May 7: Ted Nugent, "Cat Scratch Fever"

Artist: Ted Nugent
Song: "Cat Scratch Fever"
Album: Cat Scratch Fever
Year: 1977


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Though they are very few in number, there are a handful of iconic musical acts that have managed to let their non-musical endeavors overshadow their talents to some extent.  While in some cases, there is an isolated incident that fades with time, there are other artists that live in a constant battle between making their amazing art and dealing with fallout from their personal life.  However, one must step back and understand that musicians "are people too," and one must be able to separate their musical achievements from their actions outside of the musical arena, and this is perhaps no more true than in the case of the one and only Ted Nugent.  There may be no other artist that is as polarizing as Nugent due to his unapologetic expression of his beliefs, and yet at the same time, there are few performers in history that have shown a similar talent for writing anthemic rock songs.  Responsible for some of the most recognized songs and riffs in all of music history, it was not until he decided to move on as a solo artist that his true talents began to shine, and it came to a head in his fantastic 1977 record, Cat Scratch Fever.  Filled with the energy and attitude that defined his live performances, it was this album that finally "broke" Nugent into the mainstream, and there are few songs in his catalog that are as timeless or absolutely perfect than the musical brilliance one finds in the albums' title track.

The moment that "Cat Scratch Fever" begins, the song instantly burns itself into the minds of listeners, and there are few songs in history that can boast as memorable a riff.  This is, in many ways, "what" makes Ted Nugent such an amazing artist, as he is able to take a relatively simple musical progression and turn it into something unforgettable.  The riff itself is little more than a three-tone blues progression, and yet it is the way in which Nugent plays the riff, as well as the fantastic harmonization that makes it so special.  Even more than thirty years later, the core guitar riff on "Cat Scratch Fever" can be heard in guitar stores and soundchecks across the world, and this alone is reason enough for the songs' place in history.  However, the riff would not be as memorable without the way in which it fuses together with the second guitar of Derek St. Holmes, and "Cat Scratch Fever" represents the high-point of the chemistry between these two players.  Both the drums and bass fall into line behind the guitars, and though they rarely move forward in the mix, it is the way in which they "dig into" the song that gives "Cat Scratch Fever" its unique groove.  It is also from the rhythm section where the unique, yet undeniably soulful tone comes across, and the fact that such a feeling exists in this song is one of the keys to "Cat Scratch Fever" achieving the iconic status that it retains to this day.

Along with writing the unforgettable guitar riff, Ted Nugent also handled the lead vocals and write the lyrics to "Cat Scratch Fever," and it this is this combined achievement that shows just how amazing a talent lived within him.  Easily working a large chunk of the vocal scale, there is an energy within his vocals through which one can quickly understand why his live performances of that era are spoken of with such a sense of awe.  It is the way in which this energy highlights the attitude with which Nugent sings that makes the song so special, as he makes no attempt to hide the songs' rather sinful aim, and it is this almost humorous up-front honestly that has turned "Cat Scratch Fever" into the legendary song that it remains to this day.  Along with the songs' main riff, the chorus is equally as memorable, and in most cases, it has become so memorable that people cannot recall the songs' wonderfully unsubtle verses.  Throughout the entire song, Nugent leaves no question as to what he is singing about, and there are few lyrics in history that are as amusingly straightforward as when he sings, "...well I make that kitten happy with the tongue and the hand, she wave her tail at me..."  Though even by the standards of the day, lyrics such as this were certainly questionable for radio airplay, and yet it is the way in which Ted Nugent sings the words that makes them impossible to ignore, and why the song continues to be a part of popular culture.

It is almost impossible to name all of the artists who have recorded a cover of "Cat Scratch Fever" over the decades, as one can find it in everything from hip-hop to instrumental "new age" versions to heavy metal, and it has also become the theme song for a few professional sports teams.  The fact that the song has managed these achievements, even with the somewhat questionable material it contains, is a testament to the true power of music, as well as to the exceptional talents of Ted Nugent.  Furthermore, one simply cannot overstate the lasting impact of the riff he deploys on the song, as few other guitar progressions have achieved a similar status.  These two elements live a rather frustrating existence, as they are almost always accompanied by some sort of reference to Nugent's life and views outside of the world of music, which if one steps back and considers it, should not play any factor when considering his musical achievements.  Furthermore, most overlook the fact that there may be no other performer in music history who has been as openly and actively anti-drugs and alcohol than Nugent, and this fact alone plays a massive contrast to the norms of the style of music which he plays.  Regardless of and of these factors, one cannot deny the massive impact that Ted Nugent has had on the world of music, and there are few songs as perfectly constructed or truly unforgettable as one can experience in his monumental 1977 single, "Cat Scratch Fever."

May 6: The Zombies, "Time Of The Season"

Artist: The Zombies
Song: "Time Of The Season"
Album: Odessey And Oracle
Year: 1968


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Though it happens with almost frustrating regularity, it seems that when critics cannot properly define the sound a band creates, they simply write them off with the phrase, "ahead of their time."  The fact of the matter is, when one looks across the history of music, there are very few bands that actually represent such a phrase, as once a sound has been made somewhat widely known, it is no longer a shock when it appears elsewhere.  This was perhaps no more true than during the rise of the psychedelic movement, as at the time, those who pioneered the sound were largely ignored or simply refereed to as radicals in one way or another.  However, it is this early acts that blended together so many different sounds that actually WERE ahead of their time, and yet when one studies their musical formula, the pieces are quite easy to define.  Bringing a brilliant blend of fantastic vocals and some of the most unforgettable melodies in the entire history of music, there are few bands that can take more responsibility for the state of popular music in the mid and late 1960's, as well as the way in which the psychedelic movement came to be than one finds in the music of The Zombies.  Releasing a handful of truly timeless singles, they remain somewhat overshadowed by other bands of the era, and yet one cannot deny the sheer beauty and brilliance that can be experienced within The Zombies' classic 1968 single, "Time Of The Season."

The instant that "Time Of The Season" begins, it identifies itself as one of the most recognizable musical arrangements in history, though it has somewhat become a "oh, THAT'S who that band is!" type of song for many listeners.  The deep, yet swinging groove set into place by bassist Chris White and drummer Hugh Grundy remains one of the finest in all of music history, and the hand clap and breath that are present manage to complete the back-bone of the song in a completely unique manner.  It is this poly-rhythm that sets "Time Of The Season" so far apart from any other song at the time, as it feels as if the song is moving back and forth, almost hopping, along with the fantastic side-to-side sway.  Guitarist Paul Atkinson finds a number of ways to delicately emphasize certain points in the musical progression, and it is the way in which he manages to do this without interfering with the overall mood that stands out as so impressive.  Yet it is the organ playing of Rod Argent that stands out the most, and whether he is filling in during the verses, or going off on a stunning solo, his performance remains one of the finest in music history.  Truth be told, it is his organ solo that largely defines "Time Of The Season," as it sounds as if he is dancing along to the song via his instrument, and to this day, few artists have been able to even remotely match the tone and mood he puts forth.

Though the musical arrangement on "Time Of The Season" is what has made the song so iconic, one cannot overlook the vocals of Colin Blunstone, as he not only delivers a beautiful performance, but his style is completely unique.  Throughout the song, Blunstone works the entire vocal scale, and one cannot help but compare his voice to some of the finest of his generation, as he seems to not only set up perfect harmonies, but it is almost impossible to not sing along with his performance.  Yet there is a breathy, almost nervous feel within his delivery, and this is where Blunstone becomes more akin to Roy Orbison or Del Shannon than to the more mainstream "pop" sound.  It is this sense of darkness or mystery that makes Blunstone's vocals so intriguing, and it is the way in which they build to the wonderfully grand bridge section that pushes "Time Of The Season" to the status which it has achieved.  Lyrically, the song can be interpreted on a number of levels, with the most common being the literal reading of the words as a statement about the arrival of spring, and the "love is in the air" feeling it often brings.  However, if one looks a bit deeper, the words to the song quite accurately define the state of society at the time, and it is much the reason that "Time Of The Season" continues to be used in popular culture as a representation of that time period.

Strangely enough, upon its release, "Time Of The Season" found massive success in a few countries, yet barely charted at all in either the U.S. or the bands' native U.K.  It is almost impossible to understand how this could have happened, as it has become one of the most iconic songs of the generation, and one cannot picture music progressing as it did without the presence of "Time Of The Season."  Yet almost two years after it was first released, the song was put out as a "formal" single in the U.S., and it gained quite a bit of attention.  Ironically though, by the time U.S. audiences caught on to the amazing sound that "is" The Zombies, they had already broken up, and it is in this fact that one can accurately label the band as one of the few groups that were truly "ahead of their time."  The overall impact of the song as the decades have passed can be found not only in its recurring appearances throughout popular culture, but also in the massive number of cover versions that have emerged.  Artists ranging from Scott Weiland to Tanya Donelly to The Guess Who have all put their own touch on the song, and yet none come close to the arrangement and mood put forth on the original.  It is the distinctive blend of a somewhat dark mood, combined with the heavy groove and absolutely brilliant melodies that enable the song to remain fresh, and the unmistakable vocals add the perfect final touch to The Zombies' unmatched 1968 single, "Time Of The Season."

May 5: Bud Powell, "Parisian Thoroughfare"

Artist: Bud Powell
Song: "Parisian Thoroughfare"
Album: The Amazing Bud Powell
Year: 1951


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Perhaps moreso than any other genre, the world of jazz has more "giants" in its history, and this is largely due to the fact that over the course of just a few years, the genre splintered into so many sub-genres.  Throughout the 1940's and 1950's, it seemed that every few months, a new take on the jazz style was coming to the forefront, and it is due to this that it is quite difficult to give proper credit to all of those that caused this musical explosion.  However, there are a handful of performers that can be seen as absolutely essential to the overall development of music, and they represent a wide range of performance styles and instruments of choice.  In the top ranks of such a group is the great Bud Powell, and one can easily argue that he served as the main factor in the shifting of physical approach to the piano more than any other artist.  It was Powell's playing that served as the blueprint for nearly every "post-swing" piano player, and it was largely due to the fact that he ignored the traditional "purpose" of each hand on the piano and developed a completely new style in the process.  There is a freedom and tension within the playing of Powell that cannot be found elsewhere, and yet due to truly tragic circumstances, his period of expressing genius lasted a very short period of time.  However, before this set in, Bud Powell recorded some of the true "standards" of jazz, and among them was his absolutely brilliant 1951 composition, "Parisian Thoroughfare."

The history of the album on which "Parisian Thoroughfare" can be found is rather long and confusing, as there have been at least four different released bearing the same title.  However, in 2001, RVG released what is considered the comprehensive collection of all of the previous release versions, and it is this edition which listeners should seek.  In the case of "Parisian Thoroughfare," it was recorded twice; once as a solo piece, and again as a trio.  However, the trio version was aborted midway through the session, and it remains an incomplete take.  While both versions are readily available, it is the latter, trio version to which most are drawn, as it is has a swing and attitude missing from the former.  Throughout this version, the rhythm section stays well behind Powell, and yet bassist Curly Russell is clearly in top form, doing his best to keep up with Powell's fierce pace and almost wild progression changes.  There is a great amount of soul and swing within Russell's playing, and it is made even more clear by the drumming from fellow jazz legend, Max Roach.  This is without question one of Roach's finest recordings, as he seems to fly across the track, yet is able to do so without overshadowing either of his bandmates.  The speed and energy that can be felt throughout the entire run of "Parisian Thoroughfare" remains unmatched since, and one can only imagine what could have been had the session been completely.

However, while both Russell and Roach give some of the finest performances of their careers, it is Bud Powell who remains the focus of attention, and "Parisian Thoroughfare" is without question one of the two or three finest piano recordings in all of music history.  Even if one is not well versed in jazz theory or the technicalities of jazz piano, it only takes moments to realize and understand that there is "something" different going on within Powell's playing.  Not only in the sheer speed with which he navigates the composition, but there is an almost reckless freedom that one can feel, as after playing the main riff to the song, it is quite clear that Powell simply lets the emotion of the music lead his hands.  While he does not sacrifice any quality, there had simply been no other performer who worked the piano with such an almost playful manner, and even within his own catalog, the level of sheer joy one can feel on "Parisian Thoroughfare" remains unrivaled.  It is this speed and mood which make the title of the composition so fitting, as one can feel the bustle of a city street within the song, and the trio successfully imply a "stop and go" feeling, without ever actually making such literal rhythmic movements.  The sense of freedom and joy that can be heard throughout Bud Powell's "Parisian Thoroughfare" may seem "run of the mill" by today's standards, but one must look at the overall history of jazz to understand that it was his playing that caused this to become the norm.

Yet one can dig even deeper into the stylistic realities of Bud Powell's musical approach, and many rightfully make the case that due to the way in which he often worked single notes into long progressions, Powell was a close musical relative of Charlie Parker.  One can even go as far as saying that Powell was the first to properly interpret Parker's style on another instrument, and yet his style remains completely distinctive.  Unlike a majority of his peers and predecessors, one can detect which hand is working the piano at a given time, and it is in this fact that one can hear how rarely Powell uses his left hand for the traditional practice of bringing the chords of a given piece.  This almost stripped-down approach to the piano serves as one of the clear turning points in jazz music, as nearly every performer that followed took at least some aspect of Powell's performance style and integrated it into their own.  Though the best known version of "Parisian Thoroughfare" is cut short, there is so much energy and power flowing between the trio of performers that one cannot help but get caught up in the playing, and it is one of the few recordings that can truly transport a listener back to the studio space.  For so many reasons, one cannot understate the overall importance of Bud Powell, and one need look no further than his tremendous 1951 recording, "Parisian Thoroughfare," to completely understand just why he remains such an icon of jazz music.

May 4: Bad Manners, "Lorraine"

Artist: Bad Manners
Song: "Lorraine"
Album: Lorraine (single)

Year: 1981


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Though it is one of the most common occurrences across the entire history of recorded music, there are few things as frustrating as when bands begin to take themselves too seriously.  While there are certainly groups that have made massive social impact, there is a point when you can see a band "forget" how much fun it is to actually BE in a band, and when this loss of perspective occurs, it is the music that suffers.  In many ways, this is one of the most enjoyable things about the ska genre, in the fact that at its base, it is about having a good time and creating an upbeat, positive mood.  Even when ska groups are singing about more sober or painful ideas, there is still the almost oddly optimistic feel that underscores the song through the music and mood.  Among the many great ska bands that displayed this idea, there were few that embodied the idea of pure fun better than Bad Manners, and to this day, their songs can still ignite a room and completely change ones' mood.  Throughout the tail-end of the 1970's and the early 1980's, Bad Manners released a number of singles and albums, all filled with their trademark style, and though they often bordered on the line of "silly," there is no denying the almost intoxicating mood that comes through in almost every one of their songs.  Following what many see as their breakthrough single, one can quickly understand just what Bad Manners remain such ska legends in their unforgettable and uniquely uplifting 1981 single, "Lorraine."

There are actually two different studio released of "Lorraine," as the complete track runs just under six-and-a-half minutes, while the better known edit is just over three.  Yet even the shorter version delivers all one needs to understand the band, and it some ways, they are unlike any other ska band in history.  On "Lorraine," the song is set into motion and largely dictated by the bouncing organ of Martin Stewart and the distinctive harmonica progression from Winston Bazoomies.  It is the way in which these two sounds interact with one another that gives "Lorraine" a tone unlike any other song, and the bassline from David Farren is the element that completely captures the attention of every listener.  It is his performance that sets the pattern for the crowds one can imagine dancing to the song, and there is a fantastic contrast between his sound and the brilliant horns that join in at the bridge section of "Lorraine."  Trumpet player Paul Hyman, along with the sax duo of Chris Kane and Andrew Marson offer a perfect balance in every sense of the word, as they are able to give the largely sparse musical arrangement an amazing amount of depth and movement.  It is also the way in which both drummer Brian Tuitt, as well as guitarist Louis Cook deliver solid performances, yet manage to not dominate the other players that gives "Lorraine" a unique balance, and it is this musical equality that enables the song to become so much larger than the sum of its parts.

However, while one cannot overlook the spirited and upbeat performance of the musicians, the soul of Bad Manners was always contained within the voice and vocals of Buster Bloodvessel (AKA Douglas Trendle).  There are few singers from any genre that have as instantly recognizable a voice as one finds here, and on "Lorraine," one can experience both sides of his vocal personality.  For a majority of the song, Bloodvessel does little more than speak with a touch of pitch, and yet there is an intriguing sincerity and "every man" tone to his voice that sets him far apart from most of his peers.  One gets the sense that he is much like a friend, venting his frustrations, and it is this attitude that further endeared itself to fans across the globe.  Yet it is the other side of Bloodvessel's performance style that turned him into such a legend, as his almost comic-like, light-spirited vocal shift that occurs during the songs' breakdowns make "Lorraine" completely unforgettable.  Though there is a slight level of "silly" within these vocal moments, one can also hear it as a defense mechanism as he pours his heart out about the most evil of women.  The juxtaposition he creates with the lines, "...Lorraine she took everything, even my brand new engagement ring...she took the car and went to town, but now she can no longer be found..." is absolutely fantastic, and it is Buster Bloodvessel's ability to create these contrasts that makes "Lorraine" such a brilliant recording.

Yet while both studio versions of "Lorraine" are fantastic, much like a majority of ska bands, the true definition of the bands' sound lives within their live performances.  Much in the same way as punk rock, ska music was meant to be taken in via a live show, and thankfully, there are a handful of recordings of "Lorraine" that deliver this level of energy.  One of the finest comes on the Trojan Ska Revival Box Set, and one would be hard pressed to find another ska band that brought a similar level of passion and energy as one hears on this recording.  From his almost "warning" introduction of the song to the way in which one can feel the the band feeding off the crowd the entire time, this live recording stands as one of the most complete encapsulations of the ska sound, and it is certainly worth tracking down.  However, regardless of "how" one experiences the music of Bad Manners, it is clear that they were unlike any other ska band at the time, mostly in the fact that one can sense the level of tongue-in-cheek humor within a majority of their songs.  From titles and lyrics that were little more than gibberish to the larger than life personality of Buster Bloodvessel, Bad Manners remain one of the most wonderfully unique bands in all of music history.  Though it is somewhat distinctive in their catalog due to the more down-beat lyrics, the bands' mood and spirit never dip even in the least, and it is this contrast that makes Bad Manner's classic 1981 song, "Lorraine" one of the most enjoyable moments in all of music history.

May 3: Howlin' Wolf, "Killing Floor"

Artist: Howlin' Wolf
Song: "Killing Floor"
Album: Killing Floor (single)
Year: 1964


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Though for whatever reason, many people try to argue otherwise, when one studies the history of recorded music, there is simply no way to deny that the roots of every genre at some point lead back to the blues.  There are those who wish to believe that genres like rock and roll somehow spontaneously appeared overnight, but it is in this genre where the link is the most clear, and it is also where some of the most obvious "musical robberies" have occurred.  While in a majority of cases, when an artist "borrows" a line or a progression from another, credit is given, and yet throughout the 1960's and 1970's, there were a number of massively successful bands that attempted to present classic blues numbers as their own, and few bluesmen became more obvious influences on the world of rock and roll than one finds in the songs of the great Howlin' Wolf.  Through his close collaborations with Willie Dixon, Howlin' Wolf is responsible for many of the greatest blues songs in history, and in both his playing as well as his vocals, there has simply never been a similar performer.  Due to his completely distinctive sound and massive influence, it is almost impossible to cite a single song as his finest moment, and yet one can quickly learn just why he stands so iconic by hearing Howlin' Wolf's unforgettable 1964 single, "Killing Floor."

Within moments of "Killing Floor" beginning, one cannot help but hear the similarities to Led Zeppelin's "The Lemon Song," and this is because the latter is a complete rip-off of the former.  In both the progression and lyrical content, Zeppelin attempted to pass the song off as an original, and after a legal battle, proper credit was finally given.  However, while the progression is the same, the tempo and mood of the Howlin' Wolf original simply knows no peer.  In many ways, the song represents the epitome of the Chicago style of blues music, and the core of the sound revolves around the guitar of Hubert Sumlin.  There is a uniquely loose feel to his playing, and both his style, as well as the progression he plays, has been re-worked and copied countless times in the decades that have passed.  This sound is perfectly complimented by a rhythmic acoustic guitar from none other than Buddy Guy, and it is within his playing on "Killing Floor" that one is able to link the blues to the rockabilliy sound.  Yet the key aspect to separating the sound here from other blues artists lies within the "bite" that comes from the dual saxophones of Arnold Rogers and Donald Hankins.  The bright punctuations that they give each musical line is unlike anything else from the era, and it works in brilliant harmony with the percussive work of drummer Sam Lay.  Rounded out by the piano of Lafayette Lake, it is the way in which all of the performers move as a single unit that makes the song so distinctive, and once one hears "Killing Floor," it is impossible to deny its influence on nearly every act that followed.

However, while one cannot overlook the massive impact the musical arrangement had in the years since, it is also impossible to discuss any work of Howlin' Wolf without speaking of his completely distinctive and absolutely mesmerizing voice.  While others have attempted to mimic the sound in some way, there has never been another artist that had as natural and raw a growl as one finds in Howlin' Wolf, and it rarely sounded better than it does on "Killing Floor."  Though he spends most of the song working in the middle section of the vocal scale, he is able to push his voice to wherever the music commands, and there is a natural, soulful tone in his voice that sets it far apart from nearly every other blues artist.  The growl adds a massive sense of authenticity to his singing, and yet the pained tone of the lyrics seem to play a great contrast to the fast-paced, almost cheery sound which the band plays.  However, this juxtaposition of sounds and mood manages to work perfectly, and there are few blues numbers that are as completely enveloping as "Killing Floor."  Furthermore, the lyrical content of the song is as universal a theme as one will find anywhere, and there has rarely been another song that plays on the "evil woman" theme as perfectly as one finds here.  The pain and frustration that Howlin' Wolf conveys is clearly heartfelt and personal, and while many have tried, no other version comes even remotely close to the original.

In the years that followed Howlin' Wolf's release of "Killing Floor," the song was re-recorded, often under different titles, by everyone from The Rolling Stones to Jimi Hendrix to Electric Flag, as well as the previously mentioned version from Led Zeppelin.  While each group placed a unique spin on the song, none were able to capture the attitude of Wolf's original, and while he himself had a number of other legendary singles, "Killing Floor" remains in its own category.  Perhaps due to the stunning way in which the downtrodden lyrics and vocals seem to clash with the fast-paced music, there is simply no way to properly understand the genius of "Killing Floor" without experiencing it firsthand.  Furthermore, "Killing Floor" represents Howlin' Wolf at his finest, as the song is one of the few "hit" singles for him that was not originally penned by Willie Dixon.  However, regardless of the circumstances behind the song, once one hears "Killing Floor," it is impossible to forget it, and it is even more difficult to hear any of the later re-workings of the song as anything more than a cheap rip-off.  There is no question that this recording is far superior to the others, as the attitude and tone remain completely unrivaled to this day.  Representing the true roots of rock music, as well as the sheer power of the Chicago blues style, there is simply no other song in history worthy of being mentioned alongside Howlin' Wolf's monumental 1964 single, "Killing Floor."

May 2: Daily Guru, "Gurucast #70"

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(Left Click (PC) or Command-Click (Mac) to save it to your desktop...it's about 75MB)

One hour of amazing music and commentary from "The Guru" himself. 

Tracklist (all links are to MY write-up of that artist, song, or album):
1. X-Ray Spex, "Oh Bondage! Up Yours!"  Oh Bondage! Up Yours! (single)
2. North Mississippi All-Stars, "Shake 'Em On Down"  Shake Hands With Shorty
3. The Specials, "(Dawning Of A) New Era"  The Specials
4. Warpaint, "Set Your Arms Down"  Warpaint
5. Joe Strummer & The Mescelaros, "Get Down Moses"  Streetcore
6. House Of Pain, "Put On Your Shit Kickers"  House Of Pain
7. Gipsy Kings, "Habla Me"  Este Mundo
8. Atom Orr, "You Held Me"  This Was Tomorrow
9. Led Zeppelin, "The Rain Song"  Houses Of The Holy
10. The Misfits, "Horror Hotel"  12 Hits From Hell
11. Dangerdoog, "The Mask"  The Mouse & The Mask
12. Gladys Knight & The Pips, "Midnight Train To Georgia"  Midnight Train To Georgia (single)
13. R.E.M., "Finest Worksong"  Document
14. X-Ray Spex, "Art-I-Ficial"  Germ Free Adolescents

May 1: Stone Temple Pilots, "Interstate Love Song"

Artist: Stone Temple Pilots
Song: "Interstate Love Song"
Album: Purple
Year: 1994


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One of the more frustrating things one can encounter as a band is when a mis-labeling or a similarity to other artists overshadows the actual achievements or sound of the band in question.  This makes very little sense, as when any sound "breaks," there are always a long list of band trying to achieve that sound, and yet in at least one case, an unintentional similarity let to outright hatred by countless people.  Though they now stand as one of the finer hard rock units of their era, the anger and judgment incurred by Stone Temple Pilots defined much of their early career, and in retrospect, none of the grief they were given was very accurate or deserved in any way.  While their debut record certainly shared a number of elements with the "grunge" movement of the time, their sound was wonderfully unique, as they brought a far larger, almost "arena rock" sound to their songs.  In fact, when one looks at the entire band, the only real similarity one can find is the slight likeness in the voice of Scott Weiland, and yet even this is a bit of a stretch when one listens closely.  Thankfully, the band did not buckle under the relentless criticism, and it was their second album, 1994's Purple, that proved how wonderfully unique the group was, and the album remains one of the finest hard rock records in history.  Filled with a number of memorable songs, one can quickly understand just why Stone Temple Pilots remain one of the defining acts of their generation within their fantastic 1994 single, "Interstate Love Song."

Within the first few seconds of the song, the unique talents and musical approach of the band become evident, as the way in which the soft, meandering acoustic guitar from Dean DeLeo gives way to the almost majestic electric riff is one of the finest moments in the bands' entire catalog.  The energy that is instantly injected into the song by this shift is able to retain its impact even after nearly twenty years, and it is also within this aspect that any comparisons to other bands become invalid.  There is an aggression and attitude within DeLeo's playing that is as "hard rock" as one could want, and in many ways, the group shows a bit of a nod toward the psychedelic movement more than any other.  The grind and growl of "Interstate Love Song" is complimented by bassist Robert DeLeo, and the dark thump that he deploys beneath the songs' surface helps it to retain a distinctive edge, and lending a slight sway to the composition.  Along with the DeLeo brothers, drummer Eric Kretz delivers one of his finest performances, and his playing is a bit more forward in the mix than one might expect, yet this works perfectly with the tone of the song.  It is the way in which his almost dry sound blends together with the other two that gives "Interstate Love Song" an almost "western" feel to it, and it was this tone that helped to silence any and all critics.

Although the musical arrangement throughout "Interstate Love Song" is one of the finest in the catalog of Stone Temple Pilots, it is the vocals of Scott Weiland that largely define the bands' sound, and he gives one of his finest performances on this song.  Though there is a growl in his voice at times, it is in the moments where he lets it soar where one can find the true power of his singing.  Easily able to work the entire vocal scale, some of the range jumps he makes during "Interstate Love Song" prove that in many ways, he had given into the music and was letting the music itself dictate the vocal patterns.  There is also a range of strong emotions that can be felt within his singing, and it is this aspect that continues to draw in listeners even after all these years.  His ability to express his feelings of frustration and a clear commentary on a lacking of honesty within a relationship is far more forward and pained than most other songs with such a theme, and one cannot help but feel the proximity he has to the words which he sings.  However, can take these words and apply them to a number of different situations, as they don't seem to exclusively speak to a love between people, and it is in this fact that one can consider far darker meanings to the lyrics.  Yet regardless of how one interprets the song, there is a power and presence within the singing of Weiland that remains one of the finest vocal moments of the decade, and it firmly established both he and his band as a group which was above trite comparisons.

The impact of "Interstate Love Song" on the general public was almost instantaneous, as within a few days of its release, it topped the Billboard charts, unseeding Purple's previous single for the top spot.  The fact that they were able to gain back-to-back number one singles is yet more proof that even in the face of negative critics, the public loved the songs they were creating, and it was this song that cemented the group as one of the finest of their generation.  It was also Purple that silenced any critics that attempted to label them as "just another grunge band," as there are very few elements of that style to be found anywhere on the album, and the combination of sounds and emotions found on "Interstate Love Song" serves as perfect proof of this idea.  If one forgets "who" is playing the song, there is no question that the track as as much a hard rock anthem as has ever been recorded, and it is much the reason that almost twenty years later, the song still receives regular radio airplay.  Furthermore, if one looks at the entire decade in music, "Interstate Love Song" is one of the singles that unquestionably rises to the top as one of the most definitive of the time period, and it is largely due to the wonderfully unique combination of interlaced guitars and the truly stunning vocal work from Weiland.  Though the band had a number of hit singles both before and after this, there is no question that Stone Temple Pilots hit their artistic peak with their beautiful, yet hard-rocking 1994 single, "Interstate Love Song."