Ronan O'BrienThirty years ago, Billy Corgan and the band wanted to create a double album. What they conceived instead was a triple album; a journey of the cosmos and emotions in 28 songs.
The Marvellous, Splendid, Magnificent, Smashing Pumpkins
Following the demise of his then band in 1988, Billy Corgan found himself working in a record store. There, he met future guitarist James Iha, with whom he started composing music. The idea to form a band named the “Smashing Pumpkins” came before the lineup was assembled. Soon after, the pair enlisted bassist D’arcy Wretzky and were recommended Jimmy Chamberlin on drums.
With the growing grunge scene, thanks to Nirvana and Pearl Jam, the Smashing Pumpkins were destined for instant success. This was not the case however, as the band’s debut album Gish went relatively unnoticed. The big break came two years later, with the group’s second album Siamese Dream putting their name on the map. Retrospective reviews of their debut album soon surfaced, all expedited as a result of the universal acclaim of the follow-up.
Although the recording sessions were marred by conflict, the band were in a creative flow. Corgan advised “We almost had enough material to make Siamese Dream a double album”. With this desire, inspired by The Beatles, the intention was to leave everything on the new record as if it was the last. At the end of the recording sessions, the band had 57 potential tracks for the album. This was reduced to 28, and boy what a selection they are. This is Mellon Collie and the Infinite Sadness.
“Dawn To Dusk”
Opening the album is the title track – a piano piece that serves beautifully as an overture. While the journey of emotions hasn’t quite begun, the general mood and sense of where things are going are displayed gorgeously. The theme builds, with more instrumental layers, creating a bittersweet melody.
The orchestral grandeur really comes into full swing as the track transitions into “Tonight, Tonight“. A gentle guitar riff, accompanied with Chamberlin’s incredible skill of deviating pace, the rock elements suit Corgan’s raw vocals to a tee. Consecutively, the swelling strings support the sweet, whispering vocals heard throughout, especially when the intensity drops. The journey the song brings the listener on is imagined expertly in the award-winning music video in steam-punk fashion.
Turning the mood on its head, the heavy guitars and drums of “Jellybelly“ throw any early assumptions made out the window. While the twinkling, sweet melodies of the intro tracks fills the listener with hope, this one tears them all away. Almost heavy metal in its delivery, it snarls at the listener that this is not an album filled with hope. But rather the unwavering journey into the human condition.
In a similar vein, “Zero“ continues with those heavy guitar riffs and the emphatic Corgan who conveys his message intensely. The song is a nihilistic statement; he refutes the label of himself being a rock god, filling the listeners ears with nothing but apathy. It becomes his alter-ego, and it’s invincible. But there’s also nothing to it, with the song’s abrupt ending leaving the listener with those thoughts.
“Here Is No Why”
A grunge-esque guitar riff tears through with vigour, opening a song that has malevolence and tragedy echoing throughout. The title was conceived after an article Corgan read about the first nuclear attacks. The hatred is spewed vehemently by Corgan, who snarls “May the king of gloom / Be forever doomed” at those warmongers. His vocals ascend with the guitar solo, almost reaching other-worldly levels.
The spoken lines, “The world is a vampire” opens one of the band’s most recognisable songs. Chamberlin’s drums are certainly a standout, but the dad-rock guitar riffs make it any fan favourite. Comparing the world to a blood-sucking demon, it quickly becomes apparent that the song is a protest anthem from the band’s perspective. Like many artists trapped in contracts to large labels, they can only express their anger through their art. The recurring hook, “Despite all my rage, I am still just a rat in a cage“, became relatable to so many, making this the ultimate adrenaline kick.
“To Forgive“ provides immediate respite from those post-grunge, fuzzy guitar riffs and sees the return of Corgan’s whispering, raspy delivery. The lyrics are far more introspective than that of the preceding tracks, as Corgan opens up about his abusive childhood and struggle with growth. Though he tries in vain to forget, Corgan “forget[s] to forget” and is left “Holdin’ back the fool again“.
“Fuck You (An Ode To No One)”
After a brief rest, the fuzzy, heavy guitars return in “Fuck You (An Ode To No One“. The song is exactly what it says on the tin; an angst-filled, raging middle finger to the world. Even throughout the venomous messages being spat by Corgan, the song contains some great instrumental work, with sudden breaks and a shredding solo. This all culminates to the song finale, leaving eardrums bloody from the raw power.
The buzzing guitars continue tremendously into “Love“, almost as a stark warning to the listener that the song is anything but sweet. It’s a nihilistic attack on romantic relationships, and utterly sarcastic in its sincerity. The snarky pre-chorus, echoing “It’s what you wanted to see / It’s who you wanted to be” mocks love. Corgan is telling us the love we see is often an illusion, as it ever so conveniently becomes everything we want.
Fuzzy guitars and heavy drums are replaced by a synthetic harp and lighter percussion in “Cupid De Locke“. Once again changing the mood, Corgan narrates with airy vocals this baroque-style tale. The story sees Cupid firing an arrow laced with turpentine, killing the to-be lover. Switched by the devil, it’s a cautionary tale about love. Accompanied by a spoken-word piece during the outro, the track deviates so far from anything heard in the album thus far.
The gentle instrumentals continue in “Galapogos“, which opens with tonal guitar and beautiful cymbal work by Chamberlin. As the song rises, so does the emotion in Corgan’s voice. The chorus sees Corgan’s depression fully take hold, as he addresses his crumbling marriage; “And should I fall from grace, here with you / Will you leave me too?” The tempo rises with intensity, with the drums almost imitating a heartbeat on the verge of an anxiety attack.
“Muzzle”
Beginning with the fear of conformity, “Muzzle“ sees Corgan serenade the distorted guitars with “I fear that I am ordinary / Just like everyone“. Written as a preemptive response to critics about the album, the guitar work is phenomenal throughout, with tone changes constant. The lyrics are oddly introspective, as Corgan once again references his doomed marriage; admitting “As all things must surely have to end“.
The near-ten minutes of “Porcelina Of The Vast Oceans“ almost serve as a full-circle effect to the first half of the album. A beautifully long instrumental opener, featuring some delicate drum work is abruptly replaced by electrifying guitar riffs, before settling once again. Corgan opens with more vulnerability, before launching into admissions of not caring what is thought about him. The protagonist appears to be this mythical being, who is something between an elusive lover and demigoddess.
The final excerpt of the first half sees James Iha take over vocal duty from Billy Corgan. Incredibly soft vocals with a beautifully strummed acoustic guitar, the song serves as a fantastic palate cleanser before the next stage of the journey. Lyrically, it’s incredibly sweet. Perhaps even bittersweet, it’s dedicated to a love of the narrator. Most importantly, the track is a dedication to Iha who, without him, the album would not exist.
“Twilight To Starlight”
The second half of our journey opens with the angst-ridden “Where Boys Fear To Tread“. A song Courtney Love claims was written about her, the lyrics seem to pander to the down-trodden of society. The riff was composed by Corgan with a new guitar, and the song essentially created itself from that moment. Whether Love’s claims are accurate or not, the dark, foreboding mood of the track is more than befitting of The Pumpkins’ style.
The equally grunge-filled “Bodies“ contains another possible reference to Corgan’s relationship with Courtney Love. While a double entendre, the hook “Love is suicide” may be directed at the Hole frontwoman, or simply an observation about being trapped in relationships. Nonetheless, the intense drum fills and gnarly guitar tone make it another angst-ridden, agitating track.
A far more relaxed and smooth song follows in “Thirty-Three“. Elements of drum machines, vocoders and slide guitars play a simple, repetitive melody in joyous fashion. While the title and some lyrics may indicate references to Jesus, who died at 33, Corgan’s liner notes detail something more fitting. He notes, “Before it all falls apart there is a moment where you feel alright with not knowing where you will land”, and that feeling of melancholic acceptance is conveyed beautifully through this song.
The equally melancholic “In The Arms Of Sleep“ evokes more dejected feelings. A slightly swinging drum beat accompanies the elongated strums of guitar. The lyrics point to unhappiness in a relationship, which is most likely directed at Corgan’s failing marriage. While neither party is particularly happy, there is silent acquiesce; “Suffer my desire for you“.
“1979”
The soft drum machine opens another huge hit for the band. “1979“ is a homage to the youth, the pain, the happiness. The song is a feeling more than a message, and encapsulates the album perfectly. Some of the messages in the lyrics convey these feelings beautifully. The mourning of ones youth in “Lamented and assured / To the lights and towns below“, as well as the need to travel and grow in “We feel the pull / In the land of a thousand guilts / And poured cement“. It’s utterly timeless, and has become a youth anthem to never forget.
The twinkly tone is once again torn away by the wrathful heaviness of “Tales Of A Scorched Earth“. The guitars are incredibly overpowering, with Corgan’s vocals sitting behind the music. Almost acting as a trapped animal screaming out. The lyrics point to Corgan’s feelings of apathy and a nihilistic view of the world in all his rage.
Returning back to his failing marriage, “Thru The Eyes Of Ruby“ is a perfect blend of the heavy and soft styles heard throughout the album. The guitars almost sound glam metal at times, with Chamberlin keeping the beat with such variety. The chorus sees Corgan admitting the love has disappeared from his relationship; “You may find your love is gone / And is not quite what it seemed“. Corgan even admits to losing himself due to the marriage, with the harshly delivered “And with this ring I play so dead“.
“Stumbleine”
Continuing with the bi-polar assembly of tracks, “Stumbleine“ is a softer, stripped-back track. Corgan narrates several short stories with just guitar to accompany. The characters described in the mini-stories contain themes that are so prevalent throughout the album. Lyrics like “She’s got her reasons, I got my forgets” are so suited to the album theme of loneliness, melancholy and apathy, all wrapped up in a beautiful melody.
“X.Y.U“ follows with a true dichotomy, opening with one of the heavier guitar riffs on the album. Sounding as if it was borrowed from a heavy metal album, the entire track revolves around the progression. The song is disturbing in many senses, with the inclusion of nursery rhymes and screeching guitars. Even when the tension begins to alleviate, the enigmatic Corgan utters “And in the eyes of the jackal, I say, “KA-BOOM!“, allowing the full force of the band to project with phenomenal force.
As the intensity dies off, the bouncy, electronic drums of “We Only Come Out At Night“ begin. Accompanying Corgan with these drums are a piano and zither, which strums to such delight. However, the lyrics paint a picture of depression, a common theme of the album. Especially seen in the opening lyrics, the defeatist mood shows the mask Corgan wears; “And once again, you’ll pretend to know me well, my friends / And once again, I’ll pretend to know the way“.
“Beautiful”
“Beautiful“ is a pessimistic love song. With twinkly piano and thumping drums, it indicates the wind-down of the album. While not exactly your typical love song, Corgan narrates his desire with dark intent. Closing with the lyrics, “I’ll be under the stairs forever“, it casts an eerily similar message to “Every Breath You Take“.
In a very similar vein, the following track “Lily (My One And Only)“ is a melodious tune with a darker message. While the instrumentals are simple and almost vaudevillian, Corgan narrates from the perspective of a stalker. It’s sickly humorous in parts, especially in the closing lines; “Oh Lily, I know you love me / ‘Cause as they’re draggin’ me away / I swear I saw her raise her hand and wave / Goodbye“.
Deep in the second half of the album contains one of the sincerest, saddest songs in “By Starlight“. The instruments fade in and Corgan confesses “By starlight I’ll kiss you / And promise to be your one and only“. Another, and possibly the most genuine song about his marriage, the descriptions are heartbreaking. Accompanied with such pretty guitar, Corgan notes “Her eyes, her eyes were as vacant as the seas, yeah“.
The album finale, aptly titled “Farewell And Goodnight“ acts as both a closer and a dedication to the band. With each member featuring on vocals throughout, the song is one of unity, played out as a lullaby. More twinkly piano with soft guitar and percussion wrap up this incredible project. The closing lines are one of uncharacteristic positivity from the group; “Goodnight, always / To all that’s pure that’s in your heart“.
Final Thoughts
Over two hours and 28 songs later, the journey finally comes to an end. As the band saw this as their last album, they made it a masterpiece. And after listening to it again and again, the album never ceases to amaze me. While bands these days rarely make large double albums, it’s hard to see why. That being said, my constant referral to this album as a “journey” seems more apt.
The one thing that never gets old on this album is its variety. You cannot expect the next song to be anything like the last. The softer songs are heart-tingling and sometimes tearful, while the heavier ones will make you want to punch walls and are sure to make your eardrums burst. From heavy metal to dreampop to psychedelic elements, the band’s talents across this album is nothing short of mesmerising.
One thing to pay special attention to is the lyrics. While Corgan’s nasally delivery can be off putting for some, there is poetry to his words. From clever wordplay to ironic humour, there is much more depth to each and every song than is presumed. And best of all is Corgan’s refusal to elaborate on song meanings. While that made this review a bit trickier to write, it shows that everything artistic is open to interpretation.
The album somehow takes me on a journey to the moon and back, and with that, little bits of stardust are left with me.
