A Woman's Got the Power
Second and final album by the American band the A's.
The A's released their second and final album, A Woman's Got the Power, in 1981. Its title track served as the first single. The record peaked at number 146 on the Billboard 200, and the band toured North America to promote it.
Quick Facts
- Artist
- the A's
- Released
- 1981
- Genre
- Rock
- new wave
- power pop
- Label
- Arista
- Producer
- Rick Chertoff, Nick Garvey
Facts from the source article.
Track listing
| No. | Title | Length |
|---|---|---|
| 1 | A Woman's Got the Power | |
| 2 | Electricity | |
| 3 | Heart of America | |
| 4 | How Do You Live | |
| 5 | When the Rebel Comes Home | |
| 6 | Johnny Silent | |
| 7 | Little Mistakes | |
| 8 | Working Man | |
| 9 | I Pretend She's You | |
| 10 | Insomnia |
Track listing from the source article.
Production
Rick Chertoff and Nick Garvey produced the album, overseeing the final three tracks recorded for it. Bandmembers Richard Bush and Rocco Notte wrote the songs, drawing influence from Holland–Dozier–Holland. Arista president Clive Davis requested a cover of Tom Jans's "When the Rebel Comes Home". The title track, the last song cut after the band asked for more studio time, references the Doobie Brothers' "What a Fool Believes". Banjo and saxophone appear on "Heart of America". "Little Mistakes" employs a Phil Spector sound in its ironic treatment of a teenage tragedy song.
Critical reception
Critics had mixed reactions to the album. The Boston Globe highlighted its sly irony and appeal to teenagers and casual listeners. The Staten Island Advance praised the band's high-spirited energy but wondered if their work was parody, pastiche, or just formulaic. The Buffalo News liked its slick pop brashness. The Philadelphia Inquirer noted the Springsteen influence was nearly too obvious but felt the songs improved on the debut. The Quad-City Times called it a blend of new wave, power pop, and mainstream rock. Knight Ridder deemed it a great record from an unhyped band. The Detroit Free Press considered it one of the year's most underrated rock releases. Trouser Press, however, dismissed it as misplaced bombast.
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