Adore

From SPCodex, The Smashing Pumpkins wiki
Adore
Studio album by
The Smashing Pumpkins
ReleasedJune 2, 1998
Studio sessions
GenreElectronic rock[1], gothic rock[2], art rock[3], synth-pop[4]
Length73:25
LabelVirgin
ProducerBilly Corgan, Flood, Brad Wood
The Smashing Pumpkins chronology
The Aeroplane Flies High
(1996) 		Adore
(1998) 		Machina/The Machines of God
(2000)
Singles from Adore
  1. "Ava Adore"
    Released: May 18, 1998
  2. "Perfect"
    Released: September 7, 1998
Alternate cover
Vinyl cover/2014 reissue cover
Vinyl cover/2014 reissue cover

Adore is the fourth studio album by The Smashing Pumpkins, released in June 1998 by Virgin Records. After the multi-platinum success of Mellon Collie and the Infinite Sadness and a subsequent yearlong world tour, follow-up Adore was considered "one of the most anticipated albums of 1998" by MTV.[5] Recording the album proved to be a challenge as the band members struggled with lingering interpersonal problems and musical uncertainty in the wake of three increasingly successful rock albums and the departure of drummer Jimmy Chamberlin.[6] Frontman Billy Corgan would later characterize Adore as "a band falling apart".[7] Corgan has also mentioned he was going through a divorce while recording the album.

The result was a much more subdued and electronica-tinged sound that Greg Kot of Rolling Stone magazine called "a complete break with the past".[8] The album was well received by critics, and became the third straight Pumpkins album to be nominated for the Grammy Award for Best Alternative Music Performance[9] and has gained an immense cult following. A remastered and expanded version of the album was released on CD and vinyl in September 2014 as a part of the band's project to reissue their back catalogue from 1991–2000.

Background[edit | edit source]

The Smashing Pumpkins had cemented their place as a cultural force with the multi-platinum Mellon Collie and the Infinite Sadness.[10] Feeling the limitations of their guitar-driven hard rock sound, the band had started to branch out during the making of Mellon Collie, and, after the chart-topping success of the electronic-leaning "1979",[11] the band zeroed in on electronica.[12]

As the sprawling and massively successful Infinite Sadness tour wound down, Billy Corgan found himself facing many difficult issues, including musical burnout, the absence of his "best friend and musical soul mate in the band" Jimmy Chamberlin, the end of his marriage, and the death of his mother to cancer.[13]

During this period, the band released two new singles on movie soundtracks—"Eye" and "The End Is the Beginning Is the End". Both songs incorporated electronic elements, yet retained the hard rock elements of the band's previous material; one reviewer called the two singles "balls-out, full-energy chargers" and wrote off the Pumpkins' previous remarks that the upcoming album would "rock" less.[14] However, the new album material Corgan was writing consisted mainly of simple acoustic songs.[13] Corgan, James Iha, D'arcy Wretzky, and Matt Walker spent a few days in the studio in February 1997 laying down demos mostly as live takes, and the band hoped to quickly record an entire album in such a manner.[13] Corgan, hoping to maintain the band's progressive rock-inspired experimentation, soon had second thoughts about this approach and began envisioning a hybrid of folk rock and electronica that was at once "ancient" and "futuristic".[13]

Recording[edit | edit source]

Main articles: August-September 1997 – Chicago Trax Recording and November 1997-March 1998 – Sunset Sound

The Smashing Pumpkins started demoing in February 1997 and recorded 30 songs for the album which, at one point, looked set to be a double album. The band subsequently cut the number of tracks on the album to 14.[15]

After playing several festival dates in summer 1997, the band began working at a variety of Chicago studios with producer Brad Wood—with whom Corgan previously had worked in the early 1990s.[16] While Mellon Collie had mostly been recorded with the full participation of all the band members, the band dynamics during the new sessions soon muddled as Corgan, uninspired by his bandmates, worked mostly alone.[13] Wood, too, was leaving Corgan unsatisfied, so, after six weeks in Chicago, the band—minus Wood and Matt Walker—relocated to Los Angeles and started work at Sunset Sound, with Corgan now the de facto producer.[13][17]

Due to Jimmy Chamberlin being fired from The Smashing Pumpkins, Soundgarden drummer Matt Cameron was one of several percussionists brought into the studio to record with the band

The band rented a house, and hoped living communally would foster good relations and a happier recording environment.[18] According to Corgan, Iha refused to live in the house and rarely visited.[18] The recording sessions continued to be slow-moving and heavily technical.[19] In the absence of a drummer, the band used a drum machine as it had in its earliest incarnation.[18] The band also enlisted Joey Waronker, of Beck's band, and Matt Cameron, of Soundgarden and Pearl Jam, for a few songs each.[20][21] Bon Harris of Nitzer Ebb contributed electronic sequencing and sounds to eight album tracks, with the band giving him mostly free rein.[22]

At the behest of the band's management, Rick Rubin was brought in to produce one song, "Let Me Give the World to You", but the song was left off the album, later to be re-recorded for Machina II/The Friends & Enemies of Modern Music.[23] With around thirty songs recorded, Corgan began to see an end, and enlisted Mellon Collie co-producer Flood to help finish the recording, pull the album together, and mix the songs.[19]

Art direction for the album is credited to Frank Olinsky, Billy Corgan, and Corgan's then-girlfriend and frequent collaborator Yelena Yemchuk. The artwork for the album and its singles consisted almost entirely of black-and-white photographs shot by Yemchuk, many of which featured fashion model Amy Wesson (including both the original and 2014 covers).[24]

Music[edit | edit source]

Corgan was deliberately setting out to widen his band's sound and message, explaining that he was not "talking to teenagers anymore. I'm talking to everyone now. It's a wider dialogue. I'm talking to people who are older than me and younger than me, and our generation as well."[17] He said much of the record was "an attempt to go back to what's important at a musical core and build it outward".[25] He would later reflect that he was "stuck on the idea that [he] needed to prove [he] was an artist, which is the death knell of any artist".[26]

Distorted guitars and live drums, the previous hallmarks of the Pumpkins sound, took a back seat in a sonic palette that included much more synthesizers, drum programming, acoustic guitar, and piano.[8] At least five songs on the album are driven chiefly by piano,[8] while the track "Appels + Oranjes" contains only electronic instruments, Corgan's vocals, and very sparse guitar work.

"Tear" was written for the Lost Highway soundtrack, but was rejected by David Lynch in favor of "Eye".[27] "Pug" was originally recorded as a "minor key blues death march" with drums by Matt Cameron, while the album version uses drum programming.[23] The only song on the album to feature Cameron, "For Martha", is a tribute to Corgan's mother that was primarily recorded as one live take.[19]

Apart from being the first album without Jimmy Chamberlin, Adore was the first album to not include writing contributions from James Iha,[24] who was concurrently working on his solo album Let It Come Down. However, he did contribute the track "Summer" to the "Perfect" single.[24]

Promotion and release[edit | edit source]

The lead-up to Adore was marked by conflicting statements as to the album's sound—Corgan initially said the band was heading in the direction of the heavy-metal-guitar-and-electronic music-driven "The End Is the Beginning Is the End" in summer 1997,[28] while the band's management reported the album would be all-acoustic.[29] In early 1998, Corgan called the sound "arcane night music",[30] elaborating, "The people that say it's acoustic will be wrong. The people that say it's electronic will be wrong. The people that say it's a Pumpkins record will be wrong. I will try to make something that is indescribable".[31] Further complicating the situation was the record label's initial insistence to use the Rick Rubin produced, upbeat, poppy song "Let Me Give the World to You" as the album's lead single, something Corgan strongly objected to, fearing it would give listeners the wrong first impression of the album.[32] Corgan had to drop the song off the track list altogether to avoid using it as a single.[32]

Adore was released on June 1, 1998, in most of the world, the same day the video for first single "Ava Adore" premiered. The album booklet and music video showcased the band's new gothic look. The second single, "Perfect", was also accompanied by a music video, which debuted on August 16.[33]

Touring[edit | edit source]

Main article: Adore tour

After the release of Adore, the band embarked on a scaled-back 14-show world tour entitled An Evening with The Smashing Pumpkins to support Adore.[34] Abroad, the Pumpkins played at what had been called an "eclectic mix of interesting venues",[35] among them the rooftop of a FNAC record store in Paris, France,[36] in the botanic gardens of Brussels, Belgium,[37] at the Cannes Film Festival,[38] and at an International Shipping Harbor in Sydney, Australia.[39] In the United States, the Pumpkins donated 100% of their ticket profits to local charities[40] (yet one stop on the tour, Minneapolis, was a free concert and underestimated the attendance of the show).[41] In the end, the Pumpkins, with the help of their fans, raised over $2.8 million in this manner.[42]

The lineup was the most expansive yet, including former John Mellencamp and Melissa Etheridge drummer Kenny Aronoff,[43] percussionists Dan Morris and Stephen Hodges, and David Bowie pianist Mike Garson.[44] Violinist Lisa Germano was also set to appear,[45] but did not ultimately appear in the touring line-up. The set was mainly Adore material, with only a handful of reworked Mellon Collie songs and no songs from prior to 1995, eliminating many of their radio hits and fan favorites,[34] with the exception of some shows performed in South American countries like Brazil and Chile, where they played for the first time, so they included old hits like "Today" and "Disarm".[46][47]

In retrospect, Corgan regretted the decision to hire the two percussionists to play alongside Aronoff, instead of having the drummer play along with loops from the album. "That drove Kenny up the wall because Kenny has perfect time and one guy played on top and the other behind. I remember Kenny saying, 'I feel like I'm tripping on LSD' because he kept hearing things that were not in time, and it drove him crazy," said Corgan in the Adore reissue liner notes. Performing with Garson was also challenging because, according to Corgan, "he made a decision 40 years ago that he would live in the intuitive flow of what he was feeling, so he literally cannot play the same thing twice. So we'd have gigs where he'd have that same magic as on Aladdin Sane and the next night he'd come and play the extreme opposite style—like honkytonk. I really respect Mike, but to play with him was always challenging; precisely because he is such a supreme musician."[48]

Reception[edit | edit source]

Critical reception to Adore was generally positive. Greg Kot of Rolling Stone magazine regarded Adore as "the most intimate album the Pumpkins have ever made and also the prettiest, a parade of swooning melodies and gentle, unfolding nocturnes".[8] Ryan Schreiber of Pitchfork described the album as "the Pumpkins' best offering since Siamese Dream".[14] Stephen Thomas Erlewine of AllMusic described Adore as "a hushed, elegiac album that sounds curiously out of time".[3] Adore was considered one of "an inspiring range of 25 classic alternative American albums" by The Guardian.[49] The lyrics received particular praise from critics—Jim DeRogatis of the Chicago Sun-Times, who in 1993 had criticized Corgan's lyrics as "too often sound[ing] like sophomoric poetry",[50] said Corgan "took a big leap forward as a lyricist" starting with Adore.[51] Schreiber, called Adore's lyrics "poetic", particularly singling out "To Sheila".[14] Greg Kot emphasized the "oblique, private longings, and weighty, sometimes awkward conceits" in the lyrics,[8] while David Browne of Entertainment Weekly called them "unsettled and unsettling".[52] The contributions of Wretzky and Iha also received praise, with Kot noting that "Iha's quirky guitar accents and Wretzky's unflashy resolve [...] give Adore a warmth and camaraderie no other Pumpkins album can match."[53]

Adore entered the Billboard album charts at number two with 174,000 units of the album sold,[54] and was certified platinum by the RIAA five weeks later.[55] Two additional promotional singles, "Crestfallen" and "To Sheila", were released to radio stations but were never released as commercial singles.[17] As of May 2005, Adore has sold 1.1 million units in the U.S., and at least three times as many copies worldwide.[53]

Corgan blamed himself for the record's reception with fans, saying he "made the mistake of telling people it was a techno record" and that if he "would have told everyone Adore was the Pumpkins' acoustic album we would have never had the problems that we had".[56] Corgan wrote on the band's website that the album's title was "misunderstood" and "a joke that no one ever got", explaining that Adore was meant as a play on "A Door", meaning the album would offer a new entrance to the band's career.[57] In 2005, Corgan would call the making of the album "one of the most painful experiences of my life".[58]

Track listing[edit | edit source]

All tracks are written by Billy Corgan.

Main release
No.TitleLength
1."To Sheila"4:46
2."Ava Adore"4:21
3."Perfect"3:23
4."Daphne Descends"4:39
5."Once Upon a Time"4:06
6."Tear"5:53
7."Crestfallen"4:09
8."Appels + Oranjes"3:35
9."Pug"4:47
10."The Tale of Dusty and Pistol Pete"4:35
11."Annie-Dog"3:38
12."Shame"6:40
13."Behold! The Night Mare"5:13
14."For Martha"8:18
15."Blank Page"4:58
16."17" (not on vinyl pressings)0:17
Japanese edition bonus track
No.TitleLength
16."Once in a While" ("17" moves to track 17)3:33

2014 CD/DVD reissue[edit | edit source]

As part of Virgin/Universal Music's reissue campaign, a special edition of the album was released on September 23, 2014.[59][60] The release consists of the original album remastered and 91 bonus tracks of previously unreleased material, demos and alternate versions of Adore-era songs, and was released in five formats; the physical box set containing all 107 tracks, the digital deluxe edition containing 73 or 74 of the bonus tracks (many digital releases omit the live version of Ava Adore featured on the sixth disc for unknown reasons), as well as single disc CD and double-LP versions containing only the stereo remaster of the album.[59] The digital version of the reissue was released on October 3, 2014.[61]

The actual Adore album was remastered by Bob Ludwig. The entire set includes session outtakes and a mono version of the album, with Corgan saying the new mixes contain "elements from the original sessions that were stored digitally, but never used; such as some of the work done by Bon Harris".[62]

The package also includes a DVD of the band's August 4, 1998 show at the Fox Theater in Atlanta, Georgia.[59]

2014 Reissue CD 1: Adore Stereo Remastered
No.TitleLength
1."To Sheila"4:40
2."Ava Adore"4:30
3."Perfect"3:22
4."Daphne Descends"4:39
5."Once Upon a Time"4:04
6."Tear"5:52
7."Crestfallen"3:57
8."Appels + Oranjes"3:35
9."Pug"4:54
10."The Tale of Dusty and Pistol Pete"4:35
11."Annie-Dog"3:38
12."Shame"6:38
13."Behold! The Night Mare"5:12
14."For Martha"8:16
15."Blank Page"4:51
16."17"0:19
2014 Reissue CD 2: Adore Mono Remastered
No.TitleLength
1."To Sheila"4:39
2."Ava Adore"4:24
3."Perfect"3:29
4."Daphne Descends"4:43
5."Once Upon a Time"4:06
6."Tear"5:51
7."Crestfallen"3:56
8."Appels + Oranjes"3:39
9."Pug"4:48
10."The Tale of Dusty and Pistol Pete"4:33
11."Annie-Dog"3:39
12."Shame"6:39
13."Behold! The Night Mare"5:12
14."For Martha"7:07
15."Blank Page"4:50
2014 Reissue CD 3: In a State of Passage
No.TitleSourceLength
1."Blissed and Gone" (Sadlands demo)1996 – Sadlands4:17
2."Christmastime" (Sadlands demo)1996 – Sadlands3:27
3."My Mistake" (Sadlands demo)1996 – Sadlands4:50
4."Sparrow" (Sadlands demo)1996 – Sadlands2:55
5."Valentine" (Sadlands demo)1996 – Sadlands4:22
6."The Tale of Dusty and Pistol Pete" (Sadlands demo)1996 – Sadlands5:23
7."What If?" (Alternate version of "Appels + Oranjes" / Streeterville demo)August 1997 – Streeterville3:27
8."Chewing Gum" (CRC demo)February 1997 – Chicago Recording Company3:00
9."The Tale of Dusty and Pistol Pete" (CRC demo)February 1997 – Chicago Recording Company5:01
10."The Ethers Tragic" (CRC demo/2014 mix – Instrumental)February 1997 – Chicago Recording Company2:49
11."The Guns of Love Disastrous" (CRC demo/2014 mix – Instrumental)February 1997 – Chicago Recording Company2:03
12."Annie-Dog" (CRC demo/Take 10)February 1997 – Chicago Recording Company3:25
13."Once in a While" (CRC demo/2014 mix)February 1997 – Chicago Recording Company3:34
14."Do You Close Your Eyes When You Kiss Me?" (CRC demo)February 1997 – Chicago Recording Company3:07
15."For Martha" (CRC demo/Take 1)February 1997 – Chicago Recording Company7:19
16."My Mistake" (CRC demo/Take 1)February 1997 – Chicago Recording Company4:00
17."Blissed and Gone" (CRC demo)February 1997 – Chicago Recording Company3:29
18."For Martha" (CRC demo/Take 2 – Instrumental)February 1997 – Chicago Recording Company5:39
Total length:72:07
2014 Reissue CD 4: Chalices, Palaces and Deep Pools
No.TitleLength
1."For Martha" (Symphonic Snippet – Instrumental)2:40
2."Crestfallen" (Matt Walker 2014 "Reimagined" version)3:39
3."To Sheila" (Early Banjo version)4:24
4."Ava Adore" (Puffy Combs 1998 remix)4:37
5."O Rio" (Sadlands Demo – Instrumental)2:28
6."Waiting"3:49
7."Once Upon a Time" (Sadlands demo)4:20
8."Eye" (2014 mix)4:54
9."Saturnine" (Piano and voice version)3:47
10."Cash Car Star" (Matt Walker 2014 "Reimagined" version)4:00
11."Pug" (Matt Walker 2014 "Reimagined" version)4:35
12."Perfect" (No strings version)3:24
13."It's Alright" (Instrumental)4:20
14."Czarina" (Take 1)3:57
15."Indecision" (Sadlands demo)2:43
16."Blank Page" (Early version)4:57
Total length:62:34
2014 Reissue CD 5: Malice, Callous and Fools
No.TitleWriter(s)Length
1."Let Me Give the World to You" (Rick Rubin/Adore version) 4:19
2."Tear" (from digital transfer) 5:52
3."Cross" 4:53
4."Because You Are" 3:51
5."Jersey Shore" (Sadlands demo) 3:41
6."Shame" (Take 1) 4:54
7."Summer" (Instrumental)James Iha3:08
8."Blissed and Gone" (Drone version) 5:11
9."Heaven" (Sadlands demo – Instrumental) 4:02
10."Daphne Descends" (Matt Walker 2014 "Reimagined" version) 5:06
11."Saturnine" (Matt Walker 2014 "Reimagined" version) 3:57
12."Behold! The Night Mare" (Alternate vocal) 4:59
13."Perfect" (Acoustic demo) 3:18
14."Do You Close Your Eyes?" 4:22
15."The Beginning Is the End Is the Beginning" 5:00
Total length:66:35
2014 Reissue CD 6: Kissed Alive Too
No.TitleWriter(s)Length
1."Ava Adore" (Live/São Paulo session) 4:47
2."Daphne Descends" (Live/São Paulo session) 4:27
3."The Tale of Dusty and Pistol Pete" (Live/São Paulo session) 4:42
4."Tear" (Live/São Paulo session) 7:01
5."Shame" (Live Mancow's Morning Madhouse session, Chicago) 4:19
6."Blank Page" (Live Mancow's Morning Madhouse session, Chicago) 7:52
7."To Sheila" (Live at Ryman Auditorium, Nashville) 7:16
8."Money (That's What I Want)" (Live at Dodger Stadium, LA)Berry Gordy Jr., Janie Bradford3:30
9."X.Y.U." (Live medley from Dodger Stadium, LA) 11:19
9a."The Ethers Tragic" (tease)  
9b."Never Say Never" (tease)Debora Iyall, Peter Woods, Frank Zincavage, Benjamin Bossi, Larry Carter 
9c."Where Boys Fear to Tread" (tease)  
10."Transmission" (Live at rehearsals, Chicago)Ian Curtis, Bernard Sumner, Peter Hook, Stephen Morris12:51
Total length:68:04
2014 Reissue DVD: Fox Theater, Atlanta, GA – August 4, 1998
No.TitleWriter(s)Length
1."To Sheila" 7:11
2."Behold! The Night Mare" 5:16
3."Pug" 5:06
4."Crestfallen" 4:30
5."Ava Adore" 5:41
6."Tear" 9:59
7."Annie-Dog" 4:27
8."Perfect" 3:35
9."Thru the Eyes of Ruby" 10:15
10."Tonight, Tonight" 4:19
11."Once Upon a Time" 4:37
12."The Tale of Dusty and Pistol Pete" (Includes drum/percussion solo leading into the next song) 10:20
13."Bullet with Butterfly Wings" 5:30
14."Shame" 9:17
15."For Martha" 8:25
16."Blank Page" 9:48
17."Transmission"Ian Curtis, Bernard Sumner, Peter Hook, Stephen Morris25:52
Total length:134:41

Release history[edit | edit source]

Released Label Catalog ID Format Country External sites
June 1, 1998 Virgin • Hut Recordings 7243 8 45879 2 5 • CDHUT 51 CD Europe Discogs MusicBrainz [1]
June 1, 1998 Virgin • Hut Recordings 7243 8 45879 4 9 • HUTMC 51 Cassette Europe Discogs [1]
June 2, 1998 Virgin 7243 8 45879 2 5 CD US Discogs MusicBrainz [1]
June 1, 1998 Virgin 8458792 CD Australia Discogs MusicBrainz [1]
August 18, 1998 Caroline 7243 8 45879 1 8 2LP US Discogs MusicBrainz [1]
December 15, 1998 Hut Recordings • EMI CDHUT 51 • 84587925 CD • VCD Hong Kong Discogs [1]
1998 Virgin 72438 45879 4 9 Cassette US Discogs [1]
May 30, 1998 Virgin VJCP-25396 CD Japan Discogs MusicBrainz [2]
September 23, 2014 Virgin 6 02537 89926 5 2LP Europe Discogs MusicBrainz [3]
September 23, 2014 Virgin • UMe B0021122-01 • B0021122-01 2LP US Discogs [3]
September 23, 2014 Virgin B0020851-00 6CD • DVD US Discogs MusicBrainz [3][4][5][6][7][8][9]
September 23, 2014 Virgin Digital Worldwide MusicBrainz [3][4][5][6][7][8]

More releases: Discogs • MusicBrainz

Personnel[edit | edit source]

The Smashing Pumpkins[edit | edit source]

Additional musicians[edit | edit source]

  • Matt Walker – drums on tracks 1, 2, 4, 6, 10, 11 and 13
  • Matt Cameron – drums on "For Martha"
  • Joey Waronker – drums on "Perfect", additional drums on "Once Upon a Time" and "Pug"
  • Dennis Flemion – additional vocals in "To Sheila" and "Behold! The Night Mare"
  • Jimmy Flemion – additional vocals in "To Sheila" and "Behold! The Night Mare"
  • Bon Harris – additional programming on tracks 2, 3, 4, 5, 7, 8, 9, and 13; additional vocals in "For Martha"
  • Brad Wood – additional production and engineering on tracks 1, 2, 4, 6, 13, and 15, additional vocals in "Behold! The Night Mare", organ in "Blank Page"

Technical[edit | edit source]

  • Robbie Adams – engineering, mixing
  • Chris Brickley – recording assistant
  • Flood – additional production, mixing
  • Eric Greedy – mix assistant
  • Steve Johnson – recording assistant
  • Ron Lowe – recording assistant
  • Jay Nicholas – mix assistant
  • Frank Olinsky – art direction and design
  • Neil Perry – engineer, mixing
  • Matt Prock – recording assistant
  • Chris Shepard – engineer
  • Jamie Siegel – mix assistant
  • Bjorn Thorsrud – digital editing, engineering
  • Ed Tinley – recording assistant
  • Andy Van Dette – digital editing and compilation
  • Jeff Vereb – recording assistant
  • Howie Weinberg – Audio mastering
  • Howard Willing – engineering, mix assistant
  • John Wydrycs – mix assistant
  • Yelena Yemchuk – photography, art direction and design

Charts[edit | edit source]

Singles[edit | edit source]

Year Song Chart positions
US
Modern Rock[11][93] 		US
Mainstream Rock[11][93] 		Canadian Singles Chart[93] UK
Singles Chart[94] 		Australian Singles Chart[95] US
Hot 100[11][93] 		US
Adult Top 40[93]
1998 "Ava Adore" 3 8 9 11 19 42  —
"Perfect" 3 33 13 24 56 54 31

Certifications and sales[edit | edit source]

Region Certification Certified units/sales
Australia (ARIA)[96] Platinum 70,000^
Canada (Music Canada)[97] 2× Platinum 200,000^
Denmark (IFPI Denmark)[98] Gold 25,000^
France (SNEP)[100] Gold 198,300[99]
Japan (RIAJ)[101] Gold 100,000^
New Zealand (RMNZ)[102] Platinum 15,000^
Norway (IFPI Norway)[103] Gold 25,000*
Spain (PROMUSICAE)[104] Gold 50,000^
United Kingdom (BPI)[105] Gold 100,000^
United States (RIAA)[106] Platinum 1,000,000^

*sales figures based on certification alone
^shipments figures based on certification alone

References[edit | edit source]

  1. ↑ "Smashing Pumpkins to Release Pair of 'Epic' Albums in 2015". Billboard. March 25, 2014. Retrieved November 23, 2015.
  2. ↑ Cinquemani, Sal (April 7, 2001). "Smashing Pumpkins – Machina: The Machines of God". Slant Magazine. Retrieved November 23, 2015.
  3. ↑ 3.0 3.1 Erlewine, Stephen Thomas. "Adore – The Smashing Pumpkins". AllMusic. Retrieved February 11, 2007.
  4. ↑ Breihan, Tom (June 23, 2010). "Listen: Passion Pit Cover Smashing Pumpkins, Remix Katy Perry". Pitchfork. Retrieved November 26, 2015.
  5. ↑ "Smashing Pumpkins Set Release Date, Track Listing For "Adore"". MTV. April 28, 1998. Archived from the original on February 12, 2007. Retrieved February 13, 2007.
  6. ↑ The primary source on the recording climate is a three-part blog written by Billy Corgan in 2005, all three of which are referenced extensively in the body of this article.
  7. ↑ Interview: Billy Corgan. INsite Magazine. May 14, 2000.
  8. ↑ 8.0 8.1 8.2 8.3 8.4 Kot, Greg (May 18, 1998). "Adore". Rolling Stone. Retrieved January 12, 2013.
  9. ↑ "41st annual Grammy nominees and winners". CNN.com. February 24, 1999. Archived from the original on December 22, 2006. Retrieved February 11, 2007.
  10. ↑ "Top 100 Albums". Recording Industry Association of America. Archived from the original on July 25, 2013. Retrieved August 6, 2007.
  11. ↑ 11.0 11.1 11.2 11.3 "The Smashing Pumpkins Artist Chart History". Billboard. Retrieved February 12, 2007.
  12. ↑ Graff, Gary. "Smashing Pumpkins—Rave of the Future", Guitar World. December 1996.
  13. ↑ 13.0 13.1 13.2 13.3 13.4 13.5 Corgan, Billy. "Starcrossed, and subsequently, a door is opened (1997)". The Confessions of Billy Corgan. April 12, 2005.
  14. ↑ 14.0 14.1 14.2 Schreiber, Ryan (June 1, 1998). "Smashing Pumpkins: Adore". Pitchfork. Archived from the original on August 3, 2002. Retrieved June 12, 2009.
  15. ↑ "NME News PUMPKINS REVEAL DETAILS OF LENGTHY 'ADORE' SESSIONS". Nme.com. January 24, 1998. Archived from the original on October 6, 2014. Retrieved October 2, 2014.
  16. ↑ "Pumpkins To Record With Brad Wood". Rollingstone.com. July 4, 1997. Archived from the original on October 2, 2007. Retrieved February 18, 2007.
  17. ↑ 17.0 17.1 17.2 Bansal, Sachin. "The Smashing Pumpkins Chronology: The Adore Era: 1998". Starla.com. Archived from the original on February 3, 2007. Retrieved February 12, 2007.
  18. ↑ 18.0 18.1 18.2 Corgan, Billy. "Way Out in Outpost Canyon". The Confessions of Billy Corgan. April 13, 2005.
  19. ↑ 19.0 19.1 19.2 Corgan, Billy. "Coming Down the Mountain". The Confessions of Billy Corgan. April 14, 2005.
  20. ↑ "Joey Waronker". McDSP.com. Retrieved February 18, 2007.
  21. ↑ "Matt Cameron Hanging With The Pumpkins?". Rollingstone.com. December 9, 1997. Archived from the original on June 2, 2007. Retrieved February 18, 2007.
  22. ↑ Hindin, Seth. JamTV News. February 17, 1998.
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  25. ↑ Lanham, Tom. "This One Goes Out to the One I Love". CMJ NEW Music Monthly. August 1998.
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  105. ↑ "British album certifications – The Smashing Pumpkins – Adore". British Phonographic Industry. 1998-09-25. Retrieved March 18, 2018. Select albums in the Format field. Select Gold in the Certification field. Type Adore in the "Search BPI Awards" field and then press Enter.
  106. ↑ "American album certifications – Smashing Pumpkins – Adore". RIAA. 1998-07-08. Retrieved March 18, 2018. If necessary, click Advanced, then click Format, then select Album, then click SEARCH. 
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