Talk:All Hands on the Bad One/GA1

GA Review
The edit link for this section can be used to add comments to the review.''

Reviewer: J Milburn (talk · contribs) 19:14, 3 July 2013 (UTC)

Never even heard of the band, but the article looks solid enough, so I'm happy to give it a look-through. J Milburn (talk) 19:14, 3 July 2013 (UTC)
 * Thank you very much for your excellent review, much appreciated. I will be fixing the issues as time goes on. --Niwi3 (talk) 21:44, 3 July 2013 (UTC)


 * "from December, 1999 to January, 2000" Do you really need those commas?
 * Fixed


 * "Similar to other Sleater-Kinney albums, All hands on the Bad One features personal, political, and social themes." The lyrics, rather than the album, I assume?
 * Fixed


 * "The song was inspired when the band was invited at the Bowlie Weekender" To the, presumably?
 * Fixed


 * As the fact that the members are all women is clearly significant to the article, perhaps this could be made clear in the lead?
 * I'm not so sure about that. Directly mentioning the fact that they are all women in the lead might not be very "neutral" for some, especially in a Sleater-Kinney article. Let's just keep things simple. --Niwi3 (talk) 21:44, 3 July 2013 (UTC)


 * "PopMatters stated" Avoid this kind of personification- say who the journalist was.
 * Fixed


 * "strong drum work" If you mean "heavy", perhaps use that word- if you mean to say "strong" as in "good", then you shouldn't be using Wikipedia's voice
 * Fixed


 * "of the record." Of the album, presumably?
 * Fixed


 * "making it their third release on that label." Could this be rephrased?
 * In progress... Done. What do you think? Thanks. --Niwi3 (talk) 22:34, 3 July 2013 (UTC)


 * If it's released by the band/label on YouTube, an external link to the music video would be useful.
 * Currently, the music video is not officially released on YouTube as far as I know. --Niwi3 (talk) 21:44, 3 July 2013 (UTC)


 * "as their most melodic, playful, sarcastic," The band's, not Pitchfork's
 * Fixed


 * "Some critics also praised the album's consistency.[7]" One reviewer is not "some".
 * Added a second ref to support the statement. --Niwi3 (talk) 21:44, 3 July 2013 (UTC)


 * "than ever before," while" Is that comma in the original?
 * Nop, there's a period though. In any case, I removed the comma so that it flows better. --Niwi3 (talk) 21:44, 3 July 2013 (UTC)

Had a listen to a few of the tracks. Vocals remind me of Amanda Palmer in places, which can only be a good thing. Thought I may really like it when I saw the comparison to Siouxsie- Siouxsie and the Banshees is easily one of my favourite bands. Anyway- there are a lot of hits on Nexis, so I'm going to have a scroll through them and post anything important I think you've missed. J Milburn (talk) 19:46, 3 July 2013 (UTC)
 * Wow, thanks for the sources! I will add the info once you finish looking at the pages. Again, thank you for your time, comments, and interest --Niwi3 (talk) 21:44, 3 July 2013 (UTC)


 * Seems there was a tour to support the album- mentioned in The Toronto Star / June 16, 2005 Thursday / Slow stray into the woods / Vit Wagner / Pg. G03.
 * That tour went to England - Time Out / August 06, 2003 / Sleater Kinney Mean Fiddler Wed 13; / Pg. 106 / Chris Parkin
 * "most fans and nearly all critics loved the thing." Nice quote, use it if you like. - Austin American-Statesman (Texas) / September 12, 2002, Thursday / SUBMERGE YOURSELF IN SUBCULTURE / Joe Gross / Pg. 21
 * "2000's accessible, so-buoyant-it's-almost-pop, "All Hands on the Bad One."" Interesting view. - University Wire / August 30, 2002, Friday / 'One Beat' offers sophisticated riot rock / BYLINE: By Caralyn Green, Daily Collegian (Not sure how reliable that is...)
 * "the best place to start" with the band - Florida Times-Union (Jacksonville, FL) / August 23, 2002 Friday, City Edition / Hold off on hip-hop trip to Metro Park / BYLINE: Nick Marino, Times-Union music writer / SECTION: WEEKEND; Pg. WE-11; On Music
 * "Sleater-Kinney's last disc, All Hands on the Bad One, was, hands down, the best disc of 2000 and their latest, One Beat, is in the running to top this year's list." - Edmonton Journal (Alberta) / August 10, 2002 Saturday Final Edition / Punksters have a few axes to grind / The Edmonton Journal / BYLINE: Sandra Sperounes, Journal Music Writer / SECTION: Entertainment; Pg. D3

Got more pages to look through- I'll be back later. J Milburn (talk) 19:59, 3 July 2013 (UTC)

More-
 * "has sold 73,000 copies in the U.S., according to Nielsen SoundScan." - BPI Entertainment News Wire / August 6, 2002, Tuesday / Sleater-Kinney unleashes the 'Beat' / BYLINE: By TODD MARTENS, Billboard.com
 * "Here are this year's GLAAD nominees in major film, TV and music categories, determined by org supporters and the board of directors: ... OUTSTANDING MUSIC ALBUM / All Hands on the Bad One, Sleater-Kinney (Kill Rock Stars) / god and the fbi, Janis Ian (Windham Hill) / Invincible Summer, k.d. lang (Warner Bros.) / New Beginning, Stephen Gately (Polydor) / Regrooving the Dream, Patty Larkin (Vanguard Comics/WildStorm) - Daily Variety / April 27, 2001 / IN THE SPOTLIGHT / Pg. A2
 * "The punk trio's latest disc, All Hands On The Bad One, was my favourite disc of 2000, but few others seem to have heard it." - Edmonton Journal (Alberta) / February 9, 2001 Friday Final Edition / Tobin fires up Supermodified sound: Our Lady Peace rockin' at 7,000 feet / The Edmonton Journal / BYLINE: Sandra Sperounes / SECTION: What's On; Rock Notes; Pg. E4
 * A review you don't cite- The Southland Times (New Zealand) / February 9, 2001, Friday / They may be older but the passion remains / SECTION: FEATURES; ENTERTAINMENT; Pg. 9

Music All Hands On The Bad One Sleater-Kinney Reviewer: DANIEL BRADER FIREY rants against the inequality of the sexes and the commercialisation of culture delivered by way of a fierce, bassless two-guitar attack, Corin Tucker's wobbly, distinctive vocals and Janet Weiss' powerful drumming -- this is true girl power.

Sleater-Kinney's latest release shows no signs of the group losing passion and fire. It's stacked with powerful, punky tunes and meaningful lyrics, perhaps their best yet. Sleater-Kinney don't sing ditties about being in love -- they sing songs which express their passionate ideals: their disgust at women failing to be seen as equal to men (Male Model).

Not only has their song writing become more direct and arguably the better for it, the group has also created a more melodic sound and tunes are catchier and more accomplished with Tucker's vocals sounding more confident and tuneful than ever.

The intensity and fire behind the seminal release Dig Me Out isn't quite as strong here but the more mature style is preferable. A lot of bands mature and lose the grit and quality that made them appealing but with All Hands On The Bad One Sleater-Kinney has simply grown and developed and now can deliver the rants with more assurance than ever before. TOP 10 ALBUMS:
 * More on the GLAAD award- "STEPHEN Gately is being tipped for the Best Album award at this year's Gay and Lesbian Alliance Against Defamation (GLAAD) Awards. The Boyzone singer's A New Beginning will be battling it out with kd lang's Invincible Summer, Sleater Kinney's All Hands On The Bad One, Janis Ian's God And The FBI and Patty Larkin's Regrooving The Dream. ... The GLAADs are being staged over four nights from April 9 in New York, Washington DC, Los Angeles and San Francisco. The awards will be shown live on the web." - The News of the World / February 4, 2001 / GATELY TIP / BYLINE: Rav Singh
 * "4. All Hands on the Bad One, Sleater-Kinney. Olympia's riot-grrrl trio returns with a well-crafted set of driving, angry, political songs that demand to be screamed while cruising down the highway." - Spokesman Review (Spokane, WA) / December 31, 2000, Sunday, SPOKANE EDITION / You're the top; Fearless critics Dan Webster and Heather Lalley; pick their favorite movies and music of 2000 / BYLINE: Heather Lalley Staff writer / SECTION: IN LIFE, Pg. F3
 * Another top ten hit- St. Petersburg Times (Florida) / December 31, 2000, Sunday, 0 South Pinellas Edition / Here's one look at the year / BYLINE: GINA VIVINETTO / SECTION: FLORIDIAN; 2000: A YEAR IN CULTURE; POP MUSIC; Pg. 9F

THE VERY BEST:  Sleater-Kinney, All Hands On The Bad One (Kill Rock Stars) This album came out in the spring, and I'm still playing it.

All Hands does everything right. Sleater-Kinney, the critically acclaimed all-chick trio from Olympia, Wash., plays punk with brains and bravado, skewering the patriarchy, lamenting lost love, being ferocious and funny and sweet, all appropriately.

Singer/guitarist Corin Tucker goes from whisper to wail without making you feel like a chump for hanging on her every word. And the words are good. These ladies write incisively, poetically, wonderfully. Drummer Janet Weiss is sprightly: she pounds hard here, shimmies there, then clangs a cowbell for the heck of it.

Carrie Brownstein? Mark my words, this lady is going down in rock history. Brownstein has shown the world that a skinny little Jewish girl from the Pacific Northwest can play guitar like Jimmy Page, Chuck Berry and Television's Tom Verlaine all rolled into one. And, with better shoes.
 * "MARIN JORGENSEN, Special Issues Coordinator" called it ninth best album- "Best listening-station find". - BILLBOARD / December 30, 2000 / THE YEAR IN MUSIC 2000: THE CRITICS' CHOICE / BYLINE: COMPILED BY MICHAEL PAOLETTA.
 * Rated best of the year in Edmonton Journal (Alberta) / December 30, 2000 Saturday Final Edition / The Year in Music: Tomboy punk of Sleater-Kinney among the year's best; Billy Corgan decidedly not / SOURCE: The Edmonton Journal / BYLINE: Sandra Sperounes, Journal Music Writer / SECTION: Entertainment; Pg. C1 / FRONT
 * Lists as fifth best of the year. "Not Sleater-Kinney's best, which means it's merely very, very good. S-K's sharp angles and ferocity give way more often to pop melodies and ballads, and the lyrics are a bit too self-conscious. But this trio is well on its way to becoming not just the best female punk group ever, but one of the truly great rock bands." However, see blockquote below. - Contra Costa Times (California) / December 29, 2000 Friday FINAL EDITION / YEAR 2000 MUSIC NOTHING TO SING ABOUT / BYLINE: William Friar / SECTION: TIME OUT; Pg. TO32

What a lousy year for popular music.

The struggle to put together a list of the best CDs of 2000 brought that fact home. Not that I really needed a reminder.

In a better year, a few of the selections below would've had a tough time making my Top 20 list, let alone my Top 10.

It's not that there weren't plenty of pretty good albums this year -- there were. (See the grab-bag list of albums below the Top 10.)

It's just that there were very few terrific ones. And so many were lousy, I wouldn't know where to begin compiling a "worst of" list.

Three of the veterans who made this year's best-of list Sleater-Kinney, Modest Mouse, Richard Buckner did so with music that was less than their best. They're just such good musicians that even their second-string stuff outclassed most other records released this year.
 * Several lists of best albums; the one from Steve Wildsmith puts it fifth. "Ferocious, sparse and full of sass and vigor, it's the group's best since "Dig Me Out," which topped year-end lists in the mid-'90s." - The Myrtle Beach Sun-News / December 29, 2000 Friday / 2000...THE YEAR'S BEST MUSIC / BYLINE: From staff reports / SECTION: KICKS!; Pg. KI 15

I'm halfway down page 3/7- this one obviously attracted a lot of attention! Hopefully you'll be able to work some of this in, and I'll continue looking through in the next few days. J Milburn (talk) 21:53, 3 July 2013 (UTC)
 * Excellent! There is no hurry, so take your time. Thanks. --Niwi3 (talk) 22:39, 3 July 2013 (UTC)

But judging by their album sales, you know better." USA TODAY / December 27, 2000, Wednesday, FINAL EDITION / Some rocked, some rolled over / BYLINE: Edna Gundersen, Elysa Gardner, Steve Jones and Brian Mansfield / SECTION: LIFE; Pg. 6D
 * Listed as one of 10 favourites. "This album could make the list just for "You're No Rock 'n' Roll Fun," the tastiest three minutes of pop-punk in 2000. That song, midway through the trio's fifth album, is surrounded by Sleater-Kinney's most diverse collection yet, full of buoyant riff-rock offsetting the best-yet three-part harmonies of drummer Janet Weiss and guitarists Carrie Brownstein and Corin Tucker (no need for a bass with these three). If teen-age girls across America saw this fiercely independent group in concert just once, they would all drop the synchronized dance-tunes and pick up guitars." - Salt Lake Tribune (Utah) / December 29, 2000, Friday / Fresh, Familiar Voices Find a Place on Year's Best Albums / BYLINE: DAN NAILEN, THE SALT LAKE TRIBUNE / SECTION: Final; Pg. E15
 * Fifth best album of the year by Karla Peterson (of San Diego Union-Tribune). "Alive and well and still rioting, the three members of Sleater-Kinney hurtle through a collection of furiously fun tunes that make feminism seem possible and punk seem righteous again. Here's singer-guitarist Corin Tucker with the battle-cry for the new year: Culture is what we make it / Yes it is / Now is the time to invent." - Copley News Service / December 28, 2000, Thursday / THE BEST OF THEIR BEATS
 * Listed as fifth worst of the year by Elysa Gardner. "Most rock critics can't get enough of these sloppy post-punk posers.
 * 8th best of the year by Vit Wagner. The Toronto Star / December 26, 2000, Tuesday, Edition 1 / YEAR'S BEST EXPRESSIONS OF AMERICANA WERE BRITISH / SECTION: ENTERTAINMENT
 * Review from Minnesota Daily. Not the best source, but can send it across if you're interested.
 * 5/5 from Sandra Sperounes, The Edmonton Journal. "Review: With the advent of Britney, Christina, Jessica, Aaliyah and co., female rock groups seem to be in ever-short supply. The Breeders are long gone ... Luscious Jackson have packed it in ... and Courtney Love seems to be taking her time with the next Hole album. (Whew.) Not to worry. The trio behind Sleater-Kinney more than make up for the void with All Hands On The Bad One, a raucous disc filled with rebellion, glorious harmonies, and kick-ass musicianship. Standout tracks include the trio's ode to tomboys, The Ballad of a Ladyman, and Youth Decay, featuring Tucker's lovely shrill Johnny Rotten-style vocals and lyrics such as "I'm all about a forked tongue and a dirty house." If you know what's good for you, get your hands on the Bad One. Now." - Edmonton Journal (Alberta) / September 30, 2000 Saturday Final Edition / New releases / SOURCE: The Edmonton Journal; Philadelphia Inquirer; Detroit Free Press; Calgary Herald; Orange County Register / BYLINE: Sandra Sperounes, The Edmonton Journal; Dan DeLuca, Philadelphia Inquirer; Tim Pratt, Detroit Free Press; James Muretich, Calgary Herald; Ben Wener, Orange County Register / SECTION: Entertainment; Pg. B6
 * Their tour featured old and new songs. They also did the set-up and sold merchandise themselves. The Globe and Mail (Canada) / September 22, 2000 Friday / The price of smarts / BYLINE: ROBERT EVERETT-GREEN / SECTION: THE GLOBE REVIEW; POP; Pg. R5

That's the end of the third page... J Milburn (talk) 15:22, 4 July 2013 (UTC)

With a clout many hard-rock bands would envy, this three-piece go straight to the point with songs aimed at the exposed midriff of the male-dominated music hierarchy. There's no pulling back on this album, although the songs are more melodic, more worked at, less obviously aggressive than on past releases. But still there's plenty of up-front kick. Sweet harmonies on some tracks, sort of reminiscent of the B-52s, with an acid bite.--Nick Gormack" - The Press (Christchurch) / August 11, 2000, Friday / CD reviews / BYLINE: GORMACK Nick / SECTION: FEATURES; ENTERTAINMENT; Pg. 19; CD REVIEWS EG For a band widely regarded as the torch bearers of northwestern punk, the women of Sleater-Kinney wield their trophy like a flame thrower. The bands trademark flavor -- chunky, intertwining guitar lines, infectious vocals and bouncy beats -- reaches its apex of creativity on "All Hands on the Bad One," Sleater-Kinney's fifth album and the third for the Portland Kill Rock Stars label.   But while S-K's Riot Grrrl-nouveau sound hasn't changed much (read: they're not exactly adding loops and samples to the mix quite yet), it has simultaneously become more raucous and refined. Corin Tucker and Carrie Brownstein French braid their complex, off-kilter guitar melodies with smart, punning lyrics (both women sing), and Janet Weiss shows that finesse doesn't have to take a backseat to severely battering the drum kit. Whether dismantling the manhood of rock culture ("Male Model"), vilifying the voyeurism of mainstream media ("Was It a Lie?") or sending a vocal backhand to the commodified "girl power" nation ("#1 Must-Have"), Tucker and Brownstein hit the target with laser-guided precision. Even if the sweet, almost syrupy chorus of "Leave You Behind" sounds closer to the Supremes than the Sex Pistols, S-K shows how a roar can mix well with a sly grin, and how a rock revolution is meaningless if you can't dance to it. Thudding indie punk from Oregon threesome Sleater-Kinney, a noisy, guitar slamming girl band who play like the boys do. Their energetic, at times frenetic, rock is halfway between Hole and Pavement, with guitarists Corin Tucker and Carrie Brownstein matching the anvil hammering of drummer Janet Weiss with vocals which blast like a sonic belch across all 13 tracks. Unlike their market driven sisters Sleater-Kinney steer well clear of the corporate carousel, their songs reflecting the irony of being self-styled misfits as much as angsty pop stars. No electronic gimmickry and certainly not just another novelty act this is gutsy and gritty and these girls - the wimmin who won't lie down - are having a ball.
 * This article can be cited as The Washington Post / September 22, 2000, Friday, Final Edition / SPOTLIGHT; Sleater-Kinney's Rock 'n' Roll Fun / BYLINE: Mark Jenkins, Special to The Washington Post / SECTION: WEEKEND; Pg. N15
 * The White Stripes and Coco (or Co. Co. - any idea?) opened for them. - The Gazette (Montreal, Quebec) / Wiseman docs set to unspool / SECTION: Entertainment: Preview; C8 / T'Cha Dunlevy AND Chicago Daily Herald / September 8, 2000, Friday, Cook/DuPage/Fox Valley/Lake / Waco Brothers bring their Clash-meets-Cash tunes to Durty Nellies / BYLINE: Mark Guarino Music critic / SECTION: Time Out!; Concert Picks; Pg. 4
 * (As you can probably guess from the publications I've cited already, the tour went to Canada)
 * "In six years American female punk-trio Sleater-Kinney have carved out their own little space on the rock planet, but you know they're not content with that.
 * Review- Tulsa World (Oklahoma) / July 14, 2000 / Seattle sounds good / BYLINE: Lucas Oswalt
 * Another- The Evening Post (Wellington) / July 13, 2000, Thursday / Movies & Music / BYLINE:  HERRICK Stefan  RENDLE Steve  JACOBSON Julie / SECTION: FEATURES; ENTERTAINMENT; Pg. 17; R and R Your Guide to a Great Weekend
 * Anything of value here? One of the UK's most respected newspapers.
 * Seems that the tour took place from June 2000 to July 2000. Other than that, the article is mainly about the band's biography and how they got involved in the riot grrrl scene. It's a great source of information for the Sleater-Kinney article. --Niwi3 (talk) 11:01, 6 July 2013 (UTC)

End of the fourth page. J Milburn (talk) 16:47, 5 July 2013 (UTC)

Starting on the fifth page...
 * Review- " Corin Tucker's nervy vocals and the band's performances have sharpened at no cost to their exuberance, and when they mix it up with the irreverent humor of You're No Rock 'n' Roll Fan, you'd be hard pressed to ask for more. ... The verdict: In a word: dynamic". - Herald Sun (Melbourne, Australia) / June 22, 2000, Thursday / Sleater-Kinney; All Hands on the Bad One (FMG) / BYLINE: WILLIAM BOWE / SECTION: HIT; Pg. 62
 * This is another general article from a good source- mentions a review, and also mentions more about the tour.
 * This is the same article as the guardian's --Niwi3 (talk) 19:53, 6 July 2013 (UTC)

Sleater-Kinney, All Hands On the Bad One (Kill Rock Stars) *** Considering Sleater-Kinney was previously known for its punk-inspired guitar assault and raw emotional power, turning all subtle  and refined on last year's "The Hot Rock" was probably the boldest move the Olympia, Wash., grrrl  trio could've made. In light of "All Hands On the Bad One," however, that disc's ambitious strides seem more like tentative steps.
 * Review: - Tampa Tribune (Florida) / June 16, 2000, Friday, FINAL EDITION / Spin this; /SECTION: FRIDAY EXTRA!, Pg. 17

Fact is, Sleater-Kinney's heavily scrutinized evolution has really been that of Carrie Brownstein, and with "Bad One" the group's lead guitarist forges ahead more confidently than ever  before. One gets the sense she used to sing those vocal counter-melodies because she couldn't yet coax them from her Gibson SG. But Brownstein's come a long way, baby, and when she cuts from the complex melodic theme of "#1 Must Have" to the power chords of the song's chorus, you can practically  see her making her best Pete Townshend moves.

Vocal and instrumental interplay has always been a trademark of the S-K sound, and the give-and-take between Brownstein and lead vocalist-guitarist Corin Tucker remains. Tucker's throaty vibrato and Brownstein's breathy murmurs intertwine beautifully on "Leave You Behind" - by far the  prettiest song they've ever done - as well as on "The Ballad of a Ladyman," one of the disc's more  trenchant rockers, along with the title track and first single "You're No Rock n' Roll Fun." Tucker's pipes are still jaw-dropping, but when Brownstein momentarily grabs the reins in the middle of "Was  It a Lie?," you'll wish the song took off in the entirely different, more intense direction it  threatens to. BY: Rommie Johnson After attempting more subdued and introspective musical styles with mixed results on last year's "The Hot Rock," Olympia, Wash., punk trio Sleater-Kinney gets back to basics this time out with a strong collection of quick, higher-energy rockers. In fact, the riot grrrls are at their poppiest and most accessible level to date, as evidenced on Carrie Brownstein-fronted tracks like "You're No Rock 'N' Roll Fun" and "The Professional." That doesn't mean the band has lost all of its anger and spitfire. Co-front woman Corin Tucker showcases her trademark banshee wail on "Youth Decay" and the ranting "#1 Must Have." However, the band is at its best on Brownstein/Tucker singsong vocal collaborations, such as the title track and the riff-happy "Ironclad." While not the snarling accomplishments of 1996's "Call The Doctor" or 1997's "Dig Me Out," "All Hands On The Bad One" shows off an appealing, less-agitated side that marks a welcome return to form for one of the best female rock acts going.
 * More on the tour, UK specifically: "The band's tour dates are: Leeds The Rocket (July 23) Glasgow 13th Note (24) Edinburgh Liquid Rooms (25) Manchester The Roadhouse (26) London ULU (28) Nottingham The Boat Club (29) Brighton The Pavilion (30) ... Support comes from former Helium frontwoman Mary Timony" New Musical Express / June 13, 2000 / Sleater-Kinney announce UK tour; 'bad' Girls Slay The Uk
 * (More from student papers- can provide if interested)
 * Possibly something useful here
 * Review: BILLBOARD / June 3, 2000 / POP: LOOPER, SLEATER-KINNEY, SONIC YOUTH
 * Another: Palm Beach Post (Florida) / June 2, 2000, Friday, FINAL EDITION / PHISH POLISHES ACOUSTIC FACET IN 'FARMHOUSE' / SECTION: TGIF, Pg. 23

All Hands on the Bad One, Sleater-Kinney (Kill Rock Stars). Sleater-Kinney offers a reminder of how beautiful simplicity can be, getting maximum mileage from its guitar-drums-bass lineup. From the pumped-up rant of Youth Decay to the sumptuous harmonies of Leave You Behind, the Riot Grrl survivors balance the abrasive and the beautiful with punk-fueled precision. Five albums into their career, these three women sound more excited about making music than just about anyone with a record contract. They mean it, man.

Grade: B+ - Shane Harrison, Palm Beach Post-Cox News Service.
 * Anything useful?
 * Review: St. Petersburg Times (Florida) / May 26, 2000, Friday / EMMYLOU, REISSUED / BYLINE: GINA VIVINETTO; ALAN RITTNER / SECTION: WEEKEND; Audio Files; Pg. 18W

SLEATER-KINNEY, ALL HANDS ON THE BAD ONE (KILL ROCK STARS) - Sleater-Kinney's state-of-the-music album might beg the question, if saving rock 'n' roll is your mission in life, shouldn't you just be doing it rather than talking about it? Luckily, the songs here are so powerful and the tone so complex - funny, scathing, celebratory - that reservations get blown clean away.

Even the lyrics that directly address rock feel universal because they're about roles and constraints, and the band never sounds more exuberant than when it's tackling those constraints: "I'm so sick of tests/Go ahead and flunk my ass!" Corin Tucker exults in Male Model. And the band's (relative) success has been healthy for it; the predominant mood here is unrestrained joy at being able to make music that's this good.

Sleater-Kinney's confidence and sense of freedom translate into the most relentless instrumental work of the band's career, with no loss in its peerless songcraft. It's music that makes you want to drive to Best Buy and smash up the Limp Bizkit CDs. Grade: A+- ALAN RITTNER, Times staff writer Most of the way down the next page... J Milburn (talk) 16:54, 6 July 2013 (UTC)

Grade: B+
 * Another review: (originally from Cox News Service, I think) The Atlanta Journal and Constitution / May 25, 2000, Thursday, Home Edition / OTHER NEW RELEASES; Feed Your Machines: What's worth your time in VIDEO and MUSIC release --- and on the WEB / BYLINE: Staff / SOURCE: CONSTITUTION / SECTION: Features; Pg. 5G

Sleater-Kinney offers a reminder of how beautiful simplicity can be, getting maximum mileage from its guitar-drums-bass lineup. From the pumped-up rant of "Youth Decay" to the sumptuous harmonies of "Leave You Behind," the riot grrl survivors balance the abrasive and the beautiful with punk-fueled precision. Five albums into their career, these three women sound more excited about making music than just about anyone with a record contract. They mean it, man.

Sleater-Kinney plays Saturday at the Echo Lounge. --- Shane Harrison All Hands on the Bad One, Sleater-Kinney (Kill Rock Stars). Can't anyone think of something nasty to say about this female punk trio from Olympia, Wash.? Judging from the response to this, their fifth album, no. As with previous releases, the praise just keeps on ramping up: [I]ndie rock's darlings have grown up and developed into skilled songwriters weaving nervous, urgent energy with infectious melodies. It's a total package of brains, beauty and brawn (Amy Sciarretto, CMJ). The only thing close to a complaint is that they're too good, sort of straight-A-student punks, the endearing kind who've always read the right textbooks and never failed to strike the proper empower-chords. But even that complaint is followed by a retraction: [W]hile the words can look didactic on a lyric sheet, the singing never ossifies into 'messages,' moral posturing, or one-way metaphors (Howard Hampton, the Village Voice).
 * Another:
 * Review from Slate magazine
 * Check this one

Last of that page. J Milburn (talk) 17:35, 6 July 2013 (UTC)

Sleater-Kinney, the punk-influenced trio from Olympia, Wash., are the Annie Oakleys of rock. Anything the boys can do, they can do better. The latest from Corin Tucker (vocals/guitar), Carrie Brownstein (guitar/vocals) and Janet Weiss (drums) packs 13 infectious tunes into 37 furious minutes. I gotta rock," announces Tucker on the opening song, The Ballad Of A Ladyman. " And rock they do, confidently laying out track after track of the most intelligent and exhilarating guitar-based music heard in a long while. The high voltage of You're No Rock 'n' Roll Fun" and The Professional" gives way to the easier tempo of Milkshake n' Honey" and The Swimmer," demonstrating an ability to work both sides of the street with equal facility.
 * Review: The Toronto Star / May 20, 2000, Saturday, Edition 1 / ROCKERS TAKE IT SUPERSONIC / Vit Wagner

The grrrls of Sleater-Kinney have always been good. Now it's clear they mean to be great. Last year, when Sleater-Kinney released its fourth album, Hot Rock, it seemed the hard-slogging, no-bull-taking Pacific Northwest trio was in a rut, basically rewriting the harrowing, edge-of-rage chants that made 1996's Call the Doctor one of the essential rock documents of the decade. The new record, All Hands on the Bad One (Kill Rock Stars), represents a serious growth spurt: Songwriters Corin Tucker and Carrie Brownstein temper their all-frenzy-all-the-time with elegantly wriggling melodies (the account of a Parisian affair "Milkshake'n Honey") and unusual harmonic twists (the title track). There's still plenty of swaggering stomp going on - one stellar moment, "You're No Rock n' Roll Fun," uses a pounding beat and effortlessly overlapping vocal lines to ridicule girl-band groupies.
 * Review: The Philadelphia Inquirer / MAY 19, 2000 Friday SF EDITION / A 'COUNTRY UNDERDOG' WHO DOESN'T WAIL / BYLINE: Dan DeLuca, INQUIRER MUSIC CRITIC / SECTION: FEATURES WEEKEND; Pg. W18

- Tom Moon SECTION: Pg. 16 On their fourth album, the trio of Corin Tucker, Carrie Brownstein and Janet Weiss show no signs of falling from their lofty perch as one of the best rock bands America has produced in the last ten years. They're more polished - a little - than on their 1998 debut, more sure of themselves, but their discomforting essence remains undiluted, their targets still struck with unerring accuracy.
 * Review: The Scotsman / May 12, 2000, Friday / ALBUMS / BYLINE: Fiona Shepherd Thom Dibdin Alastair Mabbott Alastair Mabbott Ninian Dunnett Ninian Dunnett

That Tucker and Brownstein share the vocal chores is something of a blessing - Tucker's remarkable voice brings an almost unbearable intensity to her songs, a tension the Brownstein-fronted tracks ease without ever letting the Sleater-Kinney spell break. Fractured riffs, perhaps, but one very together group. THIS American riot-grrrl three-piece proves it is as inspiring and abrasive as ever with this impressive 13-track assault on the mind and eardrum. Though the trio already has a devout following, this could bring mainstream success though one suspects this was not the intention. All the old elements are there: the exploding wails of Corrie Tucker and Carrie Brownstein, a strong feminist message and throbbing, ferocious drumming. While the album has no disappointing tracks, the high point is the track one, the anthemic Ballad of a Ladyman, while the title track lacks the firepower you'd usually expect from Sleater-Kinney. The album comes at a time when the band suggests it could tour Adelaide this year. * * * Michael Duffy Setting the perennial battle between the male and female sexes to a throbbin' beat, the power trio of Brownstein, Tucker, and Weiss have crafted a persuasive riposte to every feeble-minded gender fascist who reckons being born with a womb prevents you cranking out angry, high-grade guitar-based rock'n'roll chuggarama. To some critics, Sleater-Kinney's fifth album sounds like a wondrous collision between the B-52s and Sonic Youth. This is good, obviously, but I'd go for "PiL and Throwing Muses sit down for a cup of steaming java with the Magic Band," which is just that bit better. Just check out No. 1 Must-Have - "Watch me make up my mind instead of my face/The No. 1 Must-Have is that we are safe" - and join the Sleater-Kinney riot grrl rumpus posse instantly. On their fifth album, the Washington state riot-grrl trio Slater-Kinney tries to pick up where they left off on last year's "The Hot Rock."
 * Review: (I think it's 3/3, and it's The Advertiser owned by Nationwide News Pty Limited.) The Advertiser / May 11, 2000, Thursday / Musical snapshot / BYLINE: Rod Savage, Dave Sly, Michael Duffy, David Eccles / SECTION: FEATURES; Pg. 70
 * Review: The Herald (Glasgow) / May 11, 2000 / Disc space / BYLINE: By David Belcher / SECTION: Pg. 14
 * Review: The New York Post / May 9, 2000, Tuesday / MIGHTY MISSISSIPPI / BYLINE: Dan Aquilante / SECTION: All Editions; Pg. 073

They do it with a fair degree of success, but the fiercely independent indie band has taken a couple of steps into the mainstream, trading its aggressive power attacks for fluffy,

B-52s-like riffs.

The new album, "All Hands on the Bad One," is a 13-song collection that's very accessible and listener-friendly. "The Professional" and "Milkshake n' Honey" are two of the best on this disc.

The threesome works songs that seem to be less political and even more personal than "Hot Rocks," making for an album that's good but not great. Sleater-Kinney All Hands on the Bad One (Matador) *****
 * Article including some review
 * Review: The Guardian (London) / May 5, 2000 / Speeches and cream; Sleater-Kinney's new album reminds Garry Mulholland why rock feminism is far from dead / SECTION: Guardian Friday Pages; Pg. 17

The phrase 'feminist rock' has never been one of the most charismatic in pop. But then Sleater-Kinney, the acclaimed girl trio from Oregon and Washington, know this all too well.

What's more, they know why. Check out Male Model from this, their fifth and best album. Over drums that drive and hector, singer Corin Tucker tells us about the beautiful rock boys that haunt her dreams, and asks, 'Should I try to play just like him?/You always measure me by him.'

All Hands on the Bad One is full of moments like this, along with others of loving camp, hot sex, cruel jokes and three-part harmonies that will have you swooning like a Mills & Boon heroine at a doctors' convention. This is the kind of melodic brilliance that has no need for string sections or crashing waves of noise. Sleater-Kinney don't even bother with bass, so perfectly do their drum-twin guitar-vocal talents mesh.

Despite the obvious strength of their convictions, this is a band who avoid the drab and didactic; even Was It A Lie, a passion ate protest at male fascination with violence against women, takes flight upon Brownstein's six -string virtuosity and Tucker's quavering holler, transforming agitprop into poetry.

Humour is also high on the S-K agenda. Milkshakes 'n' Honey is a dyke twist on the old femme fatale story played for laughs, while You're No Rock'n'Roll Fun jibes at boring rock stars with withering accuracy. Nodding back to the best of late 70s femme-pop The Slits, Patti Smith, X-Ray Spex while taking the argument forward, All Hands explains exactly why one US mag called them the best rock'n'roll band in America. This Olympia, Wash., trio has grown up considerably in the last five years. Their fifth album confronts issues not many punk bands will touch: the misogyny of last summer's Woodstock ("will there always be concerts where women are raped" is the question of "@#1 Must-Have") and how pop culture always finds a way to deflate the impact of violence ("a woman's pain never private, always seen" on "Was It A Lie?").
 * Review: They give it 3/something, I think 3/3 - Chicago Daily Herald / May 5, 2000, Friday, clk / Sleater-Kinney raise the stakes on 'All Hands' / BYLINE: Mark Guarino Daily Herald Music Critic / SECTION: Time Out!; Album Reviews; Pg. 10

That Sleater-Kinney is a band of three women has a lot to do with it. Their lyrical outlook, intelligent and playful, is an anomaly in the world of generic, testosterone-heavy rock. On "All Hands," there's plenty of reasons why they've been underground rock's best-loved secret. Corin Tucker is one of today's best rock vocalists, her voice more a siren, ringing out more sounds than actual words. Trading lines sometimes with Carrie Brownstein, the two find a way to jab back and forth while somehow sounding like the same person. With drummer Janet Weiss adding harmony, a band has never sounded more like one voice.

Unlike the riff-heavy "Dig Me Out," "All Hands" has more of a pop feel, punched up many notches by Brownstein's low-tuned staccato guitar playing and Weiss' rumbling percussion that never lets up. It's also a self-conscious and self-effacing album that's often very funny. Teenage awkwardness ("Youth Decay") and a Parisian love affair gone wrong ("Milkshake n' Honey") are both fun, but the band is best on the full-frontal attack. Pretty boy bands ("Male Models") get savaged as does their own hype ("they took our ideas to their marketing stars/and now I'm spending all my days at girlpower.com," Tucker wails).

Limited distribution and a stubborn radio culture will prevent the band from ever being stars in the conventional sense. But you'd never know it from the revolutionary tone of this album. "We're here to join the conversation/and we're here to raise the stakes," Tucker sings on "Male Model." On "All Hands," they do. SLEATER-KINNEY (8/10) All Hands on the Bad One (Matador)
 * Review: The Times (London) / April 29, 2000, Saturday / New album releases / BYLINE: Stevie Chick, Victoria Segal, Sharon O'Connell, Nigel Williamson, Mike

VETERANS OF the pro-feminism punk movement Riot Grrrl, Sleater-Kinney, with their sheer intensity and crispness, succinctly ressurect that era's righteous indignation. Their fifth album, All Hands on the Bad One is also a definite progression from their breakthrough records Dig Me Out and The Hot Rock. The chiming guitar interplay between dual singers/guitarists Corin Tucker and Carrie Brownstein is still present, but All Hands is characterised by a less claustrophobic approach to songwriting. The title track and the Ballad of a Ladyman are naggingly addictive pop songs, while the forthcoming single, You're No Rock'n'Roll Fun, is a sardonic slice of vaguely

psychedelic garage rock. All Hands should see Sleater-Kinney finally cross over from the underground. -SC Were this trio capable of breaking out of critical-darling status, this is the one that surely would leave the die-hards behind; it's just too crafty and -- gasp! -- classic-sounding to rock the underground anymore.
 * Review: Orange County Register (California) / April 28, 2000 Friday MORNING EDITION / SOUND CHECK; ROCK; Sleater-Kinney "All Hands on the Bad One," Kill Rock Stars / BYLINE: BEN WENER, The Orange County Register / SECTION: SHOW; Pg. F62

In fact, "All Hands on the Bad One" (in stores Tuesday) is the group's most accessible effort yet, streamlining last year's devilish "The Hot Box" by further playing up guitarist Carrie Brownstein's early Go-Go's influence and adding a touch of prime Blondie as well. Backing vocals ooh and ahh, the chord progressions are catchier, the riffs beefier, the choruses wildly infectious -- yet nothing is advanced at the expense of the aggressive lo-fi approach that made these Washington favorites so arresting in the first place.

What's most impressive, though, is how so many different strains of primal rock intersect, sometimes in the briefest of songs. Sure, their post-riot-grrrl posing has long since given way to tunesmithing; dig the bittersweet chorus, angelic vocals and plinking glockenspiel of "Leave You Behind," all of it swirled together into something Sleater-Kinney once seemed irritated by: enchanting pop.

Still, they haven't caved in to standardized music-making. (Not even close.) Lurking in the corners of even the sprightliest songs are dashes of Gang of Four-like skeletal funk rhythms (with big kudos due drummer Janet Weiss) and plenty of Sonic Youth-ful discordance.

It's a weird but wonderful mix, one that builds on the detached sultriness of Luscious Jackson with better pop references, ear-grabbing sweet-and-sour lyrics and a stomping nature that plugs straight into your spinal cord. Pogo-ing without a care one minute, slow-dancing sad and alone the next, and always so close to imploding gorgeously -- there's nothing like Sleater-Kinney in all of rock right now.

+Grade: A

And... DONE! J Milburn (talk) 19:54, 6 July 2013 (UTC)
 * Alright, I think I've got everything covered. I've also expanded the lead a bit. My only concern is that there's no info on when the tour actually started and finished. My guess is probably from May 2000 to July 2000, but I can't include that because there are no sources. Anyway, If there are more issues, please let me know. Thank you for your work and care of this amazing band. --Niwi3 (talk) 20:00, 7 July 2013 (UTC)

Ok, some more thoughts- Regardless of the above thoughts, I'm happy enough with the article at this time, so I'm going to go ahead and promote. There's possibly potential to take this article further; a copyedit would be another thing you'd need before sending it FACwards, as well as working to incorporate as many of the sources above as possible. Anyway, promoting now. Nice work. J Milburn (talk) 16:09, 11 July 2013 (UTC)
 * I think the fact it appeared in end-of-year lists deserves a mention in the lead.
 * You don't need the block-caps newspaper titles.
 * If you're wanting to expand the article further using the sources above, you could split "reception" into "critical response" and "accolades"- talk a little more about the award (who were they up against? Who won?) and list more end-of-year charts in the little more detail.
 * Avoid personification. The Guardian didn't say that- a writer for The Guardian said that.