NASHVILLE PUSSY

Get Some

Spitfire

7 / 10

Track listing:

01. Pussy Time
02. Come On Come On
03. Going Down Swinging
04. Good Night for a Heart Attack
05. Hate and Whiskey
06. Lazy White Boy
07. Hell Ain't What it Used to Be
08. One Way Down
09. Raisin' Hell Again
10. Atlanta's Still Burnin'
11. Nutbush City Limits
12. Mean than my Mama
13. Snowblind

NASHVILLE PUSSY's "Get Some" sees the band going in an experimental direction, substituting lascivious lyrics with stories of a world in political turmoil, the plight of the homeless, and third world poverty. The AC/DC-meets-NUGENT-meets-SKYNYRD southern fried recklessness of past releases has been replaced with epic arrangements that merry modern rock with classical instrumentation. If you believe that, I've got a prime piece of contaminated real estate to sell you.

On "Get Some", NASHVILLE PUSSY does what it does best: get your fat ass moving, your ears bleeding, and your taste buds craving cheap beer and whiskey. While there are a few minor differences between the new release and 2002's "Say Something Nasty", the filth and the fury that you've come to expect from the quartet are delivered by the truckload. The album's 13 tracks are designed to get drunken revelers shouting the catchy choruses to songs like "Come on Come On" at the top of their lungs (and many will be wearing outfits consisting of something along the lines of cowboy boots and a pair of raggedy Fruit-of-the-Looms). Sound-wise, the guitar tone is grittier, the rhythm section raw and natural. Though nothing that will land them on the cover of Guitar magazine, the guitar solos of husband-and-wife team Blaine Cartwright and Ruyter Suys are sleaze-drenched and full of rockin' righteousness. Cartwright's vocals take on an ALICE COOPER quality, possessing even more bad attitude than was heard on previous albums. The simple and effective choruses on tracks like the rowdy boogie shuffle of "Good Night for a Heart Attack", and the clever wordplay and hooky attack of "Hell Ain't What it Used to Be" go hand in hand with the glammy, almost melancholic sound of "Hate and Whiskey". "Nutbush City Limits" is a logical cover choice, while ending the album with a rendition of "Snowblind" from Ace Frehley's 1978 KISS solo album is unexpected and fun (the harmony vocals on the chorus sound great).

So what are you looking to get out of "Get Some" anyway? Straightedge philosophy and avant-garde musicianship? Chill out and pass the Mad Dog.

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