plasticsines- lp1 Four gorgeous girls playing punked-up bursts of 70s rock
Product Description
2007 debut release from this new French quartet. The Plastiscines are four girls, reminiscent of The Runaways, with lyrics primarily in French, despite the English song titles. The Plastiscines are part of the new wave of French talent consisting of young middle class kids picking up guitars and letting loose. There has been a large (and positive) reaction to the new movement in the French press and that news is starting to spread worldwide. Catch them before they catch you!. 13 tracks. EMI. 2007.
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bikini kill- self titled I'm not sure if these are the first two records that started riot grrrl, but I do know it did have a major influence on the scene. For those who don't know, riot grrrl (also spelled as just riot grrl) is a form of hardcore punk rock music, with militant feminist lyrics. It began and then died (having gotten unwanted attention from the media) in the early '90s. The record first starts off with 'Double Dare Ya' an urge for women to take control of their equal rights, which has one of my favorite lines 'Gotta listen to what the Man says/time to make his stomach burn'. 'Liar' is a song that attacks rapists and also mocks the typical redneck macho man (eat meat/hate blacks/beat your f*cking wife/it's all the same thing). 'Carnival' is an interesting song with its skipping drumbeat, while 'Thurston Hearts The Who' has Tobi reading a negative review which puts down the band, while Kathleen mocks the reviewer. 'White Boy' is another song which deals with rape, and 'Don't Need You' is a powerful feminist anthem. The CD closes with 'Outta Me' which sounds almost like a slow and sad '60s pop song. A striking contrast compared to the other songs. Included in the CD booklet is political essay written by Kathleen. Great CD, if you feel like there is a lack of feminist perspective in music nowadays, definately pick this up.
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bratmobile- pottymouth Imagine punk rock spliced with girl groups and the beach boys and you get bratmobile. What started out as a college project amongst friends, turned into one of the greatest grrrl bands around. Raw, fast and original, it is both a shame these women remain comparatively unsuing and a blessing (so they do not become victims of the media feeding frenzy)
Even though it is not an explict clairon call to feminist arms (like Bikini Kill or Julie Ruin) there is enough stuff included to provide a refreshing antidote to the returing macho posturing of the mainstream airwaves. That this was accomplished with the band members living in different parts of the country is a testament to their undying dedication and support of each other. This attitude translates into respect and effort for the fans.
dolly mixture- demonstration tapes A pop UK-based female trio formed in 1978 which comprised Debsey Wykes (b. 21 December 1960, Hammersmith, London, England; bass/piano/vocals), Rachel Bor (b. 16 May 1963, Wales; guitar/cello/vocals) and Hester Smith (b. 28 October 1960, West Africa; drums). The group was formed by the three school-friends in Cambridge who all shared a fondness for The Shangri-Las and the The Undertones. It was the Undertones who gave Dolly Mixture one of their first breaks by having the Dollys support them on one their first tours of the UK.
Wykes started collaborating with Saint Etienne as one of the band's regular backing singers. Saint Etienne's Bob Stanley became the new Dolly Mixture champion, re-releasing their untitled 1983 double album (this time titled Demonstration Tapes), as a single CD on the Royal Mint label, in 1995.
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the go-go's beauty and the beat Amazon.com
When the 1970s punk scene was washed away by the undertow of '80s new wave, few bands surfed the transition as well as the Go-Go's. These Valley grrrls dressed up their punk heritage with a sense of glamour so that their music was at once ballsy and fanciful. The peppery singles "We Got the Beat" and "Our Lips Are Sealed" were their debut's chart climbers and glossiest tracks. The rest of the album has a tougher crust. For example, the jittery "Can't Stop the World" would make the Ramones proud. And take a look at the lyrical content of "This Town": "Change the lines that were said before / We're all dreamers--we're all whores / Discarded stars / Like worn out cars / Litter the streets of this town." Hole's single "Celebrity Skin" is a '90s rendition of the same theme: "When I wake up with my makeup / Have you ever felt so used up as this? / It's all so sugarless / Hooker / Waitress / Model / Actress / Oh, just go nameless." Just as Courtney Love has made a career out of publicly displaying her glam-trash lifestyle, the Go-Go's song about the self-eroding lifestyles of Hollywood revealed that they, too, were more hard living than hard candy. --Beth Bessmer
DOWNLOADWhen the 1970s punk scene was washed away by the undertow of '80s new wave, few bands surfed the transition as well as the Go-Go's. These Valley grrrls dressed up their punk heritage with a sense of glamour so that their music was at once ballsy and fanciful. The peppery singles "We Got the Beat" and "Our Lips Are Sealed" were their debut's chart climbers and glossiest tracks. The rest of the album has a tougher crust. For example, the jittery "Can't Stop the World" would make the Ramones proud. And take a look at the lyrical content of "This Town": "Change the lines that were said before / We're all dreamers--we're all whores / Discarded stars / Like worn out cars / Litter the streets of this town." Hole's single "Celebrity Skin" is a '90s rendition of the same theme: "When I wake up with my makeup / Have you ever felt so used up as this? / It's all so sugarless / Hooker / Waitress / Model / Actress / Oh, just go nameless." Just as Courtney Love has made a career out of publicly displaying her glam-trash lifestyle, the Go-Go's song about the self-eroding lifestyles of Hollywood revealed that they, too, were more hard living than hard candy. --Beth Bessmer
the runaways- self titledProduct Description
When the Runaways debuted in 1976 with this self-titled LP, aggressive female rockers were the exception instead of the rule. With this album, the Runaways made it crystal clear that women (or specifically, adolescent girls) were more than capable of playing intense, forceful hard rock that went directly for the jugular. Produced by Kim Fowley. 10 tracks & a fold-out sleeve with extensive liner notes, photos & other memorabilia. Cherry Red Records. 2003
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the shangri-las- leader of the pack The bad girls of early spoken word rock debut album is finally on CD. The sound is very good. The liner notes are a brief long page introduction. The song selection is respectable considering singles were emphasized on album until The Beach Boys "Pet Sounds". Shangri-Las fans will like the mini-pictured pink colored badge and black patch included with the disc. If the question to purchase is based on the live material, don't bother. It's early 1960's ying-yang on par with a high school dance along the line of The Rolling Stones "Got Live If You Want It". Volume levels are inconsistent. Luckily the excellent bonus tracks finish the CD on a high note. There was always something different about Mary Weiss and company that set them apart from what was going on back then. Was it the (A) Harmony (B) Mystique (C) Dark Approach (D) New York Drawl or (E) Adolescent Issues? Try (F) - All Of The Above. Newcomers should best turn to the collected "Myrmidons" (Black Cover) which has some stereo versions as compared to muddy sounds of the (Red) Mercury "Best Of" before picking this up. Until Grace Slick and Janis Joplin came along, The Shangri-Las and The Ronettes were "The Leader(s) Of The Pack" in female rock.
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the organ- grab that gunProduct Description
Up in the Great White North, the buzz is palpable. Knighted the latest Canadian "it" band, The Organ have been riding a wave of attention and acclaim revolving around the band’s Mint/604 Records debut, 'Grab That Gun.' With cover stories in Canada’s biggest music monthly (Exclaim) and myriad reviews and features from coast to coast — including unanticipated yet welcome coverage in American mags Fader and Venus — The Organ are ready to take on the U.S. with the release of 'Grab That Gun' on November 2, 2004. Based around the warm, melancholic tones of Jenny Smyth’s Hammond organ, Katie Sketch’s Morrissey-meets-Alison Moyet vocals and Debora Cohen’s guitar that alludes to Johnny Marr, the band has been consistently compared with the best songwriters of the early ‘80s new-wave, writing structured songs around minimal arrangements and creating a nuanced, textured sound that is brooding and catchy at the same time. The best of many bands can be found here — whether it is the weaving counterpoint melodies between organ and bass, the lean bell-like intonation of sparkling guitars, the charmed tenacity of the snare, or the suspended lamentation of Sketch’s cascading vocals — and much excitement is borne out of the desire to name The Organ’s sound in precise terms.
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