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Love the instant transitions amongst the three different massive riffs. You may not talk to him to learn something but you’re guaranteed some fun and this is a lot of fun- doesn’t quite match “Down” as an opener but it’s closer than I ever thought at the time. For a while, “Dumb Love” and “Coma” just blended together but through the years, “Dumb Love” reveals itself to be the most likeable dumb guy in the room. The huge hooks of “Dumb Love” is about as strong as the crunching hooks of “Hollywood Bitch” but it took me some time to figure that out. “Coma” is the only song here that has any ties to the muscular rock of Core but compared to those songs, it would be one of the weakest. “Regeneration”- is there any melody here at all – it’s mostly Scott barking atonally and the backing is devoid of character, though almost all of these songs have distinctive and effective lyrics. The frustrating “Transmissions From A Lonely Room” doesn’t have a faceless chorus like the closer, but it wears on me by the end. Could not believe this was released as a promotional single and it actually hit #20. They were way better with the stop/start technique on No. The riff that they rely on for almost 5 minutes is a total reject and so is Scott’s way of coming up with a rhythmic singing to match the stop/start impact. “Long Way Home” should have been called “Dumb Love” because it is the dumbest drag they’ve ever produced.
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Their sacrifice of hard rock is evident in how the wimps outdo the bullies. It did get airplay I remember, but neither single lasted long on radio and they were back to playing “Plush” and “Sour Girl” instead of these. It became their 2nd worst charting single on the Mainstream Rock chart and their worst charting single of the Alternative Chart. The punchy “Hollywood Bitch” had the knack for being radio ready, but it did poorly. Still, it was viewed as something that didn’t match their prior lead singles. The lyric uses a style used before (“Lady Madonna” etc.) and its self-conscious title is an indicator, but the music and vocal is too good to deny. A terrific riff and refrain hook does the trick. Short and sweet, it leaves its impression and gets out quick – no intro, no outro, a brief dreamy bridge. The audience and media agreed once “Days Of The Week” got its airplay re-introducing the band into the 21st century as the lead single. This is the first album where they struggle a bit with heavier material and the dumbed down powerhouses just weren’t that good. With that said, they sacrificed finding those terrific harder riffs that they found with ease previously. With that direction, the album triumphs, emphatically creating some of the most beautiful softer alternative rock songs in the genre’s history up to that point. The scene had changed a bit to a harder tone and STP were able to keep up in 1999, with some huge thudding monster rockers but by 2001, it seemed like they were more interested in growing the artistic side and not really caring about the scene. Alternative rock’s newer flock of fans were embracing nu-metal and some were off of alt rock completely because of nu-metal. Fans were tired of Weiland’s antics over the years and unpredictability and there were signals that it wasn’t going to do well even before it came out. The final album of material we fans would get until 2010, at the time, this felt like the final album. Chapman Baehler – art direction, photography.Erin Haley, Cheryl Mondello – production coordinators.Karl Egsieker – recording, mix assistant.
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