#487 - The Smashing Pumpkins - Mellon Collie and the Infinite Sadness

I remember the day that I got this album. It was Christmas of my 7th grade year. I remember spotting a gift early on under the tree that looked like a CD, but bulkier. I knew it had to be The Smashing Pumpkins epic double disc. I remember keeping this album in heavy rotation on my Sony Discman (it amazes me to think about how far music devices have come in such a short amount of time) on the way to football games or wrestling practice. Some songs were used for the trip to an event and some were reserved for the quiet ride back home. Sadly, I forgot about the album after awhile and upon seeing it on this list I went searching to unearth it from the multitude of CDs I have packed away in an attic in my mother's house. To my dismay, I did not find it amongst the lost audio souls of forgotten albums such as Trio's Da Da Da (yes I had the album), Silverchair's Neon Ballroom, Powerman 5000 Tonight the Stars Revolt, etc., which led me to the conclusion that:

A: Someone had borrowed it and never returned it (likely)

B: The girl I was dating at that time in junior high loved the Pumpkins, introduced me to them, and went on to cheat on me with a kid that always seemed to be wearing the Zero t-shirt (likelier)

C: I lost it (most likely)

Regardless, I spent the $17.99 at Best Buy and purchased the album, again. I opened the album and was flooded with a wave of nostalgia as I leafed through the liner notes, but then I became hesitant to listen to it. What if I lacked the same appreciation I formerly had for the album? I am not a huge Pumpkins fan, but loved Mellon Collie. What if Billy Corgan's voice made me want to stab my eardrums?

In the end, the album is just as I remembered it. A step away from alt-rock at the time. From the orchestral beginnings of the title track to aggression of "Zero." The album spawned six singles ("Tonight, Tonight," "Zero," "Bullet with Butterfly Wings," "1979," "Thirty-Three," and "Muzzle") and won a countless number of awards that year. It became The Smashing Pumpkins' most well-known and popular album, despite a number of mixed reviews most of whom critiqued Corgan's lyrics. To me, the lyrics are part of what makes the album great as well as the multi-dubbed guitar riffs throughout (I was not aware so much overdubbing was used until I had researched the album). If I were to have to offer a complaint, it would not be with the lyrics, but instead Corgan's voice, a mixture of angst, whine, anger, and soul, that ultimately fits with the music represented. Of course, the singles are phenomenal, but the other tracks are equally wonderful. There are 28 tracks on the album, so I'm not going to dissect every one, but some personal favorites outside of the singles are "In the Arms of Sleep," "An Ode to No One," "Take Me Down," "To Forgive," "Galapagos," and "Stumbleine."

The Smashing Pumpkins attempted to put together a concept album with Mellon Collie and the Infinite Sadness describing the cycle of life and death in terms of sunrise and sunset. I don't really see a accurate fit with the sequence of the track listing on the compact disc, but the concept The Pumpkins were looking for seems to be achieved by the alternate track placing on the vinyl edition. Regardless, superb album. Definitely worthy.

This album's cover song is brought to you by Al-Queda.

d.

So pretty much every double album in history has sucked pretty large amounts of ass. The only band capable of pulling the double off was Pink Floyd, and even they struggled. I mean a good third of the Wall is filler, yet it was the best two disc album out there. But then Mellon Collie came along and pretty much destroyed everything we knew about long records, about alternative rock, about how to structure music. Easily one of the most groundbreaking records of the last 30 years, it was the first time I realized you could actually wear down a cd over time like a cassette. I gave it a break and I was pretty curious how it would feel going back to these songs fifteen years later.

Pretty fucking awesome is how. The piano intro sent chills through me. Despite trying to not be swayed by sentimentality, I was immediately back in my ‘95 bedroom. Shag carpeting, Stone Temple Pilots poster over the bed, large speakers balanced precariously, inches from my head as I lay to sleep. For shit’s sake, this was such a huge part of high school it brings back smells. I literally can smell brass polish (which any horn playing band geek can testify will haunt your dreams for eternity). Ok, back to the music.

What can I say about Tonight, Tonight? It’s iconic, and for damn good reason. It’s the apex of orchestral rock. As overplayed as it was, no one complained because it was just too well done. Straight into the rolling thunder of Jellybelly, you find one of the greatest, simplest riffs around. Just straight gut punch rock. Then the bleeding harmonics of Zero launch you into a brilliantly intense ride. At times Billy Corgan reaches for Dave Mustaine.

levels of gravel in his throat. It just makes the hurt and rage all the more real.

I can’t keep writing blurbs about each song or I’ll be here all night. Bullet With Butterfly Wings was the first single, chosen over Jellybelly. I honestly believe this song kept rock alive. Through the dark years that followed of Fred Durst and Staind (easy targets, I know) if the DJ threw this on the local hard rock station, it made everything seem alright. Like rock wasn’t actually having the life choked out of it before our eyes. Fuck You (an ode to know one) is pretty much the most metal thing from the time. The level of fuzz on the guitars is both piercing and somehow smoothing, having the effect of a wave constantly crashing over you. I have one complaint about Love. A melody this memorable shouldn’t be smothered in phaser. I get the feeling Corgan wanted to hide what a great pop songwriter he could be.

Most of the rest of the first cd is beautiful ballads and at times, nearly Burt Bacharach level genius pop. Cupid De Locke, Porcelina of the Vast Oceans… they’re like lullabies after the emotional battle of the first 30 or so minutes. The second disc starts nicely, but finds a stride on the sparse love song Thirty-Three. One of the better vocal performances included here, the constant driving of the shakers and muted guitar riding the 8th notes adds the right level of urgency.

Now I have to admit something. I hate 1979. Like, the British against Diego Maradona level of dislike. Look, I know it’s akin to a definition of suburban teenage boredom to most. I just can’t stand it. The compressed drum machine, the repetitive root note bassline, it’s just very blah to me. Thankfully we are quickly rescued by Tales of a Scorched Earth. The adrenaline rush from the insane feedback and distortion weaving throughout makes me want to punch a senior citizen, or maybe a kitten. Don’t judge me assholes.

The last several songs slide at times into an almost ambient jazz. It would be easy to write them off til you think about how many bands probably wouldn’t be around without these songs to influence them. Coldplay, Mogwai, later Silverchair… none would sound the same if Smashing Pumpkins hadn’t had the balls to show a side of their music that could have sunk the album.

I realize I’ve mostly commented on the heavier songs. I’ve also managed to drag this out to nearly 800 words. Bottom line, great album. Deserves a much higher spot. Easily top 100. Disappointed to see it so low, but invigorated by a true piece of art.

Oh and to follow the lead, here’s a cover. Since I mentioned him earlier this is some Bacharach by Mr. Bungle.

-tfm