Hired Guns: Portraits of Women in Alternative Music – Book Review

Hired Guns: Portraits of Women in Alternative Music by Amanda Kramer and Wayne Byrne.

Published by: Equinox Publishing – out now

“With punk having exploded and subsequently imploded by the early 1980s, the so-called ‘post-punk’ movements arose, bringing some production polish and more elaborate musically to the socio-political themes of its generic predecessor…”

Hired Guns: Portraits of Women in Alternative Music details the music journey of ten prominent female musicians through an interview lens. Opening with a foreword by Jennifer Finch (L7), short and precise, with a simple explanation of the page’s agenda to articulate ten uniquely inspirational female musicians based on six questions. The style is personal and balanced, with the theme evident from the outset. Sifting through the pages, you are invited into ten short doco-stories as part of the intimate interview—the initial interview of Joy Askew, setting the template for the preceding women.

The storytelling is reminiscent of a bygone era, of lives well lived. The reader will find the distinct casualness captivating, as if, at any time, any of us could be as brilliant just by taking an opportunity; however, the theme of vulnerability is obvious and reveals that great success comes with great sacrifice. One moment leads into the next, and each new moment is more spectacular than the last. Several notable women included within the pages are Gail Ann Dorsey (David Bowie, Tears for Fears, Indigo Girls), Clare Kenny (Sinead O’Connor, Orange Juice, Shakespeare’s Sister), Susan Miller (Frightwig, Bad Posture), Tracy Wormworth (The Waitresses, Sting, B-52’s), Joy Askew (Joe Jackson, Laurie Anderson, Peter Gabriel), Sara Lee (Gang of Four, Robyn Hitchcock, Thompson Twins), Lori Barbero (Babes in Toyland), Caroline Dale (David Gilmour, U2, David Gray, Page and Plant), Angie Pollock (The Lightning Seeds, Goldfrapp, Peter Gabriel), Sue Hadjopoulos (Joe Jackson, Simple Minds, Cyndi Lauper).

I found Gail Ann Dorsey’s story captivating. As a talented black female artist, she faced numerous challenges in the early 80s while trying to establish herself in the music industry. In the United States, she struggled to fit into the R&B genre and found it difficult to gain recognition. Seeking new opportunities, ventured to the United Kingdom, hoping for a different and more accepting environment. During this time, the United Kingdom was under the leadership of Margaret Thatcher, and there was a palpable sense of social unrest. Against this backdrop, Dorsey found the opportunity she had been searching for. The album art that accompanied her music became a powerful statement, highlighting the cultural obstacles she faced.

In the United States, there was a lack of understanding of how to market a rock album by a black female artist. However, Dorsey’s music was embraced with enthusiasm in the United Kingdom and the rest of the world. The international audience recognised her talent and celebrated her unique sound, saying, “They were like ‘cool!’”

As you gently flip through the pages of this book, you will stumble upon a most noteworthy compilation of imagery that captures the essence of various moments briefly described amongst the pages. With its timeless allure, the deliberate choice of monochrome adds a touch of artistic sophistication to the visuals and further amplifies the storytelling narrative woven throughout the book.

Each image, meticulously curated and thoughtfully arranged, invites you to immerse yourself in a world where emotions, experiences, and memories come alive. You can’t help but be captivated by the raw emotions, the depth of character, and the unspoken stories that unfold before you. It’s a visual journey that transcends words, allowing you to connect with each fleeting moment and experience the power of visual linked to storytelling.

Hired Guns: Portraits of Women in Alternative Music exemplify female artists’ challenges and triumphs in the music industry and the importance of finding a supportive and appreciative audience. Despite their obstacles, their talent and determination allowed them to gain global recognition; whilst you may think this story is strictly aimed at a female crowd, it speaks equally to all audiences. Wayne Byrne closes with a genuinely touching postscript crediting Amanda Kramer’s ability to take the interviewing lead, and praising the women, “By the very nature of their work, they are there to support the music in the moment while remaining in relative anonymity working in the shadows of a frontperson. Their role is to bring skill, not ego.”

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Buy the book here

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Words by VLR. More work by VLR on LTW can be found in her author profile.