| |
| |
| Date |
City |
Venue |
Details |
| Fri 5/2/08 |
Quebec City, QC |
D'agobert |
^ |
| Sat 5/3/08 |
Montreal, QC |
Les Saints |
^ |
| Sun 5/4/08 |
Troy, NY |
Revolution Hall |
^ |
| Tue 5/6/08 |
Buffalo, NY |
The Tralf |
^ |
| Wed 5/7/08 |
Allentown, NJ |
Crocodile Rock |
^ |
| Thu 5/8/08 |
Lancaster, PA |
Chameleon Club |
^ |
| Fri 5/9/08 |
Baltimore, MD |
Rams Head Live! |
^ |
| Sat 5/10/08 |
Pittsburgh, PA |
Rex Theatre |
^ |
| Sun 5/11/08 |
Columbus, OH |
Newport Music Hall |
^ |
| Tue 5/13/08 |
Bloomington, IN |
Bluebird |
^ |
| Thu 5/15/08 |
Dallas, TX |
House of Blues |
^ |
| Fri 5/16/08 |
Houston, TX |
Meridian |
^ |
| Sat 5/17/08 |
Austin, TX |
Red 7 |
# |
| Sun 5/18/08 |
San Antonio, TX |
White Rabbit |
^ |
| Fri 6/20/08 |
Salt Lake City, UT |
The Depot |
* |
| Sat 6/21/08 |
Boise, ID |
Big Easy |
* |
| Sun 6/22/08 |
Livingston, MT |
Highsides Brews & Tunes |
|
| Tue 6/24/08 |
Missoula, MT |
Wilma Theater |
* |
| Wed 6/25/08 |
Spokane, WA |
Big Easy |
* |
| Thu 6/26/08 |
Vancouver, BC |
Commodore Ballroom |
* |
| Fri 6/27/08 |
Seattle, WA |
Showbox Sodo |
* |
| Sat 6/28/08 |
Portland, OR |
Wonder Ballroom |
* |
| Sun 6/29/08 |
Veneta, WA |
The Secret House |
* |
| Tue 7/1/08 |
Sacramento, CA |
Empire |
* |
| Wed 7/2/08 |
Modesto, CA |
Hero's |
* |
| Thu 7/3/08 |
Santa Cruz, CA |
The Catalyst |
* |
| Fri 7/4/08 |
Santa Margarita, CA |
Pozo Saloon |
* |
| Mon 7/7/08 |
Tucson, AZ |
Rialto Theatre |
* |
| Tue 7/8/08 |
Albuquerque, NM |
Sunshine Theater |
* |
| Fri 7/11/08 |
Denver, CO |
Larimer Lounge |
|
| Thu 12/4/08 |
Indianapolis, IN |
The Vogue |
^ |
| Fri 12/5/08 |
Newport, KY |
Southgate House |
^ |
| Sat 12/6/08 |
Detroit, MI |
Majestic Theatre |
^ |
| ^ With Reverend Horton Heat & Backyard Tire Fire |
| # Scott H. Biram supporting |
| * With Reverend Horton Heat & Supersuckers |
|
 |
It's
been said that the devil has all the best tunes, but that's
not the case anymore, since a lil' ol' band from Georgia --
known to friends and followers as Nashville Pussy -- found a
way to pick the lock on that storehouse of demonic sonics and
make off with some of its most incendiary contents.
While they've been at it for the better part of the decade,
the band -- fronted by the hard-livin' hard-rockin' husband/wife
team of Blaine Cartwright and Ruyter Suys -- has never been
more intensely supercharged than on Get Some. The disc, their
fourth full-length and first for Spitfire, offers heaping helpings
of neck-snapping guitar riffage and a full-on embrace of the
sort of good-time decadence that's part and parcel of life below
the Mason-Dixon line. It also shows off Cartwright's razor-sharp
wit, which permeates the disc with laugh-out-loud moments that'd
do John Belushi proud.
"Most of this album is based around life in Atlanta, because
there's something about the city that encourages people to just
get crazy," says singer/guitarist Cartwright. "You've
got all sorts of music that came from the deep south, from James
Brown to Lynyrd Skynyrd, and it's all whoop it up music. It's
gotta be -- it's too hot to hate."
Get Some, which was helmed by producer Daniel Rey (Ramones,
White Zombie, Masters of Reality), ratchets up the heat even
further. In songs like "Good Night for a Heart Attack"
(which Cartwright describes as "a Van Halen party song
, but funnier") and "Lazy White Boy," the band
brings the noise with no-bullshit, blue-collar attitude -- and
a goodly bit of funk.
That latter element is the key to Get Some's appeal. The groove-conscious
tone is buoyed by the joined-at-the-hip rhythms kicked out by
longtime drummer Jeremy Thompson and recently-recruited bassist
Karen Cuda (who was introduced to the band by pals in the Streetwalkin'
Cheetahs). The booming low end they supply makes it all-but-impossible
to keep the booty from shakin' -- particularly on a cover of
Ike and Tina Turner's funk classic "Nutbush City Limits."
"We've been trying to nail that one for years," Suys
reveals. "It's a natural, since Blaine and I have that
married-couple thing going on, but the real reason I've always
been into doing it is that it's one of the first songs AC/DC
and Brian Johnson did the first time they jammed together."
The "married couple thing" is the glue that's held
Nashville Pussy together through several lineup changes and
a passel of label affiliations. Cartwright (a veteran of high-octane
roots-punkers Nine Pound Hammer) and Suys (a Canadian native
who calls herself "a born-again southerner") formed
the band in 1996, quickly churning out the feral, claws-out
Let Them Eat Pussy.
That disc earned the band a Grammy nomination (and the chance
to treat the Goth nation to a shot of Southern Discomfort when
they toured with Marilyn Manson). It also brought them accolades
from a head-spinningly diverse array of musical peers, from
Motorhead mainman Lemmy to eternal outlaw Steve Earle.
The turn of the millennium only strengthened Nashville Pussy's
hold on the pleasure center -- as demonstrated by the 151-proof
High as Hell, which propelled them through a slew of road trips
criss-crossing the lower 48. That pace tested their mettle,
but as Suys tells it, it only strengthened her and Cartwright's
unified desire to spike the Kool-Aid of audiences everywhere
with sex, sin and synapse-destroying rock and roll.
That mind (not to mention speaker) blowing assault is led by
Suys' six-string slinging, which alternates between pounding
the listener over the head and engaging in full-on sonic seduction.
That's a testament to her encyclopedic knowledge of riffs --
as she puts it, "I listen to stuff from all over the map
… B.B. King, Funkadelic, Ted Nugent" -- as well as
her uncanny ability to translate those influences into a style
that's distinctly recognizable as Nashville Pussy.
"The thing about this album," she says, "is that
we're having more fun than we've ever had. Me, Blaine and Jeremy
have always had a ball, and now, with Karen, we're finally reaping
our rewards. We're enjoying ourselves, and I think that shows
in the music."
After four albums and hundreds of nights blasting eardrums around
the world, Cartwright says the band hasn't moved too far --
in terms of attitude, at least -- from where it started. "Your
thousandth joint might not be as amazing as your first, but
you've gotta keep trying," he says with a laugh. "At
least I've gotta keep trying. I'm no quitter!"
And in terms of sound? Furrowed-brow types might throw around
all sorts of fancy terminology in describing how Nashville Pussy's
hard-living hard rock cuts to the quick, but Cartwright prefers
to put it in terms just about everyone can understand.
"It's like AC/DC making out with Motorhead while Lynyrd
Skynyrd watches."
Get the picture? Then Get Some. |
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GET
SOME
Eagle Rock Entertainment /
Spitfire Records
2005 |
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