Stone Temple Pilots – Purple (Hybrid SACD)
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€49,00
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Vocals – Scott Weiland
Electric Guitar, Acoustic Guitar – Dean DeLeo
Bass – Robert DeLeo
Drums – Eric Kretz
Lyrics by Scott Weiland
Music by Scott Weiland, Dean DeLeo, Eric Kretz, Roberto DeLeo, Scott. Weiland, Stone Temple Pilots
1 Hybrid SACD
Original analog Master tape : YES
Stereo
Studio
Label : Analogue Productions - Atlantic 75 series
Original Label : Atlantic
Recorded on July 12, 1993 - March, 1994 at Harptone Studios Record Plant Southern Tracks
Produced, recorded and mixed by Brendan O'Brien
Engineered by Nick Didia
Mastered by Ryan K. Smith at Sterling Sound
Illustration by Dale Sizer, Metafor
Originally released in May 1994
Reissued in 2024
Tracks:
- Meatplow
- Vasoline
- Lounge Fly
- Interstate Love Song
- Still Remains
- Pretty Penny
- Silvergun Superman
- Big Empty
- Unglued
- Army Ants
- Kitchenware & Candybars
Reviews:
"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." AllMusic Review by Thomas Erlewine.
"As Stone Temple Pilots were approaching making their second album, their A&R man Tom Carolan pulled the band aside and offered four simple words of advice: “Fasten your seat belts.” It’s a line that their bassist Robert DeLeo has repeated when working with young artists on the cusp of their own breakthrough. “It’s a ride that sometimes you’re not going to be able to control,” he says.
He should know. By the time they were getting ready to make that second album, Stone Temple Pilots were already aboard the roller-coaster and picking up speed rapidly. Their 1992 debut album Core had made them the latest grunge rockers to break big, but many peers and critics viewed frontman Scott Weiland, drummer Eric Kretz, Robert and his guitarist brother Dean with suspicion. They were the men apart in a grunge clique based predominantly 1,000 miles north in Seattle.
In Weiland they had a showman singer whose voice could morph from a raspy, Eddie Vedder-esque growl to smooth, Layne Staley-style crooning, sometimes in the same verse. Their music injected classic-rock riffs with glam stomps here, a breezy Americana twang there, and a punky theatricality over the top. It was almost as if the band realised that rock music didn’t have to just stare at its shoes, it could be entertaining too.
As it happens, they were having so much fun touring Core that they barely noticed the disdainful looks being cast their way. “Core was a really lovely experience,” recalls Dean who, like Robert, is speaking from his home in Southern California. “It was when we first met [producer] Brendan O’Brien, and he had us all living in a house about two or three miles from the studio. He didn’t want us toiling around in LA traffic, he wanted us to be timely. Brendan is very timely, and he gets bored easily.”
O’Brien’s restlessness would become essential in what made Purple, the follow-up to Core, the band’s defining record; an album that captured what made STP such a thrilling rock band. But it would never be the same again for them, with Weiland’s well-documented substance abuse overshadowing subsequent recordings. Purple is where everything clicked, where they channelled the heady momentum of a triumphant debut into something more ambitious and daring.
There was certainly no sense of complacency creeping in as Core’s sales figures grew and the band embarked on a lengthy US tour. They had the wind in their sails. “Touring Core, there was a lot of material floating around already,” says Dean. “Core was doing what the mighty Atlantic Records had hoped for, but they really wanted to take Plush, our second single off Core, for all it was worth. We didn’t know if that was a good idea, we just wanted to move on and release another single.” Classic Rock Review by Niall Doherty.
Ratings:
Discogs : 4.68 / 5 ; AllMusic: 4 / 5 ; Chicago Tribune: 2 / 5 ; Rolling Stone: 3 / 5 ; The Rolling Stone Album Guide: 3.5 / 5