Customer Reviews

Stone Temple Pilots

5 star:		(15)
4 star:		(6)
3 star:		(3)
2 star:		(1)
1 star:		(0)

 

 

Okay, honestly, this is more of a three-and-a-half star review. As a fan of STP over the years, I love that they've stayed on course..... ironically meaning that they've released another album that sounds like none of their other albums.

That being said, there are some tracks that sound like what you'd call "vintage STP." "Take A Load Off," for example, has the soaring chorus (with Scott once again employing the use of the word "Yeah" in place of something with meaning....... I'm so glad he's out of Velvet Revolver......), with a grungy verse.

As soon as you move on to "Huckleberry Crumble," it becomes more obvious that the DeLeo's have been thinking 60's and 70's rock. While some people lament the fact that some of the tracks on here sound like old Aerosmith and Bowie ("First Kiss On Mars"), I ask "why lament?" Bowie and Aerosmith haven't done music as good as their seventies stuff since.... well... the seventies, so why not get some great music in that style done by somebody else?

"Hickory Dichotomy" has a great funky groove and is definitely among the best tracks on the album. Not surprisingly, they released the best tracks for streaming about three weeks before the album was available, so it's when you move on to the other tracks, the disappointment sets in. "Dare If You Dare" has a great, very DeLeo guitar riff and verse melody ripped from what could be an unreleased "Sgt. Pepper" song, but the chorus is so insipid both in lyrics and vocal delivery, that it's almost worth skipping altogether.

"Cinnamon" is a gem, though. Does it sound like good Oasis? It does. But note the word "good." (But Scott's back to his "I can use the word 'Yeah' for a full chorus!' thing....)

"Hazy Daze" has a similar problem to "Dare If You Dare" - it's got an amazing riff, good verse and bridge, but the chorus doesn't fit the music. (Am I being nitpicky? Yes. But I've had these opinions about all of Weiland's material...... back to when he ruined some great music on Contraband with bad melodies.)

"Bagman." Straightforward rocker. Another early streaming track and concert teaser that's great as a shout-along.

"Peacoat." The first truly forgettable song on here. I liken it to the songs on "Shangri-La-Di-Da" that I can hum along to but don't know lyrics or title, as they weren't impressive enough to learn. I will never know that this song is called "Peacoat."

"Fast As I Can" is not, as I'd thought, a recording of a song of the same name done by STP's former moniker "Mighty Joe Young." It's fun, but fits in the exact place as other songs of this type.... for some reason, his is the place in the album (third or so from the end) where all rock bands drop a track that's a forgettable rocker. It's not bad, and it's got a great beat, but it's placed on the album in a way that it disappears.

"First Kiss On Mars" is a Beatles tune sung by David Bowie. And it's awesome. I haven't listened to the lyrics enough to be sure that they mean absolutely nothing in relation to the title, but this one has it all - good 60's riff, good verses and a flowing chorus (which could very easily have been "Yeah, it's over," but maybe Scott's expanding his vocabulary).

"Maver" - the usual mellow finale to the album. Glam rock neuvo-country. Decent. Forgettable.

As I said, three and a half out of five. When it's good, it's great, but there's the usual amount of dead wood.

Worth a listen, though. And if you're open to something that isn't exactly like what you remember STP to be, it's pretty solid.

As a starting point, I have been a STP fan since Core. To give you a reference point of my taste over their career, I thought Core was outstanding, same for Purple even though it was a much softer sound. Tiny Music was mostly just a boring album, but No. 4 was a hard return to form. Shangri-La Dee Da wasn't bad, but it never hooked me and lives in the same space as Tiny Music for my ears.

Anyone who has followed the band through the years has had many ups and downs as Weiland has struggled to stay above his addictions, but news of a new album has always been welcome. Now that's it finally hear, how does this self-titles stack up? Let's go through it song by song:

1. Between The Lines - A good mix of Purple and No. 4 to me, and great to hear that no matter his personal troubles Weiland still have a commanding voice. Easy to hear why this is the song they performed on their first time back to Letterman in a decade.

2. Take A Load Off - Very Purple. The main riff is a solid backing to lyrics that seem to wander about in contemplation. I'd imagine the trademark 'Weiland dance' will accompany this in concert.

3. Huckleberry Crumble - So far, my favorite track on the album. Seems very '70s to me for some reason, but the main chorus is a freight train of listenability and makes the whole song work.

4. Hickory Dichotomy - Again, a very 70s feel. Trippy and light, very radio friendly if not particularly memorable.

5. Dare If You Dare - This seems straight out of No. 4, almost a spiritual companion to Sour Girl. A good mid-album tune. I dig the slight edge Weiland puts on his voice here.

6. Cinnamon - Man, this is a strange one for me. It's not bad, but it's not the type of song I ever expected from STP. This sounds more like Kaiser Chiefs to me. Again, not bad, just different.

7. Hazy Daze - This sounds like what I'd imagine Rage Against The Machine would have sounded like with Jimi Hendrix on guitar. Heavy and catchy, another standout track.

8. Bagman - Ah, back to Purple. I can see this is a single, and no doubt this is the type of song that will get the multiple Beatles sound comparisons. Substitute the word 'Batman', takes on a while new meaning!

9. Peacoat - The Bowie influence can be heard clearly in the vocals on this track, which is slower but still a good listen. Some cool guitar work going on in this one.

10. Fast As I Can - Just like that, the tempo picks up. This sounds like a lost track off of No. 4. A bit harder, a bit faster, a lot arena rock. Nifty guitar solo towards the end.

11. First Kiss On Mars - Back to Bowieville, and I would guess based on the title that it was no accident. Spacey and poppy.

12. Maver - This one reminds me of Tiny Music for some reason. Not bad, but forgettable.

13. Samba Nova - Again, a fusion of Purple and No. 4 as we get a trippy 60s tune to finish out the new material. Likeable, and a good way to close the album.

14. Vasoline (Live) - Being that I liked Purple, this is a nice extra track. Good performance of a well-known tune.

15. Hickory Dichotomy (Live) - Always good when a live performance of a song is so close to the recorded version that the review of the album version still applies.

16. Between The Lines (Live) - Weiland sounds a lot like Kurt Cobain in this recording, but that could just be me. A good performance of a great song.

It's 2010. The Stone Temple Pilots have released six brilliant and diverse studio albums, and all critics seem to want to do is prattle on about how Scott Weiland once mimicked Eddie Vedder in a video from 1993. Or talk about his drug use.

So here's the real scoop on STP's latest CD: It's quite possibly the best one of their storied career (which is saying a lot) and one of the best rock and roll albums I've heard so far this year. While Nickelback and Daughtry sell records by the boatload, the more talented STP is getting drowned under by ridiculous hack reviewers who write for meaningless publications and select fans who want nothing more than a recreation of "Purple."

Give these guys a Grammy and quit comparing them to other bands whose sound is every bit as derivative of works from the past.

Cuando los Stone Temple Pilots debutaron con Core (1992), la prensa musical los acusó de ser copias de Pearl Jam y Alice In Chains, pero gran parte del público los consideró como una de las mejores propuestas de toda aquella explosión musical noventera que se conoció como grunge. Con los años los STP demostraron que su música no obedecía a ninguna moda o circunstancia y que su amor por el rock clásico era el derrotero de su música. Ahora, después de nueve años del Shangri-La Dee Da (2001), los tenemos de vuelta con nuevo material discográfico, el sexto en su carrera, su álbum epónimo.

Stone Temple Pilots no es solo el típico álbum del retorno. Se llama así porque este cuarteto quiere convencerse (y convencernos) de que aún sigue siendo una banda de rock a pesar de su actual modus operandi: cuatro tipos que dejaron atrás sus riñas y que saben que la convivencia no es como antaño, ahora graban en estudios separados y cuando se juntan para los conciertos se muestran los avances de las nuevas canciones en los camerinos, en formato acústico. Este "juntos pero no revueltos" es mejor que andar en problemas. Sobre todo por Scott Weiland (cantante y letrista), cuya fuerte personalidad marcada por el abuso de la heroína (ahora ya rehabilitado) fue el principal obstáculo de que la banda alcanzará la estratósfera en sus mejores momentos. ¿Y funciona o no? ¿Convencen las nuevas canciones o se escuchan forzadas y sin la magia de antes?

Para empezar, la producción estuvo a cargo de los hermanos Robert y Dean Deleo (bajista y guitarrista). Por primera vez prescinden de los servicios del productor Brendan O'Brien. El resultado: muchas canciones hard rock deudoras del rock setentero ("Bagman", "Hazy Daze"), la sicodelia ("Hickory Dichotomy"), también algo de los 60's (la pegadiza "Cinnamon" o "Maver", que sabe a The Beatles con guitarra harrisoniana incluida), y otras de melodías más reposadas y con aires country ("First Kiss on Mars"), algunas mejor arregladas que otras.

Al no haber un productor que los "obligue" a estar juntos en el proceso creativo, las canciones se han construido de acuerdo a la buena voluntad y disposición de cada miembro, quizá la única manera de hacer que fluyan y suenen natural, pero que no ha impedido que algunas de ellas se parezcan a los proyectos alternativos que han tenido antes del reencuentro; por ejemplo "Take a Load Off" y "Huckleburry Crumble" recuerdan a Velvet Revolver (banda que tuvo Weiland con algunos ex Guns N' Roses) y muchos riffs dispersos en el disco nos llevan a Army Of One y Talk Show (combos que formaron los Deleo con el baterista Kretz). Estos proyectos en su momento gozaron de saludable actividad artística y comercial pero nunca convencieron del todo. Quizá Stone Temple Pilots también sirva para el drenaje de antiguos efluentes creativos y se convierta en el álbum bisagra de una banda que ha renacido para reivindicarse de un pasado víctima del "fuego amigo". Y si también ayuda a pagar las cuentas en casa, mucho mejor.
HENRY FLORES
(www.henryflores.blogspot.com)

I saw STP in March, and they looked and sounded so great; genuinely happy to be back together doing what they love to do! Now that the much-anticipated new CD is out, I know they will win a whole new generation of fans that just love to rock, along with those of us who've been fans since the 90's. Each song has it's own fresh hook, some very retro, some more soul-searching. Can't figure out where the title "Huckleberry Crumble" came from, but I like the song, esp. the bridge. Also "Dare if You Dare", "Hazy Daze", "Fast as You Can", and all the bonus live tracks are special favorites of mine.

I would rather see this band one time ever than, say, Nickelback a dozen times (I mean really, didn't "Rock Star" make you want to puke?) Stone Temple Pilots ARE true rock stars that have stood the test of time and performance. This CD proves it.

As an older, and longtime fan, I am disappointed in the lack of any real standouts on this reunion effort, and scored this a 4, know I will like it more with some repeat listenings. I was expecting more from their hiatus...I am not going to give a song-by-song description like my fellow reviewers, but will say Core, Purple, Tiny Music Boxes, No. 4, and Shangri-La Dee Da were varied, honest efforts. Core and Purple were immediately accessible for me, the others grew on me with multiple plays to varying degrees. I think this effort will take a few listens to get past what seems like a STP wall of sound effort. That said, they still put out interesting recordings that will survive well beyond most of their contemporaries efforts.

It's hard to believe that almost a full decade has passed since Stone Temple Pilots released an album--the criminally underrated "Shangri-La Dee Da" (2001). In 2003 one of the 90s finest rock band had called it a day after over a decade of churning out some of the 1990s most memorable songs. After the band broke-up the DeLeo brothers formed Army of Anyone with Filter's Richard Patrick, releasing one underappreciated album while Scott Weiland joined Guns N' Roses alumni Slash, Duff and Matt Sorum, forming Velvet Revolver, which released two terrific albums. Weiland also kept busy with 2008's excellent "Happiness in Goulashes." Despite the excellent output of music from STP's former members, it was felt by many that all involved were at their creative and artistic peak while working together, thus all four members of Stone Temple Pilots--Weiland, Robert (bass) and Dean (guitar) DeLeo and Eric Kretz (drums) have returned to the mother ship for the band's self-titled sixth album.

Reunion albums can be pretty hit-or-miss. Sometimes a band will merely try to jump on an existing trend, as Motley Crue did for their "Generation Swine" (1997) album and fail. But, as bands such as Deep Purple and Aerosmith have shown, sometimes a band can pull it off. With their self-titled album, STP hasn't seemed to have missed a beat, taking up exactly where they left off ten years ago. "Stone Temple Pilots" features the same elements of Nirvana's riffs and David Bowie's glam that have been staples of nearly STP's entire canon and this new album could have easily have been released in 2002/3. Still, as the band has always done, STP strives and breaks new ground, adding another fine collection of songs to the Stone Temple Pilots catalog. "Stone Temple Pilots" is only about 40 minutes long--so the entire collection has an immediate, almost earthy quality and the album can best be described as adventurous, but short and sweet.

"Stone Temple Pilots" does, however, start out a little disappointedly with the generic, straight-forward, Nirvana-esque "Between the Lines." It's not a bad song, but one should expect more from STP and not something that sounds like a "Purple" (1994) b-side. The album starts to take off with the psychedelic "Take a Load Off," with its colorful chorus the highlight. "Huckleberry Crumble" sounds like vintage Aerosmith, something like a cross between "Walk this Way" and "Same old song and Dance" and is excellent." "Hickory Dichotomy," one of the albums strongest songs, sees Weiland channeling Johnny Rotten/David Byrne in this offbeat Talking Heads-ish song. "Dare if you Dare" almost sounds like a parody of the Beatles, especially with Weiland's false British accent, but it works and is another great song. The gorgeous "Cinnamon" sounds a bit like Mathew Sweet and wouldn't be a bad pick to use as the next single. "Hazy Daze" is one of the albums weaker songs. It's good but not great--just kind of filler. "Bagman" starts out rather straight-forward but goes on a cool, off-beat tangent. "Peacoat" is another popy-rock song that sort of chugs along and is infectious. "Fast As I Can" sounds as the title suggests, and is just kind of filler. The almost new-wave-ish melancholy "First Kiss on Mars" is another fine song and the keyboards work really well here. The low-key closer "Maver" is a good way to conclude the album.

Despite a little filler, Stone Temple Pilots eponymous album shows STP back in action and still capable of releasing fine music that encompasses many influences.

The bonus song "Samba Nova" has a 60s-pop feel and wouldn't have sounded out-of-place on "Tiny Music." That and a few live songs on this deluxe edition should be of interest to STP fans. As this edition is only a few dollars more, this version of the album is probably the one to get.

Much of this is a bit derivative, and a lot of it harkens back to the Beatles, Bowie and other classic rock artists. But that's a good thing. It still sounds pretty fresh, and that's no small feat for a group that's been around for damn near twenty years. The lyrics are pretty clever, the riffs are good, there are plenty of hooks, and the production is crisp. And best of all, it gets better the more you hear it. The deluxe edition features some nifty extra cuts and is worth the price. Best cuts IMHO: Between The Lines ("You always were my favorite drug, even when we used to take drugs"), Hickory Dichotomy, Cinnamon, Fast As I Can ("Ain't no chance she loves you like you before; she won't even take you to the mall"), and First Kiss On Mars. It's all good.

Fans of the band know only too well that few bands have ever managed to balance musical chops, hard rock, and melodic hooks better than STP. True, the drama of Weiland's substance abuse and creative ego have never made for a stable foundation, and certainly fans would agree that their output has been hit or miss at times. But when this band fires on all cylinders you're hard-pressed to find a more satisfying set list than what this band delivers.

So too with their eponymous reunion release "Stone Temple Pilots". The Brothers DeLeo as always deliver the musical chops, which for musicians like me has always been one of my main attractions draws to this band. Eric Kretz ties the rhythm section together with solid percussion that is never overstated, and Weiland's pipes are as strong and versatile as ever. The opening salvo "Between The Lines" has been out for a few weeks now and does not disappoint, even while nodding with wink and a smile at Weiland's past flirtations with substance abuse.

The "Deluxe" version rewards an already outstanding set with two videos and some rare live outtakes, including the classic "Vasoline". Fans waited a long time to hear new material from this now classic quartet, and those who buy now will have all summer from Memorial Day to Back To School to blow their minds and stereo speakers away.

I've always been a big STP fan so I figured I'd spend the few extra bucks for the deluxe version. And am I glad I did! The extra studio track "Samba Nova" is every bit as good as anything else on the record, and really just enhances the overall feel of variety that is present. STP has always been good about variety on all their releases and this album just expands on that approach. Also, the bonus live tracks sound excellent. In particular, Vaseline. I was blown away by how well the band duplicated the sound of the studio track while adding that live feel that makes it bristle with energy. I litterally get goose bumps while listening to this live version, especially at the end when Scott yell's (in his characteristic timber) "C'Mon Chi-Town!!!" (I'm a Chicagoan)

I knew I liked what I heard from the onset w/ this CD but after multiple listens this could very well be my favorite of their catalog as I think it is probably their most consistent album. The energy never wanes throughout even when they do their characteristic song style switches. I have always loved the fact that they try different sounds. Makes things far more interesting.

"Between the Lines" starts things off nicely with chunky riffs and Scott's signature vocal and lyrical hooks. The next three tracks continue on with a similar vibe, all equaling the enery and hooks of the first. "Dare If You Dare" is one of my personal favorites. It just might have one of the best verse (3 verses total) passages of any of their recordings. Rather than finding the perfect melodie, Scott instead taps into the perfect "feel" ala John Lennon. A lot of folks have complained that "Cinnamon" is far too poppy sounding for their flavor. I don't feel that way at all. STP has always been comfortable writing pop songs and their comfort and pure pop sense shine through brightly on this track. I swear Scott reminds me of David Lee Roth on "Hazy Daze" duplicating DLR's cocky, swaggering vocal style. Love it! "Fast As I Can" is another personal favorite as it has that album "deep cut" vibe with Scott getting somewhat introspective, if ever so slightly. "First Kiss On Mars" could very well be the best track on the album. Just stands on it's own somehow. Can't really explain it. It's special. You be the judge. "Maver" is like a ray of sunshine. Makes me happy.

I forgot to mention the instrumentalists. Dean DeLeo, in my opinion, is easily one of the very best guitarists of the modern rock era (last 2 decades) and just continues to impress here w/ his tight cathcy riffs and perfectly executed solos. I have always felt that Robert DeLeo is one of the punchiest, and more importantly, one of the most melodic bass players I have ever heard. His playing is such a vital part of their sound. Something a lot of bass players cannot boast as they can tend to get lost in the mix or simply just bring nothing interesting or important to the table. Drummer Kretz is solid as usual. Busy playing is not his forte and that really wouldn't suit the STP sound anyway.

I don't purchase much in the way of new music anymore. Needless to say I was really anticipting this release and STP did not let me down.