Church On Tuesday - Stone Temple Pilots - Nº4 (Cassette, Album)


Download Church On Tuesday - Stone Temple Pilots - Nº4 (Cassette, Album)
1999
Label: Atlantic - 7557-83255-4 • Format: Cassette Album • Country: Germany • Genre: Rock • Style: Alternative Rock

Melvin Flynt - Da Hustler. Underground Vol. A Different Beat. The Cinematic Orchestra. American Football. Black Diamond. Brand New Day. Calculating Infinity. The Dillinger Escape Plan. Garth Brooks in The Life of Chris Gaines.

Lost and Gone Forever. Long Beach Dub Allstars. Something To Write Home About. Everything but the Girl. The Time Machine. World War III. From Here to Eternity: Live. All Hallow's EP. Christmas the Cowboy Way. Colour Moving and Still. The Distance to Here. Golden Arms Redemption. Synchronistic Wanderings. Against Da Grain. BBC Sessions. Black On Both Sides. Live On. Total Abandon: Live in Australia.

Where I Wanna Be. Flying Without Wings. I Wanna Be Santa Claus. Suicide Pact - You First. A Christmas to Remember. Give 'Em the Boot II. God Save the Smithereens. Internal Affairs. Keith Urban. Nothing Gold Can Stay. A New Found Glory. Rock Art and the X-Ray Style. How's Your Girl? Handsome Boy Modeling School. This Christmas. As Time Goes By. Leaders Not Followers.

Live from a Shark Cage. Turn It on Again: The Hits. Forever: Rich Thugs, Book One. American Made Music to Strip By. The Aquabats! The Days of Our Nights. The Dismemberment Plan. A Guided Tour of Chicago. The Lost Files.

Metropolis Pt. Only God Can Judge Me. The Science of Things. Vision Creation Newsun. Twenty Four Seven. Fire and Skill: The Songs of the Jam. Paul McCartney's Working Classical. The Battle of Los Angeles. Rage Against the Machine. End of Days Original Movie Soundtrack. It All Comes Down to This. Joy: A Holiday Collection. Love and the Russian Winter. Northern Star. We kept listening, even though we knew we were just gonna hear "Otherside" and "Like a Stone" for the billionth fucking time.

K-Rock in was probably the only moment within our lifetime when we can recall becoming fanatical over a specific radio station and all the personalities and nuances that went along with it. To be fair, we were obsessed with radio as a whole and were recently honored with the "music director" position at a college station 60 miles north of Manhattan.

The mannerisms of K-Rock's DJs were different than any station we've heard before or since. They were always very conversational and casual, probably due to instruction from their program director to take cues from Howard Stern's relaxed demeanor. We've never heard another commercial station quite like it.

After Stern made his decision to move to satellite, Chiusano panicked and the station flipped formats at least four times between and It changed from "modern rock" to "all things rock" to "talk radio during the week and rock on the weekends" to what it is now, a painfully boring and unadventurous pop station. Z has always sounded more adventurous to us. Over the past 3 years, they would try out hits like "Treasure" or " Beautiful" or "Boom Clap" while We remember the last day they were officially called K-Rock.

One of the last songs they played was "L'Via L'Viaquez" by The Mars Volta, so they were definitely making strong efforts to play more alt and less butt. But the efforts seemed all for naught.

As Stern's show took place that morning, the station's staff held a meeting and the format flip was effective immediately. And that was the end of modern rock radio in NYC. It never returned quite in the same way. Between and , a fantastic NYC rock station briefly emerged with alt-leanings and adventurous playlists. It was hugely appreciated, but it seemed like everyone knew it would never last.

K-Rock had a following and their audience probably would have stuck with them, but unfortunately they decided to simply disappear. Not sure why this seems necessary, but based on what we can remember from those two broadcasts, here are our favorite K-Rock DJs, in order: 1 Julie Slater 2 Matt Pinfield 3 Danni So there's our top 3.

Julie and Danni - K-Rock's only 2 female announcers - were always the station's most refreshing voices. The super-knowledgeable and well spoken Pinfield misses out on the 1 slot because he wasn't on the air often enough. When he spoke, you always knew it was him. He also took our call and aired it, which was pretty cool. We didn't actually hear when it was aired, but we discussed Local H's cover of "Toxic" for about 30 seconds.

We're pretty sure it was John who annoyed Billy Crystal enough that he eventually uttered his greatest catchphrase: "Alright, guys, it's not funny and it's not fun. So consider them slightly higher than the rest. But otherwise, these guys are pretty much interchangeable. Oh yeah, also High Pitch Erik had a man-crush on Cane. Besides that, we can't remember anything else about these guys. In that th of a fraction of a possibility that anyone who worked at K-Rock between reads this, just wanna say we're sorry and we love you.

Labels: howard stern , radio playlists. Friday, December 4, 10 Jams from Scott Weiland. Sad news late last night.

We're honestly bummed about Weiland's passing and have noticed a few friends posting their memories and favorite tracks on social media. We'd like to do the same here. Through the lens, '90s modern rock presents an eclectic and varied spectrum, including a large fraction resting in an area similar to Stone Temple Pilots - the ones that were not easily categorized.

Superficial claims like "they sounded like Pearl Jam" or "they sounded like Nirvana" never made much sense to us. But its groove was undeniable, and the images were different from anything aired prior.

Contrary to popular belief, their presentation was calculated by managers and publicity agents to help them ride the crest set in motion by Nirvana and Pearl Jam. So by the time Dirt was released on September 29, , they were prepped to enter the world of super stardom without really having to try.

Core and Dirt were released on the same day, but Core was not promoted by MTV for its first 6 months of existence while singles from Dirt like "Would? It wasn't until early that "Plush" - STP's breakthrough - was able to earn the title of "Buzz Clip" with a presentation that seemed suspiciously familiar by then. To many, it seemed as if they never paid their dues. By late Spring, "Plush" was unavoidable, and Weiland's face found itself on countless magazine covers as the band received constant coverage on MTV.

If Core were their first and only album, Alice In Chains would have remained their closest sonic companion.

But from onward, they wisely chose to distance themselves from the bands they were accused of emulating. John Lennon, David Bowie, Led Zeppelin and mid-'70s glam became their most frequently cited references as they sunk into their new niche: the bizarre uncategorizable mid-'90s pocket that continued to be branded as "alternative. Most who choose to insert STP into this atrocious lineage might just as easily blame the band who wrote "Territorial Pissings. But most importantly, they were always adventurous.

STP doesn't get enough credit for that aspect of their music. They were the square pegs that were too glossy for college airplay, and except for STP, they were all too strange for mainstream rock longevity or their own headlining arena tours. With this said, we're pretty much now ready to present our 10 Scott Weiland picks. They basically owe that distinction to "I Am The Highway" becoming one of the few mids songs to enter K-Rock's longevity canon.

As if it wasn't bad enough that two of our all time favorite bands joined forces to create excruciatingly painful music, but then we also had to be reminded about it EVERY DAY thanks to K-Rock. Their "light" rotation consisted of a handful of songs that used to be in their heavy rotation, hanging on for dear life prior to being indefinitely forced into exile.

Their General Manager, Tom Chiusano, remained insistent on a foolish notion that their audience was uninterested in hearing music beyond this very small selection of songs. Their occasional attempts at bringing back older jams were always attached with some sort of purpose, like Julie Slater's 30 minute "Flashback Lunch" or whatever it was called that aired weekdays between 12 and Or the occasional "'90s weekend" celebration, when they would finally dig out Better Than Ezra's "Good" for the first time in God knows how long.

Beyond that, the sense of adventure within their music programming was practically non-existent. For example, when Christopher Reeves died in September , Chris Booker was only allowed to play 30 seconds of Our Lady Peace's "Superman's Dead," even though it was a 1 hit on K-Rock during the summer of and was fondly remembered by the large majority of its listeners. Chiusano remained completely unaware that their audience desperately craved a deeper playlist that they never received.

This lack of variety also contributed to a painful decrease in the representation of female fronted bands. Our frustration - and our hope that something might change - were probably a large part of the reason why we became so obsessed with K-Rock between and We kept listening, even though we knew we were just gonna hear "Otherside" and "Like a Stone" for the billionth fucking time.

K-Rock in was probably the only moment within our lifetime when we can recall becoming fanatical over a specific radio station and all the personalities and nuances that went along with it. To be fair, we were obsessed with radio as a whole and were recently honored with the "music director" position at a college station 60 miles north of Manhattan.

The mannerisms of K-Rock's DJs were different than any station we've heard before or since. They were always very conversational and casual, probably due to instruction from their program director to take cues from Howard Stern's relaxed demeanor.

We've never heard another commercial station quite like it. After Stern made his decision to move to satellite, Chiusano panicked and the station flipped formats at least four times between and It changed from "modern rock" to "all things rock" to "talk radio during the week and rock on the weekends" to what it is now, a painfully boring and unadventurous pop station.

Z has always sounded more adventurous to us. Over the past 3 years, they would try out hits like "Treasure" or " Beautiful" or "Boom Clap" while We remember the last day they were officially called K-Rock. One of the last songs they played was "L'Via L'Viaquez" by The Mars Volta, so they were definitely making strong efforts to play more alt and less butt. But the efforts seemed all for naught. As Stern's show took place that morning, the station's staff held a meeting and the format flip was effective immediately.

And that was the end of modern rock radio in NYC. It never returned quite in the same way. Between and , a fantastic NYC rock station briefly emerged with alt-leanings and adventurous playlists. It was hugely appreciated, but it seemed like everyone knew it would never last.

K-Rock had a following and their audience probably would have stuck with them, but unfortunately they decided to simply disappear. Not sure why this seems necessary, but based on what we can remember from those two broadcasts, here are our favorite K-Rock DJs, in order: 1 Julie Slater 2 Matt Pinfield 3 Danni So there's our top 3.

Julie and Danni - K-Rock's only 2 female announcers - were always the station's most refreshing voices. The super-knowledgeable and well spoken Pinfield misses out on the 1 slot because he wasn't on the air often enough.

When he spoke, you always knew it was him. He also took our call and aired it, which was pretty cool. We didn't actually hear when it was aired, but we discussed Local H's cover of "Toxic" for about 30 seconds. We're pretty sure it was John who annoyed Billy Crystal enough that he eventually uttered his greatest catchphrase: "Alright, guys, it's not funny and it's not fun.

So consider them slightly higher than the rest. But otherwise, these guys are pretty much interchangeable. Oh yeah, also High Pitch Erik had a man-crush on Cane. Besides that, we can't remember anything else about these guys. In that th of a fraction of a possibility that anyone who worked at K-Rock between reads this, just wanna say we're sorry and we love you.

Labels: howard stern , radio playlists. Friday, December 4, 10 Jams from Scott Weiland. Sad news late last night. We're honestly bummed about Weiland's passing and have noticed a few friends posting their memories and favorite tracks on social media.

We'd like to do the same here. Through the lens, '90s modern rock presents an eclectic and varied spectrum, including a large fraction resting in an area similar to Stone Temple Pilots - the ones that were not easily categorized. Superficial claims like "they sounded like Pearl Jam" or "they sounded like Nirvana" never made much sense to us. But its groove was undeniable, and the images were different from anything aired prior.

Contrary to popular belief, their presentation was calculated by managers and publicity agents to help them ride the crest set in motion by Nirvana and Pearl Jam. So by the time Dirt was released on September 29, , they were prepped to enter the world of super stardom without really having to try.

Core and Dirt were released on the same day, but Core was not promoted by MTV for its first 6 months of existence while singles from Dirt like "Would? It wasn't until early that "Plush" - STP's breakthrough - was able to earn the title of "Buzz Clip" with a presentation that seemed suspiciously familiar by then.

To many, it seemed as if they never paid their dues. By late Spring, "Plush" was unavoidable, and Weiland's face found itself on countless magazine covers as the band received constant coverage on MTV.

If Core were their first and only album, Alice In Chains would have remained their closest sonic companion. But from onward, they wisely chose to distance themselves from the bands they were accused of emulating.

John Lennon, David Bowie, Led Zeppelin and mid-'70s glam became their most frequently cited references as they sunk into their new niche: the bizarre uncategorizable mid-'90s pocket that continued to be branded as "alternative. Most who choose to insert STP into this atrocious lineage might just as easily blame the band who wrote "Territorial Pissings. But most importantly, they were always adventurous. STP doesn't get enough credit for that aspect of their music.

They were the square pegs that were too glossy for college airplay, and except for STP, they were all too strange for mainstream rock longevity or their own headlining arena tours. With this said, we're pretty much now ready to present our 10 Scott Weiland picks. Our chronology begins just as the promotion cycle of Core almost too perfectly segued into Purple via "Creep" and their episode of MTV Unplugged , first broadcast in January The chronology ends 12 years later as Velvet Revolver was winding down the promotion for their debut album.

In the unaired hour-long version, fans would have been treated to the live debut of "Big Empty. We prefer the guitar rock version with real drums. Also, kinda unrelated, but check out the intro: Better Than Ezra playing deadpan basketball with a bear. No does deadpan anymore. We might as well also include "How Do You Sleep" for the sake of completing their 2-song discography. We're not sure if The Magnificent Bastards were intended as anything beyond a project for one-offs and comp submissions that seemed uninteresting to the other members of STP.

In either case, both "Mockingbird Girl" and the John Lennon tribute turned out surprisingly decent. Failure as The Replicants released an equally explosive arrangement of the same song a year later.

Proud to say we got to see one of the sets from the 12 Bar Blues tour in May It was a tough call between this one and "Church on Tuesday. I recall this album being a topic of discussion on the night of September 10, Yeah anyway, "Days of the Week" is their most underrated lead single.

Pretty sure it was the only song from their 5th album performed during their headlining hour-long set on the Family Values Tour with Linkin Park and Staind. If memory serves correctly, they closed the show with The Beatles' "Revolution" as Weiland emerged wearing only an American flag. The sound on the new one isn't too different from the sound on the last album, and I was expecting the unexpectable. It's not quite as good as Up In Them Guts, and a few of the songs are forgettable, but like I said, it rocks, and sonically speaking, it sounds great.

New fans of PMFS should probably look elsewhere. Continuation of brilliance by PMFS I don't know about that The guitar work on this is epic. I never really heard this band until I streamed some of their songs off punknews. I liked what I heard so I ordered the CD. After listening to the whole record it occured to me that they have a hell of a lot more in common with a lot of metal and nu metal bands than they do with any sort of punk rock bands.

I'm actually into some of those bands so I was psyched by the record but it might be a surprise to someone that thinks they're getting some punk rock.

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9 thoughts on “ Church On Tuesday - Stone Temple Pilots - Nº4 (Cassette, Album) ”

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  3. We agree: it just sounds better on vinyl. Build or expand your collection with popular pre-orders, new releases, and best-selling vinyl. Explore our selection of .
  4. Stone Temple Pilots. picture of all four members of the band. The Homefry Studio in Los Angeles, California, is the same place part of Stone Temple Pilots' self-titled studio album and the entire Chester messed up the lyrics to "Church On Tuesday" and had to change his pants backstage after "Interstate Love Song" due to a.
  5. Fijate que el Stone Temple Pilots tiene buenos temas como "Huckleberry Crumble", "Hickory Dichotomy" y "Samba Nova" (sí, me gusta un poco el Bossa Nova, jeje), si te animas a reseñarlo yo te apoyo, creo que no estaría demás que entrara en el portal. Saludos, por cierto soy chica, jajajaja, me caíste bien Doc.
  6. It appears on his album, Bad Hair Day. The medley primarily consists of alternative rock songs, with the title being a reference to the genre. The following songs are contained in the medley: "Loser" by Beck "Sex Type Thing" by Stone Temple Pilots "All I Wanna Do" by Sheryl Crow "Closer" by Nine Inch Nails "Bang and Blame" by R.E.M.
  7. Dec 09,  · #7 Stone Temple Pilots "Glide" () We never hear anyone talk about their era beyond "Sour Girl," so we were hoping to highlight this section of their output. It was a tough call between this one and "Church on Tuesday.".
  8. #7 Stone Temple Pilots "Glide" () We never hear anyone talk about their era beyond "Sour Girl," so we were hoping to highlight this section of their output. It was a tough call between this one and "Church on Tuesday.".
  9. RIAA’s historic Gold® & Platinum® Program defines success in the recorded music industry. Originally conceived to honor artists and track sound recording sales, Gold & Platinum Awards have come to stand as a benchmark of success for any artist—whether they’ve just released their first song or Greatest Hits album. Check out our interactive timeline to learn about the .

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