Blue Skies Bring Tears 9. I of the Mourning
Blue Skies Bring Tears 9. I of the Mourning Try, Try, Try Originally conceived as a rock opera, the concept was dropped because of band member disintegration and disinterest as well as record label pushback. This reconstruction attempts to cull the best possible sources including the Machina pre-master and the best vinyl rip of Machina II , unifying their respective volumes and organize them into a cohesive double album that follows the Machina storyline.
The Smashing Pumpkins were no strangers to turmoil. Despite having superior songwriting and inventive arrangements, the album was less of a success as their previous efforts. The tour in support of the album showed the band re-interpreting the soft-spoken material for a live rock-band, and the eventual re-hiring of Chamberlin in late showed promise that The Smashing Pumpkins were back to what they did best: By April , the band reconvened for their Arising Tour, meant to showcase the return of the original lineup.
Most of the set featured all new material, effortlessly written by head-Pumpkin Billy Corgan within the four months prior. These tunes were part of a larger song cycle that would fill two CDs of a double-concept album tentatively called Glass and The Machines of God which concerned a rock star named Glass , his true love June, their rise and fall and Glass's redemption.
Most notably, the four members of The Smashing Pumpkins were to portray the characters of the concept album—Glass and his band The Machines of God, who were literal parodies of the public personas of the four members of The Smashing Pumpkins themselves —in promotion of the album.
Unfortunately the machine was never switched on. Machina was even more of a failure than Adore and by the end of the tour in support of the album, Iha wanted out. The Smashing Pumpkins played their final show that December.
In one final rebellious move against the record label that had abandoned him, Corgan released the outtakes from the Machina sessions as a limited edition vinyl release, Machina II, with the explicit instructions to share and pirate it, making the album one of the first to be freely distributed on the internet by a major artist.
Reconstructing Glass and The Machines of God is no easy task.
Corgan has been extremely vague and cryptic about how it would have been constructed, in as much as leaking false numerical codes allegedly forming track sequences. The only issue left is what sources should be used. To avoid the terrible mastering found on Machina I, I used a rip of the leaked pre-master, featuring a larger dynamic range as well as subtlety different mixes.
I then re-EQd the entire rip to match the EQ parameters of the tracks that were officially released since those few were sourced from a non-vinyl master.
Setting a song limit to ensure that this not become too overblown, a few songs were left on the cutting room floor: By the end, I have arranged two nearly minute discs of 14 songs each, which seemed to be The Standard Smashing Pumpkins Album Length.
Here I chose an early arrangement of the song as performed on the Arising Tour to avoid the overproduced album versions. Will it appear and sound as I have offered here?
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