The Smashing Pumpkins - gish liner notes

'Gish'는 Smashing Pumpkins의 데뷔 앨범으로, 당시 대중음악에 큰 변화를 일으킨 작품이다
Billy Corgan은 밴드가 경험 부족 속에서도 아름다움과 창의력을 담아낸 음악을 만들었다고 회상한다
그들은 대중의 관심을 받기 전, 자신들만의 길을 개척하며 독특한 음악적 정체성을 확립했다

"When I listen to Gish," Billy Corgan says today, "what I hear is a beautiful naivete."
They say you never forget the first time, and even twenty years later, the 1991 debut album by Smashing Pumpkins — guitarist and vocalist Corgan, drummer Jimmy Chamberlin, bassist D'arcy Wretzky and guitarist James Iha — remains the unforgettable start of a musical conversation that continues to resonate with millions of fans all around the world.
In retrospect, Gish can clearly be heard as a groundbreaking album in the history of what would soon become more much widely known as alternative rock. Gish was, after all, the promising debut of a band that would help alternative rock quickly become part of a new, grungier mainstream. But back in the beginning, Gish was simply the memorable opening salvo by a band from Chicago that really didn’t fit in anywhere in the rock world — that is, until bands like Smashing Pumpkins helped changed the rock world once and for all.
To hear Corgan tell it now, Smashing Pumpkins came by their beautiful naivete naturally. "We'd had very little exposure to the national stage," he explains. "There's no way that if we had been exposed to all of what was going on in New York and L.A. earlier, we would have made Gish. This is one of those weird albums that sounds like it came from some guy who crawls up out of the basement holding a record in his hands proudly — a little like the first time we heard Dinosaur Jr. You think, ’who the hell is this? And where did that come from?'"
According to Corgan, the album originally came from Smashing Pumpkins' early vow of poverty. "The roots of Gish are the fact that the band had a policy then that nobody made any money from the shows, so we could save up to record," he explains. "It was amazing that everyone agreed to it because none of us had any money back then. So by 1989 we had collected a couple grand from playing club gigs. A guy named Mark Ignoffo, who lived in the neighborhood near where I worked at the used record store, had just graduated studio-engineering school. It turned out he had set up a studio in his parents' basement, so in 1989 we took that saved money and made an album — even though we had no one to make an album for. There was absolutely nobody interested in our band. So we just made an album-plus worth of material hoping somebody would become interested. And if you listen to that material, it sounds very much like Gish turned out."
Smashing Pumpkins made a few copies of songs from these basement tapes, and gave one tape to Joe Shanahan, the owner of the Metro club in Chicago. "I didn't hear back from Joe for a month, and I remember thinking 'that's not a very good sign,"Corgan remembers. "But then after a month, Joe told me, 'I can’t get this thing out of my car stereo.’ Joe said he wanted to send the songs to some people he knew in Los Angeles. That's how we got our first managers — Andy Gershon and Raymond Coffer who at the time were managing The Cocteau Twins and Love and Rockets, both of whom we were fans of. Ultimately this led to us getting signed — though true to form, we did that by taking a weird path too."
After releasing their first-ever single "I Am One" on Chicago’s tiny Limited Potential label, the Pumpkins tried to get signed to the famed independent Seattle label Sub Pop, already the early home to Nirvana and Soundgarden. "They could have had us for nothing and a song, but of course, Sub Pop weren't really interested in us at all," Corgan says. "But they threw us the bone of doing a Sub Pop Single of the Month. That's when Virgin — now EMI — stepped forward and said they wanted to sign us. Sub Pop came back offering us an album deal, but by then it was too late."
The Smashing Pumpkins signed to Virgin with the stipulation that they could release a debut on Caroline Records first. "We didn't want the trap door to open if the first record didn’t sell well," explains Corgan. "Our idea wasn't to conquer the world. Our idea was to put together a good first record on an independent, then tour our rear ends off, and get our act together. That way by the time we made our second record for a major label, we'd be a better band and have a bigger opportunity. Then we'd be ready to try and climb the holy mountain."
One man who did a great deal to make The Smashing Pumpkins better was producer Butch Vig, who met the band when he was behind the boards for the band's Sub Pop Single of the Month "Tristessa" backed with "La Dolly Vita." Vig had been recommended by Mike Potential of Limited Potential. "Then I heard a record Butch did with Die Kreuzen, and I thought the kick drum sounded fantastic for an indie record," says Corgan. "That did the trick. Jimmy's such a powerful drummer, and I figured this guy could capture what Jimmy was doing. Then I found out Butch had been in the band Firetown, so I felt like this guy knew what he was doing."
In 1990, The Smashing Pumpkins drove to Madison, Wisconsin for two days to cut the Sub Pop single, and were quickly impressed. "The great thing about Butch was like Pro Tools before Pro Tools perfection. He really stressed sonics and good singing. Before Butch, I didn't understand even the concept of what it meant to sing in tune. I mean that literally. Butch insisted on getting it right so the band sounded super tight. But I find all great producers have a similar quality. Beyond their talent, they're someone you like hanging out with after a twelve-hour day. You're still laughing with them. Butch is a very warm person, and we knew him before he became 'Butch Vig.' He's also got this Midwestern quality of playing it all down. He doesn't act like one of the great rock producers of all time — which he is."
Recording Gish was done in spurts. "We would drive up to Madison for four days at a time — or six days at a time. We had no money, so Jimmy and I were staying with some really nice college girls who let us stay in their house for free. That gave us a little more money for the record. The studio was $500 a day, and that was with Butch included. If my memory serves me correctly, it took us 41 days to record the album and seventeen days to mix."
In the high profile and sometimes traumatic years that would follow, The Smashing Pumpkins would prove to be a highly volatile group. But as Corgan says today, "The thing that distinguishes Gish for me was how incredibly supportive the band was of the vision I had. That was a leap of faith then — because even though we were drawing good crowds and getting a good reaction, you'd only have to walk outside the club to find someone who thought we were too loud, or too this or that. There were people who said my voice was too weird, and yet the band was incredibly supportive of me."
That said, The Smashing Pumpkins was never the coziest of rock bands. "I think what made the Pumpkins special was that we weren't a rock & roll gang," says Corgan. "We were four completely different people. And even though James and D'arcy were a couple at the time, they were totally different personalities too — like Lucy and Desi from TV. It was clear, if we weren't a band, we would not all be hanging out much. But we were a band at heart. One thing I like to distinguish is that there was only one mention of us in the Chicago press before Gish came out. We would play the Metro and draw 800 people, but no one in the media noticed. We were totally ignored. Fortuitously, we fell between the cracks then, but eventually made a place for ourselves. No one else got us, but we did."