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Thread: Vinyl Rereleases December 2016

  1. #1081
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    Quote Originally Posted by fillow View Post
    Very old nin FAQ pages mentioned rumors of Piggy video, which never went into production as they never came up with a good concept for it. Makes sense, since this song was a promo single.
    Technically Eraser also had a video, albeit a live-only one, like Hurt.

  2. #1082
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    Anyone else notice the "Disc 1 Side A" label font is smaller than any of the other labels on The Fragile?

  3. #1083
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    Did I read somewhere the NTAE vinyl side B was meant to be etched or am I thinking of something else?

  4. #1084
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    Woo, got my Broken+TDS+Fragile reissues today and they are glorious. Came completely undamaged, which is nice, and I seem to have been very luck with Broken - so far the glue holding it together on my copy has been holding just fine!

    Can't wait to give these a spin.

  5. #1085
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    Quote Originally Posted by kleiner352 View Post
    Has anyone not had the Broken sleeve glue issue? The moment I removed the plastic wrap it completely came open. A little wood glue seems to have fixed it nicely, but it was still surprising how immediate it was.
    My copy of Broken was perfect. However, my copy of Not the Actual Events completely fell apart. The bottom wasn't glued together at all. So, I opened a ticket requesting a new Jacket. Good times!

  6. #1086
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    Quote Originally Posted by sore_and_crucified View Post
    Did I read somewhere the NTAE vinyl side B was meant to be etched or am I thinking of something else?
    The Definitive Edition of Broken is etched on side two, Not the Actual Events was always advertised as being "one-sided" but it turns out side two has the fourth side of The Downward Spiral playing backwards on it for some reason (the reason is that "She's Gone Away" is a sequel of sorts to "Reptile").

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    I'm really curious to hear some comparisons between the TDS DE edition and the back to black 2008 edition. I love the B2B one and can't imagine the DE sounding better. Thoughts?

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    Forgive me for not reading all pages of this thread, but is there any additional artwork/essay attached to TDS reissue? I've seen someone posted an essay by Bob Ezrin attached to The Fragile and also an article written by some journalist about Broken, but what about TDS?

  9. #1089
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    Quote Originally Posted by solvethebox View Post
    I'm really curious to hear some comparisons between the TDS DE edition and the back to black 2008 edition. I love the B2B one and can't imagine the DE sounding better. Thoughts?
    well, the B2B version still uses the original master, if i remember correctly, so while it's a great pressing, the DE should sound better because it uses the new remaster (i'll tell you later today when i FINALLY get my records)

    Quote Originally Posted by fillow View Post
    Forgive me for not reading all pages of this thread, but is there any additional artwork/essay attached to TDS reissue? I've seen someone posted an essay by Bob Ezrin attached to The Fragile and also an article written by some journalist about Broken, but what about TDS?
    yes, it has one, full of errors and references to limp bizkit, for some reason (i'm not kidding)

  10. #1090
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    Quote Originally Posted by solvethebox View Post
    I'm really curious to hear some comparisons between the TDS DE edition and the back to black 2008 edition. I love the B2B one and can't imagine the DE sounding better. Thoughts?
    Quote Originally Posted by eversonpoe View Post
    well, the B2B version still uses the original master, if i remember correctly, so while it's a great pressing, the DE should sound better because it uses the new remaster (i'll tell you later today when i FINALLY get my records)
    It absolutely sounds better. It also doesn't screw up the side endings/starts (though it also means the 'rhythmic white noise' intro to IDNWT was left off the vinyl). Much, much better pressing imo.

  11. #1091
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    Quote Originally Posted by eversonpoe View Post
    well, the B2B version still uses the original master, if i remember correctly, so while it's a great pressing, the DE should sound better because it uses the new remaster (i'll tell you later today when i FINALLY get my records)
    Quote Originally Posted by seasonsinthesky View Post
    It absolutely sounds better. It also doesn't screw up the side endings/starts (though it also means the 'rhythmic white noise' intro to IDNWT was left off the vinyl). Much, much better pressing imo.
    Thanks to both of you. I have heard a few other reports on the Steve Hoffman forums and Discogs that say that B2B sounds better. I'm still not sold and will probably hold on on buying the DE edition. I'm perfectly happy with my B2B version and I don't need to spend the money!

  12. #1092
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    Quote Originally Posted by solvethebox View Post
    Thanks to both of you. I have heard a few other reports on the Steve Hoffman forums and Discogs that say that B2B sounds better. I'm still not sold and will probably hold on on buying the DE edition. I'm perfectly happy with my B2B version and I don't need to spend the money!
    Judging from listening to the digital files, a lot of the dynamics were removed for the remaster. The quiet/loud/quiet dynamics were such a major feature of the original. It's essentially like an unnecessary remix of the album. It's a shame the first two pressings messed up the song transitions, but they're otherwise faithful to the dynamics of the original. I have a copy of the U.K. vinyl that I love.

    I'm not an audiophile but I still have trouble understanding the reasoning behind altering an original master to the point that a major sonic element and resulting emotional impact is heavily reduced.

  13. #1093
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    Quote Originally Posted by eversonpoe View Post
    yes, it has one, full of errors and references to limp bizkit, for some reason (i'm not kidding)
    Ugh, I finally read the Bob Ezrin essay today and wish all of them were by people who were actually there and involved in the process. His reads like a very personal, diary-style account of what the work was like and it put me in that place far better than either of the fairly amateurish essays for Broken and TDS had. I'm hoping the With Teeth reissue's essay is written by Trent and fits as the essay he talked about ages ago for it.

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    Quote Originally Posted by katara View Post
    Technically Eraser also had a video, albeit a live-only one, like Hurt.
    I don't think that was referring to the live video for Hurt, because if you watch the bonus disc to Closure you will see they originally planned to film an actual video for the song. I assume that ad was before the video got scrapped.

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    Quote Originally Posted by kleiner352 View Post
    Ugh, I finally read the Bob Ezrin essay today and wish all of them were by people who were actually there and involved in the process. His reads like a very personal, diary-style account of what the work was like and it put me in that place far better than either of the fairly amateurish essays for Broken and TDS had. I'm hoping the With Teeth reissue's essay is written by Trent and fits as the essay he talked about ages ago for it.
    May I ask, if the Ezrin one supplies us with any info we didn't know yet about TF?

  16. #1096
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    Quote Originally Posted by Lt. Randazzo View Post
    I shouldn't have to finish putting together a record that cost me $25 plus shipping.
    Follow-up - I was lucky and didn't have to, thankfully.

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    Quote Originally Posted by r_z View Post
    May I ask, if the Ezrin one supplies us with any info we didn't know yet about TF?
    None of them do, really. Ezrin mentions putting together a one disc edit of TF for Reznor to release "if he were really brave", but he was too attached to a lot of the stuff to do a single disc. I was looking for a whole lot more about the recording and behind the scene stuff in all these essays. We need a 33 1/3 book for the whole NIN catalog. Or a full on, by-era doc for each major release.
    I WANT TO KNOW WHAT "ROTATION" WAS.

  18. #1098
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    Quote Originally Posted by r_z View Post
    May I ask, if the Ezrin one supplies us with any info we didn't know yet about TF?
    I'm not sure if any of it is specifically revelatory, but the description of the process of him listening to the 4 hours of work and developing the concept for the sequencing and proposing a single disc version, as well as his humility and sense of fanboying over Trent despite being one of Trent's heroes was all very enjoyable and fly-on-the-wall, rather than the at-times-overwritten and error-filled Wikipedia articles and label drama tabloids that came with Broken and TDS. It also included a lot of fantastically candid photos from in the studio and had an amazing two-page spread collage from that era that was beautiful to look at. It's a really great companion and actually focuses on the record itself and not on Limp Bizkit lyrics and the Sharon Tate house for the millionth, billionth time.

  19. #1099
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    For those who got Broken, did the little sleeve for the 7" come not glued for them as well?

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    I guess I'm lucky - I haven't had any glue issues with Broken, yet. I just read the essay and think it's pretty funny that the author thinks "Rico Suave" was sung by Geraldo. Other than that, it was an interesting read, though. I have to say overall I'm impressed with the packages. Need to spend some more time with them, but at first glance, The Fragile, in particular, is just friggin' beautiful.

  21. #1101
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    Quote Originally Posted by Conan The Barbarian View Post
    For those who got Broken, did the little sleeve for the 7" come not glued for them as well?
    I haven't seen this issue anywhere. I feel like it's probably happened to more than one person, though.

  22. #1102
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    cross-posted in the sandbag thread - my NTAE has the glue issue that most people seem to have with Broken (haven't opened my copy of Broken yet to check it), but at least it SOUNDS AMAZING.

  23. #1103
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    Yeah, after reading through the essays included on the reissues, I'd have to agree with others' opinions that the Ezrin one from The Fragile is by far the best. In the end I'd have been fine without the other two, though they at least look nice to page through. And the package otherwise looks just delicious. I'd seen pics of the Broken B-side before but was still quite delighted to see it in person. Can't wait to give these a spin!

  24. #1104
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    Help me I am missing the Ezrin essay transcription/scan in this thread, or it's not here...

  25. #1105
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    i can't even begin to tell you all how nice it was to finally listen to TDS on vinyl and not have weird audio breaks in the side divisions. i don't give a shit if it's slightly less dynamic overall (and, honestly, it doesn't SOUND less dynamic, even if the waveforms look that way), because the FLOW of the album is incredibly important, and this pressing gets it right. hale-fuckin'-lujah!

  26. #1106
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    Canadian here, all my stuff arrived today! Broken, TDS, TF, and NTAE!

    All were in good shape, with the exception of the glue issue on Broken. Have people been opening up tickets to get new sleeve replacements with success? I'm still waiting for my Deviations replacement sleeve.
    Last edited by Callahan; 08-29-2017 at 05:03 PM.

  27. #1107
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    So I'm comparing the text of the Broken sleeve, biggest difference is the block of text is rotated 90 but here's the details of the text.

    original:
    management: john a. malm jr. for conservative assistants: brian liesegang, sean beavan, chris vrenna
    additional engineers, etc. along the way: paul kendall, the kill bennedy, leo herrara, john (genghis)
    aguto, mike baumgartner, martin brumbach, trevor bum-cleaver sadler extra real drums on 2 and 6:
    martin atkins, chris vrenna barks and roars: maise the sound of this recording was influneced by my
    live band in 1991 featuring: richard patrick, jeff ward, james woolley studios: hell (new orleans), royal
    recorders (lake geneva), south beach studios (miami beach), village recorder (los angeles), a & m (los
    angeles), pig (beverly hills) mastering: tom baker at futuredisc merchandise: paul steels and jerry
    long legal: michael s. toorock booking gerry gerrard for intertalent publicity: sioux zimmerman
    thank you: jimmy iovine, chris blackwell, ros earls, marc marot, james dowdall, nick angel, james
    spencer and all at island uk, paul connolly, eric greenspan, rick rubin, joe mcewen, seymour stein, susie
    tallman, mark o,shea, ian copeland, a & m studios, kevin westenberg, sheria rees-davies no thanks: you
    know who you fucking are the slave thinks he is released from bondage only to find a stronger set of
    chains for info write (we promise we'll send you something this time): po box 16681, cleveland, ohio 44116
    usa sleeve design and photography: gary talpas for black sun



    remastered:
    assistants: brian liesegang, sean beavan, chris vrenna additional engineers, etc. along the way: paul
    kendall, the kill bennedy, leo herrara, john (genghis) aguto, mike baumgartner, martin brumbach,
    trevor bum-cleaver sadler extra real drums on 2 and 6: martin atkins, chris vrenna barks and roars:
    maise the sound of this recording was influneced by my live band in 1991 featuring: richard patrick,
    jeff ward, james woolley studios: hell (new orleans), royal recorders (lake geneva), south beach studios
    (miami beach), village recorder (los angeles), a&m (los angeles), pig (beverly hills) remastered by:
    tom baker at baker mastering vinyl mastering: john golden at golden mastering management: silva
    artist management legal: zia modabber for kitten munchkin rosenman lip, ross rosen for ross b. rosen
    & associated, llc booking: marc geiger for wme business management: william harper and michael
    walsh for gelfand, rennet & feldman thank you: jimmy iovine, ros earls, island uk, eric greenspan, rick
    rubin, joe mcewen, seymour stein, susie tallman, mark o'shea, ian copeland, a&m studios and kevin
    westenberg, sheria rees-davies no thank yous: you know who you fucking are the slave thinks he
    is released from bondage only to find a stronger set of chains sleeve design and photography: gary
    tapas for black sun reissue are supervision: john crawford 2017 interscope records. b0025684-01ev03
    Last edited by MrLobster; 08-29-2017 at 11:06 PM.

  28. #1108
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    this guy on discogs posted the following one-star review of the new pressing of Broken

    SecretRecords

    August 26, 2017

    It could have just fit on a 12". What's the point of a one sided 12" with a 7"? More stupid choices by labels.


    i (and a couple others) pointed out that the format was trent's decision (both initially in 1992 and with the new pressing), and that this wasn't released by a label. what a turd.

  29. #1109
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    I am a big vinyl nerd and these are all amongst the best sounding records I own-NTAE especially. I see why these took so long.

  30. #1110
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    Just finished listening to The Downward Spiral... *low whistle* damn... that sounds nice.

    I'll be comparing it to that Back To Black release, but my first impression is that the details sounded richer over all.

    What a great album!

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