• Smashing Pumpkins, MACHINA • The Violent Femmes, Freak Magnet • Rollins Band, Get Some Go Again

Smashing Pumpkins

Some may fault Corgan for getting a bit too presumptuous, as the title and some of the songs ("The Sacred and Profane") stray a bit too far from rock-and-roll basics, and more toward larger philosophical or religious issues. Perhaps Corgan sees the Pumpkins' music as salvation for all us lost lambs, but personally, I don't want to be preached at; I want to rock.

And in that respect, the majority of the disc does just that. "Heavy Metal Machine," for example, rocks hard, with guitar distortion oozing all over, Corgan's vocals, with that trademark pleading whine, and James Iha's sneering guitar leads falling through in the breaks. It's a dark, heavy song, gothic, relentless.

At other times, the softer side of the Pumpkins peeks out of the patch. "Try, Try, Try," more of a ballad, forges ahead with beautiful, layered guitar work and a bouncy keyboard, all propelled by Jimmy Chamberlin's strong drumming.

Speaking of Chamberlin, it might be a good time to explain the current lineup. Jimmy was canned in the mid-nineties for drug problems (during the same period keyboardist Jonathan Melvoin died of a heroin overdose), but has since cleaned up his act and returned. Things are not so rosy for bassist D'Arcy Wretzky, who plays on the CD but was booted in September, replaced by ex-Hole bassist Melissa Auf Der Maur.

"I of the Mourning" is another song that's typical of the disc. The song starts innocently enough, light and airy, with Corgan singing, "Radio, play my favorite song, radio, I'm alone… please don't go." It's almost ethereal, but quickly builds over time, guitars come crashing in like high tide, the dynamics increase, everything is suddenly frenetic, and you wonder how it got that way. It's deceptive, and that's what makes it so good.

Freak Magnet uses a bit more electric guitar than the Femmes are known for, and the result is a harder edge. While critics have been known to cringe at the band's sound (the predominantly acoustic attack of their previous work can be a bit trying), there should be none of that here. Overall the song selection is balanced. The playing is clean and clear, with just enough playfulness to remind you that, after all, this is the Violent Femmes. Chances are the song you'll be hearing most is "Sleepwalkin'," which opens with the lyrics, "Someone suck me, late last evening, and it was time to make a change." Just the kind of song for the sequel to "American Pie." It's frenetic, upbeat, and typical Femmes.

There's a good variety here. The title cut, "Freak Magnet," with its nice guitar work sounds more like Television or Tom Verlaine. "New Generation" is a kind of punk/Beach Boys song, with an enthusiastic bounce to it like early B-52's. "Forbidden" will have you checking the cover to make sure you have the right disc, since its folky sound will remind you of Pete Seeger crossed with the Mamas and Papas. On "I Danced," the guitar work is vintage Buzzcocks.

And some songs will drive you nuts. "At Your Feet" with its monotone vocals is a rigid number that never takes off. But that's the chance you take with the Femmes. The vocals are usually quirky, the lyrics are funny, the songs can either be straight ahead or take the long way around the barn, and sometimes you wonder how these guys have lasted so long, let alone made a living at this. But that's the Femmes for you. Oh, and be careful. They're violent.

In "Illumination" he sings, "At night the highway's diesel roar, speaks to me and tells me more, than any book I've ever read, or anything you ever said, the silent eyes inside, I watch myself and worlds collide, the seasons burn and crack my skin, I stay outside and live within." Other songs are just as in your face and full of attitude, like "Monster," a throbbing number, or the title cut, "Get Some Go Again," where he sings, "Look in my eyes, and you know what I came here for." Well, maybe "sings" isn't the right word. Maybe push, or throw, or fling. There's no mistaking Rollins for a crooner, but then again, would you expect something soft from the former singer of Black Flag? (If you're not familiar with him, go find a copy of "Liar" and throw it on. Turn it up loud too. It's a gentle song.)

For Get Some Go Again, Rollins hooked up with LA power trio Mother Superior (guitarist Jim Wilson, bassist Marcus Blake, and drummer Jason Mackenroth), with guitar cameos from MC5's Wayne Kramer and Thin Lizzy's Scott Gorham. The back-to-basics approach works well here. There's a primal quality to the music and production that allows Rollins to make his presence felt without overshadowing his bandmates. Just don't forget to duck.

March 2000