Smashing Pumpkins – Adhor

When it comes to these what-if records, Smashing Pumpkins really are the band that just keep on giving, especially when it come to the period between their formation in 1988 and initial breakup in 2000. The scale of the material that the band recorded and did not release must be akin to Bob Dylan, in that the could have quite easily released a number of Bootleg Series style releases, but instead, they focused on placing this material on the deluxe editions of their original albums. The first two, ‘Gish’ and ‘Siamese Dream’ only hinted at what was to come. Maybe main songwriter Billy Corgan felt that the best of the outtakes had already been released on their ‘Pisces Iscariot’ album. With that record also being released in a deluxe edition, it would seem not. As has been mentioned in previous posts on the Pumpkins, Corgan shared a lot of material via his website in the early 2000, some of which have not see an official release either. 

It was with the deluxe editions of ‘Mellon Collie & The Infinite Sadness’ and ‘The Aeroplane Flies High’ that the true depth of material that the band had in the archive become clear. These rereleases included so much music it was impossible to sit through them in one sitting. I already tackled what ‘The Aeroplane Flies High’ would have sounded like if it had been released as a single album in the same manor as ‘Pisces Iscariot’,  but what about ‘Adore’?

‘Adore’ came out at a challenging time for the band. Not only was Corgan finding the pressure to produce a record that matched ‘Mellon Collie’, but the band was reeling from the sacking of drummer Jimmy Chamberlin due to drug issues. Band relations were also at a low point with Corgan latter summing up these sessions as the work of a group falling apart. Corgan was also having to contend with the death of his mother as well as going through a divorce. Considering we got anything at all was a minor miracle. 

There were clues as to what was coming with ‘Adore’ with their previous releases. The song ‘1979’ included electronic elements as well as stand alone singles ‘Eye’ and ‘The End Is The Beginning Is The End’. ‘Adore’ would not only include the use of drum machines (harking back to the earliest days of the band when they did not have a drummer) but more acoustic guitar and piano. Corgan felt that he was no longer making music for teenagers, but to everyone. Judging by the number of albums sold (which by most peoples standards were quite good), the album lost the band a lot of fans instead of gaining them. Sales were down significantly on ‘Mellon Collie’ and was the first time a Pumpkins album had sold less than the preceding one. 

In preparation for ‘Adore’, the band recorded around 30 songs and at one point of its production, it was going to be a double album. As it was, the album was so long that it was decided that the vinyl version would need to use two discs, even though side 4 was left blank. For this, I was tempted to have a go at putting together a double, but I thought it would be better to have a look at what a record of sessions outtakes would sound like, especially as this was the first album since ‘Siamese Dream’ not to have a compilation of sessions material released after it. There wasn’t exactly a shortage of songs on the ‘Adore’ reissue to choose from. 

The album itself is based on a vinyl format, so I was limited to about 24 minutes per side. The opening song of the compilation is ‘Let Me Give The World To You’, which was almost on the parent album until Corgan got wind that the record label were keen to release this as the first single. Corgan was adamant that this would not be a single, but the only way to prevent that would be to take the song off of ‘Adore’, which is what he ended up doing. The song was rerecorded for the ‘Machina’ project. It did see a limited release on the ‘Machina II’ album in 2000. As an opening song for this collection, it is a good place to start. 

For the rest of the record, I focused on the songs that used minimal electronics. The collection focuses on the acoustic and more mellow of the songs. The more electronic music was relegated to the B-Sides of the single. I would also have the band release one single from this, which would be an alternative version of ‘Do You Close Your Eyes?’. As this was also the era where two CDsingles would come out per release with different B-Sides, there are four extra tracks from the sessions that could have been released. 

For the title of the album, I chose ‘Adhor’ as this is the opposite of ‘Adore’ I also used a picture taken by Yalena Yemchuk who took the picture for the original album as well. 

As a whole, it works well and once again shows how much quality material Corgan was writing at this time, and how much of it was forgotten about as he moved on to the next project. 

Side A

  1. Let Me Give The World To You (Adore Outtake)
  2. Valentine (Sadlands Demo)
  3. Sparrow (Sadlands Demo)
  4. My Mistake (Take 1/CRC Demo)
  5. Chewing Gum (CRC Demo)
  6. Czarina (Take 1/Adore Outtake)

Side B

  1. Do You Close Your Eyes When You Kiss Me? (CRC Demo)
  2. Saturnine (For Piano & Voice)
  3. It’s Alright (Instrumental/Adore Outtake)
  4. What If? (Streeterville Demo)
  5. Blissed & Gone (CRC Demo)
  6. Cross (Adore Outtake)


  1. Do You Close Your Eyes? – A-Side (Adore Outtake)
  2. Indecision – B-Side (Sadlands Demo)
  3. Waiting – B-Side (Adore Outtake)
  4. My Mistake – B-Side (Badlands Demo)
  5. O Rio – B-Side (Instrumental/Sadlands Demo)

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