Some bands get no respect, no matter what they do, but Stone Temple Pilots suffered the slings and arrows of outrageous misfortune more than most. Some of this was brought on by themselves, particularly in the early days when they sounded like a mix of Pearl Jam and Alice in Chains and relied on macho bluster in their videos, but critics and rockists singled them out as the one band that typified how the establishment was going to sell out the alt-rock revolution that Nirvana kicked off in 1992, the year punk broke. By Stone Temple Pilots' second album, 1994's Purple, they had not only gotten better and weirder than expected; they'd also had the benefit of being surrounded by bands that really were corporate alt-rock rip-offs, so they not only had gotten better, but circumstances made them seem better, too, even if many critics still clung to their blind hatred of the band. Then, as the music guitarist Dean DeLeo and vocalist Scott Weiland wrote continued to get more interesting, Weiland began his descent into drug addiction, cycling through jail and rehab innumerable times. There was a brief parting of the ways in 1997, as Weiland recorded a solo album and the remaining trio formed the short-lived Talk Show, but the group soldiered on into 2001, cutting solid records, yet they were ultimately derailed by Weiland's addictions -- which, in a charming display of empathy, made some of the band's longtime critics gloat.
But, as the years pass, the turmoil gradually fades away (even though Weiland was arrested for DUI weeks before the release of this album), and the music stands at center stage, and it's best heard on Thank You, a 14-track collection of the group's hits (the album clocks in at 15 tracks, but "Plush" is repeated in a widely popular acoustic version). Though each record found STP trying different things and each has a clutch of good album tracks, they were at their best as a singles act, since that's where the strengths -- DeLeo's knack for catchy, monstrous riffs, Weiland's insanely hooky neo-psychedelic melodies, the band's tight, propulsive rhythms, Brendan O'Brien's clean yet intricate production -- lie. Although they seemed rather cookie-cutter at first, thanks partially to the clobbering grunge of "Sex Type Thing" used as their debut single, the jumbled chronology of Thank You forces the listener to see each track as its own work and judge it on its own merits. And, based on that, it's clear that Stone Temple Pilots were one of the great singles bands of the '90s. Single for single, they had a dynamic mix of crunching hard rock and sugary, slightly trippy melodies, underscored by a real sense of urgency and perfect production by O'Brien, where each track unfolded with layer upon layer of sonic detail and no song outstayed its welcome. This was alt-rock played as classic rock -- it played by the rules of '70s album rock, but its amalgam of sounds and styles, where STP poached from metal, glam, bubblegum, the Beatles, and album rock in equal measure, was purely a creation of the '90s, where postmodern aesthetics became part of the mainstream. And, within the mainstream, nobody did it better than Stone Temple Pilots. Yes, their peers certainly had more indie credibility, but great pop music isn't about credibility; it's how the music sounds, and STP made music that sounded great at the time and even better now.
With a few exceptions -- the most notable being the charting singles "Unglued," "Hollywood B**ch," and "Pretty Penny," though cases could be made for their acoustic cover of Zeppelin's "Dancing Days," Weiland's spin-off "Mockingbird Girl" (not STP, but it fits musically), and the album tracks "Tumble in the Rough" and "Church on Tuesday," but that's nit-picking -- Thank You contains all of their great songs, and there are many: the hazy, murky cavalcade of imagery in "Vasoline"; the swelling, mournful "Creep"; the neo-glam crunch of "Big Bang Baby"; the eerie, desolate late-night dread of "Big Empty"; the majestic "Plush"; the candy-coated rush of "Trippin' on a Hole in a Paper Heart"; the silly but effective Alice in Chains homage "Wicked Garden"; the heavy, heavy monster sound of "Down"; the sighing cinematic "Lady Picture Show"; the effortless, incandescent power pop "Days of the Week"; the matter-of-fact, heartbreaking resignation of "Sour Girl"; and, best of all, the timeless travelogue "Interstate Love Song," as great a driving song as has ever been recorded. These are the songs that have been classified as guilty pleasures by alt-rockers too consumed by conventional definitions of good taste, but ten years after STP's peak, this music reveals itself as some of the best singles of the '90s. Scoff if you want and call them the Guess Who of the '90s, but this music has stood the test of time and this collection is nearly perfect. ~ Stephen Thomas Erlewine, All Music Guide
I agree with some folks that STP weren't exactly original but who cares? This looks like a great set for someone new to the band as it covers most of their best stuff. Maybe it's just me but the first track they released (Sex Type Thing) still seems to be their most ferociously awesome moment. The other songs aren't bad by any means but Sex Type Thing is a huge song to follow up.
I LOVE this album and every song on it!!! Stone Temple Pilots have it going on!! I remember alot of these songs from when I was a kid growing up in the 90s ahhh the memories!!! STP YOU ROCK!!! GO Weiland, people doubt you, but you know what they are jealous F**k them!! keep rocking on!!!
STP is classic. The songs on 'Thank You' are essential tunes from the soundtrack of the 90's. No matter what critics have said, the music has withstood the test of time, STILL receiving massive air time OVER A DECADE LATER!! That is what we call classic. So say what you will about Scott and the boys, STP has made some great, inescapably memorable music that will always have a place on the radio dial and album collections of all true fans of rock.
OK, the review is pretty bad. I loved STP along with Nirvana and Smashing Pumpkins. They all rocked back in their heyday. Anyone who thought they were sell outs should listen again. They rocked. If that's selling out, where do I sign up?
Did this critic, who seems not to like the bands "early stuff", happen to notice that almost HALF of the songs on Thank You are from their first CD... Core...which most fans think is their best CD from start to finish. This is a horrible review and yes, you readers are correct, Nirvana made grunge famous, not punk. Obviously this critic wasn't around for the late 70's-early 80's when many punk bands got famous.
That was one of the crappiest reviews I've read on this site. STP was NOT a punk band by any means! And last time I checked, I thought it was Grunge that broke in 91-92. Either way, what do these critics really know?
I don't believe that 1992 was the year punk broke. Punk dropped on the general masses - on this side of the pond anyways - in 1976. The closest thing I can equate to that statement is the year that Grunge broke, which is 1991. Though there is a (in my opinion, wrongly named) documentary titled 1991: The Year Punk Broke, STP wasn't even mentioned in it.....
OK I can see how critics might write STP off as chameleons who only copy and never come up with anything original, but the copies they came up with stand the test of time. I still listen to STP (unlike Nirvana, Pearl Jam, Alice in Chains) the music stood the test of time. If you ever caught an STP show Weiland and the rest are rock gods, one of the best shows I have seen
I still get a kick out of Saturday Night Live's comment that "STP sounded better the first time around, as Pearl Jam." I love STP, but I had to laugh when that was said. Some bands just aren't going to be liked by critics, but who cares about critics anyway?
I don't know WTF this critic is saying. Sounds like the MFer has never been to a show, yea he says nice things at times but sounds like he wants to not like the band. these guys are true rockstars