The Smashing Pumpkins Viewphoria (thebigmuff.wordpress.com) For Music Banter.
1. “Quiet”- Atlanta, 1993 (The Cellardoor)
This looks to be set somewhere around a high-school basketball tournament in a shady part of Chicago. Believe it or not, Billy Corgan was a ****-head fan (From Chicago) at one point, who grew a massive ego by playing “scary pop songs with James [Iha]” from the comfort of his own room and drum-machine within his dad’s house. Corgan wanted to get bigger than a 4-room suburban house out of a Caucasian-Family-Matters episode, by at least a studio the size of his patriarch’s real-estate claim and an audience the size of Soldier Field. His playing style (knee to the forefront) is not style, but a sober, intelligent-design of grunge to keep up with Jimmy Chamberlains coked-out percussion (it’s documented in the story of the breakup as well as police reports). If you try to exert enough energy to play air-guitar to these Chamberlain rhythms: you will pass out or lose balance. As far as drumming and lead guitar go on this version of “Quiet”, they look to be halfway between depression/mania and a grunge-styled Boston in the early 90’s. The only reason Jimmy Chamberlain is still in “The New Pumpkins” is because he is the only drummer who could actually motivate a sober, angry Hendrix/Bowie hybrid that is too intelligent to fall for the Chi-Town vernacular, and the only reason Jeff is in “The New Pumpkins” is because he is a slightly more chic version of a rhythm guitar section that has historically had the Asian look. Ginger is in “The New Pumpkins” because instead of picking her up in the street like original bassist, D’Arcy Wretzky, he picked her up in a bar because he thought her silver dress would look good on her while he belted out a dark, Vai-sh, Silver****ed outro of Led Zeppelin’s “The Ocean”.
Witty Lyric: “We are fossils, relics of our time, we mutilate [distortion of emotions through electric distortion] the meanings, so they’re easy to deny” [ I’m sure Mellon Collie And The Infinite Sadness were Siamese Dream B-Sides/Presents from the 85’ Corgan-Family-Christmas-Tree with 3 wrapped eight-tracks from various family members who couldn’t shop goth at JC Penney. But he did not return any of them, didn’t even give one to James Iha who was too busy stuffing his face with turkey and slices of humble pie.
Tagline: This song is not quiet. Irony between decibals and track names. God is quiet to Corgan at this point in his writing ("Jesus,
Are you listening? Up there, To anyone at all". He's trying to play loud so God can hear his anger.
Applicable Billy Corgan Quote For “Quiet”: "If you can imagine, I was more emotional than I am now -- with nowhere to put it [laughs]. Imagine that same kind of twisted heart locked in this 18-year-old body with nothing to do. It wasn't pretty."- On Being A Teenager
2. “Disarm” (English TV ‘The Word’, London 1993)
A menacingly-electric version of the string-chocked, childly earnest single from Siamese Dream that makes the original seem like a James Taylor song from any one of his five+ “Greatest Hits” compilations despite the Brit’s depressingly yet volatile solo career complete with a heroin past and casino dates in his future. Free drinks/old, loose women: ha, “Greatest Hits” CD’s aren’t even Billy’s scene… his discography is. This version is armed. James Iha’s rhythm is nasty and delayed (He’s more proficient than Jimmy Page and uses a similar guitar to the Jimmy Page signature-model that just came out Fall 07’). ‘The Word’ set looks like a Top-Of-The Pops arena in the age of San Francisco/London “Acid-Houses” (Grateful Dead/ Pink Floyd & Cream) though with an indoor, corporate.
Witty Lyric: None
Tagline: The inner-child is invariably killed with age. Only memory of bliss remains.
3. "Cherub Rock" (Acoustic MTV Europe)
First let me start off by saying that not only is Billy Corgan a real-life fan of sports, but it is apparent that he is a fan of The Devil's Sport (Grunge) from his early 90's combination of long-sleeve shirt aesthetics, a timely infatuation with the color black, and a sportier version of acoustic-evil other than Jimmy Page's "Over The Hills And Far Away": with allusions only to himself and not to Frodo's journey out of The Shire in Tolkien's "The Hobbit". Corgan looks so relaxed in this environment (smiling, laughing, verbalizing a few "oh yeahs" and "uh huhs" when he pleases himself with his riffs), knowing very well that they are just as good not selling out dingy ampitheatres of drug users and people who think that The Pumpkins electric shows are in any way comparable and indicative on the level of the proficiency of their acoustic jams. James Iha looks sharply dressed to the nines, pumping out humble rhythms alongside a Jimmy Chamberlain who's traded abusing an 80's hair-metal kit for a Meg-White-Trainer with brushes. D'Arcy adds some nice background vocals ala Fleetwood Mac illegal-prescriptions, but her parts were written by the man... so it doesn't matter. Of course it's the first song on "Siamese Dream" is "Cherub Rock". A physical description of one-quarter of the band.
Witty Lyric: "Freak out, And give in, Doesn't matter what you believe in, Stay cool, And be somebody's fool this year,'cause they know, Who is righteous, what is bold, So I'm told"
Tagline: A band can't touch the world with an indie-mindset. The record labels apparently know "what's good". Flattering I'm sure.
Applicable Billy Corgan Quote: " "I almost feel that we're more powerful being acoustic than we are electric.
Read more: http://www.musicbanter.com/album-reviews/29082-smashing-pumpkins-viewphoria-thebigmuff-wordpress-com-music-banter-lyric-house.html#ixzz1E1OwFIiC
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