Stone Temple Pilots – Albums Collection (1992-2010) APE
EAC | APE | Image (Cue&Log) ~ 2.5 Gb | Scans included
Genre: Alternative Rock, Hard Rock, Grunge, Post-Grunge | Label: Atlantic | Time: 05:45:03
Collection includes all six studio albums and one compilation by American rock band Stone Temple Pilots. STP went on to become one of the most commercially successful rock bands of the 1990s, selling nearly 40 million records worldwide, including 17.5 million units in the United States, before their dissolution in 2003. The band has had 16 top ten singles on the Billboard rock charts, eight of which peaked at #1, and one #1 album for Purple in 1994. That same year, the band won a Grammy for “Best Hard Rock Performance” for the song “Plush” from the album Core. Stone Temple Pilots were also ranked #40 on VH1′s The 100 Greatest Artists of Hard Rock.
Stone Temple Pilots were able to turn alternative rock into stadium rock; naturally, they became the most critically despised band of their era. Accused by many critics of being nothing more than ripoff artists who pilfered from Pearl Jam, Soundgarden, and Alice in Chains, the bandmates nevertheless became major stars in 1993. And the influence of those bands was apparent in their music, although Stone Temple Pilots did manage to change things around a bit. STP were more concerned with tight song structure and riffs than punk rage. Their closest antecedents were not the Sex Pistols or Hüsker Dü; instead the band resembled arena rock acts from the ’70s — they made popular hard rock that sounded good on the radio and in concert. No matter what the critics said, Stone Temple Pilots had undeniably catchy riffs and production; there’s a reason why over three million people bought their debut album, Core, and why their second album, Purple, shot to number one when it was released.
Following the success of Purple and its accompanying tour, the band took some time off, during which the group’s lead singer, Scott Weiland, developed a heroin addiction. In the spring of 1995, he was arrested for possession of heroin and cocaine, and was sentenced to a rehabilitation program. Following his completion of the program, Stone Temple Pilots recorded their third album. Released in the spring of 1996, Tiny Music…Songs From the Vatican Gift Shop, entered the charts at number four. Shortly after its release, Stone Temple Pilots announced that Weiland had relapsed and entered a drug rehabilitation facility, thereby canceling the group’s plans for a summer tour. Weiland’s drug problems and the group’s inability to support Tiny Music with a tour meant that the album couldn’t replicate the success of its predecessors — by the end of the summer, it had fallen out the Top 50 and had stalled at platinum, which was considerably less than what the group’s two previous albums achieved.
Still battling his personal demons, Weiland recorded a 1998 solo album, 12 Bar Blues, while the remaining members of STP recruited vocalist Dave Coutts to record a self-titled LP under the band name Talk Show. To the surprise of many, Stone Temple Pilots then reunited, although shortly after completing 1999′s No. 4 Weiland was sentenced to a year in a Los Angeles county jail for violating his probation, which stemmed from an earlier conviction for heroin possession. Even so, a newly rejuvenated Stone Temple Pilots and a sober Weiland emerged stronger than ever during the new millennium. The band got back to basics with Shangri-La Dee Da, released in summer 2001. Two years later, STP issued the ambitious greatest-hits package Thank You. The audio-only edition featured 15 tracks — 13 hits spanning the group’s entire career, an acoustic version of “Plush” dating from 1992, and the new track “All in the Suit That You Wear” — while a special CD/DVD format included three hours of videos, live performances, and behind-the-scenes footage.
Stone Temple Pilots took another break between 2003 and 2008, during which time Weiland found renewed success as the frontman of Velvet Revolver. After clashes with his bandmates resulted in his exit from the group, Weiland reunited with STP and embarked on a successful reunion tour in 2008, with ticket sales reportedly totaling $230,000 per show. The band returned to the studio one year later, emerging in 2010 with the release of its self-titled sixth album.
Biography by Stephen Thomas Erlewine, Allmusic.com
http://en.wikipedia.org/wiki/Stone_Temple_Pilots
http://www.stonetemplepilots.com/
Core (1992)
EAC | APE | Image (Cue&Log) ~ 404 Mb
Label: Atlantic | # 7 82418-2 | Time: 00:53:37 | Scans included
Stone Temple Pilots were positively vilified once their 1992 debut, Core, started scaling the charts in 1993, pegged as fifth-rate Pearl Jam copyists. It is true that the worst moments of Core play like a parody of the Seattle scene — titles like “Dead and Bloated” and “Crackerman” tell you that much, playing like really bad Alice in Chains parodies, and the entire record tends to sink into gormless post-grunge sludge. Furthermore, even if it rocks pretty hard, it’s usually without much character, sounding like cut-rate grunge. To be fair, it’s more that they share the same influences as their peers than being overt copycats, but it’s still a little disheartening all the same. If that’s all that Core was, it’d be as forgettable as Seven Mary Three, but there are the hits that propelled it up the charts, songs that have remarkably stood the test of time to be highlights of their era. “Sex Type Thing” may have a clumsy anti-rape lyric that comes across as misogynist, but it survives on its terrifically lunk-headed riff, while “Wicked Garden” is a surprisingly effective piece of revivalist acid rock. Then, there’s the slow acoustic crawl of “Creep” that works as well as anything on AIC’s Sap and, finally, “Plush,” a majestic album rock revival more melodic and stylish than anything grunge produced outside of Nirvana itself. These four songs aren’t enough to salvage a fairly pedestrian debut, but they do find STP to be nimble rock craftsmen when inspiration hits.
Review by Stephen Thomas Erlewine, Allmusic.com
Tracklist:
01. Dead & Bloated (05:10)
02. Sex Type Thing (03:38)
03. Wicked Garden (04:05)
04. No Memory (01:20)
05. Sin (06:05)
06. Naked Sunday (03:49)
07. Creep (05:33)
08. Piece Of Pie (05:24)
09. Plush (05:14)
10. Wet My Bed (01:36)
11. Crackerman (03:14)
12. Where The River Goes (08:25)
Purple (1994)
EAC | APE | Image (Cue&Log) ~ 339 Mb
Label: Atlantic | # 82607-2 | Time: 00:46:59 | Scans included
Stone Temple Pilots had hits with Core, but they got no respect. They suffered a barrage of savage criticism and it must have hurt, since their second effort seems a conscious effort to distinguish themselves as a band not indebted to grunge. That didn’t get them anywhere, as they were attacked as viciously as before, but Purple is nevertheless a quantum leap over their debut, showcasing a band hitting its stride. They still aren’t much for consistency, and there’s more than a fair share of filler over this album’s “12 Gracious Melodies.” Still, this filler isn’t cut-rate grunge, as it was on the debut; it has its own character, heavily melodic and slightly psychedelic. That’s a fair assessment of the hits, as well, but there’s a difference there — namely, expert song and studiocraft. Yes, they were considerably more mainstream than their peers, but time has proven that that’s their primary charm, since they were unafraid to temper their grunge with big arena hooks and swirling melodies. It works particularly well on the tight, concise “Vasoline” and the acoustic-based “Pretty Penny,” but it really shines on the record’s two masterpieces, “Big Empty” and “Interstate Love Song.” “Big Empty” is ominous and foreboding, yet remains anthemic, a perfect encapsulation of mainstream alienation that is surpassed only by “Interstate Love Song,” a concise epic as alluring as the open highway. These two songs are so good (really, mainstream hard rock didn’t get better than these two cuts) that the unevenness of the rest of the record is all the more frustrating, but the filler here is better than before — and those singles are proof positive that STP was the best straight-ahead rock singles outfit of their time.
Review by Stephen Thomas Erlewine, Allmusic.com
Tracklist:
01. Meat Plow (03:37)
02. Vasoline (02:56)
03. Lounge Fly (05:18)
04. Interstate Love Song (03:14)
05. Still Remains (03:33)
06. Pretty Penny (03:42)
07. Silvergun Superman (05:16)
08. Big Empty (04:54)
09. ‘Unglued’ (02:34)
10. Army Ants (03:46)
11. Kitchenware & Candybars (08:06)
Tiny Music…Songs From The Vatican Gift Shop (1996)
EAC | APE | Image (Cue&Log) ~ 293 Mb
Label: Atlantic | # 7567-82871-2 | Time: 00:41:51 | Scans included
Purple established that Stone Temple Pilots were not one-album wonders but Tiny Music…Songs from the Vatican Gift Shop illustrates that the band aren’t content with resting on their laurels. Without abandoning their trademark hard rock, STP have added a new array of sounds that lend depth to their immediately accessible hooks. Dean DeLeo layers his guitar tracks to create distinctive, multi-textured sounds that make his riffs more powerful. Though there are hints of grunge scattered throughout the album, what makes Tiny Music impressive is how the band brings in elements of psychedelia, trancy shoegaze, jangle pop, and other forms of melodic alternative guitar pop. By accentuating their pop tendencies in both their riffs and melodies, they are able to slip in a number of creative arrangements which manage to expand their musical repertoire significantly. Although the lyrics are nearly as ambitious as the music, they simply don’t have the same weight. But with a band like Stone Temple Pilots, the music is what matters and Tiny Music showcases the band at their most tuneful and creative.
Review by Stephen Thomas Erlewine, Allmusic.com
Tracklist:
01. Press Play (01:21)
02. Pop’s Love Suicide (03:43)
03. Tumble in the Rough (03:18)
04. Big Bang Baby (03:23)
05. Lady Picture Show (04:08)
06. And So I Know (03:57)
07. Trippin’ on a Hole in a Paper Heart (02:56)
08. Art School Girl (03:35)
09. Adhesive (05:34)
10. Ride the Cliche (03:17)
11. Daisy (02:18)
12. Seven Caged Tigers (04:15)
No. 4 (1999)
EAC | APE | Image (Cue&Log) ~ 311 Mb
Label: Atlantic | # 83255-2 | Time: 00:42:17 | Scans included
It would be tempting to scour No. 4, Scott Weiland’s reunion with Stone Temple Pilots, for insights into his troubles, yet the group consciously avoids this throughout the album. That’s for the best, since it’s their hardest effort since their debut, Core. “Down” and “Heaven & Hot Rods” provide a powerful, brutal opening for No. 4 — it’s as if STP decided to compete directly with the new generation of alt-metal bands who prize aggression over hooks or riffs. With these two songs, the band’s attack is as vicious as that of the new generation, but they retain their gift for gargantuan hooks. Much of the album hits pretty hard — most explicitly on “No Way Out,” “Sex & Violence,” and “MC5,” — and even the ballads and neo-psychedelic pop have none of the swirling production that distinguished Tiny Music. That sense of adventure is missed, because even if the album finds STP returning to the muscular hard rock that made them, they always sounded better when they concentrated on melodicism. No. 4′s most effective moments have a variety of sonic textures and color — “Pruno” tempers its giant riffs with spacy verses; “Church on Tuesday” is a great pop tune, as are the trippy “Sour Girl” and “I Got You”; and the psychedelic “Glide” and closing ballad, “Atlanta,” have a sense of majesty. These songs anchor the heavier moments, instead of the other way around, and it all plays well together. As a matter of fact, No. 4 is as tight as Tiny Music. Even if it isn’t as grandiose or sonically compelling as that effort, it’s a record that consolidates all their strengths.
Review by Stephen Thomas Erlewine, Allmusic.com
Tracklist:
01. Down (03:48)
02. Heaven & Hot Rods (03:26)
03. Pruno (03:14)
04. Church On Tuesday (03:00)
05. Sour Girl (04:16)
06. No Way Out (04:19)
07. Sex & Violence (02:54)
08. Glide (05:00)
09. I Got You (04:15)
10. MC5 (02:42)
11. Atlanta (05:18)
Shangri-La Dee Da (2001)
EAC | APE | Image (Cue&Log) ~ 356 Mb
Label: Atlantic | # 83449-2 | Time: 00:47:19 | Scans included
No. 4 gave Stone Temple Pilots the comeback they were looking for, albeit a little later and a little differently than expected. Nearly a year after its release, “Sour Girl” gave the band its biggest hit in years, and it set up their fifth album, Shangri-La Dee Da, perfectly. They seized this opportunity by turning out the same record as the time before, splitting the difference between heavy rockers and sugar-sweet psych-pop tunes. That’s not a bad thing, nor is it unexpected, since they’ve basically been staking this same territory since Tiny Music, yet at this point, it feels as if the Pilots are comfortably within a musical groove, no matter how much turmoil they have privately. And, while this doesn’t result in a particularly surprising record, it’s not an album that’s bad, either. Here, as on 4, they’re not just better on the pop tunes, they’re phenomenal on the pop tunes. Regardless of their critical reputation, no rock band of their time turned out such a consistently dazzling streak of pop tunes. Sometimes, the rockers do catch hold — “Dumb Love” provides a gripping opening, “Hollywood Bitch” has a real sense of propulsion, the dreamy “Hello It’s Late” has a gentle rush of its own — but, by this point, they don’t seem as interesting as the excursions into psych-pop that gives Shangri-La Dee Da its real core. That’s nothing new, but that’s not a bad thing at all.
Review by Stephen Thomas Erlewine, Allmusic.com
Tracklist:
01. Dumb Love (02:51)
02. Days of the Week (02:35)
03. Coma (03:41)
04. Hollywood Bitch (02:43)
05. Wonderful (03:47)
06. Black Again (03:26)
07. Hello It’s Late (04:22)
08. Too Cool Queenie (02:47)
09. Regeneration (03:55)
10. Bi-Polar Bear (05:04)
11. Transmissions from a Lonely Room (03:15)
12. A Song for Sleeping (04:15)
13. Long Way Home (04:32)
Thank You (2003)
EAC | APE | Image (Cue&Log) ~ 458 Mb
Label: Atlantic | # 83586-2 | Time: 00:58:32 | Scans included
Some bands get no respect, no matter what they do, but Stone Temple Pilots suffered the slings and arrows of outrageous misfortune more than most. Some of this was brought on by themselves, particularly in the early days when they sounded like a mix of Pearl Jam and Alice in Chains and relied on macho bluster in their videos, but critics and rockists singled them out as the one band that typified how the establishment was going to sell out the alt-rock revolution that Nirvana kicked off in 1991, the year punk broke. By their second album, 1994′s Purple, they had not only gotten better and weirder than expected, they’d also had the benefit of being surrounded by bands that really were corporate alt-rock rip-offs. So not only had they gotten better, but circumstances made them seem better too, even if many critics still clung to their blind hatred of the band. Then, as the music continued to get more interesting, Weiland began his descent into drug addiction, cycling through jail and rehab innumerable times. There was a brief parting of the ways in 1997, as Weiland recorded a solo album and the remaining trio formed the short-lived Talk Show, but the group soldiered on into 2001, cutting solid records, yet they were ultimately derailed by Weiland’s addictions — which, in a charming display of empathy, made some of the band’s longtime critics gloat.
But, as the years pass, the turmoil gradually fades away (even though Weiland was arrested for DUI weeks before the release of this album), and the music stands at center stage, and it’s best heard on Thank You, a 14-track collection of the group’s hits (the album clocks in at 15 tracks, but “Plush” is repeated in a widely popular acoustic version). Though each record found STP trying different things and each has a clutch of good album tracks, they were at their best as a singles act, since that’s where the strengths — DeLeo’s knack for catchy, monstrous riffs, Weiland’s insanely hooky neo-psychedelic melodies, the band’s tight, propulsive rhythms, Brendan O’Brien’s clean yet intricate production — lie. Although they seemed rather cookie-cutter at first, thanks partially to the clobbering grunge of “Sex Type Thing” used as their debut single, the jumbled chronology of Thank You forces the listener to see each track as its own work and judge it on its own merits. And, based on that, it’s clear that Stone Temple Pilots were one of the great singles bands of the ’90s. Single for single, they had a dynamic mix of crunching hard rock and sugary, slightly trippy melodies, underscored by a real sense of urgency and perfect production by O’Brien, where each track unfolded with layer upon layer of sonic detail and no song outstayed its welcome. This was alt-rock played as classic rock — it played by the rules of ’70s album rock, but its amalgam of sounds and styles, where STP poached from metal, glam, bubblegum, the Beatles, and album rock in equal measure, was purely a creation of the ’90s, where postmodern aesthetics became part of the mainstream. And, within the mainstream, nobody did it better than Stone Temple Pilots. Yes, their peers certainly had more indie credibility, but great pop music isn’t about credibility; it’s how the music sounds, and STP made music that sounded great at the time and even better now.
With a few exceptions — the most notable being the charting singles “Unglued,” “Hollywood Bitch,” and “Pretty Penny,” though cases could be made for their acoustic cover of Zeppelin’s “Dancing Days,” Weiland’s spin-off “Mockingbird Girl” (not STP, but it fits musically), and the album tracks “Tumble in the Rough” and “Church on Tuesday,” but that’s nit-picking — Thank You contains all of their great songs, and there are many: the hazy, murky cavalcade of imagery in “Vasoline”; the swelling, mournful “Creep”; the neo-glam crunch of “Big Bang Baby”; the eerie, desolate late-night dread of “Big Empty”; the majestic “Plush”; the candy-coated rush of “Trippin’ on a Hole in a Paper Heart”; the silly but effective Alice in Chains homage “Wicked Garden”; the heavy, heavy monster sound of “Down”; the sighing cinematic “Lady Picture Show”; the effortless, incandescent power pop “Days of the Week”; the matter-of-fact, heartbreaking resignation of “Sour Girl”; and, best of all, the timeless travelogue “Interstate Love Song,” as great a driving song as has ever been recorded. These are the songs that have been classified as guilty pleasures by alt-rockers too consumed by conventional definitions of good taste, but ten years after STP’s peak, this music reveals itself as some of the best singles of the ’90s. Scoff if you want and call them the Guess Who of the ’90s, but this music has stood the test of time and this collection is nearly perfect.
Review by Stephen Thomas Erlewine, Allmusic.com
Tracklist:
01. Vasoline (02:56)
02. Down (03:50)
03. Wicked Garden (04:07)
04. Big Empty (04:55)
05. Plush (05:12)
06. Big Bang Baby (03:24)
07. Creep (05:34)
08. Lady Picture Show (04:08)
09. Trippin’ On a Hole In a Paper Heart (02:57)
10. Interstate Love Song (03:15)
11. All In the Suit That You Wear (03:41)
12. Sex Type Thing (03:40)
13. Days of the Week (02:37)
14. Sour Girl (04:18)
15. Plush (Acoustic Version) (03:50)
Stone Temple Pilots (2010)
EAC | APE | Image (Cue&Log) ~ 426 Mb
Label: Atlantic | # 524301-2 | Time: 00:54:25 | Scans included
Stone Temple Pilots’ 2010 reunion album isn’t a song deep before Scott Weiland alludes to his checkered chemical past by singing “even when we used to take drugs,” which may not be a confession — the singer took great pains to claim he was writing in third person for this, the sixth STP album — but it’s easy to read between the lines, particularly when the song title invites you to do so. Despite Weiland’s knack for a fractured phrase, the kind that jams a verse or chorus into the brain, words have never been the reason to listen to Stone Temple Pilots, it’s always been their candied crunch, the way the filter ‘70s sleaze through psychedelic swirls. The brothers DeLeo are responsible for the former, and Weiland for the latter and, like it or not — the decade-long absence suggests that they surely don’t — they need each other, neither team sounding quite as good in their solo projects as they do working together. So, Stone Temple Pilots finds STP picking up where they left off, retaining the harder, diamond edge of Shangri-La Dee Da, balancing swagger and melody with an expert professional touch, offering everything as expected, except for the key ingredient of Brendan O’Brien, who produced every one of STP’s albums before this. In his stead come the DeLeo brothers, who somehow strip the group’s sound to the core while still managing to pile on six-string overdubs; it’s an STP record that’s de-frilled and guitar heavy, its bluntness extending to a direct quotation of “Dancing Days” in the guitar solo for “Hickory Dichotomy” and an open homage to prime Aerosmith on “Huckleberry Crumble.” Perhaps with another set of ears in the studio these allusions would be refined, and perhaps the entire set would be sharpened, anchored by a couple of surging singles, and possessing some sense of shifting texture, but as it stands, Stone Temple Pilots is a good solid record and an inadvertent testament to the fact that these guys need each other.
Review by Stephen Thomas Erlewine, Allmusic.com
Tracklist:
01. Between The Lines (02:50)
02. Take A Load Off (03:11)
03. Huckleberry Crumble (03:10)
04. Hickory Dichotomy (03:22)
05. Dare If You Dare (04:29)
06. Cinnamon (03:33)
07. Hazy Daze (02:59)
08. Bagman (02:45)
09. Peacoat (03:29)
10. Fast As I Can (03:33)
11. First Kiss On Mars (03:03)
12. Maver (04:53)
13. Samba Nova (03:35)
14. Vasoline [live from Chicago] (03:12)
15. Hickory Dichotomy [live from Chicago] (03:20)
16. Between The Lines [live from Chicago] (02:55)
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