Stone Temple Pilot's "Core" (1992): Track by Track!

<v Speaker 1>Hello everybody, and welcome back to the Shorely You Can't
<v Speaker 1>Be Serious Podcast. We are here for the second part
<v Speaker 1>of our Stone Temple Pilot's episode. We are here to
<v Speaker 1>talk about the album Poor track by track. We've got
<v Speaker 1>special guests with us today, mister Brad Moore from Louisyana.
<v Speaker 2>Brad, how you doing, Buddy?
<v Speaker 3>Doing great? How are you guys doing great?
<v Speaker 1>So, Brad, you are friends with James Buckley. Kids are friends?
<v Speaker 1>Is that about right?
<v Speaker 3>That's correct?
<v Speaker 1>So I got to ask this question, did you tell
<v Speaker 1>him about us? Or did he tell you about us?
<v Speaker 3>He told me about y'all.
<v Speaker 2>That's nice, That is awesome.
<v Speaker 4>He actually posted something to think on his Facebook page
<v Speaker 4>and I was like, eighties nineties, that sounds pretty good.
<v Speaker 3>I'll check it out.
<v Speaker 1>Good, good, good, Well, we got together and did our
<v Speaker 1>Motley Crue episode. In our White Snake episode, Jason pointed
<v Speaker 1>out that you guys are our biggest and longest Patreon subscribers,
<v Speaker 1>and I said, I bet they're going to love to
<v Speaker 1>be called the biggest in the longest lines.
<v Speaker 2>That's right, All right, Well, I'm excited to dive into this.
<v Speaker 2>This is an album that was released on September twenty ninth,
<v Speaker 2>nineteen ninety two, as well as Alison Chains album being
<v Speaker 2>released the same day. They both did the record stores
<v Speaker 2>at the exact same time. Brad, what's your relationship with
<v Speaker 2>these two albums.
<v Speaker 4>I had already known about Alison Chains just from Facelift.
<v Speaker 4>You know, that was just a really good album. And
<v Speaker 4>you know, some friends and I had kind of got
<v Speaker 4>in once they got on the ground floor at the
<v Speaker 4>grunch thing. But we'd gone to see Pearl Jam with Soundguard,
<v Speaker 4>little dive bar and Dallas called the Bronco Bowl renovated
<v Speaker 4>Bowling Alley. I mean, it looked like something that should
<v Speaker 4>be in a grunge video. And there was like kegs
<v Speaker 4>in the corner that you could go and buy your
<v Speaker 4>beer if you're old enough.
<v Speaker 3>So we got into all that kind of music.
<v Speaker 4>I don't know about Alison Chains, but I had a
<v Speaker 4>buddy of mine, two friends, actually, they worked at our
<v Speaker 4>local record store called Hastings Books and Records, and I
<v Speaker 4>was in there one day after work. You know, for
<v Speaker 4>all you kids out there that's the Spotify age. Was
<v Speaker 4>going for the record store and actually thumbing through everything.
<v Speaker 4>My buddy was talking to me, and I just heard
<v Speaker 4>this music playing in the background, and it was actually
<v Speaker 4>the intro to Dead and Bloated. You know, you could
<v Speaker 4>hear the megaphone and which I foun out later it's
<v Speaker 4>actually not a megaphone.
<v Speaker 3>But I was listening to it.
<v Speaker 4>I was like, who are these guys, Chris and he's like,
<v Speaker 4>this is Stone Tiple Pilots. I'm like who, and he said,
<v Speaker 4>Stone Tiple Pilot It's a you know, new group. We
<v Speaker 4>just got it in like yesterday. I'm like, okay, well,
<v Speaker 4>i'mnn walk around a little bit. So I passed him again.
<v Speaker 4>I was on the third song, which I believe was
<v Speaker 4>Wicked Carden, and I was like, do you still have.
<v Speaker 3>Some of this here? And he's like, yeah, we got
<v Speaker 3>like four copies left.
<v Speaker 4>I said, I'm gonna go check out now and buy one.
<v Speaker 2>Wow.
<v Speaker 4>It immediately came probably my favorite album I had in
<v Speaker 4>my collection at times. Don't think I bought Dirt that
<v Speaker 4>same day because I hadn't heard all of it yet.
<v Speaker 3>But uh, it wasn't long after.
<v Speaker 2>So you're telling me you bought four on day one.
<v Speaker 4>If it was the same day they got it in,
<v Speaker 4>I don't know if they got it in that day,
<v Speaker 4>but I had heard three songs just browsing to the
<v Speaker 4>record store and that's when I bought it.
<v Speaker 2>That's really yeah.
<v Speaker 1>I wore I don't know if I mentioned this the
<v Speaker 1>last episode, but I wore this album out, Like I
<v Speaker 1>listened to.
<v Speaker 2>This album over and over.
<v Speaker 1>And if you talk to anybody I worked with in
<v Speaker 1>my early days of waiting tables at TGI Fridays, they'd
<v Speaker 1>be like, that guy is saying that dead you, Dead
<v Speaker 1>and Blooded song.
<v Speaker 2>In the kitchen.
<v Speaker 4>But yeah, I actually know I saw Scott Wiland play solo.
<v Speaker 4>I guess it's been about five years ago now here
<v Speaker 4>in Monroe.
<v Speaker 2>He's been dead for seven so that would have been
<v Speaker 2>a really.
<v Speaker 4>Well I may be off on that, so sorry, you
<v Speaker 4>might have to edit that part out later.
<v Speaker 1>No, no, no, this is the time of life that
<v Speaker 1>the days are long but the years are short.
<v Speaker 5>My friend.
<v Speaker 2>That's right. So you saw that in like twenty fifteen
<v Speaker 2>or whatever.
<v Speaker 3>How do you guess at the time?
<v Speaker 1>Good?
<v Speaker 4>I mean we were it was a small place, a
<v Speaker 4>small bar, and I mean we were actually kind of
<v Speaker 4>off the side there, and he walked right up within
<v Speaker 4>five feet of me, and I was just looking. I
<v Speaker 4>was like, man, he's right there, look good, and sounded good.
<v Speaker 4>There was a point in the show where he missed
<v Speaker 4>some words. I knew the lyrics too. I think it
<v Speaker 4>was a Velvet Revolver song. It was still it was
<v Speaker 4>a great show. I mean I felt like I saw
<v Speaker 4>both those bands in the same night. I think he
<v Speaker 4>died less than a year after that.
<v Speaker 2>All right, so before we dive in track by track,
<v Speaker 2>let's talk about the album cover. This one has like
<v Speaker 2>she's supposed to be like Eve from the Garden of Eden.
<v Speaker 1>Yeah, that's the title of the album, is Core, and
<v Speaker 1>the idea is the core of the Forbidden for It.
<v Speaker 2>Yes, so she's like presenting this gigantic apple and she's
<v Speaker 2>kind of blurry. And I told you that the logo
<v Speaker 2>for Stuntable Pilots looked like an eleventh grader made it
<v Speaker 2>at lunchtime on their high school break. I would say
<v Speaker 2>it's a skater ish.
<v Speaker 1>It's a very low fi title is probably a good
<v Speaker 1>way to put it.
<v Speaker 2>So you're not a big fan. I like the album.
<v Speaker 2>The album cover is not good in my face. Okay,
<v Speaker 2>So all right, you like the girl buried in the desert, yes,
<v Speaker 2>the naked girl? Yes? So once again. This album was
<v Speaker 2>released September twenty, nineteen ninety two. That's the same day
<v Speaker 2>as they also chains album Dirt. This has gone on
<v Speaker 2>to go eight times platinum. It just crossed that mark
<v Speaker 2>in December of twenty twenty one. I believe so big
<v Speaker 2>sales for this album. It's their biggest selling album of
<v Speaker 2>all time. I told d that when you signed up
<v Speaker 2>for college classes, they handed it out with your schedule
<v Speaker 2>because everybody at college had this album. It was just
<v Speaker 2>on play NonStop in the ninety two ninety three era
<v Speaker 2>for me anyway, So let's go back to that day.
<v Speaker 1>Let's go back to September twenty ninth, September thirtieth. Brad
<v Speaker 1>has just gotten his CD from Hastings Books and Music.
<v Speaker 2>He puts it in his.
<v Speaker 1>Car and the first song to play is Dead and Bloated.
<v Speaker 6>Lock the Rolls Man, Lock the Rolls.
<v Speaker 2>Okay banger. Right out of the gate. You got that
<v Speaker 2>great little gravelly, weird voice rap thing at the beginning.
<v Speaker 3>Brad.
<v Speaker 1>You mentioned before that it sounds like he's using a megaphone.
<v Speaker 1>But he's not using a megaphone. But I've seen him
<v Speaker 1>on stage and he does use a megaphone for the
<v Speaker 1>album itself to get that sound.
<v Speaker 2>You didn't use a megaphone.
<v Speaker 1>You just used your the proficiency of your producer to
<v Speaker 1>produce that sound. And what I love about the beginning
<v Speaker 1>it is is it's so quiet because you turn it
<v Speaker 1>up and you're like this.
<v Speaker 2>See you must be quiet, and you turn it up
<v Speaker 2>and you turn.
<v Speaker 1>It up to you could hear the megaphone voice and
<v Speaker 1>then all of a sudden, it slammed you in the
<v Speaker 1>freaking face with that.
<v Speaker 2>Yeah.
<v Speaker 4>According to Robert de Leo, he said that when they
<v Speaker 4>recorded this, it is actually Scott singing into Dean's guitar pickup.
<v Speaker 2>He's singing into the pickup.
<v Speaker 4>Yep.
<v Speaker 2>I saw the video of him doing that. It's really cool.
<v Speaker 2>So his face is right there and they made a
<v Speaker 2>comment I thought you might know what he's talking about.
<v Speaker 2>They say, are you ready, Fellini? His face is right there,
<v Speaker 2>and they say are you ready, Fellini. He's like, let's
<v Speaker 2>do this, and his face is right there. I think
<v Speaker 2>it's cool. Eric talks about how when they recorded this,
<v Speaker 2>they all sat in a circle with the drum kick
<v Speaker 2>just off to the right. They faced each other, they
<v Speaker 2>got pumped up like football players, and they played it.
<v Speaker 2>They said they got it on the first take. What
<v Speaker 2>you hear on the album is one take.
<v Speaker 3>That's amazing.
<v Speaker 1>Yeah, they recorded this whole album in only three weeks.
<v Speaker 1>I mean, that's crazy.
<v Speaker 2>That's crazy fast.
<v Speaker 1>Produce one of the greatest albums of all time three weeks.
<v Speaker 2>Well. I heard him talk about this. The lyrics on
<v Speaker 2>this are weird. What's this song about? What are we
<v Speaker 2>talking about here? What's dead? And bloaded? Scott Wiland said
<v Speaker 2>that this is more kind of like a stream of consciousness,
<v Speaker 2>just words that he thought sounded cool.
<v Speaker 4>Yeah, one of the things I read he was mostly
<v Speaker 4>about possibly not having a lot of life experience and
<v Speaker 4>kind of setting watching things go by.
<v Speaker 1>I think all of STP lyrics, I mean, and I
<v Speaker 1>thought this from back when I very first started listening
<v Speaker 1>to them, they have to mean.
<v Speaker 2>Something different to everybody who listens to him.
<v Speaker 1>Because there's not a narrative that goes along like You're
<v Speaker 1>not getting you know, a story like you get in
<v Speaker 1>a Billy Joel's song.
<v Speaker 2>You're not getting you know.
<v Speaker 1>A lover's poem to another lover like you get in
<v Speaker 1>so many songs. These are songs that are very much
<v Speaker 1>poetry in an abstract kind of way. You know you
<v Speaker 1>mentioned in our last episode that these guys were working
<v Speaker 1>across the street from each other. Dean was working in
<v Speaker 1>a guitar shop at the time, and Scott, at least
<v Speaker 1>at that point, didn't play an instrument, and so Scott
<v Speaker 1>would come over when he'd get a song in his head.
<v Speaker 2>And that's what happened on this one.
<v Speaker 1>He walks over and he's like, it goes, and Deed
<v Speaker 1>would get a guitar off and he'd play the lick
<v Speaker 1>and he yes, yes, that's it, that's how it goes.
<v Speaker 2>That's how the song came in to be yup.
<v Speaker 4>They were telling Eric Kretz about it, and they were
<v Speaker 4>sitting around the Mexican restaurant house in Ancelana's and they
<v Speaker 4>were doing the beat. He started getting the table to
<v Speaker 4>hill drum beats. Who knows what the white staff is
<v Speaker 4>probably thinking at that time. It's very interesting to see
<v Speaker 4>how all that stuff comes together. And they use the
<v Speaker 4>term a lot that they frankensteined a lot of these
<v Speaker 4>songs together.
<v Speaker 2>Right.
<v Speaker 1>This is without question my favorite song on the album,
<v Speaker 1>and it was never released as a single. This song,
<v Speaker 1>to me is just all kinds of awesome. It makes
<v Speaker 1>you feel like you're ten feet tall when you're walking
<v Speaker 1>around listening to it on your headphones. It's gotten plenty
<v Speaker 1>of play, it's gotten plenty of radio play because of that.
<v Speaker 1>But it's just interesting to me that they've never decided
<v Speaker 1>to release this one as a single.
<v Speaker 2>I think it's interesting too when they toured with Lincoln
<v Speaker 2>Park that Chester Bennington would come on stage and singing
<v Speaker 2>this with them, and then later he became the lead
<v Speaker 2>singer Tip of Pilots. Yeah, another tragic story to tell
<v Speaker 2>a little bit later on.
<v Speaker 4>Yeah, it's a perfect opening track. It just grabs you
<v Speaker 4>and like, I want to hear what else is on here?
<v Speaker 1>So that brings us to song number two, which was
<v Speaker 1>their first single off of this album, a song called
<v Speaker 1>Sex Type Thing.
<v Speaker 2>Another banger man right out of the gate. This one
<v Speaker 2>grabs me. I like this one, bladed. I am fully
<v Speaker 2>invested at song number two.
<v Speaker 3>Ye.
<v Speaker 2>If you're if you're working after this at the gym,
<v Speaker 2>this one will keep you going. Yeah. It flows so
<v Speaker 2>well from dead and bloaded into sex Type Thing. You
<v Speaker 2>just it doesn't miss a beat, kicks you right.
<v Speaker 1>In the growing, right.
<v Speaker 2>Right after the first kicker into the growing.
<v Speaker 1>You know.
<v Speaker 2>I really like about this song coming It's about rape.
<v Speaker 3>Well that is well date rape.
<v Speaker 1>Yeah, yeah, I can remember listen to this and I'm like,
<v Speaker 1>this really seems like a like a date raper guy.
<v Speaker 2>This is this is a guy who's going to be abusive.
<v Speaker 2>But I still love it. But it just surely it's
<v Speaker 2>not what it's about, right, So it is actually about rape.
<v Speaker 2>It's from the rapist point of view, but it's meant
<v Speaker 2>to sort of cast that light and say this is
<v Speaker 2>terrible behavior, this should not happen. Ever, I mean, Scott
<v Speaker 2>was very protective of women. Eric Kretz would say, anytime
<v Speaker 2>they went to a bar, good chance Scott's getting in
<v Speaker 2>a fight with somebody because of the way they treated women.
<v Speaker 1>But he decided to put himself in that guy's perspective, right,
<v Speaker 1>you know, sit from that guy's point of view. And
<v Speaker 1>we've had we've had so many songs that are like
<v Speaker 1>that that you've it's not the point of view of
<v Speaker 1>the particular singer. It's I'm going to play a part
<v Speaker 1>here and write the words to come into my head.
<v Speaker 1>That's get Unfortunately, I think there were a lot of folks,
<v Speaker 1>since this was the very first single off of a
<v Speaker 1>debut album, that didn't really get that.
<v Speaker 2>About the band Whenever the song first came out. This
<v Speaker 2>reached number twenty three on the US Hot Tracks, Like
<v Speaker 2>You Says their first single. You know who directed this video?
<v Speaker 2>Josh Taft.
<v Speaker 1>Josh Taft from Pearl Jam, Josh Taft from Alison Chains.
<v Speaker 2>It's a rock concert, Josh. Yes, go back and look
<v Speaker 2>at any I mean he directed Alice of Chains. Would
<v Speaker 2>he directed Stone Table, Pilot's Plush, Pearl Jam, Alive Oceans
<v Speaker 2>even Flow? This guy was a big grunge director at
<v Speaker 2>the time. Gets called out by Eddie Vedder on the
<v Speaker 2>Alive video.
<v Speaker 4>Yeah, this is one of those that I think unfairly
<v Speaker 4>true comparisons between Scott and Eddie and saying that he
<v Speaker 4>was just kind of copying Eddie and using that yarl
<v Speaker 4>that Eddie Vedder.
<v Speaker 3>Was famous for.
<v Speaker 4>And you know, if you listen to any stumped up
<v Speaker 4>clilet s or Velvet Revolver or even Scott Wiland's, you know,
<v Speaker 4>solo stuff, he can sing in so many different keys
<v Speaker 4>and registers. That's just one of many things that he
<v Speaker 4>can do. But most of their songs, you know, he
<v Speaker 4>does not go back to that as much as people
<v Speaker 4>accused him of doing. He was far more of a
<v Speaker 4>dynamic singer than Eddie Vedder ever thought about being in
<v Speaker 4>my opinion, now, yeah, it.
<v Speaker 2>Was a different stop.
<v Speaker 1>He had more of a Mick Jagger dance around kind
<v Speaker 1>of style, whereas Eddie Vedder was rowling or climbing the
<v Speaker 1>rafters the video on this one, they're in a dungeon.
<v Speaker 1>I mean to go along with that kind of weird
<v Speaker 1>rapist mentality. It's these girls in the dungeon and Scott
<v Speaker 1>has bleached blonde hair in this.
<v Speaker 2>Yeah. And I can remember seeing this and then seeing
<v Speaker 2>the video for Plush and I'm like, it's the same dude. Yeah,
<v Speaker 2>I think it's interesting. He actually wears like a dress
<v Speaker 2>and like white gloves and lipstick sometimes when he performs
<v Speaker 2>this song, so that people don't think he's endorsing rape.
<v Speaker 2>One more thing, This traditionally has been a good closer,
<v Speaker 2>like a good concert closer for stunt up of balance.
<v Speaker 1>Well, we cannot leave the song without mentioning our long
<v Speaker 1>friend and guy that if he comes up, we just
<v Speaker 1>can't avoid it, mister weird. Al Yankovic covered part of
<v Speaker 1>this song. It's is the alternative Poka of the Bad
<v Speaker 1>Hair Day album out.
<v Speaker 2>Can we listen to that?
<v Speaker 3>Right?
<v Speaker 2>Here please. I am, I Am, I Am, I said,
<v Speaker 2>I want to guess next day. Yeah, I'm yeah.
<v Speaker 3>You what, mommy?
<v Speaker 2>That is fantastic. I love it. What are we gonna
<v Speaker 2>cover Weird Owl? Well, he's gonna have that movie coming out.
<v Speaker 2>We should do an episode on the new Weird Owl movie.
<v Speaker 2>Absolutely should do an episode on the Weird Out. All right.
<v Speaker 4>He's actually coming to street Port very soon. I just
<v Speaker 4>got an email on that. He's on tour right now.
<v Speaker 2>Mark it down, man. This is another one of those songs.
<v Speaker 2>He and I had this conversation last. They do a
<v Speaker 2>bad job of naming their songs in my opinion, because
<v Speaker 2>nowhere in the song does it say sex type thing,
<v Speaker 2>and so pop'll get confused about which song is this,
<v Speaker 2>you know, because the chorus doesn't really go with the title.
<v Speaker 2>And this is the I Am, I Am, I Am
<v Speaker 2>song exactly all right. Next song is called Wicked Garden.
<v Speaker 2>Okay for me, this is the third song in a
<v Speaker 2>row that has gotten better than the one before. Wow,
<v Speaker 2>we're ramping up.
<v Speaker 1>The music here is written by the Delio Brothers and
<v Speaker 1>it's kicks by right out of the gate again, and
<v Speaker 1>you've got a little different style of the vocals with Scott,
<v Speaker 1>who wrote the lyrics of this song I want.
<v Speaker 7>To run Gods, and.
<v Speaker 2>He's I think he's really bringing it in with this.
<v Speaker 2>What's this song about?
<v Speaker 1>This song is about people allowing their innocence and purity
<v Speaker 1>to be lost from their lives.
<v Speaker 2>No, that's wrong, and that is a quote from mister
<v Speaker 2>scotwak No. He's like, Okay, what's it about?
<v Speaker 7>This song?
<v Speaker 2>Is about sex?
<v Speaker 3>About heroin?
<v Speaker 2>Well, that might be a way that you lose your
<v Speaker 2>innocence of your purity. Listen, this song is I want
<v Speaker 2>to run through your wick your garden. This is I
<v Speaker 2>want to bang your brains out. What you can't say
<v Speaker 2>that radio? This is bang brains out?
<v Speaker 8>Brad.
<v Speaker 2>What do you think about this one?
<v Speaker 4>What I've heard is it's about heroin and it's about
<v Speaker 4>describing the temptations that come along with the stardom and
<v Speaker 4>you kind of lose your innocence and you run through
<v Speaker 4>that wicked garden and there's no turning back at that point.
<v Speaker 1>I'm saying sex. Whatever loss of innocence you might have
<v Speaker 1>about this song. It was one of the songs that
<v Speaker 1>they had on.
<v Speaker 2>Their Mighty Show Young Demo in nineteen.
<v Speaker 1>Ninety They performed this one on MTV Unplugged the nineteen
<v Speaker 1>ninety three which was another fantastic unplugged set. Man, if
<v Speaker 1>you don't remember, if he's sit in that big old
<v Speaker 1>rock and chair, what a rate unplugged show that one was.
<v Speaker 2>And then they also did it in ninety three on
<v Speaker 2>the Data Let on the show I love this song.
<v Speaker 3>I think it used to be on a car commercial
<v Speaker 3>as well.
<v Speaker 1>Jason, despite the fact that you think that this song
<v Speaker 1>is better than the previous two songs.
<v Speaker 2>Yes, it also was not released as a single.
<v Speaker 1>It was a radio promo and it hit the charts
<v Speaker 1>because of that, but it is it has.
<v Speaker 2>Never been released as a single. Once again, whoever's in
<v Speaker 2>charge of choosing singles should be fine.
<v Speaker 1>When these guys got together to make this album, they
<v Speaker 1>wanted to do what their rock heroes had done back
<v Speaker 1>at the seventh They wanted to do what is that
<v Speaker 1>one they had done. They wanted to do what the
<v Speaker 1>Beatles had done, which was making out album that is.
<v Speaker 2>Good from beginning to end, not an album that's.
<v Speaker 1>Gotten two or three you know singles, chart poppers and
<v Speaker 1>the rest is filler. They want something that the start
<v Speaker 1>to the finish you were going to want.
<v Speaker 2>To listen to or sing a song. Well, so far
<v Speaker 2>they're nailing it. They are.
<v Speaker 4>I'm with you on this one, Jason. I think it's
<v Speaker 4>kind of the first three. It's the best of the
<v Speaker 4>first three songs on the album.
<v Speaker 2>So this one reached number eleven on the US Mainstream
<v Speaker 2>Rock Tracks even though it wasn't released as a single.
<v Speaker 2>Freaking Love the song moving on to a song called
<v Speaker 2>No Memory.
<v Speaker 1>So right after three kick button songs, we get a
<v Speaker 1>song that gets faded in like it's almost as if
<v Speaker 1>he's been playing for.
<v Speaker 2>A while and we kind of walk into the room.
<v Speaker 1>With him and it's a very mysterious, kind of almost
<v Speaker 1>ominous guitar sound going on.
<v Speaker 2>Do you know the story behind this one, bron.
<v Speaker 4>Well, I know that the pretty So this album was
<v Speaker 4>printing O'Brien and he had come back to them said, look,
<v Speaker 4>this album's come together, but we need something else, and
<v Speaker 4>so they kind of just threw.
<v Speaker 3>It together and when they were playing it, they're like, you.
<v Speaker 4>Know what, this would be a great segue into the
<v Speaker 4>song sin, and so they kind of put it in
<v Speaker 4>there and it just kind of, you know, just streams
<v Speaker 4>in there perfectly, and it was a great idea, but
<v Speaker 4>it was the song they just kind of came up
<v Speaker 4>with at the last minute.
<v Speaker 3>They nailed it. It was perfect segue into that song.
<v Speaker 2>Yeah.
<v Speaker 1>I think when I listened to this, I totally just
<v Speaker 1>thought it was the introduction to Sin.
<v Speaker 2>I didn't think it was a separate song. This was
<v Speaker 2>written when Dean and Scott were living together and he
<v Speaker 2>used to play it for Scott to kind of get
<v Speaker 2>him in that somber mood ready to do something cool vocally.
<v Speaker 1>It's a really short song, it super short, only a
<v Speaker 1>minute and twenty seconds long, but it takes us.
<v Speaker 2>Right into Sin. This is another great one, man, I'm
<v Speaker 2>on board. Yeah. The guitar sound that they have is
<v Speaker 2>the same.
<v Speaker 1>You could tell that this is an album where they're
<v Speaker 1>not They're not doing a variety of different musical sounds,
<v Speaker 1>but the style is distinct. Each song is different. And
<v Speaker 1>this one again, you give us this nice little kind
<v Speaker 1>of quiet wellis into calm and then jump right back
<v Speaker 1>in with a thumb and kicker.
<v Speaker 2>Yeah.
<v Speaker 4>So Robert de Leo was a big Rush fan, and
<v Speaker 4>more particularly was a big fan of Palaces Lives, and
<v Speaker 4>so that segue from No Memory back into Sin was
<v Speaker 4>very Russia inspired. According to him, they go back and
<v Speaker 4>Dean talks about too that it was a very simple chord,
<v Speaker 4>and then he hadn't really ever played it, but it
<v Speaker 4>sounded so good and it was so easy that he
<v Speaker 4>brought it back in again, you know, later on on
<v Speaker 4>Tiny Music and meat Plow on Pasoline, and I said,
<v Speaker 4>it just so easy and it worked in so many
<v Speaker 4>places that he used it again and again.
<v Speaker 2>Okay, I got a story for you on this one.
<v Speaker 2>You read this on Sin. The day, like the day
<v Speaker 2>after they wrote this, they had a concert where Atlantic
<v Speaker 2>A and R man Tom Carrollman came to see them
<v Speaker 2>play a small club in LA and they were a
<v Speaker 2>little bit bummed out because there's only like twenty or
<v Speaker 2>thirty people in the entire club and when the air
<v Speaker 2>and our man is coming down to see, you want
<v Speaker 2>the place to be packed and hopping and all that stuff.
<v Speaker 2>And so they opened with this song Sin. They didn't
<v Speaker 2>have any of the lyrics and so that it's kind
<v Speaker 2>of an instrumental beginning to that concert got it kicked
<v Speaker 2>off with a bang, and the NR guy Tom really
<v Speaker 2>really thought it was great. I have no idea what
<v Speaker 2>the sign, but I mean, I'm looking at the lyric.
<v Speaker 2>I'm reading the lyrics and I've read them multiple times,
<v Speaker 2>and I still don't know what the song is. It
<v Speaker 2>is the word sin in there anywhere?
<v Speaker 1>Yah?
<v Speaker 2>Yes? Is it? Kay? Down you go suffer long down,
<v Speaker 2>you go Sin make me strong. Hey, here's something I
<v Speaker 2>do know about Scott Whitler. He was raised Catholic. Of course,
<v Speaker 2>you're taught about sin very much when you go to
<v Speaker 2>Catholic church, or any church for that matter. I also
<v Speaker 2>know he's a huge Notre Dame football fan, right as
<v Speaker 2>Moot's young Catholic boys tend to be. He went as
<v Speaker 2>far in two thousand and seven to write a handwritten
<v Speaker 2>letter to Charlie Weiss, who was the head coach at
<v Speaker 2>the time, encouraging him not to leave Notre Dame, which
<v Speaker 2>I thought was funny for a rock star to be
<v Speaker 2>a huge.
<v Speaker 4>Football My brother in law was actually on that coaching staff. Really,
<v Speaker 4>he was assistant strength coach.
<v Speaker 2>There's at least an odds on chance that Scott Wiland
<v Speaker 2>had heard your brother in law's name.
<v Speaker 3>Yeah, probably not.
<v Speaker 4>We did get to go up there once for a
<v Speaker 4>game that was that was a pretty cool experience.
<v Speaker 2>Cool. Moving on to the next song, on the album.
<v Speaker 2>This song is a song called Naked Sunday. Okay, So
<v Speaker 2>you don't.
<v Speaker 1>Have a megaphone here, but you definitely have an interesting
<v Speaker 1>double masking voice thing going on here where it's him singing,
<v Speaker 1>but there's like this basified or lower pitch, almost Rowley
<v Speaker 1>kind of voice, also saying alyrics that he's singing almost
<v Speaker 1>like a demon, if you will, basified.
<v Speaker 2>That's the word, okay, Yeah, a basis demon. I like it.
<v Speaker 2>It's demon cool. Okay. So Naked Sunday again lousy titled
<v Speaker 2>because the words never appear anywhere in the song.
<v Speaker 1>Yeah, but I mean it's the meaning is pretty clear.
<v Speaker 1>I mean, this is about this is about religious hypocrisy
<v Speaker 1>and the church trying to put people in a corner and.
<v Speaker 2>Telling them how to live. His feelings and thoughts about
<v Speaker 2>that not being the right thing.
<v Speaker 1>Okay, And he even does his little preacher bit in
<v Speaker 1>the middle, an eye for an eye too for a
<v Speaker 1>tooth turn the other cheek as eye. As good of
<v Speaker 1>a Catholic boy as he might have been, it was
<v Speaker 1>not too much into the church at that point.
<v Speaker 2>I did hear that this song came very late in
<v Speaker 2>the recording process. There's two chords involved, and when they
<v Speaker 2>played it, everybody jumped in and it became a real
<v Speaker 2>team effort. Aircrets talks about how he has really fond
<v Speaker 2>memories of making this, you know, making this song. This
<v Speaker 2>was also the song that they played when they played
<v Speaker 2>it in the nineties. This would create the mosh pit
<v Speaker 2>you and I have talked before. I'm not a mush
<v Speaker 2>pit guy. Yeah you are. Oh I totally did it.
<v Speaker 3>Oh I'm not either. Yeah, you stand back and watch.
<v Speaker 2>I like listening. I like rocking out. I don't like
<v Speaker 2>get punched and pushed and shoved. We don't really punch
<v Speaker 2>each other. I mean, I'm talking like I did this yesterday.
<v Speaker 2>I haven't done this since I was a teenager. But no,
<v Speaker 2>it's just.
<v Speaker 1>It's a pushing and a shoving. But it's all like
<v Speaker 1>in fun. Ohokays having fun are a wrestling match?
<v Speaker 2>Sounds good? Sounds good. Also on this one, when they
<v Speaker 2>cut the demo, like they came in at midnight to
<v Speaker 2>start the recording process, and like you said, this took
<v Speaker 2>three weeks. Right, so you're doing a couple of night
<v Speaker 2>you know, you're working a lot, and so at five
<v Speaker 2>o'clock in the morning, everybody's kind of a little sleepy
<v Speaker 2>and tired and not on their game. But they said
<v Speaker 2>when the vocals hit it, it energized everybody and all
<v Speaker 2>of a sudden, it's like sleep I'm not tired. And
<v Speaker 2>they were all kind of pumping and jumping at that.
<v Speaker 2>All right, So hit stop on your tape player, kick
<v Speaker 2>it out, flip it over, dude, it is.
<v Speaker 3>I still had a tape player in my car.
<v Speaker 2>Telling me that in Hastings, you got the tape, you.
<v Speaker 3>Didn't get the CD.
<v Speaker 4>No, I got the CD. I took it home and
<v Speaker 4>I dubbed it onto a blank and kept that car.
<v Speaker 4>Now that I think about it, I think my best
<v Speaker 4>friend bought dirt. We used to not ever buy the
<v Speaker 4>same CDs, and we would take them to my house
<v Speaker 4>and copy on and so that way we all had
<v Speaker 4>always had a copy of everything the other one had.
<v Speaker 2>Oh yeah, I remember those days. Yeah, Okay, I'm sorry.
<v Speaker 2>Let's pretend we have the tape. Go ahead, all right,
<v Speaker 2>So back in ninety two when a lot of people
<v Speaker 2>still had tapes, Hit stuff on your tape player, kick
<v Speaker 2>it out, flip it over for side too, and we
<v Speaker 2>start off with a song Creepest.
<v Speaker 9>Day mixed me walk Stay what the sweet mix me wal?
<v Speaker 1>I love the way that starts off. You got the
<v Speaker 1>acoustic guitar. It's crisp, it's beautiful, it's you don't have
<v Speaker 1>an over chorus part to it. It's just it's like
<v Speaker 1>the guys there with you playing the guitar, and then
<v Speaker 1>he comes in with that drums intro and it's just.
<v Speaker 2>It's a sweet, sad, beautiful beginning.
<v Speaker 3>I love it.
<v Speaker 2>I heard him talk about this song. They say it's
<v Speaker 2>not rock.
<v Speaker 9>Sick, sad, loaded hand gossip lots. Here say sad, loaded
<v Speaker 9>hand gossip lot.
<v Speaker 2>It's not country.
<v Speaker 3>It's right down in the middle.
<v Speaker 2>He said that they were influenced by like seventies music
<v Speaker 2>that included of course Led Zeppelin, but also Peter Frampton,
<v Speaker 2>Jim Crochey, John Denver Fleetwood Mad. Yeah. So this is
<v Speaker 2>a sort of a country rock feeling.
<v Speaker 4>This is one of those songs that kind of goes
<v Speaker 4>back how ersonal they were and how vertual Scott's voice
<v Speaker 4>was as well. I mean they could throw out the hard,
<v Speaker 4>you know, heavy songs when they come back to this
<v Speaker 4>and make it look like this was their wheelhouse and
<v Speaker 4>this is what they were really really good at the
<v Speaker 4>trick was they were good at all of it.
<v Speaker 3>And I mean it was totally different than anything but
<v Speaker 3>on the album so far.
<v Speaker 4>But it's one of the greatest songs that they ever did.
<v Speaker 2>I was telling indeed that back in the days of
<v Speaker 2>LimeWire and Napstra and stuff like that, that this was
<v Speaker 2>popularly referred to on those platforms as half the Man
<v Speaker 2>I used to be by Nirvana. Oh that's funny. Okay,
<v Speaker 2>Now I'm gonna throw this out there. This song, I
<v Speaker 2>gotta say the ultar boy in him is coming out.
<v Speaker 2>I think this might be there's some Jesus lyrics here. Okay,
<v Speaker 2>So take time with a wounded hand because it likes
<v Speaker 2>to heal you with me.
<v Speaker 1>I can see how you could draw a religious outigory there.
<v Speaker 1>I'm not sure that that's how it meant it, but
<v Speaker 1>what it could be. So he did an interview with
<v Speaker 1>song Facts just the year before he died, and he said,
<v Speaker 1>that's just the idea of being a young person somewhere
<v Speaker 1>caught between still being a kid and becoming a young man.
<v Speaker 1>It's that youth apathy, that second guessing yourself, not feeling
<v Speaker 1>like you fit in.
<v Speaker 2>I don't know if Jesus is in this song or
<v Speaker 2>not wounded hand, I don't know. Well, it likes to
<v Speaker 2>feel okay, all right, Hey. I do think it's interesting though,
<v Speaker 2>that they actually removed the bridge from this song. Yeah,
<v Speaker 2>I would like to hear the original version, uh huh.
<v Speaker 2>But it made it flow better according to the.
<v Speaker 1>Release in ninety three as a promotional single that had
<v Speaker 1>different vocal takes.
<v Speaker 2>I don't know if they had a different bridge or not.
<v Speaker 1>Well, let me just say this, there's a part right
<v Speaker 1>in the middle where it basically goes back to the
<v Speaker 1>intro guitar bit and it's my favorite bassline on this
<v Speaker 1>whole CD or tapeer album.
<v Speaker 2>Then done. I just I love the way that he
<v Speaker 2>walks it down, like here we go again.
<v Speaker 1>We're going to start write back over and I think
<v Speaker 1>that has to be where that bridge would have been.
<v Speaker 2>But I love that they just walked it right back
<v Speaker 2>to the beginning.
<v Speaker 3>Brad Thus, Yeah, this one was actually written in the
<v Speaker 3>back of the state up a car, Robert's car when
<v Speaker 3>they worked across the street from each other, just sat
<v Speaker 3>there behind the guitar shop, hung out and read the song.
<v Speaker 2>We talked about that in our last episode. I think
<v Speaker 2>that's awesome. I would love to go to parking spot,
<v Speaker 2>Row three, section seven and find that spot and say, man,
<v Speaker 2>this song was written right here. That's cool. I do
<v Speaker 2>think it's funny. They ate a cheesecake factory before they
<v Speaker 2>recorded this song, and when they came back, I guess
<v Speaker 2>Scott had laid out all these candles and had the
<v Speaker 2>kind of set the mood and once again they sat
<v Speaker 2>in a circle, tracked it live, got it on the bank.
<v Speaker 1>So video for this song, so you guys k know
<v Speaker 1>who gust Fan Zan is no directed Goodwill Hunting WHOA
<v Speaker 1>directed mel I mean, he's a pretty prominent guy. He
<v Speaker 1>directed a version of this video, but apparently it got
<v Speaker 1>shelf because it had too much drug and sexual references.
<v Speaker 1>Interesting did a second video. The director was Graham Joyce.
<v Speaker 1>I don't know anything that they've done, but I'd be
<v Speaker 1>interested to see to see that guest.
<v Speaker 2>Fan zan version of this video. Speaking of, do you
<v Speaker 2>remember the last video that we discussed that was banned
<v Speaker 2>from MTV?
<v Speaker 1>We did one when we did our Frankie Ghost to
<v Speaker 1>Hollywood Relax one Hit Wonder.
<v Speaker 2>Episode, but that was just for the Patreon. That was
<v Speaker 2>just for the Patrion. Something I don't Know You're all
<v Speaker 2>I Need by Motley Crue, the song written in response
<v Speaker 2>to Jack Wagner soap opera star Jack Wagner right and
<v Speaker 2>apparently look like for a young quarter. Okay, what do
<v Speaker 2>you think we've done with this one?
<v Speaker 1>So Robert, you said, they wrote in the back of
<v Speaker 1>the car, he said, about this song, he said, musically speaking,
<v Speaker 1>I was thinking about a song along the lines of
<v Speaker 1>Part of Gold by Neil Young, which is in the
<v Speaker 1>key of D minor, the saddest key of all. Scott
<v Speaker 1>was thinking about the lyrics, and at that time in
<v Speaker 1>our lives, we were struggling very much. What Scott was
<v Speaker 1>writing about was a real life situation, also about me.
<v Speaker 1>The thing about the gun creep is a very demeaning word,
<v Speaker 1>and it was one of those instances where we looked
<v Speaker 1>at ourselves and looked in the mirror.
<v Speaker 2>All right. Moving on to the next song on the
<v Speaker 2>album called Piece of Pie.
<v Speaker 1>Yeah, okay, we are on the second song signed too.
<v Speaker 1>And we have had slow songs, we've had fast songs.
<v Speaker 1>We've had songs that I know what they're about. We've
<v Speaker 1>had songs that I don't know what they're about. But
<v Speaker 1>we have not yet had a skipper. This is a
<v Speaker 1>good song after a good song, after great song after
<v Speaker 1>great song.
<v Speaker 2>It's amazing. There's been no bad song yet. None of
<v Speaker 2>these would have skipped so far, including this one, including
<v Speaker 2>this one. It's kicking my butt, Okay, I love it.
<v Speaker 4>I talked to James earlier and I told them the
<v Speaker 4>same thing I told you. I don't know which way
<v Speaker 4>I'm going to vote on this one because I listened
<v Speaker 4>to this.
<v Speaker 3>Entire album on the way to work.
<v Speaker 4>I listened to Derk just the other day, and there's
<v Speaker 4>no songs on either one of these albums that I
<v Speaker 4>ever skipped.
<v Speaker 2>I'm in that same vote, I really am.
<v Speaker 7>Yeah, I understand.
<v Speaker 2>I don't know. I this is not a skipper, but
<v Speaker 2>this is not. It's not a ten. You don't like this,
<v Speaker 2>It's okay. You're trying to be nice, but you don't
<v Speaker 2>like this song. It's okay, just say it. It's okay. No.
<v Speaker 2>I like what he does bocally. I mean he's really
<v Speaker 2>getting after like he's really leaning on those vocals, and
<v Speaker 2>it blows me away. But it's not the best song
<v Speaker 2>on the album. We're about to talk about the best
<v Speaker 2>song on the album, but this ain't it. So you
<v Speaker 2>mentioned Piece of Pie in our last episode, was tell
<v Speaker 2>me about that? Yeah, So we were talking about the
<v Speaker 2>early version of Stone Tumble Pilots where Scott Wiland had
<v Speaker 2>a few childhood friends in the band who weren't just
<v Speaker 2>quite up to stuff, and so they called Dean to
<v Speaker 2>come in and kind of help him out on this
<v Speaker 2>particular song. The guy that they had in place couldn't
<v Speaker 2>do the solo very well. They brought in Dean. Christine
<v Speaker 2>kills it and they all kind of look at each
<v Speaker 2>other and they realize Dean's gonna come, and this guy's
<v Speaker 2>got to go. And he saw the ride down the
<v Speaker 2>wall and it has since forgiven him, and you know,
<v Speaker 2>felt bad. That would be hard to have been in
<v Speaker 2>Stone Tumble Pilots. And then all of a sudden you
<v Speaker 2>realize I'm not very good.
<v Speaker 10>Well, we should listen to that solo.
<v Speaker 4>Like you said, he was just a he was a
<v Speaker 4>rhythm guitar player and he didn't really have solos in it.
<v Speaker 3>Like you said, they touched things up, so.
<v Speaker 2>It only cost you millions of dollars, will be better.
<v Speaker 2>I'm sure working in a safeway is just as good.
<v Speaker 3>There's anything wrong with that.
<v Speaker 2>By the way. This song Piece of Pie was cobbled
<v Speaker 2>together some of the earlier pieces of a song called
<v Speaker 2>Only Dying, which you can find on the thirtieth anniversary
<v Speaker 2>of course. Awesome, all right, twenty fifth anniversary on the
<v Speaker 2>twenty fifth anniversary, of course, because we haven't hit the
<v Speaker 2>thirtieth anniversary exactly twenty ninth of this month. Thank you
<v Speaker 2>for your correction, all right, So can we move on
<v Speaker 2>to the best song on the album? I don't think
<v Speaker 2>we're ready to go yet. I think we should listen
<v Speaker 2>to Piece of a little bit more. Now, let's move
<v Speaker 2>on to the best on the album. So they've done
<v Speaker 2>a very nice thing for you, Jason.
<v Speaker 1>They've taken the song that you don't really care that
<v Speaker 1>much about it and they put it right between an
<v Speaker 1>awesome song at the beginning and.
<v Speaker 2>What's the name of this song that's coming up again?
<v Speaker 2>I can't remember. This song is called plush.
<v Speaker 1>This song is the song that everybody was like, oh,
<v Speaker 1>this is that Pearl Jams.
<v Speaker 2>Sounds band, and I can totally hear it.
<v Speaker 1>It's got that same kind of feel, but man, it
<v Speaker 1>kicks my boot. Every time we covered this in my band.
<v Speaker 2>I loved it. I still love it. It is great hey,
<v Speaker 2>summer of ninety three. It may be the top down,
<v Speaker 2>turn it up song of that summer.
<v Speaker 9>Where you go on.
<v Speaker 1>So for the guys out there who heard this and thought, oh,
<v Speaker 1>this is just a copy of the pearl jam style
<v Speaker 1>or whatever, this is the one song that Eric Kretz
<v Speaker 1>gets a lyrics credit on. Scott Wiland had done the
<v Speaker 1>lyrics pretty much all of them. We mentioned in Creep
<v Speaker 1>that Wyland and Robert get the lyrics on.
<v Speaker 2>That one, but this song.
<v Speaker 1>They wrote the lyrics to this song while they were
<v Speaker 1>both naked in a hot time, back when they were
<v Speaker 1>still Mighty Joe Young, before they had signed with Atlantic Records,
<v Speaker 1>and before I might add, pearl Jam was a thing.
<v Speaker 2>They wrote the song Naked in the hotel about a
<v Speaker 2>girl and smelling the dogs and where will find What
<v Speaker 2>the heck is this song about? Don't you? These songs
<v Speaker 2>are very abstract. So I did hear a story that
<v Speaker 2>this is loosely based on a story that they had
<v Speaker 2>heard about or a girl was kidnapped, killed and they
<v Speaker 2>actually had to get the dogs to find her. I
<v Speaker 2>guess the dogs began to smell her. I wrote a
<v Speaker 2>song about it, like to hear it here, it goes.
<v Speaker 9>Where you go?
<v Speaker 7>Where where mask I'm around?
<v Speaker 9>When the dogs the games A smell.
<v Speaker 4>Where I do know that they said in somewhere that
<v Speaker 4>I read. I can't find it right now. But Scott
<v Speaker 4>liked to use words that had a feel to them.
<v Speaker 4>Also had came up the name velvet revolver. Plush was
<v Speaker 4>not sing something that it sounded good. It sounded like
<v Speaker 4>you could feel the word.
<v Speaker 2>If they were naked in the hot tub, you probably
<v Speaker 2>saw eric.
<v Speaker 3>Well played.
<v Speaker 2>So we got to talk about how you know. Because
<v Speaker 2>of the success of sex type thing, they were invited
<v Speaker 2>to come on head Banger's Ball on December fifth, nineteen
<v Speaker 2>ninety two. They played an acoustic version of Plush.
<v Speaker 11>This is a song called Plush Enough.
<v Speaker 7>Times is good, so.
<v Speaker 2>Good, and it is awesome. In fact, they wanted to
<v Speaker 2>the record company wanted to release it as a single.
<v Speaker 2>They actually kind of bristled at that, and they didn't
<v Speaker 2>want this to become the Plush album. But the song
<v Speaker 2>was freaking good. I it was on radio all the time,
<v Speaker 2>all the time.
<v Speaker 1>This is my girlfriend at the time says. They dropped
<v Speaker 1>it about two notes whenever they played it live.
<v Speaker 4>Record company actually wanted this to be their first sync
<v Speaker 4>Bad somehow negotiated full control of the creative process.
<v Speaker 3>Said well, we're not.
<v Speaker 4>Going to do that.
<v Speaker 3>We're gonna stick it all the way back here.
<v Speaker 4>At nine, so it doesn't define us as that song.
<v Speaker 4>They knew it was going to be good. They didn't
<v Speaker 4>know it's gonna be that good, but they knew it
<v Speaker 4>was gonna be good. But they didn't want it to
<v Speaker 4>overshadow everything else they had already done.
<v Speaker 3>It turned out to be a brilliant move.
<v Speaker 2>Okay, well, yes, it turned out to be a brilliant move.
<v Speaker 2>But for me, if I'm a record executive, I'm like, guys,
<v Speaker 2>this is the best song on the album. Let's come
<v Speaker 2>strong right out of the gate. So I'm spiking my football.
<v Speaker 2>This is the it's the pinnacle song of the album.
<v Speaker 7>Where fun.
<v Speaker 2>You like Radio Framelin Well, I do like Radio Freme,
<v Speaker 2>and they don't have a power ballad for me on
<v Speaker 2>so I got to hang my head.
<v Speaker 1>On this one right well, and this one in nineteen
<v Speaker 1>ninety four for Best hard Rock Song.
<v Speaker 2>So good man, it belongs on the Headbangers ball Man.
<v Speaker 2>I guess, I guess.
<v Speaker 1>By the way I saw something that said that this
<v Speaker 1>was like the fourth most played.
<v Speaker 2>Song of the nineties. I believe it. Yeah, I believe it, like.
<v Speaker 1>One hundred and thirty three thousand spins in twenty nineteen.
<v Speaker 2>This is the song. So I've got a handful. I've
<v Speaker 2>got like a Kathy playlist, right. My wife's name is Kathy.
<v Speaker 2>Anytime I want fun Kathy to come out, I play
<v Speaker 2>Motown Philly by Voice to Men, I play This Is
<v Speaker 2>How We Do It by montal Jordan, and I've played
<v Speaker 2>Plush by Stone Temple Pilots. One of these things is
<v Speaker 2>not like the other, I know, but still this is
<v Speaker 2>this makes fun Kathy come out. That's great, all right?
<v Speaker 2>Are we done with this one? I hate to be
<v Speaker 2>done with this one, all right, So that's gonna do
<v Speaker 2>it for Plush. Let's move on to the next song.
<v Speaker 2>If we can call it that. This is a song
<v Speaker 2>I don't. This is song is called wet my Bed.
<v Speaker 12>Hey, everybody, where did Mary go? Where did Mary go?
<v Speaker 12>And where's my only cigarette? Please think for me. I
<v Speaker 12>can't bear to I'll just lie here for a while
<v Speaker 12>within myself, wit my bit. If that's enough food.
<v Speaker 2>You just don't understand the marriage of the song. You've
<v Speaker 2>got some interesting chords that don't quite along. The rhythm
<v Speaker 2>section is almost like the ticking of a clock.
<v Speaker 1>But just think back to the Beatnick poets of the
<v Speaker 1>fifties and you get an idea of what this song
<v Speaker 1>is supposed to be. It is this kind of poet
<v Speaker 1>on stage giving you a mental image, and you totally
<v Speaker 1>have the image of.
<v Speaker 2>What he's got going on. This is not I don't
<v Speaker 2>skip this one either. Whatever. Whatever beat Nick poets from
<v Speaker 2>the fifties, I skipped them too.
<v Speaker 4>Brad Again, Now let's say if it was longer, I
<v Speaker 4>would probably skip this one, but it's not very long,
<v Speaker 4>so I just let it lee right into the next one.
<v Speaker 2>I understand they're going for this Beatles type of thing
<v Speaker 2>on this one. This is dumb. Just cut this. I
<v Speaker 2>like this. This is worthless. This is the album more personality. Okay,
<v Speaker 2>we my Bed is the name of it. Once again,
<v Speaker 2>Where did Mary go? I don't know? Where's my cigarette?
<v Speaker 2>I don't know? Sometimes we done with this one, Web
<v Speaker 2>my Bed. Let's listen to the rest. Okay, moving on
<v Speaker 2>to actually a good song called cracker Man. A second
<v Speaker 2>before we move on to cracker Man.
<v Speaker 1>Yes, this is like iron Land on the Allison eggs
<v Speaker 1>exactly right.
<v Speaker 2>They each have one of.
<v Speaker 1>These kind of weird what is going on here kind
<v Speaker 1>of songs, and it's not like they're the same song
<v Speaker 1>or the same type of song even, it's just that
<v Speaker 1>weird little hey, we're going to give you guys something
<v Speaker 1>that you were not expecting, and they nailed it. We
<v Speaker 1>were not expecting either one of those songs in.
<v Speaker 2>The middle of this album. That's most fine so far.
<v Speaker 2>Iron I mean, I don't know, man, that's a matchup
<v Speaker 2>for the ages Iron Gland versus web My Pet Skippers. Okay,
<v Speaker 2>now let's move on to the song called crack Man SnO.
<v Speaker 1>Okay, So they jumped back in with this one, and
<v Speaker 1>it's almost like they're saying, just kidding, just kidding, that
<v Speaker 1>was just being silly, and it was that song what
<v Speaker 1>my bad was.
<v Speaker 7>Roll roll Man? Alright, I'm made im mad.
<v Speaker 1>Just them goofing around like it's the first song that
<v Speaker 1>they recorded for this album, the very first song. And
<v Speaker 1>that's why when Brendan O'Brien comes in and says, all right,
<v Speaker 1>what now that he's really like, okay, guys, let's stop
<v Speaker 1>screwing around.
<v Speaker 2>Let's go actually record a real song.
<v Speaker 1>And so I think it's a very nice intro to
<v Speaker 1>cracker Man, which kick brings it right back into kicking
<v Speaker 1>the awesome crowds.
<v Speaker 2>Yeah, Crackerman's awesome, awesome, It's it's one of those songs
<v Speaker 2>like the first three on the album. It's it's a rocker.
<v Speaker 2>You're you're captured by it thought.
<v Speaker 3>Yeah, it's one of my favorite songs on the album
<v Speaker 3>and always has been.
<v Speaker 4>I never knew what it was about until I read
<v Speaker 4>up on it before we did this, And apparently there
<v Speaker 4>was Scott and Eric shared an apartment downtown, and there
<v Speaker 4>was a guy that kind of homeless and lived.
<v Speaker 3>Under the stairwell, and he called himself Crackerman.
<v Speaker 4>Scott would go out and get his coffee and he'd
<v Speaker 4>always bring him coffee and you know, a little something
<v Speaker 4>to eat, and he would spend time with him and
<v Speaker 4>talk to him.
<v Speaker 3>And that's where they got the name. I don't know
<v Speaker 3>if that's truly what the song's about, but that's where
<v Speaker 3>the name came from.
<v Speaker 1>That's fascinating. That's exactly I mean, that's almost identical to
<v Speaker 1>the even close story from ten Ed. You better talked
<v Speaker 1>about the homeless man than he fretted. And yeah, the
<v Speaker 1>same type of story altogether.
<v Speaker 4>I recently read Greg Prito's book on his biography on
<v Speaker 4>Scott Wiland, and that was kind of a reoccurring theme
<v Speaker 4>that a lot of his friends.
<v Speaker 3>And those that were closest to him and would bring up,
<v Speaker 3>was that he was a very.
<v Speaker 4>Compassionate guy, you know, and this was not out of
<v Speaker 4>the ordinary for him just to strike up a conversation
<v Speaker 4>with somebody he didn't know, or somebody that nobody else
<v Speaker 4>would probably talk to.
<v Speaker 3>It was just a pretty nice guy.
<v Speaker 2>I do think it's interesting in this song, You've got
<v Speaker 2>the line I'm thinking about a boy. His name was Sue.
<v Speaker 2>It's got to be John.
<v Speaker 3>Yeah. Cool.
<v Speaker 2>I love this one. Mark me down. I'm excited about
<v Speaker 2>this one. Okay, moving on to the last song on
<v Speaker 2>the album. This song is called Where the River Goes.
<v Speaker 2>I love the intro to this.
<v Speaker 1>Song because, as I mentioned a few times, my favorite
<v Speaker 1>led Zeppelin song is when the Levy Breaks, and this
<v Speaker 1>is Eric doing his take on that incredible drum intro,
<v Speaker 1>and I love what he does with it.
<v Speaker 2>I love how when Dean comes in with that wah
<v Speaker 2>wah guitar, it just screams. It gives us something completely
<v Speaker 2>different than led Zeppelin, but the drums man way to Go,
<v Speaker 2>I love it finished strong, What do you guys Name?
<v Speaker 4>I thought it was interesting that this was one of
<v Speaker 4>the first songs I ever demoed as m Young and
<v Speaker 4>they said, you hear that demo, it's n what's on
<v Speaker 4>the record today?
<v Speaker 2>Though, that was interesting grabbed me as much as the others.
<v Speaker 2>But it's good.
<v Speaker 1>I like it.
<v Speaker 5>It's good.
<v Speaker 2>It's not it's not wicked guard it's not a sex
<v Speaker 2>type thing, but it's good. It's not as radio friendly exactly.
<v Speaker 4>The mom.
<v Speaker 2>I love already it.
<v Speaker 1>Really I know you do? I Know you? And not
<v Speaker 1>only does it come in strong with the drums and
<v Speaker 1>the guitar, he does, but as he does in so
<v Speaker 1>many of these songs, he comes in not with word
<v Speaker 1>lyrics but just to yeah.
<v Speaker 2>I love that.
<v Speaker 1>He's willing to just make some noise because, like you mentioned, Brad,
<v Speaker 1>the words in these lyrics, he doesn't use them so
<v Speaker 1>much for their meaning but for their sound, because words
<v Speaker 1>have their own musicality about them, and even to the
<v Speaker 1>to the point of naming things like plush, which the
<v Speaker 1>word never gets said in the in the song at all.
<v Speaker 1>It is more about how the words sound as a
<v Speaker 1>song and kills.
<v Speaker 6>It on this.
<v Speaker 2>Yeah, this was the first song they wrote once Dean
<v Speaker 2>joined there, So there you go. Okay, So that's going
<v Speaker 2>to wrap up the track by track on Core, we
<v Speaker 2>have to do just a little bit on the what
<v Speaker 2>happens from here story?
<v Speaker 1>Yeah, the aftermath. Now this when this album came out,
<v Speaker 1>it blew up. It is their best selling album of
<v Speaker 1>all time. Then they came along and they did Purple,
<v Speaker 1>and they did.
<v Speaker 2>I Love Purple, by the way, let's just quickly on Purple,
<v Speaker 2>big empty, amazing, vaciline, incredible, an interstate love song is
<v Speaker 2>mind blowingly good. Agree, And they were on a trajectory
<v Speaker 2>that was going through the roof. I gotta say, and and.
<v Speaker 1>It's interesting that you say that because for so many,
<v Speaker 1>for so long, this was these guys were just the.
<v Speaker 2>Copy of the grunge movement band.
<v Speaker 1>Right, These guys weren't from Seattle, but they were doing
<v Speaker 1>that Seattle thing with those other guys had already done
<v Speaker 1>until Purple comes out. And I loved them already, I mean,
<v Speaker 1>and so many other folks did that.
<v Speaker 2>When Purple came out, I was buying the day that
<v Speaker 2>it came out. I was ready for it, and I
<v Speaker 2>was ready for the next one too.
<v Speaker 1>It's just they established themselves as not just a knockoff
<v Speaker 1>band when they came out with Purple.
<v Speaker 2>In the following album.
<v Speaker 1>It's interesting that in ninety four, just to kind of
<v Speaker 1>show you the difference, because there were so many, so
<v Speaker 1>many folks saying that these guys.
<v Speaker 2>Were just a cheap knockoff.
<v Speaker 1>Nineteen ninety four Rolling Stone, same issue. The critics say
<v Speaker 1>Core is the worst album of the year, the fans
<v Speaker 1>that it is the best new album of the year.
<v Speaker 2>That's fantastic, strong feelings both ways.
<v Speaker 1>I mean, if I got to please the critics or
<v Speaker 1>I got to please the fans, I'm going to want
<v Speaker 1>to please the fan.
<v Speaker 2>Yeah, for sure.
<v Speaker 5>Sure.
<v Speaker 2>You know what Scott Wiland attributed to the creativity that
<v Speaker 2>he felt on Purple the Big Age, Heroin is what
<v Speaker 2>opened his mind to the creativity that appeared on the
<v Speaker 2>Purple album. The last stop in nineteen ninety three of
<v Speaker 2>the Butthole Surfers tour, he tried Heroin in the back
<v Speaker 2>room of a hotel in New York City and he
<v Speaker 2>said he felt a golden glow.
<v Speaker 1>It sounds very similar to the Laye's Daily Story with
<v Speaker 1>gold a couple of hooks.
<v Speaker 2>Again, graduated from smoking heroin to injecting it.
<v Speaker 4>You know.
<v Speaker 2>In ninety four, Purple's out hit after hit after hit,
<v Speaker 2>selling tons of albums. He is now addicted to heroin.
<v Speaker 2>In ninety five that come out with Dancing Days the
<v Speaker 2>led Zeppelin song That was Awesome. Also in ninety five,
<v Speaker 2>two days after getting out of rehab, he is arrested
<v Speaker 2>for possession of cocaine and heroin. Whie fails him out,
<v Speaker 2>but at a stop while he jumps out of the car,
<v Speaker 2>runs away, goes to where Courtney Love is and they
<v Speaker 2>spend the next several days shooting heroin together.
<v Speaker 1>Yeah, he was dope sick. I mean, we talked about
<v Speaker 1>it when we talked about Nikky six, about how would
<v Speaker 1>you just go a little while without the heroin? You
<v Speaker 1>get physically ill, you get bad, physically ill. And so
<v Speaker 1>when his was his wife that bailed him out, I
<v Speaker 1>believe this is wife. When she was driving him away,
<v Speaker 1>he was so dope sick that when she refused to
<v Speaker 1>take him to get a hit, he decided, I'm going.
<v Speaker 2>To jump out of the car in order to find
<v Speaker 2>a cure.
<v Speaker 3>For what ails me.
<v Speaker 2>So the Stone Double Pilot scrapped the whole nineteen ninety
<v Speaker 2>six tour because he was completely addicted heroin. He had
<v Speaker 2>no ability to go out and tour and sing and perform.
<v Speaker 2>And then in nineteen ninety eight he's arrested in a
<v Speaker 2>New York City housing project and he spends five months
<v Speaker 2>in jail. This is one of the leads scene for
<v Speaker 2>one of the biggest bands in the nineties. He's smoking
<v Speaker 2>crack and injecting in a housing project. So in two
<v Speaker 2>thousand and two, Matt Soum Duff McKagan slash Dave Kushner
<v Speaker 2>have created a super band. They're looking for a singer,
<v Speaker 2>which I heard at the time they really wanted Billy Idam,
<v Speaker 2>which is interesting. But they hired Scott Wiland to sing
<v Speaker 2>for them and it became Velvet Revolver and it they
<v Speaker 2>put two great albums out. Yeah, absolutely fantastic.
<v Speaker 1>I mean you, that'd be Another interesting comparison is to
<v Speaker 1>compare Matt Season to Velvet Revolver.
<v Speaker 2>The bands that the lead singers.
<v Speaker 1>Of the bands were preparing it they went to after
<v Speaker 1>they lost their place in the bands that they were in.
<v Speaker 2>That's interesting.
<v Speaker 1>Both of them had some amazingly good songs, good music,
<v Speaker 1>but things were changing at this time. This was when
<v Speaker 1>people stopped buying albums and started downloading songs, which meant
<v Speaker 1>he wasn't getting money from album sales, and he wasn't
<v Speaker 1>getting money from record companies because they.
<v Speaker 2>Weren't getting money from album sales. And so this decision
<v Speaker 2>to join Velvet Revolver to him was more of a
<v Speaker 2>financial decision than an artistic decision.
<v Speaker 1>They said, he said, they sent him a bunch of
<v Speaker 1>songs and he said, this sounds like nothing I would sing.
<v Speaker 2>So they're like, okay, well here's some others.
<v Speaker 1>He's like, okay, well, I got I gotta have money,
<v Speaker 1>you know, I got to I got to be able
<v Speaker 1>to pay child support. I've got to be able to
<v Speaker 1>live the lifestyle that I've grown accustomed to. And so
<v Speaker 1>Velvet Revolver, as good as it was with something he
<v Speaker 1>did to the money wow, and then after doing it
<v Speaker 1>for eight years, kind of running under the same problem
<v Speaker 1>with the band members of you know, like, why aren't
<v Speaker 1>you doing better than you are?
<v Speaker 2>He was like a STP Can I come back?
<v Speaker 6>Yeah?
<v Speaker 2>So I heard about this, right, this is an interesting
<v Speaker 2>story to me. So he starts showing up late to concerts,
<v Speaker 2>and Slash and Duff and Matt Soorm are like, oh,
<v Speaker 2>you know, like PTSD. Right, So as soon as he
<v Speaker 2>starts showing up late, they their red flags go up.
<v Speaker 2>They can't take it anymore, and so they fire him
<v Speaker 2>in two thousand and eight. At that same time, he
<v Speaker 2>was wanting to kind of do STP and Velvet Revolver,
<v Speaker 2>and they were not good with that. But he just continually, continually,
<v Speaker 2>continually had drug problem. When he was interviewed by Esquire
<v Speaker 2>magazine in two thousand and eight, he actually explained why
<v Speaker 2>he still had drug problems.
<v Speaker 8>Right.
<v Speaker 2>I thought this was super insightful. They said, why haven't
<v Speaker 2>you been able to quit? And here's his quote, I
<v Speaker 2>never wanted to quit. If you have a heroin addict
<v Speaker 2>who doesn't want to quit and everybody in the world
<v Speaker 2>wants you to quit, it ain't gonna work.
<v Speaker 3>It's not going to happen.
<v Speaker 1>I saw him just after the release of his book
<v Speaker 1>in twenty eleven interviewing with Howard Stern. He was late
<v Speaker 1>for that show too, by the way, But when he's
<v Speaker 1>talking he does not seem to be under the influence
<v Speaker 1>of anything. He's intelligent, he's parent, he's I think if anything,
<v Speaker 1>he's struggling with the fact that Howard Stern keeps erupting
<v Speaker 1>him and keeps trying to take him down the dark paths.
<v Speaker 2>Like basically encouraging him to you know, man, your life
<v Speaker 2>sucks you. You had to do these drugs, you had
<v Speaker 2>to do these things, and just I mean just awful,
<v Speaker 2>awful stuff.
<v Speaker 1>And then Gosh questions him in detail about the rape
<v Speaker 1>he had when he was a child. I mean, it's
<v Speaker 1>just it's horrible because he starts off, I mean, Scott
<v Speaker 1>Wiland seems upbeat and happy and by the end he's
<v Speaker 1>just staring at the floor.
<v Speaker 2>I am marking this.
<v Speaker 1>I'm marking the spot. You can catch it on YouTube.
<v Speaker 1>Howard Stern interview with Scott Wiland. This is where Scott
<v Speaker 1>Wiland turned back to drugs and ultimately takes.
<v Speaker 2>His inn life. Wow.
<v Speaker 1>Okay, but you mentioned something and Howard Stern asked this
<v Speaker 1>question because they brought up Kurt Cobain and he was like,
<v Speaker 1>do you ever think about that?
<v Speaker 2>He's like, heck, yeah, I thought about that, And I
<v Speaker 2>think that goes about what you're talking about of there's
<v Speaker 2>not a reason to quit, there's a reason not to quit. Yeah,
<v Speaker 2>He said that I don't really understand why people keep
<v Speaker 2>trying to take this away from me. It's the only
<v Speaker 2>thing that keeps me from blowing my head off. And
<v Speaker 2>he's got a family, and he's got children. I just
<v Speaker 2>this just kills me. Listen to this. So in May
<v Speaker 2>of twenty fifteen, you can see this on YouTube as well,
<v Speaker 2>he's playing a concert with his new band called Scott
<v Speaker 2>Wiland and the wild Abouts. They're playing at Columbus in Columbus, Ohio,
<v Speaker 2>and he has the most apathetic, uninspired, terrible concert. I
<v Speaker 2>mean watching him sing vaciline, it's awful.
<v Speaker 1>He's definitely under the influences. He can barely stand up,
<v Speaker 1>you could barely stand out be slurring his words.
<v Speaker 2>He's not singing the right words.
<v Speaker 3>Yeah, it's not good.
<v Speaker 2>When Matt Storm talks about it, when Scott Wiland started
<v Speaker 2>showing up late and started struggling, he said, when Axel
<v Speaker 2>would show up finally he would sound fantastic. Scott would
<v Speaker 2>show up late and he would suck. And that was
<v Speaker 2>one of the reasons too that they had to fire.
<v Speaker 2>But on December third, twenty fifteen, Scott Wiland and the
<v Speaker 2>wild Abouts go to Bloomington Minnesota. The show was actually
<v Speaker 2>canceled because they didn't sell enough tickets to have the concert.
<v Speaker 2>I sold less than one hundred tickets. Oh, so he
<v Speaker 2>goes back in the back of the bus, he goes
<v Speaker 2>to sleep. The guys get up the next day or whatever,
<v Speaker 2>and they're they're going to go check out them all
<v Speaker 2>of America. They're going to go scout out town or whatever.
<v Speaker 2>And they had sort of understood that if Scott's sleeping,
<v Speaker 2>you don't wake him up. And his wife called and
<v Speaker 2>said go wake him up. And when they went in there,
<v Speaker 2>of course, was that another tragic loss to Heroin. It
<v Speaker 2>would be interesting to decide. I think between Lane Staley's death,
<v Speaker 2>which was horrible and tragic, and compared to Scott Wyland's death,
<v Speaker 2>I think Scott Wyland is worse because there's children involved
<v Speaker 2>to take us further down into the deep, darker deaths.
<v Speaker 1>When they decided to replace Scott in the band, they
<v Speaker 1>picked the lead singer of Lincoln Park, Chester Bennington.
<v Speaker 2>So Chester Bennington. He had a happy ending though, correct,
<v Speaker 2>no you setting me up here, Yes, I'm teeing you up.
<v Speaker 2>So he's on vacation with his wife and his family,
<v Speaker 2>just like you're talking about what is the saddest of
<v Speaker 2>these sad tales? He says, I'm going to go.
<v Speaker 1>Back to the house and do some work. Nine am,
<v Speaker 1>July twenty, twenty seventeen. Next morning, house keeper comes at
<v Speaker 1>sees him hanging from sea. I wish for anybody else
<v Speaker 1>who's out there who might be feeling those feelings, that
<v Speaker 1>you don't have to be sad.
<v Speaker 2>There are things to do that you can address.
<v Speaker 3>The issue with.
<v Speaker 1>Just talk to somebody as opposed to ending at all,
<v Speaker 1>because I think most of the time, if you ask
<v Speaker 1>the question would you rather be gone or would you
<v Speaker 1>rather just not be sad, the answer is you'd just
<v Speaker 1>rather not be sad. Their medication, their therapies. There are
<v Speaker 1>other things that you can do to address the feelings
<v Speaker 1>that you have. Interestingly, Bennington died on what would have
<v Speaker 1>been Chris Cornell's fifty third birthday, two months after he
<v Speaker 1>had also committed to so.
<v Speaker 2>On that note, let's do our final adjustment. Well, hey,
<v Speaker 2>I got a little bit of a happy note.
<v Speaker 1>Okay, okay, I seen you a song earlier today talking
<v Speaker 1>about the kids in the legacy. Noah Wiland is now twenty.
<v Speaker 1>I think he's about twenty years old. He has done
<v Speaker 1>some music with Slash's Kid. But if you go to
<v Speaker 1>Noah Wland on Spotify, he didn't have a lot of
<v Speaker 1>followers like seven hundred, but if you listen.
<v Speaker 2>To his music you can hear Scott. I mean, it's
<v Speaker 2>some good music. It is some quality stuff. Go check
<v Speaker 2>out Noah Wiland on Spotify and catch just a glimpse
<v Speaker 2>of the legacy in the Scott left way.
<v Speaker 13>Okay, guys, we have now finished with Stone Temple Pilot's Core. Yep,
<v Speaker 13>we have gone through Dirt by Alison Chains. We are
<v Speaker 13>now bringing back James Buckley, who went through that history
<v Speaker 13>and that album with us, to give his opinion on
<v Speaker 13>which is better Dirt or Core.
<v Speaker 2>James here on man.
<v Speaker 8>First off, let me set the stage. In the early
<v Speaker 8>nineties was a pretty heady time for a music lover.
<v Speaker 8>Every week it seemed like there was something new and
<v Speaker 8>fabulous coming out and I couldn't wait to listen to it.
<v Speaker 8>I bought the new Stone that I bought Core when
<v Speaker 8>it came out, and I also got Dirt, and I
<v Speaker 8>really liked them both. I don't think Stone Temple Pilots
<v Speaker 8>is an amazing band, but Core was their first album.
<v Speaker 8>You could tell it was the sound of a band
<v Speaker 8>still trying to find its musical feat. There's some great songs,
<v Speaker 8>but nothing compared to what you would hear on later
<v Speaker 8>Stone Temple Pilot's albums, like the Purple Album and things
<v Speaker 8>that that the band will really developed into an amazing band.
<v Speaker 8>That said, Dirt is just such an awesome, heavy, beautiful,
<v Speaker 8>dark master sace that I don't think it can be topped.
<v Speaker 8>This was Allison Chane's second full length album. They had
<v Speaker 8>time before we developed their sound, so they were a little.
<v Speaker 2>Bit ahead of the race. Went there at Stalk the Pilots.
<v Speaker 8>I will never pass up a chance to listen to Core.
<v Speaker 8>I do think it's great, But if forced to choose
<v Speaker 8>between the two, I'm gonna go Dirt every time.
<v Speaker 2>All Right, Brad, we are dying to know your final
<v Speaker 2>judgment between Alison Chains Dirt and Stone Tumble Pilot's Core Brother.
<v Speaker 4>Okay, So you know, the thing that I keep telling
<v Speaker 4>myself is this is a debut album, and there's just
<v Speaker 4>not that many good debut albums like that.
<v Speaker 3>There's only a handful amount that that I've ever been
<v Speaker 3>like that.
<v Speaker 4>However, I think that Allison Chains was in their Wheelhouse,
<v Speaker 4>you know, in their Complete Crime.
<v Speaker 3>When Dirt came out. It's a fallus album.
<v Speaker 4>They really both are, and I probably have to do
<v Speaker 4>with Dirt if I had to pick one of them,
<v Speaker 4>it's one.
<v Speaker 2>A and one point one Wow, want.
<v Speaker 4>To you know, it's it's They're right there. But I
<v Speaker 4>think I probably have to go to Darren and listen
<v Speaker 4>to it just a little bit more. But man, it's
<v Speaker 4>not my very much of Marchin.
<v Speaker 3>That's what I have to go with.
<v Speaker 2>Interesting. Interesting, Okay, Jason, what are your thoughts? Okay, So
<v Speaker 2>when we started out this, when you said, hey, we
<v Speaker 2>got to celebrate the thirtieth anniversary of these two, actually
<v Speaker 2>you said let's celebrate the twenty ninth anniversary, and we said, no,
<v Speaker 2>let's push it one more year. I in my mind
<v Speaker 2>was like I had Stone Tuble Pilot. I had several
<v Speaker 2>Stone Table Pilot's albums. I didn't ever really get into
<v Speaker 2>Alison Chains when they were popular in the nineties, But
<v Speaker 2>since I've dived into this, my appreciation and respect and
<v Speaker 2>enjoyment of Allison Chains has increased great. I mean, the
<v Speaker 2>songs that I listened to are are really great songs.
<v Speaker 2>And Dirt was awesome, but I'm a feel good guy,
<v Speaker 2>and there's a lot of songs about drugs on Dirt
<v Speaker 2>that just don't really hit me right now. They're good, songs,
<v Speaker 2>are really good, but for me, I'm going more. I
<v Speaker 2>just I just lean more towards the top. Down, turn
<v Speaker 2>it up STP album of Core. Look, I mean these
<v Speaker 2>songs you just crank up and you sing along. You
<v Speaker 2>haven't a great time. So mark me down, spike the
<v Speaker 2>football for me, it's Core, Stone Temple Pilots d Okay.
<v Speaker 2>So James is on dirt, so go one for dirt,
<v Speaker 2>one for Core, two for dirt for dirt yep. So
<v Speaker 2>now it's up to me, okay, where you're at, let's
<v Speaker 2>hear it?
<v Speaker 3>Okay.
<v Speaker 1>So both of these songs were on heavy rotation with me.
<v Speaker 1>As I said, I might have gotten them both from
<v Speaker 1>the same Columbia house order. They may have both come
<v Speaker 1>to me for a penny one day and I wore
<v Speaker 1>them both out. They are both phenomenal albums from beginning
<v Speaker 1>to end. There are songs that I would not describe
<v Speaker 1>quite as skippers for the most part, but songs that
<v Speaker 1>are less good than some of the other songs on
<v Speaker 1>the album.
<v Speaker 2>I agree with you, Dirt so many amazing songs.
<v Speaker 1>I mean, You're the entire first side is one of
<v Speaker 1>the best first sides of all first sides. And then
<v Speaker 1>when you go to the second side, yeah, you get
<v Speaker 1>heavy into the songs that are about the spiral downward
<v Speaker 1>of drug addiction.
<v Speaker 2>And some of them are really good.
<v Speaker 1>I mean, Angry Chair is a fantastic song, but some
<v Speaker 1>of them are they don't give me enough to keep
<v Speaker 1>me churning through time after time after time. Like the
<v Speaker 1>songs on Core do Core I can listen to from
<v Speaker 1>the beginning to the end. I don't even skip wet
<v Speaker 1>my bed.
<v Speaker 2>I listen to all of it and love all of
<v Speaker 2>it every single time, and have for thirty years now.
<v Speaker 2>And so I've got to say, as much as I
<v Speaker 2>love Fair, and I love it a lot, or is
<v Speaker 2>the winner for me. So we have, gentlemen, time I push,
<v Speaker 2>so a push if you will. I think that this
<v Speaker 2>is probably you really used to say that.
<v Speaker 1>So I think this is the time that I have
<v Speaker 1>to say, let's do the Shirly showcase. Because I am
<v Speaker 1>my neighbor who is the biggest Allison Chains fan of
<v Speaker 1>all time that I've ever met in my life. To
<v Speaker 1>give me her opinion on this, and apologies for how
<v Speaker 1>this may sound. We were in the middle of a
<v Speaker 1>get together where there were other people talking, but hopefully
<v Speaker 1>her opinion comes through clearly.
<v Speaker 14>Okay, So, without further ado, this is my dear friend
<v Speaker 14>Kristin Pirozak to tell us her thoughts on Core versus Dirk.
<v Speaker 2>How does someone who has.
<v Speaker 1>Named their child after the lead singer of Alison Chain's
<v Speaker 1>pick coor over Derrek.
<v Speaker 15>I was a little bit late into the game because
<v Speaker 15>I was younger in nineteen ninet two.
<v Speaker 16>It was ten years old, so I had older sisters,
<v Speaker 16>so I didn't kind of come into the grownge scene
<v Speaker 16>until I was a little bit older. When I was
<v Speaker 16>listening to all of these albums, never Mind Dirt Core
<v Speaker 16>was the teenage ankst.
<v Speaker 15>For me, versus never Mind Didn't Blow.
<v Speaker 2>It was that song for me.
<v Speaker 15>My coming of age of music was all happening at once,
<v Speaker 15>even though it was a little bit late for the time.
<v Speaker 15>Jar Flies was my big awakening Alison Chain's moment.
<v Speaker 2>So you know, when you love a band, you fall
<v Speaker 2>in love what they've got.
<v Speaker 15>At the time, and then you go back to their
<v Speaker 15>old stuff.
<v Speaker 16>So to me, I was going backwards to Dirt, but
<v Speaker 16>like me, when I fell in love with Alison Chaine's
<v Speaker 16>it was more Jarriflies.
<v Speaker 15>Dirt was okay.
<v Speaker 16>But when I think, at the same time, I was
<v Speaker 16>listening to Core and Ten, so it was the song
<v Speaker 16>Wet my Bed from Core that reminded me of something
<v Speaker 16>off Vitology, So to me, like I almost put Core
<v Speaker 16>in Vitology at the same time, which I was loving
<v Speaker 16>Pearl Jam from Ten, so I was listening to Vitology.
<v Speaker 16>It was just this extreme interest because I love Ten
<v Speaker 16>so much and then I'm having Core at the same time.
<v Speaker 15>So I think all of that, just to me was
<v Speaker 15>overriding my love for Alison Chains.
<v Speaker 16>Blane State, like Lane Staley is almost a separate entity
<v Speaker 16>to me than Alison Chains because Alison Jameson was a
<v Speaker 16>Jerry Cantrell Lane Stay compilation album. Wise, Core for sure,
<v Speaker 16>like I can listen to that NonStop. It almost makes
<v Speaker 16>me think of the hair bands a little bit, and
<v Speaker 16>I was not into the hairband scene like career wise,
<v Speaker 16>Alison Chains far surpasses Stone Table, Violots, Facelift and Jarflies
<v Speaker 16>and Unplugged.
<v Speaker 15>Lane Staley was the vocalist of all vocalists of all.
<v Speaker 16>Of the grunge era, all of the grunge era, nobody
<v Speaker 16>compares to Lane Staley.
<v Speaker 15>I mean, you could never pair Scott Wiland with Lane Staley.
<v Speaker 15>Blanees Daly holds the torch.
<v Speaker 16>He was this quiet, quiet soul and then when he sang,
<v Speaker 16>his voice came out.
<v Speaker 5>I was the Lane's daily fan, you know.
<v Speaker 2>For somebody who loves Dirt, she sure loves Core a
<v Speaker 2>little bit more.
<v Speaker 14>Well, it's it's all about when you get the music, man,
<v Speaker 14>I mean, when you hear it and when you fall
<v Speaker 14>in love with certain things. I think that's I mean,
<v Speaker 14>we've we've had it happened to us many times before.
<v Speaker 14>It's the nostalgia factor, if you will. Absolutely, I think
<v Speaker 14>it hit her right on this one. But it's it's
<v Speaker 14>just kind of crazy to think that she's so much
<v Speaker 14>a bigger fan of that album than Dirt.
<v Speaker 3>Wow.
<v Speaker 2>Yeah, Kristin, thank you very much.
<v Speaker 14>Yeah, thanks Kristin.
<v Speaker 3>There you go.
<v Speaker 2>Looks like we've got the Tidebreaker. Sorry, Louisiana.
<v Speaker 1>Two Core guys, guys, fans, please let us know your thoughts.
<v Speaker 2>Who are you picking? Is it?
<v Speaker 1>Are you picking Allison Chains at Dirt? Are you picking
<v Speaker 1>stp and core. Who do you think has the better
<v Speaker 1>full body of work? Let us know your thoughts. You
<v Speaker 1>can hit us up on Twitter at Shirly Podcast, on
<v Speaker 1>Facebook at Shirley Podcast. You can email us Surely Podcasts
<v Speaker 1>at gmail dot com. Guys, thank you for listening to
<v Speaker 1>each and every one of these episodes.
<v Speaker 2>We hope you loved it.
<v Speaker 1>We will be back next week with special guest Andy
<v Speaker 1>Fry to talk about his.
<v Speaker 2>Book ninety Days in the Nineties and falls right in
<v Speaker 2>what we're listening to right now. I'm excited to do that.
<v Speaker 3>Brad.
<v Speaker 2>Thank you so much for your support. Thank you for
<v Speaker 2>coming in and weighing in on this with us.
<v Speaker 3>Thanks for having me so good to meet you, Thanks
<v Speaker 3>for thanks for being there. I'll do it again time
<v Speaker 3>you can be my help.
<v Speaker 2>I really thought you were going to line up with
<v Speaker 2>stuntimble pallets.
<v Speaker 3>I thought I was too.
<v Speaker 4>Before we did this, I just kind of started thinking
<v Speaker 4>about look at the siding just I don't know.
<v Speaker 3>It's very very close.
<v Speaker 2>Though, to begin to smell
<v Speaker 9>Well, to smell alone,