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Interview: JOAN JETT, The Return of a Rock ’n Roll Icon
from: lesbianation.com
by Paul E. Pratt
With more than 25 years in the spotlight, musically and personally, JOAN JETT is more than comfortable in her own skin. "I know my strength," she shares, "and that’s just being me."
Indeed, this summer’s SINNER, Jett’s first domestic release in nearly a decade, has the rock icon’s signature stamped all over it. She refuses to rest on the laurels of such hits as "I Love Rock’n Roll," which topped charts for eight amazing weeks in 1982 and pushed her record of the same name to sales in excess of 10 million copies worldwide. Still, writing another smash of that caliber for this album was not Jett’s top priority.
"If we have another hit, great," says the singer, who has scored no less than nine Top 10 singles over the last quarter-century. "If not, we go out, play and do the best we can. I just hope fans are as excited about this record as I am."
After a near decade-long draught in material from Jett, the disc has been embraced by fans clamoring for something new from their idol. Still, the idea SINNER is filled with new songs is somewhat misleading. Many songs are re-recordings and re-released versions of tracks from previous offerings, namely Jett’s 2004 Japanese-only release Naked.
Even still, since its June street-date, critical response to SINNER has been overwhelmingly positive. Many consider Jett’s latest radio-friendly mix of rollicking guitar, sassy lyrics and outspoken politics one of the best of her career. Though the former member of The RUNAWAYS did not know it would arrive to such rave reviews, she was certain fans would enjoy the album. "I play three-chord rock’n roll," Jett says. "That’s what it’s always been. People know what to expect from me. In that sense, I never worry about disappointing them."
In recent years, Jett has been more interested in grooming new talent signed to her BLACKHEART RECORDS. Started by Jett in 1980 after 28 other companies rejected her demos, the label placed the singer at the forefront of not only women rock musicians but record executives. With longtime collaborator KENNY LAGUNA, Jett’s production talents proved seminal in recent years for such Blackheart acts as Cleveland-based punk group The Vacancies and The Eyeliners, a pop/punk outfit from Albuquerque.
Meanwhile, the Laguna/Jett pairing took more than eight years to write, record, put the finishing touches on and release her own record. During that time, the rocker refused to worry about keeping the 14 tracks on SINNER "contemporary" or "timely." "Themes of love, sex, social issues and politics are universal and, therefore, timeless," she opines.
Longtime gay fans should be particularly fond of this release. Starting with the first single, a cover of The Sweet’s "A.C.D.C." with an accompanying video starring the gorgeous Carmen Electra, Jett continues her trend of sexual and gender ambiguity.
Though Jett refuses to discuss her own sexual orientation (many might think the tracks on SINNER are statement enough), she answers precociously when asked if she can relate to the song’s lyrics about a woman who has lovers — both male and female — around the world. "I’m all about blurring lines," she admits.
Jett would rather discuss the first time she heard the infectiously upbeat song, years ago in a Los Angeles-area dance club for teens. "It was all glamour music, Gary Glitter and T-Rex," she recalls, "But this was a great rock’n roll song, and it’s very pertinent to the world we live in today."
Arguably its most enjoyable, radio-ready cut, "A.C.D.C." is not the only time Jett addresses gay sex or sexuality on the album. The singer says she "had to" record "Androgynous." Written by Paul Westerberg of The Replacements, she says the toe-tapping staple of her live show "really touches" her personally.
"Even though I know I’m a girl, and that’s who I like to be, I don’t tend to go into these roles people tend to dictate about how we’re supposed to dress, who we’re supposed to be," Jett admits. "I think it’s fun to comment on that."
Meanwhile, considered by many the "original riot grrrl," Jett continues to explore sexuality and identity on tracks penned with musicians she unquestionably influenced. Le Tigre/Bikini Kill standout Kathleen Hanna appears on a number of songs and out-lesbian super-producer Linda Perry contributes as well.
After debuting music from the disc on this summer’s Vans Warped Tour, Jett plans to satiate fans with a headlining tour of her own in the fall. Kicking off October 12 in Philadelphia, Jett and opening acts Eagles of Death Metal and Valient Thorr (joined periodically by Throw Rag) criss-cross the nation before wrapping up November 19 in South Carolina.
As happy as Jett is with the new album, she says the real pay off comes performing live.
"When you lock eyes with someone, see them beaming, you know it’s about being so much more than that person standing onstage," she says, "It’s a hard moment to describe, that connection."
Calling those moments "heaven on earth," Jett loves when people tell her how the music has helped them through the best, or worst, times of their lives. "That’s why you’re really playing, those moments," she admits, "They’re constantly happening if we just slow down long enough to see them."
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