Jon Spencer's commitment to rejigging the blues according to his own punk aesthetic has sustained him for 13 years. His band cut a distinctively rough dash until 2002's Plastic Fang, which replaced their visceral riffing with conventional song structure and?thanks to Rolling Stones producer Steve Jordan-a conscious retroism. For seventh album Damage, the (now "Jon Spencer"-free) trio hired five different producers (Jordan, David Holmes and DJ Shadow among them), plus guests Martina Topley-Bird and Chuck D to further broaden their sound, which embraces Stax-style soul, nuggety funk and gruff, politicised rap with equal enthusiasm. More variety in their blues, certainly, but no less vigour.
Jon Spencer’s commitment to rejigging the blues according to his own punk aesthetic has sustained him for 13 years. His band cut a distinctively rough dash until 2002’s Plastic Fang, which replaced their visceral riffing with conventional song structure and?thanks to Rolling Stones producer Steve Jordan-a conscious retroism. For seventh album Damage, the (now “Jon Spencer”-free) trio hired five different producers (Jordan, David Holmes and DJ Shadow among them), plus guests Martina Topley-Bird and Chuck D to further broaden their sound, which embraces Stax-style soul, nuggety funk and gruff, politicised rap with equal enthusiasm. More variety in their blues, certainly, but no less vigour.
