(Matador)
It has been almost four years since the Jon Spencer Blues Explosion released an entirely new album'1998's Acme. While the semi-spastic nature of Mr. Spencer's raw, jagged rock/funk/blues seems like it would be easily replicated (especially for the band that practically invented the sound), JSBX show on their latest Plastic Fang that their recording hiatus has been great for the growth of their sound. Of course, no one in this raucous trio is really interested in mellowing much, and no hardcore JSBX fan wants that either. Fang presents JSBX at their song-writing best, offering 12 works with more harmony and polish than any previous JSBX album'and the rock lives on.
All the old JSBX tricks are here: The phrase ock 'n' roll"" is shouted at least 10 times throughout the album, although Spencer only refers to the fact that he belongs to the Jon Spencer Blues Explosion twice. This is no doubt a significant decrease from previous albums, but the exact statistics are just not available at press time.
There is plenty of loud two-guitar rock and ferocious guitar soloing by Judah Bauer, not to mention remarkable drumming by Russell Simins. The band is just as explosive as it ever was, but Spencer has toned down the vocals a notch, being less apt to push his larynx out of his throat as he is to search for his best Jaggerish moan. The songwriting also takes on a more refined feel than on past efforts, as the band seems less intent on repeating the semi-improvisational flare that makes them a hit live.
The first single, ""She Said,"" finds Spencer moving as close to Rolling Stones territory as he ever has. A rocking number about being a werewolf, Spencer's classic rock flashback leads him to a Warren Zevon-like finale, singing ""werewolf"" over and over. As the cover art suggests, the album is heavy on the werewolf imagery.
Other songs again find Spencer looking backward, such as ""Midnight Creep,"" a love-crazy, wailing rocker. ""Mother Nature"" finds Spencer lamenting that the ""Big Apple taken my baby,"" and how he needs to ""get out"" of NYC. It is a song of love and hate, as many JSBX songs are, but it is a fine contribution by the band to the list of great songs about New York.
Of course, a retro-feel is exactly what JSBX intended, as they brought in producer Steve Jordan and engineer Don Smith into Oorong Studios in Manhattan, both of who have experience working with '70s acts like the Rolling Stones and Tom Petty. Dr. John is brought in on the slow and bluesy ""Hold On,"" as is Parliament organist Bernie Warrell. Indeed, it is Warrell's bass Moog contribution to Fang's closer ""Point of View"" that brings the album to its funkiest, most roof-burning moment. Mr. Spencer and his Blues Explosion have shown yet again that not only can they caterwaul like none other, they can do it with a level of sophistication and New York City cool that any fan of rock can enjoy.
