Shangri-La-Dee-Da is also an amazingly stand up album. I can only hope he is at peace now wherever he is with all the other great musicians that wrestled with drugs and/or personal demons. Thank you for what you've done for me Scott and STP. Thank You was a wonderful greatest hits and their music encapsulated some of my best memories. Now, Stone Temple Pilots is easily one of my absolute favorite bands. I've avoided a lot of hard drugs old associates were trying because of Scott's issues.
I was straight edge all through high school and never drank or smoked until I was an adult, due in no small part to Scott Weiland's drug problems. Hearing the news about Scott back when I didn't know who they were made me more aware of their music. I had heard a few songs by Stone Temple Pilots and enjoyed their sound but didn't know much about the band. The local rock station's host rambled off news and I heard "Scott Weiland has admitted himself to rehab" among other things that morning before school. 18).Īn informal but highly analytic study of popular music.My first memory of Stone Temple Pilots was during my freshman year of high school over 18 years ago. This is what Richard Cohn calls a "hexatonic pole" because it jumps across the hextonic cycle - in other words, it's as far away as you can get and still be in the same hexatonic cycle (Cohn, p. While the progressions from F-C and C-G are extremely common, the move from E b major to B minor is striking and most unusual. Lastly, and most important, the harmony is also heavily chromatic. The intro riff and chords employ 10 of the 12 tones (only C# and G# are absent). This time, however, because of the key change to C major, B b is now bVII instead of bVI. While B b moves to F in both the verse ( bVI- bIII) and chorus ( bVII-IV), in the verses that F proceeds to G (IV), while in the chorus it resolves to C (I). It's a great example of what I call "multifunctional harmony", where the same chords can function in different ways, even within the same song. That B bMM7 chord in the verses foreshadows the B b that initiates the chorus. By altering the bass line, DeLeo also alters the progression, changing things up to keep a listener engaged.Įven more fascinating is the harmony. This is an example of what Mark Spicer calls a "fragile tonic", in which “the tonic chord is present but its hierarchical status is weakened." DeLeo's bass line is also what determines the B bMM7 chord ( bVI in D) that appears near the end of each verse, differentiating that particular progression from the D minor chord that appears earlier in the same location. The former seems to be in D major while the latter is in C major. What particularly captures my current attention is Robert DeLeo's bass line, which, by often playing the third and fifth of the tonic D major chord, constantly undermines any authoritative tonal conclusions about the verse. One of the first things I noticed was the change in key between the verse and chorus. 4, which immediately captivated my 14-year-old ears. They played a song called 'Sour Girl' from their 1999 album No. One night, I turned on the radio and heard for the first time a band called Stone Temple Pilots. And Loveline would frequently feature guests, including many pop bands who were promoting their recent records.
I suspect many of a certain age connect The Beatles with this process, one major reason they're still so popular a half-century later. Like many adolescents, I used musical preference as a way to establish an identity, or at least the beginnings of an adult identify.
I suspect I'd be a very different person today had I not randomly encountered that broadcast while scanning the radio dial that night. With the benefit of hindsight, it's difficult to overestimate how important that discovery was because hearing frank and explicit discussion of sexual matters helped me realize, understand, and accept my own maturation process, both physical and mental. I was in eighth grade and starting to assert personal independence. I discovered the late-night radio talk show Loveline, with Adam Carolla and Dr.
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