Stone Temple Pilots
Purple

THE REVIEW

According to some, "Purple" (1994) is the album of redemption for the Stone Temple Pilots, the proof that absolves them from accusations of being plagiarists of the more famous grunge bands, criticisms due to their arrival in medias res with a debut - "Core" - cunningly derivative and highly profitable. Another widespread opinion is that "Purple" is more melodic and accessible than its predecessor. I only agree with the second thesis.

It is true that the group gives up the dark parametal sounds of Alice In Chains so much honored in their debut, but it is equally true that in doing so, they leave the field open to the sphere of influence of another band they have often been compared to, Pearl Jam. And for the Pilots, being inspired does not mean taking cues and creatively reworking them; it rather means imitating, emulating, sometimes even copying.

"Interstate Love Song" is quite similar to the old hit "Plush", which in turn seemed like an outtake from "Ten," which says it all. In "Big Empty", the country-blues overtones in the verses do not mask the similarities with Pearl Jam, and equally evident is the debt in the semi-acoustic Kitchenware & Candy Bars. As if that were not enough, it seems that Scott Weiland takes pleasure in mimicking the epic and solemn voice of Eddie Vedder: a shame, because when he commits to singing with his own timbre, he defends himself quite well, as happens in the romantic electric ballad "Still Remains", and in the languid acoustic ditty "Pretty Penny", not surprisingly two of the most successful songs of the lot. Elsewhere, the guys attempt, as taught by Soundgarden, to build vigorous riffs halfway between Led Zeppelin and Black Sabbath, but since they lack the brilliance and authenticity of the masters, it results in fairly canonical hard rock, neither here nor there ("Meatplow", "Silvergun Superman"). The best track, the one that gives the band a grain of historical importance and not just excessive commercial fortune, is "Army Ants", a fierce funk shrouded in hard between Red Hot Chili Peppers and Jane's Addiction: with hindsight, although it is also a collage of known characters, it has the merit of anticipating what will be the sound of the same peppers in "One Hot Minute," the 1995 album that not coincidentally hosts former Jane's Addiction member Dave Navarro on guitar. A few years later, even Rage Against The Machine will copy its introduction in the verses of their "Born Of A Broken Man".

The album also has a sort of subtitle engraved on the back cover, "12 Gracious Melodies," which says a lot about its content and the substance of its authors: they assemble graceful, appealing melodies conforming to mass tastes and seem to be even aware of it. In any case, personality is lacking, originality is light-years away.

It is well known that innovations and revolutions are not everyday occurrences, but to be valid artists, one must at least be able to stand out and be recognized. Stone Temple Pilots do not possess these characteristics (I speak in the present because following a very recent reunion, they are still active), and "Purple" is no exception to the rule that their records sound more or less like compilations of various grunge artists. Three stars is a somewhat generous rating.