One song on Purple that stuck out from the fray almost immediately was “Lounge Fly,” which has since become a live staple for the band.
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There was this sense of urgency to deliver something for Atlantic, but despite that for Purple we really honed-in on different types of sounds and how to manipulate the studio more to our liking.” And I think after touring for a while, we were really much more aware of how to achieve different tricks and techniques in the studio we weren’t really hip to before. “And we knew that we wanted to create these hard rock songs with specific tones to them. “When we did Core, we were still just coming out of playing clubs between San Diego and Los Angeles,” Kretz tells Billboard. It’s an honor rarely bestowed upon sophomore efforts, but the band entered into the creation of Purple brimming with all kinds of ideas. Then we flew to Atlanta to cut the album with Brendan O’Brien almost immediately afterwards.”ĭespite the hastiness of the creative process to build upon the momentum of Core, it turned out STP had crafted what would grow to become their singular classic. The reason was that we were coming off a year and a half of touring for Core, so we took only a month off and then hopped in a Los Angeles studio, got in a room and began working on songs and arrangements. “I mean, we had that record recorded and mixed in three and a half weeks. “For Purple, it was so streamlined,” recalls drummer Eric Kretz. 1s on the Mainstream Rock Songs chart with “Vasoline” and “Interstate Love Song.” On Oct. 18, the band oversaw the release of a super deluxe edition containing a trove of demos, early versions, acoustic versions and a complete concert from the New Haven Veterans Memorial Coliseum in New Haven, CT on Aug. The album, which dropped June 7, 1994, topped the Billboard 200 and delivered two No. So we did get to do what we wanted creatively and I’m very thankful for that.”Īfter the success of their 1992 debut Core, the band’s anticipated follow-up, Purple, began construction almost immediately after the band’s first major North American tour, one which saw them starting out as the opening act for one of their underground heroes The Butthole Surfers. And Atlantic had enough trust in us to do that. He firmly believed in making the records ourselves and delivering it to the label without any interference. Brendan didn’t like industry people in the studio. You had guys like Danny Goldberg, Tim Sommer, Doug Morris and a lot of great, great people who were really in our court. “That’s what we always wanted, and Atlantic was such a wonderful place to be back then. “I feel like we were one of the last of those rock bands doing those kinds of deals with major labels, which gave us creative freedom,” explains STP bassist Robert DeLeo to Billboard. And living comfortably between these two worlds was San Diego’s Stone Temple Pilots. In 1994, the House that Ahmet Built was in a full-on gilded age, not only with the commercial success of acts like Tori Amos, Hootie & The Blowfish and Collective Soul, but with the incubation of such vital indie artists as Daniel Johnston, Eugenius and The Melvins as well.
There wasn’t a more freewheeling major label at the cusp of the mid-90s than Atlantic Records.
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