“I was reading a review, and they were basically calling ‘And So I Know’ a Vegas-style song. “I remember when Tiny Music came out,” DeLeo says with a chuckle. To demonstrate, DeLeo puts the call on speakerphone, grabs an acoustic guitar off the wall and strums the chords in the rhythm he’d initially envisioned. As DeLeo reveals, “Interstate Love Song” started out as a bossa nova tune. I don’t know why, but probably the first records I picked out of the basement from my parents and grandparents were jazz records.”Īpparently, Stone Temple Pilots had a song like “And So I Know” in them earlier than anyone realized. “I was really attracted to jazz at an early age. “I’d been writing songs like that since I was probably 15 years old,” bassist, sometime guitarist and songwriter Robert DeLeo tells UCR in an exclusive interview. “And So I Know” paved the way for further ventures into delicate territory, which you can hear all over two of the band’s later albums, 2001’s Shangri-La Dee Da and 2020’s Perdida. By the time listeners got to the Beatles-influenced “Lady Picture Show,” it’s quite apparent that Stone Temple Pilots had intentionally chosen to eschew muscle for finesse, volume for dynamics and density for space.īy far the most striking departure came in the form of a decidedly un-ironic foray into bossa nova. Up and down the track list, splashes of psychedelia give the songs a sparkle and freshness like dewdrops on blades of grass. The ambience so wide, it’s as if Weiland’s harmonies and Dave Ferguson’s trumpet notes are carrying over a canyon. “Adhesive” detours into prototypical indie rock, with pensive Sketches of Spain-inspired trumpet solos that bring to mind images of Miles Davis guesting on an early Yes album if Yes had invented emo. Similarly, the snaking, stutter-timed “Ride the Cliche” hints at prog so discreetly that the progressive and classic-rock influences meld together seamlessly. Watch Stone Temple Pilots's Video for 'Big Bang Baby' “Art School Girlfriend” fuses British post-punk with jazz, while “Tumble in the Rough” veers toward straight punk - albeit with a more layered take that sounds like it was filtered through the ‘60s, as the band prioritizes texture, tone and mood over attack. On “Love’s Pop Suicide” and “Big Bang Baby,” for example, the band replaced the chunky, detuned style of earlier songs like “Wicked Garden” and “Silvergun Superman” with a tattered new interpretation of ‘70s glam rock. The bulk of Tiny Music still finds the band relying predominantly on riffs, but even those songs introduced a whole new range of colors to the Stone Temple Pilot's vocabulary.
"It could've gone either way."ĭecades later, that transformation still sounds every bit as dramatic as the words Weiland chose to describe it. The question was: "'Do we turn into a butterfly or do we turn from a maggot into a fly?'" he added. "It took a while to get a vibe of what we had grown into," late frontman Scott Weiland told MTV as the band was nearing completion of Tiny Music. Right from “Press Play,” the Rhodes piano-driven instrumental jam that opens the album, it’s suddenly clear that there had always been a lot more to Stone Temple Pilots than perhaps even their most ardent fans were aware of.
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In spots, Tiny Music shows that this group was more than capable of breaking free from rock entirely. The album significantly expanded on the heavy, riff-based rock that Stone Temple Pilots and their contemporaries had built their fortunes on. Then Tiny Music blew the doors off the then-widespread notion of the band as purveyors of a contrived grunge-by-numbers style meant to cash in on the era’s prevailing trends. They might have been maligned by critics on the path to success, but future classics like “Plush,” “Creep,” “Interstate Love Song” and “Big Empty” made their way into heavy rotation in 1993 and ’94 and have remained staples ever since.
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