BITCH - The Bitch is Back 12" Vinyl LP Album

- Unleashing Raw Power: The 1987 Heavy Metal Statement by Bitch

The Bitch is Back: Bitch's Heavy Metal Onslaught

There were few bands in the 1980s that embodied the raw, unfiltered aggression of heavy metal quite like Bitch. Their 1987 release, "The Bitch is Back", was a snarling beast of a record—part statement, part provocation, and a full-throttle ride through the band’s gritty vision of metal. Emerging from the underground Los Angeles scene, Bitch was one of the first female-fronted metal bands to push the boundaries of image, sound, and sheer audacity.

Historical Context: The Scene and the Fury

By 1987, heavy metal was at an explosive crossroads. The scene had fractured into multiple directions: thrash was rising, glam was reigning supreme on MTV, and the underground still pulsed with the raw energy of traditional heavy metal. While bands like Metallica and Slayer were laying down the law for extreme metal, Bitch continued forging their own path—one that straddled shock theatrics and classic heavy metal power.

Bitch had already made waves with "Be My Slave" (1983), an album that drew as much attention for its dominatrix-inspired imagery as for its pounding metal anthems. But "The Bitch is Back" wasn’t just a follow-up; it was a deliberate statement of defiance, reinforcing that Bitch was here to stay—louder, prouder, and nastier than ever.

Musical Exploration and the Heavy Metal Backbone

Unlike many of their contemporaries who were either veering into radio-friendly territory or descending into extreme metal chaos, Bitch remained steadfast in their commitment to pure heavy metal. The album’s title track, a cover of Elton John’s "The Bitch is Back," was more than a gimmick—it was a reclamation. Betsy’s raspy, aggressive delivery twisted the song into a venomous declaration of resilience.

Controversies and Shock Value

Bitch had always been a band that thrived on controversy, and this album was no exception. Their overtly aggressive imagery and themes of power and control were still a talking point, with critics either praising them for breaking gender norms in metal or dismissing them as a gimmick. But the music itself was undeniable—this was a band that could back up their aesthetic with serious musicianship and intensity.

The Production Team: Metal Blade’s Signature Sound

Joseph Romersa helmed the production, ensuring the album had the punch and grit needed for a heavy metal record. The legendary Bill Metoyer, a name synonymous with Metal Blade Records, handled the sound engineering, lending the record the same crisp, aggressive production that made albums by Slayer, Armored Saint, and Flotsam and Jetsam legendary.

Recorded across multiple studios, including Stagg Street Studio and Preferred Sound, the production maintained a raw but polished edge. Scott Campbell’s engineering work ensured the guitars cut through with searing precision, while the rhythm section pounded through like a war machine.

The "Blood Dripping Axe" Record Label: A Collector’s Holy Grail

One of the most infamous details about "The Bitch is Back" is its release under the Metal Blade Records imprint featuring the notorious "Blood Dripping Axe" logo. For collectors, this version is considered a prize, as it marks an era where Metal Blade was at its most raw and fearless, championing underground metal acts that pushed the boundaries of the genre.