The Smashing Pumpkins

Billy Corgan – vocals, guitar
James Iha – guitar, vocals
D’Arcy – bass guitar, vocals
Jimmy Chamberlin – drums

Blame it on chief Pumpkin Billy Corgan’s megalomania, but it’s often overlooked that Chicago’s longest-running alt-rock soap opera, The Smashing Pumpkins were once one of the biggest bands on the planet. Grunge died with Kurt Cobain, leaving the likes of doomy rockers Nine Inch Nails to pick up the pieces.

But in the post-Generation X mid-90s, Trent Reznor was too busy suffering from a debilitating addiction to Courtney Love and a monstrous relationship with heroin to scale any billboard chart shaped mountain. Arise Sir Billy Corgan, the six foot four bald rocker with a penchant for wearing dresses on stage, wildly boastful claims of his genius and an arsenal of stunningly wonderful songs, lurching from the staggeringly beautiful ‘Tonight, Tonight’, the sound of teenage pain, ‘Bullet With Butterfly Wings’, and the bittersweet rage of ‘Today’.

Frustrated by Chicago’s parochial alt-rock scene, Corgan’s first attempt at stardom with The Marked soon imploded. Enlisting the help of high school friend James Iha, Corgan began writing better songs. A chance encounter with willowy blonde bombshell, D’Arcy, on the street led to them meeting powerhouse jazz drummer Jimmy Chamberlin.

With the classic Smashing Pumpkins line-up cemented, the boho quartet perfected their sound. Debut single, ‘I Am One’ (1989), was a good statement of intent, mixing Pink Floyd psychedelia, Led Zeppelin dynamics and Black Sabbath’s energy. The ‘Lull EP’ paved the way for Gish, their Butch Vig produced debut album. Though the album shared its producer with Nevermind, the similarities ended there.

With too many widdly guitar solos to entice grunge fanatics in the grip of Nirvana fever, and not enough commercial clout to unseat Pearl Jam, Smashing Pumpkins were in a curious no-mans land. Gish received positive reviews, but critics felt its shelf life was limited. Opinions soon changed with Smashing Pumpkins sophomore effort, ‘Siamese Dream’ (1993).

Now signed to Virgin, Smashing Pumpkins (or more accurately, Corgan) set their sights on world domination. ‘Siamese Dream’ was a glorious marriage of noise and melody taking in influences as wide as Queen and My Bloody Valentine. From the thundering opener ‘Cherub Rock’, the heartbreaking ‘Disarm’, through to the happy-sad ‘Today’, gut-wrenching ‘Silverfuck’ and woe-is-me epic ‘Soma’, Siamese Dream was an astounding achievement, eventually shifting seven million copies worldwide.

But if everything seemed bright for the Chicago quartet, closer inspection saw the band was hell-bent on putting the fun back into dysfunctional. Iha and D’Arcy’s relationship was coming to an acrimonious end, Chamberlin’s drug use was spiralling, Corgan was suicidal. Dissatisfied with his band member’s musicianship, Corgan played every instrument on Siamese Dream (bar the drums) himself. Band relations were at an all time low, but their future looked dazzling. Singles, ‘Disarm’, ‘Cherub Rock’ and ‘Today’ all scored well with MTV, paving the way for a slot on 1994’s prestigious Lollapalooza tour. Outtakes and b-sides compilation, ‘Pisces Iscariot’ (1994), kept the creative fires burning, meanwhile Corgan set about unleashing the full force of his megalomania.

Mellon Collie And The Infinite Sadness arrived in 1995, its conceptual ambition matching the hugeness of it all – a 28 song double concept album trailing in at over two-hours. Forget The Wall and The White Album, Mellon Collie is by far the most excessive rock album ever released. Intricately narrating the story of a teenager going about his day, the highlights were many. ‘Bullet With Butterfly Wings’ showcased Chamberlin’s atomic drumming, ‘1979’ resurrected the ghost of Joy Division, ‘Tonight, Tonight’ can make grown men cry. A gargantuan world tour followed, occupying the band until mid 1996 and propelling Mellon Collie to over ten million copies. Sadly, disaster was about to strike.

In the grip of heroin addiction, Jimmy Chamberlin and touring keyboardist Jonathan Melvoin overdosed on the eve of a show at New York’s Madison Square Garden in July 1996. Melvoin died, Chamberlin was lucky to survive, but was immediately sacked from the band. Losing their creative impetus and drive, The Smashing Pumpkins returned as a trio for 1998’s ‘Adore’.

Influenced by the death of Corgan’s mother, Adore was a doomy, gothic, New Order and Cure influenced affair. Casual interest from electronic fans wasn’t enough to make the album seem a creative and commercial disappointment. Despite the success of lead songs, ‘Ava Adore’ and ‘Perfect’, fans sensed the band’s days were numbered. D’Arcy exited in mysterious circumstances, some pointing the finger toward drug abuse. Returning to the fold was the now-clean Chamberlin. D’Arcy, who was replaced by ex-Hole bassist Melissa Auf de Maur, enabled The Smashing Pumpkins to tour their valedictory masterpiece.

MACHINA/The Machines Of God arrived to little fanfare in 1999. With Corgan announcing it was to be the band’s swansong, MACHINA was a dense, proggy affair taking in influences from Greek mythology and Corgan’s religious beliefs. ‘Stand Inside Your Love’ was as finer song as Corgan had written in years, but announcing their split a full six months before it occurred kerbed interest for many. The Smashing Pumpkins played their final show at the Chicago Metro at Christmas 2000, a tearful and inconsolable Corgan adamant they’d never reform.

Corgan later formed Zwan with Chamberlin in 2002, for Mary Star Of The Sea. Meanwhile, Iha joined A Perfect Circle, D’Arcy all but disappeared from view. With Zwan now defunct, and Corgan making no secret of his desire to reform the band, The Smashing Pumpkins might reunite for one last hurrah yet.

Discography:

Gish – 1990
Siamese Dream – 1993
Pisces Iscariot – 1994
Mellon Collie And The Infinite Sadness – 1995
Adore – Adore
MACHINA/The Machines Of God - 1999