The Slits Albums (4)
'Trapped Animal'
Release Date 10/16/2009
Tracks 15
Label Sweet Nothing
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What The Critics Say
Talk about pressure! In the realm of post-punk, the arrival of the first new Slits album in 28 years is roughly akin to a surprise return to publishing from J.D. Salinger. Led by the charismatic Ari Up, the Slits were deeply rooted in the first-generation U.K. punk scene (a couple of members had been involved in semi-mythical rehearsal-only collective Flowers of Romance alongside early Clash guitarist Keith Levene and a pre-Sex Pistols Sid Vicious), and became pioneers not only of post-punk itself, but of femme-punk and the use of reggae and dub in a post-punk context. The Slits' 1979 debut, Cut, inspired legions of jagged, rebellious, female-fronted bands for decades to come, and 30 years later, the long-inactive pioneers finally got around to releasing an official third album. Up and bassist Tessa Pollitt are still on hand for Trapped Animal, along with a batch of relatively new (the re-formed band had been playing live in one form or another for the last few years) recruits, including Sex Pistols' drummer Paul Cook's daughter, Hollie Cook, on keyboards. When you recall that Up herself is John Lydon's stepdaughter, those aforementioned punk roots come into even sharper focus. For all their punk cred, though, the first thing one notices about Trapped Animal is how damn professional it sounds. That's not a pejorative statement, simply an observation about how far the band has come from its unschooled, rough-and-ready beginnings. Not only is the reggae influence that's always been at the core of the Slits sound more concentrated than ever here, easily dominating the proceedings; more strikingly, Ari and company sound like a legit reggae band -- albeit a quirky one -- locking into their one-drop grooves like seasoned Studio One pros. Over the course of the album, they dip convincingly into everything from a roots reggae feel to dub flavors, ska, and even semi-dancehall. Lyrically, they're as uncompromising and in-your-face as ever, coming on strong straight out of the gate with the unrepentantly feminist opening cut "Ask Ma," and examining the struggle between art and commerce on "Pay Rent." That said, the album's only real misstep is one of the most overtly topical tunes, the child-abuse-themed "&Issues," which suffers from a blunt, clumsy lyrical approach. Beyond that, the 21st century Slits rarely take a wrong step, even when they dip into a sort of Henry Cow-gone-cabaret feel on closing track "Had a Day." Die-hard Slits fans who aren't put off by the band's newfound professionalism or the greater reliance on keyboards at the expense of guitar will find their faith rewarded by Trapped Animal. ~ J. Allen, All Music Guide
'Live at the Gibus Club'
Release Date 2/21/2005
Tracks 12
Label Castle
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What The Critics Say
Historically, this tape of a January 26, 1978 show in Paris has considerable value. It's the original lineup of the Slits -- Ari Up on vocals, Viv Albertine on guitar, Tessa Pollitt on bass, and Palmolive (who would leave before the Slits' first album, and later join the Raincoats) -- well in advance of the release of the group's first LP in 1979. Musically, however, Live at the Gibus Club is not as exciting as either of the Slits' later releases, or as legend would have the band sounding in their early days. The sound quality's actually fairly decent for an early live punk recording, and the four thrash around with as much venomous energy as almost anyone from the first wave of British punk acts. But the music's isn't nearly as inventive as it would be when they went into a heavily reggae-influenced approach by the time they started recording. Instead, it's tumbling, lumpy tempoed, similar-sounding rants with proto-hardcore anthemic choruses, with Up's vocals so howled that the words are difficult to make out (admittedly a trait shared by many an early punk recording). There are early versions of a few songs that would make it onto their debut album ("Instant Hit," "So Tough," "New Town," "Shoplifting," "Love and Romance"), along with a more unexpected cover of the Velvet Underground's "Femme Fatale." You also have the pleasure of hearing Up interrupt "Enemy Numero Uno" to deliver the following scolding: "F*ck off, you frustrated bouncer, you! Sh*t-ass! What are you doing up here anyway, you asshole?...Go to the bog and have a wank!" Early British punk insider (and, briefly, Slits manager) Don Letts contributes entertaining liner notes about the group's early days. ~ Richie Unterberger, All Music Guide
'Return of the Giant Slits'
Release Date 1/1/1980
Tracks 21
Label Blast First Petite
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What The Critics Say
Never released in America, the Slits' second and final record found them pushing the envelope rhythmically. Although designed to be more commercial than Cut, it's actually less so, sounding more like the innovative work a young Adrian Sherwood was doing with Creation Rebel. Fans of the early Slits, who were put off by the reggae of Cut, were no doubt further alienated by this record's comfortable use of Afro-pop tempos and style. Which was a shame, because this music was interesting, daring and exciting. ~ John Dougan, All Music Guide
What The Critics Say
Almost as well-known for its cover (the three Slits are half-naked and covered in mud) as for its music, Cut is an ebullient piece of post-punk mastery that finds the Slits' interest in Caribbean and African rhythms smoothly incorporated into their harsher punk rock stylings. Ari Up's wandering voice (a touch like Yoko Ono) might be initially off-putting, but not so much so that it makes listening to the record difficult. Six tracks are revamped from earlier Peel Sessions and sound better for the extra effort (especially "New Town" and "Love und Romance"). With its goofy charm, gleeful swing and sway, and subtle yet compelling libertarian feminism, this is one of the best records of the era. ~ John Dougan, All Music Guide
