After graduating from college in the late 90’s, Juiceman was forced to part with his band Milkweed, which had an amazing 3-year run wreaking havoc in college towns across western Pennsylvania. The Nirvana/Beastie Boys influenced act eventually found themselvesbanned from playing at their own college for throwing a rival music festival on the same day as one sponsored by their school.

The D-Boiz (a hip-hop outfit Juiceman originated) also found themselves splintered as group members relocated to different parts of the country. Still wanting to create and perform music, Juiceman dusted off a one time D-Boiz alias and formed Deck of Jack.

Deck of Jack’s first incarnation featured Juiceman (guitar, vocals), his best friend T-Bell (bass), and their mutual friend Brad (drums). They officially debuted at Milkit’s Wiffle Ball Classic V (1997, Pittsburgh, PA). The band later dropped Brad and opted to go with a non-human drummer. It wasn’t that they didn’t like Brad’s drumming, but Juiceman’s mother constantly complained about the noise coming from his bedroom, and practicing with a live drum-kit was not an option. Theoretically they could have practiced at Brad’s house, but Juiceman didn’t own an automobile either, and obtaining the family car wasn’t always an easy task. Deck of Jack decided to go for the portability and convenience of a drum machine and added Elmo 2000 to their ranks.

The band picked up where Milkweed and the D-Boiz left off, blending genres like a well made mixtape. Drawing on influences from punk, edgy-pop, hip-hop and electronic big-beat music—“Electronic-Garage-Power-Pop” was born.

Deck of Jack quickly developed a name for themselves by playing out at any available college gig, backyard weenie roast, or house party. Because they didn’t have to lug a drum kit everywhere, Deck of Jack also went on to play a series of bedroom concerts for their more dedicated fans. In 1998 Deck of Jack stretched their fanbase and demographic even further by performing one of their most unique concerts to date at the Shaler Oaks Senior Citizen’s Apartment Complex (Pittsburgh, PA). As documented on a Deck of Jack homemade video recording, the band did indeed get the 70-year old attendees to throw their hands in the air.

In 1999, Elmo 2000 puttered out at a house party and made his very last beat (Syracuse, NY). Juiceman’s dad came to the rescue and quickly sent him an early Christmas gift—a new drum machine—given the name Buttermilk Jones. Later that year, Deck of Jack performed at Milkit’s Milklenium Meltdown to usher in the year 2000, and little did Juiceman, T-Bell, or Buttermilk Jones know that this would be their final concert together. The following year Juiceman relocated to New York City.

After a few years of inactivity, Juiceman yearned to reunite Deck of Jack, but encountered one big problem—he lacked a bass player (who not only had to play bass, but also had to have that something special). Little did he know that this bass player was right under his nose. While attending a concert together, Juiceman’s good friend Fuzz mentioned that it was his dream in life to perform in a band. Fuzz had the passion, but lacked one key ingredient—he didn’t know how to play any instruments. Juiceman came up with the only logical solution—he would teach Fuzz the bass.

That night marked the rebirth of Deck of Jack, and Fuzz has not put the bass down since. Later that year, Juiceman and Fuzz attended a Digital Hardcore show, and wooed drum machine Ichiro “Bad Boy” Jackson to join the group. The trio began playing out in New York City, and immediately began receiving underground acclaim for their dynamic live performances. In late 2002 Deck of Jack recruited Scratch Academy graduate, B. Lums, into their line-up. With the addition of B. Lums on the turntables and keyboards, Deck of Jack added another sonic dimension to their already “big” sound.

Soon after the addition of B. Lums, Deck of Jack released Easy Bake Album (2003), a mix of new and old material, balancing Deck of Jack’s propensity for humor and politics. Keeping true to their D.I.Y. roots, Deck of Jack ran a limited edition of 300 self-burned Easy Bake Albums (which included homemade photocopied liner notes). The album sold-out quickly and has since become a collector’s item within the Electronic-Garage-Power-Pop Community.

Following a steady diet of playing shows up and down the east coast, and after releasing an limited-run EP of rarities and B-Sides (Chin Music, 2004), Deck of Jack retreated to an old abandoned McDonald’s to create their most ambitious work yet, a fast-food concept album titled Shock Box! (2005). Once again Deck of Jack loaded up on big beats, punky guitars, and a notebook full of rhymes to create a socially conscious make-your-feet-move kind of album.

If you ever get a chance to see Deck of Jack live, you are required to do two things. 1.) Bring comfortable sneakers, because you will be moving all night long. 2.) Bring a towel—you will sweat up a storm while bouncing in those comfortable sneakers…

Official Shock Box! Press Release (2005)

Finding an old abandoned McDonald’s in the middle of nowhere, Electronic-Garage-Power-Pop pioneers Deck of Jack set up shop and began to craft songs for their most ambitious work to date—a fast-food concept double-album (on one disc no less) entitled Shock Box. Inspiration came not only from their own fast-food experiences, but from blue-collar, minimum-wage workers who duke it out on a daily basis just to make ends meet. Shock Box is not so much a critique on the practices of the fast-food industry (Fast Food Nation, Super Size Me), as it is a rally cry for the working class who fear that there is no light at the end of the arches.

Following their time in the vacant McDonald’s restaurant (and after downing countless milkshakes), Deck of Jack retreated to Juiceman’s apartment in New York City. Because they wanted to relate to the everyday person (a.k.a. “keepin’ it real”), Deck of Jack opted to skip over the Pro Tools, and dust off their 4-track cassette recorder. “We wanted to create something accessible. We want to inspire 16-year kids who love music, to save up their McDonald’s paychecks and acquire a 4-track of their own. They don’t have to buy a Powerbook or an expensive software program to musically put out their ideas. And besides, this is how we did it when we were their age. Recording on a 4-track builds character,” commented Juiceman.

Though initially finding stores that sold cassette tapes nearly impossible, Deck of Jack finally located a 10-pack and began recording their ideas. The songs flowed from the hands and mouths of Juiceman, Fuzz, B. Lums, and Ichiro “Bad Boy” Jackson, like an endless vat of milkshake mix. After a year of recording in Juiceman’s bedroom, bathroom, and pantry, the group decided to do a musical first—put out a double album on one CD. “A lot of groups will put out a double album, or will even release two albums at once. Why make the kids pay for two when you can just put all the music on one piece of plastic?” remarked Robert Schintziss (President of Milkiit Entertainment). “It’s like when they have the buy-one-get-one-free double cheeseburger sales,” added Schintziss.

Though Deck of Jack kept mostly to themselves during the recording of Shock Box, they did bring in rock n’ roll legend Donnie Iris to do some of his trademark three-part harmonies on “Everything Would Be Okay.” Also, former Deck of Jack drum machine Buttermilk Jones settled his longtime feud with Ichiro “Bad Boy” Jackson, and appears with him on the socially poignant, “Middle Finger.”

So there you have it—whether you’re into fast food or health food, hamburgers or veggie burgers, we highly suggest that you try out the Shock Box. Thank you, and please pull around to the first side window…

Deck of Jack – Shock Box: A review by Prof D

For years, the mix tape community has pondered when the Jooseman was going to release a true mix tape in the tradition in the grand masters. Little did we know that ideas were percolating, not for himself, but to be shared with perennial fan favorite Deck of Jack.
Opening my mailbox on a Saturday afternoon, I was pleased to find a package. Expecting it to be the latest Beastie Boys CD I bought on Ebay, I was even more pleasantly surprised to find the eagerly anticipated Deck of Jack release, Shock Box! Unlike previous releases, the Jooseman had been keeping details of Shock Box! close to the vest. When asked, Joose would only reply, “We got about 30 tracks done, but Robert (Milkit C.E.O.) is trying to negotiate a guest appearance which is taking a little longer than expected.”

And so the world waited. We saw two releases, one consisting of mostly older material and another with a decidedly angry tone. Had Deck of Jack lost their pop sensibility? The definitive answer is NO.

Shock Box! sounds like the love child of Handsome Boy Modeling School and Check Your Head. Instead of modeling schools, the album’s overarching theme is fast food, which is expertly weaved through various songs and skits. As with Check Your Head, Shock Box! cannot be confined to a single genre. Deck of Jack manage to combine rock, rap, punk, pop, and even do-wop into a single cohesive package.

One of the most interesting things about the album is that Deck of Jack has finally chosen to embrace their hip-hop personas. Sure, Joose has always shown us his B-boy side from time to time (most notably in M.I.A. hip-hop super group, D-Boiz) but Shock Box! finds closet B-boy Fuzz and even DJ B. Lums gripping the mic and spitting some old-school rhymes.

It was also a pleasure to hear the increased presence of B. Lums behind the 1 and 2’s. One of NYC’s most wicked DJs, B. Lums really shines on Shock Box!, both on solo DJ tracks as well as providing the backbone to many vocal tracks.

The lyrical content is classic Deck of Jack, who manage to craft songs out of what would appear to most to be the most boring subject matter ever. Case in point, a whole song is crafted around the fact that most basketball courts no longer have nets on the baskets, while another is about a cancelled tour. Of course, Deck of Jack also offer their unique take on love, work, the state of the world, and music.

This review will close with a track by track analysis:

1) “French Fry”: Typical Joose style mix-tape intro track. Samples from Beavis and Butthead and Samuel Jackson over a good back beat.

2) “Oblivious”: First real track of the album is punk-pop that you have come to expect from a Deck of Jack song. Power chords dominate as Joose wails (he’s getting really good at that rock star yell).

3) “Dr. Cosmo”: Little interlude, notable for the return of the classic Joose effect (using the radio dial static as a transition).

4) “Me So Mad”: I first heard this track at Mr. Small’s Funhouse over a year ago. Surprisingly, Donnie Iris appeared on stage for the live version. I was a little disappointed that he didn’t reprise his role on the studio version. The studio version is a bouncy-pseudo-rap ode to cell phone rage. Nice addition of some audio voice effects.

5) “The Mechanical Bull”: An interlude to introduce B. Lums. Think of it as a DJ’ing 101 intro course.

6) “Mild Riot”: First of the B. Lums DJ tracks. Just enough to entice the listener without going out of control. Some nice scratching here.

7) “Tonite Unite”: Another pop-punk ditty asking everyone to unite
together featuring some nice tempo changes.

8) “Bring the Hip-Hop Back”: The first true hip-hop track is actually a resurrected D-Boiz song. I initially didn’t like this version because the track is a little faster than the original and it appeared that Joose and Fuzz were having trouble keeping up. Subsequent listens have made me appreciate the old-school breaks served up by B Lums. I still prefer hearing Smooth, Prof D, and T-Bell on this track.

9) “Fake People”: One of my favorite tracks on the album. Over a ragged guitar riff, Joose vents about people who go along with the crowd. I think this originally appeared on the Pool Party mix tape [Ed. Note: It actually appeared on Generic Mix-Tape].

10) “Shiny Floors”: The second B. Lums offering, this time tying back to the fast food theme. Once again, short but sweet.

11) “Just To Prove A Point”: Another straight hip-hop track that really shows the old-school mind state of this group. The topic this time is the lack of respect for the DJ in current hip-hop. My only complaint is that the track is just too short.

12) “A Message From The CEO”: Short interlude message from Milkit C.E.O. Nice bathroom break from the action.

13) “Turtle Wax”: I don’t know how to describe this track. It only clocks in at a buck-thirteen, so whatever.

14) “Fast Food Prelude”: Little piano backed intro to the next track. Once again, ties back to the fast food theme.

15) “Fast Food Life”: Nice chorus carries this punk tune about the rigors of the fast food life, which can only be described so vividly by someone who has been there, done that.

16) “Crazy Dangerous”: I was a little bit disappointed by the use of the Billy Squier sample in this song just because the big beat has been used umpteen times before. With that said, this is a solid hip-hop song with some nice cutting courtesy by B Lums. Added bonus to see Fuzz rock the mic. Not many may notice the swiped D Boiz (and Run DMC) lyrics appearing here.

17) “Bonus Squier”: Nice hip hop mini track. As with “Just to Prove a Point,” my only complaint here is the length.

18) “Middle Finger”: Another reworked “classic” joint from a former Milkit artist (this time from Mojo Tribe). The track can only be described as noise, but enough to make Dizzee Rascal proud. This one has a special place in my heart because I lent vocals to the original version. Suspiciously, I was not asked back for the remake.

19) “The Call-In”: Another “fast food” themed interlude. I especially liked the evil sounding Joose/Jiminy Cricket voice.

20) “Skeeze”: This is a re-recorded Deck of Jack track. Throbbing beat drives this power-pop tirade.

21) “Batch Cooking”: A fast food themed musical non-vocal track. Pulsing techno type beat is featured with restaurant orientation video sound bytes.

22) “Frank Fainelli”: Drunken sounding phone call interlude.

23) “Everything Would Be Okay”: This turned out to be perhaps my favorite track on the album and not just because it features Pittsburgh favorite Donnie Iris, n’at. Nice poppy love song with do-wop vocals courtesy of Donnie.

24) “No Swish”: Super short punk song about the lack of basketball nets in courts. Best example of Deck of Jack crafting a song out of seemingly nothing.

25) “Blow Out The Bin”: A second short punk song, this time with the fast food theme.

26) “Pizza On The Floor”: Sort of like “Turtle Wax”, a short song that makes no sense. I guess pizza shops are fast food too, so it fits in with the theme? Added points for using the Falling Down sample.consisting of one verse. It’s like getting a plate of potato skins when you really want a steak and baked potato with cheddar and bacon. Luckily, I still like potato skins.

27) “A Nimble Adage”: A slowed down hip-hop track. The most notable thing about this track is the triple-trouble raps of Joose, Fuzz, and B Lums.

28) “Fuzz’s Query”: Another phone call interlude, this one courtesy of Fuzz.

29) “Unbreakable”: A short, hard-hitting hip-hop track. Once again, Deck of Jack seem content to offer hip-hop songs

30) “Why Did Mike?”: This song has gone through so many different backing tracks, I can’t keep them straight. Luckily, this is the most solid of the versions that I have heard. Yet another great example of crafting a whole song out of something insignificant, this time the cancellation of the ill fated Beastie Boys / Rage Against the Machine “Rhyme and Reason” Tour.

31) “Forever (Hidden Track)”: A really nice way to close out the album. A power-pop homage to the love between Joose and T-Bell. Leaves you feeling all warm and fuzzy inside.

Well, there it is. You may never hear them on the radio or see them on MTV, but Deck of Jack are one of the most diverse and entertaining indie bands in the country. If you don’t know, now you know.