Southern Culture on the Skids

   
Artist: Southern Culture on the Skids

   Genre(s): 
Indie
   Other
   Rock
   

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Discography:


   
 Ditch Diggin

   Year: 2007   
Tracks: 15


   
 Double wide and Live

   Year: 2006   
Tracks: 16


   
 Mojo Box

   Year: 2004   
Tracks: 12


   
 Zombified (Australian Tour)

   Year: 1999   
Tracks: 9


   
 Plastic Seat Sweat

   Year: 1997   
Tracks: 12


   
 Girlfight

   Year: 1996   
Tracks: 6

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True to their name, North Carolina's Southern Culture on the Skids offers an fond mockery of local white trash trailer camp culture, matching their skewed outlook with a fantastic, careening firebrand of stone & roll out. SCOTS' music is a quintessentially Southern-fried amalgam of rockabilly, boogie-woogie, area, vapours, swampland pop, and chitlin circuit R&B, asset a loose dosage of California browse guitar, a clue of punk rock attitude, and the occasional mariachi horns. Following an early incarnation as a comparatively straightforward roots stone rig, they morphed into a strident, squalid, tongue-in-cheek company band obsessed with sexual urge and intellectual nourishment; in fact, deep-fried chicken became a all important part of their live performances, whether it was secondhand in eating contests or tossed into the audience. Southern Culture may play in the main to an underground rock audience, simply their freaky tributes to the South aren't as smug as some of their peers working interchangeable territory, since the band has unfeigned roots in the region.


Southerly Culture on the Skids was founded by guitarist/singer Rick Miller in the college townspeople of Chapel Hill, NC, in 1985. Growing up, Miller had stock split sentence betwixt Henderson, NC, where his founder ran a manufactured home mill, and Southern California, where his mother lived, and where he number one observed surfboard and rockabilly. After earning a grade in artistic creation from the University of North Carolina, Miller started the first incarnation of Southern Culture on the Skids with original lead vocalist Stan Lewis, bassist Leslie Land, and drummer Chip Shelby. Lewis brought a distinct Cramps influence to the ring, although their style was static much more than soft than it would later get. This quartet lineup released an EP called Voodoo Beach Party on the local indie mark Lloyd Street, followed by and by in 1985 by an eponymic full-length debut.


As the band drifted more than and more into nation soil, cofounder Lewis stock split; two more than members were added on piano accordion and pedal steel, simply the band's new instruction alienated a great deal of its local following, and the number one adaptation of Southern Culture stock split non recollective after. In 1987, Miller regrouped with a modern, littler lineup featuring bassist and former vocaliser Mary Huff and drummer Dave Hartman, both of whom had big up together in Roanoke, VA. (Sinclair Lewis, Land, and Shelby would by and by reunite as Stan Lewis & the Rockin' Revellers, and performed on a mostly local ground.) The modern Southern Culture exhausted a few geezerhood honing their sound and cathartic the very episodic single. Finally, in 1991, they returned to the LP format with Also Much Pork for Just One Fork, which was issued on the ill-fated Moist label. Also Much Pork established the group's lyrical obsessions, and featured the first recording of their fried-chicken anthem "Ashcan School Piece Box," a concert favorite.


Southern Culture's next album, the rawer-sounding 1992's For Lovers Only, began to gain ground them a wider next thanks to better distribution from the band's new label, Safe House. Among former fan favorites, it featured Huff's first major vocal showcase, a cover of the Jo Anna Neel land obscurity "Pop Was a Preacher merely Mama Was a Go-Go Girl." The half-live, half-studio EP Peckin' Party followed on Feedbag in 1993, as did the 10" Girlfight EP on Sympathy for the Record Industry. The more laid-back, country-flavored full-length Ditch Diggin' appeared on Safe House in 1994, featuring covers of the Louvin Brothers and Link Wray. In 1995, Geffen subsidiary DGC sign Southern Culture on the Skids to a major-label contract, which was consummated the following yr with Dirt Track Date. Although Grunge Track Date included re-recordings of several of the band's most popular past songs, it received by and large enthusiastic reviews and sold all over a stern of a gazillion copies.


After some other indie EP, this time the Mexican grappling protection Santo Swings!/Viva del Santo on Estrus, Southern Culture issued their moment major-label album, Pliant Seat Sweat, in 1997, which marked the debut of new Chris "First cousin Crispy" Bess. However, they got missed in the mix of the big time label mergers and wound up without a record parcel out for a spell. After regrouping with 1998's self-released, horror-themed Zombiefied EP, the band returned to action on TVT with 2000's uncut Liquored Up and Lacquered Down, which marked a reelect to the country-tinged profound of Ditch Diggin'. A brief recording hiatus followed, just the band returned in former 2004 with Mojo Box, recorded in Miller's home studio and released by Yep Roc. The mark released the fiery live record album Doublewide and Live in 2006, followed by a compendium of covers called Countrypolitan Favorites in 2007.





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