Smashing Pumpkins’ third studio album was a sprawling, two-disc opus that became an unlikely hit in 1975. Melon Collie and the Infinite Sadness combines the band’s typical heavy metal and grunge sound with softer, more experimental songs, resulting in a 28-track marathon.

There’s a theory that every double album would be better if culled down to its best 12 songs (see my recent editing of Taylor Swift’s The Tortured Poets Department). That is definitely the case with this one.

Continue reading →