photo & text by nacrowe
in the wake of what was ultimately the most AMBITIOUS STONE TEMPLE PILOTS record in TINY MUSIC... SONGS FROM THE VATICAN GIFT SHOP (review linked HERE), singer SCOTT WEILAND basically had a series of drug busts related to his narcotics habit the effectively derailed any momentum the band had. which was a real pity since that album was the third successive culturally SIGNIFICANT record they produced that was followed by limited touring. in essence its an all too SAD trajectory that is all too familiar with ALICE IN CHAINS fans as well.
so during an extended hiatus the remaining members of the band decided to pursue another project with singer DAVE COULTS of TEN INCH MEN in TALK SHOW with limited commercial success. interestingly this was attempted again years later during an extended hiatus (when WEILAND was with VELVET REVOLVER) with FILTER's RICHARD PATRICK in ARMY OF ANYONE with similarly limited results. its an INTERESTING DYNAMIC because you really feel for the DELEO BROTHERS and their failed attempts to establish a viable project outside of STONE TEMPLE PILOTS and the chemically dependent whims of the late WEILAND.
but such was the circumstance and during that mid-1990s hiatus from STONE TEMPLE PILOTS, WEILAND wrote an album produced by BLAIR LAMB and DANIEL LANOIS called 12 BAR BLUES (ATLANTIC, 1998). the album was very much a sonic departure from his previous work and had elements of LOUNGE MUSIC, TRIP-HOP and DECONSTRUCTED POP a la BECK. in terms of quality it matched anything he'd done before and some critics even argue that it surpassed it. standout tracks include "COOL KISS," "BARBARELLA," "LADY YOUR ROOF BRINGS ME DOWN," "DESPERATION #5" and "JIMMY WAS A STIMULATOR." added to the track-list was also his recent TANK GIRL soundtrack minor radio hit "MOCKINGBIRD GIRL" that was originally attributed to his side project THE MAGNIFICENT BASTARDS. subsequent solo material suffered from what one assumes is a diminished sense of ARTISTIC ACUITY and FOCUS due to years of drug abuse. same can be said for the final STONE TEMPLE PILOTS record which found WEILAND in a DIMINISHED physical and mental state.
like everything related to WEILAND, his career and work feel incomplete given his undeniable TALENT and CHARISMA. 12 BAR BLUES was a great effort that showcased his VERSATILITY, but it also feels like a tombstone to such CREATIVITY. which is undeniably TRAGIC. this record is most definitely worth checking out though.
photo & text by nacrowe
as a kid in SOUTHERN CALIFORNIA i played a lot of sports, but mainly basketball. going into 6th grade i personally knew the head coaches of the three local high schools. its funny to look back at it now, but at the time i was a sports prospect. of course, my family moved to NIGERIA later that year and my whole world literally shifted overnight. but during those late elementary years i have fond memories driving everywhere between LOS ANGELES and SAN DIEGO with my dad on our way to and from basketball camps and tournaments listening to U2 records.
there were certain songs we'd play as hype music which included AEROSMITH's "DREAM ON," THE JIMI HENDRIX EXPERIENCE's "VOODOO CHILD (SLIGHT RETURN)" and U2's "IN GOD'S COUNTRY" and "WHERE THE STREETS HAVE NO NAME" off their landmark THE JOSHUA TREE (ISLAND, 1987) record. i still to this day visualize long drives to places like ESCONDIDO, ANAHEIM HILLS and HUNTINGTON BEACH to those tracks. what drew me to their sound was how they manipulated the idea of SPACE. whether through THE EDGE's reverb and delayed guitar manipulations or those epic slow fade-ins punctuated by BONO's howling voice full of YEARNING and DESPERATION, their just seemed to be a palpable sense of forward momentum. PUSHING FORWARD to new frontiers despite the obstacles. its easy to see in retrospect how those tracks worked as hype songs.
as an adult i have come to appreciate the GLOBAL CONSCIOUSNESS of U2, regardless of the fact that such is often used as a focal point for castigation and aspersions, especially at frontman BONO. there is something very IRISH about having EMPATHY for another's suffering and i feel that he is coming at his political pronouncements from an inner place of DEEP COMPASSION. i may be alone in that but thats my conviction. when you look tracks like "BULLET THE BLUE SKY" or especially "MOTHERS OF THE DISAPPEARED" (which is about the suffering of mothers whose children were abducted by REAGAN-backed military dictatorships in CHILE and ARGENTINA) there is a conviction to utilize his artistic medium to further AMPLIFY these political efforts and draw world attention to them.
which he did.
less literal are the iconic singles "I STILL HAVEN'T FOUND WHAT I'M LOOKING FOR" and "WHERE THE STREETS HAVE NO NAME." its interesting that there is very much a thread of geography and the concept of DISPLACEMENT in much of the lyrical content from this record. again, very IRISH. the idea of searching for something important but unnameable and maybe even unattainable, like LOVE, ACCEPTANCE or even a COMMUNITY is an aspiration that is deeply human. its almost metaphysical in nature. having spent extensive time abroad in places like NIGERIA, ALBANIA, MYANMAR and VENEZUELA, i have literally visited people on streets with no name. BONO very eloquently seeks to provide REPRESENTATION and a voice to the voiceless and those who are FORGOTTEN and looked over by our entrenched POLITICAL and ECONOMIC SYSTEMS that dont value or even acknowledge their EXISTENCE. this is a concept i consistently struggle with.
and that struggle of living with a CONSCIOUS and bearing witness to the STRUGGLES of your neighbor is central to THE JOSHUA TREE. its the thread that ties seemingly disparate tracks like "ONE TREE HILL" with "WITH OR WITHOUT YOU." what is our individual RESPONSIBILITY to our COMMUNITY? what bonds us to each other on an inter-personal level? it really is an amazing accomplishment both SONICALLY and CONCEPTUALLY and for me it is a deeply sentimental record that reminds me of my own CONNECTION with my father.
so yeah, THE JOSHUA TREE is worthy of its hype and well worth checking out.