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Hot 'N' Nasty


Download links and information about Hot 'N' Nasty by Humble Pie. This album was released in 1994 and it belongs to Rock, Blues Rock, Hard Rock, Heavy Metal genres. It contains 30 tracks with total duration of 02:20:26 minutes.

Artist: Humble Pie
Release date: 1994
Genre: Rock, Blues Rock, Hard Rock, Heavy Metal
Tracks: 30
Duration: 02:20:26
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No. Title Length
1. Natural Born Woman 4:17
2. Buttermilk Boy 4:24
3. I'll Go Alone 3:57
4. As Safe As Yesterday 6:10
5. Take Me Back 4:56
6. The Sad Bag of Shaky Jake 3:01
7. Big Black Dog 4:07
8. Live With Me 7:53
9. One-Eyed Trouser-Snake Rumba 2:53
10. Earth and Water Song 6:19
11. Red Light Mamma, Red Hot! 6:19
12. Shine On 3:03
13. Stone Cold Fever 4:12
14. Rollin' Stone 6:00
15. Four Day Creep (Live) 3:44
16. I'm Ready 6:33
17. I Don't Need No Doctor (Live) 8:50
18. Hot 'N' Nasty 3:21
19. C'mon Everybody 5:14
20. You're So Good for Me 3:51
21. 30 Days In the Hole 3:57
22. I Wonder 8:54
23. Black Coffee 3:09
24. I Believe to My Soul 4:04
25. Beckton Dumps 3:14
26. Thunderbox 5:18
27. Ninety-Nine Pounds 2:46
28. Street Rat 2:52
29. Road Hog 3:07
30. Rain 4:01



This awesome 31-song compilation mines the best of Humble Pie's boogie-rock ore from nine albums. Hot 'N' Nasty is sequenced chronologically with the first 11 songs lifted from their first three albums, starting with "Natural Born Woman," a re-titled "Natural Born Bugie" — the first cut from 1969's As Safe As Yesterday Is. The more solidly structured "Buttermilk Boy" pulls mod-rock vestiges from singer Steve Marriott tenure in Small Faces with a grooving Hammond organ, handsome guitar leads and of course Marriott's amazingly soulful croon. Making good on the compilation's title, "Big Black Dog" gets hot with sweltering riffs and a cowbell strut, while the weighty boogie of "One-Eyed Trouser-Snake Rumba" gets all kinds of nasty, though the tune contains one of Marriott's best vocal takes next to "30 Days In the Hole." Their 1971 cover of Ray Charles' "I Don't Need No Doctor" was recorded at The Fillmore in 1971 and proves that the band killed it live, while foreshadowing how Peter Frampton would come alive just five years later — dig the audience participation bleeding into a wailing Frampton solo.