Indie rock veteran Jon Spencer has been a busy man since reuniting with the
Blues Explosion last year for a world tour in support of new reissues of their
six acclaimed albums. Rolling Stone caught up with the rocker to chat
about revisiting his body of work, his progress in putting together a brand new
record with the Blues Explosion, and his rockabilly side project Heavy
You've been incredibly active lately.
When we put out the
back catalog, we started to tour a lot, all over the world. That wound up with a
really insane schedule this summer, which saw us playing shows in four different
continents, and two or three a week, so we were really traveling a lot of miles.
But we had some very, very nice shows and during all that time, we've been
slowly writing songs. I think it was inevitable that if we got back together and
started playing again, we would start writing songs and for me, that will always
be my favorite part of a show, the new material.
We started talking about potentially going to the studio and recording some
of the songs back in January, I think, and we did go to the studio in Australia
to record a song for a television advertisement. We did a cover of "Black Betty"
for Volkswagen, for a Beetle ad that aired during the Super Bowl. So, you know,
we kind of proved to ourselves that we could still cut it on the concert stage,
then we proved that we could work under pressure and get some good work done in
the recording studio. So every small step, we've made it at least in my mind a
real possibility that the Blues Explosion could go in and try for a session in
We've stopped touring now, our last dates were the end of summer, and since
that time we've just been down in our basement in the Lower East Side chipping
away at these songs and woodshedding. We have this show at Maxwell's [in
Hoboken, New Jersey] next week, then after that we're going out to a studio in
Benton Harbor, Michigan called the Key Club and we're gonna see what
What's the new material like?
It's still coming together
and the way we're playing a song now could inevitably change, and what we do
with it in the studio that's a whole different variable in the equation, but a
lot of the material seems to be quite, I don't know, aggressive. It seems a bit
like we've gotten back to some of the aggression, the confrontational nature of
the earlier material. It's not as crazy as the stuff we did in the first two or
three years, but there seems to be a little flavor of that.
We don't ever really discuss things as a band. We do write as a band, we get
together in a room and play and a song can happen, and then at a certain point
there might be some certain analysis or discussion and we'll tinker with
structure and composition, but really songs just sort of happen. They just come
The whole process of doing these reissues, that was a project I was very
closely involved with, I did the whole thing basically. It took over my life for
a few months, it was a huge process. Certainly for me, I don't feel as close to
those old records anymore. It's now almost as if I've been working on another
band's catalog. It's been a few years. Bearing all that, I think there's been an
influence on the kinds of songs we've been writing. I think it has, in some way,
freed us up. There was a time where there was a sense of pressure to maybe come
up with a hit, and now I just think we're comfortable doing our own thing.
When you got back together again to play new shows, what songs
did you gravitate towards?
There's certain songs that people like to
hear, and then there's certain songs that we just like to play. There's a
handful or two of no-brainers and easy picks. After that, there were quite a few
songs that became dislodged through this reissue series, but that all sort of
seemed to happen anyway. We'd go back to an old thing and rework an old song.
There were things which we hadn't played for many years, or had never really
played live. Then there were some songs whose arrangements were totally changed.
A good example is the song, "Bellbottoms," on the reissue from the album
Orange. I found a rough mix. At some point, I guess the song was even
longer. There was a whole section that we ditched, edited and cut out and
abandoned. And when we were preparing the reissue, I found a rough mix of this
whole end section of the song. We began to then work out a live arrangement and
adapted that to our concert. So for the past year, we've been playing that
version most nights.
How do people respond to the band now versus
back in the Nineties?
It's not like fire has been invented in the
meantime. It's still a rock and roll concert and people are still going to rock
and roll concerts for the same reason they were 10 or 20 years ago. It's really
not that different. Possibly, and again it could just be rose colored glasses,
but I think some of the concerts back then were way more crazy and over the top
and I'm not just talking about what was happening on stage, but what the
audiences would get up to. But no, there's not a huge difference. You know, this
isn't the first time the Blues Explosion laid down our guns for a period of
time. We've taken breaks before, and I'm always surprised at how easy it is to
fall back into it.
So tell us about Heavy Trash. How does that
work differently for you?
I rarely write by myself so the main
difference between the Blues Explosion and Heavy Trash is I'm writing with a
different person. For Blues Explosion, I write with Judah [Bauer] and Russell
[Simins]. I write with Matt Verta-Ray with Heavy Trash. So, that makes for
different kinds of songs. Other than that, yeah, Heavy Trash is a more
traditional band in many ways. Really, the reason for starting the band was to
play rockabilly. We don't strictly play rockabilly, but that's what started us
When do you expect these new records to be
You know, I don't know. I gotta be honest. I was reluctant to
even speak to you today because I don't want to be blabbing about oh, 'we're
doing this and that,' and if it doesn't come together the way I hope... So I'm a
bit shy about shooting my mouth off. I don't know. We're doing this on our own.
We've saved up money from concerts that we've played and it's really just, we've
always been an independent band, a pop punk band in that sense, and that's true
to this day so we're gonna make whatever kind of record we want to make. With
Blues Explosion, we'll definitely just do our thing. I'm not trying to put a
deadline on it or anything. Here's another example of the difference in being in
this band in 2011 and say, 1991 or 1995. I think we're doing good work. It's
enjoyable. I feel compelled to do it. There's a fire in my bones. But you know,
I'm an older man now. I understand that when the record is ready, it'll be
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