eleased years after first surfacing as a bootleg, Earphoria, the soundtrack to the re-released video Viewphoria (now on DVD), is a snapshot of the Smashing Pumpkins circa the release and touring behind Siamese Dream. Despite how well the album and live show have held up over time, this collection of live performances, television appearances and musical interludes, is an overall mixed bag that will, more than likely, appeal to only the hardcore Pumpkins fan.


The recording of Siamese Dream was nearly the death knell for the band. Billy Corgan, using writing as a catharsis, pulled himself from the brink of depression and suicide. D'Arcy and James Iha were sidelined through much of the recording due to Corgan's ever-demanding perfectionism and Jimmy Chamberlin struggled with a deadly addiction to heroin. The end product, though, was their greatest achievement- straddling both artistic respect and commercial viability.


This was not as easily done as it may seem in retrospect. Not content to rest on their laurels, the band toured incessantly all over the world, several times over. As an audio scrapbook if you will, Earphoria is a stunning representation of this determined spirit.


On "Quiet", recorded in Atlanta in '93, the razor guitars cut deeper than they do on the album. Chamberlin's dexterity is pushed aside in favor of a harder hitting style that attacks more than it swings. From an English TV show, "Disarm" is heavier and far more ferocious than its studio companion. Chamberlin's snare hits resemble the loud cracks of a fireworks display. Going acoustic on "Cherub Rock", leaving behind the pyrotechnic guitar work and unmasking the lyrics, at the same time, brings out the nuances in the song's bass work. However, nothing can make "Today" sound fresh again. This is a prime example of the power that radio and MTV have in ruining a great song.


Smack dab in the middle of the album is the powerhouse of "I Am One", off of Gish. Propelled by a domineering Chamberlin amid tempestuous guitar work by Corgan and Iha and bouncy, playful bass lines by D'Arcy, the song is an aural assault on the listener- in a good way. The only problem here, is Corgan's rant that appears to have been part of every set during this time period. "All I ever wanted was everything and all I ever got was shit!!" Thankfully, Corgan matured and realized that playing the angry malcontent could not last forever.


A competent, if not terribly interesting performance of "Soma" is followed by a lo-fi, ear splitting version of "Slunk", from Japanese TV. "Geek U.S.A.", here as on the album, is a powerhouse, especially with regards to Chamberlin's masterful tom fills and break neck speed beats, but suffers from muddled sound and a nearly inaudible Corgan. Things pick up with an acoustic take on "Mayonaise", which, if you've seen the video, you know was recorded outside and has a gentle, mellow vibe to it.


The best reason to pick up this disc, though, is in the overwhelming recreation and destruction of "Silverfuck". At nearly fourteen minutes long, this song is more than mammoth, it is a towering ode to both prog rock and heavy metal and worth its weight in gold. Corgan screams and howls as if in deep physical pain, Iha plays off of Corgan's fiery guitar work effortlessly, D'Arcy balances the whole song out, while Chamberlin sounds as if he is hitting every drum on his kit all at once. Perhaps the only complaint about this tune, is the thirty second inclusion of "Somewhere Over The Rainbow", but that is minor when compared to something as precious as this performance.


The interludes, while interesting, are nothing to get worked up over and the album's closer, "Why Am I So Tired" (which, to this reviewer's recollection, has never appeared on any Pumpkins recording) is a fifteen minute long studio instrumental that wears out its welcome after about four minutes. It’s the alternative take on jamming, perhaps, but sometimes the less that is said is better, eh?