Sony/ATV Signs Deal for Scott Weiland's Stone Temple Pilots Catalog You listen to all those great Queen and Zeppelin albums, and there’s just so much going on there you have to ask yourself, ‘How were they getting all those effects?'” The more we delved into the studio, the more we discovered what we can do. Then we ran that as a loop and I came up with the melodic tom thing on the drums and put that through a loop and developed the sound for the beginning that way. “So that way the decay is before the note. “For ‘Lounge Fly,’ Robert had this whole part worked out in his head where he’s playing the harmonics on an opening tuning on his 12-string guitar and would then run it backwards,” explains Kretz. But in the studio, it was a song that found the band delving deeper into the concepts of tape manipulation, no doubt influenced by the likes of David Bowie and Brian Wilson, both of whom they began covering on the Purple tour with beautifully crafted renditions of “Andy Warhol” (which they debuted in 1993 on MTV Unplugged) and a version of The Beach Boys’ “She Knows Me Too Well” off their 1965 LP The Beach Boys Today. One song on Purple that stuck out from the fray almost immediately was “Lounge Fly,” which has since become a live staple for the band.
Stone temple pilots interstate love song lyrics how to#
There was this sense of urgency to deliver something for Atlantic, but despite that for Purple we really honed-in on different types of sounds and how to manipulate the studio more to our liking.” And I think after touring for a while, we were really much more aware of how to achieve different tricks and techniques in the studio we weren’t really hip to before. “And we knew that we wanted to create these hard rock songs with specific tones to them. “When we did Core, we were still just coming out of playing clubs between San Diego and Los Angeles,” Kretz tells Billboard.
It’s an honor rarely bestowed upon sophomore efforts, but the band entered into the creation of Purple brimming with all kinds of ideas. Then we flew to Atlanta to cut the album with Brendan O’Brien almost immediately afterwards.”ĭespite the hastiness of the creative process to build upon the momentum of Core, it turned out STP had crafted what would grow to become their singular classic. The reason was that we were coming off a year and a half of touring for Core, so we took only a month off and then hopped in a Los Angeles studio, got in a room and began working on songs and arrangements. “I mean, we had that record recorded and mixed in three and a half weeks. “For Purple, it was so streamlined,” recalls drummer Eric Kretz. 1s on the Mainstream Rock Songs chart with “Vasoline” and “Interstate Love Song.” On Oct. 18, the band oversaw the release of a super deluxe edition containing a trove of demos, early versions, acoustic versions and a complete concert from the New Haven Veterans Memorial Coliseum in New Haven, CT on Aug.
The album, which dropped June 7, 1994, topped the Billboard 200 and delivered two No.
So we did get to do what we wanted creatively and I’m very thankful for that.”Īfter the success of their 1992 debut Core, the band’s anticipated follow-up, Purple, began construction almost immediately after the band’s first major North American tour, one which saw them starting out as the opening act for one of their underground heroes The Butthole Surfers. And Atlantic had enough trust in us to do that. He firmly believed in making the records ourselves and delivering it to the label without any interference. Brendan didn’t like industry people in the studio. You had guys like Danny Goldberg, Tim Sommer, Doug Morris and a lot of great, great people who were really in our court. “That’s what we always wanted, and Atlantic was such a wonderful place to be back then. “I feel like we were one of the last of those rock bands doing those kinds of deals with major labels, which gave us creative freedom,” explains STP bassist Robert DeLeo to Billboard. And living comfortably between these two worlds was San Diego’s Stone Temple Pilots. In 1994, the House that Ahmet Built was in a full-on gilded age, not only with the commercial success of acts like Tori Amos, Hootie & The Blowfish and Collective Soul, but with the incubation of such vital indie artists as Daniel Johnston, Eugenius and The Melvins as well. There wasn’t a more freewheeling major label at the cusp of the mid-90s than Atlantic Records.
0 kommentar(er)
