| | Nashville Pussy Get Some! CD Nashville Pussy Discography of CDs
 (2 Customer Reviews)
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Nashville Pussy: Karen Cuda (bass instrument); Jeremy Thompson (drum); Blaine Cartwright, Ruyter Suys.
Personnel: Blaine Cartwright (vocals, guitar); Karen Cuda (vocals, background vocals); Ruyter Suys (guitar, background vocals); Rick Richards (slide guitar); Jeremy Thompson (drums); Rob Bertola (sound effects).
Audio Mixer: Glen Robinson.
Recording information: Brannon Productions, Atlanta, GA; Nickel And Dime Studio.
Photographer: Frank Mullen.
Arranger: Daniel Rey .
"Keep on f*ckin'!" Nashville Pussy explained on 2002's Say Something Nasty. "That's God's first commandment!" Thus having rewritten scripture, there's little for the band to do besides raise hell. Of course, if you trust in 2005's Get Some!, they did that already, too. "Raisin' Hell Again" is just two more minutes of riff-ripping hoariness in a hairy and calamitous string of them, just one of 13 more reasons to love and/or hate this proudly sleazy Atlanta combo. "Grab some and hold on" -- opener "Pussy Time" is the kind of mirthful double-entendre theme to make you hope Nashville Pussy replace Jeff Healy as the Double Deuce's house band in a future remake of Road House. But luckily the songwriting attack for this record is generally more focused than on past outings, ensuring that Get Some! doesn't exist solely as more power-drinking background music for trustees of modern chemistry. "Come on Come On" is genuinely anthemic Southern hard rock, the Kiss/AC/DC hybrid "Good Night for a Heartattack" struts on the edge of death wish hedonism (at one point Blaine Cartwright screams something about wrapping Xanax in bacon), and "Hate and Whisky" uses a heavy blues template to show off the background vocals of Ruyter Suys and new bassist Karen Cuda. (As usual, Suys' stinging guitar leads throughout Get Some! are something to be reckoned with.) "Lazy White Boy" might be Nashville Pussy's true theme song, a cocky and offensive tribute to six packs, dime bags, and armchair butt grooves that manages to be unblinkingly pitiful and totally badass all at once. Nashville Pussy don't care if you're God, the Devil, or a rattlesnake. They'll drink you under the table, tie you to a chair, and steal your car, then leave the number to where they'll be so you can join the party. ~ Johnny Loftus Nashville Pussy Get Some! Songs Get Some! Music Review Average Rating: (5 out of 5 stars)  The definitive pussy album
Generally a solid, consistent output with a take no prisoners attitude which is what sets this band infront of less hard working contemporary acts. This album is good enough to grant this acclaim.
Great licks; solid bass lines and creative lyrics. Second to none rythym section which is now fine tuned. Let's hope this new bassist lasts.
The best release to date with a lack of mediocre songs which surfaced on earlier more frenzied recordings. A great cover of an Ike and Tina Turner tune and a worthy attempt at some heavier old school metal.
When stuck to hard rock blues this band can penetrate a sound worthy of recognition and reputation as one of the finest American cult acts out there.
Bring on the 'pussy time. The party starts now.
Submitted by t.d.t.m82 (Nr London, uk) 
Was This Review Helpful? Yes No More Great Music
Get Some! comes very close to matching 2000's High As Hell, in my opinion. The music continues in the style the band has set down on the past two releases, with even more hooks than before. The production is a little bit too clean, though, and maybe takes away a little bit, but that's a minor complaint, when you've got songs like "Come On, Come On," "Good Night For A Heart Attack," "Hate And Whiskey" and "Meaner Than My Mama." Two covers this time, with "Nutbush City Limits" (originally by Ike and Tina TUrner) being one of the best songs on the disc, and Ace Frehley's "Snowblind" being just all right. Subtle strides are made in both vocals and guitarwork, although neither Cartwright nor his wife will ever be called a great singer or virtuoso guitarist. Lyrics, as always, are meant to be at least semi-humorous. Great, trashy fun!
Submitted by Fizz (Delmarva)
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Banjo player Derroll Adams quietly influenced every musician he came in contact with during his life, and his hushed, stilled playing (he was an up-picker on the banjo, didn't frail, and certainly wasn't bluegrass) and the handful of songs he wrote all carry a sort of gentle, hard-earned wisdom. He was a friend to some pretty famous people in the nascent beat/folk scene of the early '50s, including Pete Seeger, Woody Guthrie, Will Geer, Cisco Houston, and Odetta. Later, after he had relocated to Europe, he mentored and played with countless more folk musicians, including Donovan (Adams is the banjo man with the tattooed hands in Donovan's "Epistle to Derroll") and Alex Campbell, and he influenced scores more as the folk revival caught on in the early '60s. He recorded a couple of wonderful albums with Ramblin' Jack Elliott, and was a pretty fair painter, too. By either design or instinct he kept his distance from the commercial folk and pop scenes, and when he died in his adopted Belgium at the age of 75 in February of 2000, his passing hardly caused a stir in the American music press. But Adams was beloved by those who knew him, and Banjoman is a wonderful tribute to his life and legacy. Covering some of his original songs, plus the traditional folk songs that Adams made his own, the musicians working on ...
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