16
Scott Weiland / Re: Weiland And Smoking
« on: May 15, 2008, 09:54:33 PM »
Malboro Reds- Cowboy killers. Not good on the vocal chords
July 21, 2024, 11:34:55 AM
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17
The Wicked Garden / Re: worst songs
« on: May 15, 2008, 09:50:45 PM »
I have 6 songs they have recorded that I could do without-
Long Way Home- thing is repetitive and just sounds dreary to me
Heaven and Hotrods- I like the music and the refrain, but the lyrics suck. "You can't get it if you really want it so you better off just leave it alone," c'mon Scott, that's not all that creative
Bi-Polar Bear- I just don't like the refrain, too much stuff going on for me. I do like the solo and interlude though
Sex Violence- Really don't like the refrain- just not my style- and it sounds too contrived I think
Regeneration- It kind of has a "Long Way Home" feel to it, and I don't like the refrain
Church on Tuesday- I do like the part "And I can't believe it, is she really gone again?" But, like Heaven and Hotrods, this song gets incredibly repetitive
Long Way Home- thing is repetitive and just sounds dreary to me
Heaven and Hotrods- I like the music and the refrain, but the lyrics suck. "You can't get it if you really want it so you better off just leave it alone," c'mon Scott, that's not all that creative
Bi-Polar Bear- I just don't like the refrain, too much stuff going on for me. I do like the solo and interlude though
Sex Violence- Really don't like the refrain- just not my style- and it sounds too contrived I think
Regeneration- It kind of has a "Long Way Home" feel to it, and I don't like the refrain
Church on Tuesday- I do like the part "And I can't believe it, is she really gone again?" But, like Heaven and Hotrods, this song gets incredibly repetitive
18
Scott Weiland / Vocal style change from 94-96, and how it is reflected on the albums
« on: April 21, 2008, 09:13:57 PM »
Scott’s vocal progression has gone through many stages and styles. In Core, Scott’s voice was deep, and he exhibited what I would term more of a growling style. As STP began to progress, so did his vocal style. You can hear the progression that took place from Spring/Summer of 92(when Core was recorded) to Summer/Fall of 93 in the re-recording of Creep. The original version is very raw, and in the re-recording, Scott utilizes inflection in his deep voice that would be the staple of Purple. Even though Purple and Core were similar in vocal style, (Scott was still using his deep voice), there was a more refined quality to it. It was a fuller, baritone, and seemed to be effortlessly gentle. (Think the STP unplugged in 93 voice).
However, Scotts voice began to change from summer of 94, up until spring/summer of 95. I think this has to do with the strain he put on his vocal chords with all the touring that they had done from 92-94. If you listen to the “Unglued” version STP played in December of 94 on letterman, his voice is a lot more horse, and it resembles what we would hear on Tiny Music, and on the two Magnificent Bastard records. I don’t know if drug abuse had anything to do with the change in his vocals (I’m not a doctor), but we hear a much different Scott Weiland in 95/96 than we do in 93/94.
I am not saying that he couldn’t hit the low notes, or exude the deep baritone that was his signature from 92-94, b/c on No. 4, he achieves that deep baritone sound on songs like “Down,” parts of “No Way Out,” parts of “Pruno” (obviously not on the chorus of the last two songs). But with Tiny Music, his voice is much different. I think part of this is stylistic choice, but I also think his voice was somewhat ravaged. Listen to “Mockingbird Girl,” “Big Bang Baby,” “Art School Girl.” Scott’s voice is incredibly raspy, and the deep baritone has vanished. However, in its place, is more range than he ever showed before, and an elusive ability to hit the high notes.
I think Tiny Music was the changing point in his vocal style. Even though on No. 4 and Shangri La, there is no raspy voice, the way he sang on “Lady Picture Show,” I would say, accurately represents his vocal style ever since, for the most part. He still can hit that low baritone, like on “Dumb Love,” “All In the Suit That You Wear” and on those songs from Core and Purple during the live shows. But now, his range is higher, and at times more sharp and pointed (not tune-wise, but sound wise) like on the chorus of “All in the Suit,” the chorus of “No Way Out,” and also the chorus of VR’s “Fall to Pieces.”
Anybody else noticed this change from 94 to 95/96 in vocal style and Scott’s voice in general? I know this topic has been discussed, but I feel this can be more poignant.
However, Scotts voice began to change from summer of 94, up until spring/summer of 95. I think this has to do with the strain he put on his vocal chords with all the touring that they had done from 92-94. If you listen to the “Unglued” version STP played in December of 94 on letterman, his voice is a lot more horse, and it resembles what we would hear on Tiny Music, and on the two Magnificent Bastard records. I don’t know if drug abuse had anything to do with the change in his vocals (I’m not a doctor), but we hear a much different Scott Weiland in 95/96 than we do in 93/94.
I am not saying that he couldn’t hit the low notes, or exude the deep baritone that was his signature from 92-94, b/c on No. 4, he achieves that deep baritone sound on songs like “Down,” parts of “No Way Out,” parts of “Pruno” (obviously not on the chorus of the last two songs). But with Tiny Music, his voice is much different. I think part of this is stylistic choice, but I also think his voice was somewhat ravaged. Listen to “Mockingbird Girl,” “Big Bang Baby,” “Art School Girl.” Scott’s voice is incredibly raspy, and the deep baritone has vanished. However, in its place, is more range than he ever showed before, and an elusive ability to hit the high notes.
I think Tiny Music was the changing point in his vocal style. Even though on No. 4 and Shangri La, there is no raspy voice, the way he sang on “Lady Picture Show,” I would say, accurately represents his vocal style ever since, for the most part. He still can hit that low baritone, like on “Dumb Love,” “All In the Suit That You Wear” and on those songs from Core and Purple during the live shows. But now, his range is higher, and at times more sharp and pointed (not tune-wise, but sound wise) like on the chorus of “All in the Suit,” the chorus of “No Way Out,” and also the chorus of VR’s “Fall to Pieces.”
Anybody else noticed this change from 94 to 95/96 in vocal style and Scott’s voice in general? I know this topic has been discussed, but I feel this can be more poignant.
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