And that's fine with him... Scott Weiland once said this record goes from A to Z and back to G. He's sort of right, but really all these strange, distorted noises ultimately kind of blend together in fulfilling harmony, if that makes any sense. "Desperation #5," for example, should have been a radio hit. With despairing, cryptic, mournful lyrics, and a buzzsaw of a guitar bridge that will knock you on your butt, this was a great leadoff choice for the album. Oddly, the slow moving and disjointed "Barbarella" WAS released as a single, foregoing much better tunes that would have sold Weiland more albums, like "About Nothing," or the pleasant louge tune, "Divider," or the ultra-sheeny rocker "Opposite Octave Reaction" - all three much better songs, fantastic. As for Weiland's voice, it's a purposely distorted mixture of glammy sheen and a tinge of grittiness likely to trip STP listeners up. Great musicians surrounded Scott Weiland on "12 Bar Blues," no doubt learning to play what Weiland could only hum or lightly strum on a guitar; undoubtedly his friends pulled through for him. Still, Weiland did a great job. Those not willing to grow with their favorite artists won't even hear this album half the way through. However, if you're up for some experimentation - plastic guitars stretched to the 9's, spacey lounge, dated industrial, soft guitar and piano, stretched vocals, weird lyrics, Irish barroom odes, techno rock and glam - check "12 Bar Blues" out. I don't know what this guy was on when writing some of these unique tunes, nor what was going on in his life, but despite his condition, it sounds like he was having a great time in the studio, twiddling knobs and God knows what else.