All Hands On The Bad One (CD) ~ Sleater-Kinney (Artist) Cover Art

All Hands On The Bad One (CD)

By: Sleater-Kinney (Artist)

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Sleater-Kinney Artist Snapshot:

In the mid-'90s, Olympia, WA's Sleater-Kinney emerged out of the somewhat ghetto-ized Riot Grrl movement to become rather more mainstream figures in the alt-rock world (even counting Robert Redford as a fan). While the trio began existence as a furiously-paced three-chord punk band, as showcased to perfection on 1997's landmark DIG ME OUT, the band would progress into something far more complex. Taking cues from more arty bands such as The Fall and Gang of Four, the group's later output tended towards more intricate, wandering, almost baroque compositions, earning praise from a new set of critics. The threesome went out on a high note, splitting up following the masterpiece THE WOODS in 2005.

Product Description

Track Listing

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DISC 1 for All Hands On The Bad One (CD) Album By Sleater-Kinney (Artist)
1   Ballad Of A Ladyman, The
2   Ironclad
3   All Hands On The Bad One
4   Youth Decay
5   You're No Rock N' Roll Fun
6   #1 Must Have
7   Professional, The
8   Was It A Lie?
9   Male Model
10   Leave You Behind
11   Milkshake And Honey
12   Pompeii
13   Swimmer, The
 

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Review

Rolling Stone (6/8/00, p.120) - 3 stars out of 5 - "...Fueled by Janet Weiss' tricky drum work and Corin Tucker's unholy warble, guitar riffs akimbo....[they] think louder and rock smarter tahn anyone in their class..."
Spin (6/00, p.149) - 8 out of 10 - "...Sleater rock....the sheer-stockinged grooviness of the sound, and those outlandish vocal sneers, obliterate any impulse to be grim...Records like these have become the most satisfying way out there to lose your head without having to grit your teeth..."
Q (6/00, p.115) - 4 stars out of 5 - "...[With] a sound which is akin to The B-52s meeting Sonic Youth...[they] have finally gone overground, with a potent mix of harmonies, staccato guitar and muscular drumming....an assured effort."
Magnet (6-7/00, p.93) - "...It's S-K's most articulate, accomplished record, where inventive, giddy garage tunes...crash into the punk rock, and softer songs seamlessly merge into the turbulent traffic of [their] evolving signature sound..."
CMJ (5/1/00, p.3) - "...A collection of extrogen rock that picks up exactly where 1999's THE HOT ROCK left off, weaving nervous, urgent energy with infectious melodies. It's a total package of brains, beauty and brawn."
Melody Maker (5/16/00, p.47) - 4.5 stars out of 5 - "...[They] are still as impassioned and ennobling as ever....The guitars are still frantic, the words as challenging and oblique as ever....[They] are still one of the few bands that can invest rock'n'roll with any meaning..."
Mojo (Publisher) (6/00, p.96) - "...With simple beats and a lyrical bent that takes in everything from ladymen to male models, ALL HANDS is mostly playful...with a touch of pathos...but not a bad [song] in sight."
NME (Magazine) (5/13/00, p.33) - 8 out of 10 - "...It's a punk rock band having the time of their lives. It's victory through joy and cranked-up amps...[It's] rock'n'roll fun; its urgent rhythms and stealthy tunes laying glittery tripwire around the enemy camp..."

Title Note

Sleater-Kinney: Corin Tucker, Carrie Brownstein (vocals, guitar); Janet Weiss (drums).

Recorded at Jackpot Studios, Portland, Oregon.

Sleater-Kinney embodies the perfect Pacific Northwest post-grunge punk-pop band. Combining the raw power of the Stooges with a dash of the arty dissonance of Sonic Youth and the riot-grrrl personality of the Olympia scene, the female trio's consistently intriguing albums have earned it accolades as the cream of indie-punk.

With the band's fifth release, ALL HANDS ON THE BAD ONE, Corrin, Carrie and Janet continue to build on the bare-bones hurricane of sound they established on the previous four. Despite enough attention to easily warrant other options, Sleater-Kinney here remains on stalwart independent Kill Rock Stars for a third album. From the banshee punk cry of "Male Model," to the dizzy noodling of "Milkshake N' Honey," and the off-kilter pop sensibilities of "Pompeii," the band keeps its rough-edged sound intact. No major changes here; just rock & roll.

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