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Why Taking Time Off to Make a Record is Important for Creativity

  • Taking time off and making a record is crucial for maintaining creative relevance.
  • The narrator wanted the band to remain relevant and believed that making a record was essential for that.
  • Despite discussing the idea with the other band members, nothing happened and they didn't start working on new music.


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    Basically it was the same thing all over again. In this situation it's like, I don't know what the terms of your own personal contract was, but I was unlawfully fired. We had specific rules in our contract on how it has to be done, and it wasn't followed.” On the problems in STP last year: “There were financial things we were dealing with, and I also felt on a creative level that we needed to take a break. I felt like we were playing the same set over and over and over. We were supposed to do a big big release of the box set for the 20th anniversary of Core and go on tour in the summer of 2012 and play Core in its entirety which is an idea we got from a couple other bands, namely Weezer. It was hugely successful, and for us to do that with Core, the offers we were getting were amazing, and they didn't want to do it. There was a lot of promotion that would have had to take place. So that didn't happen, so we ended up playing the greatest hits set, which was basically the same version of the set we had been playing since 2008 when we got back together.

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    “But that’s not the intention at all. I mean, me, Slash, and Duff really needed to do a band. We were ready, it was time. We were, like, ‘Look, Axl’s gone out and has done the Roses by himself, so, we can do this.’ “If anyone ever saw the things about Revolver, it wasn’t an easy process because the missing link was the lead singer. We went over and over that until the point we’ve finally settled on Scott. “In retrospect, all the energy that went into that band and what Scott represented, maybe different demography of rock ‘n’ roll coming from what we describe as the grunge era, but mixed with the GN’R sort of angst and a bit of a punky feel. “It worked, but we were all fired up, we were in great shape, we were ready to take on the world like we had something to prove like a 20-year old kid, which at that time we were all approaching 40, you know.”

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    In a 2012 interview with Rolling Stone, Weiland stated about the status of STONE TEMPLE PILOTS: "I think we kind of overplayed ourselves by playing the same set over and over. I think the band needs to take some time off and be creative again. I always felt that our creativity and the growth we made within making records as artists was equally as important as we were as a live band. The transformation from 'Core' to where we ended up before we took that time off, when I started with VELVET REVOLVER, was enormous. I think we need to get back to that. I don't think that touring consistently with a greatest-hits package gets you anywhere. It diminishes things." ※ 『STONE TEMPLE PILOTS』『VELVET REVOLVER』はバンド名、『Scott Weiland』は人物名、『Core』はアルバム名です。

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    “More than anything, we've been a great live band. The reason why critics didn't like us because they thought we were one thing that we weren't. They thought we sounded like a Seattle band. We proved those critics wrong over our career and changed from album to album.

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    When I formed the band and created the Wildabouts with my friends, we decided we wanted to make a band-sounding album, a rock-sounding album. I made two solo albums before that were more experimental albums, and I think that they didn't really resonate with my fan base because they were too out-there, too artsy. ※『The Wildabouts』はバンド名です。

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    How did this tour come together? Richard Patrick: I heard about it and said to Dean [DeLeo], “Hey, Dean: take me on tour!” [laughs] And he asked the guys, came back and said, “Everyone says this is good!” Chester Bennington: Pretty much. We wanted this tour to be a really good experience for our fans; and we had been struggling to find bands, the right band, to make it awesome. So when Dean came to rehearsal, we were at Robert’s house recording, and said, “Richard said that they would go out with us.” I was. like, “F---, yeah!” That is exactly what we want and what we need for this tour.

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    Watching the three perform: It felt like witnessing history. Their set began with “Moanin’ at Midnight,” a Howlin’ Wolf cover, and went on to include “Killing Fields,” a female-version of Elmore James’ “Mean Mistreatin’ Mama,” folk classic “House of the Rising Sun,” the brilliantly catchy “Wanted Man” (unfortunately impossible to find/buy on the internet), “Gypsy Woman” and their finale, “Life, Liberty and The Pursuit of Indian Blood.” From first moment to last, it was an experience. Their sound is infectious, playful, sexy, groovy, heavily improvised and decidedly rock. Songs that should have lasted a few minutes lasted several, and felt very personal to the band. Even the covers felt like theirs. They communicate with each other on stage and at the same time perform in their own vacuum of feeling and emotion, in their own world.

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    We just wanted to move on in a productive, caring, productive… — and did I say 'productive?' — environment, and when the time came for us to do that, I think we shocked a lot of people. So with that said, we really, really wish Scott the very, very best. I hope he one day finds the light. But as far us, we wanted to, like I said, move forward, and not try to recreate our catalog, because I think that's impossible to do; we had a lineup change, we have a different man in the band now, we have a different human being, a different energy.

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    STONE TEMPLE PILOTS bassist Robert DeLeo recently spoke to Bill Bodkin of Pop-Break.com about the band's decision to fire its former lead singer, Scott Weiland, and join forces with LINKIN PARK's Chester Bennington. "When you're a band that's had a career like we've had and you're considering terminating your singer, people kinda react to that like 'riiiiight' [because] I think with any band that's the person [the lead singer] people relate to the band," he said. "I felt that over time, it wasn't really about the music anymore. It was, for live purposes, the novelty of what condition Scott was going to be in. It gets very frustrating to have to be in that position with someone over that amount of years."

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    With a hit record, by summer 1993 it was time for STP to plan their first big tour. The band were offered a chance to open for Aerosmith on an arena tour, but turned it down. They wanted to play smaller venues that held 2,000-5,000 fans with cheaper ticket prices. So they put together a festival like tour, titled the Bar-B-Q-Mitz-vah tour with the Butthole Surfers, Flaming Lips, Basehead, and Firehose. The band had hoped to be part of the 1993 Lollapalooza tour, but weren't asked. In a September 1993 interview with Guitar School Dean DeLeo stated, “We didn't even get asked! We were really let down, because we would have loved to do that gig. So now we're on the ‘God-I'm-a-loosa' tour. [laughs] I'm only kidding.” Despite missing out on Lollapalooza, STP's summer 1993 tour was one of the most explosive of the summer, and they established themselves as one of the premier live bands in rock. The band even came out dressed as Kiss at the Roseland Ballroom in New York on August 3, 1993. That night was also the first time Scott Weiland ever tried heroin, which led to tensions in the band that lasted for a decade.

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