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Cut


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19 of 20 people found the following review helpful
5.0 out of 5 stars A cut above...
Much praise has been heaped on "Cut" already (and justifiably so) therefore I'll confine my comments to the bonus material. The remastering is superb throughout and Tessa Pollitt's basslines, in particular, are now much more prominent...even the demos & rough mixes sound fantastic and they give real insight into how the tracks evolved. It's also great to have the early...
Published on 22 Oct 2009 by Shug McCretin

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2 of 7 people found the following review helpful
3.0 out of 5 stars A real slice of eclectic rock
Slits, like many of their Punk peers such as The Clash and The Ruts, used dub reggae to effect within many songs. This album features pretty much all of their essential numbers. For fans and the curious alike, this is well worth a listen. Slits were one of the under-rated purveyors of rebel rock from the period, and deserve your attention.
Published on 30 Jun 2010 by djay


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19 of 20 people found the following review helpful
5.0 out of 5 stars A cut above..., 22 Oct 2009
This review is from: Cut (Audio CD)
Much praise has been heaped on "Cut" already (and justifiably so) therefore I'll confine my comments to the bonus material. The remastering is superb throughout and Tessa Pollitt's basslines, in particular, are now much more prominent...even the demos & rough mixes sound fantastic and they give real insight into how the tracks evolved. It's also great to have the early Peel sessions included as this gives the listener a chance to hear the band with original drummer Paloma Romero (Palmolive). Her style is much more primitive sounding than that of her successor, Budgie.
There is a real sense of fun about this collection and if you compare the Peel material to the finished article, it shows just how proficient they became in the space of a couple of years...

Do yourself a favour and buy this!
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32 of 37 people found the following review helpful
5.0 out of 5 stars The Slits - feminist icons of the punk era., 17 Nov 2000
By A Customer
This review is from: Cut (Audio CD)
The Slits, contemporaries of The Clash and Public Image, fused reggae, dub, and punk into their own highly original sound.
"Cut", their long out-of-print debut album, paved the way for the Afro-Pop of Talking Heads, the reggae/new wave hybrids of Grace Jones and Adrian Sherwood's On-U Sound System, and the trip hop of the nineties (imagine Bjork fronting Massive Attack).
Along with their pals, The Raincoats, The Slits were one of the few all-female bands to garner critical acclaim, a cult following, and avoid being marketed as sex objects by their record company.
No punk era CD collection is complete without "Cut", one of rock's lost classics. Buy it while you can!
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2 of 2 people found the following review helpful
5.0 out of 5 stars Quirky, unique and brilliant!, 6 Mar 2003
By 
Pieter Uys "Toypom" (Johannesburg) - See all my reviews
(TOP 500 REVIEWER)    (HALL OF FAME REVIEWER)   
This review is from: Cut (Audio CD)
This album was released at about the same time as John Lydon's Public Image limited started making waves and it displays a similar late 70's reggae influence. The sound is quite singular and dates from the immediate post-punk era, but with a surprising melodic appeal. My favourite tracks include Instant Hit, New Town and Typical Girls, which should all have been hit singles as they're quite melodic and accessible. There's a dub feel throughout although to me this is more pop than anything else. Intelligent pop, that is, with strong and sometimes angry lyrics. It's a very valuable album that has proved influential down the years, in a sense, predating the rrriot girrl phenomenon by more than a decade. Punk gave us strong women like Siouxsie, Nina Hagen, Poly Styrene of X Ray Spex, and The Slits. The music has stood the test of time very well and can be enjoyed by most people into reggae, post-punk or clever pop music.
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1 of 1 people found the following review helpful
5.0 out of 5 stars slits yeehaa, 26 May 2011
This review is from: Cut (Audio CD)
Had vinyl - an old favourite - finally found CD on Amazon - essential listening for an old hippified punk. Raw, brash and superb.
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11 of 14 people found the following review helpful
5.0 out of 5 stars Sublime, catchy and essential, 14 Sep 2006
This review is from: Cut (Audio CD)
If you're reading this to try and answer the quandry: 'do I buy the Slits album 'Cut' or not? Is it worth the price?' then a quick, succinct answer would be YES. Now, i'm not usually a punk rock/reggae fan (i'm more dub/post-punk) so i was weary about the mix. One concentrated listen to this album (with the bass turned up) is all one needs to be convinced. 'Cut' is all about fun. I imagine Ari Up (vocals) bouncing, stepping, and stomping around the studio in a gleefull, giggly trance while the others bob and sway in a similar fashion. The drumming, courtesy of Mr. Siouxsie (Budgie), is light, playful and skittery while providing appropriate thump and propulsion when needed. Every track is charming, witty, naughty and innovative -the girls' personalities are at the forefront of the music as they chatter, squeal, shout, giggle, chant, bawl and, at times, coo their way through the album with effortless cool. If you can track down audio samples, listen with the volume up. Did i mention the songs were catchy? You'll be humming, drumming and singing 'So Tough', 'Ping Pong Affair' and 'Typical Girls' for weeks. Oh. . .and the cover of 'Heard it Through the Grapevine' is, quite simply, storming. Again, volume should be L-O-U-D. You won't be disappointed.
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27 of 35 people found the following review helpful
5.0 out of 5 stars Great reissue of extremely influential LP from 1979..., 13 Aug 2003
By 
Jason Parkes "We're all Frankies'" (Worcester, UK) - See all my reviews
(No. 1 Hall OF FAME REVIEWER)   
This review is from: Cut (Audio CD)
The post-punk era remains one of most fertile periods in pop music- The Sex Pistols kickstarted it all...but were about as inventive musically as Eddie Cochran. But soon the music would catch up with the progressive epiphanies of punk- the influence of dub/reggae (see Don Letts recent compilations) on punk became apparrent with such releases as The Clash's Complete Control (produced by Lee'Scratch'Perry)& their classic London Calling (eg Rudie Can't Fail) Many other bands became to experiment with these dub-inflections: XTC, Gang of Four, PIL, This Heat, The Pop Group, Scritti Politti and, of course, The Slits.
The Slits had formed like The Banshees et al at the start of UK punk in 1976 and honed their craft, developing their individual sound (memorably captured on The Peel Sessions set) While Siouxsie is rightfully revered as a punk icon (largely cos of the Grundy show & no, it doesn't excuse the use of the swastika!), The Slits appear to have been sidelined in the increasingly simplistic/conservative musical history people are sold these days by VH-1, Mojo et al. Which is bizarre, as their debut album proper- Cut- remains both one of the all-time great debut albums AND one of the most influential albums to be produced in the 1970s...
The infamous cover alone sees Ari Up, Viv Albertine & Tessa Politt naked daubed in mud- without this empowering cover there would have been no Boss Hogg, no PJ Harvey...it was also memorably recreated by Mudhoney in 1990! Quite ironic when you think that The Slits label was Island- who put out the Roxy Music albums such as Country Life with female nudity. So, cover alone it's of great influence!
The music has been of influence also- Ari Up's vocals are not far from Patti Smith at times, but the music is so original...though without The Slits I doubt we would have had Luscious Jackson, Huggy Bear, Sleeper, Elastica, The Yeah Yeah Yeahs- though I'm not saying that The Slits are as pedestrian as some of those bands! The Sugarcubes owe a debt to The Slits- no Slits, no Bjork!
Cut is in many ways their debut, Revolver & White Album all rolled into one- taking full advantage of the studio and the songs they had honed for years, The Slits with drummer Budgie created this classic, er, cut...
Wild rhythms, dub inflections (especially on the Dennis Bovell produced extra tracks), bizarre proto-samples & angular guitars combine to offer up one of the most individual albums in an era of major individuality...I love the whole album, and won't bore you with a track by track analysis- the highpoints include opener Instant Hit (about Keith Levene), Newtown, Love und Romance and the classic single Typical Girls. Listening to that wonderful track (which dented the Uncut Top 100 Singles of All Time a few years ago)you wonder how such careerist slop as The Spice Girls or J-Lo ever cut the mustard. Already this is post-Madonna! & noting the use of rhythm- The Slits preceded Adam & the Ants & Bow Wow Wow, so need some credit on that front also.
Cut remains a highlight of the greatest era of music in the UK I can recall- easily taking its place alongside 154, Metal Box, Entertainment!, Y, Dragnet, Dub Housing, Real Life, This Heat!, The Specials & London Calling. This version has great liner notes, the bonus should have been single of I Heard It Through the Grapevine/Liebe And Romance (Slow Version) & a remastered version of the original ten-track album. It's a classic where I come from and proof that the punk scene was capable of creating both intelligent lyrics and inventive music. An album that everyone should own, even if they don't play it very often...
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5.0 out of 5 stars Five Stars, 4 July 2014
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This review is from: Cut (Audio CD)
if you havent heard this album ... listen now
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5.0 out of 5 stars Cut by the Slits, 1 July 2014
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This review is from: Cut (Audio CD)
I don't know why it has taken me so long toi add this classic to my collection. It sounds like nothing else I've ever heard. Magnificent
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5.0 out of 5 stars one of the greatest bands of all time, 12 Dec 2013
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This review is from: Cut (Audio CD)
It is really a mystery why the slits never became very popular, the music that they played was revolutionary and really transcended the punk movement. This album has such a unique sound every element of it from the bouncy ska styled bass lines, to the snappy reverberated guitar to the forthright and unique drum style and especially to the distinctive use of vibrato and whistle regester singing. The whole thing comes together in such a unique way that will never happen again. The first and possibly the greatest proper girl band.
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5.0 out of 5 stars Never the girls who lived next door, 15 July 2010
By 
Dr. Delvis Memphistopheles "FIST" (London) - See all my reviews
(TOP 100 REVIEWER)    (VINE VOICE)   
This review is from: Cut (Audio CD)
Unless you were a member of the Bloomsbury Set or had some zest, female lives generally unfurled according to a predetermined biological genetic clock pre 1970.

Wifely roles entailed house management and child production, dictated by the command culture. Mindlessly reading Georgette Heyer and Barbara Cartland novels, women were forced into fantasy. Post puberty arrival entailed a shift from being cute icons, patted on the head to objects of sexual pawing. Sometimes it happened before puberty, hurriedly hushed to stem the ripples for the adults involved. The lunatic asylums were full of these forms of life committal.

This album is a historical context marker, where women emerged from dolls to humans. Originally 4 women who could neither play their music or were outstandingly chiselled, bashed their instruments into cult status. Locked within a hyper 70's kipper tied, long side burn, brass medallion, bare chested masculine world these women forged a new culture.

Unlike their 60's sisters they remained primarily vertical in a male horizontal world. In Jubilee they climbed aboard and trashed car, the Slits unleashed a post Saint Trinians realism.

Ari, the refusenik, went to hide away from Babylon. The lyrics pointed her post 68 disgust at dropping babies on demand, her strip of Sid's pose to reveal the boy within, shoplifting as an act of refusal. The latter to be taken up as a template through addiction in the 80's. Typical Girls the attack on the established template, the travails of relationship games in a ping pong affair.

Dennis Bovell channelled the anger into rhythm shapes, the collision of punk with reggae to produce a new spiked sound. The bonus tracks chart their journey from rough necks to jarred operators and is worth the reinvestment. When the original appeared it initially seemed sheared of punk angst and slightly tame, but it was just another take on the world. In snarls they were searching for a new vision, beyond men smashing out bar chords. The bonus CD showed they could do that. Ari snarls adopting a bad girl rage, before exuding sweetness. Dennis brings out the lyrics to reveal their sharpness. The guitar echoes with its dissonant spikes rather than pulsating brute anger. The drumming is chaotic poetry whilst the bass pulls it altogether in boom boom sequence.

The Slits unleashed women power without the dungarees and cropped masculinity of feminism, looking alluring without the Vogue vacuity. They produced a legacy of change. It all seemed so innocuous at the time but now in retrospect it was a tipping point. Since the whole impetus collapsed in the street, needing resuscitation, as she banged her head toppling off her stilettos with too much alcohol in the bloodstream. The Slits carved a blazing path, even for those who followed and tottered into a brick wall.
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