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Nashville Pussy: Blaine Cartwright (vocals, guitar); Ruyter Suys (guitar); Corey Parks (bass); Jeremy Thompson (drums).
Recorded at Studio Litho, Seattle, Washington.
Nashville Pussy: Blaine Cartwright (vocals, guitar); Ruyter Suys (guitar); Corey Parks (bass); Jeremy Thompson (drums).
Recorded at Studio Litho, Seattle, Washington.
Unrepentantly vulgar and sleazy, Nashville Pussy came storming out of the south in the late '90s, riding a wave of Southern rock and psychobilly to become a cult favorite among indie rockers and wannabe bikers alike. They got enough exposure and sales with their debut Let them Eat Pussy to be briefly signed to Mercury Records just before the Universal-Polygram merger that led to the mega-major jettisoning of any "marginal" act like the quartet. Nashville Pussy landed on their feet, signing to TVT and cutting their second album, High As Hell, with Fastback's Kurt Bloch. There was a certain amount of anticipation for the album when it hit the stores in the summer of 2000, since no other hard-rock band even tried to be as greasy, dirty, and fun as Nashville Pussy. Well, fun is a subjective term, of course, and not everybody will find this stupid, borderline obscene rock & roll fun. Honestly -- only a minority of rockers will find overpoweringly loud songs like "She's Got the Drugs" and "Blowjob from a Rattlesnake" contagious, but those that do will have a hard time turning down High as Hell. It's hardly an artistic progression from Let Them Eat Pussy -- it's more of a replication, really -- but that's not really a problem, since that's not what the group is about, anyway. Nashville Pussy is about sex, drugs, sleaze, and rock & roll. They're not about music or melody, they're about attitude. They can't sing, they avoid melodies like the plague, they don't even really write riffs, and when they do, it seems like they've stumbled upon them. What they do is make a lot of noise. With the assistance of Bloch, they make a lively, dynamic, visceral record, but it never transcends above the level of sheer noise because there's nothing to hold onto -- no riffs or hooks, nothing to distinguish one song from the next, apart from a couple of shouts or the extended jamming on the closing "Drive." Of course, that may not matter to a lot of their fans, since it just delivers 12 tracks that virtually duplicate the virtues of the debut -- and that may be all some listeners are looking for. ~ Stephen Thomas Erlewine
Kiss, Motorhead, and Ted Nugent are just a few of the influences that come to mind when a revving motorcycle segues into a driving AC/DC-influenced guitar riff and Nashville Pussy does what it does best; sleazy, high-octane Southern hard rock with attitude to spare. HIGH AS HELL, its second album, delivers the goods, as illustrated by "She's Got the Drugs," with its munching-on-glass vocals and Sid and Nancy-style love story.
The title track boasts a foot-stomping, Texas blues-rock groove, while "Go to Hell" puts a new twist on country music heartbreak in a grisly depiction of a man catching his wife in an adulterous affair. "You Ain't Right" finds the song's hero ending a bitter relationship, and Nashville Pussy has fun with handclaps, recalling early Aerosmith, with "Rock and Roll Outlaw." The self-explanatory "Blowjob From a Rattlesnake" tells of a run-in with the law leading to an disagreeable prison stay, while the closest thing to a manifesto comes to life in "Drive," where bad deeds are rationalized as just "...different ideas of fun."
Kiss, Motorhead, and Ted Nugent are just a few of the influences that come to mind when a revving motorcycle segues into a driving AC/DC-influenced guitar riff and Nashville Pussy does what it does best; sleazy, high-octane Southern hard rock with attitude to spare. HIGH AS HELL, its second album, delivers the goods, as illustrated by "She's Got the Drugs," with its munching-on-glass vocals and Sid and Nancy-style love story.
The title track boastMagnet (8-9/00, p.87) - "...12 generous helpings of white-trash bliss....somewhere in between AC/DC and a Southern-fried Motorhead....[It] is the sonic equivalent of a tornado in a trailer park..."
CMJ (5/22/00, p.3) - "...Opens up a nasty can of punk-metal whup-ass....the band's Motorhead-reverant debut [is] looser, more Southern-fried twin-guitar squeal....It's about time someone brought rock back to where it started, and [they] know it's all below the belt." Nashville Pussy High As Hell Songs High As Hell Music Review Average Rating: (5 out of 5 stars)  The Definitive NP Release
The breakthrough happens on Nashville PUssy's second album. Blaine Cartwright is no longer trying to relive his Nine Pound Hammer days, and, unlike the debut, the music actually lives up to all the AC?DC, Skynyrd and motorhead comparisons. Gloriously trashy, and yet very catchy (also unlike parts of the debut), and with tongues planted firmly in cheek. Of the four NP releases thus far, I have to give High As Hell the nod as the pick of the litter, although Get Some! is very close. The closest thing to a weak track here is "Piece of Ass." The best: "Struttin' Cock," "Wrong Side Of The GUn," "Go to Hell," "Rock 'n' Roll Outlaw" (Rose Tattoo cover, in case you didn't know) and 'Drive."
Submitted by Fizz (Delmarva)
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Nashville Pussy: Karen Cuda (bass instrument); Jeremy Thompson (drum); Blaine Cartwright, Ruyter Suys.
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The Who: Pete Townshend (vocals, guitar, keyboards); John Entwistle (vocals, French horn, bass); Keith Moon (vocals, drums); Roger Daltrey (vocals).
Producers: Kit Lambert, Chris Stamp.
Reissue producer: Jon Astley.
Recorded at IBC Studio, London, England.
Originally released as a 2 LP set on Decca (7205).
The Who: Pete Townshend (vocals, guitar, keyboards); John Entwistle (vocals, bass, horns); Keith Moon (vocals, drums); Roger Daltrey (vocals).
Originally released on Decca (7205) in May 1969.
Originally released as a 2 LP set.
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
The Who: Pete Townshend (vocals, guitar, keyboards); John Entwistle (vocals, trumpet, French horn, Flugelhorn, bass); Keith Moon (vocals, drums, tympani, gong, tambourine); Roger Daltrey (vocals).
Recorded at IBC Studio, London, England.
Originally released as a 2-LP set on Decca (7205).
Includes liner notes by Matt Kent.
Personnel: Pete Townshend (vocals, guitar, keyboards); Roger Daltrey (vocals, harmonica); John Entwistle (vocals, keyboards); Keith Moon (vocals, drums).
Recording information: I.B.C. Studio, England; IBC Studios, London, England.
Photographer: Barrie Meller.
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The great George Edward "Rube" Waddell (1876-1914) was a fire engine chasing, hard drinking, alligator wrestling,baton twirling (to name a few) eccentric pitcher who played his most prolific seasons for the Philadelphia Athletics from 1901 to 1910. His true legacy, however, cannot be contained, grasped, or truly understood by his time on the diamond alone. RUBE WADDELL the band is a quartet from the Mission District of San Francisco, CA that has taken him as their patron saint. Performing and recording their own breed of modern Americana music, they mix Blues, Gospel, American and Irish Folk, Country, Rock, Punk, comic Vaudeville, German theater, Mexican Banda, Mid-Eastern and Asian ditties into a raw junkyard stew stirred by their varied array of traditional and homemade instruments. Whether in their street performances, club appearances, or puppet shows.The sound of this quirky phenom is no better represented than in the group's very first ...
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