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As the band had already experimented outside of their traditional rock sound with ''Mellon Collie'', with the immensely successful electronic-influenced "1979" to show for it, they decided to hone in on electronica. Hoping to maintain this ProgressiveRock-inspired experimentation, Corgan began envisioning a hybrid of folk rock and electronica that was as "ancient" as it was "futuristic".

The result was [[NewSoundAlbum the much more musically subdued approach]] that ''Adore'' was defined by, eschewing their pre-established metal elements for mellow, ethereal soundscapes culling influence from the likes of industrial rock, gothic rock, {{synth pop}} and {{dream pop}}, and exhibiting more melancholic lyrics (which Corgan actually wrote before writing the melodies, a first for the band). In a sense, it actually manages to be both LighterAndSofter and DarkerAndEdgier than the band's other material at the same time.

It was regarded as a commercial disappointment compared to their previous two albums, and [[TheyChangedItNowItSucks its vastly new approach]] [[BrokenBase divided the fanbase]] [[CriticalDissonance while earning universal acclaim from critics]]. However, [[VindicatedByHistory its status among fans has risen over the years]] -- something that Corgan predicted himself.

to:

As the band had already experimented outside of their traditional rock sound with ''Mellon Collie'', with the immensely successful electronic-influenced song "1979" to show for it, they decided to hone in on electronica. Hoping to maintain this ProgressiveRock-inspired experimentation, Corgan began envisioning a hybrid of folk rock and electronica that was as "ancient" as it was "futuristic".

"futuristic". The result was [[NewSoundAlbum the much more musically subdued approach]] that ''Adore'' was defined by, eschewing their pre-established metal heavier elements for mellow, ethereal soundscapes culling taking influence from the likes of industrial rock, gothic rock, {{synth pop}} {{synthpop}} and {{dream pop}}, and exhibiting more melancholic lyrics (which Corgan actually wrote before writing the melodies, a first for the band). In a sense, it actually manages to be both LighterAndSofter and DarkerAndEdgier than the band's other material at the same time.

It was regarded as a commercial disappointment compared to their previous two albums, and [[TheyChangedItNowItSucks its vastly new approach]] [[BrokenBase divided the fanbase]] [[CriticalDissonance while earning universal acclaim from critics]]. However, [[VindicatedByHistory its status among fans has risen over the years]] -- something that Corgan predicted himself.
himself at the time of its release.


* MeaninglessMeaningfulWords: As beautiful and [[TearJerker tearjerking]] as "To Sheila" is, looking at the lyrics on their own reveals that it essentially sounds like Corgan put together lots of words that sounded nice.

to:

* MeaninglessMeaningfulWords: As beautiful and [[TearJerker tearjerking]] tearjerking as "To Sheila" is, looking at the lyrics on their own reveals that it essentially sounds like Corgan put together lots of words that sounded nice.


* DarkerAndEdgier[=/=]LighterAndSofter: This album manages to be both tropes at once. When taken as a whole, it's much, much more subdued musically than the band's previous work (and, for that matter, anything they did afterward). However, from an emotional and lyrical standpoint, it's definitely much darker overall, owing in part to Corgan's CreatorBreakdown while it was being made.

to:

* DarkerAndEdgier[=/=]LighterAndSofter: This album manages to be both tropes at once.DarkerAndEdgier: ZigZagged. When taken as a whole, it's much, much more subdued musically than the band's previous work (and, for that matter, anything they did afterward). However, from an emotional and lyrical standpoint, it's definitely much darker overall, owing in part to Corgan's CreatorBreakdown while it was being made.


* OneHundredAndEight: Perhaps coincidental, but as mentioned above, the remastered box set has 108 tracks.


Intended as the band's "electronic" or "gothic" album, the musical and lyrical content is substantially more subdued than their previous material, owing in large part to the fact that Corgan's mother had recently died of cancer, as well as to the fact that usual drummer Jimmy Chamberlin was not present on this album (having been temporarily kicked out of the band for drug abuse).

It actually manages to be both LighterAndSofter and DarkerAndEdgier than the band's other material at the same time. The metal elements of the band's other albums are almost completely absent, but it is more melancholy, and it's their only album for which Corgan wrote the lyrics before writing the melodies.

to:

Intended as After the band's "electronic" or "gothic" album, mass success of ''Music/MellonCollieAndTheInfiniteSadness'' and a subsequent world tour, ''Adore'' was surrounded by considerable hype from the musical and lyrical content is substantially more subdued than their previous material, owing in large part to get-go, with MTV going as far as christening it "one of the fact most anticipated albums of 1998". However, with this level of public expectation combining with a myriad of interpersonal issues, the album's production was [[TroubledProduction marred by problems]] such that Corgan's mother had recently died of cancer, frontman Billy Corgan retrospectively summarized it as well as to [[CreatorBreakdown "a band falling apart"]].

These issues were namely
the fact that usual temporary departure of drummer Jimmy Chamberlin was not present on this album (having been temporarily kicked out due to drug abuse and a number of issues that fell upon frontman Billy Corgan: the recent death of his mother due to cancer, the end of his marriage, and a general sense of musical burnout.

As
the band had already experimented outside of their traditional rock sound with ''Mellon Collie'', with the immensely successful electronic-influenced "1979" to show for drug abuse).

It
it, they decided to hone in on electronica. Hoping to maintain this ProgressiveRock-inspired experimentation, Corgan began envisioning a hybrid of folk rock and electronica that was as "ancient" as it was "futuristic".

The result was [[NewSoundAlbum the much more musically subdued approach]] that ''Adore'' was defined by, eschewing their pre-established metal elements for mellow, ethereal soundscapes culling influence from the likes of industrial rock, gothic rock, {{synth pop}} and {{dream pop}}, and exhibiting more melancholic lyrics (which Corgan actually wrote before writing the melodies, a first for the band). In a sense, it
actually manages to be both LighterAndSofter and DarkerAndEdgier than the band's other material at the same time. The metal elements of the band's other albums are almost completely absent, but it is more melancholy, and it's their only album for which Corgan wrote the lyrics before writing the melodies.
time.



* AlbumClosure: The album ends with "17", a [[MinisculeRocking 17-second]] acoustic instrumental that according to the liner notes is supposed to provide space for breathing and reflection.

to:

* AlbumClosure: The album ends with "17", a [[MinisculeRocking 17-second]] acoustic piano instrumental that according to the liner notes is supposed to provide space for breathing and reflection.



* ShoutOut: "Appels + Oranjes" is an intentionally misspelled shout out to the obscure Music/PinkFloyd song "Apples and Oranges"

to:

* ShoutOut: "Appels + Oranjes" is an intentionally misspelled shout out to the obscure Music/PinkFloyd song "Apples and Oranges"Oranges".

Added DiffLines:

* AlbumClosure: The album ends with "17", a [[MinisculeRocking 17-second]] acoustic instrumental that according to the liner notes is supposed to provide space for breathing and reflection.

Added DiffLines:

* ShoutOut: "Appels + Oranjes" is an intentionally misspelled shout out to the obscure Music/PinkFloyd song "Apples and Oranges"


''Adore'' is the fourth official studio album by AlternativeRock band Music/TheSmashingPumpkins, released in late May or early June 1998.[[note]]The exact date depended upon the country, but the earliest release was May 29 in the European Union and the latest was June 2 in the U.S./Canada.[[/note]] The LP edition, which was mono and used a different mix, followed a few months later on August 18. (Amongst other differences, the brief outro "17" was omitted and "For Martha" had a different arrangement that was about a minute shorter.)

Intended as the band's "electronic" or "gothic" album, it was regarded as a commercial disappointment on its release, only selling a portion of the previous two albums' sales (despite peaking at #2 on the ''Billboard'' 200 and topping charts in several countries), not to mention how it [[BrokenBase divided the fanbase]]. However, it has come to be regarded as somewhat VindicatedByHistory, as its stature has risen substantially over the years. It is now not uncommon to hear people cite this album alongside ''Music/SiameseDream'' and ''Music/MellonCollieAndTheInfiniteSadness'' as one of their favourites. (For what it's worth, the album received almost universally positive critical reviews when it was released, and band leader Billy Corgan himself predicted ''Adore'' would grow in stature after it had been out for awhile).

The material on this album is substantially more subdued than the band's previous material, owing in large part to the fact that Corgan's mother had recently died of cancer, as well as to the fact that usual drummer Jimmy Chamberlin was not present on this album (having been temporarily kicked out of the band for drug abuse). It still has a wide stylistic range, though, but the territory covered is somewhat different from that of any other Smashing Pumpkins album, and it remains a unique entry in the band's discography. It actually manages to be both LighterAndSofter and DarkerAndEdgier than the band's other material at the same time: the metal elements of the band's other albums are almost completely absent, but it is more melancholy (ironically, considering the title of the band's previous album) in both its emotional and lyrical content. Speaking of lyrics, it's their only album for which Corgan wrote the lyrics before writing the melodies, and perhaps as a result, it is commonly regarded as their strongest album lyrically.

September 23, 2014, as part of the band's campaign to reissue its discography from its original run, saw the release of a gargantuan box set collecting a remaster of the CD edition, a remaster of the mono vinyl mix (the first time it was released digitally), four [=CDs=]' worth of additional bonus content, and a bonus DVD featuring a contemporary live performance in its entirety. The bonus [=CDs=] (including the mono mix) were criticised for their [[LoudnessWar sound quality]], but apart from that, the bonus content was extremely well received, with some fans feeling that the live performances of the album's songs were a major improvement on the studio versions. In all, the box set has [[OneHundredAndEight 108]] tracks, which comprise nine hours and ten minutes of music.

'''Tracklist'''

to:

''Adore'' is the fourth official studio album by AlternativeRock band Music/TheSmashingPumpkins, released in late May or early June around summer 1998.[[note]]The exact date depended upon the country, but the earliest release was May 29 in the European Union and the latest was June 2 in the U.S./Canada.[[/note]] The LP edition, which was mono and used a different mix, followed a few months later on August 18. (Amongst other differences, the brief outro "17" was omitted and "For Martha" had a different arrangement that was about a minute shorter.)

)[[/note]]

Intended as the band's "electronic" or "gothic" album, it was regarded as a commercial disappointment on its release, only selling a portion of the previous two albums' sales (despite peaking at #2 on the ''Billboard'' 200 musical and topping charts in several countries), not to mention how it [[BrokenBase divided the fanbase]]. However, it has come to be regarded as somewhat VindicatedByHistory, as its stature has risen substantially over the years. It is now not uncommon to hear people cite this album alongside ''Music/SiameseDream'' and ''Music/MellonCollieAndTheInfiniteSadness'' as one of their favourites. (For what it's worth, the album received almost universally positive critical reviews when it was released, and band leader Billy Corgan himself predicted ''Adore'' would grow in stature after it had been out for awhile).

The material on this album
lyrical content is substantially more subdued than the band's their previous material, owing in large part to the fact that Corgan's mother had recently died of cancer, as well as to the fact that usual drummer Jimmy Chamberlin was not present on this album (having been temporarily kicked out of the band for drug abuse). It still has a wide stylistic range, though, but the territory covered is somewhat different from that of any other Smashing Pumpkins album, and it remains a unique entry in the band's discography. abuse).

It actually manages to be both LighterAndSofter and DarkerAndEdgier than the band's other material at the same time: the time. The metal elements of the band's other albums are almost completely absent, but it is more melancholy (ironically, considering the title of the band's previous album) in both its emotional melancholy, and lyrical content. Speaking of lyrics, it's their only album for which Corgan wrote the lyrics before writing the melodies, and perhaps as a result, it is commonly melodies.

It was
regarded as a commercial disappointment compared to their strongest album lyrically.

September 23, 2014, as
previous two albums, and [[TheyChangedItNowItSucks its vastly new approach]] [[BrokenBase divided the fanbase]] [[CriticalDissonance while earning universal acclaim from critics]]. However, [[VindicatedByHistory its status among fans has risen over the years]] -- something that Corgan predicted himself.

As
part of the band's campaign to reissue its discography from its original run, saw the release of a gargantuan box set collecting a remaster of the CD edition, a remaster of the mono vinyl mix (the first time it was released digitally), in September 2014 containing remasters of the CD and vinyl editions, four [=CDs=]' worth of additional bonus content, and a bonus DVD featuring a contemporary live performance in its entirety. The bonus [=CDs=] (including the mono mix) were criticised for their [[LoudnessWar sound quality]], but apart from that, the bonus content was extremely well received, with some fans feeling that the live performances entirety, totalling to ''108'' tracks of the album's songs were a major improvement on the studio versions. In all, the box set has [[OneHundredAndEight 108]] tracks, which comprise just over nine hours and ten minutes of music.

'''Tracklist'''
music.
----
!!Tracklist:



'''Personnel'''

to:

'''Personnel'''!!Personnel:



!!17 tropes are all you need:

to:

!!17 tropes are all you need:!!''The Tropes of Dusty and Pistol Pete'':


# "Let Me Give the World to You (Adore outtake)" (4:20)

to:

# "Let Me Give the World to You (Adore outtake)" [[note]] This version produced by Music/RickRubin, was later heavily reworked for Machina II [[/note]] (4:20)


* ObligatoryBondageSong: "Pug" and "Annie-Dog". They take drastically different views of the subject, and they're practically on opposite sides of the spectrum; "Pug" is on the SafeSaneAndConsensual side while "Annie-Dog" is on the BondageIsBad side.

to:

* ObligatoryBondageSong: Possible interpretations of "Pug" and "Annie-Dog". They take drastically different views of the subject, and they're practically on opposite sides of the spectrum; "Pug" is on the SafeSaneAndConsensual side while "Annie-Dog" is on the BondageIsBad side.


** "For Martha (take 1/CRC demo)" (7:20); "Tear (live/Sao Paulo session)" (7:01), "Blank Page (live with Mancow/Chicago)" (7:52), "To Sheila (live/Nashville/Ryman Auditorium)" (7:17), "X.Y.U. Medley (live/Los Angeles/Dodger Stadium)" (11:20), "Transmission (live/Chicago/rehearsal)", and on the DVD, "To Sheila" (7:11), "Tear" (9:59), "Thru the Eyes of Ruby" (10:15), "The Tale of Dusty and Pistol Pete" (10:20), "Shame" (9:17), "For Martha" (8:25), "Blank Page" (9:48), and, taking the cake by far, "Transmission", at... *drumroll* '''25:52'''.

to:

** "For Martha (take 1/CRC demo)" (7:20); "Tear (live/Sao Paulo session)" (7:01), "Blank Page (live with Mancow/Chicago)" (7:52), "To Sheila (live/Nashville/Ryman Auditorium)" (7:17), "X.Y.U. Medley (live/Los Angeles/Dodger Stadium)" (11:20), "Transmission (live/Chicago/rehearsal)", (live/Chicago/rehearsal)" (12:52), and on the DVD, "To Sheila" (7:11), "Tear" (9:59), "Thru the Eyes of Ruby" (10:15), "The Tale of Dusty and Pistol Pete" (10:20), "Shame" (9:17), "For Martha" (8:25), "Blank Page" (9:48), and, taking the cake by far, "Transmission", at... *drumroll* '''25:52'''.


* DeliberatelyMonochrome: The album art.
* EpicRocking: "For Martha" is 8:17 in the stereo mix (still 7:07 in the mono mix). "Shame" is 6:41, and "Tear" is 5:54. The bonus material on the box set often falls into this, too:

to:

* DeliberatelyMonochrome: The album art.
art. The vinyl edition and the reissue avert this, though; the cover artwork for both versions (which is very similar, though not completely identical) has a lot of red.
* EpicRocking: "For Martha" is 8:17 in the stereo mix (still 7:07 in the mono mix). "Shame" is 6:41, and "Tear" is ''nearly'' qualifies at 5:54. The bonus material on the box set often falls into this, too:


'''Disc 4: Chalices, Palaces, and Deep Pools'''

to:

'''Disc 4: 4 - Chalices, Palaces, and Deep Pools'''



# "Eye (2014 mix/from the ‘Film/LostHighway’ soundtrack)" (4:55)

to:

# "Eye (2014 mix/from the ‘Film/LostHighway’ 'Film/LostHighway' soundtrack)" (4:55)



'''Disc 5: Malice, Callous, and Fools'''

to:

'''Disc 5: 5 - Malice, Callous, and Fools'''



'''Disc 6: Kissed Alive Too'''

to:

'''Disc 6: 6 - Kissed Alive Too'''



# "X.Y.U. Medley (live/Los Angeles/Dodger Stadium)" (11:20)

to:

# "X.Y.U. Medley (live/Los Angeles/Dodger Stadium)" (11:20)(11:20)[[note]]The songs included are "Never Say Never" (a Romeo Void cover), "The Ethers Tragic", "Where Boys Fear to Tread", and "X.Y.U."[[/note]]



* CoverVersion: None on the album proper, but the bonus discs include multiple covers of Music/JoyDivision's "Transmission", taken to several times its original length, as well as Barrett Strong's "Money (That's What I Want)" (probably [[CoveredUp better known]] in Music/TheBeatles' version, though). The "X.Y.U. Medley" on disc 6 also features a partial cover of new wave band Romeo Void's song "Never Say Never".



* EpicRocking: "For Martha" is over eight minutes long in the stereo mix (still over seven in the mono mix). "Shame" is almost seven minutes long, and "Tear" is almost six. The bonus material on the box set often falls into this, too, with the most extreme example being the nearly-twenty-six-minute cover of Music/JoyDivision's "Transmission" on the DVD.

to:

* EpicRocking: "For Martha" is over eight minutes long 8:17 in the stereo mix (still over seven 7:07 in the mono mix). "Shame" is almost seven minutes long, 6:41, and "Tear" is almost six. 5:54. The bonus material on the box set often falls into this, too, too:
** "For Martha (take 1/CRC demo)" (7:20); "Tear (live/Sao Paulo session)" (7:01), "Blank Page (live
with the most extreme example being the nearly-twenty-six-minute cover of Music/JoyDivision's "Transmission" Mancow/Chicago)" (7:52), "To Sheila (live/Nashville/Ryman Auditorium)" (7:17), "X.Y.U. Medley (live/Los Angeles/Dodger Stadium)" (11:20), "Transmission (live/Chicago/rehearsal)", and on the DVD.DVD, "To Sheila" (7:11), "Tear" (9:59), "Thru the Eyes of Ruby" (10:15), "The Tale of Dusty and Pistol Pete" (10:20), "Shame" (9:17), "For Martha" (8:25), "Blank Page" (9:48), and, taking the cake by far, "Transmission", at... *drumroll* '''25:52'''.

Added DiffLines:

[[folder:Vinyl edition / reissue disc 2]]
# "To Sheila" (4:39)
# "Ava Adore" (4:25)
# "Perfect" (3:29)
# "Daphne Descends" (4:43)
# "Once Upon a Time" (4:07)
# "Tear" (5:52)
# "Crestfallen" (3:56)
# "Appels + Oranjes" (3:39)
# "Pug" (4:48)
# "The Tale of Dusty and Pistol Pete" (4:34)
# "Annie-Dog" (3:39)
# "Shame" (6:39)
# "Behold! The Night Mare" (5:13)
# "For Martha" (7:07)
# "Blank Page" (4:50)
[[/folder]]

[[folder:Additional reissue bonus discs]]
'''Disc 3 - In a State of Passage'''
# "Blissed and Gone (Sadlands demo)" (4:17)
# "Christmastime (Sadlands demo)" (3:27)
# "My Mistake (Sadlands demo)" (4:51)
# "Sparrow (Sadlands demo)" (2:55)
# "Valentine (Sadlands demo)" (4:22)
# "The Tale of Dusty and Pistol Pete (Sadlands demo)" (5:24)
# "What If? (Streeterville demo)" (3:28)
# "Chewing Gum (CRC demo)" (3:00)
# "The Tale of Dusty and Pistol Pete (CRC demo)" (5:01)
# "The Ethers Tragic (instrumental/2014 mix/CRC demo)" (2:49)
# "The Guns of Love Disastrous (instrumental/2014 mix/CRC demo)" (2:04)
# "Annie-Dog (take 10/CRC demo)" (3:25)
# "Once in a While (2014 mix/CRC demo)" (3:34)
# "Do You Close Your Eyes When You Kiss Me? (CRC demo)" (3:07)
# "For Martha (take 1/CRC demo)" (7:20)
# "My Mistake (take 1/CRC demo)" (4:00)
# "Blissed and Gone (CRC demo)" (3:30)
# "For Martha (take 2/instrumental/CRC demo)" (5:40)

'''Disc 4: Chalices, Palaces, and Deep Pools'''
# "For Martha (symphonic snippet/instrumental)" (2:40)
# "Crestfallen (Matt Walker reimagined/2014)" (3:39)
# "To Sheila (early banjo version)" (4:25)
# "Ava Adore (Puffy Combs remix 1998)" (4:37)
# "O Rio (instrumental/Sadlands demo)" (2:28)
# "Waiting (Adore outtake)" (3:49)
# "Once Upon a Time (Sadlands demo)" (4:21)
# "Eye (2014 mix/from the ‘Film/LostHighway’ soundtrack)" (4:55)
# "Saturnine (for piano and voice)" (3:47)
# "Cash Car Star (Matt Walker reimagined/2014)" (4:01)
# "Pug (Matt Walker reimagined/2014)" (4:35)
# "Perfect (no strings version)" (3:24)
# "It's Alright (instrumental/Adore outtake)" (4:21)
# "Czarina (take 1/Adore outtake)" (3:57)
# "Indecision (Sadlands demo)" (2:43)
# "Blank Page (early version)" (4:58)

'''Disc 5: Malice, Callous, and Fools'''
# "Let Me Give the World to You (Adore outtake)" (4:20)
# "Tear (from digital transfer)" (5:53)
# "Cross (Adore outtake)" (4:54)
# "Because You Are (Adore BSide)" (3:51)
# "Jersey Shore (Sadlands demo)" (3:41)
# "Shame (take 1)" (4:55)
# "Summer (instrumental/Adore outtake)" (3:09)
# "Blissed and Gone (drone version)" (5:11)
# "Heaven (instrumental/Sadlands demo)" (4:03)
# "Daphne Descends (Matt Walker reimagined/2014)" (5:11)
# "Saturnine (Matt Walker Reimagined/2014)" (3:58)
# "Behold! The Night Mare (alternate vocal)" (4:59)
# "Perfect (acoustic demo/Adore outtake)" (3:19)
# "Do You Close Your Eyes? (Adore outtake)" (4:23)
# "The Beginning Is the End Is the Beginning" (5:00)

'''Disc 6: Kissed Alive Too'''
# "Ava Adore (live/Sao Paulo session)" (4:47)
# "Daphne Descends (live/Sao Paulo Session)" (4:28)
# "The Tale of Dusty and Pistol Pete (live/Sao Paulo Session)" (4:42)
# "Tear (live/Sao Paulo session)" (7:01)
# "Shame (live with Mancow/chicago)" (4:19)
# "Blank Page (live with Mancow/Chicago)" (7:52)
# "To Sheila (live/Nashville/Ryman Auditorium)" (7:17)
# "Money (That's What I Want) (live/Los Angeles/Dodger Stadium)" (3:31)
# "X.Y.U. Medley (live/Los Angeles/Dodger Stadium)" (11:20)
# "Transmission (live/Chicago/rehearsal)" (12:52)

'''DVD - Fox Theatre, Atlanta, GA, August 4, 1998'''
# "Intro" (1:00)
# "To Sheila" (7:11)
# "Behold! The Night Mare" (5:16)
# "Pug" (5:06)
# "Crestfallen" (4:30)
# "Ava Adore" (5:41)
# "Tear" (9:59)
# "Annie-Dog" (4:27)
# "Perfect" (3:35)
# "Thru the Eyes of Ruby" (10:15)
# "Tonight, Tonight" (4:19)
# "Once Upon a Time" (4:37)
# "The Tale of Dusty and Pistol Pete" (10:20)
# "Bullet with Butterfly Wings" (5:30)
# "Shame" (9:17)
# "For Martha" (8:25)
# "Blank Page" (9:48)
# "Transmission" (25:52)
[[/folder]]


Intended as the band's "electronic" or "gothic" album, it was regarded as a commercial disappointment on its release, only selling a portion of the previous two albums' sales (despite peaking at #2 on the ''Billboard'' 200 and topping charts in several countries), not to mention how it [[BrokenBase divided the fanbase]]. However, it has come to be regarded as somewhat VindicatedByHistory, as its stature has risen substantially over the years. It is now not uncommon to hear people cite this album alongside ''Music/SiameseDream'' and
''Music/MellonCollieAndTheInfiniteSadness'' as one of their favourites. (For what it's worth, the album received almost universally positive critical reviews when it was released, and band leader Billy Corgan himself predicted that the album would gain in stature after it had been out for awhile).

The material on this album is substantially more subdued than the band's previous material, owing in large part to the fact that Corgan's mother had recently died of cancer, as well as to the fact that usual drummer Jimmy Chamberlin was not present on this album (having been temporarily kicked out of the band for drug abuse). It still has a wide stylistic range, though, but the territory covered is somewhat different from that of any other Smashing Pumpkins album, and it remains a unique entry in the band's discography. This is also the only album for which Corgan wrote the lyrics before he wrote the melodies, and it is regarded as their strongest album lyrically.

to:

Intended as the band's "electronic" or "gothic" album, it was regarded as a commercial disappointment on its release, only selling a portion of the previous two albums' sales (despite peaking at #2 on the ''Billboard'' 200 and topping charts in several countries), not to mention how it [[BrokenBase divided the fanbase]]. However, it has come to be regarded as somewhat VindicatedByHistory, as its stature has risen substantially over the years. It is now not uncommon to hear people cite this album alongside ''Music/SiameseDream'' and
and ''Music/MellonCollieAndTheInfiniteSadness'' as one of their favourites. (For what it's worth, the album received almost universally positive critical reviews when it was released, and band leader Billy Corgan himself predicted that the album ''Adore'' would gain grow in stature after it had been out for awhile).

The material on this album is substantially more subdued than the band's previous material, owing in large part to the fact that Corgan's mother had recently died of cancer, as well as to the fact that usual drummer Jimmy Chamberlin was not present on this album (having been temporarily kicked out of the band for drug abuse). It still has a wide stylistic range, though, but the territory covered is somewhat different from that of any other Smashing Pumpkins album, and it remains a unique entry in the band's discography. This is also It actually manages to be both LighterAndSofter and DarkerAndEdgier than the band's other material at the same time: the metal elements of the band's other albums are almost completely absent, but it is more melancholy (ironically, considering the title of the band's previous album) in both its emotional and lyrical content. Speaking of lyrics, it's their only album for which Corgan wrote the lyrics before he wrote writing the melodies, and perhaps as a result, it is commonly regarded as their strongest album lyrically.

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