Bitchin' - The Donnas
Metascore
54

Mixed or average reviews - based on 14 Critics

Critic score distribution:
  1. Positive: 2 out of 14
  2. Negative: 2 out of 14
  1. What keeps Bitchin' from being more fun than Tommy Lee and Pamela Anderson's sex tape is Jay Ruston's production job. [Nov 2007, p.170]
  2. At times it's hilarious, especially the song openings, which evoke poodle-rock heroes in mock affection, but the tracks then go somewhere inconceivably cool, twisting, shimmering and generally rocking in drool-worthy style.
  3. 60
    It's business as usual. [Nov 2007, p.98]
  4. the Donnas once rocked as if they were tanked to the gills but they now sound like they're playing with ferocious hangovers they just can't shake--and it's hard to have a good party if the threat of the morning after hangs over the whole affair.
  5. Especially on the Thin Lizzy-esque 'What Do I Have To Do?' and the irresistible 'Wasted,' they sparkle. At other times, though--the unloveable 'Here For The Party' and childish 'Girl Talk'--these four 28-year-olds still think they're in high school. [Nov 2007, p.137]
  6. Bitchin' offers little you haven't heard before--even if you haven't heard a Donnas record--but it should go well with a beer or six.
  7. While superbly recorded and at times a hoot to crank (largely for the shameless rips of Kiss, Joan Jett and Def Leppard), Bitchin' is too light on hooks.
  8. The Donnas get the ball into the red zone from time to time on Bitchin', but they never really score.
  9. The entire album sounds like a half-hearted compromise between what the group was and what the group wants to become.
  10. 40
    The Donnas have never seemed less enthused; none of the 14 tracks contains a melody as catchy or a beat as pumping as those on "Spend the Night" or "Gold Medal." [Oct 2007, p.99]
  11. Only real problem is that the foursome tend to write the same songs over and over again, this time thinly veiled in arena- and hair-metal swagger, but still too similar structurally to sound like they've challenged themselves.
  12. Like so many ‘80s rockers of old, from Y&T to Lita Ford, the Donnas’ attempt at an accessible sound has come at the expense of what made them so appealing in the first place.
  13. The music is the same. As immediate and worthy as some of these songs are, the chugging guitars and oar-bank handclaps and background HEY!s don't sound like the work of a band that really likes this music and wishes it'd been around to make it at the time and probably deserved to be, the way the Donnas' old jailbait anthems could; they sound like bad one-liners.
  14. Go on, drink whiskey from the bottle, see if I care. But when you’re done, don’t jump around like gracelessly ageing Bratz dolls playing late-era Kiss and think you’re a blistering she-Crue.
User Score
7.7

Generally favorable reviews- based on 15 Ratings

User score distribution:
  1. Positive: 10 out of 14
  2. Negative: 1 out of 14
  1. RossN.
    Oct 24, 2007
    4
    I'm disappointed in this album. To me it sounds like the band is uncomfortable with their new guise and the material. I actually thought Gold Medal featured some of the best songs the Donna's have recorded and was possibly their best CD, along with their first and Get Skintight. This one seems laboured and not fun. They make the moves and play the part of 80's rockers but there just isn't any heart in this music. Full Review »
  2. MikeD
    Oct 22, 2007
    3
    This record is a disgrace. The Donnas were always a band you could count on to make a honest, straightforward rock album that worshiped at the altar of Kiss, AC/DC and Motley Crue. The biggest inspiration for this nonsense seems to be Winger and Warrant and they should've never inspired anyone. it's nothing but slick production, big guitars and no songs. What's all the more sad about it is how they seemed to be maturing as a band so well on the last record (Gold Medal). If you think Vixen rocks, you'll love "Bitchin". Full Review »
  3. JeffP
    Oct 18, 2007
    10
    The Donans are back with a vengeance - kicking ass and taking names. A fine return to form, full of headnodding hooks, footstomping, anthemic choruses, and lots of dirty ass rock and roll with influences as obvious (and wide) as Joan Jett, Girlschool, Kiss, AC/DC, and Gary Glitter. U rock, girls. Welcome back! Full Review »