By Ronald D. Lankford Jr.
Ladies Singer-Songwriters in Rock offers an summary of the women's singer-songwriter move throughout the Nineties with certain analyses of the song of Alanis Morissette, PJ Harvey, Courtney Love, Liz Phair, Tori Amos, Sarah McLachlan, and Sheryl Crow. The booklet specializes in the exploration of women's matters in the tune, studying how the music's feminist content material was once in a position to clear out into the preferred tradition.
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Ladies Singer-Songwriters in Rock offers an summary of the women's singer-songwriter flow in the course of the Nineteen Nineties with particular analyses of the song of Alanis Morissette, PJ Harvey, Courtney Love, Liz Phair, Tori Amos, Sarah McLachlan, and Sheryl Crow. The ebook specializes in the exploration of women's matters in the tune, analyzing how the music's feminist content material used to be in a position to clear out into the preferred tradition.
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Extra resources for Women Singer-Songwriters in Rock: A Populist Rebellion in the 1990s
12 The mellower version, however, evoked Mitchell and Vega more than the new singer-songwriter of the 1990s, and the raw references to sex and profanity seemed out of place for this rock ballad. In this instance, Morissette seemed to have misunderstood both her own lyric and the change that she and other women singer-songwriters had ushered in during the 1990s. Even more problematic, she gave the appearance of joining those who had criticized or disliked the song because of its depiction of female anger.
The propulsive guitar and shouted vocal pound the listeners’ senses, more an assault than musical in any traditional sense. In a second version of “Snake” from 4-Track Demos (1993), Harvey’s Eve literally stops mid-song to release an extended moancry, completely breaking down and bringing the song to a temporary halt. In “Snake,” and many other songs from Dry (1992) and Rid of Me (1993), Harvey draws a bleak sketch of a world where women and men are born to desire one another emotionally and physically.
The obsession within “Oh My Lover” may represent no more than physical attraction and sexual desire, but for a woman to openly request sex is to leave herself vulnerable to rejection—from a man, from society—and perhaps open to danger. Harvey expands upon this theme in “Hair,” a rock-drama built upon the trials and tribulations of one of the Old Testament’s best-known pair of lovers, Samson and Delilah. The song, however, is less interested in the story’s outcome—Samson losing his sight and destroying the temple along with his 30 QW Chapter Two enemy—than the drama between a woman and a man over the source of his strength.