WHEN THE Ramones have been a road-tested biker gang rather than pop-obsessed cartoon quickness merchants, they could have sounded something similar to The Lazy Cowgirls. Merging the buzzsaw roar of first-wave punk, the sneering attitude of ’60’s garage area rock and roll, the heart-on-your-sleeve credibility of honky-tonk, as well as the self-assured swagger from the Rolling Rocks, The Lazy Cowgirls play fresh, sweaty outlaw stone at its most furiously passionate and in physical form intense; such as a Harley gunned as much as 95 mph, The Lazy Cowgirls might not audio safe, however they sure are fun. Vocalist Pat Todd, guitarist D.D. Weekday (aka Doug Phillips), and bassist Keith Telligman still left their hometown of Vincennes, Indiana in 1981 to go to California, expecting to obtain a rock-band off the bottom. In 1983, they finally resolved on fellow Indiana refugee Allen Clark being a drummer, and started striking the L.A. membership circuit because the Sluggish Cowgirls. After countless displays playing to “no-one, and folks from function” (based on Todd), the music group caught the hearing of Chris Desjardins (aka Chris D.), previous head of art-punks The Flesh Eaters. Desjardins got the music group a cope with Restless Information, and created their self-titled debut LP in 1984. The record didn’t quite reveal the band’s powerhouse live display, and they had been soon dropped in the label. After 2 yrs of local displays and periodic touring, Bomp Information found the recovery by launching the band’s second long-player, Tapping THE FOUNDATION, which came very much closer in recording the fire of the live present on plastic material, and merged fifth-gear originals like “Goddamn Container” and “Can’t YOU DECIDE TO DO Anything Best?” with stripped-down addresses of “Justine” and “Heartache.” The next calendar year, the newly-founded indie label Sympathy For The Record Sector opened up for business with Radio Cowgirl, a souvenir from the band’s high-octane live established at KCSB-FM in Santa Barbara. Pursuing yet another episode of lengthy touring, the music group slice the near-definitive How It Appears — How IT REALLY IS in 1990, but many years of effort with little industrial reward begun to consider their toll, and by the end of 1991 Telligman and Clark give up the group. The Cowgirls’ tempo section became something of the revolving door for another few years, even though The Lazy Cowgirls cut a small number of singles and EP’s for several small labels, typical wisdom acquired it which the music group had known as it quits. However in 1995, the Cowgirls re-emerged with a fresh album, the outstanding Ragged Soul, along with a apparently steady lineup, with Todd and Weekday today joined up with by Michael Leigh on tempo acoustic guitar, Ed Huerta on drums, and Leonard Keringer on bass. The music group toured america and European countries, but 1996 brought even more employees shake-ups, as D.D. Weekday and Ed Huerta both converted within their notices. Bob Deagle authorized on as drummer with time for 1997’s JUST A LITTLE Sex and Loss of life, with Eric Chandler seated in on acoustic guitar. By 1999, Michael Leigh got rejoined the music group on acoustic guitar, and almost twenty years after departing Indiana, the indefatigable Pat Todd started pressing the The Lazy Cowgirls harder than ever before, using the music group spending the required time on the highway and liberating two solid albums on Sympathy within half a year of each additional, Rank Outsider and Someplace DOWN THE ROAD. The live recording, Here and today: Live was released in summer season 2001. 2004 found out the music group recording for a fresh label, Reservation Information, and liberating their strongest fresh recording in years, the rootsy I AM GOING Out AND OBTAIN Hurt Tonight.