Lead Singer Syndrome

Welcome to another special ‘90s entry! This week, we’re going to discuss what many music fans refer to as “lead singer syndrome” (this is not something I made up, I promise). This is a disease that has affected plenty of frontmen (and women) over the years, and it’s not strictly a ‘90s phenomenon. However, there are a number of ‘90s bands that struggled with a temperamental lead singer, and many of them called it quits because of that one person’s sour attitude.

So let’s take a look at three notoriously asshole-ish lead singers (that I also happen to like a lot) and find out just where they went wrong.

Scott Weiland (Stone Temple Pilots)

Status: Fired

Why Is He an Asshole?

His highly publicized substance abuse problems led to multiple arrests, which constantly derailed STP’s attempts to tour and even release new material. Over the years, he became more and more withdrawn from his bandmates and began showing up to his own shows late or not at all (I know from experience because Scott was late to an STP show I attended a few years ago).

After STP went on hiatus in the early 2000s, Scott joined the supergroup Velvet Revolver. Much to no one’s surprise, his bad habits followed him, and Velvet Revolver eventually dumped him. He reunited with both bands later on, but that didn’t last long. Scott got a little cocky about the Velvet Revolver one-off reunion, claiming he was back with the band for good (a claim Slash immediately shot down).

STP went on another hiatus, during which Scott began a solo tour. The tour was branded the “Purple at the Core Tour,” and basically consisted of Scott performing STP songs with another band. The rest of the original STP lineup accused Scott of and essentially touring under the STP brand without permission. They warned him to cease and desist, but Scott refused, so they fired him and replaced him with Linkin Park singer Chester Bennington.

In Scott’s Defense

I made my opinion on Scott Weiland clear in my Stone Temple Pilots entry, but I’d like to go into more detail here.

Like I stated above, I happen to like the three singers discussed in this entry. Out of all three, I like Scott the most (see my embarrassingly intense crush on him in middle school). He’s an incredible songwriter and his voice is heavenly. Though I honestly believe he was a better frontman in Velvet Revolver, his work with Stone Temple Pilots is still impressive.

Unfortunately, his skills as a musician are overshadowed by his rampant drug use in the ‘90s and his increasingly anti-social behavior. For those who don’t know, Scott was diagnosed with bipolar disorder a while back, which explains a lot. Now, of course that shouldn’t be an excuse for some of the bad moves he’s made career-wise—he’s still done some asshole-ish things to his bandmates, both in STP and Velvet Revolver. And I don’t think his admittance of his mental illness was a move to elicit pity from anyone.

His autobiography, Not Dead & Not For Sale, goes into detail about some of his deeper issues (if you’re curious about his life, please give it a read), but ultimately, drugs did him in. Like Kurt Cobain, Scott found solace in heroin, and it obviously fucked a lot of things up for him. I don’t think he’s completely blameless in terms of relationships with his former bandmates, but he’s still a human being who makes mistakes and maybe doesn’t know exactly how to deal with them.

Verdict: 60% asshole (40% misunderstood)

Courtney Love (Hole)

Status: Solo

Why Is She an Asshole?

Her boisterous attitude and tendency to speak before she thinks have gotten her into many scuffles with other musicians (she once punched Bikini Kill’s Kathleen Hanna in the face for supposedly no particular reason).

But perhaps her most prominent claim to infamy was her tumultuous relationship with Kurt Cobain. Because of Kurt’s absurdly exaggerated legacy, Courtney has continuously been viewed as his ultimate downfall. She’s been called everything from a “Yoko Ono” to a murderer.

In Courtney’s Defense

Courtney Love isn’t exactly the easiest person to like, but she has a lot of qualities I really admire.

She challenges mainstream expectations of how a woman should look and act. It seems to me that people who find Courtney’s obnoxious behavior more off-putting than similar behavior from her male counterparts are perhaps caught off guard by her unwillingness to adapt to traditional feminine roles. Or people just find her annoying, regardless of her gender. I can’t assume everyone who hates Courtney is a misogynist.

She also gets far too much shit for her history of substance abuse. Scott Weiland followed almost the exact same path, yet he gets off easy compared to Courtney. But alas, rock ‘n’ roll is a boys club and girls will almost always get the short end of the stick.

But the one thing I really admire about Courtney is her ability to move past the tragedy of Kurt’s passing. No matter what you think of her, you have to admit that being in her shoes at that point in 1994 must have been incredibly difficult. But she prevailed. That takes a hell of a lot of strength.

Sure, she’s made mistakes, and yes, her public image is one of the worst in rock history, but she’s a strong woman (and she probably doesn’t give a shit what you think of her).

Verdict: 75% asshole (25% badass bitch)

Billy Corgan (Smashing Pumpkins)

Status: Only original member left in the band

Why Is He an Asshole?

A notorious perfectionist, Billy insisted on playing all the guitar and bass parts on both Gish and Siamese Dream, which caused early internal drama with the Pumpkins.

The original Smashing Pumpkins lineup began to disintegrate by the late ‘90s, and the band eventually broke up in 2000. Billy reunited with drummer Jimmy Chamberlin to form the band Zwan, but that didn’t last long due to the rift forming between the two.

In 2004, Billy basically ruined any chance of getting the original Smashing Pumpkins lineup back together by badmouthing everyone. He blamed James Iha for the breakup and called D’arcy Wretzky a “mean-spirited drug addict.” And on top of that, he slammed his Zwan bandmates, calling them “filthy, opportunistic and selfish.” (And he did this on LiveJournal, for Christ's sake. LiveJournal.)

Though Jimmy did reunite with Billy for the album Zeitgeist in 2007, he quit two years later. Billy decided to continue releasing music under the Smashing Pumpkins name.

In Billy’s Defense

Like Scott and Courtney, Billy Corgan has his own personal issues that played some part in his behavior. He is apparently obsessive-compulsive, which explains the need for the first two Smashing Pumpkins albums to be perfect (and they are perfect). But that’s still not an excuse to be an asshole about it.

His tendency to badmouth his former bandmates (along with Courtney Love, whom he was involved with for quite some time) is definitely problematic, and unfortunately, I can’t really defend him on that.

My only defense for Billy is his musical skills. The man is a creative genius. Just listen to the perfection that is Siamese Dream. His more recent stuff is okay at best, but he knows exactly what he wants and he makes damn sure everyone hears it.

Verdict: 85% asshole (but 100% musical genius) 

Sam's Top 24 Favorite Music Videos of the '90s (Part 2)

As a special Thanksgiving treat, here’s part two (the final part) of my Top 24 Favorite Music Videos of the ‘90s! Gobble gobble, my darlings.

12. “I Miss You” by Björk (1997), dir. John Kricfalusi (NSFW)

Björk has a lot of great videos, but I’ve always been drawn to this animated masterpiece. It has the same animation style as The Ren & Stimpy Show (probably because it was directed by the show’s creator, John Kricfalusi), which means it’s packed full of crude humor and surrealism. This animation style definitely suits an artist like Björk because it’s off-kilter and kind of unnerving. Warnings for cartoon nudity and some strange imagery that may not fly at work.

11. “Liar” by Rollins Band (1994), dir. Anton Corbijn

Henry Rollins is a god amongst men, and this video proves it. It starts simply enough—Henry struts around doing his jazzy, spoken-word thing in a couple different costumes (including a superhero and a cop). But as soon as the chorus kicks in, he goes full ape-man, jumping around the set covered in red body paint. If you want to know what Henry Rollins is all about, look no further than “Liar.”

10. “Intergalactic” by Beastie Boys (1998), dir. Nathaniel Hörnblowér

Ah, the Beastie Boys. I was torn between this video and “Sabotage,” but I have to be honest—I just love “Intergalactic” more. I mean, what’s not to love about this video? You’ve got robots, a giant squid monster and it’s all set in Japan. It’s the Beasties at their most irreverent, and boy, is it entertaining. The corniness of the special effects just makes it all the more hilarious.

9. “Let Forever Be” by The Chemical Brothers (1999), dir. Michel Gondry

You will see Michel Gondry again on this list because he’s just an amazing director. “Let Forever Be” is one of his best videos because it’s a perfectly synchronized, surreal dance epic. His work has a lot to do with dreams, and this video is no exception. It just looks like a dream with the camera angles, the color scheme and all the cool effects.

8. “Smack My Bitch Up” by The Prodigy (1997), dir. Jonas Åkerlund (NSFW)

Okay, this video is 100% not safe to view at work. Just warning you now. I actually did a presentation with “Smack My Bitch Up” in an English class last year, and let me tell you, the looks on people’s faces were absolutely priceless. Controversy aside, this video is incredible. It’s shot from a first-person perspective, which gives the whole thing a more intimate feel. We follow a particularly rowdy individual on a night out and things get a little extreme. This also has a great twist ending, but I won’t spoil it here. (Note: You may have to sign into YouTube to watch it, since it's age-restricted.)

7. “Closer” by Nine Inch Nails (1994), dir. Mark Romanek (NSFW)

Here’s another one you might want to save for a home viewing. “Closer” is a visually stunning video because it has a 19^th century torture chamber motif. Okay, so it’s just really creepy and I dig creepy videos. The editing in this video is pretty cool, too. In order for it to be shown on MTV, certain scenes had to be removed. They were replaced by a title card reading “Scene Missing.” And every time the word “fuck” had to be censored, the video appeared to stop, like a defective filmstrip. The film stock Mark Romanek used gives the whole video a nice vintage look.

6. “Losing My Religion” by R.E.M. (1991), dir. Tarsem Singh

This is a video that’s heavy in metaphorical imagery, but that’s what makes it great. There’s a lot of religious imagery here, but it’s not of the sacrilegious variety, as shown in “Closer.” The color contrasts are what really sold me—the video shifts between dark grays and browns in the band scenes and oversaturated colors in the other scenes. “Losing My Religion” is a gorgeously haunting song with an equally gorgeous music video.

5. “Everlong” by Foo Fighters (1997), dir. Michel Gondry

Didn’t I tell you that you’d see Michel Gondry again? This is definitely my favorite Gondry video. He still plays with the dream motif (this time by actually structuring the events of the video within a dream), but it has that trademark Foo Fighters humor to it. Also, Taylor Hawkins makes a surprisingly pretty woman.

4. “Longview” by Green Day (1994), dir. Mark Kohr

What’s a ‘90s countdown without Green Day? This was the band’s first music video, and it’s pretty underrated, if you ask me. It doesn’t have the cool special effects of “Basket Case” or the nice tracking shots of “When I Come Around,” but it perfectly captures the snotty essence of Dookie-era Green Day. Billie Joe Armstrong still has a nose piercing and the remnants of dreadlocks. Mike Dirnt and Tré Cool have enough pent up energy to rock out in a closet. This is what Green Day is all about.

3. “Heart-Shaped Box” by Nirvana (1993), dir. Anton Corbijn

Kurt Cobain had a particular vision for this video and Anton Corbijn executed it perfectly. “Heart-Shaped Box” is a surreal trip into Kurt’s imagination, complete with hospital beds, poppy fields, little girls in KKK uniforms, human fetuses dangling from trees and an old man representing Jesus in a Santa Claus hat. It’s creepy, but visually stunning.

2. “Criminal” by Fiona Apple (1997), dir. Mark Romanek

So if you read this blog on a regular basis, you already know that I’m in love with Fiona Apple. This is one of her best videos because turns the whole female exploitation thing on its head. Fiona was barely legal at the time, making the scenes of her mostly naked a little risqué. Though it was deemed controversial, the video was all Fiona’s idea. She said, “I decided if I was going to be exploited, then I would do the exploiting myself.” Nicely played, Fiona.

1. “Tonight, Tonight” by Smashing Pumpkins (1996), dir. Jonathan Dayton & Valerie Faris

There are too many things to love about this video. Based on the groundbreaking silent film, George Méliès’ A Trip to the Moon, “Tonight, Tonight” successfully evokes a sense of whimsy and pure magic. It’s almost frame-for-frame identical to the film, with shots of the band performing in the clouds added for good measure. I’m actually speechless when it comes to this video. It’s just perfect, okay? 

Sam's Top 50 Favorite Albums of the '90s (Part 5)

Here it is, folks—the final installment of my top 50 favorite albums of the ‘90s! Here you’ll see the coveted Top 10. Make sure to check out parts one, two, three and four before you start to complain about an album that appears to be missing.

10. OK Computer by Radiohead (1997)

This is a pretty obvious choice for a ‘90s Radiohead album. While I do like The Bends (and kind of, sort of enjoy Pablo Honey), OK Computer is by far the superior album of the three. Before this album, Radiohead was just another Britpop band trying to make it big across the pond. OK Computer has a much more experimental sound (though not nearly as experimental as something like Kid A or Amnesiac, both of which came right after this album), but it’s surprisingly accessible. “Airbag” is a killer opening track, and songs like “Karma Police” and “Lucky” have the power to reach a wide audience. Since I have a thing for long, multi-part songs, my favorite song on this album (and favorite Radiohead song in general) is “Paranoid Android,” a track with so many layers that I just want to curl up and live in it. While OK Computer isn’t my favorite Radiohead album of all time (that title belongs to Hail to the Thief), it’s still a flawless record in an objective sense.

9. The Downward Spiral by Nine Inch Nails (1994)

I’ve gushed about Nine Inch Nails plenty in my NIN entry, but let me just tell you how incredible The Downward Spiral is. The first NIN song I ever heard was “Closer,” and my little pre-teen mind was fascinated by the creepiness this band exuded. The Downward Spiral was recorded in the house where Sharon Tate was murdered by the Manson family, which makes the album all the more frightening. This is supposedly a concept album following an unnamed protagonist through his descent into his own psyche--and boy, is it twisted. The lyrics are pretty dark (see “Heresy” and “Hurt,” especially), but the instrumentation is really the most menacing aspect. Listen to the clicking backbeat in “Closer,” or the swirling chorus of screams in “The Becoming.” Scary, ain’t it? If I were able to include EPs in this list, Broken would probably top this album, but The Downward Spiral is an obvious winner for best NIN album of the ‘90s.

8. The Holy Bible by Manic Street Preachers (1994)

Oddly enough, I don’t think I’ve ever mentioned Manic Street Preachers on this blog before. The Holy Bible is honestly the only Manics album I really enjoy, and I think that’s because it’s one of the darkest. Musically, it’s deceptively catchy. But lyrically, it deals with everything from British imperialism and fascism to anorexia and the Holocaust. It’s very much a politically charged album, taking on both the British and American governments. “Ifwhiteamericatoldthetruthforonedayitsworldwouldfallapart” is an especially biting criticism of racism in the US (though bassist Nicky Wire has said it’s not a completely anti-American song). “4st 7lb” is a fairly intense portrait of an eating disorder. (Warning to readers who are sensitive to mentions of anorexia: DO NOT listen to “4st 7lb.”) The Holy Bible sounds a lot like a post-punk album, but it also invokes new wave, industrial, art rock and goth rock styles. It’s an unapologetic album and I really admire the band’s audacity to write about such serious subjects on a rock record.

7. The Fat of the Land by The Prodigy (1997)

I’ve always loved this album for nostalgic reasons, but now that I’m older, I can really appreciate how great of a record this is. I grew up listening to a lot of electronic music and The Prodigy eventually became one of my favorite bands. The Fat of the Land was always on repeat in my mom’s car, and I remember being so entranced with songs like “Breathe” and “Narayan.” This album has the perfect mix of pumped up tracks (“Smack My Bitch Up,” “Firestarter”) and musically layered spectacles (“Narayan,” “Climbatize”). The Fat of the Land, like The Downward Spiral and The Holy Bible, is a fairly controversial album (mostly because of “Smack My Bitch Up”), but don’t let that deter you. Even if you don’t like electronic music, you’ll probably like this.

6. Jagged Little Pill by Alanis Morissette (1995)

Angsty female singers of the ‘90s are my lifeblood. When I was younger, I wanted to be Alanis Morissette. Jagged Little Pill was Alanis’ first foray into alternative music, as her first two albums were of the dance-pop persuasion. But she sounds at home with the distorted guitars and harmonicas. The lyrical content always hits me hard, especially on tracks like “Perfect” and “Mary Jane.” There’s really a song for every mood on this album—“Mary Jane” is for those rough patches in life, “You Oughta Know” is for that awful breakup and “Head Over Feet” is for those special occasions when you find yourself in love with someone who really cares about you. So no, not all of Jagged Little Pill is endless angst, but even the slower songs have a certain intensity to them. Alanis isn’t afraid to get personal on this album and it definitely pays off.

5. Porno for Pyros by Porno for Pyros (1993)

I said this in my Jane’s Addiction entry, but I’ve always preferred Porno for Pyros over Jane’s Addiction. Perry Farrell is an entertainer, and Porno for Pyros always seemed like a better outlet for all that creativity than his first project. Of course, I still enjoy Jane’s Addiction (though not the more recent stuff), but this album just blows me away. When I went through my Woodstock ’94 phase (which I guess I’m still going through), I watched Porno for Pyros’ performance of “Cursed Female” and “Blood Rag” for the first time on YouTube. Both songs included a bit of performance art and I thought that was so rad. This band was edgy and psychedelic without trying too hard. Porno for Pyros is a fairly chill album compared to a typical Jane’s Addiction album, but the laid-back atmosphere is perfectly executed. The band’s second album is good, but not nearly as fantastic as this one. But apparently Perry and the gang are reuniting for a new PFP album soon. Fingers crossed.

4. In the Aeroplane Over the Sea by Neutral Milk Hotel (1998)

Let me just crack open a PBR and put on my hipster glasses for this one. But in all seriousness, In the Aeroplane Over the Sea is life-changing. I discovered this album during my senior year in high school, and I shit you not, it changed my life. Senior year was a really weird time for me and this album helped me get through it. I know it’s the quintessential “hipster” record (and yes, before you ask, I have it on vinyl), but that doesn’t make it any less amazing. Sure, Neutral Milk Hotel is not everyone’s cup of tea. I can understand why some people just don’t dig anything this band has every done. Jeff Mangum’s voice isn’t always pitch-perfect and the instrumentation is sometimes off. But the first time I heard the title track, I was somehow able to ignore all those minor issues. It’s very rare for me to fall in love with an album upon first listen, but In the Aeroplane Over the Sea won me over on the first try. I love the strange instrumentation (the band used everything from a singing saw to a shortwave radio) and I adore Jeff’s cracking voice. And yes, I still cry every time I listen to “Oh Comely” and “Two-Headed Boy Part 2.”

3. Mellon Collie and the Infinite Sadness by Smashing Pumpkins (1996)

This album is 100% nostalgia for me. I mean, a track like “1979” just sounds like how nostalgia feels. It’s so comforting. I feel like I could wrap Mellon Collie around me like a big fluffy blanket and just sleep in it. And if I haven’t already mentioned this about a million times already, I really love concept albums. According to Billy Corgan, this isn’t really a concept album, though—the two halves (Dawn to Dusk and Twilight to Starlight) represent day and night. Nevertheless, the musical diversity on Mellon Collie is impressive. The Smashing Pumpkins go from moody, hard rock riffs on “Zero” to string arrangements on “Tonight, Tonight” to playful electronic effects on “Lily (My One and Only).” Mellon Collie was the last really great Pumpkins album, in my opinion. This record, along with Siamese Dream, really defines the band.

2. In Utero by Nirvana (1993)

Yes, I’m one of those people who likes In Utero more than Nevermind. But that’s not because I think I’m too cool to like Nevermind (if you recall, it still made my Top 20). I prefer In Utero because it’s so much darker and definitely more personal than its predecessor. I like dark things—who knew? This album kind of hearkens back to Nirvana’s Bleach days, but it’s not as sludgy. There are some delicate tracks on here (see “Dumb” and “All Apologies”), but the majority of the album is a heavily distorted punch in the face. The opening track, “Serve the Servants,” uses a droning guitar riff that’s almost hypnotizing, “Tourette’s” is one big feedback fest and “Scentless Apprentice” features some of the dirtiest drum work (and gnarliest screams) I’ve ever heard. Whether we know the true meanings of these songs or not, I still believe Kurt Cobain bared his soul on this record.

1. Dookie by Green Day (1994)

Was there anyone out there who didn’t see this one coming? As I have mentioned countless times on this blog, Green Day is my favorite band, so of course Dookie is my favorite album of the ‘90s. Sorry that I’m just too predictable (but I’m not really sorry). But come on—Dookie is a really fun record. Even if you hate everything Green Day’s ever done, you probably still have a soft spot for this album. It’s snotty and brash while still being radio friendly. It has a song with one of the best bass lines I’ve ever heard (that would be “Longview”). It just makes me really happy, okay? “When I Come Around” was one of the first songs I ever remember hearing on the radio, and I would make up words to sing just so I could sing along. While Dookie isn’t necessarily the one album that truly defines me (if I had to choose one, it would probably be American Idiot), it’s still an amazing album. I can listen to every song about a million more times and I would still never get sick of any of them.

Sam's Top 50 Favorite Albums of the '90s (Part 1)

Greetings, my dear readers. If you’re a regular reader of this blog, you’re probably wondering why the format is different this week. Well, it’s because you’re in for a treat. This week, I’ll be starting a countdown series. The first countdown will be my Top 50 Favorite Albums of the ‘90s. Notice that I said “favorite” rather than “best.” These are my personal choices, so I don’t want to hear any cries of, “But why is this album higher than this album?” or, “Where’s this album by my favorite band?” If you don’t see your favorite album on my list, you can always suggest that I listen to it (if I haven’t already).

This list will be updated every other week because I’d like to do some regular entries in between. So next week, you will see another artist spotlight. The week after next, you’ll see the next part of the list, and so on. So sit back and enjoy my fangirlery!

50. Grace by Jeff Buckley (1994)

I need to get something off my chest, guys. Jeff Buckley’s cover of “Hallelujah” is the best version of the song. Period. If you don’t agree, you’re wrong. Sorry, not sorry. That will be my only objective statement on this list, I promise. But I just have strong feelings about that song. The rest of the album is just as gorgeous. Jeff can croon like an angel. His voice just tugs at my heartstrings. I’m not sure if that’s because he was genuinely talented, or if it’s just the mystical feeling of listening to a musician who died too young. I’ve heard the argument that most Jeff Buckley fans tend to glorify his music because of his early death (much like Nirvana fans tend to hold Kurt Cobain up as a “grunge messiah”). But I think Grace holds up as a solid, moving album. With songs like “Lover, You Should’ve Come Over” and of course “Hallelujah,” Jeff knows how to reduce even the most stoic listener to tears.

49. Enter the Wu-Tang (36 Chambers) by Wu-Tang Clan (1993)

I wasn’t really a huge fan of rap until I got to college and started listening to some old school ‘90s rap. A lot of my friends were really into Wu-Tang Clan, so I had to see what the big deal was. Enter the Wu-Tang is probably the rawest rap record I’ve ever heard. There’s no flashy production here—it’s all visceral. I know I’m just a middle class white girl, and I won’t pretend that I can relate to any of the songs on this album. But I can definitely appreciate the beats and the delivery. Enter the Wu-Tang takes no prisoners. The first track, “Bring Da Ruckus,” is basically a call to arms. These guys don’t fuck around and neither does this album.

48. Bridges to Babylon by The Rolling Stones (1997)

I grew up in a Rolling Stones household. My dad is the biggest Stones geek on the planet, so naturally, I’m familiar with the majority of the band’s extensive catalog. While I do appreciate classic Stones, my favorite album is (not surprisingly) their ‘90s release, Bridges to Babylon. These guys kind of took an awkward turn in the ‘80s (accentuated by the Mick Jagger/David Bowie phenomenon that is “Dancing inthe Street”), but by the time the ‘90s rolled around, the Stones got their groove back. This album is exactly like classic Stones, but it’s got enough of the old sound to complement the new sound. “Flip the Switch” and “Gunface” have some great guitar work from the great Keith Richards, and even the slower tunes (especially “Saint of Me”) have a quiet power. There are probably some Rolling Stones purists out there who like to ignore the band’s later work, but Bridges to Babylon can definitely stand up with the greatest Stones albums.

47. Red Medicine by Fugazi (1995)

As if this list wasn’t already all over the place genre-wise, here’s a post-hardcore album to throw into the mix. Punk rock took many forms in the ‘90s: grunge, pop-punk, emo and post-hardcore. Post-hardcore was a little harder for people to swallow, but it’s honestly the most interesting mutation. While I’m sure a lot of Fugazi fans wouldn’t choose this album as their favorite, it was my introduction to the band. I heard “Do You Like Me?” and I was hooked. Those messy, raunchy riffs at the beginning of that track definitely rubbed me the right way. A lot of the other tracks are a bit more experimental, and I think that turns off some of the pop-punk kids, for example. These aren’t three-chord races to the finish line—these songs are meticulous and aggressive.

46. Dear You by Jawbreaker (1995)

Speaking of punk rock subgenres, let’s talk about Jawbreaker and emo movement of the early ‘90s. When I say “emo,” the first band that probably comes to mind is My Chemical Romance. Am I right? Yeah, I thought so. Believe it or not, MCR didn’t start the emo movement. It started back in the mid-‘80s and it had nothing to do with eyeliner or vampires or bad haircuts. Though bands like Rites of Spring and Embrace actually pioneered emo (or “emotional hardcore”), Jawbreaker and another band called Sunny Day Real Estate (who also makes an appearance on this list) reinvented it. Jawbreaker was a bit closer to the original emocore sound than Sunny Day Real Estate, though. Dear You is the band’s most polished-sounding album, but that doesn’t lessen the impact of it. My personal favorite track is “Chemistry,” which has this perfect mix of aggressive guitar riffs and a nice, melodic chorus with clever lyrics.

45. Tragic Kingdom by No Doubt (1995)

If you read my entry on No Doubt, you’ll recall that I’m in love with Gwen Stefani. Tragic Kingdom-era Gwen is the best Gwen because she was just so spunky. And yes, I do realize there are other people in the band, so let’s just talk about Tragic Kingdom in a musical sense. Again, looking back to my No Doubt entry, it’s pretty obvious that I love this album. It’s one of the most inventive albums from the third wave ska movement because it incorporates more than just swing-style beats and a trumpet/trombone chorus. “Don’t Speak,” for example, is a gorgeous ballad that you wouldn’t normally hear on a ska album. There’s even a Spanish-style guitar solo. Beat that, Reel Big Fish.

44. Hello Nasty by Beastie Boys (1998)

I know most people would choose Ill Communication over Hello Nasty, but I’m not most people. This is my favorite Beastie Boys album because it features some of the best Beastie Boys songs. “Intergalactic,” “Electrify,” “Super Disco Breakin’”—these are fantastic tunes. When I was younger, I would attempt to dance to “Body Movin’” and my parents would laugh at me, but dammit, I loved that shit. If you get me drunk enough, I will dance to every single song, and I will do those horribly embarrassing moves that I probably shouldn’t do in public. The Beasties bring out the best in me, you know? And God rest MCA’s soul. That man helped create some awesome music and I still upset when I realize he’s gone. But we still have albums like Hello Nasty to remind us that the spirit of the Beastie Boys will never die.

43. Diary by Sunny Day Real Estate (1994)

Oh hey, remember when I said you’d be seeing Sunny Day Real Estate on this list? Didn’t think you’d see them so soon, huh? Like Jawbreaker, these guys reinvented emo in the early ‘90s. Diary was the band’s first (and probably most successful) album. There’s something urgent in its tone and the sound helps bridge the gap between post-hardcore and the later forms of emo. It’s powerful (even if you can’t understand most of Jeremy Enigk’s lyrics). Some personal highlights include “The Blankets Were the Stairs,” “In Circles” and “Pheurton Skeurto.”

42. Purple by Stone Temple Pilots (1994)

This band gets a lot of shit, but they made some damn good music back in the day. I’ll admit that STP’s first album, 1992’s Core, was kind of a grunge rip-off, but Purple, the second album, was so much better. The band incorporated some psychedelic rock influences and Scott Weiland’s lyrics and vocal delivery vastly improved. Purple also had three perfect singles: “Vasoline,” “Interstate Love Song” and “Big Empty.” I still believe “Interstate Love Song” is one of the best songs of the ‘90s because of its simplicity. It has a Southern rock feel to it, but there’s a pop undertone there that makes it so much more accessible. STP wasn’t a grunge band by any means and I think most people would agree with me. Scott Weiland and company were vastly more creative than their contemporaries. It’s a shame that Scott and the rest of the band went their separate ways (but I can always hope for a reunion).

41. Siamese Dream by Smashing Pumpkins (1993)

This album was tough to place on the list because on one hand, it’s technically perfect. On the other hand, there is one SmashingPumpkins album that I love way more than this one. But let’s concentrate on this one. Siamese Dream is the definition of a flawless album. I seriously struggle to find anything wrong with it (though I do know too many people who hate “Today,” but whatever—I like it). Billy Corgan was obsessed with making this a great album, so much so that he often overdubbed James Iha and D’arcy Wretzky’s guitar and bass parts with his own playing. But the result was a record that felt so incredibly massive, yet so controlled. “Geek U.S.A.,” along with being my second favorite Smashing Pumpkins song ever, is the perfect example of this sentiment. It condenses a three-part epic into five glorious minutes. And that’s what Siamese Dream is—a glorious epic. 

Smashing Pumpkins

Sound Familiar?

“Today,” “Bullet With Butterfly Wings,” “1979”

Who Are They?

The pleasant (yet still very angsty) alternative to grunge. (An alternative to an alternative genre? How novel!)

This is a story of romance, success, and general jackassery. Actually, that kind of makes things seem a little too epic. Most of this drama comes from one person, and that person is Billy Corgan.

He’s no Liam Gallagher, but that still doesn’t make him a saint.

But let’s not point fingers here (we’ll get to that later). Let’s start at the beginning, way back in 1988, when Billy Corgan met James Iha and a band of epic proportions was born. D’arcy Wretzky was recruited as the bassist and ended up having a short-lived love affair with James. For the band’s first official show, they decided to use a drum machine instead of an actual drummer, which really wasn’t a surprise considering Billy and James’ obsession with The Cure.

When drummer Jimmy Chamberlin finally joined the group, he felt a little out of place. He knew nothing about alternative rock, and was certainly clueless as to what the hell Billy meant by “sad-rock.” But Jimmy eventually opened everyone’s eyes to a much harder sound, helping to create a sound that got the Smashing Pumpkins compared to Jane’s Addiction.

Their 1991 debut album Gish was only a minor success, although the single “Rhinoceros” got some mainstream airplay. During the recording process, Billy was determined to make the album perfect. So he played most of the instruments himself. Nobody else really appreciated that.

During the tour behind Gish, problems galore began to arise. James and D’arcy went through a messy breakup, Jimmy became addicted to drugs and alcohol, and Billy went into a deep depression. Inter-band tensions continued to mount during the recording of the Pumpkins’ infinitely more successful follow-up Siamese Dream.

Despite being adored by critics, the Pumpkins faced hostility and general distaste from the alternative rock community. Instead of just being called sellouts (as is custom among music elitists and people who are jealous of others’ success…did that sound bitter?), they were dubbed “the grunge Monkees” and labeled as “careerists.” In the 1994 song “Range Life,” Pavement lead singer Stephen Malkmus refers to the band with the lines, “I don’t understand what they mean/And I could really give a fuck.” Stephen maintained that he was just dissing the band’s status and not their music.

After a massive amount of touring (including a slot on the 1994 Lollapalooza tour), it was back to the studio to record what would become the adventurous concept album Mellon Collie and the Infinite Sadness. The Pumpkins exploded into the mainstream with singles like “Bullet With Butterfly Wings” and “1979.” Malls all over the country started selling Billy’s iconic “Zero” shirt and MTV played Mellon Collie’s singles to death.

Towards the end of the Mellon Collie era, Jimmy was arrested for heroin possession and was fired from the band as a result. Billy, James, and D’arcy recorded the electronica-influenced Adore without Jimmy and adopted a darker look to match the albums gothic undertones. The Pumpkins ended the decade by simultaneously reuniting with Jimmy and ditching D’arcy for good.

Where Are They Now?

The name remains, but the lineup is not the same (that rhyme was unintentional and I’m actually laughing at myself for it).

The year 2000 marked the beginning of the end of the original Smashing Pumpkins. Former Hole bassist Melissa Auf der Mauer replaced D’arcy on the tour supporting Machina/The Machines of God. The album was a welcome return to the more traditional rock sound of previous albums. After the release of Machina II/The Friends and Enemies of Modern Music, the band called it quits.

Billy and Jimmy reunited to form the short-lived supergroup Zwan in 2001. Zwan only released one album, then Billy presumably got bored with it and released a solo album titled TheFutureEmbrace. Jimmy started an alternative/jazz fusion band called The Jimmy Chamberlin Complex, James enjoyed a brief stint as the guitarist for A Perfect Circle, and D’arcy disappeared off the face of the earth. This is, until she was arrested in February 2011 (check out the lovely mugshot).

On February 17, 2004, Billy basically disowned the entire band on his personal blog. He called D’arcy a “mean-spirited drug addict” and blamed the breakup on James. Now that’s not a way to make friends, kids.

In 2005, Billy announced a Smashing Pumpkins reunion. And everyone lived happily ever after.

Just kidding. James and D’arcy refused to be anywhere near Billy, but Jimmy agreed to the reunion. Billy and Jimmy recruited bassist Ginger Pooley and guitarist Jeff Schroeder and released Zeitgeist in 2007. The album received mixed reviews, but Billy assured fans that the best was yet to come. That was after Jimmy left and Billy became the lone member of the band.

But Why Smashing Pumpkins?

Billy’s massive Teargarden by Kaleidyscope project is being released one song at a time. In the meantime, he’ll release another Smashing Pumpkins album titled Oceania, set to be dropped on September 1. How do I know all this? I happen to stalk him on Twitter.

What Does Sam Think?

Let me just say this: the Smashing Pumpkins are not the same band without James Iha, D’arcy Wretzky, and Jimmy Chamberlin. Of course the original lineup will never reunite because we live in a bleak, unfair world. And because no one can get along with Billy Corgan.

Now, Billy may be kind of a dick, but he’s a great musician. I guess I’m just slightly bitter because when I saw the Pumpkins live, I was just seeing Billy. I’d like to think of any band as a group effort and not just a superstar at the forefront with some nobodies behind him. But I do still respect Billy as an artist. The man is responsible for one of my favorite albums of all time, for God’s sake.

So let’s talk about the music, shall we? In case you weren’t aware, I’m in love with Mellon Collie and the Infinite Sadness. “I’m in love with my sadness” just went through my head as I wrote that. I’m now having a “Zero” moment.

Anyway, the Pumpkins have (or had, at least) this innate ability to mix so-called “gothic” lyrics and imagery with some absolutely beautiful instrumentation. So what’s the difference between the Smashing Pumpkins and The Cure? Aside from the lack of a synthesizer and Robert Smith’s crazy hair, the Pumpkins have a certain hardness related to their style. They kind of got lumped into the whole grunge movement, but they definitely didn’t belong there (really the only connection they had to grunge was Billy’s relationship with Courtney Love, not that it has any merit).

It’s almost impossible to go back to the sounds on Gish and Siamese Dream. The early albums contain the purity of the Pumpkins’ signature sound. Mellon Collie found them at their peak of their creativity, but things unfortunately went downhill as the original lineup disintegrated.

Moral of the story: Being in a band is like being in a marriage; if one person starts taking all the credit, he’ll just be left making beautiful music by himself (in his mom’s basement surrounded by cats).

--Sam Boyer, reporting from the ‘90s.