March 1998 – Sound City

The March 1998 Sound City sessions is where the final song for Adore was recorded, infamously produced by Rick Rubin. It was taken off the album at the last second. The drums were provided by Joey Waronker from Beck's band.

We took two rock singles off the album because we felt they were anti-album. I did one track with Rick Rubin called "Let Me Give the World to You," but it was too much straight-on rock 'n' roll to fit the feel of the album. We also had this song, "Cash Car Star" that our management felt is a total alternative-rock-radio hit. It was just too heavy. This from the beginning was a creative artistic thing, and I feel really good that we stuck to that. It's as close was we've ever come to complete, we-don't-care-what-anyone-thinks artistic integrity. The recording took place at Studio A at Sound City, coincidentally the room where Nirvana recorded Nevermind. The session began like much of the Adore sessions – trial and error. Corgan spent three hours with Rubin, aborting passes on the piano, unsuccessful attempts with tape speed and echo, before the band collectively decided the obvious: to play with each other in real time. Ultimately it took a whole night with 68 takes for the recording to be completed, editing a composite track from the best performances.

Coming Down The Mountain
From Corgan's April 15, 2005 LiveJournal entry: "At about the halfway point of recording, our managers come and visit for a little “look-see”, to find out what is really going on, and hear the record as it stands…(you can see them for yourself in the Metallica movie “Some Kind of Monster”)…I play them most, if not all of what I have, and they sit there song after song in a sort of stunned silence…after it is thru, they look pained to find something positive to say…it is certainly not what they had thought, figuring perhaps it was more of an acoustic record, but now they realize I am way off the plot…they leave me with little hope, encouragement, or suggestions beyond possibly bringing in a producer…I take in all of it, particularly there seeming non-understanding of what I am trying to accomplish, as a good thing…

Off their suggestion, we end up recording one song with famed producer Rick Rubin (who I know a bit socially)…the as of now still unreleased “Let Me Give the World to You” (with Joey playing drums)…after a few false starts of direction, we eventually end up recording the song live, with no vocals…after various incarnations and incantations, I suggest straightening the beat out with a four-on-the-floor tom-tom drive… at first Rick is bored by this, doesn’t agree with where we are headed, and goes to lay on the couch (I don’t blame him)…after about 5 minutes, he leaps up, and says “that’s it, that’s it, let’s do it!”, and we commence doing takes (Rick’s enthusiasm is contagious)…after 68 takes, I am finally satisfied… James, D’arcy, and I are pretty used to working this way all the time, but Joey looks absolutely shell-shocked…he later (in an interview) describes working with us (I’m paraphrasing) as one of the most intense experiences he has ever had in music, but goes on to add that beyond any doubt he may have had in the moment, in the end he realized that what we were after was worth all the effort…

The album seems to finally to have found a solid footing, with it’s odd mix and match approach, and starts to gain a little momentum…I now feel I have the direction in hand that I wish to go…I make plans with Flood (the producer on Mellon Collie) to come in at the end and help me pull it all together, and mix the album…knowing I will have his support and guidance when I am almost finished gives me a lot of confidence to continue, as I feel that no matter where I go from here, there will be someone there to guide me out of the darkness…the downside is now I have a deadline to meet, so I must start making serious choices about where to put my energy…this also means that I have to start tracking my vocals (of which almost none are done), and come to concrete decisions about lyrics…"