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Supersuckers - The Sacrilicious Sounds of the Supersuckers (1995)

Posted in: March 20, 2011

Supersuckers - The Sacrilicious Sounds of the Supersuckers (1995)
Supersuckers - The Sacrilicious Sounds of the Supersuckers (1995)
Year & Label: 1995 Sub Pop Records | CD#: SP303b
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The best Rock album since the Supersuckers last rock album, "La Mana Cornuda". Eddie Spaghetti and his mates are filling a gaping void in the Rock n' Roll music scene with their evil-inspired lyrics, crunchy guitars, and gritty singing. Although "Cornuda" is often labelled their "break-thru" release - "Sacrilicious" exceeds its predecessor with improved harmonies and risky-er guitar work. The pace of the album is as in-your-face as any rollercoaster ride - it's nice to know that a Rock n' Roll band can still thrive in a market saturated by punk and hip hop. There's something authentic going on here
The Sacrilicious Sounds of the Supersuckers is the third studio album of the American rock and roll band The Supersuckers. It was released August 8, 1995 on Sub Pop. The word sacrilicious is a portmanteau of sacrilegious and delicious. It was popularized in "Homer Loves Flanders", a 1994 episode of the television series The Simpsons.
Supersuckers are a Southern-fried punk rock band that, if not firmly tutored in metal, have at least watched This Is Spinal Tap several dozen times. Live, the band engage in more tongue-waggling than Gene Simmons, and--when they're not wearing cowboy hats--at least as much hair-shaking as Judas Priest. On The Sacrilicious Sounds, Supersuckers even make a nod to Ozzy Osbourne on "Ozzy." Such familiarity with headbanging instills their music with crunchy intensity, causing their rhythms to sound like a cross between the Ramones and Motorhead. Like their past efforts, the new disc revolves around simple three-chord riffs and lots of white-hot soloing, but while many of the band's older songs tended to sound the same, the tunes here exhibit enough identity to stand apart.
~ Jon Wiederhorn, Amazon
Embracing the belief that a band’s creative course is defined by its limitations, the Supersuckers basically refused to grow up and turned in another beer-soaked party album with a dual guitar assault, thundering drums and a whole lotta nonsense as key ingredients. The biggest difference this time around is that ex-Didjits Rick Sims temporarily replaced Ron Heathman, but also stylistically, there’ve been some subtle shifts (never thought I’d use the word “subtle” in a Supersuckers review). Whereas the Heathman-Bolton tandem basically churned out high-octane garage punk, the direction is slightly more altered into a hard rock-direction (with hints of glam now and then) that’s less raucous and speedy than La Mano Cornuda. Luckily producer Paul Leary (of Butthole Surfers fame) never heard of tasteful restraint, so there’s no danger of the band suddenly becoming well-mannered and behaved (the repeated “Motherfucker”-chanting of “Run Like a Motherfucker” is guaranteed to crack you up). Thirteen out of fourteen songs are about fat chords, flaming sideburns and a not-so-gentle kick in the groin that’s ideally suited to set the local rowdy roadhouse on fire, and as before, these smelly songs deal with exquisite matter such as getting into fights, sex (does Eddie really sing “You can use my dick for a walkin’ stick as well” in “Born with a Tail”?) and other assorted “dudes-stuff.”
While the stress still lies on a punk-approach of traditional American rawk, like in opener “Bad Bad Bad” and “The Thing About That,” the band repeatedly slows down as well. Songs like “Doublewide,” “Marie” and “Hittin’ the Gravel” were basically designed for AC/DC-fans who’d like to hear something else for a change. Sometimes, the longer running times and slower pace involves a few average songs, like the unimaginative stomp of “Bad Dog” or “My Victim,” which, despite the surprising presence of horns, loses focus all too fast. But hey, as long as there are ridiculously FUN tracks, like the tribute “Ozzy” (“He’s got it made, black as a spade, he’s OZZYYYYYYYYYY”), the album’s should’ve-been-a-hit “Born with a Tail,” the straightforward riff-rock of “Stoned If You Want It” or Rick Sims’ irresistible blast “Run Like a Motherfucker,” complete with high-pitched whine, you’ll have nothing to complain about. On top of that: to justify the purchase you can always play the sleazy late night blues of “Don’t Go Blue” (“You might say I’m a bad seed, you can call me a jerk, that doesn’t stop me from doin’ the devil’s work”) that even your parents/grandparents might like. Less insane than La Mano Cornuda, but still as incorrect as they come, Sacrilicious is the second album by the Supersuckers that’s nearly as much fun as setting Phil Collins albums on fire.
~ GuypetersReviews (Rating: 7/10)

01. Bad, Bad, Bad - 02:19
02. Born With A Tail - 03:15
03. The 19th Most Powerful Woman In Rock - 02:52
04. Doublewide - 02:17
05. Bad Dog - 03:50
06. Money Into Sin - 02:15
07. Marie - 03:25
08. The Thing About That - 02:18
09. Ozzy - 02:33
10. Run Like A Motherfucker - 02:23
11. Hittin' The Gravel - 02:23
12. Stoned If You Want It - 02:10
13. My Victim - 03:55
14. Don't Go Blue - 04:19
Playing time40:22
* "Marie" documents the death of original lead singer Eric Martin of a drug overdose.
* "Don't Go Blue" features Bobbie Nelson, sister of country musician Willie Nelson, on piano. It is one of the band's few recorded forays into the country music genre.
* The original print run of the CD had a lenticular cover. This gave it a "3D" effect and allowed the album title to appear and disappear.

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