I’m also fairly certain that’s producer Brendan O’Brien on the keys, too. Glen is either playing a Danelectro Longhorn Guitarlin, or Danelectro Longhorn 6-string bass (although I believe it’s the latter) - but in either case, the extended neck into body design gave the instruments their trademark brighter, more twangy tone. Robert is playing in a similar bass style on this, as the original version featured Carole Kaye. This comes from the DVD that was part of the Deluxe Edition of the Thank You compilation album. It’s STP with Glen Campbell from the sessions to Shangri-La Dee Da. So if anything, the vibe is more of Californian feel, although perhaps in response to what was coming out of British Invasion artists.įor further reference, check this out. For that matter, Dean’s guitar solo is also very inspired by Glen Campbell, who was also a member of The Wrecking Crew. It’s got that thick, flat tone that she would achieve by using a pick, instead of her fingers.
There’s perhaps a bit too much Country twang going on, and Robert’s bass playing on it is a complete homage to the style/sound of Carole Kaye - a key member of the studio musicians who comprised The Wrecking Crew. You Can’t Drive Me Away (2010 True Blood Soundtrack)Ĭan’t You Hear Me Knocking (Scott Weiland & Carlos Santana)Ĭlick to expand.Not so sure about how British Invasion sounding it is. How Do You Sleep? (The Magnificent Bastards)Ĭircles (Wondergirls Scott Weiland side band) Mockingbird Girl (The Magnificent Bastards) This is what I have for a list - tell me if I'm missing something: We didn't do unreleased STP stuff so I gathered together everything I could think of that was non-LP tracks. I’ll be getting this at some point.Īlright so we covered the box sets - looking at what's left. So I think this box is a success too – it’s not excellent – where are the music videos? Where are any live clips on video? But still, the 3 CD’s are all worth it. They did have the live Windy City DVD which I got immediately but this show took place in 1994 which wasn’t well covered until now.
#STONE TEMPLE PILOTS ALBUMS FULL#
I think I appreciate this more than I normally would because I waited so long for some kind of full concert release from them on CD.
“Unglued” is a great live vehicle and they’re can do “Dead And Bloated” and “Sex Type Thing” in their sleep at this point. The ‘Core’ songs are performed well, “Plush” sounds great at a bit faster speed – it lacks the sludgy drag. Of course by the time Dean kicks into that riff again after Weiland sings, you know that crowd must have been loving it – it’s a nice moment in their history to have – that riff still fresh and not totally recognized. When they hear the beginning many fans now recognize it from the album. Pair that with their reaction on Scott’s introduction of “Interstate Love Song” which has the fans not too enthused as it had yet to be released as a single. “Big Empty” is sloppy during it’s quiet corridor midway in, but to the crowd, it’s the latest huge hit. “Vasoline” leads off and has an awesome extended feedback intro leading into it. “Crackerman” is especially good, the early show highlight. The DeLeos and Kretz do well at getting a heavy sound and Weiland performs well on everything. I don’t think it’s the reason as plenty of live albums have done just that, but it doesn’t really matter when the band perform everything well and the fans are loving it. It’s true that a flaw of STP live is that they stick to close to song’s studio features and add in the lack of any jamming, one wonders if this may be the reason nothing live was released during their prime. “Andy Warhol” is another cover from the acoustic section that wasn’t on an album and joined by a great performance of “Pretty Penny” and a capable “Creep”, the momentum continues right through. With this taking place right in their prime with the newly instituted acoustic set and even Weiland playing a cover song solo on acoustic “Gypsy Davy”, the band satisfy the crowd pretty easily with everything they do. It’s a solid concert, they do cut corners a bit at times when they can’t play the overdubs found on ‘Purple’, but the crowd is so cheerful that I feel like I’m there with them. The August 1994 New Haven, Connecticut concert must have been chosen because of the audience reaction which is incredibly enthusiastic.
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