Reviews for Dirty Women...
It only takes about ten seconds of listening to The Glasspack to understand just what this band is all about. Fast cars, faster women, and good whiskey are the only thing these good ol' boys need to have a good time. Their
Lynyrd-Skynyrd-meets-The-Ramones style of Southern Rock infused with early 80's punk has earned them loads of critical acclaim. Dirty Women, their new full-length album, certainly lives up to all the hype.
All of the sounds on the record are just what you'd expect, and The Glasspack pulls if off without being too predictable or boring. While they may be a bit narrow-minded in subject matter and style, they do what they do very well. Dirty Women is the type of album that you'd expect to hear if there were ever a Smokey and the Bandit remake, or if the Duke Boys were around today - gritty guitars, a bass as distorted as a mirror at a carnival, and loud-as-hell drums. The whole album culminates with the eleven-and-a-half minute track (the final track is a piano outro) "Louisiana Strawberry," the bandĺs best moment on the album. So the next time you're cruising the hills of Arkansas in your '68 Camaro with a load of homemade moonshine in the back seat, pop in The Glasspack for further enhancement your rockinĺ good time.
- Jacob KellyJanuary 6th, 2008www.pivotalalliance.com
Lowcut Magazine #44 (Denmark)
The Glasspack are from Kentucky and play rock and roll. This is their 4th full length CD from what I can find out about the band. The band play with an attitude, a in your face fuck off I'm gonna drink your beer fucker, kind of attitude in their music. The music is pretty straightforward rock and roll with nothing too special except the attitude and the really raw sound. Occasionally, Dave will rip out some wild and manically crazy guitar solos (like in My Curse) but most of the time it just riffing awayů Lot Lizard is a real foot stomper like a really dirty version of Status Quo! Ice Cream is kicks it up in high gear like Nebula and gets really psychedelic with some cool guitars and piano! Fire in the Trailer Park, is a very bluesy Blue Cheer like track. Super
Sport, is a more tuned down doomy stoner track. The 10th track, Louisiana Strawberry is such a killer track though (and about 1/4th the length of the total CD) that it is worth the purchase of the CD or at least that track as an MP3. Amazing song. Wowů Dirty, nastyů and great stuffů
-ScottMarch 1st, 2008www.lowcut.dk
Glasspack = Legendary Shack Shakers + Nebula +
Skynyrd + Minor Threat
I don't know any other stoner band who sounds as furious or as punk as The Glasspack. I've been following The Glasspack for a few years, ever since I had the unbridled pleasure of
encountering Powderkeg while doing CD reviews in the line of duty. Stoner automatically implies a certain laid-back mellowness amidst the naughty, heavy riffs, but Glasspack are downright pissed. Dirty Dave's snarl is the crowning jewel of their sound; his vocal tone sounds like it could strip paint from a rust-crusted 1971 Mustang. Dirty
Women serves up more of what the Glasspack are known forŚplus, more blazing guitar soloing! Songs range from the heavier fare of "Fastback" to the laid-back, bluesy strutter, "Lot Lizard." The Glasspack bleed genuine Southern flair; it's like theyĺre actually from Kentucky or something. See them play Nov. 13 at Brewskieĺs with local friends (now fellow labelmates) Iota.
- Rebecca VernonOctober, 2007www.slugmag.com
For me as a huge fan of Black Sabbath I will always associate the title of this album with their genuine track from the 'Technical Ecstasy' record, but THE GLASSPACK have not really much in common with Birmingham's master of heaviness. Kentucky's THE GLASSPACK merge rock 'n' roll, delta blues and heavy rock to create a perfect blend which is explosive like a truckload of dynamite. This is really kick-ass rock 'n' roll, where the blues left a big footprint and it has more energy than all this boring bands, who think about themselves that they kick-ass. Their powerful rock is fresh and full, lending the material a life that frankly it may not otherwise have had. The previous album 'Bridgeburner' didn't impress me much, but 'Dirty Women' is closer to their second album 'Powerkeg', what is their still their best work for me. THE GLASSPACK can write short and explosive cuts, and almost the complete album consists of songs like this, but 'Louisiana Strawberry' showcases that they aren't afraid to write a heavy blues number with a running time of more than ten minutes. 'Dirty' Dave Johnson is not only a cool singer, but also a talented songwriter. His guitar playing is rich on details and always effective, no matter if he comes up with heavy riffs or smoking solos. Of course the other three guys are also doing an amazing job, especially Brian Foor, who's playing keyboard and organ. He's one of the reasons, why THE GLASSPACK is sometimes wandering into Stooges territory, what's always a good choice. A tight rhythm section is the guarantee for a constant mind-blowing punch so that this power blues unit is always so dangerously convincing. I've never seen this band live, but I suppose that they're an amazing and unstoppable force on stage. Meanwhile I'll enjoy this album very often and if you like your rock 'n' roll heavy and bluesy, than THE GLASSPACK is worth checking out. Who needs a flame-thrower when you have a band like this!?
-KKMarch 1st, 2008www.cosmiclava.com
The Glasspack are from Kentucky and play rock and roll. This is their 4th full length CD from what I can find out about the band. The band play with an attitude, a in your face fuck off Iĺm gonna drink your beer fucker, kind of attitude in their music. The music is pretty straightforward rock and roll with nothing too special except the attitude and the really raw sound. Occassionally, Dave will rip out some wild and manically crazy guitar solos (like in My Curse) but most of the time it just riffing away... Lot Lizard is a real foot stomper like a really dirty version of Status Quo! Ice Cream is kicks it up in high gear like Nebula and gets really psychedelic with some cool guitars and piano! Fire in the Trailer Park, is a very bluesy Blue Cheer like track. Super Sport, is a more tuned down doomy stoner trackThe 10th track, Louisiana Strawberry is such a killer track though (and about 1/4th the length of the total CD) that it is worth the purchase of the CD or at least that track as an MP3. Amazing song. Wow... Dirty, nasty... and great stuff...
Scott HellerAural Innovations #37 - September, 2007www.aural-innovations.com
Daredevil Records (Germany)
THE GLASSPACK from Kentucky are one of these bands who tour every free minute! They played hundreds of shows in the last years and after their self-released debut AMERICAN EXHAUST they did a huge step forward with DIRTY WOMEN. The opener TAMING OF THE RAM is a fast and short opener with a great guitar riff and excellent vocals. FASTBACK is a cool instrumental and with MY CURSE they hit the ears again with a fast rocker with the typical Stoner Rock riffs. LOT LIZARD is the first mid-tempo track and features a good 70`s ZZ TOP inspired guitar riff. The fast starting ICE CREAM, BUT NO REPLY turns into a psychedelic journey and fade out slowly. Like some earlier MONSTER MAGNET stuff. FIRE IN THE TRAILER PARK is a again a good Stoner Rock song with great vocal melodies and one of the highlights on that record. PLAY IT LOUD is a again a fast and short GLASSPACK rocker and with the 12 minute long rocker LOUISIANA STRAWBERRY they packed all their trademarks in one song and in my eyes it is the highlight in their song writing area. On this track the vocals sound 100% perfect and fit excellent to the great riffs. The song is not boring it fades out with some space elements. Highlight on that record! All in all a big step forward for that band and with the right support they can do a big step higher! Itĺs the biggest surprise so far in this summer. The riffs are heavier, the songs more skilfully crafted and the songs clearer and more in the face.
Music: Stoner Rock
Info: 11 Songs / 40 minutes
Hello, Louisville, Kentucky. Letĺs welcome the dirtiest yet, surprisingly smoothest band this side of the Mississippi. Small Stone records is proud to present, The Glasspack.
After listening to loads of bands that need an unhealthy does of Ritalin, I must fall back to my old comfort, my old true enjoyment that is classic, bluesy southern rock style that is stoner rock. The Glasspack was formed in the early 2000ĺs by front man, ôDirtyö Dave Johnson. After constant touring in 2001, the band was snatched up the perfect label fit, Small Stone Records. This is the bandĺs fourth release, and they have never sounded so sweet. Shades of Kyuss mixed with Swedish favorites Dozer; a combination anyone would be silly to pass on. The guitar fuzz is prominent from the beginning, and rock and roll never lets up. This is eleven tracks of pure 70ĺs, southern rock bliss. Complete with piano, organ, and religious style sermons. This band is surely not a flash in the pan outfit, and with that in mind, they will tend to fly under the radar for many. Do yourself a favor: crack open a beer, kick back in your favorite easy chair, and crank up The Glasspack, LOUD, for maximum enjoyment.
Andy Smyth June, 2007www.zeromagazine.com
The Glasspack deliver a straight shot of dirty, swingin' rock n' roll on their newest opus, the aptly titled "Dirty Women". It's wonderfully old-school with a healthy dose of blues and punk...for some reason they remind me of what Nebula would sound like mixed with MC5. Anyways, crack open a 6 pack and let this sucker rip.
Louisville Courier Journal
The Glasspack has always been about creating a primal, unholy wall of sound built around Dirty Dave Johnson's yowling, distorted guitar pyrotechnics. That hasn't changed with "Dirty Women" ¨ this is still the sound of heads hitting windshields, captured in full analog glory ¨ but Johnson has tightened his songwriting without sacrificing the bourbon-fueled mayhem.
On past Glasspack albums, the songs depended almost entirely on the riff ¨ when it was good the song held together, and when it wasn't the band stumbled. Johnson, bassist Chad Omen and drummer Eric McManus (who has since left) took more time with "Dirty Women" ¨ Johnson even worked out his solos beforehand for the first time ¨ and the result is their finest, most focused album.
"Taming the Ram" begins the album with the simplest of blues, as a reminder of the place from where all rock flows, but then explodes into familiar Glasspack territory and never looks back. The riffs are brutal and come in quick combinations, landing like a flurry of heavyweight punches on tracks such as "Fire in the Trailer Park," "Lot Lizard," "Fastback" and "Play It Loud," which stars Blade of the Ripper's Adam Deal on furious lead vocals.
The stand-out, however, is "Louisiana Strawberry," an 11-minute epic built with a mountain of effects pedals and more solos than in "Freebird." If they can get this flamethrower on "Guitar Hero III," it'll break more than its share of fingers.
Jeffrey Lee PuckettMay 12th, 2007www.courier-journal.com
The Glasspack, coming from Louisville, Kentucky, could be considered a southern rock band. Southern rock with an almost industrial production to the vocals. They sing songs about fast cars, even faster women, alcohol, having a good time and just life in general, among other things. And they do have a tendency to get down, dirty and gritty and have a good time in the process!
"Dirty" Dave Johnson leads this merry musical band of outlaws with cleanly sung vocals, crunchy electric guitar riffs with plenty of solo action and fills. Chad Omen plucks the bass with an underlying bottom tone. Eric McManus pounds the skins with hellish authority! "The Reverend" Brian Foor plays all keyboards and....sermons!
Like I said earlier, the music of The Glasspack is dirty, gritty speed, heavy duty rock "n" Roll. The vocals(to me)have a kind of industrial sound to them, but are very easy to understand. Put it all together and you have some very good heavy, crunching rock "n" roll!
DarrylMay 13th, 2007www.eatnails.com
On album number four, Kentucky rockers the Glasspack strike a midpoint between the '60s-obsessed garage rock revivalists and the '70s-obsessed likes of Wolfmother and Jet. Boogie is the operative word all over the genially lecherous Dirty Women, which is filled with the kind of walking-pace riffs that bands perform with their heads down and nodding in unison: think Status Quo or even Foghat. But the Glasspack cut the plodding tendencies of '70s boogie with a double dose of Nuggets-style snot rock on tracks like "Fastback" and "Fire in the Trailer Park." So the operative album to compare Dirty Women to is the Flamin' Groovies' career high point, Teenage Head: it's not nearly as good, but it has a similar blend of cock rock swagger and British Invasion-derived hooks. That is, until the climactic "Louisiana Strawberry," a full-tilt boogie jam that slogs on endlessly for an interminable 11 and a half minutes, which is particularly ironic since even at a tight two minutes 30, it would be one of the album's weaker tunes. Aside from that dull misstep, Dirty Women rocks mightily and unpretentiously, and who could ask for anything more?
Stewart MasonMay, 2007www.allmusic.com
The Glasspack hits hard with the gritty, raw and rockin' batch of tracks on "Dirty Women." The cover art alone is attention-getting with a sweet ride parked in front of a pile of skulls while a lot lizard leans into the window to talk to the driver, a devil's tail trailing out from under her alluringly short skirt. Of course, "Lot Lizard" is one of the songs here and, like the rest, is a rollicking, fuzzed-out blast of rock energy with ballsy attitude to spare. A certain punkishness informs the raucous personality of this nugget of stoner rock and once you let yourself seep into the layers of brusque musical assertion on display here, you'll be hooked.
Upchuck UndergrindMay, 2007www.corazine.com
The Cutting Edge
With a record named after one of our favorite Sabbath songs, ˘Dirty Women÷ (Technical Ecstasy, Ă76) logs in as The PackĂs fourth unholy opus (third on Smallstone). Hailing all that was glorious about the Š70Ăs including the drop of a needle on a rustic vinyl LP, the disc gets going with truckloads of turbo-charged blues amp-ed up on Kentucky backwoods moonshine. ˘Taming The Ram÷ storms in with tuned-downs guitars and finds the hook in the bridge. Southern swag soaks the disk but keeps to the back for color and texture. It offers up in generous proportions on the Black Oak Arkansas-inspired ˘My Curse÷ with ŠDirty÷ Dave Johnson caterwauling like a young Jim Dandy. ˘Lot Lizard÷ follows suit with Chad OmenĂs foot-tapping electric bass line front and center and meets up with its reprise five tracks later. As an instrumental, ˘Fastback÷ nails down a full-scale galloping riff complete with drummer Eric McManusĂs hoof beats pounding into a Johnson solo. The drummerĂs contribution is superb in the frenzied ˘Fire in the Trailer Park÷ and thundering ˘Super Sport.÷
˘Ice Cream, But No Reply÷ has become an office favorite as it moves along briskly with a swath of boogie piano only to be interrupted by occasional vocal breaks. Its clever pacing sets it aside and comes complete with sirens, organ and a brimstone sermon courtesy of Reverend Brian Foor. The whole thing closes with a garage rock landslide awash with guitar feedback. A similar culture vibe is felt in ˘Farewell Little Girl÷ which seems to step back in time 150 years to an old western bar packed with prostitutes. Another office favorite, ˘Play It Loud,÷ features Adam Neal of The Hookers belching out Kiss-like lyrics bringing the bloated rocker in line with Nashville Pussy. Charming is the 11-minute ˘Louisiana Strawberry÷ which finds itĂs soul in old blues somewhat reminiscent of Clutch with special guest Matt Jaha (Coliseum, Lords) on guitars and effects.
Todd K SmithMay 4th, 2007www.thecutting-edge.net
For fans of: Chargers and moonshine, Skynyrd, Hendrix, AC/DC
Here's what it is: Like trying to drink water from a fire hose, The Glasspack's Dirty Women will blow a hole through your head. This disc starts with an old LP hiss and crackle just before it kicks into a blues-a-fied rock-a-thon made up of big guitars, southern style vocals, and crusty production. Every track sounds like the theme song to a Dukes Of Hazard chase scene. The whole thing is rowdy and abrasive--like beef jerky made of sandpaper. You either bite off a piece and wash it down with some good ol' corn whiskey or you go home to mama!!
Patricia ValeryMay 1st, 2007www.evilneedles.com
Louisville's The Glasspack wears their Southern heritage like a badge of honor. Tales of barbeques, whiskey, and cars flow through their sludgy blues rock 'n' roll like the Mississippi River through the delta valley. Dirty Women, their third album off of Detroit's Small Stone, shows a freer and happier side of the band. If Powderkeg and Bridgeburner saw the boys going off to battle, Dirty Women is the homecoming party celebrating their victory. They may not have "lightened up," but they are more laid back. The swampy, easy feel of the music is made even sweeter with the warm sounds of vintage tube amps and classic Fender Telecasters. "Dirty" Dave Johnson's overdriven rhythm guitar cascades into his distinctive tumultuous rhythms, notably on tracks like "Fastback" and "Taming of the Ram." The slow, deliberate Black Sabbath-styled "Super Sport" is an instrumental interlude between the grungy "Fire in the Trailer Park" and party anthem "Play It Loud" (featuring Adam Neal, A.K.A. "The Rock 'n' Roll Outlaw" from Lexington, Kentucky's punk legends The Hookers and Nashville Pussy on vocals). The band is at their best when adding a Southern twist to spacey psychedelic rock on the extended "Louisiana Strawberry," but not all of their experiments fare so well. Reminiscent of "The Devil Went Down to Georgia," the blistering "Ice Cream" starts and stops abruptly, although instead of dueling with the prince of darkness, the audience is invited for a sandwich. This risky choice may have been forgivable had the tune not ended with a minute and a half of Spinal Tap-ish guitar shredding that belongs in a "green scene" contest with Stephen Colbert. Regardless, The Glasspack continue to be the purveyors of the dirtiest blues around and should be played as loud as possible for maximum effect
Jamie LudwigApril 16th, 2007www.alarmpress.com
Louisville Music News
It was sometime in the early 1970s when head shops were as prevalent in shopping centers as Starbucks (these were stores that sold the odd combination of pagers and cigars, so you wouldn't miss a call as you puffed on a Churchill). They'd be square in between your mom's beauty shop and the dime store, with names like "Buddha's Navel" or "The Velvet Daisy" in big, squishy letters on a hand-painted sign over the entrance. Their windows tinted over. The store's content a mystery to the squares who walked by.
Inside, the glass counter was filled with little ceramic pipes (stuff you'd seen in your health textbook's chapter on drug abuse) and incense burners. One room was floor-to-ceiling with black light posters. There might be a small rack of records in one corner. The guy behind the counter was always glad to see you.
And there would always be music you had never heard before from speakers that you could never see. Loud guitars that screamed as if they were being flogged with flaming whips. It was relentless. Fuzzed out and distorted. The sound was so otherworldly. It augmented the danger and how daring you felt to go inside the place because you knew your parents would probably skin you alive if they found out you were there. That's the kind of music you'll find in Dirty Women, the latest from Louisville's The Glasspack.
While it doesn't have the fangs-out rage of a lot of heavy metal, the material on Dirty Women has more of an amped-up blues sound, suited for the dilapidated roadhouse on a back road than a Goth club converted from an old factory. Or even the head shops from 30 years ago.
The otherworldly blues sound is cut into the opening track "Taming of the Ram," which stars with the sound of old LP scratches and blues guitar before it explodes into a scorching rock guitar and triphammer drums. Two instrumentals, "Fastback" and "Super Sport," glisten with cruisin' machine testosterone and the band takes a stab at failed redemption with the Almighty in the wittily titled "Ice Cream, But No Reply." The epic "Louisiana Strawberry" is the next-to-final selection on Dirty Women, a dirty, blues-rock journey that climaxes in a final chord that takes nearly four minutes and all kinds of noise iterations to fade out completely.
There's no guessing what you're in for with Dirty Women when you study the cover art: a Plymouth muscle car parked in front of a pile of skulls, with a busty woman in a short skirt, stockings, red ankle-strap heels, an arrow-tipped tail curled out from behind her, leaning into the car's passenger window. Like the head shops from more than 30 years ago beckoning curious youth into their doors, Dirty Women is loud, seductive.
And it feels dangerous.
Tim RobertsApril 4th, 2007www.louisvillemusicnews.net
The women that populate Glasspack leader Dirty Dave Johnson's imagination aren't nearly as dirty as the sound he simultaneously hears in his head. Dirty Women, the Kentucky gang's latest disk, sounds like the songs were dragged through the mud and beaten a time or two before hitting tape. A few tracks seem a bit rushed and tossed off, but the trio's headrush of snarling boogie and amp-fucking psych rock is as potent as ever on "Louisiana Strawberry," "Lot Lizard" and "Super Sport."
Michael TolandMarch 26th, 2007http://community.livejournal.com/highbias
LEO Weekly (Louisville)
"Dirty" Dave Johnson likes his albums fast, loose, and dirty, like the women who stalk truckers in the parking lots that he sings about in "Lot Lizard." The Glasspack's new album finds Johnson being as musical ("Farewell Little Girl") as he is raw and unapologetic ("My Curse"). He ropes in Matt Jaha for epic "Louisiana Strawberry" and freakish fret festival "Ice Cream, But No Reply" for an analog production that smokes from beginning to end.
Mat HeronFebruary 28th, 2007
Hell Ride Music
The Glasspack may well be the Ramones of the stoner/doom community. Like New York's finest, they've got a relatively simple, instantly recognizable sound from which they seldom wander too far. Their music is a patented sound that hearkens back to Chuck Berry, mixed with The Stooges and The Stones. On meth, of course. Stuff it all into a sonic woodchipper, then slap a middle finger decal on the whole thing, and voila! You've got music to run over wild animals by, cruising in a dirty '69 Chevelle with no license plate, and you'll know it immediately as The Glasspack, no other. For good or for ill, this is their best album since 'American Exhaust.'
I forget to mention something about that Chevelle: it's full of drugs. There's a gallon jug of popskull whiskey stuffed with bendy straws, a towel soaked with ether on the floorboards, and a hookah in the back seat with a bowel heaped with cobra verde. If you're lonely there's a woman over on the passenger side, and she ain't no society belle, nosirree. She's a ........you guessed it.....dirty woman, and she's there to cheer you on as you drive on a road of skulls to your ultimate destination, and you won't be needing a coat, if you know what I mean. You see, The Glasspack is not only a sound, but a spirit, one might say a lifestyle.
It's a lifestyle that won't appeal to everyone, but for a certain few it's more like a religion, a religion of sex, drugs, and sleaze. The 'Pack may occasionally be willing to rise above, as the 11+ minute phase shifting freakout 'Louisiana Strawberry' illustrates. But to get to the heart of the matter, a new Glasspack release is kind of like learning that your uncle, the one with the three teardrops tattooed on his cheek, is up for early parole. It's kind of exciting, but kind of nerve-racking, so you fire up the CD player, drop 'Dirty Women' in, retrieve the 12-gauge from under your bed, and wait. What happens next is anyone's guess.....
Kevin McHughMarch 6th,2007www.hellridemusic.com
While The Glasspack's last release, 2004's Bridgeburner, was a solid enough album, it was still a bit of a let down. All the usual 'pack ingredients were there ű manic boogie blues riffs, drunken lewdness, and a general ˘Fuck you÷ attitude that veered on homicidal ű but somewhere between concept and execution, it faltered enough to wonder if the band had shot its wad on Powderkeg (which itself was mostly rerecorded tracks from American Exhaust).
Whatever they had lost, they recovered it on Dirty Women, their fourth release and third for Small Stone Records. From start to finish, the album's a focused ass kickin', bourbon drinkin' hell raiser. Whether fast or slow, the best Glasspack songs bustle with a jittery, pent-up energy, and there's plenty of that on Dirty Women.
And unlike some of the tracks on Bridgeburner, the songs on Dirty Women never wear out their welcome. Most underscore the notion that the quickest route between two points is a straight line and get from point A (˘the liquor store÷) to point B (˘the party÷) in under four minutes. The two longer songs - ˘Ice Cream, but No Reply÷ and ˘Louisiana Strawberry÷ - simply give you more bang for the buck.
Especially the latter. ˘Louisiana Strawberry,÷ the 11 minute monster that effectively closes the album (there's one more song, the piano-based ˘Farewell Little Girl,÷ but that strikes me as more of a coda), takes a simple, catchy riff, typical of the band's output, and runs wild with it, tacking on solo after solo until the feedback fades out. That simplicity is the beauty of The Glasspack ű they're not trying to do anything other than get you moving, and ˘Louisiana Strawberry÷ is guaranteed to get you out of your seat. It's easily one of the greater songs they've written and damn well better be a part of their live set.
For awhile it seemed like The Glasspack was going to be another one of those bands that showed plenty of promise but never fully delivered. Dirty Women corrects that notion. The Glasspack is back. Highly recommended.
John PegoraroFebruary 18th, 2007www.stonerrock.com