November 1997-March 1998 – Sunset Sound

The November 1997-March 1998 Sunset Sound sessions was the second session for Adore, after relocating to Studio 2 at Sunset Sound. After months of aimless recording, Flood was brought in to sift through the 40-odd songs and assess what needed to be done to make an album out of the mountain of recordings. The final Adore album was a patchwork that drew from these sessions as well as the failed Chicago Brad Wood Sessions, the live CRC sessions and even some home recordings at Sadlands.
Billy reached out to Nitzer Ebb's Bon Harris, who contributed additional programming and sound design with the aid of his Nord Modular, Oberheim Xpander, and massive Roland System 100M. But the songs didn't come into full focus until Corgan reconnected with Flood, whose experience with bands like Depeche Mode and Nine Inch Nails made him the perfect candidate to help actualize Adore's hybrid vision.
== Tracks recorded ==
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=== Unreleased ===
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== Background ==
The dissonance was evident to Flood upon arrival. The mix of disparate Pro Tools sessions and oneinch tape created a textured canvas that proved difficult to homogenize, and the tension between band members was palpable. The band worked at Sunset Sound until reoccurring technical difficulties with the Neve console forced them to complete the project at the Village Recorder in Santa Monica. To further Adore’s maudlin, Goth-tech spirit, Corgan assumed a Max Schreck-like persona, emphasizing his shaved head with lighting and make-up and donning long, flowing garb that accented his 6-foot 4-inch frame.
Many fans attributed Adore’s stylistic shift directly to Chamberlin’s lack of participation. Chamberlin himself later said "I don’t feel excluded from Adore. When I listen to that record, I hear decisions that I totally influenced because I wasn’t there."Richard Thomas, "Signal To Noise: The Sonic Diary Of The Smashing Pumpkins", Electronic Musician, October 1st, 2008 Contrary to favorable reviews and another Grammy nomination for Best Alternative Music Album, Corgan insists “nobody got the record.” “To Sheila” pumped blood through its mechanized heart, “Ava Adore” flashed her crooked teeth, but the bite wasn’t as strong. Chamberlin’s raw power was replaced by reverberating, distorted 808 kicks. Shuffle and swing turned into quantized grooves and fills. Predictable ticks marched along in place of glittering cymbal embellishments.
Corgan attributed some inspiration for radically different album to the early-1950's Sun recordings of Howlin' Wolf. "I was really blown away by the visceral energy. There's other things I was listening to: Son House, Muddy Waters. But I wasn't attracted to the song form per se. I was attracted to the spirit in the music. It seemed more rock & roll to me than any other rock & roll I could listen to." Corgan was so attracted to the idea of an roots 'n' groove record that he at one point reached out to Daniel Lanois and T-Bone Burnett about producing the album.
As recording concluded, the band felt unsettled about touring as a three-piece, especially for an offbeat album like Adore. Corgan had made plans for a solo acoustic record and tour over time as an outlet for the songs that didn't make the album. "The energy around the new record is going to dictate what happens.", Corgan told Rolling Stone. "Fuck, everybody might hate it. I don't know. I'd be lying if I said, 'The record company hates it, the fans hate it - right, I'm going to go out on tour.' I'll just stay home."David Fricke, "The Soft Parade", Rolling Stone, March 1998
== Equipment ==
=== Guitars ===
=== Production and engineering ===
== Corgan's LiveJournals ==
=== Way Out in Outpost Canyon ===
=== Coming Down The Mountain ===
== References ==