![]() ![]() On September 3rd, 1999, Superior Court Judge Larry Paul Fidler ordered Weiland to Los Angeles County Men’s Central Jail “to show that this will not be tolerated, and to help him make up his mind to stop killing himself.” In July 1999, Scott was hospitalised after a heroin overdose, which violated the terms of his probation. In April 1998, he was discharged from the Impact drug rehabilitation centre for failing to comply with the court-ordered program, and in June of that year, he was again arrested for heroin possession. In September 1997, Weiland was arrested after being found with a quantity of heroin. Outside the band, he regularly fell foul of the law and courts. His window of clarity was short, but he had enough time to record the album. Unfortunately, Scott’s sobriety didn’t last. He had a great energy to take the band to the next place.” He was sober, focused, looking great and all there. 4, “Resentment was growing since Purple, there was a window during the making of No.4 that Scott, genuinely, had the clarity of the Core days. In 2017, bassist Robert DeLeo spoke of when the band reconvened to record No. Scott’s many issues stemming from his spiralling addictions had magnified after the release of Tiny Music, causing the band to go on hiatus. Brendan O’Brien, our brilliant longtime producer, urged us simply to put our hearts and souls on the line.” Then Weiland somewhat dismissively described the resulting album as “a good record of generic rock”. Weiland, writing in his autobiography, described the writing sessions for the record as: “The songs were written together live. Looking back to their debut album, Core and its follow-up, Purple, for sonic inspiration, the band doubled down on the two core aspects of their sound: crushing riffs and beautiful contemplative balladry. 4 represented a “back to basics” approach after their kaleidoscopic and often psychedelic experimentations on Tiny Music. Stone Temple Pilots never entertained such swings toward synthesised sounds instead, No. Albums like REM’s Up, Smashing Pumpkins’ Adore, U2’s Pop and Radiohead’s OK Computer and its impending follow-up, Kid A, all embraced glitchy programming. In the later half of the ’90s, like a creeping osmosis, alternative rock bands that heretofore traded solely in the guitar, bass, and drums format released material with a solid electronic edge that reflected the foreboding undercurrent and mania surrounding the new millennia. As conspiracy theories gained traction over the final years of the ’90s, many of STP’s peers in the alternative rock sphere began experimenting with synthesisers and electronic sounds. Y2K was fast approaching the planet fretted about the chances of a widespread computer programming shortcut expected to cause extensive havoc as the year changed from 1999 to 2000. The band reconvened in 1998 to begin writing and recording the follow-up to Tiny Music. ![]() Coutts left the band, and the DeLeo brothers with Kretz soon reunited with Weiland as Stone Temple Pilots. Despite positive reviews and supporting tours with the Foo Fighters and Aerosmith, the album’s sales were disappointing. They released their self-titled (and only) album in 1997. The other three members of STP, brothers Dean and Robert DeLeo, with drummer Eric Kretz, formed Talk Show, recruiting singer Dave Coutts to front the band. Scott Weiland’s ever-deepening addiction and legal problems were beginning to take a toll taking a break from STP, Weiland found time to write and record his debut solo album, the Daniel Lanois-produced “12 Bar Blues.” Released in 1998, it showed Weiland was still a gifted and eclectic songwriter despite the upheaval surrounding him. Following their third, 1996’s Tiny Music… Songs From The Vatican Gift Shop, the band started to fragment. Three impeccable albums in three and a half years had shot them to the top of the alternative rock heap. ![]() From 1992 to 1996, Stone Temple Pilots were on a white-hot run of creativity. 26th, 1999, Stone Temple Pilots released their fourth album, No. ![]()
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