It did get airplay I remember, but neither single lasted long on radio and they were back to playing “Plush” and “Sour Girl” instead of these. It became their 2nd worst charting single on the Mainstream Rock chart and their worst charting single of the Alternative Chart. The punchy “Hollywood Bitch” had the knack for being radio ready, but it did poorly. Still, it was viewed as something that didn’t match their prior lead singles. The lyric uses a style used before (“Lady Madonna” etc.) and its self-conscious title is an indicator, but the music and vocal is too good to deny. ![]() A terrific riff and refrain hook does the trick. ![]() Short and sweet, it leaves its impression and gets out quick – no intro, no outro, a brief dreamy bridge. The audience and media agreed once “Days Of The Week” got its airplay re-introducing the band into the 21st century as the lead single. This is the first album where they struggle a bit with heavier material and the dumbed down powerhouses just weren’t that good. With that said, they sacrificed finding those terrific harder riffs that they found with ease previously. With that direction, the album triumphs, emphatically creating some of the most beautiful softer alternative rock songs in the genre’s history up to that point. The scene had changed a bit to a harder tone and STP were able to keep up in 1999, with some huge thudding monster rockers but by 2001, it seemed like they were more interested in growing the artistic side and not really caring about the scene. Alternative rock’s newer flock of fans were embracing nu-metal and some were off of alt rock completely because of nu-metal. Fans were tired of Weiland’s antics over the years and unpredictability and there were signals that it wasn’t going to do well even before it came out. The final album of material we fans would get until 2010, at the time, this felt like the final album.
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