- Released: July 27, 2004
- Label: UMVD Labels
Rolling Stone - p.1183 stars out of 5
- "Whether rocking a dance floor or orchestrating a lonely piano ballad, Scissor Sisters write great songs."
Rolling Stone - p.151
Included in Rolling Stone's Top 50 Records Of 2004 - "[Their] debut bridges stylistic and historic gaps with effortless grace..."
Uncut - p.74Ranked #21
in Uncut's "Best New Albums of 2004" - "[W]ell-crafted songs that hankered after and referenced the classic radio hits of Elton John and The Bee Gees."
Magnet - p.122
"The Scissor Sisters have arrived with a fun-yet-transparent ride, loudly partying in the expanse between the Darkness and Junior Senior."
CMJ - p.8
"[An] explosively dance-y debut..."
- 2.Take Your Mama
- 3.Comfortably Numb
- 5.Lovers in the Backseat
- 6.Tits on the Radio
- 7.Filthy Gorgeous
- 8.Music Is the Victim
- 9.Better Luck
- 10.It Can't Come Quickly Enough
- 11.Return to Oz
Scissor Sisters: Ana Matronic, Jake Shears (vocals); Del Marquis (guitar); Babydaddy (bass instrument); Paddy Boom.
Personnel: Joan Wasser (violin); Crispin Cioe (saxophone); Paul Leschen (piano, organ, keyboards); Paddy Boom (drums).
Audio Mixers: Scissor Sisters; Neil Harris.
Recording information: 5D Studios, Brooklyn, NY; The Shed, New York, NY.
Photographer: Alan Clarke.
SCISSOR SISTERS is a case study in albums that are more than the sum of their parts. On paper, the group's combination of 1970s glam, disco, and pop brings to mind Elton John, Supertramp, and a really sweaty night at the disco with a particularly deft DJ on the turntables. In practice, however, the band uses their influences not so much to create a new style as to render up something eerily familiar that isn't quite identifiable. And while the sense of the familiar makes them immediately appealing, it is the unidentified other that keeps you listening.
A trio of dance-floor stompers opens the album, all thunderous bass lines, falsetto vocals, and wah-wah guitar straight out of SUPERFLY, but that's only the beginning. "T*ts on the Radio," is a snarling, swaggering attack on conservatism, recorded before the Janet Jackson/Superbowl debacle, but more relevant since that time. "Better Luck" highlights a gloriously thumping honky-tonk beat. And the closing tracks, both of which use sweeping ambient electronics, end the album on that majestic crash everyone experiences once they leave the heightened reality of a nightclub and return to the drab city streets.