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Old 10-06-2010, 04:38 PM   #1
Trotskilicious
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Default hELLO kITTY kAT

GREAT SONG OR GREATEST SONG

 
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Old 10-06-2010, 04:40 PM   #2
dean_r_koontz
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too many notes

 
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Old 10-06-2010, 04:54 PM   #3
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Good song

 
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Old 10-06-2010, 05:15 PM   #4
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BOTH OF YOU ARE WRONG

 
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Old 10-06-2010, 05:24 PM   #5
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and to think it was a fucking b side

 
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Old 10-06-2010, 06:14 PM   #6
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I like this song but what they hell is he REALLY saying in the chorus? The beginning is cool but I don't like the ending solo much...they keep repeating it. Def. a B-side but it is a b-side that is far greater than many other band's main hits.

 
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Old 10-06-2010, 06:16 PM   #7
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who gives a shit it's shoegaze with awesomer drums and cock rock guitar solos

serriously i love that hollow crack of the drums in this track. fuckin jimmy FUK YEH

 
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Old 10-06-2010, 07:30 PM   #8
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Quote:
Originally Posted by ilikeplanets View Post
I like this song but what they hell is he REALLY saying in the chorus? The beginning is cool but I don't like the ending solo much...they keep repeating it. Def. a B-side but it is a b-side that is far greater than many other band's main hits.
Lyrics

the ending is the best part in my mind. its completely gratuitous, which makes it perfect. plus how do you not get even the slightest of chills from the build and release at the very end?

songs over...

 
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Old 10-06-2010, 07:32 PM   #9
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It really is a fucking awesome song. Probably in my top ten. And I don't know that I would have said that 5 years ago.

 
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Old 10-06-2010, 07:54 PM   #10
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Originally Posted by Eulogy View Post
It really is a fucking awesome song. Probably in my top ten. And I don't know that I would have said that 5 years ago.
why? whats changed in five years?

 
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Old 10-06-2010, 07:57 PM   #11
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gotta love the different ending-extended outro on the Mashed Potatoes version

 
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Old 10-06-2010, 08:09 PM   #12
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Billy's best use of the word fuck.

 
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Old 10-06-2010, 11:14 PM   #13
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Great song. I've been playing PI a lot lately and appreciate it far more now than I did 10 years ago. If it weren't for Starla, I'd be calling it my favorite song on PI.

 
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Old 10-06-2010, 11:29 PM   #14
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in my mind the definitive sp track for 1991-1994. so yeah, GREATEST TRACK.

 
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Old 10-07-2010, 09:41 AM   #15
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Love it.

 
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Old 10-07-2010, 11:09 PM   #16
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Has been a top 5 SP track for me for a long time.

 
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Old 10-07-2010, 11:57 PM   #17
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totes rad

 
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Old 10-08-2010, 09:02 AM   #18
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Definitely my favorite song on PI, probably a top 10 overall

 
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Old 10-08-2010, 10:36 AM   #19
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Looking forward to the show where they play HINW->HKK->Marquis ! Probably the next tour, right guys?

 
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Old 10-08-2010, 01:05 PM   #20
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Fer sure!

 
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Old 10-08-2010, 02:06 PM   #21
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What a d0pe song!
That buzz and that vocal are Smashing Pumpkins.

This song brings me so pretty memories. So cool times...

 
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Old 10-08-2010, 03:33 PM   #22
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The Smashing Pumpkins - "Hello Kitty Kat" < PopMatters

If I were to pick a definitive Smashing Pumpkins song, it would be the overlooked nugget “Hello Kitty Kat”, originally released as a b-side to the single “Today” in 1993, and later rounded up as part of the 1994 rarities compilation Pisces Iscariot. To me, the best Pumpkins songs always resembled huge swaths of color. The group was never afraid to be vulnerable or full-on rock monsters, and often did both in the same song, all while constructing walls of melodic guitar fuzz that built up to explosive finishes. “Hello Kitty Kat” is the Pumpkins at their best, incorporating all those factors while firing on all cylinders on a roller coaster of a song until the track practically collapses in on itself.

Speaking of melodic guitar fuzz, “Hello Kitty Kat” is sick with it. It’s no coincidence that frontman Billy Corgan’s best material was written between 1990 and 1996, a period when the man seemed inseparable from his Big Muff guitar pedal. Unlike lesser alt-rock guitarists, Corgan knew how to use the pedal in a way that the tone it generated enhanced his guitar parts instead of overwhelming them. The sounds Corgan coaxed out of his Fender Stratocaster thus served as the perfect missing link between psychedelia and grunge. That’s why I can never get hung up on Corgan’s nasally vocals like many of the band’s detractors do. At their artistic height the Pumpkins’ chief strengths were A) the guitars, and B) the arrangements. The more focus on both of those aspects, the better the song generally turned out. On “Hello Kitty Kat”, Corgan’s vocals are mixed unusually low, sounding insubstantial next to the architectural wonder he has constructed with his arsenal of guitar tracks.

The basic riff for the song is catchy enough that Corgan could’ve based the entire song around it. But he didn’t, instead writing a track that seems intent on progressively topping itself. “Hello Kitty Kat” really begins to kick in when the band hits the chorus. There, Corgan sings the lines “Yeah, yeah / You know I hate to say / Oh no, I always stay / I don’t want to be like the others please” with a swooping, winding delivery. It’s unbelievably hook-laden, to the point where I don’t understand why this song wasn’t released as a single, much less not included on the tracklist for the band’s second album, Siamese Dream (1993). Still, that’s just the first verse and chorus. Corgan drives the band into the second verse with a screeching psychedelic guitar fill, upping the angst factor with the lyrics “Slit my wrist and die a whore / Love to love to love what you adore”. After the second chorus’ cry of “Who’s sorry now?”, the song kicks into overdrive as Corgan unleashes a new pummeling riff and seethes “My love is sadness / My love is oh so wrong / My love is sadness / My love is oh so strong”.

After the barest of pauses, drummer Jimmy Chamberlin knocks out some tom fills and Corgan launches into quite possibly his greatest guitar solo ever. As the backing riff lurches back and forth, Corgan strangles his Strat to conjure a gradually ascending set of licks that threaten to turn into white noise at any moment. Then at the precipice of the section, Corgan’s solo dives up and down like a bomber, soaring back into the final chorus. Even after all that, the song’s not about to pull back. Corgan repeatedly screams “Who’s sorry now?” louder than he has any other line in the song, then lets loose every remaining guitar fill he’s been holding back before the song collapses in a heap. Amid the errant notes at the end, what else could Corgan do but shrug out the words “Song’s over”?

It’s because of songs like this I’m willing to put up with dreck like Zeitgeist.

 
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Old 10-08-2010, 05:43 PM   #23
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Quote:
Originally Posted by vbshlofbvgos View Post
why? whats changed in five years?
....my level of appreciation for the song?

 
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Old 10-08-2010, 05:59 PM   #24
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I prefer Pissant

 
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Old 10-08-2010, 07:06 PM   #25
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I prefer Pissant

 
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Old 01-09-2011, 02:25 PM   #26
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Relevant NSFW link:

http://i.imgur.com/TI5dc.jpg

 
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Old 01-09-2011, 02:49 PM   #27
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the MP version of this song is fucking insane

 
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Old 01-09-2011, 08:46 PM   #28
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Quote:
Originally Posted by rolmos View Post
Relevant NSFW link:

http://i.imgur.com/TI5dc.jpg
Moar?

 
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Old 01-09-2011, 08:53 PM   #29
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haha you're a fur huh avery

 
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Old 01-09-2011, 09:58 PM   #30
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No Comment

 
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