The Raincoats And The Slits, Punk Legends, On Their Debut Albums Turning 40

Had it not been for the 1970s British punk bands the Raincoats and the Slits, the 1990s Riot Grrrl movement in America might have not been possible. Under-appreciated at the time, the Raincoats and the Slits proved that female-led punk rock groups could play on the same field as their male contemporaries such as the Sex Pistols and the Clash. More than just the energy conveyed through their music, the Raincoats and the Slits challenged the patriarchy with lyrics that touted feminism and gender inequality–subjects that are still timely today in the #MeToo era. The fact that these pioneering bands never achieved commercial success during their lifetime is irrelevant: their influence is stamped upon many future generations of punk and alternative rock bands, including the aforementioned Riot Grrrl groups like Bikini Kill as well as Nirvana and Sonic Youth.

Interestingly, both the Slits (singer Ari Up, guitarist Viv Albertine and bassist Tessa Pollitt) and the Raincoats (guitarist Ana da Silva, bassist Gina Birch and violinist Vicky Aspinall) released their debut albums, Cut and The Raincoats respectively, in 1979. While both groups diverged somewhat stylistically from each other, they also shared similar qualities: their songs were experimental and arguably more adventurous compared to the material from their male contemporaries; they wrote and performed their own material without being guided by a male Svengali figurehead; and they shared a drummer named Palmolive – who also wrote songs, including the lyrics to “Adventures Close to Home,” which was recorded by both bands on the debut albums.

Upon their original release, The Raincoats and Cut didn't set the album charts on fire, but have gone on to critical acclaim in retrospective reviews; both bands were also the subjects of books and documentaries. With the death of the charismatic Ari Up in 2010, the Slits effectively disbanded, while the Raincoats recently performed a number of shows this month to mark the 40th anniversary of their first record. The following are interviews with the Raincoats' Birch and the Slits' Pollitt, both of whom recently reflected on their respective bands' debut albums and their impact four decades later. 

Gina Birch, bassist, The Raincoats

D.C.: The Raincoats' self-titled album turned 40 this year. How does it feel to achieve such a milestone?

Birch: It doesn't feel like a milestone. I think what is so great is that the record has lasted and grown and become something else.

The often-told story about the Raincoats' formation in 1977 is that you saw the Slits perform, and that inspired you to start the band. 

I was naive, young, and a fan of (boy) punk. Then suddenly there was this group of girls breaking an invisible barrier down, talking to me with their songs, their behavior, riotous, unruly, raucous. They were doing something that opened up a whole world of possibilities for many girls. They were just going for it and not caring what the audience thought. We were witnessing this group of young women doing their thing, doing it their way, in a space that was really for boys and they were so different from the boys. Some people complained they couldn't play. I didn't notice that. I just noticed that this was mine. If others didn't get it, it wasn't theirs and that was fine by me.

The songs on The Raincoats album are so multidimensional in their different subject matter along with their musical variety. Is there a sort of thematic thread that runs through the record?

I think we were all quite different people, backgrounds and temperament, but we were all committed to having a musical conversation that was inclusive and so each instrument/person had a lot of input. We didn't know how other bands worked or how they wrote songs, so we made it up as we went along. We weren't playing other people’s tunes. These were our songs, so there weren't any rules. Our methods and sounds shifted in tone in different songs depending on the origin of the lyric or tune and then where we let it travel to–but each of us is very present in each song, so I think that is the thread that is consistent. I think we all were creative people and were not interested in being carried along.

Do you have any particular memories of recording the first album. I assume this was the band's first experience in a recording studio?

We recorded the three tracks for our EP at Spaceward in Cambridge, a tiny terraced house: “Fairytale in the Supermarket,” “In Love” and “Adventures Close to Home.” There was a documentary being made about Rough Trade at the time, so there were TV cameras there. That was strange. Mayo [Thompson, the co-producer] had quite a lot of input as we were quite inexperienced and a bit less vocal about our thoughts and wishes and the cameras were an added impediment! The album was different because we recorded it in London after a 28-date tour of the U.K. with Kleenex and Spizz Energy. 

It was recorded quite quickly as we had played the songs every night. Adam Kidron was the engineer and he really seemed to get us [din] what we were doing. Mayo and Geoff [Travis, Rough Trade founder] were producing but we were all very involved in discussions, ideas, arrangements and working with taking ideas further and when it came to mixing, it was all hands on the mixing desk. We had fun breaking things down and it was in the mix that we decided to make the second half of “No Side to Fall” in a capella. I really liked space in things, and so it was always fun to get the contrast between more dense sounds and more spacious moments.

Were there any expectations on how The Raincoats would perform on the charts? 

I think at that time, money and career were not things that were present in our thinking. Money and art didn't seem to go hand in hand and we were definitely defiantly anti-commercialism.

We were happy with word-of-mouth, not keen on advertising and didn't want to release [our cover of the Kinks’] “Lola” as a single, which could possibly have done OK for us commercially. We didn't think in those terms, though, not being bloody-minded. But we thought it would be better to have our own songs released as singles in the first instances.

Why do you think the first Raincoats album has grown in stature and still connects with people?

I think the album was inventive and different enough for it to capture people slowly over the years. It has a longevity perhaps because it is sometimes sounds woven together in an odd way and it’s very slight out-of-tuneness gives it a resonance that deepens and deepens over time!

You co-directed a new documentary, Stories From the She-Punks, with Helen Reddington. How did the film happen?

The film came about because I had so much footage of women talking about their experiences in punk, that I had shot when making the Raincoats doc. Helen had written her book, The Lost Women of Rock, and was being approached by strangers about making a documentary from it. We decided to pool our resources and make our own film. Being rubbish at getting funding, we decided to do it punk style and film any further footage of phones, and cheap video cameras. We only interviewed people who played instruments on stage, not singers. It is a film with women telling their stories in their own words, no voice-over or commentary. It is a piece of punk history!

Tessa Pollitt, bassist, The Slits

D.C.: Cut recently turned 40 years old. How do you feel about the record’s anniversary this year?

Pollitt: It has taken many years for Cut to be recognized as the seminal album it is. I don't feel it was understood or appreciated at the time of release in 1979, and we received a lot of criticism at that time for it straying from our punk roots [from 1976 onwards ] such as the John Peel sessions. We developed as musicians from the early days. Our growing love of reggae is evident on this album, and choosing Dennis Bovell [the Dub Maestro] as our producer enabled us to expand our musical influences and reflect this in our recordings. Punk was a short but powerful explosion that lasted about two or three years max, so it may be considered a post-punk release, but our punk roots are evident. I am happy the album still sounds current and has matured like a fine wine after 40 years!

The issues raised by the album’s songs, such as “Shoplifting,” “Instant Hit” and “Typical Girls,” seem more relevant today as they were 40 years ago.

These songs do seem more timely than ever. The subject matter reflect our observations of the society we were subjected to. If you experience elements of life you are not happy with, it is possible with intuition to see where this will lead to in the future. As a group I think we had great insight. And being young at the time, you are bound to face life with a rebellious attitude to the things you are confronted with on a daily basis cross boundaries, break down barriers, and claim your individual identities in a brave new world.

Is there one or two particular tracks from Cut that you would say are your favorites? 

My favorite track from Cut is “Newtown.” The song reflects on daily addictions like living by the clock. Also ‘new towns’ were appearing all over the land and were generally soulless concrete dwellings with no character—even concrete cows and shopping malls, the erosion of community. A social political statement of the times. I know “Typical Girls” to be generally played more than the other songs, but it is one of my favorites. The lyrics written by Viv and Ari speak for themselves. Everything that society dictates is a typical way for a girl to behave and the media encourages these cliches. I love all the songs, so it is difficult to choose my definitive favorites. It is not an album of hit singles, but a complete collection of experience inspired stories.

Were there any expectations from the band about Cut’s commercial prospects?

I am happy to be regarded as a cult group. Being commercial is not one of my personal aims with this album, but obviously hoped it would be recognized and reach a large audience around the world. I do feel it was ahead of its time. The fact it is still relevant and influential 40 years later is very satisfying and a great testimony to the many struggles we went through to achieve our goal. I think we may have been a bit disappointed at the time it did not sell as well as we hoped for, but it has grown in popularity over the decades and that is alright with me.

Certainly much has changed for women musicians since the Slits’ formation and the release of Cut, and yet some of the barriers remain within the industry.

I think there are far more female musicians since the mid-1970s and the formation of the Slits and release of Cut, there will always be barriers in the music industry. But it is important to be original and not contrived and true to yourself; also to take risks and retain your integrity. It is also important to evolve and not get stuck in a static formula. Being creative is to keep moving forward and not playing it safe. I think we already experienced the # MeToo moment/day of reckoning back in the day. We fought many battles both as a group and individually. It is important to stand up for yourself and not be a victim. Justice can prevail in many situations with determination, time will tell.

Why do you think Cut still resonates with people to this day?

Cut gave future female-dominated bands the chance to believe they could express themselves in a more free way than was expected from media/society/upbringing than how they could previously. I think Patti Smith also opened many doors, and in the classical world Jacqueline du Pre, the fantastic cellist; and also someone like Missy Elliot. Being a girl/woman child, you can really explore different ways to express yourself: it is really up to you. If you are dissatisfied, it is your responsibility to change people’s cliched views and expectations. I think the album’s legacy is freedom and bravery to liberate your soul!