup changes, over their 28 year run, the band have developed a reputation for releasing disturbing and sexually incendiary material through some incredibly renowned record labels — including Amphetamine Reptile Records, In The Red Records, and DGC/Geffen.

BROOD X is Boss Hog’s first full-length album in almost 20 years, and from the album’s first single “17,” the material on the album is a wild and heady mix of dusty, shuffling, sleazy, whiskey-soaked blues, snarling punk rock attitude, noisy no-wave-inspired art rock, shoegazer rock and seductive baroque-inspired pop to create a sound that not just uncompromisingly defies genre conventions while expressing the bilious and strange mix of hopelessness, fear, uncertainty, fury, bitterness and the uneasy, desperate longing to make sense of an absurd, dangerous, new world run by an ignorant maniac. Part existential howl into an indifferent void and part a clattering yet sensual and subversive call to have art be your solace in desperate times, the song may arguably be a call to get out there and resist through one of the most human ways we can — through art.