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MAY 2010 ISSUE MMUSICMAG.COM MAY 2010 ISSUE MMUSICMAG.COM

MAY 2010

VOLU M E 01, I SS U E 03

PE R IODICAL $6.99 U.S. / $7.99 CANADIAN

THE BLACK KEYS DEFTONES NEW PORNOGRAPHERS THE HOLD STEADY

MELISSA ETHERIDGE Returning to rock

MERLE HAGGARDShoots from the hip

NAS & DAMIAN MARLEYRap meets reggae

STONE TEMPLE PILOTSOnce grounded, they’re ready to soar again

VINYL’S REVENGE

SUMMER FESTIVALS

THE ART OF MASTERING

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36 48

24 62

34 66

STONE TEMPLE PILOTS It once seemed they were finished for good, but

now they’re ready to rock again.

DEFTONESHow a heartbreaking accident pulled them closer

and inspired their powerful new music.

NAS & DAMIAN MARLEYLeading lights of the rap and reggae worlds find

common ground in the studio.

ALAN PARSONSThe pioneering producer, engineer and artist

shares his insights about the world of sound.

MELISSA ETHERIDGE After beating cancer, she’s returning to her roots

with a crowd-pleasing new album.

THE BLACK KEYSFor this powerhouse blues-rock duo, keeping

things simple is a way of life.

COVER STORY

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CONTENTSMAY 2010

4 MAY 2010

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When the members of Stone Temple Pilots began work

on their first album together since 2001, they opted to

stick close to home. Forgoing the luxury of an outside

recording studio, the foursome laid down tracks at the

home studios of singer Scott Weiland, bass player Robert

DeLeo and drummer Eric Kretz. “I attribute it to the fact that we’ve

become much older and lazier,” guitarist Dean DeLeo says with a

laugh. “Scott has a gorgeous studio 10 minutes from his house, Eric

has a gorgeous studio five minutes from his house, Robert has a

gorgeous studio in his house. Where else would you want to work?”

After two often-tumultuous decades together, the members of

Stone Temple Pilots have earned the right to work wherever they

please. Ever since the band formed in San Diego and rocketed

to stardom in the early 1990s with absurdly catchy rock hits like

“Plush” and “Sex Type Thing,” its continued survival has been in

question. Weiland developed a heroin habit during the tour for their

debut album, 1992’s Core, and his

struggles with addiction and regular

brushes with the law over the next

several years regularly wrecked

the group’s recording and touring

schedules. Yet they always managed

to bounce back—until late 2002, when

the members parted ways seemingly

for good. Later Weiland fronted the

supergroup Velvet Revolver, the DeLeo brothers teamed with Filter

vocalist Richard Patrick in the band Army of Anyone and Kretz focused

on production work. While staples like “Interstate Love Song,” “Sour

Girl” and “Vasoline” never left rock radio playlists, it seemed they

would never again be joined there by new STP songs.

That is, until 2007, when Weiland’s then-wife called Dean to

ask if the brothers’ just-for-fun side band, Farm Fur (headed by

Tom Petty & the Heartbreakers drummer Steve Ferrone), could be

persuaded to play at a beach party she was planning. That began

a healing process that eventually culminated in the April 2008

announcement of a 65-date reunion tour. Weiland’s acrimonious

split from Velvet Revolver the same month sealed the deal. Suddenly,

improbably, Stone Temple Pilots was back.

Between shows, the members began writing new songs and

convening at Kretz’s Bomb Shelter Studios. The band opted to

act as its own producer for the first time (Brendan O’Brien helmed

their first five albums), although Don Was provided some crucial

guidance to keep intra-band tension from derailing the music again.

“It’s like a family, and sometimes when you tell your brother you’re

not digging something, he may retaliate,” says Dean. “Don was

very instrumental in saying, ‘You know, maybe he’s right.’ Keeping

us all in line with one another. He

was very helpful in keeping things

harmonious and constructive

between us.”

Dissonance was further kept

to a minimum by having the band’s

three instrumentalists arrange and

record their contributions, then

hand the results off to Weiland

to add vocals independently at his own Lavish Studio. “We’ve been

making music together for so long that we know what to expect from

each other creatively at this point,” Robert DeLeo says. “That’s the

way we made this record.”

In this way, over 10 months, Stone Temple Pilots was born.

‘You have to listen to what the song is asking you and answer those questions.’ – Dean DeLeo

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(Basic tracks for “Cinnamon” and “First Kiss on Mars” were recorded

at Robert’s Homefry Studio.) While many veteran acts struggle to

convince audiences to accept new music, the album’s opening

number and fi rst single, “Between the Lines,” has already become

the band’s 16th mainstream rock Top 10 hit. “I don’t think it was ever

a matter of, ‘I hope this song goes to No. 1 and I hope it’s a huge

song,’” says Robert. “Our main concern is to make the best songs

we can make, and whatever happens with them happens. You don’t

have control over how people are going to react to your songs.”

While predicting Stone Temple Pilots’ future is a fool’s errand,

the group currently plans to tour the world through the end of next

year. And STP remains signed to Atlantic Records for at least one

more album, a contract that Dean, for one, is determined to fulfi ll.

“Just on behalf of myself, I don’t want to leave this earth owing anyone

anything,” he says. “I want to fulfi ll my obligations to whomever I’m

contracted to. If I owe two more records, I want them done.” As they

always have, the DeLeo brothers split the music-writing duties for

Stone Temple Pilots while Weiland handled the lyrics. We recently

spoke with the DeLeos about the long and gradual process of

bringing their band back to life.

“It’s very hard to be talking about a new STP record just

because I fi nd it hard to explain things like that,” Dean says. “I’m

confounded as to what to say when I’m asked questions. But as far

as sitting on a new STP record, I’m elated. I’m ecstatic. Talking about

a new record is hard, but having a new record is spectacular.” His

protestations to the contrary, both Dean and brother Robert proved

as eloquent verbally as they are instrumentally.

Did you feel pressure to make sure this record stood up to

your previous work?

DEAN: If we got into this and we felt this material wasn’t strong

enough to be called a Stone Temple Pilots record, we wouldn’t

have released it. We are our own worst critics. We have very high

expectations for ourselves as well as one another. But it was evident

early on that this was going to be something special, at least to us.

I understand that’s a pretty bold statement right there, but this is

something special.

What was the songwriting process like for this album?

DEAN: It was exactly the same as the previous fi ve albums. Honestly,

it’s remained the same since Core. First Robert, Eric and I get into a

room. Robert and I come into a session with a lot of material. We’re

working up four or fi ve songs a day, because a lot of this stuff we’ve

had in our pockets for a year or two. Scott usually sits the fi rst week

out. Could you imagine being a singer and having that much material

thrown at you? It’s pretty overwhelming. Once we get situated, we

let the music dictate where things are going. When we see the

avenue it’s taking, we stay in that vein of things and start tracking

it in a demo form. We’re not really tracking it for the album, per se,

because when Scott comes in and hears things he very well may

say, “I don’t know if I’m feeling this one,” or, “I think the key needs

to be different in this one,” or, “I need this section to go two more

times.” When Scott really wants to bite into it, that’s when the fi nal

arrangement comes down. You want to accommodate the vocal.

Eric Kretz, Dean DeLeo, Scott Weiland, Robert DeLeo

39MAY 2010

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Robert, do you actually write on bass?

ROBERT: It mainly starts on guitar for me. I can’t say I really come up

with songs on bass. That way I’ve already established the chording

and the syncopation of the song, and I think being able to add the

bass at the end always makes a more interesting bass line for me.

I would say all of my songs have started out on acoustic guitar.

Do you write with Dean’s guitar style in mind?

ROBERT: I don’t have to. I think he totally relates to where I’m

coming from most of the time. In fact, Dean has written bass stuff.

Dean wrote the bass line to “Sour Girl” and a couple songs on this

record: “Hickory Dichotomy” and “Take a Load Off.” I just played what

he had on there. I like to stay true to what he has in mind. I fully trust

him. I think there’s a certain understanding and respect we have for

each other’s music. We did come from the same womb. (laughs)

How do you present a song to the rest of the band?

ROBERT: I just play it. I think there’s a trap in putting it down on

record fi rst—that old problem of “demo-itis,” trying to chase down

the demo. I just keep it inside me until it’s time to present the song.

I’ll play it and hum the melody I have, and whatever sticks, sticks. I

usually have the song complete from start to fi nish.

Is there an element of competition between the two of

you as songwriters?

DEAN: No, that’s the wrong word. I’ll tell you what it is. If I want

songs on an STP record, I’m going up against Robert DeLeo. My

brother won’t say this, but I will: He’s one of the fi nest songwriters

on the planet, hands down. I put Robert DeLeo up there with Burt

Bacharach, man. So if I want a song on a record, I better bring my

A game. It defi nitely brings out the best in all of us.

ROBERT: I feel like he’s going to take my song and improve it—and

hopefully I’ll do the same with his song. It’s something that’s not

even thought about, we just do it.

Was it ever a challenge to be in a band with your brother?

ROBERT: No, I feel fortunate. I think writing music together has

enhanced our relationship. We’ve always had a true relation through

music as well as being brothers, and I couldn’t think of anybody else

that I’d be more honored to be in a band with. My brother is the one

who inspired me to get into music, so to be able to write music with

that person is a complete honor.

Do you have much input into the lyrics?

ROBERT: That’s Scott, man. He’s a great lyricist. I’ve always

loved where he comes from lyrically. I’ll have a melody, and if he

uses it, great. If not, then I know he’ll come up with something

great. “Interstate Love Song” was a melody I had, which he stuck

with. There are a few things on this record that I think he stuck

with melodically.

PEACE OF ARTDuring the mixing of Stone Temple Pilots, the band was casting around for album cover

ideas when vocalist Scott Weiland brought in a book by artist Shepard Fairey—best

known for his iconic “Hope” poster supporting Barack Obama’s presidential campaign.

Weiland and guitarist Dean DeLeo both immediately fi xated on an image called Peace

Fingers Red. “Scott and I will go to a restaurant and order the same thing,” DeLeo

says. “He and I see very much the same way, and we both clamped down on this

image.” After settling on the image as the album cover design, the band elected to

self-title the album to avoid cluttering it up with other elements. “How do you improve

on that?” DeLeo says. “It’s like trying to improve on a fl ower—you just can’t. We had

a couple of titles in mind, but when anything got next to that image, it muddled it. It

took away from the essence of the image.”

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On stage at the Fox Theater in Oakland, Calif., Oct. 2

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Was it difficult to produce yourselves?

DEAN: I wouldn’t say it was difficult, but it required more attention.

There’s more intensity involved. You’re not just in there worrying about

yourself and your own performances. We made a lot of records with

Brendan and it was like, “This is his thing, let him worry about it.” I

would surely put my two cents in, but I respected Brendan’s decisions.

Was it difficult to hand off the songs to Scott to lay down

vocals himself?

ROBERT: It wasn’t very much

different from making our other

records. Scott did come over to Eric’s

place a few times, and we did sit down

and go over keys and arrangements

and the necessary things we needed

to do to continue on. We hashed that

out before he started singing on stuff,

so we had it together.

All of your records have a real

sense of economy. How did

you develop that approach?

DEAN: I think we always let the song dictate that. It’s nothing we

really ever set out to do. We always let the song talk to us. Just

listen to what the song is telling you. It’s going to ask you questions:

Do you really need a third verse? How long should the bridge be?

When that intro part comes back in, do you need that to go eight

bars, or could that only be four? How do you want to end this? On

a fade? On a last chorus? What is the song saying? You have to

listen to what the song is asking you and answer those questions.

Has the personal dynamic among the band members

changed over the years?

ROBERT: A lot of things have changed. This is textbook stuff,

it happens with anyone. Am I on a personal level the way I was

20 years ago with some of my friends that aren’t in the band?

I don’t think I am. There’s an obvious appreciation for what we

have, and that grows stronger as time goes by. But do we all hang

out? I mean, my own brother is in the band, but do we hang out

all the time? Not all the time. But when the four of us do come

together, it’s interesting to start playing songs that we wrote

almost 20 years ago. Instantly it’s like a class reunion—each song

will spark up a different memory of where we were or what we

were doing or what happened

at that time. It’s incredible. It’s

something that I love always

having in my pocket.

What are your hopes for

the band at this point?

DEAN: I’d like this record to sell

10 million copies, I’d like to do all

my future tours on my private jet

…. (laughs) Honestly, I do not

take for granted that I have a job

that allows me the opportunity to

share something so intimate and so beautiful with so many people.

I’m very, very grateful. If I can just keep continuing to do that until

I’m old and gray, man, that’s success.

ROBERT: It’s tough being in a band. I’ve been in a band for 20

years now, and it’s not the easiest thing to do. There’s a lot of

personalities and egos and different things involved. I look at things

differently being in my 40s than I did in my 20s. In my 20s, STP

was my life. I think now I make STP a part of my life, and that makes

it easier for me. There’s a lot of vinegar and oil needed to make a

good salad, and STP is sometimes vinegar and sometimes it’s oil.

Balancing it out and making it a good salad is the goal here. It’s

about making the greatest songs and records we can make. M

TOOLS OF THE TRADEWe asked Dean and Robert DeLeo to tell us about the instruments and gear they used while recording Stone Temple Pilots.

GUITARS

DEAN: I don’t have a heck of a lot of guitars. I usually have two Les Pauls, with one of them set up for slide. I have three Telecasters. One has a Bixby [tremolo], which I utilized for the solo for “Bagman.” Then I have one Tele strung up with Nashville tuning, which gives it this real chime-y, interesting sound, and I have a Tele that’s strung up straight. I have a Danelectro, with those fabulous lipstick pickups, that I use a fair amount on the record. I also have a Danelectro Longhorn six-string bass that you hear on “First Kiss on Mars.”

BASSES

ROBERT: The fine folks at Gibson sent me a Thunderbird, and I fell in love with that bass. I had never really played one, and I was very curious to see how it would sound. I used that bass on the majority of the record. I just liked the consistency of it, from string to string, note to note, fret to fret. I also used a Schecter eight-string bass on a song called “Take a Load Off.” I know most people play it with a pick, but I just banged it out with my fingers.

Then I got a nice 1970 Hagstrom Swede bass, which I also love. It’s kind of like a Les Paul bass, all mahogany. I used that on “Dare If You Dare,” and all the rest of it was the Thunderbird.

AMPLIFIERS

DEAN: I brought in a couple of the Marshall 18- and 20-watt combos. Marshall did those between ’66 and ’68, and they were never actually introduced to the U.S. They are really amazing. I’ve had those for a long time, and I use those a lot on the records. I have a B212 Ampeg flip-top and a couple of [Vox] AC30s and AC15s. A friend a mine, a San Diego cat by the name of Jeff Snider, makes really wonderful amps. I always bring a Snider amp into a session. It doesn’t matter what guitar I plug into that, I can get a chime out of it like an AC30 won’t give me. Beyond that I have a lot of small stuff—little Ampeg V12s and Champs, four-inch and six-inch speakers. ROBERT: I was fortunate enough about 15 years ago to find a 1970 Marshall 8x10 cabinet. It speaks well on bass. I took the power section off my 1971 Ampeg BT-22 amp and ran it into the 8x10 Marshall cabinet. Then I AB’d that off to a ’61 Fender Bassman that had a custom 15 in it. I also put that directly into a Demeter Tube Direct Box. Usually I do those two direct channels and blend them together according to where it will fit in the mix with the guitars. By the third record I had started doing that. I can’t say I was entirely happy with my sound on the first two records. By the third record I was just like, “Dammit, I work way too hard and long not to be heard.”

‘When the four of us do come together, it’s like a class reunion.’ – Robert DeLeo

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