Customer Reviews

Zero

5 star:		(9)
4 star:		(6)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

Zer0, I collected singles and I have around 100 of them, but nothing comes near this. Marquis in Spades, God ... realy good sound. Buy it

S.J.

The Smashing Pumpkins always made quality music that made the final cut, in regards to their studio albums. But, what's more astounding is the quality of the music that never made the studio albums; you know, the tracks that either got tacked on as B-sides, or, were just not released at all. These B-sides to the _Zero_ single are *no* exception to this rule, as these are some of the best things The Smashing Pumpkins have ever made, and they have made *tons* of stunning stuff.

Like the other B-side-filled EP's deriving from the _Mellon Collie and the Infinite Sadness_ album, each start off with the track of the single, then are followed by the B-sides. "Zero" is a raging anthem. Likewise, the rest of the EP -- with the exception of the melodic alt-pop of "Pennies" -- shows off the Pumpkins' overdriven, distortion-filled rock. "God" is a perfect example of this; the verses are soft, while the chorus rages with an intense, overdriven madness that was the Pumpkins' niche. "Mouths of Babes" features a tasteful riff on the pentatonic (in descending mode) that opens the track, and eventually closes it off (and is repeated, but the key is changed in the final motif, before the track cuts off.) "Tribute to Johnny" is a fusionesque metal instrumental; a little bit of funk, a little bit of jazz, and loads of distortion. Perfectly shows just how talented and diverse these pumpkins were. It's tasteful and chewy as well, while "Marquis in Spades" is a more plodding, but equally heavy, well-distorted number. "Pennies" gives you a breather from all of the distortion of past, and leads into the very interesting (to say the least) "Pastichio Medley." This is a 23-minute smorgasbord of spliced-together riffs taken from dozens of Pumpkins' songs that were either unfinished, or just plain unreleased. The overdriven extremeties that were so common to The Pumpkins' niche are here, indeed, but there are also moments of quiet to be found, and the occasional vocal.

Case and point: if you are a diehard Pumpkinhead (like myself; The Pumpkins are my top favorite when it comes to the "alternative" bands from the '90s scene), you will *not* want to be without this single, or the others that came from the _Mellon Collie and the Infinite Sadness_ sessions. If you are lucky enough to own _The Aeroplane Flies High_ boxed set (the complete, _Mellon Collie_-derived singles/EP's in one boxed set, and with a booklet of complete lyrics, photos, etc.) then you will already own this single. Recommended indefinitely.

This is practically the only "Single" type cd i own. This one is worth buying since all the songs on it equate to about the length of a full-on album. Don't be fooled about the last song on the single though ... i at first found it a "waste of time", yet after a while it really started to mesh with the whole album even though it sounds like a collection of guitar instrumentals. All the other songs are soooo awesome! "God" is god .... trust me. Overall this cd is very intoxicating - even with no alcohol - crazy huh? Give it a try.

Wherein Billy C. proves he's a pumpkinhead by showing us the heavy cards he had up his sleeve all along but left off the album. "God": a crushing stomp along the lines of the superior "Bullet with Butterfly Wings"; "Mouths of Babes": a mid-tempo Aerosmith-like tune that should DEFINITELY gone on MC; "Tribute to Johnny": funny mid-seventies riff-homage; "Marquis in Spades": dumb title for their most Judas Priest-like song yet; and "Pennies": an absolute POP GEM that should have been a single on its own. Then there's the "Pastichio Medley" of 72 song fragments, from which they could have constructed at least five heavy rawkers which would have rivaled gish. An A+ for generosity, a C- for frustration.

if you're a pumpkins fan then this is heven. trust me if you buy this you'll be very satisfied with every song not just 2 or 3. the bottom line is buy this album it's money well spent.

Smashing Pumpkins' 1995 double-disc affair, "Mellon Collie & the Infinite Sadness," is one that often gets accused of carrying dead weight. To say that the Pumpkins crammed the set with filler is absolutely ludicrous, though (and outright implies that one simply did not listen to the full piece enough to let it sink in) and the "Zero" EP proves it. With five songs (and one very grueling instrumental) that could have very easily fit in on the aforementioned album, the EP makes the perfect counterpart or expansion of said album.

Do you like your Pumpkins to be of the rocking variety? Then you're in luck here. Like its namesake single, the "Zero" EP is a front to back rocker. You might recall "Marquis in Spades" from the "Judas O" compilation that was included on some copies of the band's 2001 greatest hits set, "Rotten Apples," but the rest of the bunch are pretty much exclusive to this set. "God" and "Mouths of Babes" are Pumpkins at their best, with layers of fuzzy guitar riffs stacked against a relentless rhythm section. Billy Corgan's often poetic lyrics seem irrelevant when pitted against such strong instrumentals, and for the Johnny Winter tribute track, the aptly titled "Tribute to Johnny," truer words were never spoken. One of the few and true collaborations between Corgan and guitarist James Iha, "Tribute to Johnny" lets the group's classic rock flag fly high, showing that the Pumpkins were more than just mid-'90s alt-rockers at heart. While Corgan and Iha playing dueling axes, bassist D'Arcy Wretsky holds it down with a hearty bass-line that serves Jimmy Chamberlin's monster drumming well. This track is the highlight and serves as a perfect example of why Corgan's ex-bandmates were more than just hired help. "Pennies" takes things down a notch, but still retains the vintage sound that can be heard in any of "Mellon Collie"'s finer moments. Capping off the set is the very interesting "Pastichio Medley." Clocking in at well over 20 minutes, this instrumental can be a bit taxing to get through being that is merely clippings of riffs that were left off the album for whatever reason. Although it's not everyday listening, it is historically significant (in regards to the band, anyway) and something any Pumpkins enthusiast should bear witness to.

No matter the price you pay to track it down, "Zero" is perhaps one of the finest Pumpkins singles/EPs in existence and worth seeking out (the used price here is an absolute steal, by the way). Simply put, you won't find any throwaway tracks on the set and you might even wonder why the band didn't decide to make "Mellon Collie" a three-pronged attack. Heck, even if the band's mixed output from the late '90s and onwards bums you out, this little EP serves as a sort of consolation prize. "Zero" is, simply put, anything but a zero.

An excellent CD single (in fact, includes so many songs that i consider it an EP). Hard, exciting rock sound.

The Smashing Pumpkins's double-disc album "Mellon Collie and the Infinite Sadness" became an instant rock classic. And one of the top songs on that album, was "Zero," a sizzling hard rock song with Billy Corgan's despairing lyrics. The "Zero" EP is just as enthralling, a little tapestry of unhappiness.

"Intoxicated with the madness, I'm in love with my sadness!" Corgan wails in the title track. It transitions into the quieter but even more despairing "God," and the more pensive look at superstardom, "Mouths of Babes." Corgan takes a break from misery in "Tribute To Johnny," a twisting rock song that highlights his ability to make the guitar bend to his will.

Bitterness and revenge are at the heart of "Marquis of Spades," another sizzling hard-rocker where Corgan snarls, "And all I see is empty/'Cause now I'm one of them/So adored/The slink of impotence/That money can afford!" With "Pennies," the sound softens down to a solid non-hard rock song; even Corgan's vocals sound more relaxed. And finally it climaxes with a twenty-three minute medly that veers from murky, plodding bass to a blistering riff. Often it changes with no warning, as if Corgan and Co. are just randomly changing their minds.

"Zero" is a pretty unusual EP -- most EPs are just to show a sampling of the band's work, or keep the fans satisfied between full-length albums. But "Zero" is actually more cohesive than many LPs. The underlying themes seems to be devoted to the emptiness, scorn for empty fame, and to lost love (of course!).

The music veers a lot closer to the hard rock side of the Smashing Pumpkins, with only a brief reprieve in "Pennies." And that's not what you'd call dreampop either. Billy Corgan lets rip with his guitar in the instrumental tracks, twisting and deeply distorting the sound; he's backed by the excellent Jimmy Iha, the outstanding drumming of Jimmy Chamberlain, and the solid bass of D'Arcy Wretzky.

Corgan's voice is high and thin; it takes a bit of getting used to. Which makes it especially surprising that he is so flexible -- he snarls and serenades equally well. His writing is on top form, including in the non-"Zero" songs: "And the mouths of babes sing revolution/ And the mouths of babes scream disillusion/ You can't break what's already broken/Cause from the mouths of babes comes nothing!"

It's not the epic art-rock experience that "Mellon Collie and the Infinite Sadness" is, but the Smashing Pumpkins EP "Zero" has the distinction of being a cut above your average album. It rocks. Literally.

The Smashing Pumpkins's double-disc album "Mellon Collie and the Infinite Sadness" became an instant rock classic. And one of the top songs on that album, was "Zero," a sizzling hard rock song with Billy Corgan's despairing lyrics. The "Zero" EP is just as enthralling, a little tapestry of unhappiness.

"Intoxicated with the madness, I'm in love with my sadness!" Corgan wails in the title track. It transitions into the quieter but even more despairing "God," and the more pensive look at superstardom, "Mouths of Babes." Corgan takes a break from misery in "Tribute To Johnny," a twisting rock song that highlights his ability to make the guitar bend to his will.

Bitterness and revenge are at the heart of "Marquis of Spades," another sizzling hard-rocker where Corgan snarls, "And all I see is empty/'Cause now I'm one of them/So adored/The slink of impotence/That money can afford!" With "Pennies," the sound softens down to a solid non-hard rock song; even Corgan's vocals sound more relaxed. And finally it climaxes with a twenty-three minute medly that veers from murky, plodding bass to a blistering riff. Often it changes with no warning, as if Corgan and Co. are just randomly changing their minds.

"Zero" is a pretty unusual EP -- most EPs are just to show a sampling of the band's work, or keep the fans satisfied between full-length albums. But "Zero" is actually more cohesive than many LPs. The underlying themes seems to be devoted to the emptiness, scorn for empty fame, and to lost love (of course!).

The music veers a lot closer to the hard rock side of the Smashing Pumpkins, with only a brief reprieve in "Pennies." And that's not what you'd call dreampop either. Billy Corgan lets rip with his guitar in the instrumental tracks, twisting and deeply distorting the sound; he's backed by the excellent Jimmy Iha, the outstanding drumming of Jimmy Chamberlain, and the solid bass of D'Arcy Wretzky.

Corgan's voice is high and thin; it takes a bit of getting used to. Which makes it especially surprising that he is so flexible -- he snarls and serenades equally well. His writing is on top form, including in the non-"Zero" songs: "And the mouths of babes sing revolution/ And the mouths of babes scream disillusion/ You can't break what's already broken/Cause from the mouths of babes comes nothing!"

It's not the epic art-rock experience that "Mellon Collie and the Infinite Sadness" is, but the Smashing Pumpkins EP "Zero" has the distinction of being a cut above your average album. It rocks. Literally.

The Smashing Pumpkins's double-disc album "Mellon Collie and the Infinite Sadness" became an instant rock classic. And one of the top songs on that album, was "Zero," a sizzling hard rock song with Billy Corgan's despairing lyrics. The "Zero" EP is just as enthralling, a little tapestry of unhappiness.

"Intoxicated with the madness, I'm in love with my sadness!" Corgan wails in the title track. It transitions into the quieter but even more despairing "God," and the more pensive look at superstardom, "Mouths of Babes." Corgan takes a break from misery in "Tribute To Johnny," a twisting rock song that highlights his ability to make the guitar bend to his will.

Bitterness and revenge are at the heart of "Marquis of Spades," another sizzling hard-rocker where Corgan snarls, "And all I see is empty/'Cause now I'm one of them/So adored/The slink of impotence/That money can afford!" With "Pennies," the sound softens down to a solid non-hard rock song; even Corgan's vocals sound more relaxed. And finally it climaxes with a twenty-three minute medly that veers from murky, plodding bass to a blistering riff. Often it changes with no warning, as if Corgan and Co. are just randomly changing their minds.

"Zero" is a pretty unusual EP -- most EPs are just to show a sampling of the band's work, or keep the fans satisfied between full-length albums. But "Zero" is actually more cohesive than many LPs. The underlying themes seems to be devoted to the emptiness, scorn for empty fame, and to lost love (of course!).

The music veers a lot closer to the hard rock side of the Smashing Pumpkins, with only a brief reprieve in "Pennies." And that's not what you'd call dreampop either. Billy Corgan lets rip with his guitar in the instrumental tracks, twisting and deeply distorting the sound; he's backed by the excellent Jimmy Iha, the outstanding drumming of Jimmy Chamberlain, and the solid bass of D'Arcy Wretzky.

Corgan's voice is high and thin; it takes a bit of getting used to. Which makes it especially surprising that he is so flexible -- he snarls and serenades equally well. His writing is on top form, including in the non-"Zero" songs: "And the mouths of babes sing revolution/ And the mouths of babes scream disillusion/ You can't break what's already broken/Cause from the mouths of babes comes nothing!"

It's not the epic art-rock experience that "Mellon Collie and the Infinite Sadness" is, but the Smashing Pumpkins EP "Zero" has the distinction of being a cut above your average album. It rocks. Literally.