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A British punk unit whose thoughtful explorations of issues of sexuality and gender conflicts presaged the riot grrrl movement of the 1990s, the Poison Girls were actually a male backing band formed around a singer and guitar player calling herself Vi Subversa. Released in 1979, the Girls' debut, Hex, was produced by <a href="spotify:artist:054P3YpUCLmd6a8HwdWDXE">Crass</a> drummer <a href="spotify:artist:6DzlPnRAyZGt6OdxniTdxq">Penny Rimbaud</a>, as was the following year's Chappaquiddick Bridge. While the guitar-based music on both records was fairly subtle, Subversa's lyrics were anything but, tackling issues of politics, normalcy, romance, and feminism with fury and intelligence.
After releasing Total Exposure, a stopgap live album recorded in Scotland in mid-1981, the Poison Girls returned in 1982 with a newly skilled and sophisticated sound on Where's the Pleasure, which found Subversa streamlining her material to focus solely on the subject of sex. By the 1983 EP I'm Not a Real Woman, the band had virtually abandoned its punk roots in favor of Celtic folk singing and cabaret-styled pop; 1985's Songs of Praise even found elements of funk creeping into the mix.
In the late '80s, the Poison Girls called it quits. A four-CD retrospective, Statement: The Complete Recordings 1977-1989, was issued in 1996. ~ Jason Ankeny, Rovi
After releasing Total Exposure, a stopgap live album recorded in Scotland in mid-1981, the Poison Girls returned in 1982 with a newly skilled and sophisticated sound on Where's the Pleasure, which found Subversa streamlining her material to focus solely on the subject of sex. By the 1983 EP I'm Not a Real Woman, the band had virtually abandoned its punk roots in favor of Celtic folk singing and cabaret-styled pop; 1985's Songs of Praise even found elements of funk creeping into the mix.
In the late '80s, the Poison Girls called it quits. A four-CD retrospective, Statement: The Complete Recordings 1977-1989, was issued in 1996. ~ Jason Ankeny, Rovi
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