Recording
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.
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. While Mellon Collie had mostly been recorded with the full participation of all of the band members, the band dynamics during the new sessions soon muddled as Corgan, uninspired by his bandmates, worked mostly alone. 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.
The band rented a house, and hoped that living communally would foster good relations and a happier recording environment. According to Corgan, Iha refused to live in the house and rarely visited. The recording sessions continued to be slow-moving and heavily technical. In the absence of a drummer, the band used a drum machine as it had in its earliest incarnation. The band also enlisted Joey Waronker, of Beck's band, and Matt Cameron, of Soundgarden and Pearl Jam, for a few songs each. Bon Harris of Nitzer Ebb contributed electronic sequencing and sounds to eight album tracks, with the band giving him mostly free rein.
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. 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.
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 model Amy Wesson.
Read more about this topic: Adore (The Smashing Pumpkins album)
Famous quotes containing the word recording:
“He shall not die, by G—, cried my uncle Toby.
MThe ACCUSING SPIRIT which flew up to heaven’s chancery with the oath, blush’d as he gave it in;—and the RECORDING ANGEL as he wrote it down, dropp’d a tear upon the word, and blotted it out for ever.”
—Laurence Sterne (1713–1768)
“I didn’t have to think up so much as a comma or a semicolon; it was all given, straight from the celestial recording room. Weary, I would beg for a break, an intermission, time enough, let’s say, to go to the toilet or take a breath of fresh air on the balcony. Nothing doing!”
—Henry Miller (1891–1980)
“Too many photographers try too hard. They try to lift photography into the realm of Art, because they have an inferiority complex about their Craft. You and I would see more interesting photography if they would stop worrying, and instead, apply horse-sense to the problem of recording the look and feel of their own era.”
—Jessie Tarbox Beals (1870–1942)