Beyond the great pedigrees and disparate influences of drummer Bob Bert (Sonic Youth, Pussy Galore, Bewitched), singer/guitarist Jerry Teel (Honeymoon Killers, Chrome Cranks, Boss Hog, Little Porkchop), guitarist Kid Congo Powers (The Gun Club, The Cramps, Nick Cave and the Bad Seeds, Congo Norvell), guitarist Jack Martin (Little Porkchop, Estranged Blackstrap Molasses Family, Congo Norvell) and organist Barry London's (Stab City, emo scene veteran) , The Knoxville Girls is an entity far outweighing the sum of its parts. Yet another spontaneous re-creation of rock'n'roll written and recorded with a no-frills, workmanlike approach at New York City's famed Funhouse Studio, the album is an intuitively immediate debut release. Having been compared to "Charlie Feathers as backed by the Velvet Underground," Knoxville Girls also bring to mind the thin, wild mercury sound of Newport-era Dylan or music that could be described as "country no wave." Knoxville Girls is a travelogue of American musical styles, a gap-toothed jukebox floating in the grimy Hudson River, spilling into the muddy Mississippi and out into the Gulf of Mexico. A timely and yet timeless collection of songs. With the interplay of three guitars careening into each other like subway trains derailed, a truncheon-like backbeat and a layer of Farfisa, harmonica and sax flying around like New York trash and autumn leaves, The Knoxville Girls is an album anyone would hope to have wash up on his or her shore.