Showing posts with label Feminism. Show all posts
Showing posts with label Feminism. Show all posts

Sunday, 8 March 2026

150 greatest albums made by women (NPR List)

If you're a regular reader of this blog, you already know how much I like album lists. With today being International Women's Day, I thought it'd be a good moment to share this list: in its Turning the Tables project, NPR assembled critics and musicians to rank the 150 greatest albums made by women. The result is a fascinating journey through decades of music, featuring artists from Lauryn Hill and Madonna to Patti Smith and Kate Bush. Some of the bands mentioned here (X, Sonic Youth, B52's, Fleetwood Mac) are really equal male/female singer-songwriter partnerships. I wouldn't have thought of including them in a list like this, but ultimately it makes sense; for example, Sonic Youth's Kim Gordon has been such a feminist icon in the American underground rock scene that she couldn't be absent from here. Her memoir Girl in a Band is already considered essential rock'n'roll reading, and coincidentally it's sitting on top of my to-read book pile at the moment. As usual, if an album has already been reviewed in this blog, there's a link to the relevant post. In this case though, I wanted to include a short description for every entry here, explaining why each of them is important. However, the list is so long that I ended up cheating a bit and asking AI to help me write it.. It turned up quite well - after all I must admit that I haven't heard all of these albums;  some, especially the R&B and hip hop artists here, are familiar to me by name mostly: I know a little bit of their history, the received wisdom of why they're supposed to be important, but I haven't heard a lot of their work. I will use this list as a listening challenge and try to broaden my musical horizons. Scroll down to see: how many of these albums have you heard? Does the description make you want to listen to any of them? If the answer is yes, the purpose of this post is accomplished.

1. Joni Mitchell — Blue (1971)

One of the most intimate singer-songwriter albums ever recorded. Mitchell transforms personal heartbreak and self-reflection into deeply poetic, emotionally raw songs.

2. Lauryn Hill — The Miseducation of Lauryn Hill (1998)

A groundbreaking fusion of hip-hop, soul, and gospel that explores love, spirituality, and identity. Hill’s only solo studio album became a defining record of late-1990s R&B and rap.

3. Nina Simone — I Put A Spell on You (1965)

Simone’s voice moves between tenderness and intensity on this jazz-soul classic. The album showcases her ability to reinterpret songs with emotional and political depth.

4. Aretha Franklin — I Never Loved a Man The Way I Love You (1967)

Featuring the legendary “Respect,” this album marked Franklin’s transformation into the Queen of Soul. Gospel roots and raw emotion define its powerful sound.

5. Missy Elliott — Supa Dupa Fly (1997)

Missy Elliott’s debut reshaped hip-hop with futuristic production from Timbaland and her playful, innovative style. Its sound remains influential decades later.

6. Beyoncé — Lemonade (2016)

A bold visual and musical concept album blending R&B, rock, hip-hop, and country. It examines betrayal, Black identity, and empowerment through cinematic storytelling.

7. Patti Smith — Horses (1975)

A revolutionary album that fused poetry with punk rock energy. Smith’s fearless lyrics helped redefine the possibilities of rock music.

8. Janis Joplin — Pearl (1971)

Joplin’s final album captures her explosive blues-rock voice at its peak. Released after her death, it includes iconic songs like “Me and Bobby McGee.”

9. Amy Winehouse — Back To Black (2006)

A modern soul masterpiece inspired by 1960s girl groups and Motown. Winehouse’s brutally honest songwriting about heartbreak made the album a global phenomenon.

 

10. Carole King — Tapestry (1971)

One of the most beloved singer-songwriter albums of all time. King’s warm voice and timeless melodies produced classics like “It’s Too Late” and “You’ve Got a Friend.”

11. Dolly Parton — Coat Of Many Colors (1971)

A country storytelling masterpiece that blends autobiography with empathy and humor. The title track remains one of Parton’s most beloved songs.

12. Erykah Badu — Baduizm (1997)

A defining album of the neo-soul movement. Badu’s smooth vocals and laid-back grooves introduced a new sound in R&B.

13. Madonna — Like a Prayer (1989)

Madonna’s most ambitious album combines pop, gospel, and social commentary. Its themes of religion, sexuality, and identity pushed pop music into deeper territory.

14. Whitney Houston — Whitney Houston (1985)

A spectacular debut that introduced Houston’s extraordinary vocal power. The album helped define the sound of mainstream pop-R&B in the 1980s.

15. Diana Ross and the Supremes — Where Did Our Love Go (1964)

A Motown landmark packed with hits that helped define the girl-group sound. Diana Ross’s voice brought elegance and charm to these classic pop songs.

16. Fleetwood Mac — Rumours (1977)

A legendary pop-rock album created amid intense personal drama within the band. Its polished production and emotional songwriting produced several timeless hits.

17. Janet Jackson — Control (1986)

A bold declaration of independence that transformed Jackson’s career. Its innovative production shaped modern pop and R&B.

18. Lucinda Williams — Car Wheels On A Gravel Road (1998)

A landmark Americana album blending rock, country, and blues. Williams’ vivid lyrics paint detailed portraits of Southern life.

19. Selena — Amor Prohibido (1994)

A defining Latin pop and Tejano album that made Selena a cultural icon. Its songs combine dance rhythms with heartfelt storytelling.

20. The Ronettes — Presenting the Fabulous Ronettes Featuring Veronica (1964)

A quintessential girl-group album produced by Phil Spector’s “Wall of Sound.” Veronica Bennett’s vocals shine on classics like “Be My Baby.”

21. PJ Harvey — Rid Of Me (1993)

A raw and abrasive alternative rock album that showcases Harvey’s fierce songwriting and vocal intensity.

22. Sade — Diamond Life (1984)

Smooth jazz-infused soul anchored by Sade Adu’s cool, elegant voice. Its sophisticated sound became iconic in 1980s pop.

23. Aretha Franklin — Amazing Grace (1972)

A powerful live gospel recording that reconnects Franklin with her spiritual roots. It remains one of the best-selling gospel albums ever.

24. Loretta Lynn — Coal Miner’s Daughter (1970)

A country classic that tells Lynn’s autobiographical story of poverty and perseverance. The title track became her signature song.

25. Ani DiFranco — Little Plastic Castle (1998)

An independent folk-rock album that blends political insight with personal reflection. DiFranco’s DIY approach influenced many later artists.

26. TLC — CrazySexyCool (1994)

A sleek R&B and hip-hop album that defined 1990s pop culture. Its mix of confidence and vulnerability produced several iconic hits.

27. Tori Amos — Little Earthquakes (1992)

A piano-driven alternative album confronting trauma, religion, and identity. Amos’s intense songwriting made it a cult classic.

28. Nina Simone — Nina Simone Sings the Blues (1967)

Simone channels blues traditions while maintaining her distinctive jazz sensibility and emotional power.

29. Alanis Morissette — Jagged Little Pill (1995)

A generation-defining alternative rock album full of anger, vulnerability, and catharsis.

30. Adele — 21 (2011)

A global success blending soul, pop, and blues influences. Adele’s powerful voice and emotional honesty made the album resonate worldwide.

31. Liz Phair — Exile In Guyville (1993)

A bold indie rock album offering a sharp feminist perspective on relationships and rock culture.

32. Björk — Post (1995)

An adventurous art-pop record combining electronic beats, orchestral arrangements, and experimental production.

33. Queen Latifah — All Hail The Queen (1989)

A pioneering hip-hop album that introduced Latifah’s confident voice and socially conscious lyrics.

34. Tina Turner — Private Dancer (1984)

Turner’s triumphant comeback album combining rock, pop, and soul influences.

35. Blondie — Parallel Lines (1978)

A defining new-wave album that merges punk attitude with polished pop songwriting.

36. Grace Jones — Nightclubbing (1981)

A stylish blend of reggae, disco, and new wave that highlights Jones’s cool, commanding persona.

37. Kate Bush — Hounds Of Love (1985)

An imaginative art-pop masterpiece combining radio hits with ambitious conceptual storytelling.

38. Odetta — It's a Mighty World (1964)

A powerful folk album highlighting Odetta’s rich voice and her connection to the civil rights movement.

39. Gillian Welch — Time (The Revelator) (2001)

A haunting Americana album filled with sparse arrangements and timeless songwriting.

40. The Staple Singers — Be Altitude: Respect Yourself (1972)

A gospel-soul classic featuring uplifting messages of empowerment and unity.

41. Tracy Chapman — Tracy Chapman (1988)

A thoughtful folk album featuring socially conscious storytelling and the hit “Fast Car.”

42. Ella Fitzgerald — Ella Fitzgerald Sings the Johnny Mercer Song Book (1964)

Fitzgerald interprets Mercer’s classic compositions with effortless swing and elegance.

43. M.I.A. — Kala (2007)

A genre-blending album mixing global sounds, political themes, and inventive production.

44. Heart — Dreamboat Annie (1976)

A powerful rock debut showcasing Ann Wilson’s soaring vocals and strong songwriting.

45. Dusty Springfield — Dusty in Memphis (1969)

A soul-pop classic celebrated for Springfield’s emotional vocal performance.

46. Emmylou Harris — Wrecking Ball (1995)

An atmospheric country album produced by Daniel Lanois that redefined Harris’s sound.

47. Celia Cruz — Son con Guaguanco (1966)

A vibrant salsa album featuring Cruz’s electrifying voice and Afro-Cuban rhythms.

48. Etta James — Rocks The House (1964)

A lively live recording capturing James’ powerful blues and soul vocals.

49. Rickie Lee Jones — Pirates (1981)

A sophisticated jazz-pop album full of storytelling and lush arrangements.

50. Hole — Live Through This (1994)

A fierce grunge album combining raw anger with emotional vulnerability.

 

51. Sarah Vaughan — Sassy Swings Again (1967)

A vibrant jazz album that showcases Vaughan’s extraordinary vocal range and effortless swing. Her phrasing and tone demonstrate why she remains one of the greatest jazz singers.

52. Bonnie Raitt — Nick Of Time (1989)

A blues-rock comeback that revitalized Raitt’s career. Its heartfelt songwriting and expressive slide guitar earned major critical and commercial success.

53. Linda Ronstadt — Heart Like A Wheel (1974)

A landmark country-rock album highlighting Ronstadt’s powerful, emotional voice. It helped bring country influences into mainstream pop.

54. Nico — Chelsea Girl (1967)

A haunting folk-pop album with contributions from members of the Velvet Underground. Nico’s detached voice gives the songs an eerie, introspective atmosphere.

55. The Go-Go's — Beauty And The Beat (1981)

A bright pop-rock debut that made the Go-Go’s the first all-female band to top the charts with songs they wrote and performed themselves.

56. X-Ray Spex — Germfree Adolescents (1978)

A sharp and rebellious punk album led by Poly Styrene’s distinctive voice. Its lyrics critique consumer culture and social expectations.

57. Mary J. Blige — What's the 411? (1992)

A defining R&B album that fused hip-hop beats with soulful vocals. Blige’s style helped create the “hip-hop soul” sound.

58. Labelle — Nightbirds (1974)

A funk and soul classic best known for the hit “Lady Marmalade.” The trio’s theatrical style and vocal power define the record.

59. Indigo Girls — Indigo Girls (1989)

A folk-rock album celebrated for its strong songwriting and vocal harmonies. Its thoughtful lyrics resonated with a wide audience.

60. The Pretenders — Pretenders (1980)

A confident rock debut featuring Chrissie Hynde’s sharp songwriting and distinctive voice.

61. Destiny's Child — The Writing's on the Wall (1999)

A hugely influential R&B album that helped establish Destiny’s Child as a dominant pop group of the late 1990s.

62. Dixie Chicks — Wide Open Spaces (1998)

A breakthrough country album combining strong harmonies with themes of independence and self-discovery.

63. Madonna — Like a Virgin (1984)

A defining 1980s pop album that cemented Madonna’s status as a global superstar.

64. Spice Girls — Spice (1996)

A pop phenomenon that introduced “Girl Power” to global audiences. Its energetic singles dominated the charts.

65. Cassandra Wilson — Blue Light 'Til Dawn (1993)

A moody jazz album blending blues, folk, and rock influences with Wilson’s deep, expressive voice.

66. Miriam Makeba — Pata Pata (1967)

A vibrant Afro-pop album that brought South African music to international audiences.

67. Sinéad O'Connor — I Do Not Want What I Haven't Got (1990)

A powerful album exploring faith, grief, and independence. Its stripped-down emotional intensity defines the record.

68. Rosanne Cash — King's Record Shop (1987)

A country album that balances traditional storytelling with contemporary songwriting.

69. Cyndi Lauper — She's So Unusual (1983)

A colorful pop debut featuring hits like “Girls Just Want to Have Fun.” Lauper’s playful personality shines throughout.

70. Stevie Nicks — Bella Donna (1981)

A successful solo debut that highlights Nicks’ mystical songwriting and distinctive voice.

71. Salt-N-Pepa — Blacks' Magic (1990)

A confident hip-hop album combining socially conscious lyrics with danceable beats.

72. The Runaways — The Runaways (1976)

A pioneering hard rock debut that helped break gender barriers in rock music.

73. Astrud Gilberto — The Astrud Gilberto Album (1965)

A gentle bossa nova classic featuring Gilberto’s soft, understated vocals.

74. The Raincoats — The Raincoats (1979)

An influential post-punk album celebrated for its experimental sound and feminist perspective.

75. Donna Summer — Bad Girls (1979)

A glamorous disco classic that blends dance music with rock and pop influences.

76. Tammy Wynette — Stand By Your Man (1969)

A country classic centered on one of the genre’s most famous songs.

77. Aaliyah — Aaliyah (2001)

A sleek R&B album featuring futuristic production and Aaliyah’s smooth vocals.

78. Bulgarian State Radio & Television Choir — Le Mystère Des Voix Bulgares (1987)

A stunning collection of traditional Bulgarian choral music with complex harmonies.

79. Portishead — Dummy (1994)

A haunting trip-hop album that blends hip-hop beats with cinematic atmosphere.

80. Laurie Anderson — Big Science (1982)

An experimental art-pop album mixing spoken word, electronics, and avant-garde storytelling.

81. Sleater-Kinney — Dig Me Out (1997)

A fierce indie rock album driven by sharp guitar interplay and feminist energy.

82. Laura Nyro — New York Tendaberry (1969)

A dramatic singer-songwriter album combining soul, jazz, and orchestral pop.

83. Bobbie Gentry — Ode To Billie Joe (1967)

A Southern Gothic folk album famous for its mysterious storytelling.

84. Roberta Flack — First Take (1969)

A soulful and intimate album featuring the classic “The First Time Ever I Saw Your Face.”

85. Joan Baez — Diamonds & Rust (1975)

A reflective folk album featuring personal songs and political themes.

86. Alice Coltrane — Journey in Satchidananda (1971)

A spiritual jazz masterpiece blending harp, drones, and Eastern influences.

87. X — Los Angeles (1980)

A landmark punk album capturing the energy of the Los Angeles underground scene.

88. k.d. lang — Ingénue (1992)

An elegant pop album inspired by classic torch songs.

89. Shania Twain — Come On Over (1997)

The best-selling country album of all time, blending country with pop accessibility.

90. Barbra Streisand — Funny Girl (Broadway Cast Album) (1964)

A theatrical recording that showcases Streisand’s extraordinary vocal talent.

91. Alison Krauss and Union Station — New Favorite (2001)

A polished bluegrass album featuring exceptional musicianship and Krauss’s angelic voice.

92. Meshell Ndegeocello — Peace Beyond Passion (1996)

A bold neo-soul album exploring identity, sexuality, and spirituality.

93. Britney Spears — ...Baby One More Time (1999)

A hugely influential teen pop debut that defined late-1990s pop culture.

94. Sheryl Crow — Tuesday Night Music Club (1993)

A laid-back pop-rock album featuring the hit “All I Wanna Do.”

95. Shakira — ¿Dónde Están los Ladrones? (1998)

A Latin rock breakthrough that helped bring Shakira to international fame.

96. Lil' Kim — Hard Core (1996)

A bold and controversial hip-hop debut that pushed boundaries in rap.

97. Mariah Carey — Daydream (1995)

A polished pop and R&B album featuring some of Carey’s biggest hits.

98. Bikini Kill — Yeah Yeah Yeah Yeah (1993)

A defining riot-grrrl punk EP known for its raw energy and feminist message.

99. Taylor Swift — Fearless (2008)

A hugely successful country-pop album that propelled Swift into global stardom.

100. Buffy Sainte-Marie — It's My Way! (1964)

A powerful folk album addressing Indigenous identity and social justice.

101. Eurythmics — Touch (1983)

A synth-pop landmark that highlights Annie Lennox’s powerful voice and dramatic style. Its blend of electronic textures and soulful melodies helped define 1980s pop.

102. Alabama Shakes — Sound & Color (2015)

A genre-blending album mixing soul, rock, psychedelia, and blues. Brittany Howard’s electrifying vocals drive the band’s bold sonic experimentation.

103. Umm Kulthum — Enta Omri (You Are My Life) (1964)

A monumental recording from the legendary Egyptian singer. The album showcases Kulthum’s expressive voice and the rich traditions of Arabic classical music.

104. ESG — Come Away With ESG (1983)

A minimalist dance-punk album built on tight rhythms and stripped-down grooves. Its sound became highly influential in hip-hop, house, and post-punk.

105. Sheila E. — The Glamorous Life (1984)

A vibrant pop-funk album produced with Prince. Sheila E.’s percussion skills and charismatic vocals shine on the title track.

106. No Doubt — Tragic Kingdom (1995)

A ska-punk and pop crossover album that launched Gwen Stefani into global stardom. Its energetic songs captured the spirit of 1990s alternative music.

107. The Shangri-Las — Leader of the Pack (1965)

A dramatic girl-group album filled with teenage romance and tragedy. The title track remains one of the most iconic songs of the 1960s.

108. Gladys Knight and the Pips — Imagination (1973)

A soulful album featuring Knight’s warm, powerful voice and the group’s smooth harmonies.

109. Against Me! — Transgender Dysphoria Blues (2014)

A raw punk album exploring gender identity and personal transformation. Laura Jane Grace’s songwriting is both deeply personal and politically powerful.

110. Miranda Lambert — Platinum (2014)

A modern country album that balances humor, heartbreak, and independence. Lambert’s confident songwriting gives the record its distinctive voice.

111. Diamanda Galás — The Litanies of Satan (1982)

A chilling avant-garde work combining operatic vocals with dark, experimental soundscapes. Galás’ performance pushes the boundaries of vocal expression.

112. Mercedes Sosa — Mercedes Sosa en Argentina (1982)

A powerful live album capturing the Argentine folk singer’s emotional connection with her audience. Sosa’s voice became a symbol of resistance and cultural identity.

113. Aretha Franklin — Young, Gifted and Black (1972)

A soulful album blending gospel roots with contemporary pop influences. The title track became an anthem of Black pride and empowerment.

114. Reba McEntire — Rumor Has It (1990)

A polished country album that helped solidify McEntire’s status as one of Nashville’s biggest stars.

115. La Lupe & Tito Puente — La Pareja (1978)

An energetic Latin album combining Puente’s salsa arrangements with La Lupe’s fiery vocal style.

116. Macy Gray — On How Life Is (1999)

A neo-soul album highlighted by Gray’s distinctive raspy voice and the hit single “I Try.”

117. Joan Jett — I Love Rock 'n' Roll (1981)

A high-energy rock album that turned Jett into one of rock’s most iconic guitarists and performers.

118. Chaka Khan — I Feel for You (1984)

A funk-pop classic that blends R&B with early hip-hop elements. The title track became one of Khan’s signature songs.

119. The Slits — Cut (1979)

A pioneering post-punk album mixing punk attitude with reggae rhythms and feminist defiance.

120. Anita Baker — Rapture (1986)

A smooth and elegant R&B album featuring Baker’s rich, expressive voice. It helped define the quiet-storm sound of the 1980s.

121. Joni Mitchell — Hejira (1976)

A contemplative jazz-folk album inspired by Mitchell’s travels across America. Its sophisticated songwriting and atmospheric sound mark a creative high point.

122. Siouxsie and the Banshees — The Scream (1978)

A dark and influential post-punk debut that helped shape the emerging gothic rock scene.

123. Cris Williamson — The Changer and the Changed (1975)

A landmark folk album in lesbian and feminist music communities. Its themes of identity and empowerment resonated widely.

124. Carly Simon — No Secrets (1972)

A polished singer-songwriter album featuring the enduring hit “You’re So Vain.”

125. Fiona Apple — Tidal (1996)

A striking debut blending jazz-influenced piano arrangements with emotionally intense songwriting.

126. The Carpenters — A Song for You (1972)

A beautifully arranged pop album showcasing Karen Carpenter’s warm, unmistakable voice.

127. Sonic Youth — Sister (1987)

An influential alternative rock album featuring experimental guitar textures and art-rock sensibilities.

128. Pauline Oliveros, Stuart Dempster, Panaiotis — Deep Listening (1989)

A groundbreaking experimental recording exploring sound resonance and meditative listening.

129. Marianne Faithfull — Broken English (1979)

A gritty and atmospheric new-wave album marking Faithfull’s powerful artistic comeback.

130. Teena Marie — Wild and Peaceful (1979)

A funk and R&B debut that showcases Marie’s soulful voice and songwriting talent.

131. Shirley Horn — I Thought About You — Live At Vine St. (1987)

A stunning jazz live recording featuring Horn’s intimate piano playing and smoky vocals.

132. Shelby Lynne — I Am Shelby Lynne (2000)

A deeply personal country-pop album that reintroduced Lynne as a mature songwriter and performer.

133. Fanny — Fanny Hill (1972)

A rock album from one of the first successful all-female rock bands, combining tight musicianship with classic rock energy.

134. Solange — A Seat at the Table (2016)

A reflective R&B album exploring Black identity, empowerment, and healing.

135. The B-52's — The B-52's (1979)

A quirky and colorful new-wave debut known for its playful energy and danceable rhythms.

136. Yoko Ono/Plastic Ono Band — Yoko Ono/Plastic Ono Band (1970)

An avant-garde rock album filled with experimental vocals and radical sonic ideas.

137. Ofra Haza — 50 Gates Of Wisdom (Yemenite Songs) (1987)

A beautiful reinterpretation of traditional Yemenite Jewish songs blending ancient melodies with modern production.

138. Cocteau Twins — Heaven or Las Vegas (1990)

A dream-pop masterpiece defined by lush guitar textures and Elizabeth Fraser’s ethereal voice.

139. The Bangles — All Over the Place (1984)

A jangly pop-rock debut influenced by 1960s folk-rock and the Paisley Underground scene.

140. Norah Jones — Come Away with Me (2002)

A mellow jazz-pop album that became a massive commercial success thanks to its intimate atmosphere.

141. Joanna Newsom — Ys (2006)

A sweeping indie-folk album featuring complex harp arrangements and richly poetic lyrics.

142. Iris DeMent — My Life (1993)

A deeply emotional country-folk album exploring grief, faith, and resilience.

143. Robyn — Body Talk (2010)

A bold electronic pop album combining emotional vulnerability with cutting-edge dance production.

144. The Breeders — Last Splash (1993)

An alternative rock classic featuring the indie hit “Cannonball.”

145. Oumou Sangaré — Moussolou (Women) (1989)

A groundbreaking West African album advocating women’s independence and social change.

146. Patty Griffin — Flaming Red (1998)

A rock-influenced singer-songwriter album full of passionate vocals and emotional storytelling.

147. Meredith Monk — Dolmen Music (1981)

A striking experimental work using extended vocal techniques and minimalist composition.

148. Terri Lyne Carrington — The Mosaic Project (2011)

A jazz album celebrating women musicians and exploring themes of identity and empowerment.

149. Alicia Keys — Songs In A Minor (2001)

A soulful debut blending classical piano influences with contemporary R&B.

150. The Roches — The Roches (1979)

A charming folk album built on intricate vocal harmonies and witty songwriting.

Friday, 8 March 2019

Bikini Kill "The C.D. Version Of The First Two Records" 1994(comp)****

A few years ago I decided to acknowledge the 8th of March (International Women's Day) with the presentation of a Riot-Grrrl band, Sleater-Kinney. This year I thought I'd do the same with arguably the most iconic -certainly the most political- band of that movement, Bikini Kill. Why? you ask. Am I a feminist? No. Firstly, and more obviously, because I'm a guy. I know my profile photo isn't very clear, but don't let the long hair fool you. It's the photo of a guy, not of a bearded lady. And I don't think women need me to speak for them. Secondly, to one degree or another, all -isms seem to promote dogmatic and fanatic, even intolerant, behavior. That said, I do respect and support feminists, as I do all activists fighting for a righteous cause.
So I couldn't help being impressed while watching "The Punk Singer", a documentary on Kathleen Hanna, Bikini Kill's singer and de facto leader of the Riot Grrrl scene. I thought "wow! what an inspirational person! so radical, and provocative, and fearless!" which is obviously what the filmmakers wanted me to think, so kudos to them. They took an interesting story and made an arresting film out of it. I don't know if they overglorified their protagonist, but even if they did so what? The world needs hero(in)es. More to tonight's point, I liked the music in the film, so I went out and bought a CD by Bikini Kill. I chose this compilation of early material, as I recognized some titles from the film. Despite its title it doesn't contain any songs from their two LP's. The "two records" mentioned are the band's debut E.P. and a split L.P. with Huggy Bear. The reissue augments those with 7 unreleased demos, mostly of atrocious quality, but arguably of historic interest to fans. Not that the rest is the height of hi-fi but, hey, that's punk rock for you. Apparently many fans prefer these rough and aggressive recordings to the supposedly more "polished" later versions. The eponymous debut E.P. was "produced" by Fugazi's Ian MacKaye who basically just let them loose in the studio and recorded the result. His decision to not try to rein them in has ensured this EP has both fanatic admirers and adversaries (check out this contemporary review on Rolling Stone). If the best U.S. hardcore bands sound like a speeding train ready to destroy anything that gets in its way, Bikini Kill is the sound of a train that's been derailed and rolling down the slope at terrific speed. The drumming is just as aggressive but anarchic instead of mathematic. The vocals are simply out of control: Kathleen shouts, scoffs, snarls and screams with all the power she can muster. Which is a lot. 
  
The first song of their first record serves as a perfect statement of intent: "We're Bikini Kill and we want Revolution Girl-style now! Hey girlfriend/ I got a proposition goes something like this: Dare ya to do what you want/ Dare ya to be who you will/Dare ya to cry right out loud 'You get so emotional baby' I Double dare ya/ Double dare triple fuckin' dare ya girlfriend". It's a veritable classic and, along with a few other songs here, strangely reminiscent of the Dead Kennedys. Surprising how often Hanna manages to sound like an unholy hybrid of The Kennedys' Jello Biafra and your typical valley girl. "Liar" could have been another anthem, but gets derailed by blood-curling screams over a mocking reference to John Lennon's "Give Peace A Chance". Both this and the Ramones-y "Suck My Left One" reference rape and sexual abuse, not the lightest subjects in the world. "Carnival" is a dark satire and "Thurston Hearts The Who" a musical improvisation over reading a review of the band's performance. "Feels Blind" is the tragically poetic one, starting with melancholy before letting the rage out again "I'm the woman I was taught to always be hungry... I'd (even) eat your fucking hate up like love". Songs 7-13 come from the split L.P. "Yeah Yeah Yeah". They touch similar subjects and sport a similar hardcore sound. The highlights are "White Boy" (basically casting the typical male as an idiot and potential rapist, no wonder the band were portrayed in the media as man-haters) and, of course, "Rebel Girl" which became an unofficial Riot Grrrl anthem with its blend of politics and lesbian infatuation. Truth be told, of the 3 versions of this song Bikini Kill recorded, this is the least good one. The anthemic chorus and provocative lyrics are there, but it seems unnecessarily noisy and angry whereas later versions are proud and celebratory. Of the last 7 tracks, the less said the better: mostly uncooked punk in real lo-fi quality. Even lyrically they're quite weak. I mean "George Bush Is A Pig"? C'mon, is that all you got? OK, the spoken word "Chevy Window" is funny, though I suspect it was going for righteous anger. I choose to ignore the extra tracks that came with the latest reissue and give a solid 4* to the rest of the album. And, seriously, watch the embedded documentary above. You'll become a fan, too.
***** for Double Dare Ya
**** for Liar, Carnival, Suck My Left One, Feels Blind, White Boy, Rebel Girl
*** for Don't Need You, Jigsaw Youth, This Is Not A Test, Outta Me
** for Thurston Hearts The Who, Resist Psychic Death, George Bush Is A Pig, I Busted In Your Chevy Window, Get Out, Why, Fuck Twin Peaks, Girl Soldier. Not Right Now

Tuesday, 8 March 2016

Sleater-Kinney "Dig Me Out" 1997****

Seeing that, by happy coincidence, I've presented 3 female artists in a row, I decided to make a thing out of it and continue until the 8th of March, which is International Women's Day. The actual meaning of this day is foggy to most of us. Well-meaning men understand it as a plea to be nice to your female co-worker and bring her coffee, for a change. Women often seem to think that "it's our day today, so let's drink and behave like men!". At the very best, people believe it's about showing women our appreciation for everything they do for us by giving them flowers or gifts - Valentine's Day and Mother's Day rolled into one. Well, don't let that shock you but International Women's Day is actually part of a Communist Conspiracy to undermine our freedom by making us unwillingly celebrate an idea proposed by an American socialist, ratified by the Second Internationale who set the date on the 8th of March, and sponsored by the Bolsheviks. In time it lost its socialist connections and came to be identified with the feminist cause in general, and even that tends to be underplayed nowadays. Maybe because many of them apparently regard feminism as irrelevant in the modern world. I get the fact that they don't see themselves as victims of discrimination but, even discounting the fact that women have absolutely no rights in a large part of this world, one look at political and business summits raises the question of why there are so few women up there. The music world is a prime example of that. And yes, I know there are super-dynamic and successful women out there, but one Madonna does not make the difference - after all Queen Victoria used to rule half the world, what good did it do to the women in the British Empire? Even in progressive underground subcultures, gender equality was always shrugged off as irrelevant. Girls in the hippie communes were still expected to clean, cook, and fuck the men as a matter of obligation. Punk did produce a number of strong and independent female figures (Patti Smith, Siouxsie, Poly Styrene etc) but its tolerance of violent and brutish behaviour (especially in its American hardcore variety) has often shut women out.
...which bring us to the Riot Grrl story. A politico-musical movement combining punk music with feminist consciousness, it started -like grunge, with which it's closely related- from the American Northwest and consisted of a bunch of loud-but-literate girl bands eager to create a place for themselves in a macho rock scene and touch on issues not commonly addressed in rock music, like violence against women and gender equality. Sleater-Kinney may not have been the most radical or outspoken of these bands, but they were by far the most popular and artistically successful. All of their albums are critically acclaimed, but Dig Me Out is the one that regularly makes the Greatest Albums of All Time lists. At that point (1997) the band consisted of singer/guitarists Corin Tucker and Carrie Brownstein and drummer Janet Weiss. As expected by the trio form, the music is lean and stripped-down. The vocals are loud and guitars are angular and aggressive while musical influences seem to include Nirvana, The Ramones and Sonic Youth. The latter band's Kim Gordon served as a role model for many women in the indie rock scene, being an outspoken and dynamic woman in a rock band as well as the protagonist of many indie guys' fantasies. Incidentally her recently released memoir Girl in a Band is considered one of last years' must-reads. I haven't read it myself yet though, as I'm slowly working my way through an overlong reading list. Anyway, back to Dig Me Out and the same-named track that opens the record: it's as an in-your-face affair as you're ever going to find in the grunge scene, shouty vocals reminiscent of Courtney Love and Hole but abrasive guitar work rising above that level. "One More Hour", which was released as the lead single, is less aggressive and closer to the Throwing Muses' new wave style. The interplay between the singers is also a particular highlight while it's interesting to note that it's ostensibly based on the dissolution of a brief romantic affair they had (with each other). "Turn It On" is a rousing rocker and "The Drama You've Been Craving" sports angular guitars a la Gang Of Four and lyrics that could well have been sung by those striking female workers on the original 8th of March: "The clock I'm punching in (I'm a monster) Work till I can't give (I'm a machine)". "Heart Factory" alternates quiet and loud passages while "Words and Guitar" would be typical '77 style punk if not for the twin lead vocals. These are also evident on the punk'n'roll of "Little Babies", the album's poppier number and second single."Not What You Want" and the sax-blowing "It's Enough" are loud and fast, while "Buy Her Candy" and "Jenny" slower. None of them is particularly impressive. The new wavey "Things You Say" and "Dance Song '97" thankfully raise the quality level again, the latter introducing 80's-sounding keyboards. Definitely a classic record, with quality songwriting, great performances and crisp production, it has deservedly gained a position in the relative lists. The band broke up in 2006, while Carrie deployed her writing and acting talents as co-writer and star of the successful comedy TV series "Portlandia", a show satirizing hipsters, pretentious art types, political correctness and, yes, dogmatic feminists. For those who enjoyed last week's piece on Joanna Newsom here you can catch her guest starring on a sketch from Portlandia's second season, together with Carrie and co-star Fred Armisen:

Last year, and while the TV show is running its 6th season, they reformed to release a well-received new album and a triumphant comeback tour - hey: feminist female rockers (and former lovers, for extra spice!) hit forty and, in response, re-unite their 90's punk band to re-live their wild youth. Sound like an episode of Portlandia or what? Oh, the comedic potential...
***** for Dig Me Out, Turn It On, Little Babies, Dance Song '97
**** for One More Hour, The Drama You've Been Craving, Words and Guitar, Things You Say
*** for Heart Factory, It's Enough, Not What You Want, Buy Her Candy
** for Jenny