In 2000, lo-fi garage rock significantly widened its following with the release of two albums: the White Stripes' De Stijl and the Gossip's That's Not What I Heard. Although the stripped-down rock & roll revival didn't start with these bands, the two records got the critics buzzing and packed indie rock kids into the clubs to see what the fuss was all about. Luckily both bands were worthy of the hype. They channeled the blues through the basics of rock -- a strong singer, hip-shaking riffs, and a steady beat. That's Not ...
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In 2000, lo-fi garage rock significantly widened its following with the release of two albums: the White Stripes' De Stijl and the Gossip's That's Not What I Heard. Although the stripped-down rock & roll revival didn't start with these bands, the two records got the critics buzzing and packed indie rock kids into the clubs to see what the fuss was all about. Luckily both bands were worthy of the hype. They channeled the blues through the basics of rock -- a strong singer, hip-shaking riffs, and a steady beat. That's Not What I Heard, the debut album from the Gossip, was recorded in drummer Kathy's (no last names here) garage. Frontwoman Beth swings her voice down like a gavel, sounding like a gospel punk working the corner on numbers like "And You Know" ("And you know it's gonna feel good... I would do anything to have it"), "Hott Date" ("Come on give me what I need"), and "Where the Girls Are" ("Girl, I love you like no other. I'll be your missus, your mistress... let me love you all night long"). Beth is beautifully unapologetic in her lust, with a powerful voice and primal desires. She tells women what she wants, what she needs, and how she's gonna get it over rusty-nail riffs from guitarist Nathan. Kathy gives the songs an extra punch on the drums as the Arkansas trio gives Southern rock & soul a riot grrrl kick in the gut. ~ Jennifer Maerz, Rovi
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