There was more to Russ Meyer than big, bouncing tits. Admittedly, not a lot more, but some substance, nevertheless. BTVOTD retells the classic story of talented innocents corrupted, when all-girl all-American band The Carrie Nations move to California in search of sex, drugs, and rock'n'roll fortune.

They each endure their own heartbreaks and traumas on the journey to the top, along the way taking in plenty of campy parties, campier people, and stacks of stacked women running around with their tops off. The party scenes throb with 60s glamour, you can almost hear the constant rustle of Crimplene minidresses, and all the sunken baths, shagpile carpets, and appearances by groovy garage group The Strawberry Alarm Clock are bathed in the saturated Technicolor hues that Meyer loved.

The film attempts to tackle some serious issues - drug abuse, fame, loyalty - but there's always a pair of tits just around the corner to leaven things. The three lead actors are fresh-faced and spunky, although thoroughly outweirded by hugely strikingly sideburned John LaZar, who plays their eloquent, baroque'n'roll manager, Z Man. And while the ridiculously over-the-top bloodbath that slashes across the final reel is at odds with the bubblegum atmosphere of the rest of it, it does cement this as the weirdest movie Meyer ever made.

The Carrie Nations have been cited as influences by riot-girl groups, and the film is a blue-chip cult classic. The generous extras include LaZar's introduction to the film, (he's as creepy in real life as in the movie), plus screentests, trailers and makings-of. A real treat for fans and fans-to-be.