Five guitar riffs that prove Billy Corgan is a genius
The heyday of alternative rock in the 1990s saw many great guitarists emerge. One of the best and most influential is Billy Corgan, the frontman of The Smashing Pumpkins. Fusing the influence of metal, psychedelia and the pulsating sound of the underground scene from which he arose into a titanic mass, his finest work remains incredibly penetrating.
Alongside his undoubted talent and approach to the guitar – which straddles the line between darkness and light adroitly – Corgan’s arc on the instrument has been fascinating. He started life in a more psychedelic area, ensconced in the spirit of the classic rock era on The Smashing Pumpkins’ 1991 debut, Gish. Following this, he refined his craft, and on their chef-d’oeuvre, 1993’s Siamese Dream, he incorporated the grunge zeitgeist, as well as the unfettered cool of shoegaze, into a sonic palette that stands out as one of the most important of the decade. It remains the pinnacle for many contemporary rock guitarists, showing the potency of the Fender Stratocaster-Electro-Harmonix Big Muff pairing.
Following this, things took a much darker turn on the expansive third album, Mellon Collie and the Infinite Sadness, which saw Corgan bounce between roaring, almost industrial-sounding six-string flourishes and chord progressions as well as emotive orchestral textures. Since then, he has continued to develop his craft, exploring many different areas with The Smashing Pumpkins while ditching his trusty Strat for his signature Reverend Guitars BC-1.
An undisputed genius of the fretboard, we’ve taken it upon ourselves to list five guitar riffs that prove Billy Corgan is a genius. Find the selections below.
Five brilliant riffs by Billy Corgan:
‘Cherub Rock’ – Siamese Dream (1993)
There was no way ‘Cherub Rock’ wouldn’t be on this list. The opener of the Siamese Dream was a perfect way for Corgan and the band to assert that it was their masterpiece. Kicking off with the clean clank of the frontman’s Stratocaster, it then kicks into a meaty main riff, which ranks among the most infectious the Chicagoan has ever captured.
Utilising the era’s quiet-loud-quiet dynamics, the song fully draws on the power of Corgan’s vintage Big Muff fuzz pedal. It demonstrates his compositional grasp and dynamic approach to the guitar. Utterly exquisite.
‘Today’ – Siamese Dream (1993)
Another staple from Siamese Dream that Billy Corgan uses to explore the intriguing area between punishing and ethereal is ‘Today’. Complete with a simple but effective central riff; it resoundingly shows that guitarists do not have to outdo themselves in the technical department to achieve greatness. Sometimes clarity is essential to brilliance, and here it is undoubted.
Almost lullaby-like, this dream-like riff washes over you before the band’s trusty loud section comes crashing in, with the dense smack of Corgan and Iha stomping on their fuzz pedals. The central harmony then emerges throughout, with Corgan’s vocals dovetailing aptly.
‘Jellybelly’ – Mellon Collie and the Infinite Sadness (1995)
‘Jellybelly’ ranks among one of the heavier guitar moments in Billy Corgan and The Smashing Pumpkins’ back catalogue. Amped up, quick and fierce, the central riff is straight from the world of metal and evokes the sludge of Melvins as much as it does elements of crossover thrash. Extremely passionate and a constantly twisting guitar performance, the riff and the ensuing parts create one of the most impactful found on the lengthy 28-track record.
Whether it be the riff, bridge, or chorus melodies, Corgan emphatically raises the bar here, showing all alternative rock guitarists how it should be done. Don’t sit on your laurels; push yourselves, and use your imagination. The dive bombs smattered throughout are also a sonic treat.
‘Bullet with Butterfly Wings’ – Mellon Collie and the Infinite Sadness (1995)
From a fan favourite to one of Corgan’s biggest hits, it’s safe to say that the gloomy central riff of ‘Bullet with Butterfly Wings’ is what makes the song tick. Stoking ample atmosphere and tension, it pushes the track along to its explosive chorus. The frontman gets about as intense as he’s ever been on the guitar, lyrically and in terms of vocal delivery.
Not only does it have a killer riff, but it has exceptional chord progressions and tricky licks, enough to sate the appetite of any fan of rock guitar playing. The climactic wah-drenched solo is the cherry on the cake.
‘Zero’ – Mellon Collie and the Infinite Sadness (1995)
Another simple but effective song, ‘Zero’ is a dark, ominous take from The Smashing Pumpkins’ third album. The central riff locomotes throughout the whole song and is brought to life by punchy down strokes and harmonic notes, adding a sprinkle of punky attitude.
The metallic guitar tone of Corgan adds a gothic element to the sound too, creating tension that, as it builds to the crescendo, sends a shiver down the spine. This is the frontman and his band in one of their finest moments, wherein they let the music breathe and do the talking.
