No. 4 solidifies STP's legacy of the 90's. A spectacular album, made more so by its simplicity and time of production. STP came full circle with No. 4, utilizing all aspects of their talents to create a moody, yet raw opus. "Down" sets the stage with its raucous and powerful tune, and its drive is carried on throughout the next three songs--through "Church on Tuesday," with even more clever guitar riffs and undertones. The fifth song, "Sour Girl," was probably the song that sold the album to me (as if any new STP album wouldn't). The song's direction and melodic flow just hit the spot. If there was ever any doubt about their ability to wander off the beaten path and throw the listener off guard, there shouldn't be now. The change of pace from the previous four songs and the genuine quality of the song make its position on the album essential (and perfect). After listening to the album several times, however, the eighth song, "Glide," slowly became my favorite tune on the album. Its steady beat and dominating chorus give the album its second wind, so to speak. The final three songs ("I Got You," "MC5," and "Atlanta") ensure the album doesn't fade away with fillers. Each one in its own right envokes comparisons to songs of the latter '60s. "I Got You" is very similar to "Sour Girl" in its impact to the listener, and the erratic drumming by Kretz is right on in "MC5." "Atlanta," with its striking similarity to "My Favorite Things" from Mary Poppins (shocking, isn't it?) ends it in grande style and is a great ballad. For STP fans (and music fans in general), the Weiland/Deleo combination(s) is heard in full force in No. 4 and thus solidifies STP as one of the best bands of the '90s (not to mention our generation).