100-1: Every Smashing Pumpkins Song Ranked
*bows slightly* |
| 100 |  | The Smashing Pumpkins
Siamese Dream
100. Luna:
A lovely acoustic ballad that fits far better as a closer to Siamese Dream than it probably should, it ends the album on a surprising but fittingly hopeful note, ultimately making the focus of the album’s themes a lot stronger while also just being a gorgeous little song that fits well enough among the rest of their catalogue. |
| 99 |  | The Smashing Pumpkins
Adore
99. Pug:
An arresting riff coupled with that fuzzy beat is just too much to resist, turning this somewhat enjoyable track into something even more jammable. I’ll admit that it’s grown a bit off of me compared to others on the album, but it still pushes all the right buttons in my brain to leave it right here. |
| 98 |  | The Smashing Pumpkins
Monuments to an Elegy
98. One and All:
This is one of those conflicting tracks that’s endlessly jammable and I always find myself coming back to it, but it’s not what I would consider one of the Pumpkins’ true “greats”. Regardless, no one can argue without that unstoppably monstrous riff that comes barreling in out of nowhere and is there to stay. I guess a main problem with the track is that whenever it’s present the song’s quality increases considerably, and therefore it ends up relying on it a lot, especially considering the chorus is flat in comparison. But hey, you won’t catch me complaining much, especially with that nifty vocal melody that Corgan plays around with in the verses thrown in. |
| 97 |  | The Smashing Pumpkins
Rarities & B-Sides
97. Honeyspider II:
A cleaned up and more methodical version of the original demo tape. It’s not massively different than the first Honeyspider, but the ravaging soloing is replaced with more gentle strumming and the vocals are a bit more playful, echoing around and joined by a chorus. It’s just a testament to how quickly the Pumpkins could grow their sound into something completely different in a matter of a year or two. |
| 96 |  | The Smashing Pumpkins
Machina/The Machines of God
96. Wound:
This song is placed this high merely because of how much I’ve found myself coming back to it, more for how it feels than for how it sounds. Another surprisingly bright entry in the Machina saga, “Wound” is a lovely song that might fall a bit flat due to the repetition of the structure. While the verses and choruses are musically almost identical and the vocals are nearing their most shrieky, the song is nevertheless built around gorgeous guitar melodies and an incredible chorus. It’s one of the most upbeat and surprisingly lovely tracks they’ve released yet, and it’s another Machina track that grows on me with every listen. It might not be a Pumpkins highlight, but it can get me through a bad morning anytime. |
| 95 | | The Smashing Pumpkins
Rarities & B-Sides
95. Bullet Train to Osaka:
This bizarre entry in the Pumpkins’ discog could easily be described more as a half-assed breeze through several completely off-the-wall genres (surf-rock/blues/psychedelic) than an actual song, but maybe that’s why it just works so damn well for me. |
| 94 |  | The Smashing Pumpkins
American Gothic
94. The Rose March:
If ever there’s proof that Corgan has mellowed with age, it can be found on the American Gothic EP. Not that this is necessarily bad thing, as it’s also the closest he’s ever come to mirroring James Iha musically. This here is a genuinely gorgeous song, with intricate acoustic guitar work that climaxes with some tasteful electric and Chamberlin’s trademarked jazzy drumming. It’s all excellently conceived, and proof to those unconvinced by Zeitgeist that there was still brilliance left in Corgan’s mind. Also, if you’re a fan of his newest solo album, be sure to check this EP asap. |
| 93 |  | The Smashing Pumpkins
Zero
93. Tribute to Johnny:
Basically just a concentrated guitar attack written by both Corgan and Iha, the song sounds at once incredibly Pumpkins and like it could be from another band entirely due to the lack of structure and vocals. It’s just pure rock with nothing else holding it back, and it’s pretty fucking awesome. |
| 92 |  | The Smashing Pumpkins
Judas O
92. My Mistake:
A mix of the piano-driven thoughtfulness of Adore and the synthy distortion of the Machina-era, this is at once a pensive and playful track, almost reveling in its over-the-top sadness. But irony or not, it’s a compelling, great track regardless. |
| 91 |  | The Smashing Pumpkins
The Aeroplane Flies High
91. The Boy:
The weakest track from the excellent 1979 EP from The Aeroplane Flies High, “The Boy” remains a fiercely upbeat and enjoyable James Iha number. It’s just a total joy to listen to, the guitar tone is just perfect and matches the style of the song perfectly, and Iha is at his most exuberant vocally. This track just makes me grin. |
| 90 | | The Smashing Pumpkins
Rarities & B-Sides
90. Stellar:
Operating on the same good-natured instincts as the better half of Zeitgeist does, this B-Side shimmers and glitters along with its guitar, worming its way into your heart and sticking around more than long enough to make you wonder why the fuck they left this gem off the album.
(Zeitgeist Outtake) |
| 89 | | The Smashing Pumpkins
The Aeroplane Flies High
89. A Night Like This:
Featuring a bassy-sounding James up against some menacing cellos and mellow guitar work, something about this cover works weirdly well. It’s not the most exciting track ever, but its progression as it grows is completely engrossing. |
| 88 | | The Smashing Pumpkins
American Gothic
88. Pox:
An endearing acoustic-based jam that nevertheless retains a surprisingly amount of energy compared to its EP-mates, “Pox” stands out as yet another Zeitgeist-era B-side highlight thanks to Chamberlin’s drumming and Billy actually sounding great not drowned in overdubs (a rarity of that time). |
| 87 |  | The Smashing Pumpkins
Teargarden by Kaleidyscope, Vol. 2
Tom Tom:
I might be biased toward this some for a lame reason (Tom-Tom was the nickname of my little brother when we were growing up), but this is one of those moments where the bright stylings of the Teargarden era successfully clashes with that good-natured warmth and affecting songwriting. The chiming riffs and massive atmosphere is just inexplicably better than its similar but lesser brothers across the two EPs. Not that I’m complaining, this tracks is an unabashed treat for me. |
| 86 | | The Smashing Pumpkins
The Aeroplane Flies High
86. Medellia of the Grey Skies:
Hazy and fittingly melodic, this is Pumpkins on their acoustic autopilot in the best way possible, chirping with easy sounds and yet effortlessly eliciting an emotional reaction so that it sticks whether you want it to or not. It’s pretty as fuck too. |
| 85 | | The Smashing Pumpkins
Siamese Dream
85. Silverfuck:
At the end of a string of great but not amazing tracks, Silverfuck finds a strange balance between whole-heartedly awesome but also unmemorable. That is to say I love it when I’m listening to it, but the melodies and riffs can’t seem to truly latch themselves onto my brain. Oh well, that slow down section in the middle there is pretty fuckin’ cool, ain’t it? And the crash back in is even cooler. |
| 84 |  | The Smashing Pumpkins
Oceania
86. Pinwheels:
Cycling back and forth into purposefully strummed acoustics and a upbeat dreamscape of electronic and electric sounds, creating a very unique sound that takes elements of both their past and present to make one of the most pleasant sounding songs in their entire discography. |
| 83 | | The Smashing Pumpkins
The Aeroplane Flies High
83. Aeroplane Flies High (Turns Left, Looks Right):
A dark, churning monolith of a song, it switches between thunderous riffs and gentle yet still deadly strumming under spokenword passages. It’s not their most memorable epic, but it’s still a standout in the Mellone Collie era just for the size of the sound. That eerie outro bumps it up a few places too. |
| 82 |  | The Smashing Pumpkins
Mellon Collie and the Infinite Sadness
82. Galapagos:
Lacking much of the venom that functions as a basis for many Mellon Collie songs, this track is deceptively complex. While acoustic based, it naturally flows and ebbs into monumental strings, soaring electric guitars, and some of the most endearing vocals Billy’s ever put forth. |
| 81 | | The Smashing Pumpkins
Rarities & B-Sides
81. G.L.O.W.:
Decidedly straightforward and amusingly all over the place, “G.L.O.W.” works far better than any of the heavier Zeitgeist tracks as a violent pop-rock jam chock full of ridiculous (in a good way) ooh-oohs and aggressive guitar riffs.
(Post-Zeitgeist non-album single) |
| 80 | | The Smashing Pumpkins
Mellon Collie and the Infinite Sadness
80. Thirty-Three:
Much like its disc-mate “1979,” this tune is sun-drenched in nostalgia. The hazy synths and uplifting keyboards consistently play a dichotomy of wanting to soar, but being held back by its own mind being wrapped up in the past. This marriage of themes and music style works wonderfully with a song that might not have been so noteworthy otherwise. |
| 79 | | The Smashing Pumpkins
The Aeroplane Flies High
79. Ugly:
A short but memorable track from the 1979 EP, this song gets by especially well thanks to its simple guitar trudge and Billy’s emotional vocal delivery. What really makes it stand out is the great vocal melody and how it builds as the song progresses into an ethereal bridge. |
| 78 |  | The Smashing Pumpkins
Gish
78. Snail:
Maybe it delves a bit too far into some typical 90s cheese, but thanks to a triumphant outro and some killer instrumental interplay, there’s really not much to complain about here at all. |
| 77 | | The Smashing Pumpkins
Oceania
77. Quasar:
A sprawling, chaotic monster of an opener to Oceania, it channels classic Pumpkins while at the same time showing listeners that this would be an entirely different beast than their earlier work. It’s instantly understandable in this track why Corgan claimed that this was the first point when he thought that new Pumpkins were able to “it is the first time where you actually hear me escape the old band. I'm not reacting against it or for it or in the shadow of it.” And it rules. |
| 76 | | The Smashing Pumpkins
The Aeroplane Flies High
76. Cherry:
Featuring some pained vocals from Billy over a strange yet engrossing instrumental, this might not be one of the most iconic tunes they’ve written, but it earns its spot as one of the tracks that would’ve been much at home with the greats on Mellon Collie. |
| 75 | | The Smashing Pumpkins
Mellon Collie and the Infinite Sadness
75. Beautiful:
A strange collage of sounds both natural and artificial, yet it always seems to exhibit some genuine feeling through all the glitchiness and veiled sarcasm. It’s definitely one of the most unique sounding Pumpkins tracks, even if its not one of the most memorable. |
| 74 | | The Smashing Pumpkins
Mellon Collie and the Infinite Sadness
74. By Starlight
A lovely pseudo-closer to Mallon Collie that features a synthesis of many of the sounds presented thus far. Warbling electric guitars, calming acoustics, gentle pianos. While a lot of the album is spent in full on sarcasm mode, none of it is exhibited here. It all, as cheesy as it may be at times, feels genuine. And that’s what makes this work as it builds to a soaring climax. |
| 73 | | The Smashing Pumpkins
Gish
73. Siva:
It might not be the most revolutionary thing ever, but this early Gish track perfectly encapsulates the loud-soft dynamic they exhibited at the time and how it stood out compared to other rock bands at the time. Add that with some great guitars and just some cool melodies and you’ve got an easy winner right here. |
| 72 | | The Smashing Pumpkins
Adore
72. For Martha:
Purely and explicitly about the passing of his mother, this might be the most personal song Billy’s written (perhaps outside of “Disarm”), and it shows in the meditative arrangements and his pained vocals, so different that it sounds as if someone else is singing them at times. The song itself is deceptively complex, phasing through many different styles and instruments over its 8-minute runtime, all of which are completely engaging thanks to the immaculate amount of care placed in it. |
| 71 |  | The Smashing Pumpkins
The End Is the Beginning Is the End
71. The Ethers Tragic:
The eerie guitar-based counterpart to the electronic “Guns of Love Disastrous,” this one works a lot better on its own. Expanding on the melody of the single “The End Is the Beginning Is the End,” the track works bizarrely well on its own, creating a rich atmosphere with nothing more than layer upon layer of guitar sounds. It’s kinda awesome. |
| 70 |  | The Smashing Pumpkins
SP (Demo)
70. Sun:
I know I’m not really supposed to adore these older cuts due to how unrefined the recordings are, but every once in a while you find one whose jagged riffage and violent drum pounding is coupled perfectly with that lo-fi sound. In this case it’s done in such a way that overcomes the so-so vocals to deliver a killer and absolutely memorable early Pumpkins cut any fan should look out for. |
| 69 | | The Smashing Pumpkins
Machina/The Machines of God
69. Try Try Try:
One of the greatest mysteries for me in the Pumpkins’ catalogue, I genuinely disliked this track the first time I heard it, and yet something always brought me back to it. It’s ridiculously catchy, more than any Pumpkins track should be, and now I consider it to be far more than a guilty pleasure. It’s likely the closest thing to a pop song they’ve ever released, and yet it’s devoid of any of the snarky cynicism that he forces on his audiences with a wink just so they know he’s on the joke to. This time he definitely isn’t, but his commitment might be the only thing that somehow makes it all work against all odds. And besides, just listen to that soundscape. It’s gorgeous, isn’t it? Even if it has no right to be, the Smashing Pumpkins’ pop song is an excellent one, full of hope and wonder. And I like it more every time I listen to it. |
| 68 | | The Smashing Pumpkins
Mellon Collie and the Infinite Sadness
68. Stumbeline:
A simple acoustic ballad that really shows Corgan’s strength in an acoustic setting. The raw guitar sound and gentle crooning back the already exquisite atmosphere imprinted in the lyrics. It’s moving is all it is. |
| 67 | | The Smashing Pumpkins
Siamese Dream
67. Space Boy:
A lovely ode to Corgan’s half-brother (I think), Spaceboy is both affecting an interesting in its craft, using an equally eerie and pleasant tone throughout that exemplifies a bittersweet feel to the entire track. It’s just damn pretty. |
| 66 | | The Smashing Pumpkins
Mellon Collie and the Infinite Sadness
66. Love:
I know a lot of people aren’t big into this one (or maybe it’s my imagination?), but there’s something captivating about the jerky electronics fused haphazardly with the bands usual rock sound. It sounds dangerous, violent, and perfectly sarcastic. |
| 65 |  | The Smashing Pumpkins
Pisces Iscariot
65. Whir:
Yeah this is just damn lovely, not much else I can say about it. One of the more complex acoustic based songs from the Pumpkins, the whole thing has a genuine shimmery and bright feel around it, and yet it’s still grounded and warm. Like I said, just plain lovely. |
| 64 | | The Smashing Pumpkins
Monuments to an Elegy
64. Anti-Hero:
There’s a weird teen angst to this song (“Never been kissed by a girl like you”) that should make it seem creepy and dated given that Billy was pushing 50 when this song was recorded, but for some reason the massive sound and sneaky synths give the song the conviction it needs to work way better than it should, ending Monuments on one hell of a jam-and-a-half. |
| 63 | | The Smashing Pumpkins
SP (Demo)
63. Jennifer Ever:
A jangly, percussive track from their early demos, it’s also perhaps the best early example of the Pumpkins skill with melody and creating a unique, but extremely catchy tune. It rules way more than it probably should. |
| 62 |  | The Smashing Pumpkins
Machina II/The Friends & Enemies of Modern Music
62. Here’s to the Atom Bomb (Machina II):
The pulsing electronic beat of this version cements it in far better light than the other. The ironic lyrics sting as the acoustic/electronic vibe of the song soothes, creating an interesting push-pull that’s as instantly listenable is it is catchy. |
| 61 | | The Smashing Pumpkins
Rarities & B-Sides
61. Glynis:
This charity single is appropriately a bit of an outlier in terms of the Pumpkins sound, as its saccharine sound and hopeful vibe might be a bit hard to stomach, but it’s genuine and surprisingly unsarcastic here, and paired with some exciting and adventurous atmospherics. There’s an ingenuity and sweetness to the musicianship that makes it all work without being too much, even if it teeters dangerously close at times. |
| 60 | | The Smashing Pumpkins
Adore
60. Annie-Dog:
There’s something so simple and lovely about this tune. It’s a bit out of place on Adore, yet it couldn’t belong anywhere else in their discog. It’s jazzy, with some purposeful piano-playing and possibly the best non-Chamberlin drum performance in the Pumpkins’ history. The lyrics are obtuse but fascinating, and Billy’s vocal performances adds layers of depth to them. |
| 59 | | The Smashing Pumpkins
The Aeroplane Flies High
59. Rotten Apples:
A gentle, breezing song that nevertheless benefits from its uneasy electronic synth backbone. It emphasizes the sadness of the themes of the track, making it more than simply just a sad man singing of a lopsided relationship. It feels like it too. |
| 58 | | The Smashing Pumpkins
Mellon Collie and the Infinite Sadness
58. Zero:
Featuring that iconic jagged riff and massive guitar sound, this is Pumpkins at their most basic and engaging. It builds to an excellent climax before collapsing back into itself in the most exciting way possible. |
| 57 | | The Smashing Pumpkins
Oceania
57. Oceania:
Flipping between electronic rock and folk like a light switch, “Oceania” never sounds unconvincing no matter how much it tries to cram inside its britches. While it might not sound as purposeful as some of their previous epics (it feels like it exists for the sake of existing), it’s nevertheless and engaging and great listen, and that’s all we can really ask for, right? |
| 56 | | The Smashing Pumpkins
Machina II/The Friends & Enemies of Modern Music
56. Satur9 (Machina II):
This might be the most fuzzy any of their songs has ever been, taking on a strange gothic, almost vampiric quality to it. It’s otherworldly, creeping in the shadows, and yet weirdly melodic at the same time. Something always draws me to this track when I least expect it, enhancing it’s mysterious qualities for me. |
| 55 | | The Smashing Pumpkins
Siamese Dream
55. Geek USA:
I’ve always felt like I never quite got this song, like everyone else was getting something more out of it than me. That being said, it really is an incredible track. From the dynamic thrust of the opening riffage to the melodramatic bridge, there’s so much goddamn energy throughout the thing, it just never really stood out to me as much as other cuts from the album. |
| 54 | | The Smashing Pumpkins
Gish
54. Suffer:
Something about the gentle tension boiling beneath the surface just makes this song work so well for me. The percussion and guitarwork weave a beautiful atmosphere throughout that flows and ebbs so pleasantly and yet seems to hypnotize with possible venomous intent. |
| 53 | | The Smashing Pumpkins
The Aeroplane Flies High
53. Porcelina of the Vast Oceans:
While the main riff crunches through the beautiful electroacoustic swirl a bit too mercilessly, the rest of the song is so lovely that it transcends its otherwise schizophrenic jumping between different Pumpkins styles. |
| 52 | | The Smashing Pumpkins
Machina II/The Friends & Enemies of Modern Music
52. Go:
Maybe James’ most simple tune, but also one of my favorites. The earnestness of his vocals matched with the strength of the melodies, something about this just sounds heavenly. Even the more lo-fi nature of Machina II lends another gritty level of sound to the track that surprisingly adds rather than taking away. |
| 51 | | The Smashing Pumpkins
The Aeroplane Flies High
51. Transformer:
Just a goddamn groovy track, I’ll have this bass riff stuck in my head at the weirdest times without even knowing where it’s from. The interplay between drums and the bass here is awesome, and the guitar crashing in for the chorus turns this into a badass song for driving, looking pissed off walking down the street, etc. |
| 50 | | The Smashing Pumpkins
Mellon Collie and the Infinite Sadness
50. Cupid de Locke:
A twinkling, teasing tune that aptly characterizes its titular icon, it acts a rare moment of lightness on Mellon Collie. A genuinely strange and fun experience, it’s stands out as truly unique on an album full of unique tracks, giving it an edge over many tracks that surround it. Also, it’s just fun to imagine how they got all the sounds that they did here. |
| 49 | | The Smashing Pumpkins
Oceania
49. Violet Rays:
Sitting comfortably in the icy synths and clear guitars, “Violet Rays” is not the best track from Oceania, but it might be the best example of its sound and quality. The marriage of rock and electronica-influence, poignant lyrics, sweet tooth for beautiful melody, and perhaps one of Corgan’s best vocal performances, it’s easy to see why many (including me) consider this their best album since Adore. |
| 48 | | The Smashing Pumpkins
Machina/The Machines of God
48. Blue Skies Bring Tears:
Apocalyptic and insanely layered, “Blue Skies Bring Tears” might be one of the most off-putting yet rewarding tracks the Pumpkins have ever released. It’s abrasive as all hell, especially the increasingly distorted outro, but there’s a lot to love here in the melodic loops and paranoid lyrics. |
| 47 |  | The Smashing Pumpkins
Moon (Demo)
47. Egg:
An icy acoustic number, “Egg” features a great interplay of intricate guitar playing and an oblique tone, seemingly gentle and melancholy, but also slightly dangerous and ethereal. The musical equivalent of something lurking in the corner of your eye. |
| 46 | | The Smashing Pumpkins
Monuments to an Elegy
46. Being Beige:
Just a lovely romp through a blissful array of sounds, “Being Beige” is disarmingly catchy and strangely gorgeous. It’s the closest Pumpkins 2.0 has gotten to a pure slice of pop-rock beauty, and possibly the most basely likable track they’ve released too. |
| 45 |  | The Smashing Pumpkins
Zeitgeist
45. Neverlost:
There’s a pristine gentleness to this recording that doesn’t exist elsewhere on the album. It’s also one of the only tracks that isn’t trying to replicate something or sound like anything other than itself. It’s the clear standout of Zeitgeist to me, working on its own merit but also surprisingly well in the context of the album, ebbing and flowing through its surreal instrumentation with a head on its shoulders and a truly moving heart pumping heavily but steadily. |
| 44 | | The Smashing Pumpkins
Pisces Iscariot
44. A Girl Named Sandoz:
Man I’ve never heard the original version of this, but this cover is just something else. Merging a bluesy and very un-Pumpkins riff with some of the most aggressive Pumpkins guitar work I’ve ever heard somehow just works perfectly, creating this glorious monster of a song. I mean, sure it’s not the best thing ever, but it’s one hell of a tune to say the least. |
| 43 | | The Smashing Pumpkins
Moon (Demo)
43. Rhinoceros (demo):
Notably rawer and repetitive than the final version on Gish, it also easily contains the same power that is fully exhibited there. The guitar here is less interesting and doesn’t play out melodies and solos to their full extent, but the even this neutered version manages to slay the majority of their catalogue. |
| 42 | | The Smashing Pumpkins
Adore
42. Ava Adore:
Bassy and violent, “Ava Adore” finds Billy crashing headfirst into the more electronic influences of Adore, creating a densely layered soundscape full of lovely melodies and biting lyrics. It’s one-of-a-kind. |
| 41 | | The Smashing Pumpkins
Pisces Iscariot
41. Soothe:
When you think about it, there’s nothing that really makes this stand out from the plethora of other Smashing Pumpkins acoustic tracks out there. It’s minimal, simple picking and simple melodies. And yet every time I listen to it there’s something that chills me deep inside and grabs my attention. It’s so icy and unaffected, but deeply moving. Idk. It’s gorgeous, isn’t it? |
| 40 | | The Smashing Pumpkins
The Aeroplane Flies High
40. Believe:
Just a goddamn beautiful song from James here. It’s chirpy, upbeat, and warm, and perfectly signifies what made his presence so instrumental in the Pumpkins’ sound. The soaring strings meld with the gentle guitar playing to create an atmosphere of love so cozy that might not be matched by any other Pumpkins song. |
| 39 | | The Smashing Pumpkins
Siamese Dream
39. Hummer:
A great example of the progression of the Gish-era jammy riffs into something more purposeful and melodic, creating an instantly recognizable deep cut from Siamese. Still, it wouldn’t be nearly as excellent without that tantalizingly weird opening riff and the goddamn gorgeous acoustic outro. There’s something just magical about it. |
| 38 |  | Soundtrack (Film)
Lost Highway
38. Eye:
Made for David Lynch’s “Lost Highway” (after he turned down their first offering “Tear” (which in my opinion is a better song (but we’ll get into that later))), this is one of the Pumpkins’ best purely electronic offerings. Built on some seriously creepy samples and loops, the whole thing creates an incredible atmosphere with a crazy amount of build-up. While the pay-off could’ve been a bit more satisfying, overall this is an excellent offering in their back-catalogue. And it was absolutely stellar live. |
| 37 | | The Smashing Pumpkins
Judas O
37. Sparrow:
Another one of those simple tunes that I can’t get enough of and I can’t figure out why. The lyrics are heart-wrenching yet cryptic. They hurt but I don’t know why. The melody moves me but its always on the shifting. The incomplete ending lingers in my ears for hours on end, prompting me to begin it again as soon as I can. |
| 36 | | The Smashing Pumpkins
Machina/The Machines of God
36. The Everlasting Gaze:
Even when I was far more frustrated with this album than I am now, “The Everlasting Gaze” always stood as one of my all-time favorite Pumpkins rockers. The fucking power of that riff, the return to the throne of Chamberlin on the drums, the weirdness of the a capella section and strange synths hiding in the choruses, this song is a clusterfuck in the most exciting, exhausting sense of the word. |
| 35 | | The Smashing Pumpkins
Mellon Collie and the Infinite Sadness
35. Thru the Eyes of Ruby:
A multi-layered dirge into the depths of Corgan’s failed marriage, Ruby is also more straightforward than other colossal numbers on here, taking on an aggressive guitar approach than mutes the more interesting and progressive elements of the song a bit. It’s got an incredible intro and outro, and the middle of the song benefits from a subject matter that really motivates Billy, making even the more simple moments passionate and powerful. |
| 34 | | The Smashing Pumpkins
Adore
34. Perfect:
I’ve gotta say I’m a bit conflicted with Billy’s “haha you losers thought I was being serious” stance on this song’s naive struggles over young love, especially because a lot of the lyrics here hit home when I was fighting through the same stuff in high school. Regardless, it still meant a lot to me then and it does now, and I still love the thudding drum loops and hazy synths, and how it managed to act as a surprisingly successful sequel to “1979.” |
| 33 | | The Smashing Pumpkins
Gish
33. Window Paine:
This is Gish-era Pumpkins firing on all cylinders, playing with multiple sounds and speeds and ideas and cramming them all into an epic track that pulses and pounds with some serious life, stopping and starting between a capella sections and blistering speed runs with an exciting disregard for structure. |
| 32 | | The Smashing Pumpkins
Pisces Iscariot
32. Starla:
A massive and instantly recognizable epic that ranks among the Pumpkins’ hugest tracks (or is it actually their longest?), Starla somehow remains absolutely engaging throughout it’s runtime, weaving acoustic interludes and several bridges in and out like it’s nothing. It’s rather breathtaking actually. And that main riff is just majestic. |
| 31 | | The Smashing Pumpkins
Monuments to an Elegy
31. Tiberius
This is about as simple a rock song as they, but one can’t deny of effective it is. Catapulting from a simple piano riff into a massive guitar/synth driven track, it’s weirdly catchy and maybe it’s just me, but it stands shoulder-to-shoulder with many of their greats thanks to its brazen attitude and the fact that its totally fine with being everything that it can be and not cramming in anything else. |
| 30 | | The Smashing Pumpkins
Mellon Collie and the Infinite Sadness
30. Farewell and Goodnight:
This alternately calming and depressive experience is regardless a plain lovely and warm hug of an ending to the orgasmic buffet of rock that Mellon Collie is, featuring the entire band on vocals, contributing perhaps the most relaxed vocal performance in the band’s career, which boosts the song considerably. It’s a beautiful, peaceful track, ending with a fade out on the same piano part that opened the self-titled opening to the album. |
| 29 | | The Smashing Pumpkins
Adore
29. Daphne Descends:
A dark deep-dive into the intoxicating bleak atmospheres of Adore, this is one of those songs where you can remember where you were and what you were doing the first time you heard it because of how striking it is. I rarely hear it described by anyone as a highlight of the album, which makes me think that for others it might slip through the cracks. But for me, the straightforward lyrics and oppressively electronic soundscape make this a fantastically singular track. |
| 28 | | The Smashing Pumpkins
Rarities & B-Sides
28. Superchrist
A rambunctious rocker, this is easily as balls-to-the-wall as Corgan got in his revival days. Filled to the brim with crushing riffs, violent drumming, whip-lash slow-down string-sections, and a hell of a lot of fun, yup, this is some classic Pumpkins alright. |
| 27 | | The Smashing Pumpkins
Pisces Iscariot
27. Obscured:
Just a goddamn lovely track, it’s gentle percussion combine with a psychedelic atmosphere thick enough to get lost in. That plus trance-like vocals and undeniably pretty guitar-work all work together to make a song even more graceful than the sum of its parts, creating an enduring winner in my book. |
| 26 | | The Smashing Pumpkins
Mellon Collie and the Infinite Sadness
26. Bullet on Butterfly Wings:
The furious vocals and venomous performances from the band form a strangely deep atmosphere that adequately insulates the anger without letting it be quenched by the near-toxic dose of angst emanate from the track, creating one of their all-time most effective and iconic rockers. |
| 25 | | The Smashing Pumpkins
Pisces Iscariot
25. Landslide:
Billy’s whiny voice and heavy music style doesn’t make him seem the ideal choice for a cover of Fleetwood Mac’s iconic track, but what makes it work is his intricate guitar-work and deep-rooted passion for the material, creating a affecting re-do of “Landslide” that equals even the original in its greatness. |
| 24 | | The Smashing Pumpkins
Siamese Dream
24. Mayonaise:
This tune finally clicked for me after seeing Billy and James play it live together, starting with a simple exchange of guitar before building into the soaring choruses, finding myself singing along to words I didn’t even knew I knew. This always seemed a tad overrated for me, and sure it’s not one of my all time favorites, but thanks to that memory, it’ll always be important to me. |
| 23 | | The Smashing Pumpkins
The Aeroplane Flies High
23. …Said Sadly:
I play a dumb game with this song where I make people try to guess what band it is that made it. They never guess it. Still, it functions as James’ best moment in my opinion, pairing him off in a lovely duet about love and loss. The guitar work is simple but moving, and once the drums thump in, the song really kicks into guitar. It’s bittersweet and almost definitely over-the-top, but it’s beautiful and heartfelt—no one could ever convince me otherwise. |
| 22 |  | The Smashing Pumpkins
Teargarden by Kaleidyscope, Vol. 1
22. A Song for a Son:
Easily the best Teargarden track, “A Song for a Son” is as prog-rock as the Pumpkins have gotten, delving into a multi-layered sound bouncy between strings, acoustics, electronics, and electrics and with a great ear for melody. It’s all over the place but also endearing, and unlike the rest of its brothers, its reach never exceeds its grasp, no matter how dumb the lyrics might sound in places. |
| 21 | | The Smashing Pumpkins
The End Is the Beginning Is the End
21. The End Is the Beginning Is the End:
This surging, claustrophobic rocker was tasked with getting into the mind of the Caped Crusader off the “Batman and Robin” film. Regardless of how ill-fitting the band were for the tone for the film (to Billy’s credit, he was going for more of the 40s noir origins of the character), they gave it their all and churned out one an incredibly engaging and violent track, and one that would later be overshadowed by its alternate version (we’ll get to that later). |
| 20 | | The Smashing Pumpkins
Gish
20. Daydream:
D’arcy’s best moment happens early on, but that doesn’t negate the gentle beauty of her voice any less. She adds a lot to the simple strumming, carrying the song along single-handedly until some gorgeous strings some along mesh with her vocals perfectly. It’s a bare-bones track, but for some reason I always feel it. The hidden track at the end doesn’t hurt it either, adding to the shortness and weirdness of both tracks, working together as bizarre closers to an otherwise hard rockin’ record, foreshadowing the Pumpkins’ more progressive and eclectic tendencies from the beginning. |
| 19 | | The Smashing Pumpkins
Mellon Collie and the Infinite Sadness
19. Fuck You (An Ode to No One):
I try not to be an angry person. I used to have a lot of anger problems when I was younger, so I’m always in the spot of trying to understand someone than fight or get angry. That being said, sometimes I’m done trying to understand and just want to be pissed off. This is the song I listen to for that. From the frenetic drumming to Billy’s savage bite with every line, the song builds to a ferocious roar matched only by one other song in their discog… |
| 18 | | The Smashing Pumpkins
Machina II/The Friends & Enemies of Modern Music
18. In My Body:
A repetitious, droning track splayed out over nearly seven minutes of chiming guitars and bassy percussion without ever really changing much, “In My Body” honestly shouldn’t work. But it manages to hit a chord of deep-rooted spirituality and searching both inside and outside of ourselves. For some reason, no matter how long-winded it may be, it’s both breathtaking and beautiful, and stands as one of the true highlights of the Machina era. |
| 17 | | The Smashing Pumpkins
Gish
17. I Am One:
Perhaps the most absolute killer straightforward jam of the band’s career, “I Am One” kicks of their debut record off with a start of careening guitars, prominent bass, and playful drums, both solidifying the tone of the album and making one of their most fun songs in the process. |
| 16 | | The Smashing Pumpkins
The Aeroplane Flies High
16. Tonite Reprise:
This stripped-down acoustic reprise of “Tonight, Tonight” switches from the 2nd person or the original into the 1st, making the song far more personal. It features some of the most emotional vocals from Billy, and it’s free of the possible sarcasm of the album version. The references to Chicago hit me harder, as does the feeling behind it all. Since “Tonight, Tonight” is already one of my favorite Pumpkins tracks, this track is just like a dream. |
| 15 | | The Smashing Pumpkins
Siamese Dream
15. Cherub Rock:
The slow build of “Cherub Rock” from ominous drums to that fucking majestic riff is truly phenomenal. Glue Corgan’s strangely seductive vocals and cryptic lyrics to that, and you’ve got perhaps one of the most iconic openings to any rock album ever. |
| 14 | | The Smashing Pumpkins
Machina/The Machines of God
14. Stand Inside Your Love:
One of the nearest and dearest songs to my heart in their catalogue, this was the song I connected with my love for a woman I no longer with. Billy called it “the one real love song I ever wrote,” meaning that it’s not marred by the normal sarcasm or overindulgence. It’s passionate and unstoppable, and seems to feature an overjoyed balance between Billy and Jimmy at his return, as his drums are always prominent and always essential, mirroring the guitar at nearly every turn. It’s a gorgeous song, and one that’ll never stop being an important phase of my life. |
| 13 | | The Smashing Pumpkins
Adore
13. Tear:
Just like with “Daphne” but even moreso here, I for the life of me cannot understand why this track is all but forgotten in their catalogue. It’s massive, infernal, and features a drum-heavy sound with apocalyptic lyrics that should turn anyone’s head. It’s just so goddamn cool, and in the electro-acoustic stylings of the rest of the album it blends weirdly well and stands out even moreso as an obvious highlight. |
| 12 | | The Smashing Pumpkins
Siamese Dream
12. Today:
It took a long time for me to fully gel with this song when I had only known it on the radio, but once I heard it in the context of the album it suddenly clicked. Easily the popiest song on Siamese Dream, it’s also not an obvious hit. The dark, churning guitars of the verses combined with the deceptively suicidal lyrics should have scared many listeners away, but hidden between a beautiful, soaring riff and Billy’s passionate vocals, all that’s truly obvious is the amount of skill and heart that went into crafting this song. |
| 11 | | The Smashing Pumpkins
Gish
11. Soma:
Growing from a lovely lullaby-like section of gentle guitars and soothing sounds before erupting into a full-blown rocker of soaring solos and the classic guitar-upon-guitar style of the Pumpkins (this song contains over 40 overdubbed guitar parts), this is a perfect representation of the subtle beauty and heavy power that the Pumpkins can exhibit in a single track. And man is it amazing. |
| 10 | | The Smashing Pumpkins
Oceania
10. The Celestials:
This whirlwind of instruments and sounds should be a breakneck display of musical ADD, but for some reason it feels like one of the most focused tracks on Oceania. It’s chock full of memorable riffs and moments, always exciting, always moving, and always feeling like its trying to say something incredibly essential. And that’s the most important part, it has true reason for being. Say hi to the best track ever released yet by Pumpkins 2.0. |
| 9 | | The Smashing Pumpkins
Judas O
9. Blissed and Gone:
This is another one with a deep personal connection for me, and I’ll never forgive them for leaving it off Adore (it was meant to be the closer). Regardless of what the cryptic lyrics mean, for me it always carried the feeling of being stuck on someone, even when you knew they weren’t the best for you. The glitched-out, trippy drumbeat and spacey guitars that seem to be ringing from a world away are both indebted to Billy’s vocals for grounding them into feelings. As cold and lifeless as the soundscape may be, it lives and breathes and elicits emotions we try to escape. But when we need to feel them, this song is here for that. |
| 8 | | The Smashing Pumpkins
Gish
8. Rhinoceros:
Basically everything that I said about the demo, except it succeeds even further in every respect with galloping drums and guitars that spike with archaic power. It builds from a slow churn into a full-bodied guitar solo that grabs ahold and never lets go, foreshadowing from early on the melodic and heavy power that the Pumpkins will contract with ease in the future. |
| 7 | | The Smashing Pumpkins
The End Is the Beginning Is the End
7. The Beginning Is the End Is the Beginning:
This beast might just be the thickest, sickest thing the Pumpkins ever produced. With an atmosphere so hazy it threatens to choke, it’s a bleak and arresting mirror of its far more direct but just as angry sister song. It’s no wonder that Watchmen found itself clicking so well into this song given the same ambiguity and emotions run through both (I still get goosebumps watching that trailer). Also, this might have been the single coolest fucking song I’ve ever seen performed live, with it given a slight rock edge that emphasized every soupy drum strike and thunderclap to the nth degree. This might very well be the song that got me into the Pumpkins, and it’ll always be one of my favorites because I was never able to find anything else like it. |
| 6 | | The Smashing Pumpkins
Mellon Collie and the Infinite Sadness
6. In the Arms of Sleep:
I’ve spent many a dark night on the roads of my hometown with this song, only increasing its natural nocturnal roots in my mind. The folky aesthetics match perfectly here with the Pumpkins’ trademarked anality when it comes to an exacting guitar sound, creating an atmosphere so full and unrelenting that it plunges you straight into it and yourself with no effort. It’s breathtaking, it’s beautiful, it’s pained, and it’s full of love and life. |
| 5 | | The Smashing Pumpkins
Mellon Collie and the Infinite Sadness
5. X.Y.U.:
This song is dangerous to listen to in public places. It turns me into something else, something angry, ravenous, and energetic, even if its all just shit it’s letting me feel that I’ve buried. The fact that it was all (or at least 99% of it, Billy isn’t sure anymore) recorded all in one take is absolutely astonishing but not all that surprising when you listen to it, given the pure rawness and energy pulsing through it. This is the sound of a band firing on all cylinders, the sound of “the monster inside of the band trying to get out!” according to Iha. After fighting through some of the heaviest passages of the bands’ career, it slows down to a halt before that famed moment when it all comes crashing down, in the single coolest moment of the band’s career. If you don’t know what I’m talking about you need to hear this song now. |
| 4 | | The Smashing Pumpkins
The Aeroplane Flies High
4. Set the Ray to Jerry:
Whenever I need to relax, to get the stress and pain of everyday life out of my mind, I turn to this song. It instantly throws me out of myself and into it, lulling me with its repetition and full sound. The jazzy, unpredictable drumming (easily Chamberlin’s best performance) and the aggressive but calming basslines churn beneath a guitar that floats above the surface, unburdened by them. Corgan’s vocals and lyrics are passionate but decidedly hopeful, whether or not he’s aware that he might just be kidding himself all along. |
| 3 | | The Smashing Pumpkins
Mellon Collie and the Infinite Sadness
3. 1979:
You know what, kids have been associating this song with high school for generations now, and I’m one and the same. Late-night drives, dates, theater, film, friends, family, it all comes to mind when this song comes on, even if I don’t have any direct memories sharing the two. It’s trance-like in its iconic but simple drumbeat, its flickering synths hiding out, and forever memorable guitarwork. Once it takes off into a bridge, cleverly nothing more (but also everything more) than an extension of its chorus, its all over. The ritual is complete, and I’m in a time long lost, but that I can always come back to if I take the time to throw this on. |
| 2 | | The Smashing Pumpkins
Mellon Collie and the Infinite Sadness
2. Tonight, Tonight:
This song has always been a weak-spot for me thanks to the soaring strings and upbeat message, but once I (rather lately) realized it was partly a love song for our hometown of Chicago, it was all over and I fell for it all over again. Seeing him perform it here was just magical, as the song is almost just as powerful as a band-only track. I guess magical is the best word for it. It transports to another world, one of hope and wonder, where art and love will always triumph, and anything is possible. It’s unbearably hard to feel those things anymore, but the moment I put this song on, I do. And for that reason alone is why it’s where it belongs on this list. |
| 1 | | The Smashing Pumpkins
Siamese Dream
1. Disarm:
This might not have the same emotional effect on me as it did when I was in high school, but the wealth of experiences I’ve shared with it will forever mark it as one of my favorite songs of all time. From the music, a surreal blend of percussive acoustics, timpanis, bells, and cellos (my weakness), to the lyrics concerning childhood and the struggles of growing into oneself in adulthood and likely Billy’s best vocal performance, I know in my heart that nothing in their catalogue can top this tune. I get lost in it every time I hear it, and I can’t ever see that changing. Thank you for this song. |
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