Did I just start a blog where I discuss Mellon Collie & The Infinite Sadness? One song at a time?
Yep. I did.
Read on, follow along, and tell yr friends and Corganites:
“Mellon Collie & The Infinite Sadness.” Disc One, Track One.
Billy Corgan, of all his varied talents, is especially exceptional at sequencing his albums. Beyond this, he’s exceedingly adept at choosing the perfect album opener— a sonic/thematic introduction to the sound-world you’re about to visit.
Gish’s “I Am One” is the alt-rock equivalent of Bonzo Dog Doo-Dah Band’s “The Intro & The Outro.” It starts with a thunderous drum beat aimed to burst a heart open, followed by a sturdy snake of a bass line, followed by an explosion of fuzz-primed guitars, followed by the patented Corgan-style “melodic virtuoso” guitar solo.
Siamese Dream goes in the thematic direction. A sort of “call to arms” for the alternative nation. A “oh yeah? You want us to rock? Then how about this!“ It also follows the “I Am One” pattern of build-up: drums give way to clean guitars with a light flanging, which explode into the over-over-over-dubbed swath that makes Siamese Dream so (in)famous.
So here we have a man following up an incredibly ambitious album with the apogee of ambition: the double album. And not only that, but a double concept album. It’s easy to forget over time and memory-fades that Mellon Collie & The Infinite Sadness is a concept album, but before its release and after, Billy’s gone right out and said it’s an album made to soundtrack a day in the life of a teenager (we’ll explore how that ‘concept’ actually figures into the album in later entries).
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