Here are the five most underrated songs by Scott Weiland, inside and outside of Stone Temple Pilots.
Only a fool would argue with the statement that Weiland was one of the greatest voices of his generation. This wordsmith and chameleon possessed a rare magic that is simply indescribable.
He had the ability to convey the many shades of despair and resilience in a way that only a few others (as Alice in Chains’ late Layne Staley, his also departed collaborator in Mad Season Mark Lanegan and Phil Anselmo, especially in Down) have managed.
Thus, join us in honoring Weiland’s legacy with his 5 most underrated songs.
READ MORE: 10 Amazing Solo Projects by Members of Beloved ’90s Bands
Honorable Mentions Up First
Because Weiland left behind such an abundance of sonic wonders, we will name a few honorable mentions before diving into our main list.
For example, “Gravedancer,” from the massively successful supergroup Velvet Revolver, still deserves more recognition. Meanwhile, VR’s “Spectacle” delivers an unreal adrenaline rush, “For a Brother” (born from the tragic deaths of Michael Weiland and Matt Sorum’s sibling) proves quite a grower and “You Got No Right” never fails to rend the heart: “And if I fall apart on the outside…”
Sorry, but millions of streams for “The Last Fight” (another tribute to Weiland’s brother) still isn’t enough.
The powerhouse’s sublime reinterpretation of Electric Light Orchestra’s “Can’t Get It Out of My Head” demonstrates Weiland’s gift for covering other artists, as do the likes of his solo takes on Paloalto’s “Some Things Must Go This Way” and Radiohead’s “Let Down,” in addition to STP’s rendition of The Beatles’ “Revolution.”
Although the entirety of Core (1992) is beloved, “Piece of Pie” might just be its most undervalued track — make sure to experience the chilling yet oddly comforting demo versions of the radio favorites “Creep” and “Plush.” Similarly, “Silvergun Superman” and “Still Remains,” both from STP’s canonical sophomore effort, Purple (1994), should be even more popular.
From Weiland’s first solo album, 12 Bar Blues (1998), which includes the single “Barbarella,” “Where’s the Man” has long seemed like a soundtrack-worthy buried gem. Fortunately, in 2024, it appeared in the film Beetlejuice Beetlejuice.
Finally, even if the polarizing Limp Bizkit is not your preferred cup of tea, do not overlook Weiland’s guest appearance on “Hold On.”
5 Most Underrated Scott Weiland Songs
With the honorable mentions behind us, here’s what you came for — Scott Weiland’s five most underrated songs.
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“Loving the Alien” (Velvet Revolver)
Velvet Revolver’s double-platinum debut, Contraband (2004), boasts what feels like the ideal hard-rock sound. Contraband spawned multiple hits like the Grammy-winning “Slither” and also “Fall to Pieces” — we highly recommend the gorgeous acoustic bonus-track variant of the latter!
However, this glorious record’s finale, “Loving the Alien,” should not be overshadowed by what precedes it. (Verily, here, Weiland’s artistry in combination with the prowess of Guns N’ Roses legends Slash, Duff McKagan and Matt Sorum, plus ex-Wasted Youth’s Dave Kushner, proves too spectacular for mortal ears to absorb).
The title of “Loving the Alien” is a clear tribute to David Bowie, whom Weiland repeatedly described as an inspiration upon his art, and, in the eyes of many, Weiland is a giant of, dare I say, Bowie’s epic proportions.
I’ve long held the view that “Loving the Alien” is the most beautiful modern song (along with creations by Tor-Helge Skei like Manes’ “Last Resort”) and the fact that it doesn’t haunt your average civilian (in the same way that “Interstate Love Song” might just pop up during your gym and coffee shop outings) is simply baffling.
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“Pictures & Computers (I’m Not Superman)” (Scott Weiland)
“Pictures & Computers (I’m Not Superman)” hails from Weiland’s second solo record, the partly autobiographical “Happy” in Galoshes (2008).
With its vintage, strangely haunting and strung-out vibes (enhanced by Weiland’s keys and French horn by Brian Wilson accomplice Probyn Gregory), this daringly personal feat might not seem all that brutal upon first impression, but it amounts to a stingingly honest existential exploration: “Have I done the best that I can to generate / ’Cause I still hate / To revel around and terrorize or sympathize and populate / ’Cause I’m just every man who once was a stronger man…”
The weight of this song dizzies and crushes conscience-laden listeners, delivering a completely different energy than, say, VR’s “Superhuman.”
“Happy” in Galoshes simply contains too many murderously great compositions: the career highlight “Missing Cleveland,” the bliss-inducing “Killing Me Sweetly,” the impossibly bewitching “Paralysis,” “Crash” (the single that should have blown up), “Arch Angel,” etc.
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“Seven Caged Tigers” (Stone Temple Pilots)
This year, we celebrate the 30th anniversary of Stone Temple Pilots’ third record, Tiny Music… Songs from the Vatican Gift Shop, which showcases the classics “Trippin’ on a Hole in a Paper Heart” and “Big Bang Baby.”
Although the album’s closer, the tambourine-laced “Seven Caged Tigers,” placed among the favorite self-authored tunes of the man himself and has been ranked as one Weiland’s finest moments, it has yet to receive the proper amount of plays from fans. This mystical, mysterious and meditative offering is nothing short of an ever-refreshing and timeless masterpiece: “So, the answer gets harder, harder / And the truth’s getting farther and farther…”
In a way, “Seven Caged Tigers” feels like a companion to “Adhesive” — they are separated by the incredibly pleasing “Ride the Cliché” and the instrumental “Daisy.”
In his memoir, Not Dead and Not for Sale, (written in collaboration with David Ritz), Weiland described “Adhesive” as “me at my most depressive moment.” On both compositions, Weiland alchemized his struggles, converting pain into artistic gold.
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“Wonderful” (Stone Temple Pilots)
“Wonderful,” the fifth number off the immersive Shangri-La Dee Da (2001), serves as a bittersweet leap into the great beyond: “As I’m fallin’ out / I wonder what I lost / Must be movin’ on…” This addictive piece of ear candy envelops listeners in a rare soothing warmth that’s better than any drug high.
This opus’ orgasmic sound partially owes to producer Brendan O’Brien (as does that of other picks here), who repeatedly helped Weiland achieve his best.
The live album The Family Values Tour 2001 (2002) features a recording of Scott Weiland and Chester Bennington (before the Linkin Park vocalist replaced Weiland in STP) performing “Wonderful” together.
Retrospectively, it can be called one of the saddest moments in rock history, given its soul, authenticity and Bennington’s love of STP as a fan paired with the knowledge of the tragic manner in which both icons passed.
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“Glide” (Stone Temple Pilots)
Following on the kinky heels of the frenetic “Sex & Violence,” “Glide” allows audiences to return to chill mode while experiencing No. 4 (1999) — the record that brought the world triumphs, such as “Sour Girl” and “Atlanta,” which STP referred to as probably one of the most beautiful tracks they had ever written while appearing on WAAF 107.3, for instance.
It would be difficult to argue for the existence of a song that transports us on a nicer musical hang-gliding excursion than this one, though smooth vocal lines (as well as pleasantly aggressive ones, as on “Sex Type Thing”) were one of Weiland’s many talents that can be heard on countless other recordings.
The evocative “Glide,” which opens the door to interpretation, provides heavenly relief mixed with a sense of concrete desperation: “Just give me a half a chance / From throwing it all away…”
