Jezebelle Reviews


Kerrang! Magazine April 28 1990

Written By Morat

“Shurely shome mishtake. I have been led to believe, by more than a few people, that Jezebelle are little better than dodgy excrement. But somehow I can’t help noticing, as the band “One, two…fuck you!” (BulletBoys Rip Off!- BulletBoys Ed) their way into “Ain’t No Lady,” that they are vastly more entertaining than anything you care to tread in.

Naturally as a four-piece, all girl British rock band they will be compared to Girlschool, and as such I suppose this is a reasonable comparison. It ought to be noted that “Bad Attitude,” is Jezebelle’s debut album and already they are on par with Girlschool at their best.

Vocalist H has one of those voices that sounds just like someone whose name you can never quite place, while other band members Maggot, TC and Zaz seem to know their limitations and avoid complicated riffs in favour of good old fashioned bike boots and beer rock ‘n’ roll.

Jezebelle’s only real downfall is the overdose of naughty F-words, which won’t be much good for airplay, but somehow I can head the band saying, “Bollocks, the won’t play us on the radio anyway.”

I can only assume that perhaps there are two bands called Jezebelle. The first is the decorative kind who spend hours in the toilet fixing their make-up and compensate for lousy songs by showing their tits. The other is the band who recorded “Bad Attitude,” who would rather you took them drag racing than bought them flowers, and have no need to make excuses for second rate tunes.

If you want to see tits instead of rock ‘n’ roll, take a look at yourself in the mirror. Jezebelle just want to have fun making loud noises.”



Melody Maker Magazine May 19 1990

Written By Everett True

“Having sat up half the night watching “Kerrang! Ladykillers- The Video,” you can take it from me the no-nonsense, grungy, hoary metallic riffing of the all-female Jezebelle (“based in London, but born out of hell”) comes as a singular relief.

In a world where Page Three artists are afforded serious credibility depending on the size of their breasts, and Pat Benetar comes across as positively radical, Jezebelle- gypsy scarves, bad ass ’79 NWOBHM influences and non-stop drinkin’ included- are a breath of fresh air, a gin-sodden breeze of deliverance of mighty proportions.

Take “No Mercy,” for instance. Now I’m blowed if I can remember what most HM songs called “No Mercy,” are about, but you can bet your cowboy boots they’re not concerned with the pronouncement of one senile judge that rape victims are asking for it. Nor do most girl groups take such an open delight in swearing (at least in public) as Jezebelle do here.

Musically speaking, Jezebelle recall The Runaways at their shit-kicking hardest (“Satisfaction Guaranteed”), and Girlschool (“Scandal,” the epic “Burn”). But they’re probably not like those groups, I mean, not really- that’s almost certainly my definitive lack of knowledge about their genre shining through. For example, their opening shot “One, two/Fuck you” is unlikely to garnish them much airplay, and “Travel On Gypsy,” is more of a straight-ahead-bar-born-boogie.

Jezebelle are aiming low and riding high. At least, I think that’s how they put it.”


Metal Hammer Magazine May 21-June 3 1990

Written By Mark Day

“Big, bad, loud ‘n’ greasy Heavy Metal…played by girls.

Girls who can take on the competition and stay hard to the very last power chord. Girls who turn the whole idea of the all girl band- nice tits, shame bout the sound- upside down.

In a similar “basic is best” groove to The Almighty, cuts like “Leave Me Alone,” and “Burn” have a “nothin’ fancy” swagger most male Metal bands have forgotten how to achieve (if they ever knew in the first place).

The lyrics are defiant- if they’re a little cliched the subject matter is not- and it’s all played at castration volume.

So what you’ve got is a band for die hard Motorhead fans to enjoy. The kind of Motorhead fans who think 99% of all music that isn’t Motorhead isn’t worth farting at.

At time though, they’re too intent on proving that they can really rock out. They wheeze, grind and rumble over long instrumental breaks. At these points, with the spectre of a thousand dodgy pub-metal bands looming, I begin to lose interest. Ponderous and pointless to the max.

But for a band who were playing to no one at all not so long ago, this is mostly good stuff. Perhaps it would have been better to launch the band on the back of a mini-album, they’re a little too much courage and conviction for their own good. It’s hard to assess how good Girlschool really were- for every one step forward they took two steps backwards on a dodgy producer or worse. But if you can imagine, for a moment, Girlschool in full flight, unchained however briefly- you’ve got a good idea of Jezebelle’s cranked up rock. “Satisfaction Guaranteed?” More or less.”