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Ïîñëåäíèå ÍÎÂÎÑÒÈ (ïðîäîëæåíèå 2) (ïðîäîëæåíèå)
Zero: Ïîñëåäíèå ÍÎÂÎÑÒÈ ïðåäûäóùàÿ ÷àñòü
Andy: Ziggy Pop ïèøåò: ñèêîêà òàìà ó òÿ âûøëî, êàðèôàíà? Item(s) Subtotal: $45.48 Shipping & Handling: $27.97 ----- Total Before Tax: $73.45 Estimated Tax To Be Collected: $0.00 ----- Grand Total: $73.45 Philosopher ïèøåò: îòâåòèëè ÷òî îòïðàâëÿþò â Ðîññèþ íó äàé Áîã.
Ziggy Pop: äà, äåøåâëå
Zero: Crestfallen.com: I recently went over the locations where the Smashing Pumpkins have gone to in past tours and came across a number of places such as Russia, Poland, and Greece who have only had the Pumpkins once in the past. What has kept the Smashing Pumpkins from going back to such locations where they have only been once or twice? Billy: I think your question is misapplied. Nothing *keeps us* from going anywhere. We can go anywhere we want, the question should be *will there be an audience waiting for us when we do get there?*. We have fans all over the world. But in some places not enough to create a situation where the time and energy is in the city to create a demand. Our one trip to Poland in the 90s ended with the promoter so furious that *only* 3,000 fans came, he and his staff abandoned us at the end of the show, refusing to have the arranged cars take us back to the hotel. We had to go out the back and hail a cab home. Only time that has ever happened to us. So we’ve never had a promoter offer from Poland since. Ultimately the fans can make it happen by writing their local promoters and insisting the band be booked.
Ziggy Pop: ïèøèòå ïðîìîóòåðàì, ïèøèòå, àõàõàõàõà
Andy: ïðîìîóòåðû íå õóæå Êîðãàíà óìåþò ñ÷èòàòü
Ziggy Pop: Previews of ‘Gish’, ‘Siamese Dream’ reissue tracks appear online 11.11.11 Track times and audio clips for each track included on the deluxe editions of Gish and Siamese Dream, the two Smashing Pumpkins albums being reissued this month, are now available for examination, at least through the German retail site Amazon.de. Among the unreleased material in the packages, the longest track is a new mix of “Starla,” which covers the first 11 minutes of the Gish bonus disc. The shortest cut is “U.S.S.R.,” a previously unheard song taking up 95 seconds on the second Siamese Dream disc. ïðåäïðîñëóøêà íà íåìåöêîì àìàçîíå òðåê “U.S.S.R.” äëèòñÿ âñåãî 1.5 ìèíóòû http://www.amazon.de/gp/product/B0064ZS3QI/ http://www.amazon.de/Siamese-Dream-Deluxe-Edition/dp/B0064ZRMXI
Zero: Ïåðåâåäèòå ïëèç!!! íèõðåíà íå ïîíÿòíî êàêèåòî ïðàâà êàêèå ôèðìû, ÷å òî è íîÿáðü óïîìèíàåòñÿ è ìàðò.... Crestfallen.com: Fans are clamoring to hear the Smashing Pumpkins new album (within an album) “Oceania”, are there any new developments on when fans will be able to hear the album? Billy: The response has been overwhelming positively for those in the music business that have heard Oceania. The good news there is it will receive a well supported launch, with a good campaign behind it with whomever we choose to partner up with. (Proper marketing in the ‘new media’ world is critical) We are just now choosing new management, and once we do I anticipate by the end of November we’ll know what label is going to put it out. So March is the realistic release window with the way that side works. This is a very important time for us to get this right; the upside of which is a successful band that can make music for many, many years to come.
Ziggy Pop: èùóò íîâûé ìåíåäæìåíò Êîðãàí æä¸ò êîíöà íîÿáðÿ, êîãäà ñòàíåò ÿñíî, êàêîé æå ëåéáë âûïóñòèò àëüáîì ìàðò ìåñÿö 2012 - "îêíî" äëÿ ðåëèçà è áëà-áëà-áëà
Ziggy Pop: Pumpkins seeking label, new management; ‘Oceania’ out in March? In remarks posted today on Smashing Pumpkins friend blog Crestfallen.com, frontman Billy Corgan says that fans may not get to hear his band’s new album for another few months: We are just now choosing new management, and once we do I anticipate by the end of November we’ll know what label is going to put [Oceania] out. So March is the realistic release window with the way that side works.
Zero: íó è ðîæè îäèí íîãòè ãðûçåò äðóãîé áîøêó ÷åøåò íó ïðîñòî ñóïåð êðóòåæíàÿ àëüòåðíàòèâíàÿ ãðóïïà! PS: À Êîðãàí æðåò êàêèå-òî êîëåñà )))))))))) íåçíàé íàïîëüçó ëè??????!!! http://crestfallen.com/2011/11/15/the-smashing-pumpkins-past-present-future-presented-by-o2backstagechat/
Ziggy Pop: Stream four of the ‘Gish’ and ‘Siamese Dream’ reissue bonus tracks Seattle’s 107.7 KNDD-FM is streaming 4 of the bonus tracks from the Smashing Pumpkins’ upcoming Gish and Siamese Dream reissues. From the Gish bonus disc, they have posted “I Am One (Reel Time Demo/2011 Mix)” and from the Siamese Dream bonus disc, “Today (Broadway Rehearsal Demo),” “Rocket (Rehearsal Demo),” and “Disarm (Acoustic Mix).” http://blogs.1077theend.com/endmusicdiscovery/2011/11/16/end-music-discovery-smashing-pumpkins-gishsiamese-dream-previously-unreleased-demos/
Ziggy Pop:
Ziggy Pop: Corgan: Reissues provide “an insight into our process” Billy Corgan recently sat down with music personality Matt Pinfield to discuss, among other topics, the upcoming reissues of Gish and Siamese Dream. On the reissues themselves: “I want to create … an addendum to the album itself. And even where the quality level may not be great or the demo wasn’t meant to ever be heard by the public, it gives you an insight into our process going in, and … maybe even how we viewed ourselves coming out of the album.” On James and D’Arcy’s involvement: “The relationships are really fractured. … I can’t work with them on a business level. I have no personal relationship with them. I think it’s unfortunate for them because they’ve cut themselves off from their own fans through the Pumpkins. And this should be a celebration of what we got right. … Siamese Dream now is considered a classic, and we’re all proud of that, I’m sure. The fact that we can’t celebrate that together is a shame.” On the Siamese Dream recording sessions: “As the album wore on, and James and D’Arcy in particular realized they were not going to participate on the album as much as they’d hoped going in, it got very sour. Dark’s probably an appropriate world. There were many days where I worked 12-13 hour days … and they would never once come in to check on the progress of the recording. … They would just sit in the other room and just basically be unhappy. … The end of the band was sowed during the making of that record.” On the advice he would give his younger self: “‘Calm the fuck down.’” On the band’s legacy: “The thing I’m most proud of is we got the music for the most part fairly right. Somehow, in the midst of all this chaos, we did a fairly good job of the music. And the good thing is, that’s the thing that, pretty much, you get judged on. … At the end of the day, it’s pretty much gonna come down to, who’s got the better music. And I feel very confident about where we stand in our generation.” On “Siva”: “Probably the first Smashing Pumpkins song where I felt, ‘Okay, I’m onto something.’” On his public image: “I’ve been accused of being way too serious, and there’s some merit to that. But as I’ve often said to journalists, I’m in a band called the Smashing Pumpkins. I mean, I’m in a band with a joke name. So let’s start there: I’m not that serious.” On his position as the leader of the Smashing Pumpkins: “Leader is too strong. [I'm the] ringmaster of an ever-evolving circus.” Listen to the full interview here: http://soundcloud.com/fmqb-productions/sets/smashing-pumpkins-billy-corgan/
Ziggy Pop: Smashing Pumpkins revisit breakthrough albums “Gish” Deluxe Edition (EMI); 3.5 stars (out of 4) “Siamese Dream” Deluxe Edition (EMI): 4 stars (out of 4) Smashing Pumpkins’ debut, “Gish,” wasn’t the cool, everybody-has-to-hear-it album of 1991. It gave a passing glance to the emerging alternative-rock culture that worshiped Pacific Northwest “grunge,” but it was more in tune with unfashionable ‘70s influences. The Chicago quartet looked mismatched from the start: Singer-guitarist Billy Corgan’s beads and frilly sleeves, drummer Jimmy Chamberlin’s muscle T-shirts and mullet, the porcelain iciness of bassist D’Arcy Wretzky, the shy inscrutability of guitarist James Iha. Their sound was a hodgepodge, too: metal roar, fey folkie drama, Gothic despair, arena bombast, progressive rock, psychedelia, a weird mix of hip and mainstream, the populist and the arcane. “Gish” was a modest hit, but it was outsold and out-hyped later in the year by “Nevermind,” the second album from Seattle’s Nirvana. Kurt Cobain delivered the songs, pithier and punkier and more readily accessible than Corgan’s. But the Pumpkins’ sound had its own allure. And it laid the groundwork for the quartet’s big breakthrough two years later, “Siamese Dream,” one of the era’s cornerstones. Now, both “Gish” and “Siamese Dream” are getting the deluxe reissue treatment, with tricked-out packages stuffed with outtakes, concert videos, liner notes and extra artwork. The remastered albums still sound potent – a testament to the rigorous attention to detail that Corgan and producer Butch Vig brought to the original sessions. And the bonus material testifies to Corgan’s evolution as a songwriter. He was prolific, driven and a little nuts – suicidal, to hear him tell it. He also was almost embarrassingly transparent; he poured his obsessions into those two albums, providing decades of fodder for audiophiles and psycho-analysts alike. “Gish” remains among the more sensual hard-rock albums of the decade. In contrast to the testosterone pouring from contemporaries such as Soundgarden, Pearl Jam and Nine Inch Nails, Corgan had the yin and the yang in his limited voice, toggling between pinched howl and fragile, child-like breathiness. His voice rides the curve of the guitars, the arrangements swerving rather than stomping in typical hard-rock fashion, yielding surprises with each turn. For all its sensitivity to flow, the group could crush your skull when you least expected it, going from near-silence to a thunderclap. The ebb-and-surge dynamics in a track such as “Siva” still impress, as if Corgan were trying to compress a side-long suite by his beloved Rush into four minutes. “Tell me, tell me what you’re after/I just want to get there faster,” he sings. He’d get there fast enough with “Siamese Dream,” with its more focused, sturdily constructed songs and even more fastidious production. Corgan once again dominated the sessions, playing all the instruments save for Chamberlin’s monster drums. And yet Iha contributed heavily to two of the album’s best songs, “Mayonnaise” and “Soma” (a beautiful instrumental version is among the best of the bonus tracks). The outtakes show the work in progress. A rehearsal demo of “Today” hums along like a perfectly agreeable hard-rock track that probably would’ve been played on emerging alternative-rock stations and then forgotten. But Corgan later came up with an intro guitar part that gave the song its chiming fragility, a sense that its beauty and optimism were just a cover-up. “Today is the greatest day I’ve ever known” becomes “Today is the greatest day I’ve never known.” More than any moment, “Today” is the pivot point of the Pumpkins’ career, a breakthrough song for a band that had been all about sound. “Siamese Dream” was loaded with melodies, from “Luna” (both in its gossamer studio version and its even more haunting “apartment demo”) to the scorched overdrive of “Cherub Rock,” Corgan’s raised middle finger to the independent-rock scene that never embraced him. The feeling was mutual. Corgan wrote his share of clunky lyrics (“Life’s a bummer when you’re a hummer”) but they spoke with a directness that Cobain’s more poetically inclined words sometimes lacked. Corgan was a stoop-shouldered suburban misfit from a splintered household, much like many in his audience, and “Siamese Dream” became a soundtrack for a significant portion of his generation. It did so by tempering some of the first album’s extremes; sticky melodies and pretty production can make almost anything radio-friendly, even a desperately sad song like “Today.” Live, there were no such restraints, as illustrated by a DVD from an August 1993 concert at Metro. Before plunging into the alternately pummeling and self-indulgent closer, “Silverfuck” , Corgan advises the audience: “After this, you won’t want to hear no more. We will be so bombastic, you’ll never want to hear music again.” As the song crashes, Corgan screams, “Liar! Liar!” at the audience, then mocks the encore-hungry fans and himself by leading a half-hearted chant of Gary Glitter’s “Rock and Roll” before exiting. That confrontational stance served Corgan’s music, if not his public image. Corgan didn’t want to be liked. He wanted to be heard. greg@gregkot.com Copyright © 2011, Chicago Tribune
Ziggy Pop: ñíîáû èç ïè÷ôîðê âûñîêî îöåíèëè ïåðåèçäàíèÿ Gish è Siamese Dream Gish [Deluxe Edition] - 8.3 Siamese Dream [Deluxe Edition] - 10.0 (Best New Reissue) I remember reading a desert-island-albums list by Billy Corgan in 1993 that was so scarily like my own musical arc-- pop/prog/metal nerd discovers goth, Jane's Addiction, and My Bloody Valentine -- that I couldn't have been more designed for Smashing Pumpkins hyperfandom if I tried. Like no one before him, Corgan made those influences work. As Canadian writer Jennifer Nine once put it in Melody Maker, you got a sense that he was the kind of guy who worked out every last transcription from Guitar Player in the 1980s and then actually did something with it. It helped that the rest of the band had their own skills, especially in the case of Jimmy Chamberlin, a jazz/hard-rock drum freak let loose on alt-rock radio. Alt-rock radio, at its height of commercial trendsetting, enabled the Pumpkins to not merely survive but thrive. There, Corgan could have his cake and eat it too, daring people to get annoyed at his starlust and reacting in kind while further building up his ambitions. He got his band signed to a major label and used the fig leaf of a corporate indie release for Gish, scored a prime spot on the Seattle-focused Singles soundtrack with "Drown", essentially went "Haters gonna hate" with Siamese Dream's first single "Cherub Rock", and got petulant when any other acts or writers accused him of protesting too much. And not just Pavement, either: "You hurt me deeply in my heart," he once infamously pouted to Kim Thayil before a 1994 Australian concert, following which the Pumpkins went on "to play the best set anybody has ever heard them play." All of which goes some distance toward explaining why both reissues of Gish and Siamese Dream-- appropriately loaded with rarities, DVD bonuses, fancy packaging, and often-impressionistic song-for-song liner notes by Corgan-- remain remarkable thoughout unequal listens. Even in 1991, Gish felt like something that started off well with songs like "Siva" and "Rhinoceros" but meandered a bit toward the end. Corgan's voice never sounded as lost in his music as it does here, and most of the emphasis is on the band's collective performance: Chamberlin's powerful, fluid drumming, Darcy Wretzky's strong basslines, and that thick, chunky glaze of guitars. The rarities disc contains a few never-before-heard numbers, a few that have long circulated among fanatics (the Corgan-sung version of "Daydream" is a keeper), and a handful of remixed selections (including their best full-on rock epic, "Starla") that first surfaced on a full-length release via the odds-and-ends release Pisces Iscariot. These tracks do a better job of showcasing the band's various sonic sides than Gish itself. The DVD, a multi-camera cut from a live show at the Metro in Chicago almost a year prior to Gish's release, shows that the band already had their exact arrangements pretty well down, as well as a worshipping fanbase. The highlights include Corgan and James Iha's heavily long hair, curious fashion choices all around, and set-closing covers of Steppenwolf and Blue Öyster Cult; the video quality is pretty good and the sound mix, if heavily favoring the vocals, beats out most bootlegs of the time. In contrast to Gish's steady flow, Siamese Dream crashes out of the gate. "Cherub Rock" remains an absolutely stellar opener with a sense of pure sonic melodrama, thanks to Chamberlin's circus-act drum introduction, a tight clip of guitars quickly matched by equally nimble bass, a volcanic blast of a guitar lead, and then a shift to a woozy, still-building sprawl. And all this before the first verse even starts. Throw in everything that followed-- the overt MBV worship of "Hummer", the country-rock-tinged wanderlust of "Mayonaise", "Soma"'s update of Prince's "The Beautiful Ones" for a new decade, and inevitably the MTV/radio hits "Today", "Disarm", and "Rocket"-- and no matter your take on its mastermind or his divisive whining/sighing vocals, it's an embarrassment of musical riches. There's also the fact that the album's studio personnel was as essentially stripped down as the White Stripes; Corgan, frantically taking charge in the midst of band dysfunction, recorded nearly everything himself aside from the drums, and he'd probably have handled those too if he could. Siamese Dream's songs don't blend into each other, but some transitions exist; each stands out in a brilliant sequence, forming perhaps the best concept album they ever made. One of the main things people complained about was exactly what made the band click even further. If Corgan's early lyrics were classic self-centered/self-righteous/self-pitying teenagerdom run amock, he always had an ear for hooks, metaphors, and deft summaries (thus, on "Mayonaise": "Fool enough to almost be it/ Cool enough to not quite see it"). It's catnip for when you have it bad, no matter how minuscule your problems might really be, and any number of later bands (My Chemical Romance most obviously, and the Pains of Being Pure at Heart most recently) took plenty of notice. As for the many rarities, more Pisces Iscariot remixes and other demos and alternate versions take a bow, including a six-minute version of "Siamese Dream" itself (the original B-side version was a shorter and murkier take that ran under three minutes) and twin instrumentals "U.S.A." and "U.S.S.R.". The DVD is the most worthwhile addition of either reissue; taken from another Metro show a couple of weeks after Siamese Dream's release, it vividly illustrates how far the band had come in the three years since Gish: It showcases their more varied sound, Corgan's keener sense for playing to the crowd (there are flashes of his and Iha's underrated sense of humor), a killer setlist drawing on both albums (plus "Starla" and "Drown"), and brilliant sound and performances throughout. If Corgan's voice shows strain at many points, the crowd shots are especially entertaining, with endless moshpits and crowdsurfers during most of the loud points and plenty of the slow ones. The full story of the band's existence has plenty of ups and downs to go through, and there are more reissues to come to spell this out, even as the current version of the band moves along according to Corgan's own cryptic impulses. Yet these two releases still resonate, as both a nostalgia fix underscoring how it was so easy to fall for Smashing Pumpkins in the first place, and as the best introductions to their music any newcomer could want. http://pitchfork.com/reviews/albums/16059-gish-deluxe-edition-siamese-dream-deluxe-edition/
Zero: Rock producer Kerry Brown has announced that he is no longer working with the Smashing Pumpkins. Àìèíü!!!!!!!!!!!!!
Desire: Áóäåì ñëóøàòü íåðàçáàâëåííûé ìàðàçì Áèëëè!
Ziggy Pop: Zero ïèøåò: Rock producer Kerry Brown has announced that he is no longer working with the Smashing Pumpkins. áë****..
Philosopher: âñå áåãóò îò Áèëëè
Zero: Ziggy Pop ïèøåò: áë****.. à ÷å òàêîãî? ÿ ðàä ÷òî ýòîãî èäèîòà áîëüøå íå áóäåò! ÷åãî õîðîøåãî ïðè íåì âûøëî òî â ïîñëåäíåå âðåìÿ!? åãî íåâõåðåííûé ðåìèêñ íà ñòàðëó???? èëè èõ ãîâíîãðóïïà ñïèðèò èí âå ñêàé? Philosopher ïèøåò: âñå áåãóò îò Áèëëè âèäàòü ðåàëüíî îí íå âûíîñèìûé ÷åëîâåê! è íèêàêîé Ôëàä èëè Áó÷ íå çà ÷òî íàâåðíî íå ñîãëàñÿòñÿ ðàáîòàòü ñ ëûñûì.
ïîëíàÿ âåðñèÿ ñòðàíèöû