to October 1997, covering North America, Europe, Australia and Japan. That year, the band also made appearances on Later... with Jools Holland and Saturday Night Live, where they were introduced by guest host Pamela Anderson. Metal Injection ranked their Later... with Jools Holland performance of "On My Way to the Cage" as one of the "10 Greatest Metal Performances on British Television". Metal Insider included them and their Saturday Night Live performance of "Starve" on a list of the "Heaviest SNL Musical Guests". To further support the album, music videos were made for lead single "Starve" and "The End of Something". The "Starve" video, directed by Modi Frank, includes footage from the recording sessions, as well as live footage. Following the tour, the lineup dissolved. In a September 1998 CMJ interview, Rollins said that the band were on indefinite hiatus, citing the lukewarm response to the Come In and Burn tour and the album itself. Earlier in 1998 Rollins had formed a band with a lineup featuring members of Mother Superior, performing a few low key concerts in the United States during that year. Rollins did not originally intend to use the Rollins Band moniker for this project, but his management insisted he do so. Chris Haskett remembered, "at the end of 1997 we were really burnt out. I figured we would be on a break and then reconvene once everybody had cooled off and had a rest. But then in 1998 I started getting emails from fans telling me how excited they were that RB was coming to Chicago and a few other places. I knew Henry was doing stuff with Mother Superior but I thought that would just be a side project so there you go. So I found out I wasn't in the band via the internet." Haskett subsequently moved to Australia following his departure from Rollins Band. Release and reception Come In and Burn failed to replicate the commercial success of 1994's Weight, and as of 1999, had sold 96,000 units in the United States. Weight by comparison had sold 423,000 units as of 1996. Reviewing for The Village Voice in December 1997, Robert Christgau said "this thrash-and-churn is [Rollins'] metalest metal ever", but regarded its lyrical content as "melodrama" concocted from "an adolescent despair [remembered] via groupies and fan mail". Bill Meredith of AllMusic commented that "not everyone agreed with [Rollins] decision to break up