Leatherbound

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But all this information and more is available at www.betsybitch.com. There is a very thorough discography there that gives details of the band’s history and the events surrounding the PMRC. Erich over at goodbadmusic also wrote a nice description of Bitch’s 1982 EP ‘Damnation Alley’ in which he correctly points out the difference between that EP’s punky action and the more groove based power metal sound of ‘Be My Slave’. But the punk energy that is still apparent on ‘Be My Slave’, combined with David Carruth’s galloping riffs, is similar to the type of LA sleaze rock that worked so well for Motley Crue on ‘Too Fast For Love’. No frills engineering from Bill Metoyer doesn’t hurt. Even without the whips and chains, Bitch are first and foremost musicians and Betsy’s voice is possessed of a seductive power that alternates between bellowing wail and melodic siren call.

I have an original pressing of ‘Be My Slave’ on Metal Blade, but supposedly the 1989 reissue also has the ‘Damnation Alley’ EP on it, which contains what is arguably their best song: ‘Live For The Whip’. Still, ‘Right From The Start’ and the album’s title track are close seconds. Then there is the trashy thrill of picturing Betsy crawling around the floor of some unsavoury room growling out the lyrics to ‘In Heat’. ‘Heavy Metal Breakdown’ is an ode to the tempting but destructive powers of rock. Forget subtlety, Bitch hold a similiar disregard to the laws of morality as the The Marquis De Sade, who wrote: “Be imperturbably indifferent to the style in vices and virtues that’s the rage today in town; ‘vice’, ‘virtue’, the words have no real signification, they’re arbitrary, interchangeable, express only what is locally and temporarily in vogue here and there. Once again, be firm in your conviction that infamy soon transforms itself into voluptuousness.” But the Marquis was also into some other very weird areas that we won't get into here, though it's safe to say that Bitch’s style is slightly more tongue in cheek and imbued with an element of fun not found in the more morbid leanings of De Sade. And when Betsy belts out: "I love to crack my whips and see you bow before me" you believe it and the essential libertine attitude exists even in the album’s non sexual tracks like ‘Save You From The World’: “If all I say isn’t heard then you will pay; You must be the star of this power play; As life goes on there is no other way.”

There are front-women out there who sing like Barney Greenway and who will kick your ass in the pit, but Betsy’s ass kicking offers something more. It is something many people will hand over large sums of money for. Something that turns objectification of women upside down. It looks, and sometimes sounds, like the male fantasy of rock and roll circus sex, but there is no question of who the star in power is.

ADAM GANDERSON