Donnas, The /All Girls, Punk-n-Roll/

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Donnas, The

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Aspiring to nothing more than a good old-fashioned
rock & roll party, the Donnas won a cult following
and considerable media attention in the late '90s
after scoring a record deal right out of high
school. Early on, they were invariably described as
"the Ramones meet the Runaways," with a definite
emphasis on the former (they'd even adopted
identical first names as a tribute). But their
bratty high-school-delinquent image was clearly
indebted to the latter, as their songs concerned
themselves mostly with boys, booze, drugs, and hated
classmates. As the Donnas grew up and polished their
technical abilities, their music evolved into a
distinctly female take on cock-rock metal, drawing
more from AC/DC, Kiss, and Motley Crue than from
punk. Some critics praised their cheerfully crude
adoption of male sexual bravado; others complained
that the band's music never transcended its vintage
influences, and remained suspicious that their
naughty-girl packaging was a bigger part of their
appeal. The Donnas were originally formed in May
1993, when all four members (all born in 1979) were
still in the eighth grade together in Palo Alto, CA.
Calling themselves Ragady Anne at first, they played
covers of groups like R.E.M., L7, the Muffs, and
Shonen Knife, and entered a junior-high battle of
the bands just one month after forming. During high
school, they kept practicing virtually every
afternoon, and soon moved into riot grrrl territory
with inspiration from bands like Bikini Kill and
Bratmobile (though it was more musical than
political). In early 1995, Ragady Anne released a 7"
EP on the local Radio Trash label, but soon changed
their name to the Electrocutes and adopted a trashy
jailbait image and a loud-fast-rules aesthetic. They
gigged around the Bay Area that year and were
spotted by Darin Raffaelli, a onetime member of
trash-punkers Supercharger and head of the small
Radio X label. Raffaelli had written a cache of
Ramones-style songs for a hypothetical girl band,
and approached the Electrocutes about recording
them.Deciding that the songs didn't fit the
Electrocutes' metal-queen style, the girls created
Ramones-worshipping alter egos known as the Donnas,
even going so far as to mock them in Electrocutes
interviews as though they were different people.
Thus, vocalist Brett Anderson, guitarist Allison
Robertson, bassist Maya Ford, and drummer Torry
Castellano became Donna A., Donna R., Donna F., and
Donna C. Before 1995 was out, they played their
first gig as the Donnas, and released their first
single under that name on Radio X. Two more followed
in 1996, the last one on Raffaelli's new imprint,
Super*teem. Meanwhile, they hadn't yet abandoned
their identity as the Electrocutes, and in fact
recorded an album called Steal Yer Lunch Money
during 1996; however, it wasn't released until three
years later, when Sympathy for the Record Industry
acquired the rights in the wake of the Donnas'
eventual success.In 1997, the Donnas recorded a
self-titled debut album for Super*teem, using songs
ghostwritten by Raffaelli. Critics charged that
Raffaelli was acting as the band's Svengali,
likening their relationship to that of Kim Fowley
and the Runaways; both sides vehemently denied that
that was the case, and eventually severed their
professional relationship to avoid fueling more
speculation. Following the release of The Donnas,
the group took a week off from its senior year of
high school to tour Japan. After graduation, they
postponed plans for college and accepted an offer to
sign with Bay Area indie Lookout, the original home
of Green Day. Their label debut, American Teenage
Rock 'n' Roll Machine, was released in early 1998,
and did feature some uncredited songwriting input
from Raffaelli. The Donnas quickly became
underground punk favorites, and even landed some
attention from mainstream media like MTV.The Donnas'
third album, Get Skintight, appeared in 1999 and
marked the first time the band composed its material
with no outside assistance. A distinct hard rock
influence began to creep into their compositions,
underlined by their cover of Motley Crue's "Too Fast
for Love"; they even opened a show for Cinderella.
That year, they also appeared in the teen comedies
Jawbreaker and Drive Me Crazy, the latter as the
Electrocutes. In early 2001, the band issued The
Donnas Turn 21, which continued their move away from
punk and toward the hard rock mainstream of 15-20
years previous (this time the cover was Judas
Priest's "Living After Midnight"). The album
received some of their weakest reviews to date,
generally from critics who felt that their party-
hardy subject matter was starting to feel
forced.Nonetheless, the Donnas caught the attention
of major label Atlantic, who signed them up in late
2001. Launched with a new wave of publicity, the
Donnas' label debut, Spend the Night, arrived in
2002 and became their first album to break into the
Top 100 of the pop charts. It also earned them their
biggest radio hit to date in the single "Take It
Off," whose video also got some MTV airplay. In the
summer of 2003, the Donnas played the main stage on
the revived Lollapalooza tour.

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