BOSS HOG

Boss Hog are the side-project of my old mucker Jon Spencer. If you haven't already you might like to read my poorly written reviews at the Jon Spencer Blues Explosion page. Jon Spencer has, of course, been around the alternative American music scene since, well, forever. Certainly since the mid-eighties. The Blues Explosion is probably his most famous outfit but he began life, as far as I know, in Pussy Galore with no other than his wife Cristina Martinez. Thus Boss Hog is his side band with no other than his wife Cristina Martinez. I actually think this is like their tenth album simply as Boss Hog (I shudder to think of the number of albums Spencer's got his name on. I shudder even more to think of the vast proportion of them that are probably unlistenably shit) but it was certainly intended as some sort of big commercial break-through. Well they stocked it at HMV anyway. I don't know how steady the line-up is but for this record other than Spencer and his better half on vocals there is the wonderfully Scandinavian titled Jens Jurgensen on bass, the less Scandinavian monikered Mark Boyce on keyboards and Hollis Queens on drums who has contributed to other Spencer albums, presumably being a long term friend. Back to the matter at hand and the reason I look at this as an attempt at commercial success is because this is, by far and away, the most straight collection of Spencer penned songs I've ever heard. There's barely a lo-fi in sight. Martinez also takes vocals on most of the tracks which, for me, is a shame. Not that she's a bad singer, indeed she's almost too good, but I don't think female vocals suit rock music that well apart from distinctive vocalists like Patti Smith and co. This certainly sounds eminently poppy at times - indeed, "Itchy and Scratchy" was used prominently on a trendy jeans advert. Anyway, my thinly veiled sexism aside I'm simply a big fan of Spencer's vocals so it came as somewhat of a disappointment that he only contributes to a handful of songs. (One of them being "Itchy and Scratchy", as it happens.) "Chocolate" is probably his most prominent excursion which marks it out, presumably as a result, as one of the best tracks. The straightness of the songs does make it clear that Spencer isn't really the greatest of songwriters. "Get it While You Wait" is probably the most successfully commercial sounding song on the album although to me it just sounds like Garbage. And I don't like Garbage. At all. Hollis Queens also throws in some backing vocals for that number. The best numbers, other than the ones Spencer sings on, are the more funky, keyboard driven songs like "Nursery Rhyme" or "Itchy and Scratchy" or maybe even the title track. I also like the retro hammond touch on the chorus of "Stereolight" and the guitar solo at the end of "Defender". The final "Monkey" actually features Cristina's best vocal performance as she really gives it a bit of venom although the lyrics seem slightly banal - about her dislike of thin models or something. The album is pretty short, all things considered, and whilst is fairly consistent it fails to be particularly spectacular. I also don't understand why "Defender" is so called as the chorus quite clearly revolves around the word "surrender" without "defender" in sight. I guess I'm just procrastinating as I can't think of much else to say. I therefore conclude I may as well sum up. Of all of Spencer's numerous albums this is almost certainly the most listenable. That don't necessarily make it the best, though.

From: Lori Rutka-McConkey

Hello!
Just read your review; very entertaining.
Any idea if Cristina has 'given up' Boss Hog? It's been 5 years since WHITEOUT!!! I'm dying here...

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