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The Gits – Enter: The Conquering Chicken [Loser Edition Color Vinyl] – New LPEnter: The Conquering Chicken (2024 Remaster) by The Gits< a> Ohio Rocks! Kentucky kicks butt. Viva Zapata! Zapata rules. The Gits kick ass. winch Mia Zapata of the Gits was the greatest rock singer of her time. This is not hyperbole; if you ever saw her, you know its true. She was likely the greatest singer in punk rock history, the woman who married the 78 and
Ohio Rocks! Kentucky kicks butt. Viva Zapata! Zapata rules. The Gits kick ass. -- winch
Mia Zapata of the Gits was the greatest rock singer of her time. This is not hyperbole; if you ever saw her, you know it’s true. She was likely the greatest singer in punk rock history, the woman who married the 78 and the ’78. Tragedy did not make this true. Mia Zapata made this true, and the ferocious, spring-loaded shrapnel frame built around her by Andy Kessler, Matt Dresdner, and Steve Moriarty made it true.
Mia Zapata (1965 – 1993), the vocalist and front person for The Gits (1986 – 1993), was not the type of voice one usually associates with a punk rock band. She had the sizzle, sass, shriek, grace, rasp, and fury of a classic blues shouter (what if Janis Joplin had fronted Fugazi, we ask?). There was a purity and accuracy to her voice. She could simultaneously point it at the stars and scoop cigarette butts off of the venue floor. It sounded like a voice on fire, desperate and angry, pleading and commanding, all at the same time (what if Amy Winehouse had fronted Fugazi, we ask?). And her onstage persona was utterly devoid of bullshit: Mia Zapata was a rag doll, a stick figure, a sock puppet, alternately bent with sadness and arched with rage. Sometimes, she looked like she was in pain, clawing at an ulcer; other times, like a holy woman on a soapbox, testifying the joy of truth; and still other times, like someone draped in a bedtime t-shirt reading from the margins of her notebooks. The voice and the presence were extraordinary, and there was nothing like it anywhere in punk – it was like finding the missing link between Nina Simone and Johnny Rotten (what if Joss Stone had fronted Fugazi, we ask?).
Much of this story takes place in Seattle during the strange night fog of the early 1990s, but did that matter? No. The Gits were beyond era or place. Maybe that’s why they were one of the most important acts to emerge from Seattle during that time. The Gits defied any categorizations – were they ferocious post-hardcore sideways-metal screw-propellor punk rockers? Some cross between Iron Maiden and an SST band? And although Mia Zapata was undoubtedly a once-in-a-generation talent – a wrapped-tight urchin/ingenue/artist applying a shredded Bonnie Raitt blues-rasp perfect-pitched alto to tight punk rock – the band matched her and inspired her to double down. Andy Kessler (guitar – metronomic and furious), Steve Moriarty (drums – martial and explosive), and Matt Dresdner (bass – fluid, punching, beat-addicted and melodic) wrote and performed with a jaw-tightened fury, a clenched soul that shrieked and stomped with precision. The Gits were an angry, inflamed slinky fully in tune with the Bessie Patti Smith of her time, truly the only singer who could summon Joplin, Poly Styrene, Sam Cooke, Iggy Pop, and Ian MacKaye all in the same goddamn song.
The Gits were formed at Antioch College in Yellow Springs, Ohio in mid-1986. Matt, Mia, Andy, and Steve moved to Seattle in middish 1989, landing in a house on Capitol Hill where they (and fellow travelers) woodshedded and rehearsed for the next few years. The Gits put out three EPs in 1990 and ’91 before signing with C/Z Records and releasing their first full-length album, Frenching The Bully. Soon, Seattle, North America, and the world felt the kind of awe the Gits inspired when peak emotion meets peak grindage.
Now, Sub Pop is re-releasing the entirety of the Gits’ catalog, including all four extant albums (three of which, sadly, were released posthumously): Frenching The Bully (1992), Enter: The Conquering Chicken (1994), Kings & Queens (1996), and Seafish Louisville (2000). All have been remastered by Jack Endino, one of Seattle’s most respected producers and engineers and the band’s closest studio associate.
On July 7, 1993, Mia Zapata died. We leave it at that, not only because you can read the sad details elsewhere but because this is not about death but an extraordinary life. So, friends, please listen to one of the greatest punk rock bands of all time, fronted by the greatest woman rock vocalist of the last half-century. - Tim Sommer
Mia Zapata (1965 – 1993), the vocalist and front person for The Gits (1986 – 1993), was not the type of voice one usually associates with a punk rock band. She had the sizzle, sass, shriek, grace, rasp, and fury of a classic blues shouter (what if Janis Joplin had fronted Fugazi, we ask?). There was a purity and accuracy to her voice. She could simultaneously point it at the stars and scoop cigarette butts off of the venue floor. It sounded like a voice on fire, desperate and angry, pleading and commanding, all at the same time (what if Amy Winehouse had fronted Fugazi, we ask?). And her onstage persona was utterly devoid of bullshit: Mia Zapata was a rag doll, a stick figure, a sock puppet, alternately bent with sadness and arched with rage. Sometimes, she looked like she was in pain, clawing at an ulcer; other times, like a holy woman on a soapbox, testifying the joy of truth; and still other times, like someone draped in a bedtime t-shirt reading from the margins of her notebooks. The voice and the presence were extraordinary, and there was nothing like it anywhere in punk – it was like finding the missing link between Nina Simone and Johnny Rotten (what if Joss Stone had fronted Fugazi, we ask?).
Much of this story takes place in Seattle during the strange night fog of the early 1990s, but did that matter? No. The Gits were beyond era or place. Maybe that’s why they were one of the most important acts to emerge from Seattle during that time. The Gits defied any categorizations – were they ferocious post-hardcore sideways-metal screw-propellor punk rockers? Some cross between Iron Maiden and an SST band? And although Mia Zapata was undoubtedly a once-in-a-generation talent – a wrapped-tight urchin/ingenue/artist applying a shredded Bonnie Raitt blues-rasp perfect-pitched alto to tight punk rock – the band matched her and inspired her to double down. Andy Kessler (guitar – metronomic and furious), Steve Moriarty (drums – martial and explosive), and Matt Dresdner (bass – fluid, punching, beat-addicted and melodic) wrote and performed with a jaw-tightened fury, a clenched soul that shrieked and stomped with precision. The Gits were an angry, inflamed slinky fully in tune with the Bessie Patti Smith of her time, truly the only singer who could summon Joplin, Poly Styrene, Sam Cooke, Iggy Pop, and Ian MacKaye all in the same goddamn song.
The Gits were formed at Antioch College in Yellow Springs, Ohio in mid-1986. Matt, Mia, Andy, and Steve moved to Seattle in middish 1989, landing in a house on Capitol Hill where they (and fellow travelers) woodshedded and rehearsed for the next few years. The Gits put out three EPs in 1990 and ’91 before signing with C/Z Records and releasing their first full-length album, Frenching The Bully. Soon, Seattle, North America, and the world felt the kind of awe the Gits inspired when peak emotion meets peak grindage.
Now, Sub Pop is re-releasing the entirety of the Gits’ catalog, including all four extant albums (three of which, sadly, were released posthumously): Frenching The Bully (1992), Enter: The Conquering Chicken (1994), Kings & Queens (1996), and Seafish Louisville (2000). All have been remastered by Jack Endino, one of Seattle’s most respected producers and engineers and the band’s closest studio associate.
On July 7, 1993, Mia Zapata died. We leave it at that, not only because you can read the sad details elsewhere but because this is not about death but an extraordinary life. So, friends, please listen to one of the greatest punk rock bands of all time, fronted by the greatest woman rock vocalist of the last half-century. - Tim Sommer
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4.2 ★★★★★
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★★★★★ 5
Good Quality
Color: White
This is absolutely beautiful. The lighting is ambient and not bright, with a warm glow (not as bright as the photos), and the charge lasts about 3 hours, give or take. The plaster mold is done very well so that it looks high end. It is also high-quality because I dropped it and it didn't break. For this reason, the price is right. This would be a great gift, but also a wonderful ornament for the yard or even as a welcome at the front door.
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Reviewed in the United States on March 31, 2026
★★★★★ 3
Looks nice, and works well but the light doesn't fit well.
Color: White
I have mixed feelings about this little angel light. I got it for my mom, and she really loves it, and it looks great on the edge of the garden by the walkway up to the house. It doesn't provide a lot of light, but what it does offer is just enough at night to help people navigate until they're close enough for our motion activated porch light to turn on.
The light however just doesn't come installed in the figure and doesn't fit very well into the hole it's supposed to sit in. I used some thick double sided tape as a gasket to hold it in place and solved the problem, but it's worth noting anyway.
As for overall quality, it's ok, but not great. The figure is made of resin (plastic), and is fairly thin and not very strong. It's also very light and can be knocked or blown over by wind very easily. The casting on the angel itself is ok, but the socket the light sets into was misshapen and I also had to clean it up to even get the light to fit into it. (There was some flashing at the bottom of the hole that prevented it from sitting all the way down)
Battery life seems to be pretty good, and lasts through the night as long as it gets enough sun during the day, but on cloudy days it tends to only last a few hours at most. And the light sensor does work well, it comes on right at dusk.
As for value I'm not sure I'd say it's a great deal for the current price, but if you can find it on sale might be worth getting. Of course on anything decorative value is subjective and depends largely on how much you like the look of it.
As always if I encounter any other issues or think of anything else to add I'll update this review!
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Reviewed in the United States on March 4, 2026
★★★★★ 5
solar figurine
Color: White
I recently added these angel figurines to my garden, and they are absolutely lovely. The solar-powered feature lights them up at night, creating a soft, peaceful glow that highlights my patio and lawn beautifully.
The statues are well-crafted and durable, holding up nicely in sun and rain, and the white finish looks elegant against my greenery. They also make a thoughtful gift for moms or garden lovers. Overall, these are charming, functional, and decorative outdoor angel statues that add a serene touch to any garden or balcony.
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Reviewed in the United States on March 31, 2026
★★★★★ 5
Beautifully made sturdy angel statue!
Color: White
This outdoor angel statue is so well done! The craftmanship on it is amazing! Easy to hook in light. I do note that the light is a little wobbly in the holder section, but it looks fantastic! Lights up nicely! The wings and the detail on the angel really are well done. This statue is beautiful! It is pretty sturdy too. Looks well inside, but definitely will be a nice touch to my garden! Seems to be weather resistant as well!
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Reviewed in the United States on March 4, 2026
★★★★★ 5
They really work.
Very good product. It really helps reduce pimples that are about to appear or those that have already been picked at—it works very well. I’ve used several of them already, and I’ve really liked them a lot.
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Reviewed in the United States on April 25, 2026