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STONE TEMPLE PILOTS Tiny Music... Songs From The Vatican Gift Shop (1996 German issue 12-track CD album [with Stone Temple Pilots in Red text] including the singles Big Bang Baby Trippin On A Hole In A Paper Heart Lady Picture Show & Tumble In The Rough with picture booklet that folds out to a poster displaying a collage on one side and the complete image from the front cover including lyrics on the other side)
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Les STP n'hésitent pas à mélanger les influences du métal hardcore à la pop la plus éthérée, et en font des tubes (écoutez en priorité "Big Bang Baby" ou "Trippin'...").
Album varié et constant dans la qualité.
On entre dans le disque avec une musique d'ambiance sympa, puis on s'envole dans un pop-rock mélodiquement plus riche que beaucoup d'autres produits du même genre. On se ballade dans des genres inexploités en rock "And so I know", "Daisy"; puis on retourne dans du bon rock US "Big Bang Lady", "Lady Picture Show", etc. Bluffé, parce que c'est vraiment un excellent disque.
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From the moment you "Press Play" literally, you are a passenger in a different car on this new highway of STP's career. The grunge of Core and Purple is supplanted with 60s Lennon/Beatles influences. Some critics suggest STP lifted from Redd Kross whom they toured with. Six of one/half dozen of the other as they say. It is still great music none-the-less and the commercial strength and versatile STP formula of songwriting is most evident of Tiny Music. They are a veritable chameleon.
STP like many great musicians and artists, borrow and lift and repurpose, if by osmosis alone. It is the nature of the songwriting beast and the Beatles were guilty of it too. This review is written at a time of Led Zeppelin's Stairway to Heaven trial concluding in a "Not Guilty" verdict. Cleared of plagiarism once and for all. It is also the 20 year anniversary of Tiny Music.
But lets travel back in time to 1996 when "Tiny Music from the Vatican Shop" hit the stores (yes, there were still record stores like Tower Records on Sunset to sell it).
If you went to the movies, you would've seen Jerry Maquire (although I did not, I got sick of "Show me the Money"). If you liked comedies you would've seen Jim Carrey as "The Cable Guy," or maybe "Striptease" (I read the book/skipped the movie). "Swingers"... Again tired of everybody thinking they were "so money." Dusk Till Dawn. You didn't have a Pentium II yet in your computer. Palm Pilots, yeah, the thing with the pen, were the early Smartphones. Pro Tools, which would revolutionize home recording for musicians, was still in early development (Pro Tools finally reached 24-bit, 48 tracks in '97).
More to the point, music in '96 was changing. "All Eyez" were on Tupac (California Love/I Ain't Mad at Cha were damn good) along with Snoop's Doggfather and you probably listened to both -- Maybe Beck's innovative Odelay. Cake was "Going the Distance." -- I tuned into DJ Shadow's "Entroducing" and Tricky myself. Whatever you listened to, music was turning the corner once again in our culture.
But here is where STP gets it right.
Rappers, DJs, Trip Hop, rock, namely STP were all reaching backwards to the old masters and creating and updating new styles of music. All of these artists were experimenting with new blends, beats and textures.
Tiny Music's pacing is well thought out, with Brendan O'Brien once again at the helm producing. The first three cuts, like "Purple," is classic driven rock and roll.
Lyrically and vocally Weiland reached back to Lennon and Bowie (Rock and Rock Suicide/Bowie, Pop Suicide/STP). He said they "wanted to make a statement" and "deconstruct and go low-tech, get to the heart of the matter." "Big Bang Baby" is Rolling Stones "Jumping Jack Flash."
"Does anybody know how the story really goes, or do we all just hum along..."
Weiland also felt it was a dark record. You still have consistent themes of addiction. "Lady Picture Show" is commercial on the surface, but deals with a dark subject.
You will notice a different tone on Dean DeLeo's guitar. According to the Below Empty blog, DeLeo is quoted as saying, '"Tiny Music... is a '57 Les Paul TV Special that I played through a '66 Marshall 18-watt 2x10 combo. That amp loves P-90's. I used that combination on "Big Bang Baby."'
Kretz's distinctive snare on "Tumble in the Rough" will also catch your ear.
"And So I Know," is where the detour begins. This song is reminiscent of Little Anthony and the Imperials, "Goin' Out of My Head".
Robert DeLeo, contributes two excellent instrumentals and shows deep roots on: "Press Play" and "Daisy."
Zeppelinesque "Trippin' on a Hole in a Paper Heart" and "Adhesive" just nail it, but STP makes it their own. They added a soulful Miles Davis style solo on "Adhesive," foregoing a traditional guitar solo. However on "Trippin' on a Hole," we do hear DeLeo uniquely channel Jeff Beck.
"Art School Girl" is tongue and cheek, and a throwback to Nirvana. Again, this is what makes STP great. They can mimic and make it their own.
The ride ends with "Seven Caged Tigers," and STP has proven that Tiny Music is Big Music and relevant music even now, 20 years later.
And in fact it does. "Adhesive" is worth buying this album for like $12 alone. The closest thing to a jazz song you'll ever hear from STP members, it's also a great sort of downbeat track in the verses, but I like the reflection in the lyrics. In a time where grunge had recently died and more importantly people were still lamenting Cobain's death, there's the "sell more records if I'm dead" line that I like quite a bit. The track builds up as it goes by. The trumpet solo is my favorite thing about it.
And then there are the singles which in themselves they are pretty good. "Trippin'" is the most famous one, and while not representative of STP's trademark style, it is excellent, complete with its jazz-influenced guitar solo. "Big Bang Baby" has a clear Rolling Stones "Jumpin' Jack Flash" influence, but this is a lot closer to what that band could have been doing at the time instead. "Lady Picture Show" is a decent song and then there's "Tumble in the Rough" which is just simple and fun. Not necessarily perfect songs, but very good ones in spite that.
The two instrumental tracks I enjoy a lot here too. There's the excellent somewhat funk style of "Press Play" which will make you do just that. Also great is the Dean DeLeo track "Daisy", which is proof that even if you hated STP, you have to give them credit for the talent. Elsewhere, there are other nice-enough tracks.
But then there are songs on this album which I simply don't care for. "Pop's Love Suicide" is a rather blahh track, and I guess it either feels too retro for me or something. I also don't really care for "Ride the Cliché" which kind of seems directionless on an otherwise great album.
So yes, there is its fair share of filler. But any of that can be forgiven with the greatest STP song ever, "Adhesive". I don't think I like this album as much as "Purple" but that one is great too. While some call it a Beatles ripoff, I don't think that it is really fair. STP have the passion of the song to make it their own stuff. And contrary to what others will tell you, I think every STP album is good.