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Come the Revolution<br/>02. Take it Like a Band<br/>03. Guilty as Sin<br/>04. Treasure<br/>05. Awkward Position<br/>06. Staying Alive<br/>07. Perfect Storm<br/>08. Painful<br/>09. Night Before<br/>10. Everybody Loves (Saturday Night)<br/>11. Coming your Way<br/>12. Tonight</p> </p> <p></p> <p class="noPadding noMargin"></p> </div> <div class="clearthis"></div> </header> <section class="entry-content clearfix" itemprop="articleBody"> <div class="rating-nav"> <div class="sixcol first"> <h3>RATING: 8/10</h3> </div> <div class="sixcol last"> <nav class="nav-single"> <span class="nav-next"> <a href="https://web.archive.org/web/20151217232555/http://www.blabbermouth.net/cdreviews/skeletons-2/" rel="prev"> <span class="meta-nav prevpost"></span> NEXT </a> </span> <span class="nav-previous"> <a href="https://web.archive.org/web/20151217232555/http://www.blabbermouth.net/cdreviews/fear-beyond-lunacy/" rel="prev"> <span class="meta-nav prevpost"></span> PREV </a> </span> </nav> </div> </div> <div class="pw-widget pw-counter-horizontal"> <a class="pw-button-facebook pw-look-native"></a> <a class="pw-button-twitter pw-look-native"></a> <a class="pw-button-googleplus pw-look-native"></a> <a class="pw-button-reddit pw-look-native"></a> <a class="pw-button-post-share"></a> </div> <script src="https://web.archive.org/web/20151217232555js_/http://i.po.st/static/v3/post-widget.js#publisherKey=enjhperpo6sgmenkadtu" type="text/javascript"></script> <p>It's been seven years since <b>GIRLSCHOOL</b> dropped their last full-length, <b>"Legacy"</b>, notwithstanding the 2011 redux <b>"Hit and Run – Revisited"</b>. If you care about deafening, roughneck rock ‘n' roll, you've been missing these ladies. <b>GIRLSCHOOL</b> has long held the torch, not only for breaking barriers, but for decibel-driven rock that you still have to be from the old school to push like you have a pair—figuratively-speaking, of course. Their latest work, <b>"Guilty as Sin"</b>, is banging, raw and a ton of fun. As bassist/vocalist <b>Enid Williams</b> puts it, "It's very much a classic rock album, but covering a whole…almost a history of rock music that we've loved, really."<br/> <br/>The album opens with the anthem <b>"Come the Revolution"</b>, pushing out blaring guitars and bass, and a rolling rhythm from <b>Denise Dufort</b>, who lays down some wicked double hammer on the tail ends of the verses and choruses. The ladies gang sing the choruses loud and proud, and really, the only itch about the number is a seemingly unintentional tempo spike toward the end that's off-kilter. Otherwise, it's a solid number picked up by the fast and rowdy <b>"Take it Like a Band"</b>. The cleverly titled speed jam is <b>MOTÖRHEAD</b> all over (you weren't expecting otherwise, were you?) and it rips, right down to <b>Jackie Chambers</b>'s jerked-out solos. Later in the album is another speed demon, <b>"Night Before"</b>, with terrific call-and-response singing and brash shredding. </p> <p/>The title track keeps the pace pumping at a blues rock swagger while the slow ‘n' dirty <b>"Awkward Position"</b> drops the pace and throws out pop-driven verses. <b>GIRLSCHOOL</b> jacks up the choruses on <b>"Awkward Position"</b> with blaring chords, lazy bass, swampy guitar lines and prickly singing you can't help but dig. </p> <p/>If <b>"Take it Like a Band"</b> is one of <b>GIRLSCHOOL</b>'s trademark potshots against misogyny, consider their leathery cover of the <b>BEE GEES</b>'s disco staple <b>"Staying Alive"</b> and their modification of the opening line to ring, "Well, you can tell by the way I use my walk, I'm a woman…no time to talk." The cover itself is pretty cool, given the dirty riffs, spit-slung verses and anti-dance rhythm <b>GIRLSCHOOL</b> dumps into it.</p> <p/>This being quite a dynamic album, the peppy vigor of <b>"Perfect Storm"</b> is one of the album's catchiest numbers, and is not far off from <b>SHONEN KNIFE</b>. Yet the heavy strumming and throbbing beat, which give this song its throb, are poked by a couple of cagy breakdowns. Wildly, <b>GIRLSCHOOL</b> ends this record by whipping out a party-upped cover of a Nigerian folk song popularized by <b>Pete Seeger</b>, <b>THE WEAVERS</b>, and more, <b>"Everybody Loves (Saturday Night) "</b>.</p> <p/><b>Kim McAuliffe, </b><b>Jackie Chambers</b> and <b>Enid Williams</b> bring more thunder than usual to <b>"Guilty as Sin"</b> while <b>Denise Dufort</b> slams beats with a delicious echo to her snare strikes. The production of the album is intentionally grimy, but it also captures GIRLSCHOOL's volume, proving a long overdue point: this band has long held its own against any hard act, be it <b>MOTÖRHEAD</b> or <b>THE RUNAWAYS</b>. While <b>"Legacy"</b> was a respectable slab, <b>"Guilty as Sin"</b> surpasses it, showing there's a ton of gas in this band's tank.</p> </section> <footer class="article-footer"> <p class="tags"> <span class="tags-title"> <strong>Author:</strong> </span> Ray Van Horn, Jr. </p> <p> <strong>Posted in:</strong> <a href="/web/20151217232555/http://www.blabbermouth.net/cdreviews" title="">CD Reviews</a> </p> </footer> <div id="taboola-belowarticlethumbnails-mix"></div> <script> window._taboola = window._taboola || []; _taboola.push({mode:'hybrid-thumbs-1r', container:'taboola-belowarticlethumbnails-mix', placement:'Below Article Thumbnails', target_type:'mix'}); </script> <h3 class="bold-heading">COMMENTS</h3> <div class="disclaimer"> <p>To comment on a BLABBERMOUTH.NET story or review, you must be logged in to an active personal account on Facebook. Once you're logged in, you will be able to comment. 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