by Joe Jamnitzky
As discussed in my previous article, many bands/artists, at times, feel the need to change direction. Sometimes they succeed, sometimes they fail. This was a case where not only did it succeed, it managed to shock everybody.
Up until this point, STP were sometimes considered a Pearl Jam rip off, due to similar sounding vocals, strong guitar riffs, etc. Sure, the music rocked, and was really good, but after only two albums of it, it was already feeling as if it ran it’s course; after all, you can only do so much with that type of approach before it becomes monotonous.
This is where it becomes tricky for musicians, and is something I have discussed numerous times. They get put in this really bad position; either they keep doing what is popular and risk getting old and stale, or they experiment with their sound, try to grow, but risk losing their fanbase in the process. All they can really do is roll the dice and hope for the best. In the case of Tiny Music…, STP took the risk, and in the process put out an album that showed they were, indeed, not a rip off of any other artist, but were a band all of their own.
The change was immediate in the very first single and video released (seen below), “Big Bang Baby”. As opposed to earlier releases, the music was leaner, drier, and Scott Weiland’s vocals were in a much higher range, as opposed to the pseudo-Eddie Vedder that dominated the first albums. While they had previously showed glimpses of pop hooks, this was the first time they really brought it to the fore, making for a song that was catchy yet familiar, and showing they had some tricks up their sleeve.
The rest of the album would follow suit. “Lady Picture Show”, “Big Bang Baby”, and “Trippin’ On A Hole In A Paper Heart” would all go on to reach #1 on the Mainstream Rock Charts and become mainstays of their career, while the album itself would reach #4 on the Billboard 200.
Much of the album followed this pattern of change, with many critics and fans noting the 60’s psychedelic and pop feel that shows up throughout it, especially on “Lady Picture Show”, and the non-single “Adhesive”, who’s chorus featured fading harmonies on the word “love” that were very reminiscent of The Beatles. Meanwhile, rock tracks such as “Tumble In The Rough” (itself a #9 single), “Pop’s Love Suicide”, and “Art School Girl” were miles away from the type of rock they had become known for. This time, rather than big riffs being the focus, it was the catchy melodies and vocal hooks that were brought forward, showing for the first time that this was a band of versatility, capable of writing immediate hooks that were accessible. While that may bring up cries of “sell out”, the album is anything but that, because the different instruments, the mixing of the album, and the songs keep it from being a straight pop album. Make no mistake, this is a rock album; the difference this time is that it’s a rock album with experimental flourishes, coming from a band who had never attempted that before, and the attempt speaks for itself.
Unfortunately, what should’ve been a high for the band ended up crashing. Due to Scott Weiland’s drug issues and court battles, the band was forced to cancel most of the tour to support the album, and as a result it didn’t receive anywhere near the exposure as was originally planned. On top of that, it would be another three years before STP released anything new. Instead, what was meant to be an important stepping stone in the growth of the band ended up being a reminder of everything that went wrong for them in that time period. Despite the hit singles and strong starting sales, the lack of exposure effectively killed it.
Of all the great albums that deserve better fates, this one is high on the list. It deserves a second chance.
gdlr_rp
