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Hot Rock Import

Price: CDN$ 15.04 & FREE Shipping on orders over CDN$ 25. Details
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Product Details

  • Audio CD (May 1 2009)
  • Number of Discs: 1
  • Format: Import
  • Label: Outside Music
  • ASIN: B00000HF6J
  • Other Editions: Audio CD  |  LP Record
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (79 customer reviews)

1. Start Together
2. Hot Rock
3. The End Of You
4. Burn, Don't Freeze!
5. God Is A Number
6. Banned From The End Of The World
7. Don't Talk Like
8. Get Up
9. One Song For You
10. The Size Of Our Love
11. Living In Exile
12. Memorize Your Lines
13. A Quarter To Three

Product Description


As on their previous records, the Pacific Northwest trio brings a trembling, breathtaking fury to songs about love's life-and-death struggles and the search for genuine emotion in a jungle of media-made facsimiles. -- Entertainment Weekly

It's a general rule in the music industry that the faster you rise to stardom, the faster you slide into oblivion. In the terrifyingly fickle world of rock criticism, the high acclaim that met Sleater-Kinney's first two albums would indicate that only simple neglect was due to them upon the release of The Hot Rock. But the women of Sleater-Kinney continue to defy the norms of rock & roll with an album of such distinctive graces that it approaches the status of classic. In each of the album's 13 tracks, the band's development from fierce grrrls to musical icons rings out loud and clear. The guitar work of Carrie Brownstein has never been more provocative and exact, summoning up the wiry deftness of Television's Tom Verlaine. Her "Burn, Don't Freeze" has a dry, discordant guitar line that weaves itself between the dueling vocals of both singers. The signature scorch of Corin Tucker's singing now modulates between the soft calls of the slow dance "A Quarter to Three" and the nuclear blast of the antitechnology "God Is a Number." The larger-than-life "The End of You" showcases the finest work from Brownstein, Tucker, and drummer Janet Weiss. As befitting its nautical themes, the song is oceanic and mercurial, gliding through its movements with all the drama of the mutiny it describes. The Hot Rock is exactly like the diamond of the title--hard, beautiful, and full of mysterious allure. --Lois Maffeo

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Customer Reviews

4.3 out of 5 stars

Most helpful customer reviews

By W. Parrish on May 14 2003
Format: Audio CD
By the release of "The Hot Rock" in '99, it was clear that Sleater-Kinney had arrived at an unprescedentedly intricate sonic asthetic; contrapuntal and angular, yet ferociously contained, thier attack lies in the constant tension between the band's two stellar leads--listening to Carrie Brownstein and Corin Tucker sing thier often conflicting lines simultaneously is to be privy to a fascinating, constantly evolving relationship, one where the urge to support and celebrate one another is continually challenged by a dynamic in which each little bit of emotional real estate that's offered as a gesture of compromise is burdened with world-historic import. Of coarse, all this staggeringly cerebral conceptual metaphor slinging would be dull as door knobs if it weren't for the band's talent as musicians and songwriters; that S-K can cram enough of this stuff to fullfill several senior thesis requirements into music so gloriously engaging, kinetic, and just plain rockin' is a testament to just how important this band is. Few have operated so proficiently on simultaneous levels of chops, content and execution. As a guitarist, Carrie Brownstein has more chops than Paul Bunyon, creating the most arresting, original guitar sound since Peter Buck or The Edge (or Pete Townshend, or Tom Verlain--pick one, the point is, the woman's GOOD) Rarely playing anything that resembles a traditional riff, her arsenal of quicksilver leads and choppy, percussive arpeggios give S-K's music and incredibly elastic, unpredictable quality the makes their records among the most listenable in rock. Corin Tucker, on the other hand, is mostly voice, but what a voice it is--a riveting, ennervating force of nature that gives visceral physicality and unforgettable conviction to her lyrics. She may have the best set of pipes in rock.Read more ›
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Format: Audio CD
I have to admit, I understand why some people thought Sleater-Kinney sold out during the Hot Rock period - suddenly, they were more preened, less political, less angry. Still, that's a superficial judgment in many ways, and while I can't pretend that The Hot Rock will ever mean as much to me as Call the Doctor, Sleater-Kinney still have much to offer the listener - they're just selling different wares. This is a more opaque, idiosyncratic record, more inward-looking, less immediate. It's also more self-consciously arty and experimental than the previous records, which were mainly in the spirit of that old "3-chords and the Truth" punk rock ideal. The results of this metamorphosis are mixed - "Get Up" has to be one of the strangest and the most transcendent songs the band has written, with lyrics that teeter precariously toward pretension and earth-mother embarrassment, but somehow, just somehow, come across as pure beauty within the context of the music. Songs like "The Hot Rock" and "Memorize Your Lines" have a jangly, unusual charm that grows on you with each listen. "Start Together", "The End of You" and "One Song For You" are all irresistible rock songs. "The Size of Our Love" scores high in the lyrical originality stakes, although I oscillate between loving Carrie's girly coo and finding it slightly irritating.
But, but, but...why can't I embrace this as much as earlier albums? I suppose it's because I never really wanted Sleater-Kinney to make an indie art record - I didn't care about their poetic ramblings, or their sonic experiments. From them, I just wanted rawness and euphoria. But, hey, even if indie quirkiness is a dime a dozen, Sleater-Kinney's brand has its virtues, even if, for me, there's nothing on this album to rival the excoriating power of a song like "Little Mouth" or the bliss of "Turn It On."
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By Paul McGrath on Feb. 14 2002
Format: Audio CD
When rock and roll is at its best, it becomes something more than just music. It goes beyond listening, and becomes, for lack of a better word, an experience. That is what Sleater-Kinney has managed to do with this album, this sonic assault. Like the greatest rock and roll should be there is no let-up, no respite for the dazed listener. A sonic assault on the senses.
It begins with the guitars. In each song they perform duets with one another, using rhythm and melody--no boring power-chords--and with tremendous energy and passion. As each song moves from beginning to chorus to bridge and then back, the pattern constantly changes, sometimes only slightly, and to an increasing, mounting intensity. It does not let up. Just when you think they've reached a crescendo, KAPOW, the pattern changes again, the intensity increases, and you're reeling.
Interestingly, they do not use a bass guitar, but its lack in no way detracts from the experience. In fact, you have to listen very carefully to realize that it's not there. The reason for this is that Corin Tucker plays bass patterns using the bass strings of her six string guitar. This is done to great effect because for one it sounds just as good as a bass guitar when she wants it to; two, it allows her to strum on occasion; and, three, it also allows her to immediately switch to a regular electric guitar riff to counter that of the raging Carrie Brownstein.
It is really a remarkable experience to listen to this guitar work, and listening to this band would be a treat for that alone. But when you talk about Sleater-Kinney, you have to talk about the drumming of Janet Weiss, who is superb, and in my book, the best drummer in the business.
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