Matt Walker – The Man of1000faces

Interview by Arthur van Pelt
Questions compiled by The SPfreaks Team


 We all know Matt Walker as the drummer for Smashing Pumpkins in 1996 and 1997. Recently, his name popped up several times again in Smashing Pumpkins-related news; for example, “considered as new Smashing Pumpkins drummer” here, and “‘joining Billy Corgan at Ravinia Festival August 30thhere. We also learned that Matt’s name appears on several tracks of the highly anticipated Adore reissue which is scheduled for release on September 23rd. To cut a long story short, SPfreaks thought it was a great time to sit down and talk with the man himself. We are honored that Matt Walker, who is always involved with several ongoing projects, took the effort to check some facts for us; meanwhile digging out some anecdotes from the vault and giving advice to young drummers on the fly.

Matt, thank you for having us. Firstly, we know that you were born on May 21st, 1969, in Wilmette, Illinois, and that your birth name is Matt Snyder. However, your performance name has long since been Matt Walker – any particular reason for taking an artist name that is different from your birth name?

I’m surprised I have not been asked this more often. I took my mother’s maiden name, Walker, as that name was in danger of dying out with the previous generation. And having two boys I can say there’s a good chance it will continue on a bit longer….

OK, so who inspired, or motivated you, to pursue being a drummer? Do you have any drummers you look up to?

From what my parents tell me, I wanted to play drums from age two on. They seem to remember me seeing Louis Bellson on TV and going nuts. Soon after that, it was Animal from the Muppets. From there, early drumming idols were Stewart Copeland, John Bonham, Steve Jordan, Neil Peart and, believe it or not, Stevie Wonder. He played drums on many of his most popular recordings.


So who taught you to play drums? Or are you self-taught?

I had many teachers, not all of them drummers. My father, Carl Snyder, is a blues musician, so I probably learned the most about playing with other musicians from him.  I had one drum teacher for many years in Chicago named Phil Stanger. He was very old school and also taught me as much about the business of being a professional musician as he did about playing meringues.

Do you have any tips or advice for those who want to become a career drummer?

Diversify. Drummers, or all musicians for that matter, need to be comfortable in every realm of music; from understanding and appreciating different genres to being comfortable with and even embracing technology. It all feeds off each other more than ever before. Musicians who are quick to learn songs and retain arrangements and changes, who play like they mean it every time, are the musicians who will find success. And perhaps more important than anything else is being able to get along with people. No one has the time or patience to put up with a prima donna, unless they happen to be the songwriter or singer. Prima donna drummer? Forget it. More specific advice to drummers – offer your services to as many bands as you can, and befriend engineers and producers; they may be the doorway to your next opportunity.


Filter, with Matt (far left) and Brian Liesegang (center)

In the beginning of your career, you drummed for a band called Filter amongst some other bands before that; namely, Scott Bennett & The Obvious, The Clinic, and Tribal Opera. Filter’s 1995 debut album, Short Bus, is remembered by SPfreaks as nothing less than, and I quote, “a fucking great album”. What was your involvement with this album? We noticed you are not credited for studio drumming on Short Bus.

In my early years playing professionally, I played in dozens of bands (all at the same time) and also played countless pick up gigs. I was in rock bands, punk bands, soul bands, blues bands. It was relentless but exciting. Filter recorded Short Bus without a drummer; all the drums were sampled and programmed. When the record was finished, they relocated to Chicago and set about putting a band together for the tour. I auditioned alongside a handful of other drummers and luckily got the job. We toured non-stop for the next 13 months, including two months in Europe, as the support act for Smashing Pumpkins. That was an incredibly exciting time in my life. I was just married and our daughter was barely a year old, and I had them join me for much of my travels. That is also when Brian Liesegang and I first met and became friends. He and I are still very close and continue to work on music together.

You have obviously worked with a lot of artists and bands. Does anything make Billy Corgan and the Smashing Pumpkins stand out from the rest? Can you describe how the creative process worked, and still works, with them? 

This question might require me to write a book to answer thoroughly. Suffice to say, what stands out most in my mind is the intensity. Intensity is in every aspect of the Smashing Pumpkins’ process. Writing, recording, performing – even the artwork is diligently pored over. There is no part of the Smashing Pumpkins world that is not authentic or done without purpose or intent. I love that about them. Billy never takes the easy road. It can be challenging and frustrating to be a part of the process, as he will not settle for anything less than what he envisions, but I also find that incredibly inspiring.


What was the first public show you did with the Smashing Pumpkins? Where was it exactly (as far as we know it was August 23, 1996, in the Metro, Chicago) and how did it go? Were you nervous, excited, or pumped?

My first public appearance with the Pumpkins was indeed at Metro in Chicago. I remember being quite nervous actually, but also tremendously excited. Remember, I was a big fan of Smashing Pumpkins as well, and of course an admirer of Jimmy’s drumming. I still think he is one of the best rock drummers of all time; so I had the bar set pretty high for myself. I actually heard a recording of the Metro show not too long ago and was surprised at how good it was given I only had a week or so to prepare. It definitely helped having seen them so many times live when Filter was the opening act.

You went on an exhausting US tour with the Smashing Pumpkins in 1996 and 1997 – what was the most remarkable gig you performed back then in the US and why?

That tour was on the heels of a 13 month tour cycle with Filter! One show that stands out as one my favorites was when we did a surprise opening set for Jane’s Addiction in Chicago. We set up on the floor like a real opening band would have and played for only 30 minutes.  Until then the whole Smashing Pumpkins experience had been somewhat surreal, jumping in at that stage in their career, playing massive shows with all the production, etc. But in that context I felt more connected to the history, and it felt like a real band.


Billy never takes the easy road.” – Matt Walker

After that, 1997 brought you to Europe for several shows and festivals like Torhout/Werchter in Belgium and Roskilde in Denmark. Any anecdotes on the European tour you would like to share?

To be honest, that tour is a bit of a blur. Kind of peripherally, I remember the sets being very stripped down and muscular. We changed many of the arrangements, usually simplifying the rhythms and riffs. I don’t think it worked for everything but so goes the artistic process. When it worked it felt great; especially in a festival environment. I also remember a spectacular show on the seaside in Portugal, where as we played, residents living up the mountain next to us could watch from their windows and porches. I believe there is footage of that show floating around YouTube.

What Smashing Pumpkins song is the most challenging for you to play live? Were you able to follow the never-ending jams like “Silverfuck”?

The challenge to “Silverfuck” was not so much technical, not that it wasn’t technically demanding, but more being able to ride the improvisational wave night after night. There was a loose blue print, but it was never the same arrangement two nights in a row. So getting into a head space where I’d be able to ebb and flow in tandem with the other band members was the challenge. Reaching the peaks at the same time, knowing when to break it down, etc. These are the mechanics of a language that a band learns over years, and I had to learn their language in a matter of weeks. I think all my experience playing with different bands in the club scene helped immensely, as it gave me the confidence to take risks at such a high level of performance. Truth be told, it takes guts to go out and wing a 25-plus minute epic improvisational jam in front of 20,000 people. From a technical point of view, “Jellybelly” was definitely the hardest song to play live. I think I only had to attempt it twice, and it did make me feel better when Jimmy told me later he only nailed it one time, and that is the take that is on the record!

[SPfreaks: more YouTube footage of Matt on stage with Smashing Pumpkins is to be found here.]


At some point you stopped drumming with the Smashing Pumpkins and passed the sticks to Kenny Aronoff. We know that it had to do with recording the first album of your band, Cupcakes. The last known gig you played with the Smashing Pumpkins during this period was December 5th, 1997, in the Orange Bowl, Miami (FL). Then, Kenny played the whole of 1998 with the Smashing Pumpkins and was replaced by Jimmy Chamberlin in early 1999. How did the transition between you and Kenny go? Did you leave the Smashing Pumpkins with a satisfied feeling, a broken heart, or were you just exhausted from the intense touring and recording during 1996 – 1997?

It was a bit of everything. It was such a whirlwind and much of it was great, but about half way through the Adore session all the darkness seemed to catch up to us. Billy and I were at odds and it just seemed to make sense for me to turn my focus to Cupcakes who were already signed to Dreamworks. I was just waiting for my schedule to free up so we could record our debut. I fell out of touch for a short time with Billy, but I remember running into him in NYC not too long after the split, and he was excitedly telling me that Kenny was coming into the fold. Kenny is an iconic drummer, and although some fans questioned the choice stylistically, it was a perfect example of Billy not being afraid to change things up, take some chances, and see what might come of it.

Obviously, December 5th, 1997, was not the last time you played live with Smashing Pumpkins. You joined them again at their then-final show on December 2nd, 2000, when you played percussion on an alternate version of the song “Muzzle”, and drums on “1979”. Meanwhile, Jimmy played acoustic guitar! You once again joined the Smashing Pumpkins on percussion during the Chicago dates of their 20th Anniversary Tour in November and December, 2008. And not to be forgotten, you also performed with the Smashing Pumpkins at a benefit concert at the Metro in Chicago, in July, 2010, for an encore of “1979”. It would  seem to follow, there is a firm connection between you and the band since 1996. What exactly makes you feel so comfortable with the Smashing Pumpkins, and how would you describe the bond?

The bond is really my friendship with Billy. After I left Smashing Pumpkins, we became closer and closer as friends. The musical collaborations since have been an extension of that bond. We have also worked on numerous projects together- both Smashing Pumpkins-related and others. We share many of the same tastes in music, and even have a similar family background (growing up near Chicago), and both of our fathers are musicians. We relate on many levels. I think he and I will be making music together for years to come.


Billy Corgan’s tweet, June, 2010

There is indeed a long list of collaborations between you and Billy Corgan and the Smashing Pumpkins. In the previous article we dedicated to you, it was mentioned that you were involved with several tracks on the Adore album, “The End Is the Beginning Is the End” from the Batman and Robin movie, the Ransom soundtrack, James Iha’s solo album, Let It Come Down, and Billy Corgan’s solo album, TheFutureEmbrace. Is this list complete? Did we forget anything in relation to your contributions to members of the Smashing Pumpkins?

I think that is complete, although there very well could be something I am forgetting about! Perhaps it’s worth mentioning here that I have nearly finished an extensive documentary on Billy’s Chicago songs. And when I say documentary I do mean the film side. Those sessions were all filmed, and I spent a few months going through the footage and editing it all together. I was somewhat surprised at how well it came out; it really shows the intensity and relentlessness of Billy’s composing and recording process. It’s a cool project because with all the footage available to me, I was able to trace the journey of each song from beginning to end. I am not sure when the documentary will be finished and released, but probably within the next year or two.

Thanks for sharing this update on a much-rumored-about future Billy Corgan release. We also noticed you have been involved with the reissue series of the Smashing Pumpkins albums from the 1991 – 2000 era. On January 14th, 2014, you tweeted, “Working on Adore reissue – songs I don’t even remember tracking – dark and beautiful”. In what way were you involved with the Adore reissue, and what can you share about that process?

I remixed a handful of songs. But not remixing like turning them into extended electronic versions – more a reimagined arrangement of the song. For instance, I would look for elements that were either not used or buried in the album version and build a new picture from them. From there some of the basic arrangements changed as well. I also got to finish a version of Gary Numan’s ”Every Day I Die” which I had actually tracked drums on. There wasn’t too much there so I got to add most of the synths. Being a massive Numan fan, that track was a blast to work on.


TheFutureEmbrace Tour 2005

Are there any specific takes you remember, which are not scheduled for release on the Adore reissue, that should definitely appear on a future Smashing Pumpkins’ release?

Billy wrote a great song called ”Signal to Noise” which was never released by Smashing Pumpkins. He let one of my previous bands, theMDR, record the song as part of a Spin tribute to Smashing Pumpkins. I’d like to work that up with Billy as a proper Smashing Pumpkins release – maybe one day!  Also, there were many other songs written for TheFutureEmbrace which were really cool.  I hope they see the light of day as well.

In November, 2013, you announced you would be, “drumming again for Morrissey, beginning with a performance at the Nobel Peace Prize ceremony in Oslo, Norway”.  How have things progressed since then?

I’m very happy to be playing with Morrissey once again. We recorded the new record, World Peace is None of Your Business, at studio La Fabrique in the south of France in early 2014. Joe Chiccarelli produced it. We then toured the States in May and June and will hopefully continue to tour later this year.


What else are you currently up to, Matt? There is always so much going on around you!

I indeed have several projects in the works. My solo endeavor is called of1000faces, and I am working on two releases. This will be the first mention I make of this first one. I’m collaborating with my good friend and ex-Filter bandmate, Brian Liesegang, on this first project, which is heavily influenced by the krautrock movement of the 70s. I started writing the songs while in France recording with Morrissey, and once back in the States I asked Brian to lend his talents to the production.  From there it has blossomed into a full-blown collaboration. Although the material is largely instrumental, the record will feature numerous guests on vocals and various instruments. I also have a new band called Stuttgart with my longtime friend and musical collaborator, vocalist Preston Graves. We have released one EP and we are close to finishing the second.  Lastly, I am nearing completion of Chris Connelly’s next solo record, which I am producing – and of course drumming on!

Are there any other artists or bands you would like to work with in the future? Can you tell us why?

Well David Bowie would be one! But that’s not going to happen, so I started a Bowie tribute band called Sons of the Silent Age with Chris Connelly and occasional guest member, Shirley Manson, of Garbage. Speaking of which, I loved playing with Garbage! I have filled in for Butch [Vig] a few times and they are an incredible band. I hope I get to play with them again someday. I am also looking forward to doing more collaborations with of1000faces, so we will see where that leads. And who knows who might be involved…

Thanks again to Matt Walker for spending some precious time with us. It is truly appreciated! Matt will be in action again very soon.  Alongside others, Matt will be joining Billy Corgan on August 30th, 2014, for his special* performance at the Chicago-based Ravinia Festival.



*“Clue #1 is the show is being broken into 5 small acts, with hopefully a different emotional result in each; and in which the centerpiece is a 9-song ‘Mellon Collie Suite’ which celebrates the 20-year anniversary of that album’s writing.” – Billy Corgan.


Mark Ignoffo Talks Smashing Pumpkins

Interview by geo folkers


In late 1988, early ’89, Mark Ignoffo had an opportunity to work with a young Smashing Pumpkins. Here are a few questions that Mark was kind enough to recently answer:

You had an opportunity to work with one of the greatest bands ever.  How did you come to meet the Smashing Pumpkins?

Well, as with most things it was merely by chance. My family was having a garage sale and I was selling an old Farfisa organ. A young guy stopped by and saw the organ and asked if I played keys and the conversation morphed into my recording studio which was located in the basement of the house at the time. He said, “man there is an incredible guitar player you have to hear. He works down the street at this used record store.” So somewhere in the next few weeks I stopped in at the “Record Hunt” and met Billy.

What was the Smashing Pumpkins like in the early years?

At first, it was just another band that I was going to record. Most everyone that does a demo has the grand dream of being discovered. It was immediately obvious that Billy was a phenomenal guitar player, but in the music industry, talent doesn’t mean success as you can tell by listening to the radio. I wasn’t familiar with some of the bands he liked, such as Dinosaur Jr. which I think was good because I approached the recording with the perspective of not trying to “match” a sound. I remember him telling me he really liked some of the Beatles production techniques and I believe he was reading a book about it at the time. James was always a pretty quiet guy in the studio. Nice but never said too much. Jimmy was mostly there just to do the drums and didn’t usually come in for the overdubbing. D’arcy was easygoing but one Saturday morning session she made it known she was not a “morning person”. Not in a mean way, but she would have preferred to start later. It got a little tense sometimes between them but never tension towards me.

How often did you work with the Smashing Pumpkins?

I worked with them for approximately a year but I don’t recall if we started late in 1988 or early in 1989. It was in February of 1990 that I moved my studio to Florida and I remember completing the last of the recordings right before I left.

Was there something special about working with Billy Corgan? His drive or work ethic?

I can say without a doubt that he was the driving force of the band. I’m sure even he would admit maybe being a bit of a tyrant at the time but he knew what he wanted and expected everyone to do their part. They had limited funds and didn’t want time wasted in the studio with someone doing a million takes. I will tell you that I feel we had a great relationship working in the studio together. It was always professional but relaxed, especially when we were mixing. I think to this day that his amp was one of the loudest I ever recorded in the studio.


You played the organ on “Rhinoceros”. How did that come about?

This was a bit of a surprise thrown at me while working on the song. He said he wanted to do an alternate version of the song with a keyboard solo. Billy knew I played keys and my background was deeply rooted in the progressive rock bands. Rick Wakeman was my favorite keyboardist at the time and still is. The first thing he said was I don’t want you to play any of that Wakeman stuff like a typical solo you would play. He said I want it to be really weird… really odd. It was done on some small synth with a very limited range and I don’t think they were even full size keys. Even though I had a Hammond B3 he wanted the synthesized organ sound. Maybe he just wanted to see me struggle to play on that little keyboard [laughs]. I think that by doing it this way he didn’t want me to think out a more structured idea. So I tried not to think musically and just play weird. After a few takes he said something like “yeah like that”. I probably had a confused look on my face [laughs]. There is also another song with heavy organ in the background but you have to really listen closely.

Are there any Smashing Pumpkins songs recorded no one has ever heard that you were involved with?

Not that I’m aware of. I think everything is out there.


I’d like to give a big thank you to Mr. Ignoffo for the time to answer a few questions. He continues to be active with music and is the Owner/President of Reel Time Duplication in Daytona Beach, Flordia.

The Cold and Lovely : On Ellis Bell and More

Interview and Article by SPfreaks

SPfreaks recently had a chance to catch up with Nicole Fiorentino and Meghan Toohey after their Record Release Party for their newest release, Ellis Bell.


Ellis Bell (front cover)

The Cold and Lovely recently had a Record Release Party for your new EP, Ellis Bell. How did it feel to showcase those songs for the first time?

Meghan – It felt great. Because of some scheduling conflicts with Patty and Mel, we have a new drummer (Erin Tidwell) and keyboard player (Jennifer Goodridge) playing with us now and they are really adding new energy and excitement to the band. We never really got a chance to even feel like a band before with Nicole touring all the time and Mel living in NYC; but now we actually rent a rehearsal space together and enjoy the process of practicing. For a first show I thought it was solid and the songs went over well live. I can’t wait until we’ve had a few months of rehearsals under our belts.

Does The Cold and Lovely have any particular history at the Bootleg Theater? Any particular reason you wanted to have the record release at this location?

Meghan – I’ve played there a few times with other artists and always liked the vibe and thought the room sounded good. They also have a projector set up and we knew we were going to have our video set up be a big part of the show.


Poster from Record Release Party

The new release is an EP – was this intended from the beginning? Did you ever want Ellis Bell to be a full album?

Meghan – We had a strong group of songs and thought it would be great to just get something out quickly. The first record wasn’t quite where I wanted it to be sonically, so this time around I wrote songs specific to a style of production, as opposed to try and fit a song to that style.

How would you describe the vibe of the new release? Where was your band at the time?

Meghan – I definitely think I was ready to work. When Nicole came home from the last tour and listened to the mastered album, we basically both agreed we had something special with these recordings and we should make a run of it with the band.

Ellis Bell was the pen name used by author Emily Brontë in the 19th century. What is the significance of Emily’s work on the band?

Meghan – I’m a huge nerd and love all things from the Romantic literature period. I had read Wuthering Heights and loved it. I ended up binge watching Masterpiece Theater and A&E classics and it came on one night. I got obsessed with the story; which lead to writing the song based around the plot line. I ended up researching Emily Brontë and discovering the name “Ellis Bell”.


Emily Brontë (portrait by brother, Branwell Brontë)

The Cold and Lovely is a powerhouse of women in a rock band. Is it important to remain an all female band? How does that play into the music?

Nicole – I think it’s an exciting time for women in rock. There are a lot of all female bands right now (HAIM, Savages, Warpaint, etc.) and it feels like a resurgence to me, because when I was a teenager I was really into Riot Grrrl and that played a huge role in why I became a musician. If I can inspire one young girl to play music then I feel like I’ve done my job. Nothing is more heartwarming to me than someone telling me I am one of the reasons they picked up the bass – especially girls. Rock and roll is still a male dominated world and I feel really good that I have been able to claim my stake in it. I want other girls and women to feel empowered in that way. That’s why we want to keep The Cold and Lovely all women and why we are so involved in Rock Camp for Girls.

Speaking of women in music, how do you feel about Miley Cyrus’ recent controversy to include Sinead O’Connor’s open letter rejecting “prostitution” in music? Is it okay to be a woman in rock and be sexually provocative?

Meghan – I think it’s ok to be sexually expressive as a woman. Where I get lost is the fact that we are dealing with a young woman who has grown up as a role model to young girls. Miley’s choices are her own, but they kind of bum me out because I think she should have a sense of responsibility to a bigger community than just girls that are comfortable being overtly sexual. Madonna also had amazing songs and style. To me, Miley is trying to shock people and I just think she’s boring – but that’s my own opinion. Give me a great song and then take your clothes off or leave them on…

The Cold and Lovely is still fairly underground, but you have a very strong and committed fan base. Can you attribute that to any one thing in particular – perhaps everyone’s history in some very iconic bands?

Nicole – I think it doesn’t hurt that we are all seasoned veterans; it piques people’s interest for sure. And I think there are a lot of Smashing Pumpkins fans out there who wouldn’t have necessarily heard of us otherwise. I am so grateful for all of [their] continued support in my projects outside of Smashing Pumpkins. But I think ultimately the music speaks for itself. Maybe people are drawn to it because of the names attached, but they keep listening because it’s solid music. I am confident in saying that. ; )

How did you meet all the members of The Cold and Lovely? How did your band come to fruition? Meghan mentioned “Not with Me”, at the show, as something that you wrote together which convinced her to start a band. Is it that simple?

Nicole – Meg and I met through mutual musician friends about six years ago. I listened to some of the demos she had on her computer and was astounded that she hadn’t released any of them yet. Around the time I joined Smashing Pumpkins, she decided to start working on those demos and wanted to do a proper recording of them. I said I wanted to be involved as much as I could because I loved the songs so much. We met Patty at Rock Camp for Girls; where we all volunteer. Soon after, we got into the studio and recorded our first self titled LP.

Who do you consider, as a group, to be some major influences on your musical style? Reversely, who do you consider to be very relevant in today’s competitive, evolving, and oft watered-down climate?

Meghan and Nicole – The Cure, Led Zeppelin, Heart, PJ Harvey, Sonic Youth, My Bloody Valentine. Listing relevant artists is tough to approach. We love a lot of “newer” bands like Radiohead, Silversun Pickups, Arcade Fire, St. Vincent, Tegan & Sara, etc. There’s also tons of amazing new music out there, but there’s also lots of crap. It almost takes more effort now to find your new favorite band in a sea of home recordings and/or people being able to post their music everywhere independently. I miss being able to go into record stores and browse and listen or check out “Staff pick”.

You personally played a Fender for a very long time and switched over to a Reverend. At the show, Meghan mentioned having some guitars custom made. Do you also have custom basses? Which do you prefer? Live vs. studio make any difference?

Nicole – Yes, I’ve been playing Fender since I was 14 years old. My first bass was a white Fender Jazz and it got stolen out of my car within the first week of moving to LA (note to self: never leave an instrument in your car in downtown). I am also playing both the Justice and the Decision basses by Reverend now; both of which I adore. And I recently got a beautiful bass from my friend, Lindz McKay, who builds replicas of vintage guitars. He built one for me that mimics an early 70’s jazz bass and I fell in love with it. His company is Bonneville Guitars. I really love [playing] Reverend with Smashing Pumpkins because they’re super punchy and cut through the wall of guitars. The Bonneville is great with The Cold and Lovely because it’s got a warmer tone. I mostly used a ’62 Fender Jazz on Oceania because you can’t beat the sound of a vintage guitar on a recording; but I don’t like to travel with expensive gear. On Ellis Bell I used a Fender Mustang with totally dead strings for that smooth, yet dirty, tone.

You responded once on a Twitter Q&A to having liked cassettes; especially because of the mix tape aspect. Did you ever make one or were you ever the recipient of one? Do you remember the songs?

Nicole – Someone made a mix tape for me right before I moved out to LA from Massachusetts, and I loved it so much that I listened to it all the way across the country in my U-Haul. The songs became my anthems for one of the biggest steps I ever made in my life. My favorite was “The Bluest Eyes in Texas”, the Nina Persson version. I still think a mix tape is one of the best gifts you can give someone you care about, because it gives them a peek at what songs have personally inspired you, and, if you choose the right songs, gives them an idea of what they mean to you. ; ) is a website that is subscription based and releases one vinyl EP/LP per month. Do you enjoy the medium and are you a subscriber? Is The Cold and Lovely pursing a release through Feedbands?

Nicole – I think it’s an incredible way for new bands to get people interested in their music. Basically, you submit your songs to Feedbands, and if they dig them, they let their subscribers vote for whether or not they will print your vinyl. Once a month they print vinyl for whoever got the most votes and ship them out to their subscribers. So as a subscriber, you get a new vinyl in the mail each month from a band that you voted on! We are in the running to have our vinyl printed right now (we only have CDs/digital available at the moment). You can sign up for a free trial period and vote for us. After that I believe it is $14.95 a month. Not bad for vinyl lovers!

SPfreaks is very dedicated to collecting and preserving the legacy of musical output. Is there anything The Cold and Lovely find yourselves collecting?

Nicole – Shoes and VHS tapes.
Meghan – Rocks and music gear.

Check out five songs played live at the Record Release Party!

For more information on tours and releases available by The Cold and Lovely, please visit their website. SPfreaks would like to thank Nicole and Meghan for taking time out of their busy schedules to answer a few fan questions and wish them good luck with the new EP!

If you are going to be in the Los Angeles area on October 30th, why not stop by the Viper Room to see The Cold and Lovely play live?  Tickets available here.


Talk Asia – CNN Interview with William Corgan

Interview by Monita Rajpal, CNN

SPfreaks is happy to present the full transcript of this interview to you, as provided by CNN Transcripts. Images are screenshots from the interview.


TALK ASIA – Interview with Billy Corgan (Aired August 23, 2013 – 05:30:00 ET)


Monita Rajpal, Anchor, CNN International (voiceover): It was one of the biggest bands of the ’90s. Known for their angst-ridden and dreamy songs, The Smashing Pumpkins are still drawing in crowds by the thousands, some 25 years after their debut.

Founded by lead singer-songwriter, Billy Corgan and Guitarist, James Iha, their first album reached gold status. But the follow-up, “Siamese Dream”, fared even better. Thanks, by and large to the song, “Today”, which peaked at number four on the alternative rock charts, solidified their status as rock stars.

It was their third album, though, that would see the band truly skyrocket. “Mellon Collie and the Infinite Sadness” sold more than nine million copies with four singles hitting the pop charts, including “1979” and “Tonight, Tonight”.

After a drug overdose killed the band’s touring keyboardist and led to the arrest of drummer, Jimmy Chamberlin, in 1996, the remaining band battled on to make two more albums.

Both failed to produce a single that would chart higher than “Ava Adore” at number 42 on the U.S. Billboard charts. And in 2000, Billy Corgan announced the end of The Smashing Pumpkins.

Seven years later, Corgan resurrected the band with new members. Today, they’re back on the road with a new album and throngs of loyal fans.

This week, on “Talk Asia”, Billy Corgan shares the drama and dysfunction of one of alternative rock’s most influential bands.


RAJPAL: Billy Corgan, welcome to “Talk Asia”.


RAJPAL: William Corgan.

CORGAN: William Corgan.

RAJPAL: When did that change?

CORGAN: I’ve been morphing for a while, so –

RAJPAL: Really?

CORGAN: Yes. I’m going to go William now.

RAJPAL: Do you feel more serious?

CORGAN: No, no. It’s just – that’s actually my birth name.

RAJPAL: Do you feel more grown up, though?

CORGAN: No. Just “Billy” gets uncomfortable at some point.

RAJPAL: Really?

CORGAN: Like, wrinkles and Billy – it just doesn’t work.

RAJPAL: Well, William –

CORGAN: Thank you.

RAJPAL: — The Smashing Pumpkins have finally made it to Hong Kong. What took you so long?

CORGAN: I don’t know, you know, it’s a weird world. Because, you know, I’ve been to Thailand and, you know, other places in Asia. And why we never came here, I don’t understand.

RAJPAL: Yes. What do you believe has been the means to the success or the longevity of The Smashing Pumpkins? I mean, we look back from the formation in 1988 to, you know, “Gish” in ’91 and now, “Oceania” today. What do you think has been the means for its longevity?

CORGAN: Well I have a saying, which is, “Crazy is good for business”. I think rock and roll really is about being a bit crazy. And that sounds like a line from a Scorpions song, but – like, “Crazy”.


CORGAN: It’s not a corporate thing. It’s been turned into a corporate thing, but really, people like me – you can’t invent people like me. We kind of come out of weird places and strange backgrounds and we can’t be sort of prototyped or copied. Although we can be imitated, we can’t be copied.

So I think that’s really what it is. I mean people – in essence, they have to go to a live band event to see this one-of-a-kind thing. And it’s no different than King Kong, you know, in chains. Like, “Rrrr”. You know, that’s how I feel sometimes. I mean, there I am. I’m a flawed thing, but there’s only one of me. And if you want to see that one of the thing, there it is.

RAJPAL: Did you always embrace that uniqueness?

CORGAN: No. Nor do I now. But, you know, like, when I was young, I hated my voice because it was so strange. And my father has a very strange voice, too. So it would be like, “Wow, why do we have these weird voices? Like, shouldn’t we have more normal voices and stuff?” But then you realize that that’s at the heart of identity.


CORGAN: Which, in a world of, kind of a lot of imitation – and you see imitation in fashion – all levels of culture. So to have any level of distinction in a world that’s really intent on copying is actually a blessing. But for years, it felt like some sort of weird curse.

RAJPAL: When we look at your album, “Oceania”, do you think it’s an album that you could have made, say, 20 years ago?

CORGAN: No, nor would I have wanted to. Because different circumstances at the beginning of what’s called the grunge era. It was really about sort of stimulating an audience and the mosh pit was probably the most important factor on whether or not a crowd was considered a good thing or a bad thing. So you’re making music to kind of create this propulsive, kinetic environment. You’re not writing songs for people to get married to. That sort of happens later.


CORGAN: If you would have asked me, you know, the 20-year-old me, about the kind of album I’ve made on “Oceania”, the 20-year-old me says some of it’s boring. But sometimes it takes those spaces and those kind of quietude to find something else. And I think we all go through that as we get a little bit older – we look for sort of different simplicities. And there’s a simplicity in “Oceania” that my earlier work doesn’t have. Where I was so intent on constantly proving something.

RAJPAL: I’ve read that you came to writing the album –


RAJPAL: The album, itself – I understand it’s supposed to be this – taken in its entirety, as a journey – not just as singles. But there are –

CORGAN: That’s kind of a press line. But I – I’m glad you read that, but –

RAJPAL: But in –

CORGAN: It’s kind of a – honestly, it’s kind of a bull-[EXPLETIVE DELETED] press line.

RAJPAL: Really?

CORGAN: Yes, because, in this day and age, you’re sort of forced to make a comparative reason – like why even bother making an album?


CORGAN: And so we were like, “Well, we’ve made something – you’re kind of forced to listen to the whole thing or you’re not going to get it”. And people actually, then, listened to it.


CORGAN: Because if you follow in the other culture, it’s really about just trying to come up with 12 singles.

RAJPAL: When you look at – I guess I read that you came – you approached it from actually a place of being happier than you have been in a while.


RAJPAL: Is that –

CORGAN: Did I say that?

RAJPAL: Was that not true?

CORGAN: No, no, that’s true.

RAJPAL: Does that, in itself, pose challenges, when it comes to songwriting?

CORGAN: There’s a long established concept that gets bandied about, which is “Misery makes for great art”. And I actually think this is – if we were asking a Shinto Monk, I think they would laugh at this idea.


CORGAN: Because you’re basically saying, “Suffering’s good for business”. And I don’t think suffering’s good for business. Crazy’s good for business, suffering isn’t. I think suffering or the gestalt of, “Here I am, ripping my heart open” – I think that lasts for about two or three albums.


CORGAN: At some point, you have to mature into the deeper work. Most people are living lives of sort of survival. And constantly posing an existential crisis, either through fantasy or oblivion, really has been pretty much explored in rock and roll. At least in the western version of rock and roll. Maybe not over here in Asia, but we’ve sort of, kind of, been through all that.


RAJPAL: So what are you exploring now?

CORGAN: God. I once did – a big American magazine was doing a thing called, “The Future of Rock”.


CORGAN: And, you know, they asked 50 artists, “What’s the future of rock?” And my answer was, “God”. And they said, “What do you mean?” And I said, “Well, God’s the third rail of -” What is it? “Social security is the third rail of politics in America”. Well, God is the third rail in rock and roll. You’re not supposed to talk about God. Even though most of the world believes in God. It’s sort of like, “Don’t go there”.

I think God’s the great, unexplored territory in rock and roll music. And I actually said that. I thought it was perfectly poised. And, of course, they didn’t put it in the interview.

RAJPAL: What would you say to Christian rockers, then?

CORGAN: Make better music.


CORGAN: Personally, my opinion – I think Jesus would like better bands, you know?


CORGAN: Now I’m going to get a bunch of Christian rock hate mail.

RAJPAL: But that’s interesting –

CORGAN: Just wait, here’s a better quote –


CORGAN: Hey, Christian rock, if you want to be good, stop copying U2. U2 already did it. You know what I mean? There’s a lot of U2-esque Christian rock.


CORGAN: Bono and company created the template for modern Christian rock. And I like to think Jesus would want us all to evolve.


RAJPAL (voiceover): Coming up, Billy Corgan reveals the sad inspiration behind one of his newest singles.

CORGAN: Well, I had two losses. Losing her as a mother and losing her as a friend.




CORGAN (singing): When they locked you up they shut me out/But gave me the key so I could show you round. /Yet we were not allowed. /Omens of the daydream. /But caught as you’re bound in Thorazine.


RAJPAL: I’m curious about the single, “Pale Horse”.


RAJPAL: And I was wondering what the origin of the title of “Pale Horse”. Was it – did it come from, and this is just my interpretation – but did it come from the –

CORGAN: It’s like “Trainspotting”.

RAJPAL: The New Testament –


RAJPAL: The Bible – the Four Horsemen of the Apocalypse – the last horse is Pale Horse.

CORGAN: I had no idea.

RAJPAL: — Which symbolizes death.

CORGAN: Had no idea. But, in your sentient intuition, what you did pick up on is that it’s a song about my mother.


CORGAN: And it’s really about the point where my mother left my life around four years old (ph). So it is really reflective of death. Symbolic –


CORGAN: — not literal. And, of course, she later died when I was 29, from cancer. So I had two losses. Losing her has a mother and losing her as a friend. So, yes, the song sort of deals with that. But I had no idea. But that’s interesting how the unconscious works, so –


CORGAN: I’ve never been a big bible reader, so –

RAJPAL: Well, neither have I, but I just was curious about “Pale Horse” and the origins of that. Another single that I really liked in “Oceania” was “One Diamond, One Heart”.


RAJPAL: It’s beautiful.


CORGAN (singing): However you must fight/Within your darkest night/ I’m always on your side. /Lovers as lonely as lanterns lost.


RAJPAL: There’s a line in it that says, “However you must fight, within your darkest night, I’m always on your side”. How hard do you think you’ve had to fight to actually get to this point where you are now? Actually, perhaps, in a different place – in a potentially better place?

CORGAN: Oh, yes. Yes. The great thing about rock and roll is, if you want to fight – like, fight the system, fight the man, fight the government, fight the people in front of you – it’s Don Quixote all over again. You’re really chasing windmills. And then the business sort of is predicated on creating a competitive atmosphere, where you want to obliterate your competition, because it sort of engenders more sales.



CORGAN: And people start doing stupid stuff – stunts and –

RAJPAL: Did you buy into that?

CORGAN: You do on some level. I grew up in sports, so it sort of always made sense to be competitive. Like, if you’re going to try to dunk on me, I’m going to dunk on you.


CORGAN: And there’s something beautiful like, you know, you read about how the Beatles and Stones would sort of take turns trying to get the number one song. I don’t think there’s anything bad with that. But realistically, artists are really in a race with their own ability. And if you too much focus on the culture – the culture’s always going to give you the wrong information. It’s been proven time and time again that cultures really don’t know what they want. Hence, you know, great artist like Johnny Cash dies, and everyone’s like, “Oh my God, Johnny Cash was great”.


CORGAN: Well, I bet if you look to Johnny Cash’s career, there are about 30 years, there, where people weren’t paying a lot of attention to Johnny Cash. Why didn’t they pay attention to him all along? Well, they were busy doing something else or they were fascinated with this trend, or something. And then we realize, “Wow, what a great treasure Johnny Cash was, not to American culture, but to the entire world”. Ultimately, the public’s going to abandon you, the record company’s going to turn on you at some point when you don’t sell enough – so it’s really an integrity game.

RAJPAL: How do you keep your integrity?

CORGAN: You have to have a root of some sort of belief system. And, for me, you know, I sort of work on the love concept, which is, you know – is what you’re doing engendered of love or is it engendered of some sort of material construct? And I think there’s plenty of evidence to prove that material constructs fail.

RAJPAL: Did it start out that way, when you created the band? Did it start out?

CORGAN: No, no. I wanted to get the [EXPLETIVE DELETED] out of my city. And it wasn’t even – it was like the Wizard of Oz – sorry for the swear.


CORGAN: I wanted to get the heck out of my city. It was like “The Wizard of Oz”. I just wanted to get on the Yellow Brick Road and get somewhere.


CORGAN: Because where I was, was just so, like, I mean, you know.


CORGAN: So leaving is a conceptual thing. Fighting the thing out there – the dragon out there- – it’s all conceptual. But if you don’t have the spiritual background, the cultural background, somebody doesn’t find you at an age and say, “You’re talented, you’re special” and get you in a system that’s going to support you.


CORGAN: Rock and roll is basically, you know – it’s a system of exploitation.


CORGAN: And I hate to use the word because it’s honestly disrespectful, but it’s a slave system. It’s an indentured sort of slave system where they kind of lock you in and then they play tricks with your mind and try to get as much out of you, predicated on the idea that you’re only going to last four or five years.

RAJPAL: But that system –


RAJPAL: — did get you recognized. Did get you –

CORGAN: Did it?

RAJPAL: Didn’t it?

CORGAN: Where are all my fans? There’s no one waiting in the lobby over there.

RAJPAL: Security.

CORGAN: I don’t see anyone waiting over there.

RAJPAL: But they have been. They’re coming to see you.


RAJPAL: They’re going to – you sell tickets.

CORGAN: Yes, that’s just.

RAJPAL: People still buy your albums. People still know who you are. Your music was heard.

CORGAN: It’s meaningless.

RAJPAL: Really?

CORGAN: It’s meaningless. The only thing that means anything is what you create. That’s where the great Beatle line, you know, “The love you make is equal to the love you take”. Or I always get it wrong. But I mean, that’s really what it is.

So my experiences in music really have to do with the people I’ve met, the things I’ve seen, the ability to absorb different cultures, different ideological frames. Come in contact with people who have no relationship to “Gilligan’s Island” and the silly, weird ’70s world that I grew up in.


CORGAN: It’s fantastic. It’s a spiritual education. And what I’ve created out of that journey is the value. Whether anybody gets it or doesn’t – that’s really, honest, inconsequential.


RAJPAL: So we have this side of William Corgan.


RAJPAL: Then we have the other side as well –

CORGAN: She’s a very good interviewer. I like her.




CORGAN (singing): Believe in me, believe, believe/ That life can change that you’re not stuck in vain./ We’re not the same, we’re different./ Tonight, tonight, tonight/ So bright/ Tonight.


RAJPAL: So, when you look back at the albums that you have created.


RAJPAL: Such as multi-platinum albums like “Siamese Dream” –

CORGAN: Right.

RAJPAL: “Mellon Collie and the Infinite Sadness” – what are your interpretations of that time, now?

CORGAN: I see them as faithful postcards to where I was. And they are inherently beautiful for what they express in their limitations.


CORGAN: But I see them as limited within their moment.


CORGAN: But it’s also the culture’s moment, too. So, for example, you listen to music from the early ’90s, there’s idealism. You listen to music by the end of the ’90s, that idealism is gone.


CORGAN: Today is the greatest/ Day I’ve ever known. / Can’t live for tomorrow/ Tomorrow’s much too long.



RAJPAL: Songs like, “Today” –


RAJPAL: From “Siamese Dream”.

CORGAN: Right.

RAJPAL: “1979” from “Mellon Collie”.

CORGAN: Right. I did write those.

RAJPAL: “Zero”.


RAJPAL: Those kind of songs –


RAJPAL: — those are important indicators of the certain emotion that was – at least that you felt, at that time.


RAJPAL: What are your memories of your life at that time?

CORGAN: I was miserable. I was totally miserable. So I was operating off of more of an idealism. Like, who I wanted to be or who I wished I was.


CORGAN: Because who I really was or how I felt I was, was miserable. Because I had no frame by which to deal with the situation I was in.


CORGAN: I was in an unhappy band. I’d sort of found whatever I needed to find and – but it wasn’t this magical thing I thought it was going to be.

RAJPAL: What about, then, the success of those albums? Like, I love “Siamese Dream” –

CORGAN: Well, they were good.

RAJPAL: Well, you were happy with that, though, right?

CORGAN: Yes, but you could argue that the success of those albums is very much a communication between two limited perspectives. So if you make dumb music for dumb people and dumb people buy it, it doesn’t mean it’s good.


CORGAN: Well, if you make repressed, middle class, white, suburban, existential crisis music and a bunch of people just like you buy it, is that success?


CORGAN: I mean, yes, it’s success in the form of communication. But is it success in being true? No, it’s not true. It’s true to its corner, but it’s not true.

RAJPAL: Where does this need to –

CORGAN: Ruin my career?

RAJPAL: –search – no. No, no. To search and seek these kind of answers – come from?

CORGAN: I don’t know. I think you’re just born with it. What do they say in America? You have a high BS meter. You know what I mean?


CORGAN: Yes, I stopped going to the – you know, I was raised Catholic and I stopped going to church when I was eight. Because I was like, “What is this?”

RAJPAL: So, you know, there are some shrinks out there who would say –


RAJPAL: — and bear with me for this one –

CORGAN: Have you been to a shrink?

RAJPAL: Well, haven’t we all? There’s some shrinks out there who would say that the people that we are connected to, or we find ourselves connected to, are there to help us reconcile certain issues or –

CORGAN: Karmic wounds.

RAJPAL: Yes. And the people that we are most intimate with, whether our partners, band mates – they are there to help you recognize and work though those issues.

CORGAN: Right.

RAJPAL: Is that what The Pumpkins were for you? The original band?



CORGAN: No, we were four strangers who agreed on a musical vision. And we did more harm than good.

RAJPAL: In what way?

CORGAN: It was destructive.

RAJPAL: But then, some could say, well, if you look back at your – say, when you were growing up – same kind of dysfunction, right?

CORGAN: True, true.

RAJPAL: What did you learn about yourself in that experience?

CORGAN: Which one?

RAJPAL: The first band experience.

CORGAN: I would say the key experience for me, from the original version Smashing Pumpkins was, “What is loyalty?” What is loyalty? Because I had a false concept of loyalty and I rode that ship all the way to the bottom. When most people wiser than I, would have jumped off the ship when it was to their benefit.

So people always say, “What’s your greatest career regret?” It’s when the band blew up in ’96, that I didn’t jump off and make a new ship. I rode that ship all the way to the bottom. Like, literally, until it was like the bubbles were coming up and I was sitting there like –

RAJPAL: Is it kind of like, you know, when you’re staying in a bad relationship, that you’re always hoping that something will change. That things will work out in some way, shape, or form.

CORGAN: Yes. I’m sure you’ve only had successful relationships, but I mean, if you’ve ever been there where you’re breaking up with somebody for the ninth time –


CORGAN: And you’re like, “Ok, this is real”, right? You know.


CORGAN: We did a lot of that. We didn’t really break up so much as we were like, “OK, now it’s going to be like this, or it’s going to be like this”. And then, of course, nothing would change.

RAJPAL: What about when it comes to what you learned about yourself from your family?

CORGAN: False loyalty.

RAJPAL: Again?

CORGAN: I think a lot of people really struggle with false loyalty.

RAJPAL: I read that your dad said that you’d saved his life? On many occasions?

CORGAN: He’s being generous.

RAJPAL: That there was an article where he was quoted as saying that, “I grew up in a house of no love or emotion and it kind of sticks with, you end up passing it on to your kids”. Is that -?

CORGAN: That’s fairly accurate.

RAJPAL: Really?

CORGAN: Yes. Accurate.

RAJPAL: Your dad was a musician.


RAJPAL: Still?

CORGAN: No, he doesn’t play anymore.

RAJPAL: did you ever want to be like him?

CORGAN: Oh yes. My father was my idol.

RAJPAL: Really?


CORGAN: Yes, I wanted to – I mean, this bad posture I took from him, too. He’s very charming. He, you know, was very handsome and I mean, he looked and moved like a rock star, so –

RAJPAL: When did you finally feel – or have you – a sense of stability in your life?

CORGAN: Never.

RAJPAL: Never?

CORGAN: Never. No. I’ve invested in one particular concept and it’s – I would say as we – it’s a wash. I’m happy to have done what I’ve done and I feel privileged to have communicated. Blessed to have been recognized, where many people don’t –


CORGAN: But yes, personally devastating.

RAJPAL: What do you think will be your legacy?

CORGAN: I think I’m a radical. I think I’m an artistic radical and I think I’ll be recognized as one. I’m a really good musician and a songwriter, but I think my real legacy will be as a radical. I am a radical in an era when there are very few radicals. In my business – I know there’s plenty in other places. But in my world, which is supposed to be full of radicals, there’s actually very few.

RAJPAL: So we have this side of William Corgan –


RAJPAL: Then we have the other side as well –

CORGAN: She’s a very good interviewer. I like her.

RAJPAL: — where we have the tea-drinking, tea shop-owning, and pro- wrestling-loving man.

CORGAN: Boy-child.

RAJPAL: Very different elements. Or are they the same?


RAJPAL: Pro-wrestling — what’s that about?

CORGAN: It’s fun.

RAJPAL: See? You do have fun.


RAJPAL: Really?

CORGAN: In quiet moments. When no one’s watching.

RAJPAL: William “Billy” Corgan –

CORGAN: This is where you say, “Goodbye”.

RAJPAL: Thank you for your time.