Very interesting reply, Michael, and much appreciated. Okay, you’ve convinced me: I’ll give these early albums another shot. I’m very impressed with your knowledge of the band; you must be correct in the value of these records. I’ll respond soon. It’s nice chatting with someone who is such a good writer.
Thanks for the input, Michael.
Full disclosure: Sleater-Kinney just doesn’t click with me until “One Beat.” After falling in love (there’s that word again) with that record I went out and acquired their entire previous catalogue…and never played them. For years. Just “One Beat” and “The Woods” (a million times). Pre-”One Beat”, the band is just too thrashy, too wham-bam, too darn riot grrl for my cup of tea. (Please forgive me; I realize this admission is Sleater-Kinney blasphemy.) “One Beat” is a giant leap forward, a big change in their music to what the band itself has described as more of a classic-rock sound. Much more melodic and catchy. I’m sure with that album S-K greatly increased thier listenership. I hadn’t heard of the band until “Oh!” became a minor college radio hit, which is what led me to the band.
I have a question for you, Michael. I have researched Sleater-Kinney and Wild Flag extensively, but I”ve been unable to find any sales figures for their releases. Do you know the numbers? I’m especially interested in sales for “One Beat”, “The Woods” and “Wild Flag.” Please help out a fellow tribe member.
Great article on S-K, the best I’ve seen in a long time.
“One Beat,” “The Woods” and “Wild Flag” are among the most brilliant records in my thirty-year collection. It’s crazy how big a fan I am of Brownstein, Tucker and Weiss. Wild Flag has absolutely slayed me. I haven’t loved a new band like Wild Flag since (gasp) I first got into the Beatles (yes, I just included Wild Flag in the same sentence as the BEATLES). If I loved the band any more I’d be a stalker.
What is most significant about the article is its illumination on Corin Tucker’s important contribution to “One Beat.” Owing, I’m sure, to the democratic structure of Sleater-Kinney, there is little, if any, press on exactly who wrote what. With Carrie’s remarkably successful comeback, I was left to assume, understandably, that she had been the main talent in the group. Wrong. Breihan’s article clarifies things for the first time. It’s now clear that, of the two writers in the group, Carrie and Corin are EQUAL sources of S-K’s legendary music.
I’d like to see more of this. I’ve always been fascinated to know more about Sleater-Kinney songs. What is their story? Who is the main author of each, what is their inspiration and meaning? Is it correct to assume that Corin is the intense, epic master and Carrie the whimsical, catchy one? Or a combination of both? Who wrote “Symphony”, “O2″, “Jumpers”? Explain the symbolism of “The Fox.” How did the astonishing “Let’s Call it Love” come about? Us diehards would love to know. Are you listening, Carrie, as you write your memoir?
The article gives me a new appreciation of Ms. Tucker. I’m not the only one. In the latest issue (August 30), “Rolling Stone” includes Corin Tucker Band’s “Groundhog Day” as a Favorite Song on their “Playlist.” Impressive track. My ears are pricked: I’ll be in the store September 18 to buy CTB’s “Kill My Blues.” I’m prepared to be slayed once again.