By Melissa Fossum
By Lauren Wise
By New Times
By Amanda Savage
By Jason P. Woodbury
By Troy Farah
By New Times
With a voice like a fat indelible marker, Jett wasn't made for subtlety. And beneath the seeming toughness, there's always been sensitivity in her hit cover of "Crimson and Clover," which injected a heart into that song's bubblegum center; in the philosophical come-on "Play With Me"; and in "Naked," a moving punk ode to emotional exposure from her new album, Sinner. The new album is among her best, perhaps second only to her 1980 solo debut, reviving her reputation for consistently catchy, bone-basic rock after the S&M-inspired misstep of 1999's metallic "Fetish" single, her last studio recording.
But Sinner has its share of Jett firsts, including a surprisingly elegant ballad, "Watersign," and something even further out of character: explicit politics. "I don't like to wear my politics on my sleeve," says Jett, "but I feel we are at a point in history where being quiet is not a responsible or wise choice."
Jett's usual underlying messages sexual positivity and self-acceptance show up on Sinner in her cover of the old Replacements tune "Androgynous," an empathic sketch of a gender-ambiguous couple. "It's a song I've always loved for its uniqueness and truth," says Jett, "not to mention its beautiful melody."
As on all of Jett's albums, Sinner's meatiest cuts are the rave-ups, including the sexy "A.C.D.C.," the snotty "Tube Talkin'," and the sweet "100 Ft. Away." "I never change with trends," says Jett, "partly because I can only do my music with conviction when it turns me on, and three-chord rock 'n' roll and punk is, so far, the only music I love to do." Sinner's best track, however, isn't a raver or even a ballad, but something in between: "Baby Blue," so sparse and cool and hard that it's straight out of an S.E. Hinton novel, written in the third person about a certain tough girl whom you may already know.