All Music Guide
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 its videos, but critics and rockists singled them out as the one band that typified how the establishment was going to sell out the altrock revolution that Nirvana kicked off in 1992, 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 rock altrock ripoffs, so they not only had 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 guitarist Dean DeLeo and vocalist Scott Weiland wrote continued to get more interesting, Weiland began his de...scent 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 shortlived 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 14track 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, monsterous riffs, Weiland's insanely hooky neopsychedelic melodies, the band's tight, propulsive rhythms, Brendan O'Brien's clean yet intricate production lie. Although they seemed rather cookiecutter 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 hardrock 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 altrock played as classic rock it played by the rules of '70s albumrock, but its amaglam 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 were 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 spinoff "Mockingbird Girl" (not STP, but it fits musically) and the album tracks "Tumble in the Rough," "Church on Tuesday," but that's nitpicking Thank You contains all of their great songs, and there are many: the hazy, murky calvacade of imagery in "Vasoline;" the swelling, mournful "Creep;" the neoglam crunch of "Big Bang Baby;" the eerie, desolate latenight dread of "Big Empty;" the majestic "Plush;" the candycoated 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, incadescent powerpop "Days of the Week;" the matteroffact, heartbreaking resignatiion of "Sour Girl;" and, best of all, the timeless travelogue "Interstate Love Song," as great a driving song as ever been recorded. These are the songs that have been classified as guilty pleasures by altrockers too consumed by conventional definitions of good taste, but 10 years after STP's peak, this music reveals itself as some of the best singles of the '90s. Scoff if you want, call them the Guess Who of the '90s, but this music has stood the test of time and this collection is nearly perfect. - Stephen Thomas Erlewine, All Music Guide Read more Less
