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Cut

by

The Slits

 
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Cut

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Avg: 4.0 (149 ratings)

Sliced-up punk with fire and vigor -- we think there's nothing "typical" about it!

  • We Say...

    Review by Eric Weisbard

    Skank has two meanings and in 1979 the Slits parodied both, wearing little more than mud on their infamous album cover while merging punk and reggae in a gawky fashion that has remained a cool touchstone ever since. Vocalist Ari Up, guitarist Viv Albertine and bassist Tessa Pollitt (along with male drummer Budgie), working with Linton Kwesi Johnson producer Dennis Bovell, used the multi-racked spacial separations of dub to hector, taunt, scream and insinuate their gleeful feminist critiques from every possible angle.

    The Slits weren't, however, melodists (Lilliput/Kleenex, who spoke a similarly atonal dialect, at least had the excuse of being Swiss). Arguably, though, that's the Slits' appeal: you don't fully absorb their tracks as much as glean them in fierce fragments. "It came completely out of nowhere, this weird, self-taught organic thing," Albertine would later recall. "As we became more aware, we didn't want to follow male rhythms and structures." Still, it's nice to have the addition here of the Motown standard "I Heard It Through the Grapevine," so you can appreciate exactly how the Slits were rewriting pop: turning monologue into dialogue, rendering the familiar strange, imagining not crossover but crossings over and out.

  • They Say...

    Review by Andy Kellman, All Music Guide

    Its amateurish musicianship, less-than-honed singing, and thick, dubwise rhythms might not be for everyone, but there's little denying the crucial nature of the Slits' first record. Along with more recognized post-punk records like Public Image Limited's Metal Box, the Pop Group's Y, and less-recognized fare like Ruts D.C. and Mad Professor's Rhythm Collision Dub, Cut displayed a love affair with the style of reggae that honed in on deep throbs, pulses, and disorienting effects, providing little focus on anything other than that and periodic scrapes from guitarist Viv Albertine. But more importantly, Cut placed the Slits along with the Raincoats and Liliput as major figureheads of unbridled female expression in the post-punk era. You could call some of these songs a reaction to the more knuckledragging Nuggets bands, or the '60s garage acts that would find as many ways possible to say "women bad." Songs like "Instant Hit" (about PiL guitarist Keith Levene), "So Tough" (about Sid Vicious and Johnny Rotten), "Ping Pong Affair," and "Love Und Romance" point out the shortcomings of the opposite sex and romantic involvements with more precision and sass than the men were ever able to. "Spend Spend Spend" and "Shoplifting" target consumerism with an equal sense of humor ("We pay f*ck all!"). Despite the less-than-polished nature and street-tough ruggedness, Cut is entirely fun and catchy; it's filled with memorable hooks, whether they're courtesy of the piano lick that carries "Typical Girls" or Ari Up's exuberant vocals. (One listen to Up will demonstrate that Björk might not be as original as you've been led to believe.) Island's 2000 reissue blows away the earlier issue in sound and presentation, adding to the essential nature of this wildly influential record.

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