The turn-of-the-‘90s rock underground underwent an intense and desperately overdue conversation about the paucity of women on that scene, and the not-so-hot treatment of those who were there. Despite the inarguably crucial contributions of Siouxsie, Joan Jett, Patti Smith, Exene Cervenka, the Slits, Lydia Lunch, Kim Gordon, and on and on and on, that scene was still largely the tribal domain of amped-up dudebros and snobby, kissless record collector boys, so women in bands got catcalled, and women who dared to brave the mosh pits were typically “rewarded” by being groped or worse. Of course, the obvious rejoinder to the complaint that there weren’t enough women on the scene was “so start a band.” And holy shit, did young women ever do so in droves. The early ‘90s saw an explosion in female-led, female-dominated, and entirely female bands, most notably in the Riot Grrrl movement, which grafted then-nascent third wave feminism and queer theory onto punk’s who-needs-virtuosity ethos, resulting in some of the era’s most politically charged and musically potent rock. That outburst had a bland mainstream counterpart in the whole Lilith Fair trip, but Joan Osborne and her fake-ass nose ring never delivered anything like the visceral and cerebral thrills of Bikini Kill, Bratmobile, and the Riot Grrrl band that found the widest audience,.

Sleater-Kinney was formed in Olympia, WA by Corin Tucker of the ur-Riot Grrrl band Heavens to Betsey, and Excuse 17 guitarist Carrie Brownstein, now surely much better known for IFC’s hipster-poking sketch comedy series. Their first three albums made them critical darlings, but 1997’s is an undisputed classic, and was their first with drummer Janet Weiss, of the excellent and still active band Quasi.

Four more albums followed, all of high quality—for what it’s worth, I’m most partial to —and in 2001, no less a monster of crit than Greil Marcus called S-K “America’s best rock band” in Time Magazine. Sleater-Kinney went on “indefinite hiatus” in 2006. Two and a half years ago, Brownstein told that Sleater-Kinney would play together again, but that again was two and a half years ago.

In the meantime, the band’s members have played in Wild Flag and the Corin Tucker Band. To celebrate the 20th anniversary of Sleater-Kinney’s formation, Sub-Pop is releasing a posh, limited box set called, containing all seven Sleater-Kinney LPs on colored vinyl (they’ll also be available separately on CD and plain old unspectacular non-showoffy puritanical black vinyl). Unfortunately there’s no rarities disc, but the set will come with a hardcover book containing scads of never before seen photos culled from the band members’ personal archives. Dangerous Minds was given a few of them to share with you. Here’s something not enough people have seen—it’s Sleater-Kinney’s segment in Justin Mitchell’s 2001 documentary on D.I.Y.

SLEATER- KINNEY - HOT ROCK - free download mp. Sleater- Kinney Hot Rock lyrics. I'm onto you before the night is through I'm going to steal this diamond hot rock to. But when it comes to Sleater-Kinney, it means rad new rock projects rather. What do get when you cross a hamburger with a hot. B-Sides: Sleater-Kinney.

High Gear Watch Manual. The footage was shot in the Dig Me Out era, and includes live performances of the songs “Words & Guitar” and “Stay Where You Are,” plus some terrific interview footage.

• 'Get Up' Released: January 22, 1999 • 'A Quarter to Three' Released: April 6, 1999 The Hot Rock is the fourth studio album by the American band, released on February 23, 1999,. It was produced by Roger Moutenot and recorded at Avast studio in, in July 1998. The Hot Rock marks a considerable change in the band's sound, veering into a more relaxed and gloomy direction than the raucous style of its predecessors. The lyrical themes of the album explore issues of failed relationships and personal uncertainty. Upon release, The Hot Rock reached number 181 on the U.S.

Chart and number 12 on the chart, becoming the first Sleater-Kinney album to enter the charts. Two songs from the album, 'Get Up' and 'A Quarter to Three', were released as singles.

The album received positive reviews from, who praised the songwriting and the vocal and guitar interplay between band members and. Contents • • • • • • • • Background and recording [ ] The Hot Rock is the follow-up to 's highly acclaimed third album, released in 1997 by the independent record label. After the success of Dig Me Out and its predecessor, several major record labels grew interested in the band and offered them, but the band ultimately decided to remain on Kill Rock Stars.

As singer and guitarist recalls, 'We want to project the image that we're successful'. Co-vocalist and guitarist added, 'And we're proud that we've been able to do that from a tiny label [.] We've been able to do it non-traditionally, and hopefully that's inspiring and encouraging to people'. For its fourth album, Sleater-Kinney wanted to work with producer Roger Moutenot due to his textural work on 's critically acclaimed 1997 album. This marked a change from regular producer, who had recorded every previous Sleater-Kinney album. As Tucker explained, 'These songs warranted a different production, so we looked to other people'.

The band wanted to expand their sound and challenge themselves in new ways, stating that it was important for them not to make the same record twice. According to Tucker, 'We have to keep pushing in order to stay interested in making music together, we want to have longevity as a band'. Similarly, drummer stated that they 'wanted the record to sound different than Dig Me Out, to make each song have a real strong personality'.

The album was written over the course of a year, which was the longest period the band had spent on making an album. It was recorded at in in July 1998. Music and lyrics [ ] The Hot Rock marks a considerable change in the band's sound, veering into a more relaxed and gloomy direction than the raucous style of its predecessors. As noted, Sleater-Kinney 'delved into more oblique sounds [.] Brownstein's abandoned power chords to slither in abstract patterns, backed by Weiss' increasingly subtle and complex drumming [and] Tucker expanded her vocal range steering from bellow to fragile ululations'. Likewise, writer Sara Sherr considered The Hot Rock to be Sleater-Kinney's darkest album.

Brownstein remarked that the album's sound and lyrics were heavily influenced by the music of. Unlike previous Sleater-Kinney albums, most of the lyrical themes on The Hot Rock are more intimate, exploring failed relationships and personal uncertainty. As Weiss recalled, the songs are 'really honest, even if they're sometimes unpleasant. The lyrics evoke so many emotions.

Our analogies are visual and the metaphors are direct. Corin and Carrie are singing about things they care about'. The album features a notable amount of vocal and guitar interplay between Tucker and Brownstein, who interweave their voices and play off each other to create very atmospheric songs such as 'The End of You' and 'Burn Don't Freeze'. Music critic said that 'even reading the booklet it's hard to keep track of who's saying what to whom about what, as if they'd fallen in love with (or to) the ' 'Murder Mystery'. The title track 'Hot Rock', named after the 1972 film, notes the similarities between relationships and jewelry heists. The song 'Banned from the End of the World' deals with the crisis and an uncertain future, while 'God Is a Number' alludes to the impact of technology in society.

The single 'Get Up' features lead guitar lines by Brownstein and riffs by Tucker. For Tucker, the song reflects the album's thematic structure: 'It's more metaphorical and spiritual [.] It's not about one concrete thing; it's about searching for meaning and maybe finding it an unexpected place'.

The tracks 'The Size of Our Love' and 'Memorize Your Lines' feature lines by Seth Warren of. The Village Voice described the former song, a ballad about two lovers in trouble, as 'the saddest of the sad'. The last song, 'A Quarter to Three', features work by the album's producer. Release [ ] The Hot Rock was released on February 23, 1999, by Kill Rock Stars. The album cover is a photo shot on Southwest in,.

The Hot Rock reached number 181 on the U.S. Chart and number 12 on the chart, becoming the first Sleater-Kinney album to enter the charts. After its release, the band supported the album with a tour across the United States, sharing stages with various bands including,,, and. As of July 1999, the album has sold 42,000 copies in the U.S. According to. As of February 2015, The Hot Rock has sold 97,000 copies. Two songs from the album, 'Get Up' and 'A Quarter to Three', were released as singles on January 22, 1999, and April 6, 1999, by Kill Rock Stars and respectively.

The first single features an, 'By The Time You're Twenty Five', as the B-side, while the second single features 'Burn, Don't Freeze' from The Hot Rock. The CD version of 'Get Up' includes a third song, 'Tapping', which is another outtake from the album's studio sessions. A was made for 'Get Up' under the direction of writer and performance artist.

According to July, the video alludes to the band's friends. For example, the field where most of the music video was filmed stands near the house of Kill Rock Stars labelmate and bassist. Critical reception [ ] Professional ratings Review scores Source Rating A 8/10 8.8/10 A The Hot Rock received positive reviews from. Reviewer Steve Huey said that The Hot Rock 'isn't quite as immediately satisfying as its two brilliant predecessors, but it does reward those willing to spend time absorbing its nervy introspection and moodiness'. Huey also praised the band's use of dynamic tempo changes within the album's songs.

Wendy Mitchell, writing for, felt that the band 'has matured into the musical equivalent of a twentysomething; still holding on to the energy of its youth, but exploring new options'. Writer Stephen Thompson opined that The Hot Rock 'lacks the blaze-of-glory freshness of its justly acclaimed predecessors, [.] but [the album] works just fine on its own as a terrific, explosive, and fun rock record'., writing for Rolling Stone, opined that 'the expansive new sound gives Sleater-Kinney room to experiment with their -style storytelling.' Sheffield also felt that the band had grown as songwriters, citing the song 'The Size of Our Love' as the highlight of the album: 'No other band could have made this song hit home -- not even Sleater-Kinney, until now. They've earned the right to keep reinventing themselves'. In his review for The Village Voice, Robert Christgau praised the vocal interplay between Tucker and Brownstein, stating that the band 'emerges as a diary of adulthood in all its encroaching intricacy'. Sara Sherr of The Village Voice gave high marks to Tucker's, describing it as 'a human teardrop [.] The one that hits you and feels like a kiss'.

In a very positive review, Will Hermes of highlighted the depth of the group's interplay, commenting that 'Tucker explores what her voice can do when it's not in overdrive, stretching vowels like a religious supplicant or spewing prosody like. At the same time, Brownstein blossoms as a singer herself [.] braiding lines with Tucker so artfully the result sounds like the voicings of a single restless mind'. He considered The Hot Rock as Sleater-Kinney's 'most finely turned record' and that its music 'never falters'.

Peter Tarizan of magazine credited the work of the producer for polishing the band's sound without losing its intensity or muscle. The album appeared at number 23 in The Village Voice 's critics' poll for 1999. Similarly, placed The Hot Rock at number 18 in its list of 'The Top 20 Albums of 1999'.

In 2002, Rolling Stone ranked the album at number 17 on its list of 'Women in Rock: The 50 Essential Albums'. Track listing [ ] All music composed.

Title Length 1. 'Start Together' 2:38 2.

'Hot Rock' 3:17 3. 'The End of You' 3:20 4.

'Burn, Don't Freeze' 3:19 5. 'God Is a Number' 3:44 6. 'Banned from the End of the World' 2:09 7. 'Don't Talk Like' 3:04 8. 'Get Up' 3:46 9.

'One Song for You' 2:49 10. 'The Size of Our Love' 3:12 11. 'Living in Exile' 2:31 12. 'Memorize Your Lines' 3:10 13. 'A Quarter to Three' 4:03 Total length: 41:40 Personnel [ ] Credits are adapted from The Hot Rock 's. • ^ Martin, Richard (January 1999)...: 32–33. Retrieved 2013-09-18.

• Sciarretto, Amy (1999-04-19) Fs9 Aerosoft Luxembourg Airports Ellx Ils. .... 58 (614): 69. Retrieved 2013-11-08. • Goldman, Marlene (1999-02-19).... Archived from on 2009-05-02. Retrieved 2007-10-01.

• ^ The Hot Rock (CD booklet).. Olympia, Washington:. • ^ (1999-02-09).... Archived from on 2007-10-23.

Retrieved 2007-10-23. • ^ Chonin, Neva (2004).. In Brackett, Nathan; Hoard, Christian.. Retrieved 2011-01-10. • ^ Sherr, Sara (1999-02-23).... From the original on 2014-03-02.

Retrieved 2013-06-21. • (2008-11-07).... From the original on 2010-10-24. Retrieved 2013-06-21. • ^ Huey, Steve...

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Retrieved 2013-11-08. • Boehm, Mike (1999-07-01).... From the original on 2014-03-02. Retrieved 2013-09-17. From the original on 2015-07-27.

Retrieved 2015-08-24. • ^ Draper, Jimmy... All Media Network. From the original on 2013-01-29. Retrieved 2013-10-09.

All Media Network. From the original on 2014-06-29. Retrieved 2013-10-09. • ^ Nelson, Chris (1999-02-17).... From the original on 2013-06-21. Retrieved 2013-06-21. • Williams, Kevin M.

Retrieved 2016-10-26. (Subscription required ( help)). • ^ (1999-02-19)... From the original on 2012-10-20. Retrieved 2013-06-21.

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January 2000. Retrieved 2013-11-08. From the original on 2014-03-02. Retrieved 2013-11-11. External links [ ] • at (list of releases).