So here’s the deal with this beast of an album, everybody and their grandma knows it’s a masterpiece, but damn if it doesn’t feel like Billy Corgan couldn’t decide if he wanted to make one incredible album or just throw everything at the wall and see what stuck. I mean, we’re talking double CD here, which back in ’95 was like “whoa, these guys are serious” but also kinda made you wonder if maybe they just couldn’t edit themselves.
Let’s dive into this thing track by track, because honestly there’s so much going on here you need a roadmap.
Disc One – Dawn to Dusk
Right off the bat, that opening instrumental “Mellon Collie and the Infinite Sadness” is just gorgeous piano work, like, unexpectedly beautiful for a band that’s about to pummel you for the next two hours. Then BAM, “Tonight, Tonight” hits and it’s this epic, orchestral thing that sounds like a marching band having an existential crisis, and somehow it totally works. The lyrics are haunting as hell and the whole thing just builds and builds.
But then, and this is where Corgan shows he’s either a genius or completely insane, he throws “Jellybelly” at you right after. Talk about whiplash! It’s this harsh, distorted grunge monster that sounds like it should be closing an album, not sitting at track three. But you know what? It’s catchy as fuck and after that clean, pretty “Tonight Tonight,” it hits like a sledgehammer. Weird choice, but it works.
“Zero” is the track that made every alternative radio station cream their pants, “wanna go for a ride!”, and honestly, who doesn’t know this one? It’s heavy, it’s got that trademark Corgan sneer, and the guitar work is just impeccable. “Here Is No Why” follows with this epic, almost-ballad thing that comes out of nowhere and hits you right in the feels.
And then there’s “Bullet with Butterfly Wings”, the world is a vampire, sucking children dry, all that. It’s as catchy today as it was thirty years ago, which is saying something. Pure alternative rock gold, mesmerizing and hard-hitting.
Some tracks like “To Forgive” and “Cupid de Locke” are… fine. Well-made, sure, but they kinda feel like filler next to the monsters. But then “Fuck You (An Ode to No One)” comes along and it’s exactly what it says on the tin, a big middle finger wrapped in alternative metal glory, punchy and groovy as hell.
“Love” is this weird, mesmerizing thing about pain wrapped in pleasure, which is probably the most honest description of love you’ll hear in a four-minute song. “Muzzle” hits different though, it’s about not being special, about everything being temporary, and somehow makes that sound catchy. The line about love not being forever… man, that cuts deep.
Disc Two – Twilight to Starlight
Just when you think maybe the second disc will be mellower, “Where Boys Fear to Tread” kicks things off with this heavy alternative metal assault. It’s like they’re saying “nah, we’re not done beating you up yet.” “Bodies” keeps the punishment going, heavy as fuck with Corgan yelling about love being suicide, which, when you think about it, maybe it kinda is. Suicide of the self, right?
“1979” though, now that’s a classic not just for the Pumpkins but for rock/pop in general. That synth-pop smoothness, all nostalgic and haunting, makes you wanna cry for better days or something. Timeless stuff that somehow fits perfectly on an album full of heavy guitars.
“Tales of a Scorched Earth” lives up to its name with some seriously harsh yelling, but “Thru the Eyes of Ruby” is where things get beautiful again, seven and a half minutes of this epic, heavy-yet-soothing thing that feels like being a confused teenager trying to figure life out. And “X.Y.U.”, holy shit, seven minutes of pure emotional turmoil set to music, like the soundtrack to a toxic relationship falling apart in real time.
The thing is, there’s a bunch of ballads scattered throughout, “Thirty-Three,” “Stumbleine,” “Beautiful,” “Lily”, and while they’re all well-crafted and pretty, they kinda blur together after a while. Some work better than others, like “Beautiful” which is genuinely moving, but others feel like they’re just there to fill space.
The Verdict
Look, this is an epic achievement, no doubt about it. Groundbreaking? Absolutely. Could it have been a single album? Probably, and it might’ve been even better for it. There’s definitely some filler here, when you’re dealing with 28 tracks, that’s kinda inevitable. But the highs are so fucking high that you forgive the lows.
This album’s got something for everyone, metalheads get their heavy tracks, pop fans get their melodies, and everyone gets to experience Corgan’s particular brand of beautiful misery. Even if you’re not normally into this kind of thing, you owe it to yourself to give this a listen at least once. Trust me, it’s worth it.