Originally Posted by AveryLoren
I still to this day can't think of another band doing something this career suicidal at the height of their fame. SP's audience at its core were rock fans and so were the mainstream. While I didn't know anything about the tour at the time looking at it now, what the hell were they thinking? It is just straight up hard to listen to with the three drummers, lite guitars and Billy singing so differently. It's also unappealing visually with all the suits and fashion run way shit.
I remember defending the band around the Adore era right after the first wave of Numetal exploded during the fall of 98. I mean try trading a cassette of Adore to a ravenous rock fan when they had 10 - 15 other ground breaking albums to chose from.
That whole late 97 era transitioning into 1998 had to be hard on Billy. Pretty much everything he did for almost a decade went the best way possible. Then it was all over and he never recovered.
He has mentioned before that - even though it was a first world problem type thing - it completely screwed with his head. Not only had he achieved the success most rock bands dream of, but did it by being completely contrarian: releasing two dense classic rock aping albums with Gish and Siamese Dream, releasing a successful double-album, and then releasing an additional box of b-sides from that double album. It truly was astonishing, went against all conventional wisdom, and I can imagine he felt taking that contrarian approach would result in success again with Adore. He even mentions (I believe in the liner notes for the re-issue), that the band was still successful by many metrics even after the "failure" of Adore. The album went platinum and even though the band played smaller venues, they were still selling tickets, but all of a sudden his non-stop run of luck ended.
Also, I have never understood why people thought The End is the Beginning is the End sounds "electronica". To me, it sounds exactly like something from the MCIS sessions, with maybe a little more emphasis on the synths and mellotron in the final mix. Until he clarified, I always assumed the song was some Mellon Collie riff he worked up into a song for the purposes of the Batman & Robin soundtrack (both of the soundtracks for those Joel Schumacher Batman movies were dope).