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Nashville Pussy - 'From Hell To Texas'

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Nashville Pussy - From Hell To Texas

Nashville Pussy - From Hell To Texas

SPV Records

The Bottom Line

More Southern-fried raunch ‘n roll from one of the best gals ‘n pals teams on the circuit.
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Pros

  • The gang sounds like they’re having more fun than they have the past couple albums.
  • Lean, mean and rawer than an oyster bar on Friday night.
  • Ruyter Suys remains one of the underground’s unspoken guitar heroines.
  • Karen Cuda is settled snugly on bass.

Cons

  • Doubtful we will ever hear them replicate the fast ‘n furious chicanery of ']Let Them Eat Pussy.'

Description

  • Released March 3, 2009 on SPV/Steamhammer.
  • This is Nashville Pussy’s fifth album.
  • Produced by Daniel Ray.

Guide Review - Nashville Pussy - 'From Hell To Texas'

Only Blaine Cartwright could make you bust a gut while snarling the mucky phrase “take a s**t on the moon” in the middle of Nashville Pussy’s dope ditty “I’m So High” from their snaggletoothed fifth album From Hell to Texas.

Cartwright wails almost without care upon the band’s trashy rhythms on From Hell to Texas, yet the good ol’ boy ‘n girl enthusiasm his band pounds out sounds extracted straight from the bottom of a downed Jack bottle destined for scalp.

While their decade-old debut Let Them Eat Pussy is one of the loudest cowpunk albums recorded in the modern era, Nashville Pussy has by-and-large scaled back their capacious insanity and settled into almost comfy downhome rock ‘n roll as of their past couple albums.

In contrast, From Hell to Texas is ruder, be it from Ruyter’s oily guitar chops or Jeremy Thompson’s crunchy and insistent tempos. Playing things in their customary roughneck trade on “Dead Men Can’t Get Drunk,” “Ain’t You Business,” “Pray For the Devil” and “Late Great USA,” Nashville Pussy jacks up the tongue-waggling, cowbell-smacking volume accordingly.

There will never be anything purty about Nashville Pussy’s music, but now they’ve managed to rectify a recent ply for Aerosmith-kissed bar rock with their hellraising frankness of the past. “Lazy Jesus” is as offensive as can be, but it’s also danged addicting. “Why Why Why” punches raunchily yet tunefully with the girls lending solid vocals on the choruses, while the AC/DC-driven “Drunk Driving Man” swirls its own dirt melodically.

This album may not be perfect; in fact, it’s sporadically sloppy. That doesn’t mean this foursome doesn’t click homogenously. Karen Cuda brings indispensable drive on bass to glue Nashville Pussy without circumventing their noisome scheme and the band responds with a bootlicking spree out of the hominy pot.

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