Details
Track Listing
1. Intro
2. Hypochondriac
3. Nut Sack
4. Tips on Marriage
5. Men and Women
6. All the Reasons
7. She'd Be a Millionaire
8. Don't Look Now
9. That's Just My Luck
10. That Awful Day
11. Carlos, Man of Love
12. Just One Beer
13. It's Too Late - (with Lisa Cochran)
14. Night the Bar Closed Down, The
15. Letter to My Penis
16. It's Too Late - (radio edit version, with Lisa Cochran)
| Details | | Contributing artists: | The Ordinaires | | Distributor: | EMI Music Distribution | | Recording Type: | Studio | | Recording Mode: | Stereo | | SPAR Code: | n/a |
Album Notes
Personnel: Rodney Carrington, Lisa Cochran (vocals); Michael Clark (acoustic & electric guitars); Sandy Williams, Mike Noble, Michael Spriggs (acoustic guitar); Pat Buchanan (electric guitar); Robby Turner (steel guitar); Larry Franklin (fiddle); Tony Harrell (strings); Jim Farrelly (flute, tenor saxophone, baritone saxophone); Tom Meyer (clarinet, alto & tenor saxophones); Joey Tartell, Jeff Conrad (trumpet); Jared Rodin (trombone);
Bob Hoban, Steve Allee (piano); Frank Smith (acoustic bass); Dave Pomeroy (bass); Milton Sledge, Dane Clark (drums); Kevin Kaiser (percussion); The Ordinaires (background vocals).
Producers: Rodney Carrington, Tom Griswold, Steve Allee.
Recorded at Emerald Entertainment, Nashville, Tennessee; Saga Studios, Indianapolis, Indiana and The Victory Theatre, Evansville, Indiana.
Coming on like some kind of cross between the hick satire of Jeff Foxworthy and the country music parodies of Cledus T. Judd, Rodney Carrington connected to the down-home comedy audience in a big way with the not-so-subtly titled NUT SACK. The album is split evenly between live stand-up routines and music. On the stand-up half, Carrington tackles familiar subjects like marriage, work, and medicine, but with a southern twist. The musical numbers aren't parodies of existing songs a la Cledus, but highly comical original compositions. Ironically, the music backing Carrington's uproarious lyrics is more traditional honky-tonk than almost anything coming out of mainstream Nashville; many of these tracks could be outtakes from, say, an old Moe Bandy album. Lyrically, the songs are redolent of vintage Ray Stevens, or of the material Shel Silverstein wrote for Bobby Bare in the '70s.
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