Review: Nine Pound Hammer ‘Too Outlaw For Outlaw Country’
When I saw Nine Pound Hammer’s latest release, Too Outlaw For Outlaw Country, in The Shaman’s promo portal, I was immediately immersed in a flashback to the early and mid-nineties. The band was a prominent name in the noise-rock scene back then, having multiple albums released through the legendary garage rock label Crypt Records. However, their music was more in the spirit of cowpunk – with elements of noise and garage rock – which made them, to my ears, one of the more unique groups of their era.
Fast forward a few years, and guitarist Blaine Cartwright re-emerged in the late nineties as frontman and co-guitarist (along with his wife Ruyter Suys) of flame-throwing, hard-charging, punk rock and roll forerunners Nashville Pussy. I knew Cartwright was still active, but honestly, I had no idea that Nine Pound Hammer was still around in any form, much less releasing music. The new six-song release, Too Outlaw For Outlaw Country, seemed like a fantastic opportunity to revisit these musicians. Hell, the title alone was enough to pique my curiosity.
The idea, as I interpret it, is a giant fuck you to the contemporary country music establishment. It targets the industry trying to market ‘outlaw country’ artists with fabricated fortitude for mass consumption by the knuckle-dragging masses. This is on instant display with the opener and title track, Too Outlaw For Outlaw Country. Here, the twang from Cartwright’s guitar is as palpable, raunchy, and in-your-face as any fan of this type of music could possibly want.
Then, vocalist Scott Luallen – whose voice fits the music like a pair of Wrangler jeans on a shit-kicker’s ass during a Friday night two-step contest – hits us with lines like, ‘ain’t much good ever come from New York City, ‘cept pizza, KISS, and The Ramones’ and ‘singin’ bout your girlfriend sippin’ White Claw, with your Civil War beard, and your cowboy clothes.’ The mission statement of the album is delivered with conviction and intent, while the jangly, note-heavy solo in the middle serves as a very juicy cherry on top. Next up, the appropriately named Burn The Whole World Down is a bouncy, mid-tempo number with an earworm chorus, more amazing lyrics, pedal steel action, and Cartwright’s country-tinged, rock and roll shred.
There are two covers mixed among the originals. The first, Black Rose, is a fantastic, rocking take on one of outlaw country’s most original and prominent artists, Billy Joe Shaver, and his legendary tale of messing around with dangerous women while not giving a fuck. The second is album closer Little Ole Wine Drinker Me, a legendary tune written by Hank Mills and Dick Jennings, but also covered by both Charlie Walker and Dean Martin, of all people. Needless to say, this version makes the other two look flaccid in comparison.
real country music by people who have lived the life and know how to craft songs with talent, authenticity, and integrity…
As far as the other originals, Tonight I Let The Bottle Down begins with a simply killer driving-down-the-highway riff that gets you moving before Luallen really lets loose with some of the best, most epic, country-tinged vocals I have heard in a long time. Triumphant, soaring, and emotive, he is joined by Sheri McGee as they harmonize throughout, both literally reaching for the sky.
Additionally, I’d be remiss if I didn’t mention Cartwright’s downright nasty, country-fried guitar flourishes throughout the track, as his note choices and tone are pretty much as close to perfect as one could get. Hitting the home stretch, we get the hilarious Out Of My League, stuffed with both laugh-and-cringe-inducing lyrics coupled with plenty of awesome, clean, country guitar noodling.
I am by no means a country music aficionado, despite listening to some of the greats like Willie Nelson, Johnny Cash, and Hank Williams growing up through my parents. I do, however, know what sucks and what doesn’t, and to put it simply, most contemporary country music completely sucks. That is why this little six-song album is so much fun. It is authentic – not some assembled outfit hoping to cash in on the genre.
This is real country music by people who have lived the life and know how to craft songs with talent, authenticity, and integrity. Hats off to Nine Pound Hammer, it was a blast revisiting these guys, and I’d recommend Too Outlaw For Outlaw Country to any fan of the genre, as well as to anyone curious about what real outlaw country sounds like.
Label: Reptilian Records
Band Links: Facebook | Bandcamp | Spotify | Instagram
Scribed by: Martin Williams
