The Vocal Range of Scott Weiland

Scott Weiland was a true vocal chameleon in every sense of the word, fronting different bands while constantly changing his appearance and vocal style, akin to his idol David Bowie. Weiland's versatility was pretty staggering - He was a baritone with an ability to imitate different voices, tones and styles convincingly... Easily one of the most diverse, versatile singers in the history of rock music. Scott had a naturally bright timbre which he started displaying more after Stone Temple Pilots' debut album core where he sang with a darkened, low larynx tone similar to singers like Eddie Vedder and Layne Staley.. To appreciate Weiland's talent fully, one has to listen to various recordings by him. 1. 0:00 - First three clips are for demonstrating Weiland's stylistic mid-range singing: first off a clip with vocals from "Creep", Weiland sounds exactly like Kurt Cobain here! (certain people even mistake this as a Nirvana song) 2. 0:37 - Fantastic baritone-style singing from "Plush" (with and without instruments), Weiland used to darken his tone back in the early days. 3. 1:57 - Great crooning from "The Christmas Song" bottoming around short B2 - Weiland's Christmas music album was a huge shocker around the period of its release. 4. 2:07 - A sung B2 from "The Last Fight". 5. 2:14 - A strong B♭2 from a live intro of "Sex Type Thing". 6. 2:26 - Great old school crooning from "Winter Wonderland", Scott sings down to a solid A2. 7. 2:43 - A strong A2 from "I'll Be Home for Christmas". 8. 2:50 - Layered vocals from "Adhesive" with the lower harmony singing down to G♯2. 9. 3:03 - A solid B2 sliding down to G♯ from another live intro of "Sex Type Thing". 10. 3:15 - G♯2 from yet another live intro of the same song, this note sounds awkwardly nasal. 11. 3:25 - Very strong and bassy A2s and Gs from "Set Me Free", reminds me of Axl Rose. 12. 3:37 - EDIT: This is NOT Scott Weiland after all, but rather an obscure artist called Richard Peterson - Ignore this one! 13. 3:58 - A brief G2 from the hidden track of "Gravedancer" (called "Don't Drop That Dime"). 14. 4:06 - A G2 from a live performance of "Lazy Divey". 15. 4:16 - The Massive Attack-esque chanted F♯2 from "On a Cold Winter's Night" - One of the pre-Contraband leak tracks. 16. 4:24 - The creepy "Wet My Bed" with Weiland's eerie spoken part bottoming around F♯2. 17. 4:43 - Strong backing vocal F2s from "Love Machine". 18. 4:49 - E2s from a live improvisation. 19. 4:54 - Sung E2s from "Dirty Dog". 20. 5:04 - Eerie effect-filled background vocals, F♯2s and Es, from "Art School Girl". 21. 5:26 - Spoken E♭2s from the pre-Contraband track "If I Were a Woman I'd Be a Jezebel Junkie". 22. 5:40 - A strong D2 from "Used to Love Her". 23. 5:44 - Spoken but strong C♯2s from "You Push My Buttons". (Another pre-Contraband track) 24. 6:00 - Yet another pre-Contraband track, this time "You Give Me Mixed Messages" with a C♯2. 25. 6:08 - A solid C♯2 from the live performance of "The Last Fight"! 26. 6:14 - And high notes: Cobain-esque mid-range singing and a powerful sustained G4 from "Sin". 27. 6:32 - A great G4 from "Plush". 28. 6:45 - Fantastic G4 from "Maver". 29. 6:58 - Really good G4s from the music video version of "Creep". 30. 7:21 - Easy G4 from "And So I Know". 31. 7:33 - Strong F4s and a brief G4 from "Dead & Bloated". 32. 7:54 - An emotional G♯4 from "Fall to Pieces". 33. 8:03 - Powerful F♯4s and A4s from the classic "Sex Type Thing". 34. 8:27 - An ascending passage from "Slither" - Tops at a Jim Morrison-esque A4. 35. 8:44 - Clean A4 from "Bagman". 36. 8:52 - Effortless A4s from "Art School Girl". 37. 9:09 - Very powerful A4s from "Piece of Pie", Weiland channels Layne Staley here. 38. 9:38 - A streak of powerful chest pull A4s from "Where the River Goes", definitely the money note of young Scott Weiland. 39. 9:56 - A great high passage from "Take a Load Off" - Clean G♯4s and short B♭s. 40. 10:14 - B4s from the fantastic live cover of "Roadhouse Blues", originally by The Doors. 41. 10:28 - A very Jim Morrison-esque B4 from "Scary Area". 42. 10:39 - A soft B4 from "Seven Caged Tigers". 43. 10:47 - Strong B4s from "Gas & a Dollar Laugh". 44. 11:11 - Strong A4s and a brief C5 from "Come on, Come in". 45. 11:40 - Sung C♯5s from "Transmissions From a Lonely Room". 46. 11:54 - C♯5s from "Time of the Season". 47. 12:11 - B4s and D5s from "Spay". 48. 12:25 - Awkward head voice highs from "Full Blown John" - First an E♭5, then an E... Is this song a proto-Chinese Democracy moment or what? 49. 12:53 - Weiland's highest full note, screamed F5 out from nowhere(after falsetto F5s) from the live version of "Slither". 50. 13:10 - A showcase of yodeling here: full A4s and a falsetto E♭5 from "Ole Dixie" - You can hear something similar on "Don't Drop That Dime". 51. 13:29 - A screamed falsetto B5 from a live performance of "Slither". 52. 13:38 - A really raw whistle scream from a live performance of "Sex Type Thing" - Gets up to G6.