Velvet Revolver\u2019s double-platinum debut, Contraband<\/em> (2004), boasts what feels like the ideal hard-rock sound. Contraband<\/i> spawned multiple hits like the Grammy-winning \u201cSlither\u201d and also \u201cFall to Pieces\u201d \u2014 we highly recommend the gorgeous acoustic bonus-track variant of the latter!<\/p>\n However, this glorious record\u2019s finale, \u201cLoving the Alien,\u201d should not be overshadowed by what precedes it. (Verily, here, Weiland\u2019s artistry in combination with the prowess of Guns N\u2019 Roses<\/a> legends Slash<\/a>, Duff McKagan<\/a>\u00a0and Matt Sorum, plus ex-Wasted Youth\u2019s Dave Kushner<\/a>, proves too spectacular for mortal ears to absorb).<\/p>\n The title of \u201cLoving the Alien\u201d is a clear tribute to David Bowie<\/a>, whom Weiland repeatedly described as an inspiration upon his art, and, in the eyes of many, Weiland is a giant of, dare I say, Bowie\u2019s epic proportions.<\/p>\n I\u2019ve long held the view that \u201cLoving the Alien\u201d is the most beautiful modern song (along with creations by Tor-Helge Skei like Manes\u2019 \u201cLast Resort\u201d) and the fact that it doesn\u2019t haunt your average civilian (in the same way that \u201cInterstate Love Song\u201d might just pop up during your gym and coffee shop outings) is simply baffling.<\/p>\n<\/article>\n<\/div>\n<\/div>\n<\/li>\n \u201cPictures & Computers (I\u2019m Not Superman)\u201d hails from Weiland\u2019s second solo record, the partly autobiographical \u201cHappy\u201d in Galoshes<\/em> (2008).<\/p>\n With its vintage, strangely haunting and strung-out vibes (enhanced by Weiland\u2019s keys and French horn by Brian Wilson<\/a> accomplice Probyn Gregory), this daringly personal feat might not seem all that brutal upon first impression, but it amounts to a stingingly honest existential exploration: \u201cHave I done the best that I can to generate \/ \u2019Cause I still hate \/ To revel around and terrorize or sympathize and populate \/ \u2019Cause I\u2019m just every man who once was a stronger man\u2026<\/em>\u201d<\/p>\n The weight of this song dizzies and crushes conscience-laden listeners, delivering a completely different energy than, say, VR\u2019s \u201cSuperhuman.\u201d<\/p>\n \u201cHappy\u201d<\/em>\u00a0in Galoshes<\/em> simply contains too many murderously<\/i> great compositions: the career highlight \u201cMissing Cleveland,\u201d the bliss-inducing \u201cKilling Me Sweetly,\u201d the impossibly bewitching \u201cParalysis,\u201d \u201cCrash\u201d (the single that should have blown up), \u201cArch Angel,\u201d etc.<\/p>\n<\/article>\n<\/div>\n<\/div>\n<\/li>\n This year, we celebrate the 30th anniversary of Stone Temple Pilots\u2019 third record, Tiny Music… Songs from the Vatican Gift Shop<\/em>, which showcases the classics \u201cTrippin\u2019 on a Hole in a Paper Heart\u201d and \u201cBig Bang Baby.\u201d<\/p>\n Although the album\u2019s closer, the tambourine-laced \u201cSeven Caged Tigers,\u201d placed among the favorite self-authored tunes of the man himself and has been ranked as one Weiland\u2019s finest moments, it has yet to receive the proper amount of plays from fans. This mystical, mysterious and meditative offering is nothing short of an ever-refreshing and timeless masterpiece: \u201cSo, the answer gets harder, harder \/ And the truth\u2019s getting farther and farther…<\/em>\u201d<\/p>\n In a way, \u201cSeven Caged Tigers\u201d feels like a companion to \u201cAdhesive\u201d \u2014 they are separated by the incredibly pleasing \u201cRide the Clich\u00e9\u201d and the instrumental \u201cDaisy.\u201d<\/p>\n In his memoir,\u00a0Not Dead and Not for Sale<\/em>, (written in collaboration with David Ritz), Weiland described \u201cAdhesive\u201d as \u201cme at my most depressive moment.\u201d On both compositions, Weiland alchemized his struggles, converting pain into artistic gold.<\/p>\n<\/article>\n<\/div>\n<\/div>\n<\/li>\n \u201cWonderful,\u201d the fifth number off the immersive Shangri-La Dee Da<\/em> (2001), serves as a bittersweet leap into the great beyond: \u201cAs I\u2019m fallin\u2019 out \/ I wonder what I lost \/ Must be movin\u2019 on…<\/em>\u201d This addictive piece of ear candy envelops listeners in a rare soothing warmth that\u2019s better than any drug high.<\/p>\n This opus\u2019 orgasmic sound partially owes to producer Brendan O\u2019Brien (as does that of other picks here), who repeatedly helped Weiland achieve his best.<\/p>\n The live album The Family Values Tour 2001<\/em> (2002) features a recording of Scott Weiland and Chester Bennington<\/a> (before the Linkin Park<\/a> vocalist replaced Weiland in STP) performing \u201cWonderful\u201d together.<\/p>\n Retrospectively, it can be called one of the saddest moments in rock history, given its soul, authenticity and Bennington\u2019s love of STP as a fan paired with the knowledge of the tragic manner in which both icons passed.<\/p>\n<\/article>\n<\/div>\n<\/div>\n<\/li>\n Following on the kinky heels of the frenetic \u201cSex & Violence,\u201d \u201cGlide\u201d allows audiences to return to chill mode while experiencing No. 4<\/em> (1999) \u2014 the record that brought the world triumphs, such as \u201cSour Girl\u201d and \u201cAtlanta,\u201d which STP referred to as probably one of the most beautiful tracks they had ever written while appearing on WAAF 107.3, for instance.<\/p>\n It would be difficult to argue for the existence of a song that transports us on a nicer musical hang-gliding excursion than this one, though smooth vocal lines (as well as pleasantly aggressive ones, as on \u201cSex Type Thing\u201d) were one of Weiland\u2019s many talents that can be heard on countless other recordings.<\/p>\n The evocative \u201cGlide,\u201d which opens the door to interpretation, provides heavenly relief mixed with a sense of concrete desperation: \u201cJust give me a half a chance \/ From throwing it all away…<\/em>\u201d<\/p>\n<\/article>\n<\/div>\n<\/div>\n<\/li>\n<\/ul>\n\u201cPictures & Computers (I\u2019m Not Superman)\u201d (Scott Weiland)<\/h2>\n
\u201cSeven Caged Tigers\u201d (Stone Temple Pilots)<\/h2>\n
\u201cWonderful\u201d (Stone Temple Pilots)<\/h2>\n
\u201cGlide\u201d (Stone Temple Pilots)<\/h2>\n