It starts with that riff. You know the one—gritty, a bit cheeky, and instantly recognizable. When Christina Amphlett growled the opening lines of Touch Myself, she wasn't just singing a pop song; she was kicking down the door of 1990s radio. It’s been decades since the track dominated the charts, but the legacy of The Divinyls' biggest hit remains an absolute powerhouse of female autonomy and rock-and-roll swagger.
Honestly, it’s kinda wild how many people think this song is just a simple radio earworm. It’s way deeper.
The Divinyls weren't some manufactured pop act. They were a hardened pub-rock band from Australia that had been grinding since the early '80s. By the time they released their self-titled album in 1991, they had already survived lineup changes, industry shifts, and the grueling Australian touring circuit. Touch Myself was the lightning strike they needed. It hit number one in Australia and broke the top five on the US Billboard Hot 100, which, back then, was basically the holy grail for any international artist.
The Alchemy of the Song
Writing a hit isn't usually a solo endeavor. For this track, Amphlett and her guitarist partner Mark McEntee teamed up with the legendary songwriting duo Billy Steinberg and Tom Kelly. You might not know those names, but you definitely know their work: "Like a Virgin," "True Colors," and "Eternal Flame."
The collaboration was pure magic. Steinberg and Kelly brought the pop polish, while Amphlett and McEntee kept the edge. There’s a specific tension in the song—it’s polished enough for the grocery store but dangerous enough for a dive bar at 2 AM.
Christina's performance is what really sells it. She had this incredible ability to sound vulnerable and predatory at the exact same time. She wasn't asking for permission. She was stating a fact. In an era where female sexuality in music was often framed through a male lens, Touch Myself felt like a radical act of self-reliance. It wasn't about waiting for a phone call. It was about taking control of her own desire.
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Why It Still Matters Today
Music changes fast. Trends die. But some songs have legs.
If you look at the current landscape of pop music, you can see the DNA of The Divinyls everywhere. Artists like Miley Cyrus or Halsey owe a massive debt to Christina Amphlett’s unapologetic persona. She paved the way for the "messy," authentic female lead who didn't care about being "likable."
The song also took on a much more serious meaning later in Amphlett's life. After she was diagnosed with breast cancer and multiple sclerosis, she expressed a wish that the song be used as a reminder for women to perform self-examinations. It transformed from a song of sexual liberation into a literal anthem for health and survival. That’s a heavy legacy for a pop song to carry, but it handles it with grace.
The Beaches and the Modern Revival
Recently, there’s been a surge in interest thanks to newer bands paying homage. When you see a band like The Beaches—the Juno-winning rock outfit from Toronto—bringing that same high-energy, guitar-driven spirit to the stage, it’s impossible not to draw a line back to The Divinyls.
The Beaches have built a massive following by being loud, funny, and fiercely independent. Their track "Blame Brett" has that same infectious, "I'm doing what I want" energy that made Touch Myself a staple. There’s something special about how they bridge the gap between classic rock sensibilities and Gen Z's raw honesty. It's not just about the sound; it's about the attitude.
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The connection isn't just stylistic. Both bands represent a specific type of rock that refuses to play nice. They prioritize the hook and the heart over perfection.
Breaking Down the Production
Let's get technical for a second. The song's structure is a masterclass in tension and release.
- The opening guitar hook establishes the key.
- The verses are sparse, letting the vocals breathe.
- The bridge builds with those layered harmonies.
- The chorus explodes.
It sounds simple, right? It isn't. Balancing that level of distortion with a pop-ready melody is a tightrope walk. If the guitars were any cleaner, it would be boring. If they were any fuzzier, radio programmers in 1991 would have buried it.
Misconceptions and Rumors
People love to overanalyze lyrics. Some thought the song was too scandalous for its time, leading to some minor censorship in specific markets. But compared to what’s on the radio now, it feels almost quaint—yet it still has more "bite" than most modern tracks. It’s also worth noting that the band was often pigeonholed as a "one-hit wonder" in the States, which is a tragedy. In Australia, they were icons with a deep catalog of hits like "Pleasure and Pain" and "Boys in Town."
If you only know them for one song, you’re missing out on some of the best post-punk influenced rock of the era.
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Practical Ways to Experience the Legacy
If you want to actually understand why this music matters, don't just stream it on your phone speakers.
- Watch the Live Performances: Find the 1991 live footage of The Divinyls. Watch Christina's stage presence. She used a schoolgirl uniform as a subversion of power, pacing the stage like a caged tiger. It’s masterclass in performance art.
- Listen to The Beaches’ "Blame My Ex" Album: If you want the modern spiritual successor to that Divinyls energy, this is it. It’s raw, guitar-heavy, and lyrically sharp.
- Check Out the Breast Cancer Connection: Look up the "I Touch Myself Project." It’s a powerful testament to how art can evolve to save lives.
The Bottom Line on The Divinyls
Music moves in circles. We’re currently seeing a massive resurgence in "real" instruments and "real" voices. People are tired of everything sounding like a computer generated it. They want the grit. They want the sweat.
Touch Myself is the gold standard for that feeling. It’s a song that reminds us that being provocative is only half the battle—you have to have the talent to back it up. Christina Amphlett had both in spades.
To truly appreciate the impact of this track, start by listening to the original 1990 single, then immediately jump to a live recording from the same year to see how the band translated that energy. Follow that up with the I Touch Myself Project’s 2014 tribute featuring artists like Olivia Newton-John and Sarah Blasko to see the song's emotional evolution. Finally, spin the latest record from The Beaches to hear how that defiant, guitar-driven spirit is being kept alive by a new generation of musicians who refuse to be quiet.