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The Smashing Pumpkins 1996-10-05: Difference between revisions
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| lng = -87.88777778 | | lng = -87.88777778 | ||
| capacity = 18500 | | capacity = 18500 | ||
| lineup = Billy Corgan, James Iha, D'arcy Wretzky, Matt Walker, Dennis Flemion | | lineup = Billy Corgan, James Iha, D'arcy Wretzky, Matt Walker, Dennis Flemion, Jimmy Flemion | ||
| bands = Grant Lee Buffalo, The Smashing Pumpkins | | bands = Grant Lee Buffalo, The Smashing Pumpkins | ||
| tour = Infinite Sadness | | tour = Infinite Sadness | ||
| Line 23: | Line 23: | ||
# {{live song|Thru the Eyes of Ruby}} | # {{live song|Thru the Eyes of Ruby}} | ||
# {{live song|Porcelina of the Vast Oceans}} | # {{live song|Porcelina of the Vast Oceans}} | ||
## {{live song|Beautiful| | ## {{live song|Beautiful|tease=1}} | ||
## {{live song|Rocket|tease=1}} | ## {{live song|Rocket|tease=1}} | ||
# {{live song|We Only Come Out at Night|note=one verse|acoustic=1}} | # {{live song|We Only Come Out at Night|tease=1|note=one verse|acoustic=1}} | ||
# {{live song|Disarm|acoustic=1}} | # {{live song|Disarm|acoustic=1}} | ||
# {{live song|Bullet with Butterfly Wings}} | # {{live song|Bullet with Butterfly Wings}} | ||
| Line 32: | Line 32: | ||
=== Encore one === | === Encore one === | ||
# {{live song|1979}} | # <li value=15>{{live song|1979}}</li> | ||
# {{live song|X.Y.U.}} | # {{live song|X.Y.U.}} | ||
=== Encore two === | === Encore two === | ||
# {{live song|Mayonaise}} | # <li value=17>{{live song|Mayonaise}}</li> | ||
=== Encore three === | === Encore three === | ||
# {{live song|Silverfuck|length=32:32}} | # <li value=18>{{live song|Silverfuck|length=32:32}}</li> | ||
## {{live song|The Aeroplane Flies High (Turns Left, Looks Right)|tease=1}} | ## {{live song|The Aeroplane Flies High (Turns Left, Looks Right)|tease=1}} | ||
## {{live song|Dose|tease=1|cover=[[w:Filter (band)|Filter]]}} | ## {{live song|Dose|tease=1|cover=[[w:Filter (band)|Filter]]}} | ||
== Notes == | |||
* "1979" with [[Jimmy Flemion]] | * "1979" with [[Jimmy Flemion]] | ||
| Line 58: | Line 58: | ||
> '''Tonight, Tonight''' | > '''Tonight, Tonight''' | ||
BC: Thanks a lot. | BC: Thanks a lot. | ||
Iha: Oh - oh my god, Chi-town city. You got mad flava. | Iha: Oh--oh my god, Chi-town city. You got mad flava. | ||
BC: Thanks a lot for coming. Thanks a lot for waiting for us to come. | BC: Thanks a lot for coming. Thanks a lot for waiting for us to come. | ||
Iha: For us to come out. | Iha: For us to come out. | ||
BC: So how is everybody? | BC: So how is everybody? | ||
Iha: Everyone seems to be in a rather good mood...which is good ‘cause we’re...we’re beaten and we’re tired. | Iha: Everyone seems to be in a rather good mood...which is good ‘cause we’re...we’re beaten and we’re tired. | ||
BC: Yes, you know we’re not getting any younger so we need all the support we can get so thanks a lot for coming. | BC: Yes, you know we’re not getting any younger, so we need all the support we can get, so thanks a lot for coming. | ||
'''Today''' | '''Today''' | ||
> Planet of the Apes clip | > Planet of the Apes clip | ||
| Line 75: | Line 75: | ||
> '''Bullet with Butterfly Wings''' | > '''Bullet with Butterfly Wings''' | ||
'''Fuck You''' | '''Fuck You''' | ||
(BC after “coil my tongue round a bumblebee mouth”: ''(guitar noise)'' Yeah! ''(guitar noise)'' Uh huh! ''(guitar noise)'' We got the blues. ''(guitar noise)'' So what do you want? ''(guitar noise)'' What do you need? ‘Cause we give it all back to you...) | (BC at pause after “coil my tongue round a bumblebee mouth”: ''(guitar noise)'' Yeah! ''(guitar noise)'' Uh huh! ''(guitar noise)'' We got the blues. ''(guitar noise)'' So what do you want? ''(guitar noise)'' What do you need? ‘Cause we give it all back to you...) | ||
BC: Thanks a lot, thank you, thank you. We appreciate your love and support very much. Means a lot to us. You know, I still meet people who don’t know we’re from Chicago but...we are from Chicago, yes. I mean, when I say that, I mean people who are from Chicago that don’t know we’re from Chicago. They’re like the same people that didn’t see the O.J. trial, you know? Well, thanks a lot, you’re the best, we love you very much. | BC: Thanks a lot, thank you, thank you. We appreciate your love and support very much. Means a lot to us. You know, I still meet people who don’t know we’re from Chicago, but...we are from Chicago, yes. I mean, when I say that, I mean people who are from Chicago that don’t know we’re from Chicago. They’re like the same people that didn’t see the [[w:O._J._Simpson_murder_case|O.J. trial]], you know? Well, thanks a lot, you’re the best, we love you very much. | ||
'''Muzzle''' | '''Muzzle''' | ||
BC: Thank you, thank you. | BC: Thank you, thank you. | ||
| Line 85: | Line 85: | ||
Jimmy Frog: On the rhythm guitar tonight, M.L. Cool J. Models Love Cool James Iha. | Jimmy Frog: On the rhythm guitar tonight, M.L. Cool J. Models Love Cool James Iha. | ||
Iha: Thank you, Jimmy. Let’s just stick to the guitar though and the wings. Heh heh. | Iha: Thank you, Jimmy. Let’s just stick to the guitar though and the wings. Heh heh. | ||
Jimmy Frog: One of the lead singers on the new Catherine disc, on the bass guitar, D’arcy! | Jimmy Frog: One of the lead singers on the new [[Catherine]] disc, on the bass guitar, D’arcy! | ||
Iha: She’s made up her mind now and now she’s playing bass. She’s made up her mind, yes that’s right. | Iha: She’s made up her mind now and now she’s playing bass. She’s made up her mind, yes that’s right. | ||
Jimmy Frog: And center stage, wearing the Zero T-shirt, B-I-L-L-Y. | Jimmy Frog: And center stage, wearing the Zero T-shirt, B-I-L-L-Y. | ||
| Line 91: | Line 91: | ||
BC: Wait, wait, hold on. Hold on a second. Hold on a second. Hold on a second! Hold on a second. | BC: Wait, wait, hold on. Hold on a second. Hold on a second. Hold on a second! Hold on a second. | ||
Iha: Wait a minute, wait a minute, we’re keeping the ball rolling. | Iha: Wait a minute, wait a minute, we’re keeping the ball rolling. | ||
BC: You know, we did have a new tradition going. We were in the habit of inviting people up on the stage to dance. ''(crowd cheers)'' Wait, wait, wait. Last night the dancers were so horrible that I think we’re gonna stop the tradition so we are not gonna do the dancing anymore. | BC: You know, we did have a new tradition going. We were in the habit of inviting people up on the stage to dance. ''(crowd cheers)'' Wait, wait, wait. Last night the dancers were so horrible that I think we’re gonna stop the tradition, so we are not gonna do the dancing anymore. | ||
Iha: Well, I’m sorry. | Iha: Well, I’m sorry. | ||
D’arcy: I thought they were good. | D’arcy: I thought they were good. | ||
Iha: This is, uh - there was a lack of, uh, boogie factor on stage last night. | Iha: This is, uh--there was a lack of, uh, boogie factor on stage last night. | ||
BC: I don’t know, I don’t know. | BC: I don’t know, I don’t know. | ||
D’arcy: No no, I disagree. I disagree. | D’arcy: No no, I disagree. I disagree. | ||
| Line 100: | Line 100: | ||
Iha: I gotta hear ya. I gotta know it. Do we want dancing? | Iha: I gotta hear ya. I gotta know it. Do we want dancing? | ||
BC: Okay, who wants to dance? Who vants to dance? Who shall dance? | BC: Okay, who wants to dance? Who vants to dance? Who shall dance? | ||
Iha: You must be slightly psychopathic to do this. Jimmy, go pick somebody. Jimmy Frog will pick somebody. | Iha: You must be slightly psychopathic to do this. Jimmy, go pick somebody. Jimmy Frog will pick somebody. There you go. | ||
BC: Jimmy shall pick. | |||
Iha: [unintelligible]. | |||
BC: Who shall it be? | |||
Iha: Who shall it be? Jimmy Frog is picking. | Iha: Who shall it be? Jimmy Frog is picking. | ||
BC: Who vants to dance? | BC: Who vants to dance? | ||
Iha: There he goes down to the barricade to pick some friendly member of the audience out. One - one guy, one girl. | Iha: There he goes, down to the barricade to pick some friendly member of the audience out. One--one guy, one girl. | ||
BC: Who shall dance? | BC: Who shall dance? | ||
Iha: Who knows where he’ll stop? | Iha: Who knows where he’ll stop? | ||
| Line 111: | Line 112: | ||
Iha: Who shall be the dancer, Jimmy? Let’s, uh, get this thing goin’ on. | Iha: Who shall be the dancer, Jimmy? Let’s, uh, get this thing goin’ on. | ||
BC: Ah, Jimmy’ll pick him. | BC: Ah, Jimmy’ll pick him. | ||
Iha: Who will pick the man of the evening? I know what you’re thinking, this has stopped the momentum of the show but we just thought we’d have, uh, some fun. | Iha: Who will pick the man of the evening? I know what you’re thinking, this has stopped the momentum of the show, but we just thought we’d have, uh, some fun. | ||
BC: This girl really wants to dance, she even made a sign. Should we pick her? | BC: This girl really wants to dance, she even made a sign. Should we pick her? | ||
D’arcy: She’s been dancing for the whole show. | D’arcy: She’s been dancing for the whole show. | ||
| Line 121: | Line 122: | ||
Iha: Okay. Jimmy, now you brought the men and women up here. | Iha: Okay. Jimmy, now you brought the men and women up here. | ||
BC: Okay dancers, it’s time to get to know your public. | BC: Okay dancers, it’s time to get to know your public. | ||
D’arcy: As you can see, Jimmy cannot count. | |||
BC: Oh my god. Hahahahaha, oh jesus. | |||
Iha: Okay. | Iha: Okay. | ||
D’arcy: He’s like five squared. | D’arcy: He’s like five squared. | ||
| Line 137: | Line 139: | ||
Girl #4: Tammy from Chicago. | Girl #4: Tammy from Chicago. | ||
Girl #5: Jennifer from Chicago. | Girl #5: Jennifer from Chicago. | ||
Girl #6: Candice from the | Girl #6: Candice from the [[w:South_Side,_Chicago|South Side]] of fuckin’ Chicago! | ||
Girl #7: Crystal from Chicago! | Girl #7: Crystal from Chicago! | ||
Girl #8: It’s nice to meet you, that’s all I gotta say. | Girl #8: It’s nice to meet you, that’s all I gotta say. | ||
BC: Yeah but what’s your - what’s your name? | BC: Yeah, but what’s your--what’s your name? | ||
Girl #8: Heather. | Girl #8: Heather. | ||
BC: Okay. | BC: Okay. | ||
| Line 155: | Line 157: | ||
BC: It appears that Jimmy’s picked all girls and one dude. What do you think of these dancers? Alright, alright, you got a lot to prove. | BC: It appears that Jimmy’s picked all girls and one dude. What do you think of these dancers? Alright, alright, you got a lot to prove. | ||
D’arcy: You’re just jealous. | D’arcy: You’re just jealous. | ||
BC: Let me tell you - let me tell you something. Ah, dancers, I am used to a hostile public. Good luck to you, heh. Okay, once again, the rules for dancing are: Don’t touch us and don’t touch our shit. ... Alright, is everybody ready to dance along? Come on! You don’t sound very enthusiastic. | BC: Let me tell you--let me tell you something. Ah, dancers, I am used to a hostile public. Good luck to you, heh. Okay, once again, the rules for dancing are: Don’t touch us and don’t touch our shit. ... Alright, is everybody ready to dance along? Come on! You don’t sound very enthusiastic. | ||
Iha: You can stop the jumping. | Iha: You can stop the jumping. | ||
'''1979''' (with Jimmy Flemion) | '''1979''' (with Jimmy Flemion) | ||
Iha: Well, we just have to, uh, may retire this dancing routine. It started out as fun and now it’s obviously gone insane. | Iha: Well, we just have to, uh, may retire this dancing routine. It started out as fun and now it’s obviously gone insane. | ||
D’arcy: Thank you dancers, thank you very much, you’re outta control, thank you. Big hand for - big hand for the dancers. Come on. | D’arcy: Thank you dancers, thank you very much, you’re outta control, thank you. Big hand for--big hand for the dancers. Come on. | ||
Iha: Let’s have a fine round of applause though for our dancers. They tried their hardest out here working the stage. I see you. Hi. Okay. | Iha: Let’s have a fine round of applause though for our dancers. They tried their hardest out here working the stage. I see you. Hi. Okay. | ||
BC: Now get off the fuckin’ stage. ... That could possibly be the last time we have the Smashing Pumpkins, heh heh heh, dancers. | BC: Now get off the fuckin’ stage. ... That could possibly be the last time we have the Smashing Pumpkins, heh heh heh, dancers. | ||
Iha: Well, it was slightly interpretative, uh, I haven’t seen the likes of, uh, that sort of thing in.... I’ve seen something like that on cable though, I think. | Iha: Well, it was slightly interpretative, uh, I haven’t seen the likes of, uh, that sort of thing in.... I’ve seen something like that on cable though, I think. | ||
BC: We realize, uh, the show is slightly unprofessional but what the hell, we’re home, it don’t really matter, right? ... All of those who’ve seen us over the years, you know how professional we are anyway. Mmm. | BC: We realize, uh, the show is slightly unprofessional but what the hell, we’re home, it don’t really matter, right? ... All of those who’ve seen us over the years, you know how professional we are anyway. Mmm. | ||
Iha: Okay, let’s just | Iha: Okay, let’s just-- | ||
BC: How is everybody? | BC: How is everybody? | ||
Iha: I think, uh | Iha: I think, uh-- | ||
BC: We’re a little worried that the dancing thing has caused some bitterness. | BC: We’re a little worried that the dancing thing has caused some bitterness. | ||
Iha: I think we lost a little momentum there, it’s now time to rock. | Iha: I think we lost a little momentum there, it’s now time to rock. | ||
| Line 178: | Line 180: | ||
'''Silverfuck / The Aeroplane Flies High / Dose''' | '''Silverfuck / The Aeroplane Flies High / Dose''' | ||
<blockquote> | <blockquote> | ||
and | and i hear your winter | ||
and | and i hear your rain | ||
and | and i failed your summer ways | ||
and | and i feel no pain | ||
i feel no pain | |||
and | and i hear you fade away | ||
and | and i hear you crawl | ||
and | and i gave my life away | ||
and | and i feel no | ||
and | and i feel no | ||
and | and i feel no | ||
pain | pain | ||
i feel no pain | |||
Yeah | Yeah i feel no pain | ||
and | and i feel no pain | ||
and | and i feel no pain | ||
and | and i feel no pain | ||
and | and i feel no pain | ||
and | and i feel no pain | ||
and | and i feel no pain | ||
and | and i feel no pain | ||
she was my lover | |||
she was my angel | |||
what i recover | |||
whatever was left | |||
i put into a box | |||
i put into a box underneath my bed | |||
the very same bed where she had rested her head | |||
i put her in a box underneath my bed | |||
i put her in a box and she had so much to say | |||
hell hath no fury like a woman's scorn | hell hath no fury like a woman's scorn | ||
and | and i said baby why? | ||
baby why must you make me cry | |||
why must the sad girls make me cry | |||
why must the girls make me cry | |||
it was no fun anymore | it was no fun anymore | ||
so i headed for the door | |||
but there was no door | but there was no door | ||
fooled again | fooled again | ||
tricks are for kids | tricks are for kids | ||
baby my baby | |||
where are you now? | |||
baby my baby | |||
lost in the clouds | lost in the clouds | ||
i send her a secret message through the ethers | |||
that our time come again | that our time come again | ||
because we've always been together | because we've always been together | ||
| Line 245: | Line 247: | ||
fucking whore | fucking whore | ||
fucking whore | fucking whore | ||
she was a fucking whore | |||
yeah | yeah | ||
go | |||
yeah | |||
cause we're on a mission to mars | cause we're on a mission to mars | ||
| Line 262: | Line 264: | ||
and life is a sentimental way | and life is a sentimental way | ||
so spy this fragile heart so cursed | so spy this fragile heart so cursed | ||
as | as i walks carcass across this earth | ||
yeah | yeah | ||
| Line 268: | Line 270: | ||
show 'em | show 'em | ||
james, he knows how to get there | |||
if you could put on the lights there for a second there sammy man | if you could put on the lights there for a second there, sammy, man | ||
thank you for all stayin' | |||
see the end of the show | see the end of the show | ||
our favorite part | our favorite part | ||
| Line 281: | Line 283: | ||
there's a lot of empty seats | there's a lot of empty seats | ||
cause people | cause people | ||
they've seen their | they've seen their mtv hits | ||
they're ready to split | they're ready to split | ||
so thanks for stayin' | so thanks for stayin' | ||
| Line 304: | Line 306: | ||
let me tell you the secret | let me tell you the secret | ||
shhh | shhh | ||
i'll promise to tell you a secret if you don't tell nobody | |||
the secret | the secret | ||
shhh | shhh | ||
| Line 317: | Line 319: | ||
you know why? | you know why? | ||
cause there ain't nothing to know | cause there ain't nothing to know | ||
except yourself, your family, your earth, your feet, your stomach | except yourself, your family, your earth, your feet, your stomach and your heart | ||
all the rest of it | all the rest of it | ||
clothes | clothes | ||
| Line 325: | Line 327: | ||
that's the secret | that's the secret | ||
but don't tell no body | but don't tell no body | ||
geno | |||
i'll come kick your ass | |||
so every night we play in front of a bunch of people | so every night we play in front of a bunch of people | ||
| Line 359: | Line 361: | ||
and of trust | and of trust | ||
trust in me | trust in me | ||
i trust in you | |||
thank you | thank you | ||
| Line 376: | Line 378: | ||
the smashing pumpkins | the smashing pumpkins | ||
this one is for our boys in filter | this one is for our boys in [[w:Filter (band)|filter]] | ||
</blockquote> | </blockquote> | ||
Iha: See ya. Goodnight. Goodnight, thanks everybody. | Iha: See ya. Goodnight. Goodnight, thanks everybody. | ||