BOSS HOG
Drinkin' Lechin' And Lyin' - (1989)

Taking their name from a biker magazine rather than from the white-suited character in The Dukes of Hazzard, Boss Hog's debut sounds more like the missing link between Pussy Galore and the Jon Spencer Blues Explosion than something new. (That said, the band wasn't originally envisioned as the full-time project it would become.) Spencer sings lead on most of the tracks and wife Cristina Martinez -- both from Pussy Galore -- mostly just growls along. Martinez would take on more of the vocals for subsequent releases as the band became more melodic in the manner of the Shangri-Las or Bikini Kill. The songs here certainly rock hard enough (Big Black's Steve Albini handled the production duties), but aren't particularly memorable otherwise. At the time of its release, the six-song EP attracted more attention for the cover art, featuring Martinez clad in black boots and gloves -- and nothing else -- than for the music (Martinez would also forget her clothes for the cover of 1989's Cold Hands). The personnel for this incarnation of Boss Hog included Charlie Ondras (from Unsane), Jerry Teel (from the Honeymoon Killers), and Kurt Wolf (also from Pussy Galore).

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BOSS HOG
Whiteout - (2000)

It's difficult to consider Boss Hog without invoking the name of Jon Spencer. Not only is the Blues Explosion leader a member of Boss Hog, but he's also married to Boss Hog leader Christina Martinez, so his overwrought post-modern downtown, white-boy blues-funk is always lurking just around the corner. To her credit, on Whiteout Martinez keeps the dude at bay by taking the aesthetic helm (taking bass player Jens Jurgensen, drummer Hollis Queens, and keyboardist Mark Boyce along for the ride, too). The ten cuts that comprise this, Boss Hog's sixth album, are obviously her vessel. Don't be fooled by the dreamy atmospherics, the sultry vocal ruminations, or the awkwardly funky new romantic synth beats; she's painting the picture of garage punk and new wave girl groups as refracted through a 21st century looking glass. So, while it's occasionally as cheesy as Human League or as awkwardly skittish as the Rezillos, Whiteout ultimately finds Boss Hog able to manipulate the best of these associations to its benefit and remain as smoldering and funky as a hot NYC August night. And, while past recorded excursions have been hit or miss scattered affairs, Whiteout is a cohesive sonic effort that manages to keep its sneer without resorting to too many of Spencer's goofball faux-Elvis machismo antics. Christina Martinez has broken the indie rock rules again. (allmusic.com)

http://www.mediafire.com/?e8dtjn1k45e4jux

BOSS HOG
Boss Hog - (1995)

While Jon Spencer spent much of his time in Pussy Galore trying to destroy rock & roll as fans know it, by the time he got the Jon Spencer Blues Explosion rolling, he'd come to the belated conclusion that old-school rock and R&B could be pretty cool after all, and since the history of Boss Hog — one of Spencer's seemingly infinite number of side projects — overlaps with Pussy Galore, you get to witness this transformation over the course of their recording career. While Boss Hog's first album was a nearly unlistenable morass of aural sludge, six years later, their self-titled major-label debut turns out to be a very solid album in the same rootsy grit-rock vein as the Blues Explosion's best work. If anything, Christina Martinez, Spencer's partner in crime (and spouse), is a stronger vocal presence on this record, if only because she hasn't developed quite as elaborate a shtick as Spencer — she just belts it out in a sturdy blues-punk style, unlike Spencer's often amusing but sometimes irritating collection of blues and rockabilly affectations. Boss Hog also displays a far greater willingness to get funky than JSBX; they're not ready to face the Meters in a battle of "on the one," but the best cuts here boast a more sensuous feel for groove than the prime suspects have shown in the past. In short, Boss Hog shows that somewhere down the line Spencer and Martinez learned the importance of getting a groove on, and though that groove is rough, noisy, and ill-tempered, you can still dance to it.

http://www.mediafire.com/?0gjim4zh0xm