It all started with a fascination for rare records located deep in Texas pawnshop cut out bins. It came together one late afternoon at a back o’ town chicken ‘n’ whatever joint called Ludie Mae’s.
A knife-wielding patron jumped into the open door of a long, black, early ’70′s oldsmobile. He was looking for cash and trouble. He demanded to know what the hell was on the numerous crazy-looking, home-brewed cassette tapes scattered across the dashboard. His shiny blade waved and danced all around the front seat.
The front door of the joint busted open. A man in dark glasses and long dreadlocks came out walking fast with a cocked revolver in his hand. Gold teeth gleamed as he ordered the problem patron out of the car. With a quick gesture, two of Mr. Johnson’s boys hauled the freak out the window, and tossed him hard into the road. Mr. Johnson explained that life was bad for everyone, but this was his place. Something had to be done. He spoke with the cool and poise of a shaman as he slid his piece back into his waistband. All this took place in slow motion while throbalicious, deep fried grooves pulsated across the chicken shack’s rough gravel parking lot with a tremendous low-end thump.
The world seemed… full of possibility.
Some of it… even good.
LOWBALL JACK (a.k.a. Jack Sprat) soaked up the heavy beats and twangy accents emanating from his native Texas/Louisiana border, and rode them all the way to the Big Nipple. He’s screwed lids on bleach bottles, hawked snake oil to rich people, managed some folk’s fortunes and other’s addictions to take the listener on journeys ranging from trip hop to monster fuzz to the cosmic American funk of “ALL JONES NO BUZZ“, “URBAN NOISE DIRTY POISON“, “PHOTO NEGATIVE“, and “BUG“. His fresh new EP, “UNDERBELLY” is covered with illicit downtown dirt.
He co-produced KELVYN BELL‘s stripped down “ST. LOUIS BLU: KELVYN BELL PLAYS ACOUSTIC GUITAR” as well as the avant jazz monsterpiece, “FUNK 4 WHA CHA KNOW“. The ridiculously funky ”Kelvyn Bell: The Thirsty Sessions” will be out this fall. Jack also produced QUEEN ESTHER‘s acclaimed debut slice of Black Americana, “TALKIN’ FISHBOWL BLUES“.