This Pressing of The Donnas’ “Bitchin’” is… Bitchin’!
Real Gone Music reissues the final album of the female rock quartet
The Donnas were at a career crossroads in the mid-2000s. Atlantic Records’ revolving door of personnel left the group without the core team of people who helped market them via product placements, both benefiting album sales and landing them major tours. First-year sales of 2004’s Gold Medal were a mere 20% of what 2002’s Spend The Night achieved. Atlantic insisted that The Donnas’ follow-up effort be more rooted in pop and assisted by outside writers. Not aligning with the group’s artistry, they opted to amicably part ways with the label in 2006. The Donnas knew the ins and outs of working with small indie umbrellas and major label conglomerates, so they formed Purple Feather Records as a means of taking their recording legacy into their own hands.
Bitchin’, released in September 2007, was The Donnas’ first effort as a fully independent entity. Working within their own confines reflects the glam metal-rooted sound and image that the group explored. Heavier riffs and black leather traded the Donnas’ typical punk and classic rock aesthetics, packaged in an album sleeve of purple leopard print and flashy neon graphics. The album’s lead single, “Don’t Wait Up For Me,” and its gang vocal chorus reminiscent of Joan Jett’s “I Hate Myself for Loving You,” has an extravagant sonic scale that sounds like it can roar in an arena setting.
Going in a glam metal direction was not only the next step in The Donnas’ evolution. It was the culmination of their earlier energy delivered with refinement and experience. The opening title track features a dynamic arrangement, beginning with a low and slow bluesy sway and transitioning into what can best be described as a heavy metal bolero. In a move that almost echoed Atlantic’s initial wishes, the group collaborated with Holly Knight, a co-writer who had a hand in crafting chart-topping smashes for Pat Benatar and Aerosmith, on “Here for The Party” and “Wasted.” Some of The Donnas’ emotionally mature lyrical abilities are best exemplified on “What Do I Have To Do.” Instead of opting for more natural instrumentation to match the nature of the lyrics, the sludgier instrumental contrast is highly effective. However, the contexts on “Smoke You Out” and “Give Me What I Want” are peculiar for a group to praise in their late twenties, but they live up to the standard of what came before. Bitchin’ resulted in being yet The Donnas’ most polished and engaging-sounding album; a fitting finale since it would become their last.
Bitchin’ is the latest installment of Real Gone Music’s campaign of reissuing The Donnas’ catalog on vinyl. Most of the original artwork is faithfully replicated with some upgrades and additions. The lyrics that appeared in the gatefold are reformatted into an insert, leaving the gatefold to feature an interview with vocalist Brett Anderson discussing the making of the album. Regarding audio content, this pressing excels by curating a side’s worth of supplementary material that appeared as bonus tracks across various editions of the album (original pressing, download, compilations, Japanese). This pressing will look stunning on any turntable, pressed on what’s described as ‘strawberry with black swirl’ colored vinyl.
Bitchin’s impressive production value, being an independent effort, translates efficiently in the grooves. Some of the artificial reverb gives the album its polished sheen and space within the soundstage. The emphasis on the midrange, coupled with the ‘boxy’ type of EQ on Torry Castellano’s drums and Allison Robertson’s crunching guitars, enables this pressing to be consistently forward-sounding without any restraint. That relentlessness is also best exemplified on “Like An Animal,” where there’s no space for the track to build or set the scene; it will attack the listener like an animal. Castellano’s kick drum and Maya Ford’s bass are a perfect marriage that gives the bottom end a steady thump and mighty rumble. Brett Anderson’s vocals sound huge throughout this pressing, but the background vocals on “Save Me” and “Love You Til It Hurts” are elevating and three-dimensional. Utilizing percussive embellishments, such as handclaps, tambourine, or cowbell, gives tracks like “Don’t Wait Up For Me,” “Here For The Party,” and “Wasted” their lively pulse; the latter features an infectiously melodic and memorable bridge!
Original pressings of Bitchin’ are becoming scarce domestically. Between its updated presentation and thorough curation, Real Gone Music’s definitive edition of this album is, in a word, bitchin’!
