Dearborn Music

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''Doll Revolution'' is the first album of original material by The Bangles since 1988's ''Everything''. It was released in 2003 on Koch Records.

Unlike in their days with Columbia Records, the release of this album was patchy, being released in Europe and Japan before it was released in the USA.

The tracks are all (co-)composed by members of the band with the exception of "Tear Off Your Own Head" which was composed by Elvis Costello.

The DVD features the first two Bangles songs "Getting Out Of Hand" and "Call On Me" from their first 45 single finally on digital format. - Wikipedia

Nostalgia has always posed a challenge to veteran bands that want to make new music. Aging '60s rockers found themselves in competition not just with their own past glories, but also with whatever youthful utopian hopes their music once generated. But like a lot of '80s bands, the Bangles and the Romantics have no such weighty legacy to betray. Instead, they've been reduced to the answer to a flip trivia question or a punchline for a snarky VH-1 clip, so folks expect less from them than they should.

The Bangles were always a classier retropop group than their hits let on. Their understated feminist solidarity was expressed less in what they sang than in their very existence, and was slightly undermined by Susanna Hoffs' overly girlie voice. Hoffs' chirp has deepened in resonance since then, however, and Vicki Peterson, who honed her chops over the last decade in the smart roots collective the Continental Drifters, commands her share of the spotlight too. They rock through Elvis Costello's "Doll Revolution" like they know what the hell he's talking about (I still don't), and if the explicitly defiant "Single By Choice" seems to overstate its case, that's only because the Bangles seem annoyed that a woman should still have to make that case.

Quick, name any member of the Romantics. I'm not putting them down, just underlining the fact that the individuality of the band's members were secondary to their sound. Driven by the chords that launched a thousand beer commercials, "What I Like About You" defined power pop-huge, glossy, undeniable, irrelevant. Here they reclaim their Detroit roots, which means they go heavy on the garage stomp and light on the indelible melodies. Both disposable and astoundingly durable, here are songs you can forget a thousand times over, only to be thrilled the next time the hooks kick in.