Jon Spencer and Rob Kennedy (as Brett Gurewitz) performed Slack Motherfucker [LYRICS] with Yo La Tengo live at Matador Records 10th Anniversary Concerts, Irving Plaza, New York City, NY, US on 25 September 1999.
Slack Motherfucker is a cover of a Superchunk song [RELEASE / LYRICS].
The live recording from this performance was released on the Matador at 21: Young Suave Bold Rocker 10″ single.
“…the Matador 10th anniversary show at Irving Plaza in 1999. The Other Dimensions horns join us for the beginning and end of our set, and in the middle we play “Cherry Chapstick” for the first time, all a mere amuse-bouche for the encore, for which we’ve worked up “Everything Flows” and “Slack Motherfucker” by Matador emeriti Teenage Fanclub and Superchunk. When the Blues Explosion has to cancel their appearance, we invite Jon Spencer to sing “Slack Motherfucker.” No rehearsal needed–we’ve learned our part, he’s a showbiz pro, what could go wrong? Some time earlier that day, Jon contacts me and asks if we’d mind if he brought a stripper on stage. I tell him something to the effect of he’s the front man, he should listen to his heart, and I can’t say for sure that I warned either James or Georgia what Jon’s heart was suggesting he do. Cut to showtime, we start “Slack Motherfucker,” Jon slides onto the stage in a snazzy suit with a price tag attached to the jacket and starts singing many of the song’s original lyrics. We reach the solo, and he instructs us to bring it down. We bring it down. Jon commences a tribute of sorts to Matador, though he points out that they’ve had some help along the way from Atlantic and Capitol Records. And in fact, he has big news: Matador has signed a deal with Epitaph Records. Onto the stage comes Brett Gurewitz, who bares an uncanny resemblance to Jon’s friend Rob Kennedy of the Workdogs. We continue vamping. At Jon’s insistence, Gerard and Chris make an appearance, and “Brett” fires Gerard. I’m sure Gerard can’t get off stage fast enough, and Chris is close behind, but Jon stops him. I don’t remember exactly how we get to the next part, but soon Chris has been seated center stage and there’s a woman giving him a lap dance. (If this sounds kind of funny and very creepy, then I’m describing it well.) When the lapdancer executes a particularly impressive flip, her legs ending up in the air, Chris seizes his opportunity to escape. He stands up, lifting her with him, and walks off. Jon says goodnight and starts to leave, but now it’s our turn to stop him–he’s still got the final chorus to sing.” – Yo La Tengo
