"It is a means to an end," Corgan says wearily the next day during a break from mixing another Mellon Collie firecracker, "Bullet With Butterfly Wings." "It's not the best means to an end. It's not the shortest distance between two points. But it is a means to an end.
"In a weird kind of way," Corgan says, "music has afforded me an idealism and perfectionism that I could never attain as me."
It is sometimes hard to tell how much Corgan truly enjoys his work. Surprisingly tall and broad shouldered, he walks with a gangly, elastic stride, his head bowed in a slight hunch as if he were wearing some great, invisible yoke around his neck. Corgan's hair, cut short and dyed jet black, gives his boyish, porcelain-white features an even more ghostly pallor. And when he joins the album's other co-producer, Alan Moulder, behind the board to work on "Bullet," Corgan's face goes dead blank as he loses himself in the song's tidal roar."
- David Fricke, Rolling Stone, 1995.
“When ‘The Chronic’ came out it was the first time I remember having things to say about the production,” adds Royce. “It was the first time I remember people talking about beats. I didn’t even realise that that could even be a conversation until ‘The Chronic’ dropped.”
But more than just the slick production, the soundbites from comedian Rudy Ray Moore, the Led Zeppelin and Isaac Hayes samples, and the comic relief of skits like ‘The $20 Sack Pyramid’, the lyrics on ‘The Chronic’ were utterly timely, acting as a sort of CNN report from the streets."
"A 4/20 deep dive into the album that changed hip-hop forever" - NME