Red Mosquito

Yesss. Let it happen, trag.

To me the last 3 STP albums are all great art-rock.

https://youtu.be/vBUpmegV_SE

This is a recent interview with Weiland... maybe his last.

This interview is entertaining on many levels.

Highlights include: Scott naming the best album he has appeared on (surprisingly, he was right). The interviewer's competence and Scott's reaction (or lack thereof) to the interviewer and demeanor

You know, I've been watching recent interviews(wildabouts era) and youtube, and I just got an eerie feeling. Why is he even doing these interviews? He looks miserable in almost every one. It seems like he was very prolific with the press toward the end. Did he always bother with them that much? It almost seems like he was resigned to death and wanted it to be documented.

I also, find it funny how he constantly mentions being drug-free for 13 years. I'm pretty sure he's referring to heroine exclusively.

Dev wrote:To me the last 3 STP albums are all great art-rock.

Silverchair post

I'll check out No. 4 thanks to this thread.

It's funny that STP got tagged as imitators when PJ only found BoB because of Core. I didn't know that.

DeLima wrote:It's funny that STP got tagged as imitators when PJ only found BoB because of Core. I didn't know that.

I doubt that's true as Brendan first worked with Pearl Jam before Core was released.

I presume they found him via his work on Blood Sugar Sex Magik.

Birds in Hell wrote:

DeLima wrote:It's funny that STP got tagged as imitators when PJ only found BoB because of Core. I didn't know that.

I doubt that's true as Brendan first worked with Pearl Jam before Core was released.

I presume they found him via his work on Blood Sugar Sex Magik.

My bad. PJ worked with BoB before Sept 92?

Either way, BSSM came out before either Core or VS., and with the PJ/Peppers connection you're probably right. I just didn't know that Core was the first album BoB produced.

Dev wrote:To me the last 3 STP albums are all great art-rock.

I was referring to Tiny Music, No. 4, and Shangri La Di Da.

DeLima wrote:

Birds in Hell wrote:

DeLima wrote:It's funny that STP got tagged as imitators when PJ only found BoB because of Core. I didn't know that.

I doubt that's true as Brendan first worked with Pearl Jam before Core was released.

I presume they found him via his work on Blood Sugar Sex Magik.

My bad. PJ worked with BoB before Sept 92?

Sonic Reducer was recorded with Brendan in September 1992 but he also remixed Jeremy for the single release and State of Love and Trust for the Singles soundtrack.

I had forgotten how much I like "A Song For Sleeping".

tragabigzanda wrote:I listened to No 4 three times today, and then I listened to Tiny Music, my previous fave. No question that No 4 is now my favorite STP record. They show a real broad range of styles, and there is a musicality here that I've not heard on other STP records. The sequencing is awesome, and I love the psychedelic touches.

I think I was probably listening to a lot of Radiohead and The Microphones when this came out; I gave it a few spins and shrugged it off as "modern rock." Had only heard a handful of songs since then.

What a treat. Like discovering the best album by a band I never knew existed.

When "No. 4" came out in the Fall of '99, I absolutely lived that album for about 9-10 months, culminating in the one time I saw STP live, in August 2000. During '97-'98 or so, I remember it being really up in the air whether STP would ever play again at all, so when they dropped "Down" prior to the album's release, it was like manna from heaven -- I didn't necessarily think it was their greatest song ever, but it was certainly a deep, heavy track fit to announce their return. I was pretty surprised to get the album and find how largely monochromatic it was -- their trajectory to that point had definitely been pointing increasingly toward more eclectic arrangements and accompaniments, and this was definitely a "back to basics" affair from a sonic standpoint (if not necessarily from a structural/rhythmic standpoint), which I really relished. It was one of the first times I was really struck by the microcosmic nature of certain rock records -- every song on this album felt like it could only exist here and nowhere else, so specific was the band's vision for it (whether that's truly the case I don't know, but that was the vibe I got at age 16).

After STP fizzled out in '02 or whenever, I began to regard this album and "Shangri La" as their less successful "comeback" records. I can't think of any legitimate reason for this apart from the fact that I just wasn't listening to them as much in general and was relying on my memory to do my ears' job. But over this past week, I have been able to re-establish a lot of what I loved about this album to begin with. I never thought it was their best album and still don't, but it soundtracked a weird, complex time in my life where there was a lot of happiness in spite of a lot of difficulty, and as such it taps into those emotions that often only music from your teen years can -- not pure nostalgia, but some combination of that, discomfort, hope, and uncontained love for the music itself.

"Glide" is fantastic.

team glide

Team Glide forever!

It's been fun listening to this stuff again after such a long break.

Yeah, Glide is one of the top 3 tracks from this album, along with Atlanta and I Got You. The unreleased track from this album, "You Can't Drive Me Away" would be right there too.

Am I the only one who adores Samba Nova?

In regard to No. 4, Atlanta and Glide are some of Weiland's best vocal performances on record IMO.