| | Southern Culture On The Skids Countrypolitan Favorites CD Southern Culture On The Skids Discography of CDs
On 2007's COUNTRYPOLITAN FAVORITES, the venerable North Carolina-based punkabilly ensemble Southern Culture on the Skids offers up a charming collection of twangy cover tunes. Highlights of the album include a jaunty version of the Kinks' "Muswell Hillbilly," a passionate take on the Wanda Jackson classic "Funnel of Love," and a rollicking rendition of The Who's "Happy Jack."
Southern Culture on the Skids: Mary Huff, Rick Miller (vocals).
Rolling Stone (p.81) - "The Kinks' 'Muswell Hillbilly' is decked out in authentic rockabilly twang..." Alternative Press (p.191) - 3 stars out of 5 -- "[Y]ou can appreciate how proficient of a band Southern Culture really are..." Dirty Linen (p.92) - "The trio's been making party-licious records for more than 20 years, so it's only fitting they take the time to look back at the late 60s/early-70s 'countrypolitan' crossover hits that inspired them..." No Depression (p.114) - "Miller and company display an ambition that will shock and awe even their most hardcore disciples...It all adds up to one of the most unexpectedly killer albums of the year." Countrypolitan Favorites Music | List Price | $16.98 (You save $3.53) | | Category | Rock/Pop Albums, Rock CDs, Pop | | Label | Yep Roc | | Orig Year | 2007 | | All Time Sales Rank | 31760  | | CD Universe Part number | 7363996 | | Catalog number | 2124 | | Discs | 1 | | Release Date | Feb 20, 2007 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Additional Info | Bonus Track; Digipak |
Southern Culture On The Skids Countrypolitan Favorites Songs Countrypolitan Favorites Review
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$12.65 Following the departure of keyboard player Chris Bess, Southern Culture on the Skids have pared themselves back down to a three-piece on their eighth full-length album, Mojo Box. While it's not quite a return to the gloriously greasy stomp of such early classics as For Lovers Only and Ditch Diggin', there is a significantly lower "novelty" factor here than they have displayed since their move up to the big leagues with Dirt Track Date, and the relatively leaner sound agrees ...
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$15.45 Southern Culture on the Skids: Rick Miller (vocals, guitar); Mary Huff (vocals, bass guitar); Dave Hartman (vocals, drums).
While Southern Culture on the Skids have been making good-to-great records since 1991's Too Much Pork for Just One Fork, their real strength has always been as a live act, and anyone ...
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$11.39 Decidedly Midwest in their approach, the beer guzzlers in Deke Falcon serve up songs that are as immediate as a shot of Jack with a Budweiser chaser on Sand in the Shower, Rust on the Road. Surprising then, that they call Eugene, OR, home, but origins aside, these Deke dudes rock when they wanna. Just check the blistering "Picking Up Sticks in '96" and the muscular "Squadron" for evidence. Perhaps at times their roots rock approach feels dated (think Damien Jurado out in front of a .38 Special cover band), but frontman Patrick Hayden also has the courage to be introspective, leading his group through a somber keeper like "On the Roof." But at their core, Deke Falcon makes bar rock, replete with tinges of roots rock's country and blues elements. And sometimes that's all you need. ~ John D. Luerssen
"Deke Falcon's debut, 'Sand In the Shower, Rust On The Road,' plays like Dino Jr. circa 1985 covering Son Volt circa 1995. Which is to say that the boys of Deke Falcon rock their country tunes with an art-damaged fervor..." --CMJ New Music Monthly #130"My current favorite record, Deke Falcon's debut is the dream meeting of Dinosaur Jr and Uncle Tupelo; Sonic Youth and Gram Parsons. The Falcon ...
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$9.89 This 2009 Snapper two-fer combines two ultra-rare Nina Simone LPs from the early '70s, GIFTED & BLACK and LIVE AT BERKELEY, originally released on the private Stroud imprint, which was run by her then-husband Andrew Stroud. Whether these recordings were an attempt to circumvent Simone's obligations to RCA Records, her label at the time, or were themselves bootlegs unauthorized even by the artist herself is still unclear. Add the fact that the sound on both albums is decidedly lo-fi, and the question of their actual value within the larger Nina Simone discography looms large.
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