Smashing Pumpkins Record Club

Smashing Pumpkins are opening up the archives, at last. Head over to SP.com and subscribe now for a previously unreleased and unheard version of Drown and there's an Easter Egg of an early version of Chamberlin's monster grover Geek U.S.A. to boot ...

'Another' [...Be Specific] Interview with Jimmy Chamberlin

Over at the Washington Post thus;

...You're just going out on short tour. Are you thinking about a full tour later?
...There's lots of ways to put a band over these days. Doing it 200 people at a time doesn't make a lot of sense to me economically, spiritually and energetically. It doesn't add up to what it used to. You used to go out and play to a thousand people and look at [sales figures] the next day and see that 800 of those people went out and bought the record ….For me the idea of going out for two, three years to build a band in sweaty nightclubs, having done that for most of my life and being in my 40s now [is untenable]. It's not that I don't enjoy playing, but I think three good ideas are better than 50 shows ….Part of the reason I left my old band is because it was all encompassing, and I didn't have time for my family. It's just a different set of values.
When you say your old band, do you mean the Pumpkins or Zwan?
No — I was talking about the Pumpkins. Part of the reason that I left the Pumpkins is because it was becoming all-consuming. Being the only member of that band who had two kids and a wife, it was a hard decision, but ultimately it was a decision I'm comfortable with.

Was it hard to decompress from being a Pumpkin? There must have been a level of post-traumatic stress involved.
There was no post-traumatic stress, but there was a level of decompression. It took a while to be like, okay, I do have a family, I do have two kids and a wife. From the start of [Pumpkins album] “Zeitgeist” to the time I left, we had been full tilt for three years. When you have a four year-old son, that's 75% of his life...

 

Jimmy Chamberlin - Songwriter

Putting the Sophistication back into Society

Check out the full interview, over at Songwriters on Process,  right >here<

Selected morsels >below<

On Skysaw; With a song like "Sad Reasons" on this record, I sat down in my office and just played the song from start from start to finish on my guitar... It didn't involve a lot of process other than making myself available to what was going on around me. That song in particular was a telling exercise because I was interested in how it would change over time after I recorded it and again after I delivered it to the band.  But the first version I laid down in my studio in the basement is the one that made it to the record."

On Tonight Tonight; "...the muse can take many different forms. Ideally, the greatest gift it to be hand-delivered a song from the cosmos and have it be the version. Billy Corgan often writes the same way. Like with "Tonight Tonight," he said he just woke up one morning, went down to the piano, and played it. And much like with a lot of those drum parts that happened in the Pumpkins, the first time he played it for me, the drum part you hear is the first drum part I thought of."

On playing the guitar; "I'm not that sophisticated of a guitar player to be able to come up with ... the riff of the century."

On Tolkien, Thelonious Monk and Mark Twain; In the arranging and production of songs, when I'm building them from the chords up and putting layerings of production in a song, I want to feel like I'm building this Tolkienesque world of music that's available to people on many layers... Thelonius Monk was always good at playing something that on the surface appeared simple, but as you delved deeper you realized that the chord structure on which the melody was based was so complex.. The idea behind playing the drums is to play something simple enough so that people can rhythmically attach to it, but as an artist my job is also to satisfy myself with a sophistication that exists within the music.  Mark Twain invites you into his world with seeming simplicity, but once you get into his writing, you realize how complex it is.

 On Zeitgeist; When I was with the Pumpkins and we did  Zeitgeist, it had been almost seven years since we made the album before it.  So having to go and play that style of drumming again, I was often I was at loggerheads with myself because I was saying, "I don't really play like this anymore..."  It became difficult to mine that stuff from 1996 and relearn how to play like that.  It would be like writing in the style you did when you were a sophomore in college.  That would be difficult since you've moved on...

Again, go check out the full thing. It's rather insightful indeed.

Interview with Jimmy Chamberlin - Dynasty Podcast

CVU86 - Jimmy Chamberlin by DYNASTY PODCASTS

In this, one of the last ever Local Q101 interviews (?), Chamberlin talks about the current state of the music industry, touring, the future of Skysaw and more.

SKYSAW - GREAT CIVILIZATIONS - PRESS RELEASE

Just thought i'd post here, for posterity n all...

SKYSAW

Great Civilizations

Release Date: June 21

Dangerbird Records

SKYSAW is the new project helmed by Jimmy Chamberlin, who wants to make one thing clear at the outset: “This project is not the vision of one person. It’s a band, a total collaboration. After being in the biz for 25 years, I know unity holds the power and gets the job done. Skysaw is a full democracy, the sum of all our personalities. If it becomes huge, great, but it’s really about creating an environment to grow some musical ideas. No matter what happens, I’m still happy to keep doing it. It feels good to be in a room with these guys on a purely musical level.”

The seeds of Skysaw were planted after Chamberlin left the Smashing Pumpkins in 2009. Sitting in his home studio, musical ideas began pouring out at a rapid pace. “I recorded 25 or 30 tunes, instrumentals without lyrics. One day I told Bill Thomas, who helped set up my home studio, ‘If I could find a songwriter with a great voice who lives in his studio, I’d do another band.’ He told me about Mike Reina.

“I got Mike on the phone and he sent me some tracks with a dark Beach Boys meets Tom Waits feel. I knew if we could combine what I know about rock dynamics and what he knows about melody and songwriting, we could do something original. I flew him to Chicago to record a song and get to know each other.” Chamberlin and Reina had similar ideas about blending progressive rock with cohesive melodies and simple vocal harmonies. They started writing the songs that became Great Civilizations.

“We worked on the album for a year and a half and Mike kept telling me about Tony,” Chamberlin continues. “We finished a song called ‘They’re Watching’ and left a space for a guitar solo. We sent it to Tony and what he sent back was blistering. I was sold. We invited him to join and he’s been a fantastic asset to the band.”

The music on Great Civilizations is full of the contradictions that make compelling music, at once light and densely layered, simple and progressive, expansive and down to earth. “Capsized Jackknifed Crisis” shifts between a dreamlike verse and a dramatic chorus, propelled by Chamberlin’s powerful drumming and Pirog’s icy guitar accents. “This song shows my Eno influence,” Reina says. “The band is named after the first track on Another Green World.” Chamberlin’s half time rhythm and Pirog’s aggressive, almost metallic guitar generate the overwhelming tension that makes “No One Can Tell” so compelling. “I layered up loops, pedals, backwards guitar parts and lap steel to fill out the sound,” Pirog says. Reina’s vocal captures the tension of a man watching his life fall apart, while pretending that everything is normal.

“Great Civilizations” has the anthemic feel of a U2 track, with an uplifting vocal from Reina, supported by Chamberlin’s emotive stick work and Pirog’s complex guitar pyrotechnics. “I used the Edge’s delay pedal for this one and added a 12 string guitar part, a flurry of arpeggios and a lot of open string country guitar scales that weren’t easy to play,” Pirog says. “My right had was really tired when we finished that track.” Reina blended keyboard and guitar sounds to create the ominous instrumental harmonies of “All I Hear Is Snow.” His vocals slip in and out of focus, to convey the late night struggle of a man trying to stay awake at the wheel as the weather, and his life, slowly turn to darkness.

Great Civilizations was created with the trio writing, playing and producing the music themselves. “We played the basic tracks live in my studio or Mike’s,” Chamberlin says. “Mike’s a great arranger, but we all had input into every song. We did a lot of self-policing as the album progressed. ‘Is it good enough?,’ is the question you have to ask yourself, but we’re all perfectionists. I’m always touching up my drum parts and Mike does and redoes his vocals till he’s satisfied. We think that care shows in the music.”

Skysaw recently played their debut gig at the Complex in Los Angeles with Paul Wood and Boris Skalsky of Dead Heart Bloom filling out the line up. “The players were fantastic. We were well rehearsed and, to get a crowd in LA to even clap, is amazing,” Chamberlin crows. “We got a great response. People saw we were a real band. Even the record company people, who thought the group only existed in my mind, were impressed. I can’t wait to get on the road and start playing for the rest of the country.”

Meet SKYSAW

Jimmy Chamberlin was born in Juliet, Illinois, the youngest of six children. He father worked on the railroad and played amateur clarinet, informed by artists like Artie Shaw and Pete Fountain. “My older brothers and sisters were into music and listened to Dylan, the Doors, Cream, Deep Purple, Led Zep. Everything from Duke Ellington to Jimi was coming out of the rooms in our house,” Chamberlin says. “My older brother Paul was a drummer. When I was 7, I’d play on his drum kit in the basement. I took lessons with Charlie Adams, who played for Yanni later on, until I turned pro at 15.”

Chamberlin played with local rap/rock bands, but his bread and butter was a gig in the polka band of Eddie Karosa, who hosted a weekly TV show called Polka Party on WCIU. “From there I played in any professional group I could find. I was making 200 bucks a week, enough to buy a car and not have to work a day job. I played in polka bands and cover bands doing everything from Broadway show tunes to the Beach Boys. When the Smashing Pumpkins came to see me, they rescued me from blue sport coat cover bands. I was into progressive jazz at the time - Tony Williams and Weather Report. In the Pumpkins, I found my own way to express myself. I could do anything I wanted in that band.”

After leaving the Pumpkins, Chamberlin joined Billy Corgan and Matt Sweeny in Zwan. They made one album and broke up. “Then I started The Jimmy Chamberlin Complex. From a musical standpoint, it was successful and continues to this day, but we haven’t released any music since our first album in 2005.” After rejoining and leaving the Pumpkins again, Chamberlin went home and started writing songs.

“I never wrote that much before and wondered where it was all coming from. I knew I needed someone who could sing and put lyrics to this stuff. Bill Thomas gave me Mike Reina’s phone number and after a short exchange of musical ideas, we agreed to work together.

Mike Reina was born and raised in Norfolk, Virginia. “When I was a boy, I used to sleepwalk and turn on the stereo every night. An early indicator of my love of music,” Reina says. “My father played piano, accordion and guitar. He had a nice Gibson nylon string that became my first guitar. I took piano lessons, but when I reached my teen rebel years, I stopped playing. I picked up guitar again in high school when I discovered The Beatles and kept at it. In college, I got a Rhodes piano and joined Inches to flood, a progressive rock band. I wasn’t the singer, but I did write the songs. That got me back into keys and led to synthesizers and an obsession with Roger Waters’ era Pink Floyd. I found a whole world inside my synth; I’ve been synthesizers them ever since.”

Reina was a fan of Phaser, another local outfit. After a conversation with band members Paul Wood and Boris Skalsky, he joined the band. “That was my first professional experience. When that came to an end, I built a studio and started a solo album. When I put together a band to do a one off gig to play some of the songs I’d been writing, it went so well I asked them to come in and add to the record.” Reina called the group The Jackfields. They became one of the top bands in the DC area. “I saw Anthony play one night and thought he was phenomenal. I asked him to join the band and he did. We were in the process of finishing The Jackfields album, when Jimmy called and we got sidetracked.”

Anthony Pirog grew up in the suburbs of Washington DC. His father played in surf bands in the 60s and bequeathed his son a 1963 Fender Jaguar. “I taught myself to play Roy Orbison’s ‘Pretty Woman’ from a video I got from the library,” Pirog says. “From then on, I played all the time. My dad listened to Howlin’ Wolf, Sonny Boy Williamson, surf and doo-wop. I took it all in. I was in 15 different bands during high school. By my junior year, I was into free jazz and experimental music.”

A scholarship to a summer session at Boston’s Berklee School of music to study jazz guitar was a turning point. “I knew I wanted to be a musician, but wasn’t sure I could make it. Berklee was only offering 17 slots for that summer session. I decided I’d become a musician if I got a scholarship, so the decision as made for me.” After high school, Pirog stayed at Berklee for two years and finished his degree in Jazz Performance at NYU.

Pirog moved back to DC and became known for his shredding style and an ability to play everything from outside jazz to freak folk. He played in rockabilly, oldies and electronica bands as well as free form solo gigs that allowed him to explore the outer limits of his creativity. “I started a label called Sonic Mass Records to put out my first album, Beginning to End, solo improvisations for guitar. It was atonal, far out and experimental. That led to Janel and Anthony, a cello and guitar duo that I have with my girlfriend Janel Leppin, which got us deeper into the experimental scene. About a year ago, Mike came to one of my shows and asked me to join The Jackfields. I stayed for two years before moving to New York with Janel to play jazz. When Mike started working with Jimmy, they asked me to add guitar on a song they were working on. That got me involved in the project. They’ve given me the opportunity to play rock without limitations, so it will be interesting to see how far we can go.”

For more information, please contact:

Good Cop Public Relations

 Here's a picture or two;

The Answer to Your Question, the Answer to Your Guess...

Jimmy Chamberlin and Mike Reina talk SKYSAW, Smashing Pumpkins, Jimmy Chamberlin Complex, SP Archives and... Mike Byrne

Special thanks to John Prinzo we've got a couple of your questions answered below.
Check out his site or the suburbanapologist.com for the full interview. The whole thing is most definitely worth a read.

The typical trajectory of a band starting off is to tour then record – how does it feel to turn that concept on its head?

MR: It’s interesting to construct tightly wound songs and then go looking for the places where they can stretch out a bit live.

Who put together the orchestral arrangement on “Am I Second?”

MR: Jimmy wrote the orchestral arrangement, Anthony transcribed it and we recorded it at my place.

How many songs have you recorded as SkySaw?
MR: Eleven – I think and demoed probably 12-15 others.

What was Roy Thomas Baker’s involvement with the record?

JC: We worked with Roy early on.  Jimmy sent him “No One Can Tell” and asked if he wanted to be involved.  He loved the song and came out to my place to work with us for two weeks.  After the first two weeks we decided to remain insular and produce the record ourselves.  We started from scratch and continued working together as we had previous to our stint with Roy.  He was hilarious, by the way.

Have you changed up your kit for SkySaw? I noticed a few pictures that didn’t seem to have the left mounted 14” tom or quite as many cymbals. If so, is this a reflection of your approach to this sound or brand of music?

JC: I moved things around for one show. My configuration is the same.

(DP: The drummer for the Constellations, who are joining Minus the Bear and Skysaw on tour tweets: "Wanted 2 clarify-he's still using yellow Yamahas while his DW kit is being made."

What is the name of this song…

…and will it see a release?

JC: “Cathedral.” It is fairly new, not yet recorded and will be on the next release following Great Civilizations

Rumors are that the Jimmy Chamberlin Complex had a couple of tracks in the works, details?

JC: The complex lives and will rise up again at some point. Mohler and I started working on stuff before I left the Pumpkins and we continue to do so.  It’s really just a time issue. We are both very busy these days.

What, if anything, can you say about the upcoming Smashing Pumpkin re-masters and re-releases?

JC: I am very excited.  Those records are sacred to me and I’m thrilled that they will be Repackaged and marketed to another generation. The Pumpkins still have a lot to offer, old and new I’m sure.

As a respected musician and accomplished drummer, what is your summation of Mike Byrne? Ya know, if you were evaluating him or grading him or just your opinion.

JC: I think Mike is perfect for what Billy is doing now; a great drummer with an extremely bright future.

__________________________________
 Again, check out the full interview right, here

Interview/Podcast with Jimmy Chamberlin

http://www.stationcaster.com/player_skinned.php?s=39&c=245&f=78102

"Mase talks it up with former Smashing Pumpkins drummer Jimmy Chamberlin about his new band SKYSAW...playing clubs again and ripping off his own drum parts. " 

Just having a listen now...

EDIT:

Skysaw is not about making a hit record... it’s about having fun 

Chamberlin clarifies his statement in the recent SPIN magazine interview "I've learned that you can call it a band, but unless everyone is contributing it's not really” and says that this doesn’t apply to his time in the Pumpkins; in particular with his song-writing relationship with Billy.

With regards to recording: JC recorded the drums, bass, guitar and vocals to tape – loaded to pro-tools for mixing; “24 Tracks just wasn’t enough”.

In terms of Roy Thomas Baker, it appears his presence was a little ‘imposing’; “Mike and Anthony were a little freaked out”; the sounds he was getting were ‘bigger than the band...he brings more than just his Rolls Royce to the studio” and they didn’t actually end up using any of the tracks recorded with RTB on this record, but he hopes to record again in the future with him and his “stamp” is all over Great Civilizations. 

They talked briefly about the Jimmy Chamberlin Complex, writing, recording, and mixing in 40 days... nothing about anything new from them (JC and Billy Mohler) though...

With regards to hitting the club scene again; the feeling of playing doesn’t change whether or not you’re getting your drums out of the back of a (white?) van and setting them up yourself and if you’re a millionaire getting a massage before a show. It’s the same experience; just as long as people are having a good time.

With regards to the Pumpkins; JC left it in the immortal words of D’arcy; “being in the Pumpkins, was like being in a marriage with 3 people you wouldn’t even consider dating”.

SP ARCHIVES UPDATE:

JC is not involved at all, other than giving it the green light.

Mike Reina Interviewed about Skysaw

Right here

Apparently Mike writes the lyrics and they might play some festivals this summer

This just doesn't get enough plays...

When JC has talked about Machina being " the most honest record [Smashing Pumpkins] ever made, because it's the least least forced. It's what came out of us naturally, as opposed to songs like 'Geek'..."*  I just think that this is a perfect example of SP playing naturally back in the day. At the very least, it's one of the great examples of JC playing what seems to come completely naturally to him: The ease, power, swing/feel and harmony with the guitars he injects is well... just, absolutely, splendid. G&TGC and Stellar went on to echo this type of playing from JC perfectly, as far as I'm concerned.

Let us know if you feel differently;

Cheers.

*Rhythm magazine Christmas 2000

P.S I may have had a dram or two 2 many, please excuse me.

BLAMO... R.I.P.

Blamo.org, one of the two [most famous and long standing Smashing Pumpkins fan sites] alongside Netphoria.org, which had tons of cool SP resources for fans, has decided to close its doors... well most of them...

After 15 years of running blamo.org, I've decided to shut off most of the content to the site. The site now will be redirected to the Smashing Pumpkins forum on blamonet.com. Additionally I've shut off jamesiha.org and zwanmusic.org and forwarded them both to blamonet.com.

http://www.facebook.com/blamo.org/posts/10150191019267617



 Cheers Aaron, thanks for everything of the years. 

No 'Bad Blood' Betwixt Corgan and Chamberlin...

Rolling Stone asks Corgan in a new interview regarding the upcoming releases;

Could the original Pumpkins line-up ever reunite?
Corgan: ... Jimmy [Chamberlin] and I aren't enemies – he's just off doing what he wants to do, as he should. There's not super bad blood between me and Jimmy that we'd never get on stage again. But I cannot in any way, shape, or form ever envision standing on a stage, playing music again with James [Iha] and D'arcy [Wretzky].

In other news...

Smashing Pumpkins to reissue and release new old stuff: Head to HU for the lowdown

Announcing: Major Smashing Pumpkins Announcement - Coming Soon

Back in December 2010, Billy Corgan announced he was going to announce something; following further announcements, Corgan has announced another announcement about what is presumably the last announcement about the announcement;

"Major @smashingpumpkin announcement this coming Tuesday. Regards new and old SP music. Big changes…exciting news.”

Grunge Report wishes "it was that Jimmy Chamberlin was re-joining the band". Don't think it's going to  happen I'm afraid guys.

Here's my predictions: Smashing Pumpkins Billy Corgan has signed a new record deal as 'Smashing Pumpkins 3.0' - 'SP3' have abandoned the ridiculous 'teargarden release method and Billy will be releassing some unreleased SP1 music (at some point in the future).

Idiocy aside, any [new] Smashing Pumpkins music with Chamberlin playing is good news as far as I'm concerned.

Chamberlins [rather large & loud] - Zwan Kit...

A you know, Jimmy recently talked about getting his Yamaha Maple Custom Absolute drums, back from the shop and setting them up in his basement studio.  Well here's a couple of pics which just now popped up @ the Drum Pads' (where Chamberlin held his clinic in 09) Facebook page:

There's one two shots of (a couple) of Jimmy's Silver Sparkle Yamaha Maple Custom Absolute Nouveau also: