The b-side "Latch On" is a Jon Spencer arrangement of a rockabilly song despite the fact that The Jon Spencer Blues Explosion recording has very little in common with the most well-known recordings of this track released by Ron Hargrave and The Cochran Brothers. The Jon Spencer Blues Explosion version is more than likely a cover of the Cochran Brothers version of this song as both tracks feature the words "you are really gone" which do not appear in the lyrics sung by Ron Hargrave.
Matador made good with Stax, and the band enjoyed a decade-long partnership with the label". The album graphic design copies a package of panty hose purchased in Memphis, Tennessee. It is said that during this time Jon Spencer's stage persona evolved and he established what is now synonymous with a Blues Explosion live performance. It was time and art. He got better at it. The James Brown -style show was an old method, but Jon brought it to another level.
Before that, it was punk — he was into it, but he was coy. He wanted to be watched. The wailin' theremin spits out sound and adds to the cathartic confusion. If this is real and not theatre, I'm disturbed. Extra Width was released in June The accompanying Lost Weekend compilation album was limited to copies and included the song "Afro".
Afterwards presenter Mark Lamarr said "they're the best live band I've ever seen. During an interview with Dutch magazine Oor Jon Spencer said that the release of Mo' Width was delayed until two months before the release as the next studio album. The original vinyl Matador Records was as a silver-coloured picture disc and first issue of the Crypt Records edition had orange-coloured sleeves rather than the usual silver.
The VPRO session was issued as an unofficial 10" bootleg which included otherwise unreleased songs "Curfew Blues" and "Wriggle and Move" and the "Intro" is edited together in the same way as "Tour Diary" on Experimental Remixes and at least two segments appear on both releases. In October the Blues Explosion made their first attempt to record a live album at DPC, Tucson, Arizona, US but the performance was plagued with technical problems and was stopped when an audience member threw a stink bomb.
By September Orange had sold 70, copies. In Experimental Remixes was reissued with new remixes on CD and double vinyl and Orange was reissued on CD with an enhanced section featuring "Dang", "Flavor" and "Bellbottoms" music videos and on the vinyl edition was packaged with a poster. The album was reissued again in by Shout! Burnside album Mr Wizard. Both albums featured cover artwork by Derek Hess. It was pretty much the same with Rufus Thomas.
These sessions were mostly between February 5 and 13, the same time as the recording with R. Each of the covers features a slightly different photo by William Bankhead of the same text. Jon Spencer can be seen running through the audience, around the set and destroying the "Blues Explosion" back drop. It wasn't planned, it just kinda hit me. It may have just been exhaustion. You reach a point on tour and you get a bit punch-drunk. That show is broadcast live in the morning!
They were all really nice about it though! In a new version of this album was released by Shout! Records expanded to include b-sides, rare tracks and the previously unreleased "Roosevelt Hotel Blues" featuring Beck and Money Mark. In May Controversial Negro was released. The sleeve for this release is referred to in an article titled "Mo' bitter blues" originally published in May To the casual observer The Jon Spencer Blues Explosion may seem like little more than surly, self-important nihilists with an all-encompassing persecution complex.
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Heavy Trash. Dub Narcotic Sound System. Blues Explosion. Boss Hog. In retrospect, Spencer's real peers may have been the Afghan Whigs' Greg Dulli and Beck, artists who had very specific ideas about how to transform African-American music traditions into a personal style that made sense to the alt-rock nation.
Unlike either of them, Spencer borrowed almost exclusively from pre-Beatles sources: blaring mid-century blues riffs, outlandish vocals from some fever dream of the 50s, and no truck with niceties like song structure.
Tracks like "Chicken Dog" a great duet with the late Rufus Thomas and the slithery "Afro" meander aggressively, as if demanding and daring you to keep up.
The song screeches to a halt and peels out again in the direction of a terrifically catchy call-and-response chant.
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