Sun, July 13, 2014

Doors: 7:00 pm / Show: 8:00 pm


This event is 21 and over

Supersuckers are an American rock band. They are the self-proclaimed "Greatest Rock 'n' Roll Band in the World".

Something of an anomaly on the Sub Pop roster, the Supersuckers bore a limited surface resemblance to grunge, but they were a party band at heart, donning cowboy hats and kicking out a gleefully trashy brand of throttling, rockabilly-flavored garage punk. Their lyrics were a raucous, over-the-top celebration of all the attendant evils of rock & roll -- sex, booze, drugs, Satan, and whatever other vices the band could think of, all glorified with tongue planted firmly in cheek. Save for an abrupt and temporary detour into hardcore honky tonk, their approach stayed relatively consistent through the '90s, as did their quality control.

The Supersuckers were formed in Tucson, AZ, in 1988 by high-school friends Eddie Spaghetti (born Edward Carlyle Daly III, bass, vocals), Ron Heathman (guitar), Dan "Thunder" Bolton (guitar), Dancing Eagle (born Dan Seigal, drums), and Eric Martin (lead vocals). After playing the local scene for about a year under the name the Black Supersuckers (taken from a pornographic novel), the band moved to Seattle, ostensibly in search of a climate more conducive to leather jackets. Martin left the band not long after, and Eddie Spaghetti took his place on lead vocals. Shortening their name to the Supersuckers, the band recorded singles for several indie labels, including eMpTy, Sympathy for the Record Industry, and Lucky; these were collected on the eMpTy compilation The Songs All Sound the Same, which became the band's first CD release in 1992. That year, they signed to Sub Pop and issued their proper debut album, The Smoke of Hell, which was produced by Jack Endino and featured cover art by renowned comic artist Daniel Clowes. Featuring one of the band's best-known songs in "Coattail Rider," the record also spun off the single "Hell City, Hell," whose B-side was a fan-favorite cover of Ice Cube's "Dead Homiez."

The Supersuckers came into their own with their second album, 1994's La Mano Cornuda, whose title translates as "the horned hand" (i.e., of Satan). It featured signature songs like "Creepy Jackalope Eye" and "She's My Bitch," and is still regarded by many fans as the band's best. Following its release, Ron Heathman temporarily left the group due to drug problems, and was replaced by onetime Didjits guitarist Rick Sims on their next album, 1995's The Sacrilicious Sounds of the Supersuckers. Produced by the Butthole Surfers' Paul Leary, the album was noticeably different from the Supersuckers' usual pedal-to-the-metal roar, owing to Heathman's absence, despite some worthy additions to the group's catalog (like "Born With a Tail"). Fortunately, Heathman made a full recovery and rejoined the band for 1997's Must've Been High, a full-fledged excursion into country music that even featured a guest appearance by Willie Nelson. It was released concurrently with a five-song EP that featured country maverick Steve Earle fronting the band.

After issuing their country project, the Supersuckers signed a major-label deal with Interscope. Unfortunately, in the wake of the massive label mergers at the time, Interscope underwent a restructuring and wound up dropping the band without ever releasing the straight-ahead rock & roll album they had recorded. Strongly disenchanted by the experience, the Supersuckers landed on the small label and finally recorded the proper follow-up to Sacrilicious, recycling some of the material from their ill-fated Interscope debut. The result, The Evil Powers of Rock 'n' Roll, was released in late 1999, and featured the band's affectionate look back on their high-school days in Tucson, "Santa Rita High." The same year, Sub Pop issued a generous 27-track retrospective of the Supersuckers' stay on the label, How the Supersuckers Became the Greatest Rock and Roll Band in the World. After contributing two songs (including a collaboration with Pearl Jam's Eddie Vedder) to the benefit album Free the West Memphis 3 in 2000, the group cut a split LP with Electric Frankenstein in 2001.

Burned by Interscope and seeking a permanent home, the Supersuckers formed their own label, Mid Fi, in 2002, and inaugurated it with a live document of their country phase, Must've Been Live. A new, hard-rocking studio album, Motherfuckers Be Trippin', followed in 2003; after its release, longtime drummer Dan Seigal left the group and was replaced by Mike Musburger. While tinkering with a new studio album, the Supersuckers kept the Mid Fi release schedule full with a pair of archival live albums and a collection of singles sides and non-album material, Devil's Food. The Paid EP and Live at Bart's CD Cellar and Record Shop followed in 2006. ~ Steve Huey, Rovi

Crowning achievements of rock-n-roll glory:

* Performed on "The Tonight Show with Jay Leno" backing Willie Nelson.
* Played Woodstock 2000
* Played Reading/Leeds festivals
* Toured extensively throughout the world including Russia, Japan, Australia, etc…
* Recorded with Eddie Vedder of Pearl Jam, Steve Earle, Willie Nelson, Kelley Deal of The Breeders.
* Toured with Pearl Jam, Ramones, Social Distortion, Rolling Stones, Aerosmith, Kelly Clarkson, 50 Cent, Neil Diamond, you name 'em, we've toured with 'em!

Testimonials on the Supersuckers:

"If you don't like the Supersuckers, you don't like Rock-N-Roll." -Lemmy Kilmister from Motorhead

"They played my birthday party. They rock!" -Eddie Vedder from Pearl Jam

"Every time I hear the word 'Supersucker,' I'm reminded of an older gentleman who went into the strip bar and the hooker c'm dancing up to him and said 'Superpussy!' and he said 'Soup, please.'" -Willie Nelson

"Supersuckers…I love the Supersuckers, our whole band loves you guys!" -Robin Zander from Cheap Trick

"The Supersuckers understand that great rock and great country are, at least on a spiritual level, exactly the same thing. Rock on, boys." -Steve Earle

"The Supersuckers rock ferociously whenever they feel like it and what really matters is ending this sentence with an exclamation point!" -Little Steven Van Zandt, E Street Band, Little Steven's Underground Garage
Formed in 2006 in Phoenix. Entire discography re-released in Europe on Bad Reputation. Still a DIY operation in the US.
Five albums later and going strong.
It’s not that Scorpion Vs. Tarantula does something new and different when they get up on stage that makes them one of the best bands in the Phoenix metro. It is that they do something familiar and in some ways nostalgic when they get on stage, and they do it extraordinarily well.

In the world of 2014, music fans have millions of songs at their fingertips at all times, and while bands struggle to find the right words to describe their sound, like “post progressive noise rock,” or “proto industrial Americana,” in an attempt to shine brightest among the masses, Scorpion Vs. Tarantula punches out their lights with their brand of straight forward, high-energy rock and roll.

Each member of SVT is individually talented but front woman L. Hotshot is obviously the star of the show. Her presence, with the teased-out hair and spandex outfits creates an atmosphere at their shows that no other band in the Phoenix metro can even hope to accomplish. Combine that with her rock and roll growl of a voice that she accentuates with ferocious lion like roars in certain songs, and L. Hotshot is easily the best lead singer in the area.

Most SVT shows feature Hotshot leaving the stage (or raised platform depending on how “divey” the bar is) and stalking through the crowd like a rabbit jungle cat, screaming in people’s faces and being a badass rock star in general. Every member of the band brings something strong to the table, but L.Hotshot is the one who brings the signature experience.

Bass player Tana Satana acts as somewhat of a foil for Hotshot. While L. is all revved up and bringing the high powered craziness, Satana is the most laid back member of the group. She acts as the Dean Martin to Hotshot’s Jerry Lewis, often wearing all black and hanging back sipping a beer while Hotshot and guitarist Jay Bennett exchange banter and sometimes mouth fulls of beer. She brings the cool factor to the band, because obviously Rock and Roll should be high energy and off the wall. But it should always been cool.

The bands drummer “Cappy,” is so intense that it’s a little bit scary. While the rest of the band is hanging out and drinking beer before sets, “Cappy” is often listening to his iPod and warming up in the parking lot. He seems to hit his drums about as hard as Mike Tyson would hit an opponent in 1986.

He’s just an absolutely monstrous drummer. Every time he hits the drum it looks like the instrument is going to explode. When seeing SVT for the first time it is hard to look away from whatever L. is doing. But after seeing them once or twice it’s easier to see the whole band and “Cappy” banging on the drums is definitely a highlight.

On guitar, Bennett is just rock and roll through and through, he’s got the facial expressions, the moves, including his signature kick, and his sound is just loud and abrasive. His guitar tracks can hit you in the face almost as hard as a misplaced Hotshot dance move. Bennett’s level of engagement on stage seems to have a direct relationship to how much he has had to drink before the show. A Bennett on the sober side will play it cool and share more in common with Satana than Hotshot, but a more imbibed guitarist will lead to more on-stage antics and shenanigans between the husband and wife team of Bennett and Hotshot.

The group's last album Claim to Fame is spectacular and is worth a download.

- Jeff Moses
Venue Information:
The Rhythm Room
1019 E. Indian School Road
Phoenix, AZ, 85014