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- クレームを抱いたのは、音の問題でした。最初の部分では、スコットがチップマンクのように聞こえました。上を見上げると、頭のすぐ上に2つの大きなスピーカーがありました。それらから離れると、音はずっと良くなりました。セットリストはかなり短かったです。合計で14曲を演奏しました。しかし、Big Empty、Wicked Garden、Interstate Love Song、Sex Type Thingは演奏されませんでした。それにもかかわらず、Dead and BloatedとWhere the River Goes/Mountain Songのバージョンはそれを補っていました。夜のハイライトでした。Roadhouse bluesとLA Womanを10〜15分の曲にまとめて演奏しましたが、かなりクールでした。
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The complaint I had, (which was my fault) was the sound. It sounded like Scott was a chipmunk for the first part of the show. I looked up, and I saw 2 huge speakers right above my head. When I moved away from them, the sound was much better (I know, I'm an idiot haha). The setlist was rather short. I believe they did 14 songs in total. They left out Big Empty, Wicked Garden, Interstate Love Song, and Sex Type Thing. The renditions of Dead and Bloated and Where the River Goes/Mountain Song made up for that, though. Defintely the highlights of the night. They mixed together Roadhouse blues and LA Woman for a 10-15 minute song, which was pretty cool.
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問題だったのは（俺のミス）サウンドだ。ショーの最初ではスコットがチップマンク*みたいに聞こえた。見上げるとドデカいスピーカーが2つ、頭の真上に鎮座してる。でもってそこから離れたら、マシに聞こえた（俺ってホントバカだよね）。曲目はやや少な目。全部で14曲だったと思う。《ビッグエンプティ》《ウィキッドガーデン》《インターステートラブソング》《セックスタイプシング》は演らなかった。代わりに《デッドアンドブローティッド》《ウェアザリヴァーゴーズ/マウンテンソング》を演った。そしてこの夜のハイライトと言えば、10～15分にも及ぶ《ロードハウスブルース》と《LAウーマン》をミックスした演奏。これホント格好良かった。 ♪チップマンク http://www.youtube.com/watch?v=ZeqYxxD3tF4
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Steve Stewart, who managed STP from their early days up until 2000, remembers, “I shopped that tape for the first record deal. It's true, the band's sound was much more ‘LA funk’ than what came out on Core in 1992. Except for Where The River Goes. The demo version of that track (which is on the cassette) is one of my favorite STP songs. Thick and tasty – I think it sounds better than the album version on Core, but it's pretty much unchanged.” By late 1990/early 1991 STP began to form the signature sound they would later have on Core, recording demos of Wicked Garden, Naked Sunday, Piece of Pie, and Only Dying. Crackerman was also written during this time period. The full demo tape featured these songs along with some of STP's funkier numbers like “Dirty Dog” and “Scary Area.” During the band's early days, they relentlessly played the club scene, Steve Stewart says they played “pretty much every club in southern California. Raji's, The Shamrock, the Golden Bear – all the Hollywood and O.C. venues.” They also opened for bands like the Rollins Band, Ice T, and Soul Asylum.
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Not at all afraid or shy to speak of past success or past lives, he touches on current influences (which include Black Rebel Motorcycle Club and current tourmates The Last Internationale) and past inspirations. "I really like Ween," he says. "There's a song that influenced a song we wrote at my cabin. They're not really defined by one sound. I kinda pull from a lot of different genres – The Beatles, Bowie, jazz, bossa nova, blues."
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"When I was writing about Cedarwood, the big revelation for me was that you can't really leave these things behind because they are who you are, you can never escape your upbringing." When asked for his favourite part of the song, Bono chose The Edge's guitar solo. The Edge added: "Bono loved the solo idea, and later on in the process of recording he couldn't help himself, he started singing over it."
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Simone was extremely warm-hearted, kind and polite to me when I met her. Her kindness made a deep impression on me, which I still recall to this day. All the things that made me happy that day remain one of my best memories, which I will remember for the rest of my life.
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During Bono's teenage years the Seven Towers housing project was in place, which relocated families to the Ballymun flats. "They were very unhappy, they were angry, they were annoyed, these were the people we would meet as young teenagers," he said. "A lot of my early memories of teenage years were of violence, and the sheer fear of leaving the house, going to catch the bus," he added. "That [song] has all the dignity of that neighbourhood. Some dark characters indeed, but the general decency of people, the goodness, is in [the] guitar solo. I couldn't have achieved that," he told music podcast Song Exploder.
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It was around this time five years ago that the album Blaster by the Wildabouts, which was sadly the last of your life, was released. My happy memories of the release, which I had waited for so eagerly, come rushing back as if it had happened yesterday, and I miss you so much.
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Filter frontman Richard Patrick & new Stone Temple Pilots frontman Chester Bennington talk about Scott Weiland and playing with the DeLeos for the first time in a new interview with The Hollywood Reporter Patrick: Army of Anyone was a completely separate outside band. We wanted to take the DeLeo brothers to my sound design and we did a lot of that, but I went at it so that under no circumstances could I be compared to Scott Weiland. I had to sing everything high and I wanted to sing way up there because Scott's a baritone and the moment you start singing baritone stuff… so I was adamant that they stay in the key of drop D because that's where my voice likes to hang out. I kept saying things like, “I wanna rock. I wanna do really fast, exciting stuff!” Bennington: They had decided to move forward without Scott, and were talking about who they wanted to move forward with. My name got brought up … and I was like, “Fuck yeah!” I didn't even think about it. It was like a dog looking at a squirrel, getting instantly excited and wanting to chase it.
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The STP tunes were performed in a professional manner, including such obscurities as "Naked Sunday," "Still Remains," and "Where the River Goes," as well as the expected standards ("Wicked Garden," "Big Empty," "Vasoline," "Interstate Love Song"). It soon became evident that Weiland isn't entirely comfortable addressing a crowd. Although he did chat between every number, he gave off the vibe of an uneasy high schooler practicing public speaking, and it wasn't always clear what point he was trying to make. ※ 『STONE TEMPLE PILOTS（STP）』はバンド名、『Naked Sunday』『Still Remains』『Where the River Goes』『Wicked Garden』『Big Empty』『Vasoline』『Interstate Love Song』は曲名です。
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Core was released on September 29, 1992 with the lead single “Sex Type Thing.” Sex Type Thing was an anti-rape song, with Weiland singing from the perspective of a macho rapist. In a September 1993 interview with SPIN magazine Scott Weiland recalled the creation of Sex Type Thing, “Dean was out in the front yard of his house in San Diego, washing his car or something, and he was, like, listening to some old Zeppelin song [In the Light].” Dean described his memory of coming up with the guitar riff and being influenced by the Led Zeppelin song, “’Duh bug ngaow, buh-neh-neh-nah- neh-neh-nao-nhe’ except because the music was inside and I was outside, it sounded different. You know how you can hear music sometimes in a different way? I heard it ‘buh-neh-buh-neh-buh-neh,’ which is like the riff idea to ‘Sex Type Thing,’ and ran in and hit it out on the classical guitar.” Weiland's first impression of the riff was, “The first time he played it for me over the phone, it reminded me of an old-style Sonic Youth-ish kind of riff. And when he told me how he got the thing, I was tweaked. Hey, I write songs that way, too.” Dead and Bloated's guitar riff was based on an idea Scott Weiland hummed to the band, while the lyrics to “Plush” were written by Weiland and Eric Kretz while they were in a hot tub.
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Today, four years have passed since you departed for heaven. I related to your early life and your music, and that was the start of everything for me. You brought a shining light of hope to my life and saved me from my problems. You remain the greatest hero of all for me, and I’m so grateful to you. I miss you.
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ありがとうございます。チップマンク、初めて知りました。