7 Divinyls Songs Not Named “I Touch Myself” to Rock Out to

When Australian rockers Divinyls broke big internationally in 1991 with their poppy single “I Touch Myself,” it seemed to be a bit of an about-face musically compared with their previous music. The band had a rawer energy in their earlier days, and while their late singer Chrissy Amphlett certainly had sex appeal, her defiant, pouty schoolgirl persona was equally alluring and menacing. Her voice and her brash, sometimes head-banging stage presence made her compelling to watch. But after a decade of slogging away in their native Australia and managing to get a little attention in America, they needed a crossover hit that would bring them to a bigger audience. They got it, although “I Touch Myself” is the one song that majority of people here remember them for. (Points for tackling a taboo pop music topic.)

The following selection of Divinyls songs goes beyond that global hit to reveal the truer nature of their music, along with some damn good performances. The group certainly flirted with pop and new wave influences during their earlier days, but their songs often rocked harder. Here are seven tracks from Divinyls ‘80s period to rock out to.

“Boys in Town” from Desperate (1983)

This song was originally released in 1981, included on the Monkey Grip soundtrack EP in 1982, then added to international versions of their debut album. It’s an intense rocker about a small-town girl tired of being the local object of desire to immature, self-serving men. This empowering song about finding one’s self-esteem and deflating the power of useless partners hit the Top 10 in Australia. Amphlett and her co-songwriter/longtime romantic partner, animated guitarist Mark McEntee, exuded a powerful energy in this video. More was yet to come.

“Science Fiction” from Desperate (1983)

A Top-20 hit in their homeland, this new wave-ish number with its quirky keyboards offers some fun sci-fi wordplay about discovering love in real life. But don’t worry, when Amphlett sings, I thought that love was science fiction / Until I saw you today / Now that love is my addiction / I’ve thrown all my books away, she probably didn’t mean it literally. Breathe easy, book lovers.

“Siren” from Desperate (1983)

This two-and-a-half minute burst of punkish energy is a duet between Amphlett and original band member Bjarne Ohlin, who wrote the lyrics here. It’s a simple exchange between two lovers who express their strong mutual attraction to each other—it’s not deep but fun. It also features some of the yodeling high notes that Amplhett brought to some songs, and which became a part of her vocal arsenal.

“Pleasure and Pain” from What a Life! (1985)

This is possibly Amphlett’s most intense music video appearance. She and the band perform in a steamy power plant as she sings lyrics about a masochistic relationship. The relatively subdued music goes against the intensity of the lyrics, which could lead one to thinking it is about an abusive situation. While Holly Knight has said she wasn’t sure if her co-songwriter Mike Chapman was being literal, it’s not hard to think that domestic violence is lurking beneath the surface of these words. Some fans think so. This beguiling single got strong radio airplay over here.

Break my body with the back of your hand
Doesn’t make sense from where I stand
Baby, baby, oh, why you wanna mess it up?
Sooner or later I’ll find my place
Find my body, better fix my face
Please don’t ask me
How I’ve been getting off

Ha, no, please don’t ask me
How I’ve been getting off

“Good Die Young” from What a Life! (1985)

There’s both a dissonant and ethereal beauty to this song about the loss of innocence, as metaphorically stated in the title. It’s also got one of the most intoxicating choruses of any Divinyls songs and an intriguing video in which a rooftop performance is juxtaposed with actors playing statues that are gradually awakening. This is one of those magical ‘80s songs and clips that just captivates you with its imagery.

“Back to the Wall” from Temperamental (1988)

Here’s a moody mid-tempo track that tackles the theme of “don’t push me too far” without the overt anxiety of “Boys in Town,” but with a slow, sensual groove that belies the pent-up emotions within. It’s one of many Divinyls tunes that showcases different sides to the band’s sound. “Back to the Wall” was also included in the film and soundtrack to A Nightmare On Elm Street Part 4: The Dream Master. (Beware, Freddy.)

“Hey Little Boy” from Temperamental (1988)

This swinging rock bop found Amphlett and McEntee in a more coy mood, serving up a gender-swapped cover of the 1966 song “Little Girl” by Syndicate of Sound. It’s bluesy, energetic hard rock that fits the American rock zeitgeist of the time, and the singer’s assured, sexy video vamping prefaced the coquettish nature of the “I Touch Myself” clip.

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Photo by Brian McLaughlin/Michael Ochs Archives/Getty Images