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" It&amp;#039;s not every day that a group of musicians comes over to your apartment for a recording session. It&amp;#039;s even rarer when one of them is Emmylou Harris and she&amp;#039;s sitting in your bedroom, admiring the posters on your walls. But that&amp;#039;s where Kate Schellenbach, the drummer for the female group Luscious Jackson, found Harris not so long ago. &amp;quot;She was waiting around my room,&amp;quot; says Schellenbach, &amp;quot;and I had this Dolly Parton poster from the fifties, and Emmy said, &amp;#039;I used to have that poster when I first started singing, and I put it over my fireplace mantel to inspire me every day to make it.&amp;#039; That&amp;#039;s access,&amp;quot; she adds. &amp;quot;You feel like, &amp;#039;I can be a legend, too.&amp;#039;&amp;quot;  Given how women collectively cleaned up at the Grammys earlier this year, female legends are once again an honest possibility in rock. But it wasn&amp;#039;t always that way. Just six years ago, the female-rock-vocal category was dropped from the same awards show due to a lack of entries. Before their recent collaboration with Harris, Schellenbach and the other two members of Luscious, Jill Cunniff and Gabby Glaser, had to reach back to the early eighties for inspiration, when they saw women rocking New York City&amp;#039;s downtown clubs. And while female rockers in bands like the Slits and the Stimulators may not have the same cachet as Emmylou, their effect remains the same: They showed at least three women that they could make music, too.  Luscious Jackson, named after a Philadelphia 76er from the sixties, Lucious Jackson, doesn&amp;#039;t fit into a specific genre, unless there is one for what Cunniff calls &amp;quot;upbeat grooves that inspire you to get your butt off the couch and clean the house.&amp;quot; On their new album, Electric Honey (which has vocals by Harris and an earlier inspiration, Deborah Harry), you can hear the influence of eighties punk and punk-reggae bands like the Clash and Bad Brains and break beats from the roots of hip-hop (Schellenbach used to be the drummer for the Beastie Boys). It&amp;#039;s a sound that feels like being patted with a big, fluffy pillow. There are slick bass lines, catchy guitar riffs, and hummable melodies, all tied together by lyrics that actually engage your intellect even as they stir your libido.  {The R\u00E9sum\u00E9} Fever In Fever Out (1996). Highlighted by the overwhelming success of the single &amp;quot;Naked Eye,&amp;quot; their third record is ripe with the up-tempo R&amp;amp;amp;B melodies that have become their strength. Natural Ingredients (1994). A more realized version of the LJ sound than their debut. Their soul and musicianship begin to show through with a little jazz, funk, and disco. In Search of Manny (1992). Their critically acclaimed debut serves as a minimalist framework for the lush compositions of their following albums, with wicked tracks like &amp;quot;Life of Leisure.&amp;quot; {The Experts Speak:} &amp;quot;I come from an era when women were barely playing guitars. My heroes were Joan Baez and Judy Collins. You never thought about women playing electric instruments or being in bands, and when they did, they weren&amp;#039;t taken seriously. So being around this group of women with so much talent and drive and great ideas was something special. It was very inspiring to me.&amp;quot; --Emmylou Harris, who lends her voice to the new Luscious Jackson record, Electric Honey. "^^<http://www.w3.org/2001/XMLSchema#string>
<http://www.esquire.com/entertainment/music/a940/esq0699-jun-mahb-7/>