What The Critics Say
Apart from the Japanese-only Naked in 2004, Joan Jett hadn't released an album of all-new material in over a decade when she released Sinner in summer 2006, an amazing gap of time considering how vital and flat-out rocking she sounds on the album. Many rockers of her age and stature might have been content to just throw out a safe and innocuous record to help fill up the merch stalls on the state fair circuit. Not Jett. Her honesty and unyielding toughness has given her enough cred to headline a major alt-rock festival in 2006, and Sinner has both those qualities and then some. Her last album, Pure and Simple, was a step away from the glossy pop/rock her career had devolved into; Sinner is a huge leap toward total honesty, earnestness, and hard rock. The record contains a couple of good-time rockers reminiscent of her glory days ("Tube Talkin'," "Turn It Around"), but even the requisite glam cover, Sweet's "A.C.D.C.," deals with sexual confusion, albeit playfully. Elsewhere Jett delves into heavy or quite personal subjects; she hits on politics on the Bush-sampling "Riddles," raw sexuality on "Fetish," but mostly seems to be wrestling with issues of privacy, self-image, and sexual orientation on tracks like "Naked" and "Five." Luckily for the listener who just wants to rock, she wraps these introspective lyrics up in a tough and punchy style very similar to the classic Joan Jett sound. Even the ballads, like the achingly romantic "Watersign," have gloriously loud and gritty guitars and Jett's voice hasn't lost an ounce of power. There are a few slight stumbles like the catchy but overly earnest and simplistic "Change the World" and the cringe-inducing "Fetish," which seems to have snuck in from a totally different album. Actually it did, since the song first appeared on a 1999 collection called Fetish. In fact, ten of the songs on Sinner first appeared on Naked; only four appear here for the first time. No matter, really, as the album is new to most people, and it hangs together well, resonating both with those listeners who can relate to Jett's struggles and issues, as well as kids of any age who just dig good old hard rock & roll. Hopefully it won't be another decade before the next Joan Jett record, for with Sinner she's restaked a claim as an important artist and it'd be a real shame if she disappeared again. ~ Tim Sendra, All Music Guide
What The Critics Say
From its title to its tough core, Pure and Simple was a return to form for Joan Jett. Encouraged by a new generation of riot grrls who held her early work up as the inspirational lightning rod it was (including L7 and Bikini Kill, who contribute here), Jett shook off the doldrums and found her way back to the nails-for-breakfast, queen-bitch persona that she was really all about. Pure and Simple rocks with a gritty realism unmatched even by the punchy 1988 hit "I Hate Myself for Lovin' You," the arguable crest of her '80s win streak. If the one-two punch of "Go Home" and "Eye to Eye" makes you dizzy, then "Spinster" -- "Maybe I don't wanna f*ck you!" -- is the bout-ending haymaker. After its oil-stained opening salvo, "As I Am" is like Lesley Gore in a leather jacket. But its sentiment forms the bruised emotional heart of Pure and Simple, and the plaintive chords of the bridge are just perfect. Some of the album's later social consciousness is unnecessary (this is a Joan Jett, not Joan Osborne), but "You Got a Problem" is a late-record redeemer. And even when she's singing about the plight of the homeless, Jett sounds like she gargled with Mad Dog 20/20. Pure and Simple is essential for any hard rock fan, if only to support one of the genre's most fearsome competitors. ~ Johnny Loftus, All Music Guide
What The Critics Say
The centerpieces of Notorious are several ultra-slick ballads that help remake Jett in a more traditionally feminine image, although she retains some of her independent spirit in her collaboration with Paul Westerberg, ("Backlash"). It's competently executed and fairly consistent, but overall, it's simply not what makes Jett compelling or invigorating. ~ Steve Huey, All Music Guide
What The Critics Say
On Good Music, Joan Jett's hot streak showed signs of subsiding, with the production tending to weigh down some of the numbers, and an overall weaker selection of material than her then-recent efforts. Still, the album did contain some fine moments, especially in the title track and the anthemic "Black Leather." [A Japanese reissue was released in 2004.] ~ Steve Huey, All Music Guide
What The Critics Say
The soundtrack to The Big Easy is a dynamite collection of New Orleans R&B, rock & roll, and zydeco, featuring several of the genre's biggest names as well as some lesser-known gems, and a respectable track from the film's star, Dennis Quaid. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
From Sly Stone's "Everyday People" to Tommy James & the Shondells' "Crimson & Clover," cover songs have long been one of Joan Jett's strong points. Covers can be a waste of time in the hands of some rockers; but they've always worked well for Jett, who's been wise enough to make sure that her own personality never became obscured when recording other artists' material. The one-time member of the criminally neglected Runaways embraces covers exclusively on The Hit List, tackling everything from the Sex Pistols' "Pretty Vacant" to AC/DC's "Dirty Deed" to the Doors' "Love Me Two Times" with spirited, inspired results. While those investigating Jett's career would do better to start out with I Love Rock N' Roll or Glorious Results of a Misspent Youth, The Hit List was a welcome addition to her catalog. ~ Alex Henderson, All Music Guide
What The Critics Say
Up Your Alley returned Jett to the pop Top Ten with the catchy, crunching rocker "I Hate Myself for Loving You."..A cover of Chuck Berry's "Tulane"...matches the single's energy, and the Desmond Child collaboration "Little Liar" was a minor follow-up hit... ~ Steve Huey, All Music Guide
'Glorious Results of a Misspent Youth'
What The Critics Say
From her days with the all-girl band the Runaways through her work with her own band, Joan Jett has been a pioneer, if not an innovator. She has always paid loving tribute to the riffy rock music that she loves. On album number six, Glorious Results of a Misspent Youth, Jett, backed by her Blackhearts, churned out more of the same, but with some of the most satisfying and strongest material of her career. The album is an engaging collection that ranges from a glam-inflected update of the Runaways' classic "Cherry Bomb" to the swagger of the Gary Glitter hit "I Love You Love Me Love." Other songs include Jett's versions of "I Need Someone" and "New Orleans" and standout originals like the rocking "Frustrated," the full-tilt boogie of "Long Time," and a ballad, "Hold Me," that would sound mawkish coming from anyone else. Infectious choruses, crunchy melodies, and Jett's growling vocals make this album an excuse to turn the stereo up just a bit more. ~ Tom Demalon, All Music Guide
What The Critics Say
Album is arguably Joan Jett's strongest non-compilation release, featuring a consistent, freewheelingly wide range of material (which the Blackhearts really tear into) and punchier, more detailed production. Once again, Jett delivers strong, enthusiastic performances, but this time, the quality of the material lends her equal support. The singles "Fake Friends" and "Everyday People" (the Sly & the Family Stone song) scraped the bottom of the Top 40 charts; other highlights include Jett's original "French Song," which details a ménage à trois. ~ Steve Huey, All Music Guide
