Amoeblog

Smashing Pumpkins Release Rick Rubin-Produced 'Let Me Give the World to You' From 'Adore' Reissue

Posted by Billy Gil, August 11, 2014 01:33pm | Post a Comment

smashing pumpkinsWhen Smashing Pumpkins released their beloved-in-retrospect fourth album, Adore, back in 1998, frontman Billy Corgan couldn’t resist talking a lot about a great song he left off the album called “Let Me Give the World to You.” Perhaps to preserve the nocturnal feel of the classic 4AD indebted Adore, the song wasn’t included on the album—the title alone promised a bombastic rock single in the vein of songs like “Tonight, Tonight.” But we got another version of the song later, on the digital-only Machina II, albeit in a different version that sounded quickly recorded in the best way, with gauzy, Cocteau Twins-inspired guitars and jangly pop feel.

Now Corgan has released the original recording, produced by none other than hip-hop producer extraordinaire Rick Rubin. So it’s that over-the-top “Bullet With Butterfly Wings” thing, right? The song is closer in feel to “1979,” with muted new-wave guitars and a level of restraint not typically seen with this band, yet its Beatles-inspired arrangement is, of course, heartfelt and grabbing. Though Adore is lovably imperfect as is, I can’t help but feel this recording would’ve slotted in nicely near the end of the album and perhaps provided a crucial breakthrough third single that could’ve changed the troubled history of the band for the better. Sigh.

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Albums Out Dec. 4: Scott Walker, Memory Tapes, Dream Boat and More

Posted by Billy Gil, December 3, 2012 05:55pm | Post a Comment

Scott Walker - Bish Bosch

Scott Walker Bish BoschCD $13.98

LP $29.98

DOWNLOAD $9.98

Bish Bosch not only completes a trilogy of some of the most remarkable albums of the past 20 years — Scott Walker’s Tilt and The Drift — it makes three astonishing, dense and challenging (yet rewarding) albums released this year, alongside Godspeed You! Black Emperor’s post-rock opus Allelujah! Don’t Bend! Ascend! and Swans’ divinely nasty The Seer. The album begins at its most difficult, with Walker wailing about “plucking feathers from a swansong” over brutal industrial beats and metallic guitars. This gives way to the surely divisive “Corps de Blah,” a 10-minute song that starts with Walker alone, singing with minimal accompaniment by electronic noise before he’s joined by atonal strings, relatively comforting guitar ambience (given the company its in), dogs barking and, finally, Walker singing about “sphincters tooting a tune” and picking scabs while actual fart sounds squelch in the background like horns. The song may leave some wondering if Walker has truly lost it — horror-movie lines like “nothing clears a room like removing a brain” don’t help — but it ultimately does what Walker does best: provoke. After all, why not use flatulence, something every person lives with daily, as a percussive instrument, and treat a lover as a scab lyrically? Amid lyrics which tough on the historical, histrionic and philosophical, “Corps de Blah” clears the air (ahem) a bit on Walker’s pretensions. It is painfully real, to the point that many will likely dismiss the song as infantile when its taboo subjects represent basic, ugly human elements those same people would wish away into non-existence. But this is still a rock album of sorts, and songs like the bleak-rock of “Phrasing” and heavy avant-jazz of “Epizootics!” offer more immediately grabbing moments than, say, “SDSS14+13B (Zercon, A Flagpole Sitter),” perhaps the aural equivalent of flagpole sitting (an early 20th century practice of sitting atop a flagpole for days, hoping to break the last man’s record) as it runs past 20 minutes of Walker’s id run wild. Much more instantly pleasurable albums have been released in 2012 than Bish Bosch, but perhaps none is more daring.

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