Gossip Albums (4)
What The Critics Say
The Gossip close Music for Men with a song called "Spare Me from the Mold," but Beth Ditto, Nathan Paine, and Hannah Billie could never be accused of conforming. They were still a relatively underground group when Standing in the Way of Control's passionate mix of punk, soul, and disco became their breakthrough -- and they sounded so confident on it, it felt like the mainstream was coming to them rather than vice versa. They've got their own piece of the pop (and pop culture) mainstream now, and Music for Men feels aboveground in the best possible way. Befitting its major-label debut, this is the band's most polished music yet, a balance of Control's ferocity and the sleek remixes of the album's singles, but it's still not slick. Most of Music for Men finds the Gossip sticking to their roots and using their success to get their messages out to as many people as possible. These songs are just as empowering as their earlier work, though they're more subtly defiant. "Dimestore Diamond" opens the album with a tough-strutting anthem about a woman who's faking it till she makes it, and it's clear how much the band identifies with her, even though Ditto became an avant-garde fashion plate in the wake of Control's success. "Men in Love" sets lyrics like "we're guilty of love in the first degree" to a liberated beat and jagged guitars, and "Love and Let Love"'s chilly disco acts as armor for Ditto's heartbreak. While the Gossip still play like a band, the production often favors Ditto's voice -- not that this is a bad thing: she brings soulful fury to "8th Wonder" and much more tartness to the excellent "Love Long Distance" than a more conventional diva might (the clever chorus "I heard it through the bassline/Not much longer would you be my baby" doesn't hurt, either). However, the band still tears into "Heavy Cross" -- which sounds a lot like a slightly glossier Standing in the Way of Control track -- like the old days. This urgency drives all of these songs, whether it's the bright '80s pop of "For Keeps" or "2012"'s unlikely but captivating mix of Pat Benatar-channeling vocals and end-of-the-world drama. While it isn't quite as honed as Standing in the Way of Control, on Music for Men the Gossip sound perfectly at home in their new digs, while remaining true to their essence. ~ Heather Phares, All Music Guide
What The Critics Say
As raw as their studio albums and singles are, the Gossip's Undead in NYC demonstrates just how much more visceral they are in concert. Beth Ditto's vocals sound even more passionate, Nathan's guitars clang even more deeply, and Kathy's drums pummel that much harder. This document of the band's September 2002 performance at the Knitting Factory crackles with electricity, careening through some of the band's best songs from That's Not What I Heard, Arkansas Heat, and their then-upcoming album, Movement. The tracks that would appear on that album -- "Non Non Non" (later "No, No, No"), "Dangerr," "Confessor" (which became "Confess"), and the stunning "Don't Make Waves" -- are some of Undead in NYC's highlights; in some cases, they sound more alive here than they do in their finished forms. The band battles with gleeful chaos throughout the set, particularly on "Gone Tomorrow" and the ear-bleeding version of "I Wanna Be Yr Dog" with GSL stalwarts the Chromatics. This seriously playful volatility drives all of the Gossip's work, but hits its peak here, which should please fans looking for a more intense fix of their sound. ~ Heather Phares, All Music Guide
What The Critics Say
Picking up where Arkansas Heat left off, on Movement the Gossip blazes through another ferocious set of bluesy garage rock steeped in lust and betrayal, both of which are exemplified in the truly stunning opener, "Nite." The simplicity and power of Kathy's drumming and Nathan's guitar work provide the perfect foil for Beth Ditto's gut-wrenching wail of "It seems like lonely is a friend of mine"; in just over two minutes, the song defines everything that makes the Gossip such a formidable band. Movement also finds the group expanding their sound, spanning not just the expected fiery outbursts like "No, No, No" and "All My Days," but also the surprisingly soulful "Don't Make Waves in the Water" (which features the great lyric "It's like I've got a hole in my pocket/Trying to keep you satisfied") and "Dangerrr," as well as the surprisingly affecting almost-ballad "Yesterday's News." On the other hand, the Gossip's tried-and-true sound is still a winner, particularly on tracks like the taut "Fire/Sign" and "Lesson Learned." At just over a half-hour long, Movement doesn't overstay its welcome and avoids any problems with monotony that might occur if the band tried to make a longer, equally intense album. While it's not quite the revelation that That's Not What I Heard was, Movement is still a dramatic album that shows that the Gossip is a powerful group continuing to define and redefine their music. ~ Heather Phares, All Music Guide
'That's Not What I Heard'
Release Date 11/14/2000
Tracks 14
Label Kill Rock Stars
See Album Tracklist and Review
What The Critics Say
In 2000, lo-fi garage rock significantly widened its following with the release of two albums: the White Stripes' De Stijl and the Gossip's That's Not What I Heard. Although the stripped-down rock & roll revival didn't start with these bands, the two records got the critics buzzing and packed indie rock kids into the clubs to see what the fuss was all about. Luckily both bands were worthy of the hype. They channeled the blues through the basics of rock -- a strong singer, hip-shaking riffs, and a steady beat. That's Not What I Heard, the debut album from the Gossip, was recorded in drummer Kathy's (no last names here) garage. Frontwoman Beth swings her voice down like a gavel, sounding like a gospel punk working the corner on numbers like "And You Know" ("And you know it's gonna feel good... I would do anything to have it"), "Hott Date" ("Come on give me what I need"), and "Where the Girls Are" ("Girl, I love you like no other. I'll be your missus, your mistress... let me love you all night long"). Beth is beautifully unapologetic in her lust, with a powerful voice and primal desires. She tells women what she wants, what she needs, and how she's gonna get it over rusty-nail riffs from guitarist Nathan. Kathy gives the songs an extra punch on the drums as the Arkansas trio gives Southern rock & soul a riot grrrl kick in the gut. ~ Jennifer Maerz, All Music Guide
