Like hot oil on a stripper pole, like KY Jelly on a Whiffle ball bat, like that mystery residue inside your leather hot pants, Chow Nasty is the musical lube that keeps San Francisco slippery. For years the electro-sexual trio has riled up clubs, galleries, warehouses, and garages
across the city, honing their punk-funk party rock to dangerously
debauched levels. As they became legendary for their crowd-
swimming live shows, fans clamored for something more than
enhanced libidos and ringing ears to take home with them. Hot
on the heels of an exciting EP Chow Nasty delivers their debut full
length, "Super (Electrical) Recordings."
The boys began work on the record in the Spring of '06 with recent devotee, Stones Throw Records prez,, beat aficianado, and production wiz Peanut Butter Wolf at the helm. He had seen the band play with neo-funksters Chromeo in is home town of Los Angeles. Unaware of the impression that they had made Chow Nasty was surprised when they received a call from Wolf, months later, asking if they would perform with his new artist, fabled electro-soul hero, Gary Wilson. Shortly after he signed on to produce the band's debut album: The hip-hop legend's maiden voyage as producer of a rock 'n' roll record.
The project would take place at various California locations including famed Studio C at Prairie Sun Studios in rural Cotati. The room where Tom Waits had made many a masterpiece. The game plan was simple: Anything goes. This approach led to such incorporations as congas, horn sections, full blown percussion parties, and a visit from Pep Love of Hieroglyphics. These aspects, and then some, you'll find, work in perfect funked up harmony with Chow Nasty's party starting grooves and Peanut Butter Wolf's prowess and guidance in the beat department.
"Super (Electrical) Recordings" is equal parts musical, fun, and soulful. The result is a highly ambitious record that refreshingly wants nothing more than for listeners to get down.
Chow Nasty continues to share stages with a diverse cast of artists ranging from Morris Day and the Time, Cameo and The Ohio players to The Eagles of Death Metal and Louis XIV. The band is excited t translate their antics to record and to carry on as they have been, nice and nasty. An expansive exploration of sound and perfomance is a constant driving force for them, and they'd love for everyone to come along for the ride.
"Chow Nasty has shared stages with MC Hammer, Cameo, Morris Day & The Time, and The Ohio Players. They're more photocopied fanzine than a hipster rock textbook. In these days of post-post modernism, Chow Nasty are a low-irony treat that defies categorization to the benefit of all in ear-shot."
The Guardian, SF
"One day Chow Nasty are gonna' rule the world... Their goofy, balls-out shows come off like some kind of underage, over-sexed punk b-boy Rolling Stones revival."
East Bay Express
"A twisted '60s soul dance party mixed with raucous blues-rock, Chow Nasty has rightfully caught the ears of bands like Eagles of Death Metal and festivals like Noise Pop."
Paper Thin Walls
"8.0 ... This has beer-bender classic written all over it."
Sound & Vision Magazine
"The first Chow Nasty song I ever heard was "Ungawa". This super-hooky, rhythm driven, chorus-chanting tune got everyone in the house dancing. And that's just it. So much soul, so much rhythm! You can't help but smile and have a good time."
"Sweet jams and beats that go boom, it's 21st century soul music as played by three kids with A.D.D. and a cursory knowledge of Radio Shack electronics."
Gorilla vs. Bear
"One of the most ridiculously catchy choruses I've heard in a while ... Just try and get that damn chant out of your head."
"Chest-beating Tarzan party rock! This is some fun stuff, and that chant is a crazy earworm that will burrow through your skull if you don't watch out. I'm glad that we have these guys."
"We're talking "Wooly Bully" covered by Wesley Willis, then remixed by Fatboy Slim -- could blow the roof off an Animal House as easily as woo the sophisticates."