At times, they out-Stooge the Stooges with their metal-grinder meets spin-cycle guitars. The harmonica and swampy rockabilly feel reminds me of Blues Explosion.
They brought us Sabbath, Priest, Motörhead, but have been relatively silent in the metal category recently. It took a black lesbian skinhead to stand apart.
Styles range from blues to ballads to swing to swagger to strut to an a cappella pretty-boy-barbershop intro to a NIN rip-off. Plus pianos, and Spanish guitars.
I expected Satan surf punk. This is way crisper and sunfried. Desert rock, bad-ass rockabilly, or surfbilly-with-twisted-humor on a swaggering drunk binge?
Well-executed take on the alt.rock thing. The songs rely on the traditional verse/chorus scheme, but take each idea a step further to create a new synthesis.
Boss Hog lies somewhere between Jon Spencer’s former and current projects, Pussy Galore, and the Blues Explosion’s fuzz-tone Stones-flavored funk grooves.
As soon as the needle hits the vinyl it’s an all out assault on the boundaries of rock as we know it, spitting out incoherent lyrics with earsplitting energy.
The sort of band that badly Xeroxed cut-and-paste ‘zines love to ramble on about. Their sound is too Seattle to be sludge-punk, but too Chicago to be grunge.
It takes three older guys from the more demented side of blue-collar territory to make music that feels like washing down Black Widows with a 12-pack of Shlitz.
With 14 songs of corruption, their tongues are planted firmly in-cheeks and their chops are mighty. Masters of punked-up, powerchord-soaked rock ‘n’ roll.
The disjointed and looping lines with semi- traditional rock formats sound like a re-vamped version of our good Captain, even down to the Dadaist lyrics.