From 1976 he worked in Australia and was a member of various groups including The Johnnys, Beasts of Bourbon, Paul Kelly and The Coloured Girls, Chris Bailey and The General Dog, Maurice Frawley and The Working Class Ringos, and Sacred Cowboys. Spencer has also issued ten albums as a solo artist. In May 2012 Australian Guitar magazine rated Jones as one of Australia's Top 40 best guitarists.
Spencer Patrick Jones was born in 1956 and grew up on a farm in Te Awamutu, New Zealand. His father was a funeral director, farmer and then news agent. When his family moved to Auckland, Jones and his siblings studied piano. On his 14th birthday he was given a guitar and became a self-taught musician. From 1976 he has worked in Australia and his early groups were The Emotional Retards, Country Killed, Cuban Heels (1979–81), Beats Working (1981–82) and North 2 Alaskans (1982–83).
In 1983 Spencer joined The Johnnys, a pub rock band, on lead guitar and backing vocals. Jones co-wrote their debut single, "I Think You're Cute", with their bass guitarist and lead vocalist, Roddy Rayda, which was issued in October. When Rayda left early in the next year, Spencer took over lead vocals. In April 1986 The Canberra Times described the group as a "combination of country punk, mayhem and cowboy image". In August that year Mushroom Records issued their debut album, Highlights of a Dangerous Life, with Ross Wilson producing (Skyhooks, Company Caine, Mondo Rock). The group broke up in 1989 and Jones continued with various other bands.
In August 1983 while a member of The Johnnys, Spencer formed a side-project, Beasts of Bourbon (1983–85, 1988–93, 1996–97, 2003–08, 2013) with James Baker on drums (ex-Hoodoo Gurus), Tex Perkins on vocals (Dum Dums), Kim Salmon on guitar and Boris Sujdovic on bass guitar (both ex-The Scientists). Except for mainstays, Jones and Perkins, the line-up has changed as the group splintered and reformed several times. Steven Corby for The Canberra Times described Beasts of Bourbon in August 1990 as "a mutation of rock 'n roll, some blues, jazz, country, and a cornucopia of 20th century music as well as fartin' and thumpin', sexy girls, and ladies of the night".
Other groups Spencer has worked with include Olympic Sideburns (1983), Paul Kelly and The Coloured Girls (1985), Legendary Stardust Cowboys (1986), The Rock Party (1986), The Butcher Shop (1988–93), Minced Meat (1989), Hell to Pay (1990–92), Chris Bailey and The General Dog (1992), Maurice Frawley and The Working Class Ringos (1993–2000), Sacred Cowboys (1994–95), Paul Kelly Band (1996, 1998, 2001–02) and Singers for the Red Black and Gold (1997).
In November 1994 Spencer released his debut solo album, Rumour of Death, which he co-produced with Dave McCluney for Red Eye Records and Polydor Records. Jones had started planning for his album in 1989 or 1990 but other projects intervened including Hell to Pay. Working with Jones on the album were Warren Ellis on violin (Dirty Three), Bryan Henry Hooper on bass guitar (Beasts of Bourbon, Kim Salmon and the Surrealists), Peter Jones on drums (ex-Harem Scarem), Graham Lee on pedal steel guitar (ex-The Triffids), Nick Rischbieth on guitar (Sacred Cowboys), and Conway Savage on piano (Nick Cave and the Bad Seeds).
Australian musicologist, Ian McFarlane, described the album as having "a timeless rock'n'roll feel with country elements". Fellow rock music journalist, Ed Nimmervoll, felt it was "a growling, introspective country rock album" with Spencer "a little unsure about the sound of his own voice but backing his vocals with strong songwriting, sparce [sic] arrangements, and a great performance". In March the following year he issued a single, "The World's Got Everything in It", from the album. The track had been written and first recorded by Minced Meat, a duo of Jones and Perkins, back in 1989; it was later re-recorded by Beasts of Bourbon.
In late 1999 Jones formed a band, The Last Gasp, working with Hooper again on bass guitar, joined by Kieran Box on keyboards and Dan Luscombe on guitar (both from The Blackeyed Susans), and Timmy Jack Ray on drums (Powder Monkeys). By mid-November the following year Jones issued his second solo album, The Last Gasp. It was produced by Tony Cohen, Spencer was backed by a nine-piece session band. Nimmervoll declared it was Album of the Week: "he's comfortable with the sound of his voice ... You can feel the smoky bar rooms this music was born in. The atmosphere is thick with music and attitude". I-94 Bar's The Barman noted the sound is "big, brassy and sprawling. Keyboard colourings abound, though there are sightings of Spencer's understated guitar".
By November 2001 Jones released his next album, The Lost Anxiety Tapes, on MGM Distribution, featuring Cow Penalty with Arnie Daniels on guitar, Steve Hadley on bass guitar, Des Heffner on drums and Matt Heydon on keyboards, piano, organ, synthesiser, and percussion. The Barman found the tracks had "simple, but effective, rock tuneage that push the edges in all sorts of little ways and exhibit not an ounce of fat". Cosmik Debris Magazine's John Sekerka described Jones as one who "knows how to confuse, confound, amuse and delight" with his "various catchy melodies with provocative words, culminating in stupefying songs you'll be hard pressed not to hum".
For his next album, Fait Accompli (2003), Jones worked with three different bands, Cow Penalty (with Heydon joined by Helen Cattanach on bass guitar, ex-Moler, and Harry Fischer on drums) on three of twelve tracks, Escape Committee (with Cattanach, Phil Gionpriddo on steel guitar, and Andy Moore on drums) on seven tracks, and New York-based group, The Beeks (Steve Boyle on guitar and keyboards, Billy Ficca on drums, and Brian Ritchie on vocals and bass guitar) on two tracks.
Nimmervoll described Fait Accompli being "filled with the growling impatient restless menace real rock and roll is made of" and with Jones fronting three groups "[he's] in the spotlight, hat on head, cigarette dangling from the corner of his mouth, guitar in hand, telling you how life is or how he wants to imagine it. It don't matter. It ain't pretty". The Barman noted that it has a "greasy appropriation of the blues" and his "distinctive drawl and scuzzy lead guitar". Sleazegrinder's reviewer declared that Jones "writes and plays every lick, every lyric from the bottom of his soul, you can always feel it when someone spills their guts, means every bit of it, when they've not only written some tunes, but lived 'em, too. The album is a full experience, not a random assortment of half written leftovers, like most releases we endure nowadays".
On 7 August 2006 Spencer issued an album, Immolation & Amelioration 1995-2005, which updated previously unfinished material from his back catalogue. It was commissioned by Spanish label, Bang! Records, where Spencer had developed a loyal following. The Age's Patrick Donovan opined that it showed his "many moods and styles, from snarling, swampy guitar slinger to tender balladeer, and features his many incarnations". The Barman described the various line ups as "a star-studded list of drop-ins, drop-outs and dropkicks to be sure, but the real star is Spencer hisself".
For his April 2007 album, Fugitive Songs, Jones worked with the Escape Committee (Cattanach, Gionpriddo, and Moore) again. The album was dedicated to veteran hard rocker, Ian Rilen (1947–2006), who had been a band mate in Hell to Pay. The Age's Andrew Stafford cited Jones remembering Rilen "I was playing in Hell to Pay and things started getting messy. I remember Ian saying, 'This is enough of this, we've got to stop doing it' – and he screwed up the syringe in his hand, you know, the needle sticking into his hand – 'F--- this shit, we've got to stop doing this!'" The album itself showed "there's no one making better rock'n'roll records in the country". The Barman finds Fugitive Songs is "bluesy rock with the smell of cordite not far away. It doesn't bust down any barriers ... as fine an effort as anything else in his backpages".
During 2008 Jones performed with a revised line up of the Escape Committee – Cattanach was joined by John Nolan on guitar (ex-Bored!, Hoss, Powder Monkeys); Hamish Marr on keyboards and backing vocals; and Cal McAlpine on drums (ex-The Chosen Few). Together they recorded a performance at the Elsternwick Hotel which was issued as Jones' first live album, Hang On... Hang On... Live from Melbourne, later that year. I-Bar's Simon Li noted that it "enhances his reputation ... as a true National Living Treasure ... it features nine classic songs for the world weary and downtrodden, drawn mostly from his Spooky Records catalogue". While fellow reviewer at the website, The Barman felt it is "raucously rude and liver than your great grandfather will ever be, this bang-up bag of some of Spencer's best-loved tunes dangerously hits the spot – like petrol poured on a barbecue. The ragged two-part vocals just add to the ambience". That year Jones also produced and played guitar on the self titled debut album by young Melbourne singer/songwriter Jules Sheldon.
Sobering Thoughts, his next solo studio album, was issued on 10 September 2010 on In the Dog House Records. In February 2013 Jones recalled "it is my favourite I think. I really like that record. It was easy to do, the songs came together quickly, I really like everybody's playing on it ... it was made at a real difficult time in my life. I kind of got through that time by making that record. By purging a whole lot of venom. A record has to have a bit of pain and a lot of action".
In May 2012 Australian Guitar magazine rated Jones as one of Australia's Top 40 best guitarists. Jones also worked with the Nothing Butts, which had The Drones's Gareth Liddiard on guitar and Fiona Kitschin on bass guitar; and former Beasts of Bourbon band mate, James Baker on drums. They issued an album, Spencer P. Jones And The Nothing Butts on Shock Records on 9 November 2012. Late that year he had teamed with Salmon (both ex-Beasts of Bourbon) which resulted in another album, The Runaways (February 2013).
Discography
Albums
Rumour of Death (November 1994) – Red Eye/Polydor
The Last Gasp (November 2000) – Spooky Records (Spook001)
The Lost Anxiety Tapes (by Spencer P. Jones featuring Cow Penalty) (November 2001) – Spooky Records/MGM Distribution (Spooky004)
Fait Accompli (2003) – Spooky Records (Spooky010)
Immolation & Amelioration 1995-2005 (7 August 2006) – Bang! Records (BANG! - LP14), Spooky Records (Spooky022)
Fugitive Songs (April 2007) – Spooky Records (Spooky024)
Hang On... Hang On... Live from Melbourne (2008) – Beast Records (BR 088)
Sobering Thoughts (by Spencer P. Jones & The Escape Committee) (10 September 2010) – In the Dog House/Aztec (INTDHR 003)
Spencer P. Jones and the Nothing Butts (9 November 2012) – Shock Records (MAX001)
Runaways (by Spencer P. Jones and Kim Salmon) (February 2013)
Extended plays
These Days ep - Spooky/MGM
Singles
"The World's Got Everything in It" (1995)
"What's Got into Him?" (1997)
Terrorize Your Friends
Spencer P. Jones Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
How do you fix a
How do you
How do you
How do you fix a
How do you fix a broken heart
Left in the rain
Left in the rain
Left in the rain
Left in your
Love me
Lovely
Lovely
Lovely
Won't you
Love me
Lovely
Lovely
Lovely
How do you fix a
How do you fix a
How do you fix a
How do you fix a
Listen, I don't wanna be your friend
I don't wanna be your friend
I don't wanna
I don't wanna
I don't wanna be your friend
I don't wanna be your friend
I don't wanna be your friend
I don't wanna be just friends
Just wanna love you, love you, love you
Love you how I wanted to
Love you
Love you
Love you
Love you
Love you just me and you
I'mma treat you like a king
I'mma kiss you like it's been
I'mma treat you like a prince
But I'mma love you like a sin
I'mma hold you like the world's gonna end
Just know I don't wanna be your friend
The song "Terrorize Your Friends" by Spencer P. Jones is a heart-wrenching depiction of a person grappling with the idea of how to mend a broken heart and a shattered soul. The lyrics are largely introspective and painfully honest, giving the listener a glimpse into the mind of someone who is desperate to fix themselves and move on. The repeated lines "How do you fix a broken heart?" and "How do you fix a broken soul?" are a lament, a plea for help.
The lyric "Left in the rain" portrays a sense of abandonment or neglect, perhaps implying that someone has caused the heartbreak which has led to the question of how to fix oneself. The repetition of the word "love" and its variations in the second half of the song speaks to the listener. Jones is expressing his own heartfelt desire for love and connection as well as extending a call to the listener to love and be loved.
The chorus of "I don't wanna be your friend" presents the internal struggle that the singer is feeling. On one hand, they value and care deeply for the subject of the song, but on the other hand, they crave more than just friendship. The line "I'mma treat you like a prince, but I'mma love you like a sin" further underlines this sentiment, highlighting the idea that the love being withheld is something that cannot just be given casually.
Overall, the song is a powerful exploration of vulnerability and the longing for love that is both relatable and emotionally moving.
Line by Line Meaning
How do you fix a
The singer is questioning how one would go about fixing something.
How do you fix a
Continuing this questioning, the singer repeats the line.
How do you
The singer is still questioning, but now the question is incomplete.
How do you
The incomplete question is repeated, emphasizing the singer's uncertainty.
How do you fix a
The singer is now specifying what needs to be fixed - a broken heart.
How do you fix a broken heart
The singer is acknowledging that a broken heart needs fixing.
Left in the rain
The singer is describing the state of the broken heart - it has been left in the rain, perhaps abandoned or neglected.
Left in the rain
This line is repeated, further highlighting the desolation of the broken heart.
How would you fix a broken soul
The singer is posing another question about how to fix something, but this time it's a broken soul.
Left in the rain
The singer is again using the metaphor of the broken heart being left in the rain, but this time it's a broken soul that has suffered this fate.
Left in your
This line is unfinished, but it's possible the singer is alluding to the idea that the broken soul has been left in the hands of someone else.
Love me
The singer is making a request for love.
Lovely
The singer is expressing admiration for the person they're making this request to.
Lovely
This line is repeated, emphasizing the singer's admiration.
Lovely
Again, the singer repeats this word, cementing their fondness for the person they're addressing.
Won't you
The singer is adding a polite entreaty to their request for love.
Love me
The request for love is repeated.
Lovely
Again, the singer expresses their admiration.
Lovely
The final repetition of this word suggests that the singer is deeply enamored of the person they're addressing.
How do you fix a
The singer is returning to the earlier question about how to fix something.
How do you fix a
This line is repeated, creating a sense of unease or confusion.
How do you fix a
Again, the singer repeats this line, conveying their ongoing uncertainty about what to do.
How do you fix a
Once more, the singer repeats this line, highlighting the lack of resolution to their question.
Listen, I don't wanna be your friend
The singer is making a statement about their feelings - they don't want to be just friends with the person they're addressing.
I don't wanna be your friend
This line is repeated, emphasizing the singer's desire for a deeper, more intimate relationship.
I don't wanna
The singer begins a new line, continuing to state what they don't want. This time, it's not just friendship.
I don't wanna
This line is repeated, reinforcing the idea that the singer wants more than just a surface-level connection.
I don't wanna be your friend
Again, the singer is clear about what they're not looking for in this relationship - friendship.
I don't wanna be your friend
This line is repeated one last time, driving home the point that the singer wants something more than friendship with this person.
Just wanna love you, love you, love you
The singer is making explicit what they want - to love the person they're addressing.
Love you how I wanted to
The singer is expressing their longing to be able to love the other person in the way they've always wanted to.
Love you
This line is repeated several times, underscoring the depth of the singer's feelings.
Love you
The repetition of this line continues, emphasizing the importance of love to the singer.
Love you
Once more, the singer repeats this line, driving home the centrality of love to their desire for this relationship.
Love you just me and you
The singer is painting a picture of a private, personal connection between themselves and the other person.
I'mma treat you like a king
The singer is making a promise to the other person to treat them with respect and reverence.
I'mma kiss you like it's been
The singer is promising to express their affection physically, with kisses that will make the other person feel wanted and desired.
I'mma treat you like a prince
Continuing the promise of respect and admiration, the singer is comparing the other person to royalty and promising to treat them accordingly.
But I'mma love you like a sin
This line is more complicated, suggesting that the singer's love for the other person is somehow transgressive, outside of societal norms.
I'mma hold you like the world's gonna end
The singer is making a promise to be there for the other person when times are tough, to love and support them even when everything else seems to be falling apart.
Just know I don't wanna be your friend
The song culminates with a repetition of the earlier statement - the singer doesn't just want to be friends with this person, they want something more.
Lyrics © O/B/O DistroKid
Written by: Kobe Jones
Lyrics Licensed & Provided by LyricFind