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Sleater-Kinney is wonderful. All of their records are great for different reasons, so I'll tell you what is what, and you can get the record which suits you best.
Sleater-Kinney - This is their first record, it's more like a demo. This is the only one that I would tell you to avoid, though it is a worthwhile little record. This one is the punkiest and most riot grrrl record in their catalog. Sleater-Kinney is always a very emotional band, and this record seems very painful and angry. The highlights from this record are "The Day I Went Away" and "Her Again", plus "Slow Song" which is something of a precursor to the sound of The Hot Rock LP.
Call The Doctor - This one is a logical progression from the riot grrrl punk on Sleater-Kinney, but they've improved their songwriting a great deal, the songs on this record are a lot more melodic. This record is definitely their most political album, but makes time for the bittersweet breakup song "Good Things", which remains one of the most popular S-K tunes. Other highlights from this record are "Anonymous", "I Wanna Be Yr Joey Ramone", "Call The Doctor", "I'm Not Waiting", and "Hubcap". This record *might* be off-putting at first, it's very raw and angry, but it's a must-have for sure.
Dig Me Out - this is the most popular Sleater-Kinney album. All of the biggest hits are on here - "Dig Me Out", "One More Hour", "Little Babies", "Turn It On", "Words and Guitar". This record is more polished than the previous two, and the melodies and hooks are plentiful. I think that this record is the most accessable S-K album, the one I'd recommend to go for first. It's passionate, it rocks, it's fun. It's varied too - "One More Hour" might be a very sad breakup song, but "Words and Guitar" can barely contain itself in expressing the joys of rocking out. "Little Babies" is probably one of the most fun songs ever written about domestic labor.
The Hot Rock - this is my favorite Sleater-Kinney record, one of my favorite records that I know. This record is mostly about failing or failed relationships, there's only a few political songs on this one (see: "God is a Number" and "The End of You"). This record is musically very unique - the overlapping 'point/counterpoint' vocal and guitars which S-K had been trying out on Dig Me Out come to the fore here. Most of the songs are written as a conversation between two different singers, sometimes to the point where it seems like two songs have been transposed (see: "Burn, Don't Freeze"). This record has a very sad rainy-day feeling to it, it's a very sustained state of melancholy with only sporadic bits of joy (see: "Banned From The End of the World"). I have a very sentimental attachment to this one, and I know a lot of other people do too, though there are a number of punk purists who dislike this record as a follow-up to the three previous LPs. Other notable songs on this LP are "Hot Rock", "Start Together", "A Quarter To Three", and the brilliant single "Get Up".
All Hands on the Bad One - the most recent record, this record is in some way a reaction to the fans who thought that The Hot Rock was too sentimental and apolitical. This record is somewhere between the poppy politics of Dig Me Out and the more emotional Hot Rock - almost evenly divided between the two, actually. This record has some real gems on it - the opening anthem "Ballad of a Ladyman", the Go-Gos pop of "You're No Rock And Roll Fun", the summer break-up ballad "Leave You Behind", the sexy "Milkshake and Honey", the heartbreaking "The Swimmer" and the strident "#1 Must Have". This record is a bit lacking in flow and consistency, but is very enjoyable and worthwhile.
by the way - haven't heard Tweet's LP yet, sorry! |
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