“My reflection / dirty mirror /there’s no connection / to myself /I’m your lover / I’m your zero / I’m a face in your dreams of black.”
Pretty depressing. To be honest, I would say 50 percent of Mellon Collie doesn’t appeal to me. I guess I could see this working better as single album.
But where Billy Corgan and the crew get it right, it’s really right.
I won’t try to pretend I have a long history with this album. In fact, I’ve only had it about a year. Yet even though I wasn’t there when it was released in 1995, forver changing the way conused teenagers looked at music, I can still appreciate the effect its had.
Though most of the lyrics are a bit down, this album isn’t solely a depressive dirge. Neither is it a post-grunge album filled with typical lyrics of childish self-angst. It’s deeper than that. Mellon Collie reflects a great range of humanity – hope, pain, fear, love, even silliness. For that reason, it is honest and mature.
These lyrics aren’t depressing for the sake of being depressing. I think a great example of this can be heard in the song “Galapagos,” which reflects the pain of losing someone. Yet instead of being bitter, it is tender, the mesage being that the person who left can still expect to be loved.
At the beginning of this review, I mentioned half the songs weren’t worth keeping. I still stand by that. But the ones that are make Mellon Collie and the Infinite Sadness one of the greatest albums of nineties.
“Too late to turn back now / I’m running out of sound / and I’m changing / changing. / And if we died right now / this fool you love somehow / is here with you.”