Jackie O'Motherfucker could be defined as the musical facet of a Kerouak novel. Created by NY multi-instrumentalist Tom Greenwood, it has that floating, multiform, rich, fake and complex quality. Originally intended as a schyzophreniac mixture of psychedelic folk guitars, country music, and free-jazz impro (see the albums Alchemy in 95 and Cross Pollinate in 96), the project expanded and became more complex as people Tom met along the way gradually joined in and more instruments were integrated, such as turntables, the ukulele, the recorder, etc (see Flat Fixed, 98). JOMF then turned into an ever noisier wandering community, set outside of time. Greenwood left NY and his misfortunes behind him and moved to Portland, which may partly explain how jazz fusion influences completely vanished in the next album (on Road Clone, 99) Spurred on by Thurston Moore, Tom went on to develop strings of interlocked genres with material retrieved from the average consumer's musical waste. This is how, using all sorts of instruments and sounds, JOMF took on a new sonic identity made up of clashing elements of acid rock, spooky country music (Native Einstein), folk music (Beautiful September), noise rock, post rock, funeral ragga (Your cells in Motion), or even electronica. Jackie O' bring the listner on the road loosing its origin and its end permanently.