this says four new videos will be available from the downward spiral.
closer, hurt and march of the pigs = three.
what song got scrapped?
this says four new videos will be available from the downward spiral.
closer, hurt and march of the pigs = three.
what song got scrapped?
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.
I like that those press sheets were included in the Broken, TDS and Fragile reissues. Feels a little bit like a time capsule.
Anyone else notice the "Disc 1 Side A" label font is smaller than any of the other labels on The Fragile?
Did I read somewhere the NTAE vinyl side B was meant to be etched or am I thinking of something else?
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.
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").
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?
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?
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)
yes, it has one, full of errors and references to limp bizkit, for some reason (i'm not kidding)
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.
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.
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.
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.
For those who got Broken, did the little sleeve for the 7" come not glued for them as well?
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.
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.
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!
Help me I am missing the Ezrin essay transcription/scan in this thread, or it's not here...
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!