2012 deluxe version cover Mellon Collie and the Infinite Sadness is the third studio album by American band, released on October 23, 1995 in the United Kingdom and a day later in the United States on. Produced by frontman with and, the 28-track album was released as a and triple. The album features a wide array of styles, as well as greater musical input from bassist and second guitarist. Propelled by the album's, ', it debuted at number one on the US with first week sales of 246,500 units.

To date it remains the band's only album to top the Billboard 200. It spawned five more singles—', ', ', the promotional ', and '—over the course of 1996, and was certified by the, equivalent to over 10 million units sold. Praised by critics for its ambition and scope, Mellon Collie and the Infinite Sadness earned the band seven nominations in 1997, including Album of the Year and Record of the Year ('1979'), as well as 9 nominations, 8 of which were for, including 'Video of the Year'. Not only did they all become hits on both and stations, but 'Bullet with Butterfly Wings', '1979', 'Tonight, Tonight', and 'Thirty-Three' also became the band's first Top 40 hits, crossing over to stations.

The recording sessions saw a wealth of productivity: dozens of fully completed songs were cut from the album, and would turn up on later releases. A box set released in November 1996, titled, compiled the promotional singles from the album, and featured approximately 30 fully completed songs from the Mellon Collie sessions which had not made the final cut for the album (including one track, 'Pastichio Medley', which contained over 70 short snippets of songs in various states of completion).

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Both Mellon Collie and The Aeroplane Flies High later saw reissues which included even more tracks from the sessions. Contents • • • • • • • • • • • • • • • • • • Recording and production [ ] After the 13-month tour in support of The Smashing Pumpkins' second album (1993), Billy Corgan immediately began writing songs for the band's next record.

From the outset, the band intended the new record to be a double album, partly inspired by '. Corgan said, 'We almost had enough material to make Siamese Dream a double album. With this new album, I really liked the notion that we would create a wider scope in which to put other kinds of material we were writing.' Corgan felt that the band's musical approach was running its course, and wanted the band to approach the album as if it were its last. Corgan described the album at the time to the music press as ' for ', a comparison with 's 1979 album, one of the highest selling and best known concept albums of all time. The band decided to forgo working with, who had produced the group's previous albums, and selected Flood and Alan Moulder as co-producers. Corgan explained, 'To be completely honest, I think it was a situation where we'd become so close to Butch that it started to work to our disadvantage.

I just felt we had to force the situation, sonically, and take ourselves out of normal Pumpkin recording mode. I didn't want to repeat past Pumpkin work.' Flood immediately pushed the band to change its recording practices. Corgan later said, 'Flood felt like the band he would see live wasn't really captured on record'. In April 1995, the band began recording in a rehearsal space, instead of entering the studio straight away. At these sessions, the band recorded rough rhythm tracks with Flood. Originally designed to create a rough draft for the record, the rehearsal space sessions ended up yielding much of the new album's rhythm section parts.

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Flood also insisted the band set aside time each day devoted to jamming or songwriting, practices the band had never engaged in before during recording sessions. Corgan said, 'Working like that kept the whole process very interesting—kept it from becoming a grind.' Corgan sought to eliminate the tension that permeated the Siamese Dream recording sessions. Corgan said regarding the problems with recording Siamese Dream, '[T]o me, the biggest offender was the insidious amounts of time that everyone spends waiting for guitar parts to be overdubbed.