당신은 주제를 찾고 있습니까 “nine inch nails hidden track – Nine Inch Nails The Fragile: Deviations 1 Hidden Track #3 \”Drainage\”“? 다음 카테고리의 웹사이트 https://ro.taphoamini.com 에서 귀하의 모든 질문에 답변해 드립니다: ro.taphoamini.com/wiki. 바로 아래에서 답을 찾을 수 있습니다. 작성자 Dione 이(가) 작성한 기사에는 조회수 172회 및 좋아요 8개 개의 좋아요가 있습니다.
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d여기에서 Nine Inch Nails The Fragile: Deviations 1 Hidden Track #3 \”Drainage\” – nine inch nails hidden track 주제에 대한 세부정보를 참조하세요
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Broken (Nine Inch Nails EP) – Wikipedia
Broken is the first extended play (EP) and second major release by American industrial rock band Nine Inch Nails. It was released on September 22, 1992, …
Source: en.wikipedia.org
Date Published: 2/1/2021
View: 8316
20 Best Hidden Tracks on Albums – Consequence
Secret songs that became some of our favorites. … 12. Nine Inch Nails – “Physical (You’re So)”. Found in association with Nine Inch Nail’s Broken EP, …
Source: consequence.net
Date Published: 5/14/2022
View: 9762
10 genius Nine Inch Nails songs that only diehards know about
10 genius Nine Inch Nails songs that only diehards know about ; Zoo Station (AHK-toong BAY-bi Covered compilation, 2001) ; Home (The Hand That …
Source: www.loudersound.com
Date Published: 7/16/2022
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Nine Inch Nails: “Physical” from Broken – HiddenSongs.com
Information about the hden track “Physical” by Nine Inch Nails from the album Broken including background information and how to find it.
Source: hiddensongs.com
Date Published: 9/25/2022
View: 5839
With Teeth (Bonus Tracks) – Album by Nine Inch Nails | Spotify
Listen to With Teeth (Bonus Tracks) on Spotify. Nine Inch Nails · Album · 2005 · 15 songs.
Source: open.spotify.com
Date Published: 3/26/2022
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Nine Inch Nails – Physical – nin.wiki
“Physical” is a hden track on 1992’s Broken EP that was originally written and performed by Adam and the Ants on their 1980 album Kings of the Wild …
Source: www.nin.wiki
Date Published: 10/14/2022
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10 hidden tracks from the ’90s that you definitely shouldn’t skip …
Nine Inch Nails – “Physical (You’re So)” … A companion piece, perhaps, to their hit “Closer,” this hden track is that rare number to become a …
Source: www.altpress.com
Date Published: 11/10/2022
View: 1984
The 11 best hidden tracks in rock history | Kerrang!
Most people are aware that Johnny Cash turned Hurt into a beautiful acoustic number, but Nine Inch Nails have also dabbled in covers of other …
Source: www.kerrang.com
Date Published: 7/12/2021
View: 5634
주제와 관련된 이미지 nine inch nails hidden track
주제와 관련된 더 많은 사진을 참조하십시오 Nine Inch Nails The Fragile: Deviations 1 Hidden Track #3 \”Drainage\”. 댓글에서 더 많은 관련 이미지를 보거나 필요한 경우 더 많은 관련 기사를 볼 수 있습니다.
주제에 대한 기사 평가 nine inch nails hidden track
- Author: Dione
- Views: 조회수 172회
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- Date Published: 2021. 7. 3.
- Video Url link: https://www.youtube.com/watch?v=NCYTpaLx4eI
Broken (Nine Inch Nails EP)
1992 EP by Nine Inch Nails
Broken is the first extended play (EP) and second major release by American industrial rock band Nine Inch Nails. It was released on September 22, 1992, by Nothing, TVT, and Interscope Records. The EP was produced by frontman Trent Reznor and Flood.
The release consists entirely of new material and replaces the synth-pop style of the band’s 1989 debut album Pretty Hate Machine with a considerably heavier sound that would act as a precursor to their second album The Downward Spiral (1994). Its lyrical themes are in line with those of their succeeding work. The record was promoted with music videos for five of the eight songs which were censored due to their violent content, as well as a short film of the same name, which was never officially released, but was later leaked as a bootleg.
Although it was derided by some critics for its lyrical content, Broken also received positive reviews from critics and reached number seven on the US Billboard 200, eventually receiving a platinum certification from the Recording Industry Association of America (RIAA). The recording helped to propel Nine Inch Nails into mainstream popularity, and later received two Grammy Awards (both for Best Metal Performance) for the songs “Wish” and “Happiness in Slavery”.
Background [ edit ]
After the commercial and critical success of Pretty Hate Machine (1989), TVT Records, the first record label to sign the band, pressured Trent Reznor to record a very similar album in the hope that it would have similarly successful singles. Steve Gottlieb, the CEO of TVT Records, was insistent that he would not release anything other than an album very similar to Pretty Hate Machine. Reznor demanded his label terminate his contract, due to their restriction of his creative control of the Nine Inch Nails project. They ignored his plea.[3]
Reznor then objected to the label’s attempted interference with his intellectual property. This much-publicized feud with TVT led Reznor to use a variety of monikers for the production of his next studio release.[4] Reznor later said that he hated TVT, in part due to their classification of Nine Inch Nails as a synth-pop band. He reached a deal with the record label Interscope Records:
We made it very clear we were not doing another record for TVT. But they made it pretty clear they weren’t ready to sell. So I felt like, well, I’ve finally got this thing going but it’s dead. Flood and I had to record Broken under a different band name, because if TVT found out we were recording, they could confiscate all our shit and release it. Jimmy Iovine got involved with Interscope, and we kind of got slave-traded. It wasn’t my doing. I didn’t know anything about Interscope. And I was real pissed off at him at first because it was going from one bad situation to potentially another one. But Interscope went into it like they really wanted to know what I wanted. It was good, after I put my raving lunatic act on.[5]
Recording [ edit ]
Reznor secretly made the then-untitled recording under various pseudonyms to avoid record company interference.[6] English record producer Flood, who produced “Head Like a Hole” and “Terrible Lie”, the first two tracks on Pretty Hate Machine (1989), returned to work in 1992 on the EP for “Wish”, “Last” and “Gave Up”.[7]
As Reznor explains in retrospect: “Broken […] had a lot of the super-thick chunk sound, and almost every guitar sound on that record was [tapes consisting of] me playing through an old Zoom pedal and then going direct into Digidesign’s TurboSynth [software in a Macintosh computer]. Then I used a couple of key ingredients to make it [be heard as being] unlike any ‘real’ sound.”[8]
The instrumental break of “Physical” (at 3:49) features a half-speed recording of Reznor’s dog, Maise, barking, and Sean Beavan’s line, “Ow!…fucker!”, after Maise bit him.[9] Maise was credited with “barks and roars” in the liner notes as a result.[10] After being owned by Reznor for over three years, Maise died after falling from a three-story balcony during the Self Destruct Tour.[11]
The record underwent development at six different studios, Hell (New Orleans, Louisiana), Royal Recorders at Lake Geneva, Wisconsin, South Beach Studios at Miami, Florida; Village Recorder and A&M Studios at Los Angeles, California, and Le Pig at Beverly Hills, California. The last two studios were later used during the production process for The Downward Spiral (1994). Tom Baker mastered the EP at Futuredisc. Following this step, Reznor presented the recording to Interscope Records in September 1992, and signed to the record label, making Broken Nine Inch Nails’ major label debut.[5]
Music and lyrics [ edit ]
Heavier than Pretty Hate Machine, Broken takes influences from industrial metal bands such as Ministry and Godflesh.[5] There are louder mixes and more distortion on every instrument, including John Lennon’s Mellotron MKII[12] heard most particularly on “Gave Up”. Reznor said he wanted the album to be “an ultra-fast chunk of death” for the listener, something that would “make your ears a little scratchy”.[13][page needed] In the liner notes, Reznor credited the 1991 Nine Inch Nails touring band as an influence on the EP’s sound.[7]
The lyrics are a critique on society, the majority of its themes involve angst, control and dependency struggles.[5] The second promotional single from the EP, “Wish”, includes the expletive fuck thrice, used on the lines “Now there’s nothing more fucked up I could do”, “I’m the one without this soul/I’m the one with this big fucking hole” and “Gotta listen to your big time hard line bad luck fist fuck.”[14]
Clocking at roughly one minute, “Pinion” is one of the shortest Nine Inch Nails songs. It features a series of short, ascending, distorted guitar power chords and a collage of atmospheric loops, including a reversed sample of David Bowie’s “It’s No Game” (which is not credited in the artwork for Broken).[15] A portion of this is used as one of the guitar riffs in “Wish”, one of the two promotional singles released from the album. “Help Me I Am in Hell”, another instrumental, ends with another uncredited sample, this time from The Empire Strikes Back (1980).
There are two bonus songs, which follow 91 silent, one-second tracks (numbered 7 through 97) on most CD copies, but were included as a separate 3″ CD or 7″ record with early pressings. “Physical” is a cover of the Adam and the Ants song “Physical (You’re So)”, originally released on the Kings of the Wild Frontier LP.”[7] In 1995, Nine Inch Nails performed “Physical” live with Adam Ant for two nights in a row. After Reznor introduced Ant and Marco Pirroni on the second night, Ant proclaimed to the audience, “It’s nice to be on stage with the best fucking band in the world.” “Suck” was written by Pigface, whose ever-changing lineup once included Reznor.[7] The slower, sparser, radically different original version appeared a year earlier on Pigface’s Gub album.
Packaging [ edit ]
Broken was originally packaged in a trifold-out digipak, containing the six tracks on a regular compact disc and an additional three-inch mini CD with the two remaining songs, covers of Adam and the Ants’ “Physical” and Pigface’s “Suck”. Due to the high cost of producing a two-disc EP, only 250,000 copies were released with the mini CD, subsequently Broken was re-released as one CD in October 1992, having the bonus songs heard on tracks 98 and 99 respectively, without any visual notice except for the credits,[7][16] and tracks 7-97 each containing one second of silence.[17] The cassette release featured tracks 1-6 on side one, with “Physical” and “Suck” appearing at the tail end of side two, after approximately 15 minutes of silence. The United Kingdom vinyl release was pressed onto a one sided 12″ which featured the six main tracks. The two bonus cuts were issued on a 7-inch single given away inside the EP in a white die-cut sleeve (an unusual method for packaging an album on the vinyl format).[16]
All copies include the logo of Nothing Records, a first for the works of Reznor, making the EP itself Nothing’s first release. The vanity record label was founded by Reznor along with John Malm Jr., who was his manager at the time, when he had involvement in a feud with TVT Records. It had a short lifespan (Nothing Records existed for nearly 15 years); the label was created in 1992, as Reznor signed to Interscope before TVT entered into a joint venture with that major record label, where he mailed parts culled from his publishing rights to TVT Music, in exchange for the freedom of having his own imprint.[18]
The influence of Reznor’s conflict with his former label, TVT, is evident in multiple aspects of the EP. After a long list of credits, the packaging reads, “no thanks: you know who you fucking are” followed by “the slave thinks he is released from bondage only to find a stronger set of chains.”[7][16] These comments are likely directed towards TVT Records’ Steve Gottlieb, who refused to let Reznor out of his contract, sparking legal battles between the two parties.[18] The “no thanks” part may be a response to the liner notes of Ministry’s Psalm 69: The Way to Succeed and the Way to Suck Eggs album, which featured a cryptic “no thanks, you know who you are.”[19] Aurally, at the beginning of “Physical”, Reznor whispers, “eat your heart out, Steve.” Visually, in a music video for “Gave Up”, the monitor of a Macintosh computer running Pro Tools reads “fuck you steve”.[20]
Despite the addition of “no thanks: you know who you fucking are”, there is a “Thank You” section. People listed in that portion include Jimmy Iovine, Ros Earles, Island Records, Eric Greenspan, Rick Rubin, Joe Mcewen, Seymour Stein, Susie Tallman, Mark O’Shea, Ian Copeland, Kevin Westenberg and Sheroa Rees-Davies.[7][16]
The writing credit for “Suck” caused a minor controversy. Whereas Pigface albums list all contributors to each of the songs, in this case “Atkins/Rieflin/Barker/Reznor”[21] as listed on Gub, the credit on Broken states “written by t. reznor/pigface”.[7][16] On the later Pigface release Truth Will Out, the writing credit for the song is “whatever trent says – really – no shit”. Reznor talked about his problem with Pigface in an unreleased 1992 Melody Maker Magazine interview. Reznor says he came in at the end of the Gub recording session, when time was running out, sang the lyrics for Suck over the leftover drum snippets they had, threw it together and said it was done. He stated he doesn’t like the recording. Later when Pigface were going to go on tour, Reznor taught them the proper music he had written for the song which is completely different than the music that he sang over on the Pigface studio recording. Pigface toured with the song with NIN, even playing the song with Reznor a few times. (Note: the Original Pigface recording is abstract noise and occasional bass over drum beats; nothing like Reznor’s version.) The following year, Reznor put out his version on Broken. In the liner notes, he mentions that there were personality conflicts and people saying they deserve more than they have.
Release and reception [ edit ]
“It’s heavy”, wrote Danny Scott in Select, “it’s loud and it’ll rip your stinkin’ head from your shoulders if you so much as breathe without permission.”[30] “Beats are hammered home with the gleeful force of a dentist’s drill”, said Peter Kane in Q, “while layers of rabid guitars and Reznor’s spiteful voice pile on the nihilistic agony.”[32] “Reznor has shaken off the shackles of influence”, observed NME, “and found his own suitably idiosyncratic niche.”[33] “Like a harrowing rape account”, marveled Making Music, “it’s an intensely vicious and shocking 30 minutes.”[34]
Writing for The Baltimore Sun, J. D. Considine stated: “Harder than Ministry, hookier than Nitzer Ebb, this EP is everything industrial music should be.”[35] CMJ described Broken as “an astonishingly cold, brutal and bleak EP.”[36]
The EP was certified platinum by the Recording Industry Association of America (RIAA) on December 18, 1992,[37] despite a complete absence of touring in support of it. The first promotional single, “Happiness in Slavery”, received moderate airplay, but its video’s depiction of Bob Flanagan being pleasured, tortured, and killed on a device led to MTV banning it outright. This stunted the single’s growth, but the track “Wish” was much more successful with an aggressive live performance on the music video, then later winning a Grammy for Best Metal Performance. Reznor later quipped that he wanted his gravestone to read “Reznor: Died. Said ‘Fist Fuck’, Won a Grammy.”[38]
Music videos [ edit ]
Not long after the EP’s release, a short horror musical film also named Broken was created during and after the production of the EP. It was rumored to be a snuff film with all of its songs with the exception of “Last”, “Physical”, and “Suck” playing to a scene. This film was directed by Peter Christopherson of Throbbing Gristle and Coil fame. A music video for “Gave Up” would prove to be part of the film, as well as the videos for “Happiness in Slavery” and “Wish”. Portions of Broken would, however, be released as part of the Closure VHS, which was released after The Downward Spiral. Due to the graphic substance of “Gave Up”, an alternative version of the music video consisting of the song being performed at Le Pig studios by Reznor, a young Marilyn Manson, Richard Patrick and Chris Vrenna was released to MTV. Much of the cast, aside from Bob Flanagan in “Happiness in Slavery”, and the band itself in “Wish”, is unknown. The film is generally credited to be directed by Christopherson, although the music videos themselves were directed by various other people: “Pinion” and “Help Me I Am in Hell” is credited to Eric Goode and Serge Becker, while “Happiness in Slavery” is credited to Jon Reiss.[39]
A music video for “Happiness in Slavery” was universally banned, though a few attempts to air it were successful. An episode of Raw Time aired “Happiness in Slavery” at 3:00 AM to unanimously positive response from viewers. Another program, Music Link, broadcast the video at midnight.[40]
Broken has not been given an official commercial release (according to Reznor, because they wanted to avoid the film overshadowing the prominence of the music),[41] thus adding to its mythological status in alternative culture. The original hand-dubbed tapes were distributed by Reznor to various friends with dropouts at certain points so he could know who distributed any copies that might surface. Reznor, commenting in the “Access” section of the NIN website, implied that Gibby Haynes was responsible for the most prominent leak.[41] This copy was traded on VHS tapes for years (resulting in many poor-quality, high-generation copies), and was later encoded in MPEG and AVI formats and distributed extensively through peer-to-peer networks and Nine Inch Nails fan websites. These are generally not of the highest quality, as they are not first-generation copies.
On December 30, 2006, an unofficial version of the film was released on a DVD disc image and distributed via BitTorrent at The Pirate Bay by the same anonymous user called “seed0” who uploaded the leaked DVD version of Closure. The DVD image represents a significant upgrade in visual and audio quality from “Broken 2.0.”, and includes the oft-missing video for “Help Me I Am in Hell”. Fans have speculated that this version of the film has been sourced directly from the master tapes, and that Reznor himself may have been the source of this leak along with the Closure DVD leak, as implied by a post on his official blog: “12/21/06 : Happy Holidays! This one is a guilt-free download. (shhhh – I didn’t say that out loud). If you know what I’m talking about, cool.” [42]
Track listing [ edit ]
All tracks are written by Trent Reznor, except where noted.[43]
Notes
A few variations of Broken exist, mostly due to different track listing arrangements:[45]
The very first US CD pressings of the album had “Physical” and “Suck” included on a second disc, a three-inch mini CD. Many pressings outside the US had no second disc and these songs were tracks 7 and 8 on the main disc. Later American pressings eliminated the second disc as well and included the songs on the main disc as tracks 98 and 99. On this version tracks 7–97 consist of 4 seconds of silence each resulting in a slightly longer total playtime (33:09 vs. 31:35).
On most pressings, US and otherwise, tracks 7/98 and 8/99 are not listed in the track listing on the back of the case. Some pressings also omit track 6, “Gave Up” from the rear listing as well.
The only US 12-inch vinyl pressings released prior to the 2017 Definitive Edition (“promotional” only) omit the two instrumental tracks, “Pinion” and “Help Me I Am in Hell”.
Unlike the relatively large number of various CD versions, almost all cassette pressings across all regions include tracks 1–6 on side A and tracks 7–8 on side B.
All vinyl pressings include “Physical” and “Suck” on a separate seven-inch disc.
Personnel [ edit ]
Charts [ edit ]
Certifications [ edit ]
Region Certification Certified units/sales Canada (Music Canada)[49] Platinum 100,000^ United States (RIAA)[37] Platinum 1,000,000^ ^ Shipments figures based on certification alone.
Notes [ edit ]
References [ edit ]
20 Best Hidden Tracks on Albums
Every day we walk amongst things that are hidden—concealed from our immediate sensory perception. Things that nestle just along our peripheral edge like a distant buoy floating on the horizon. As human beings, we walk through our days bombarded by stimuli of all natures; our eyes, ears, noses, and mouths do all they can to give us an idea of just what is surrounding us, but a good deal gets lost in translation. So much of this missed detail is not our fault, rather an unavoidable consequence of having more to do than sit in silent absorbance of our environment. And thus, things become hidden. Sometimes putting a spotlight on these minute parts can add depth to our appreciation of the whole. Assuming the role of proverbial spotlight, we decided to comb through the hidden tracks from some of the great albums of the past half-century. First, why don’t we begin by removing some opacity from the phrase “hidden track”. Our functional definition includes those tracks that were not listed on the album but were nonetheless tucked into its sonic existence. This has been achieved in many fashions, from the classic few-minutes-of-silence-then-obscure-avante-garde-noise-appears (I love The Beatles) to unlisted interludes between tracks or just simply sticking it at the end and not telling anyone about it. Now the reasons why bands decide to include hidden tracks—that’s a bit more speculative. Coldplay have been quoted as saying it was to assure the album had “enough value for the money.” In some less mockably righteous cases, it clearly served as a platform for a musical joke. Hidden tracks can also provide an excuse to release a less than optimal quality recording, or they can simply be the inadvertent result of bad labeling. The most commonly cited reasoning is that of surprise for listeners, but there’s likely as many artists who do it without any presumption at all. Advertisement Inadvertent or not, we have compiled a list of the 20 best hidden tracks that deserve to see the light of day. Some you may already recognize; others may just be your missing Chapstick (the one that ended up being in your pocket the whole time). Enough lip-softening relief to make all the anxiety go away. -Kevin McMahon
Contributing Writer
20. The Afghan Whigs – “Miles Iz Ded” Congregation may have been The Afghan Whigs’ third album, but it was the first to truly announce the band’s arrival. Recorded over the summer of 1991, the album was anchored by two singles, “Turn on the Water” and “Conjure Me”, the former of which was released as a three-song CD single with two other songs, “Chalk Outline” and “Miles Iz Ded”. The latter song, the second track on the single, was first heard as the 12th (and unlisted) track at the end of Congregation. Written and recorded on the day of Miles Davis’s death (September 28, 1991), the track’s inspiration stems from two answering machine messages frontman Greg Dulli received from music executive David Katznelson regarding a cookout, the second of which simply said, “Miles is dead. Don’t forget the alcohol.” Dulli incorporated Katznelson’s message into the song’s lyrics and, along with guitarist Rick McCollum, went into Ultrasuede Studios in Cincinnati, OH, and laid the track down. Though it may have been hastily recorded and included on the album without any labels or indications, the song is certainly not a throwaway number. It’s the perfect cut to close Congregation, an album that hinted at the greatness the band would deliver on their follow-up, Gentlemen. –Len Comaratta
19. Beach House – “Wherever You Go” At the end of 2012’s dreampop masterpiece Bloom, Beach House offer their contribution to the wonderful world of hidden tracks. “Wherever You Go” actually comes off a bit like a mash-up of a Beach House song. We hear a similar melody to that of “Silver Soul” and the percussive intro to “Walk in the Park”. However, Victoria Legrand’s melancholic croons give a touch of individuality to the track, and it could be construed as the remnants of the slight sonic switch that occurred in the group between Teen Dream and Bloom. A switch that saw growth toward more developed production and a greater depth of melodic layering. It plays after just under seven minutes of silence and gives us one more reason why patience is a virtue. –Kevin McMahon
18. Black Moth Super Rainbow – “The Primary Color Movement” Black Moth Super Rainbow has long made it a point to keep the identity of its members under wraps. So, it’s no surprise that in the twilight moments of 2004’s Start a People, we find a hidden track tacitly installed. Under the name “(Super Secret Track)”, “The Primary Color Movement” is a typically atypical song for BMSR, connoting Campfire Headphase-era Boards of Canada. The song briefly hits the kind of head-nodding groove one might expect from the middle of an album as opposed to a hidden outro. It’s a nice refresher from the troves albums with white noise-led conclusions that border on parodies of the ominousness they seek to create. –Kevin McMahon
17. The Roots – “Rhymes and Ammo / Thirsty!” (ft. Talib Kweli) The first half glimpses at the future while the second looks at the past. “Rhymes and Ammo / Thirsty!” appeared on The Roots’ most experimental (there’s a fuckin’ punk rock track in there) and, to some, their best effort, Phrenology. The band’s genre-crossing would later give in to conformity, however; Phrenology‘s follow-up, The Tipping Point, was the group’s most pop-leaning effort, as well as its least critically praised. “Rhymes and Ammo / Thirsty!” doesn’t necessarily predict a creative trough, though. “Rhymes and Ammo”‘s cliche, clap-your-hands-style hook does its job while Talib Kweli comes through to provide a mindful anchor. Then comes the house-based “Thirsty” in which experimentalism doesn’t cloud the fact that The Roots are still about the party. –Brian Josephs
16. Atmosphere – “Say Shh..” It’s not often you find a track celebrating the mundane idiosyncrasies of the Midwest, but Minneapolis duo Atmosphere found a way to do just that. “Say Shh..” is the closing piece to 2003’s Seven’s Travels. It appears as an unlisted track after the apparent finale “Always Coming Back Home to You”. “Say Shh..” holds the laid-back funk groove that canvases much of the Atmosphere back catalogue and a pleasant dose of lines that don’t take themselves too seriously. Slug proclaims his love for the heartland, not necessarily for what it has but for what it doesn’t. America’s breadbasket may have an abundance of saturated fat, but fame, pretension, and overpopulation are all things in short supply. And plus, Prince lives here! –Kevin McMahon
15. Bloc Party – “Every Time Is the Last Time” A dreamy, beautiful breeze of a ditty amid the upbeat, poppy roar of Bloc Party’s debut album, Silent Alarm, “Every Time Is the Last Time” feels and sounds like falling asleep on a beach vacation with salt in your hair and the rush of the ocean in your ears. The album itself was a tour de force, introducing a distinctive new voice into the sea of British electronic-influenced post-punkers in the mid-aughts, and it was an album that was meant to be loved and worn thin over the course of many, many repeat listens. “Every Time Is the Last Time” reads like an antidote to that, in a way, a palate cleanser – it leaves you feeling refreshed and ready to listen to the album from start to finish all over again. –Katherine Flynn
14. Q-Tip – “Do It, See It, Be It” Following the dissipation of the legendary A Tribe Called Quest, 1999 bore us the first solo release from the Abstract Poetic himself. Thankfully, Q-Tip’s lyrical prowess and eclectic sampling pallet remained intact, and at the end of the album the listener uncovers a hidden track entitled “Do It, See It, Be It”. As preachy as the inscribed title may suggest, the track actually comes off as very personal. Q-Tip meditates on the arc of ATCQ and how the rise seemed intimately and unavoidably attached to the fall. He offers no prophetic finality, just simply notes of his own perseverance and hope’s power over the will of man. –Kevin McMahon
13. Green Day – “All by Myself” Ah, acoustic Green Day – ah, Tre Cool. This guitar-plucking ditty, composed and performed by the group’s longtime drummer and featured as a hidden track on their breakthrough album, Dookie, is yet another ode to masturbation, one of Green Day’s favorite themes before shifting to weightier topics on later-career albums like American Idiot. It’s swift and simple, with Cool’s goofy intonation and sometimes unintelligible lyrics cutting through the rest of the album’s bombast. He lacks Billie Joe Armstrong’s rich tenor, which lends some insight into why he’s probably mostly stayed safely behind the kit for most of the last decade, but the song is a perfect ode to what a silly, offbeat group this trio used to be before they started taking themselves just a little too seriously. –Katherine Flynn
10 genius Nine Inch Nails songs that only diehards know about
Since forming Nine Inch Nails in 1988, Trent Reznor has sold over 20 million albums.
The NIN mastermind – named as one of 1997’s most influential people in Time magazine – has also become one of the most in-demand musicians in Hollywood. He’s earned an Academy Award for The Social Network soundtrack and a Grammy for his work on The Girl With The Dragon Tattoo. The industrial icon seemingly takes great pleasure from peppering his NIN sets with lesser-known B-sides and soundtrack contributions to catch out the part-timers. So, to prepare yourself for whenever they next tour, here are 10 hidden gems from the Nine Inch Nails vaults….
Zoo Station (AHK-toong BAY-bi Covered compilation, 2001)
With Zoo Station, stadium-botherers U2 reinvented themselves and adopted a quasi-industrial second skin, adding more than a pinch of Gary Numan to their already massive sound. With a sound in the same vicinity as their own, Nine Inch Nails’ cover of the track could have turned out awfully bland. Thankfully, Reznor defied expectation and churned out a tribute bested only by Marilyn Manson ’s take on the Eurythmics. In terms of arrangement, Zoo Station doesn’t deviate from its source material too much and that’s where the genius is found; there’s no grinding industrial blasts or bouts of shouting because it’s not needed. Reznor builds layer upon layer of textured melody and denies the song its original crescendo, making for a chilled-out and satisfyingly fresh take on a U2 classic. Bono probably liked it, but he was too busy collecting his Glamour Man Of The Year award and shouting, “YEAH YEAH YEAH” to comment.
Home (The Hand That Feeds single, 2005)
You do get some industrial fans – you know, the ones who call Front Line Assembly and Skinny Puppy ‘mainstream’ – with prejudices, vendettas and hefty bounties against Reznor. He’s constantly blamed for popularising and subsequently diluting the genre despite winning a Grammy for the caustic, callously uncompromising Wish; surely that’s an act of defiance against the corporate machine, “fist-fuck” and all? The B-side to one of NIN’s most popular rock club floor fillers, Home is a bare-bones, stripped affair that relies on a simplistic, tinny drum beat. The metronomic horror of Home is exacerbated by Reznor’s grit-toothed delivery and the final, angelic refrain of, “And I am still inside you” before cutting off the keyboard and bass. Just the drums remain. Guaranteed to give you the creeps.
Burn (Natural Born Killers OST, 1994)
Released the same year as NIN’s magus opus The Downward Spiral, Burn is the sound of a man pissed off with everything. Reznor had become an unwilling superstar in the five years between the aforesaid album and 1989’s Pretty Hate Machine and he was messed up. Fighting drug addiction, suffering from social anxiety and recording in the house where Sharon Tate was murdered by the Manson family, music was Reznor’s outlet. Recorded especially to soundtrack the equally disturbed Natural Born Killers movie, Burn melds Portrait Of An American Family-era Marilyn Manson with ballsy, southern-fried Ministry riffs and… is that a honky-tonk piano near the end? All we’re sure of is when Reznor spits the line, “I’m gonna burn this whole world down”, he means it.
Not So Pretty Now (NINJA 2009 Tour Sample compilation, 2009)
Despite his affiliation with noisy, generally unpleasant sonic destruction, Reznor can pen a hook or 12 when he feels like it. Taking its cue from NIN’s anthemic attributes (The Hand That Feeds, Starfuckers, Inc. etc), Not So Pretty Now was left over from With Teeth and didn’t see a proper recorded release until four years later. We have no idea why, though – it’s brilliant.
The New Flesh (We’re In This Together single, 1999)
What we said earlier about Home? That multiplied by spiders, terrorists and everything else that scares you (possibly even spider terrorists, at a push). Straying into a noise rock, almost Swans-esque density towards the last quarter, The New Flesh is a blackened B-side to the sunshine-filled We’re In This Together, serving as a stark reminder that just about everything enveloping The Fragile was, and still remains, utterly miserable.
Complications Of The Flesh (We’re In This Together single, 1999)
Another flesh-fetishtic cut from The Fragile era. On Complications Of The Flesh, we’re treated to the usual sonic misery but with a backdrop of old school jungle breakbeats. Of course, this juxtaposes terrifyingly with the morose slabs of piano and Reznor’s croon of, “Give it to me.” And then you remember: I can never be happy. I’m listening to Nine Inch Nails.
The Perfect Drug (Lost Highway OST, 1997)
All right, this one’s not really a B-side (although it did appear on We’re In This Together as a B-side). However, The Perfect Drug is often ignored by newer NIN novices yet it serves as a stark demonstration of everything that’s right about this band and everything that’s wrong with this world. Music like this should never have made its way onto the big screen, the radio or anywhere people could actually hear it, but Reznor’s knack for a catchy hook assured NIN’s success. Though we’re not sure how, despite his merciless quality control in terms of musicality, that moustache didn’t get shaved off and destroyed before the video shoot.
Theme For Tetsuo: The Bullet Man (Tetsuo: The Bullet Man OST, 2009)
This can be found in the final part of a trilogy of Tetsuo films by the acclaimed Japanese director Shinya Tsukamoto. This instrumental marked the second time Reznor collaborated with the filmmaker; the first was TOH (Top Of The Hour), which was used in Tsukamoto’s MTV Japan promotional short. It was never released commercially but scooped an award at the New York Festival in 1994.
Get Down, Make Love (Sin single, 1990)
And here’s the Queen cover. Every band worth their salt does a Queen cover at some point. NIN’s interpretation of the naughty News Of The World track was produced by Al Jourgensen; heaps of sampling and pitch-shifted orgasmic groans are a must, then. We’re sure they had a hoot slipping those in. There’s stomping keyboards that even Britney Spears wouldn’t say no to and a gargled, screamed version of the song’s chorus. Most bands don’t have the nerve to touch anything by Queen, yet Reznor pays homage to one of the greatest bands on the planet while updating their racket with the inimitable NIN stamp of approval.
10 Miles High (We’re In This Together, 1999)
Hand-clapping and listening to NIN should probably be mutually exclusive but damn it, 10 Miles High makes us want to defy normality – in an extremely morbid fashion, of course. This track relies on lyrical minimalism, allowing the hulking – dare we say sludge – riff ooze over the ears; said riff is played on a knackered string during the outro, only adding to the discordant, twisted and generally dishevelled nature of Reznor’s musical thought process.
Nine Inch Nails: “Physical” from Broken
Home » Songs » Nine Inch Nails: “Physical” from Broken
Only 6 songs are listed for the disc, but 7-97 are 1 second blank tracks.
How to find it: Go directly to track #98
Submitted by: EAM
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Nine Inch Nails – Physical
Physical Promo Promo
“Physical” is a hidden track on 1992’s Broken EP that was originally written and performed by Adam and the Ants on their 1980 album Kings of the Wild Frontier.
When Broken was first released, this and another extra track, “Suck,” were on a Mini CD that was packaged with the EP. But after allegations that some music stores were removing the mini CD and selling it separately, the two tracks were incorporated onto the EP as tracks 98 and 99, with tracks 7–97 consisting of one second of silence each.
Song Credits
Writing: Adam Ant
©1980 CBS Records, Inc.
Production: Trent Reznor
About
At the beginning (approx. 27 sec.) of the song, Trent Reznor can be heard saying, “Eat your heart out, Steve.” This is possibly directed towards Steve Gottlieb of TVT Records with whom Reznor had been feuding, as Gottlieb would not let him out of his contract. The entirety of Broken was created without the knowledge of TVT. The original track by Adam and the Ants had Adam saying, “Eat your heart out, Do It” at the beginning, which is directed at his record label at the time, Do It Records.
In the credits, “Barks and Roars” are attributed to Maise, Trent’s dog at the time of recording. At 3:36, barking and “Ow! Fucker” is heard being played at half speed over the track, as Maise – then a puppy – was playing with Sean Beavan in the studio, and bit him. (One of the recording techniques employed on both “Suck” and “Physical” was to play the guitar riff at double the speed of the track, and play the resulting recording back at half speed, for a unique, extra thick sound.)
According to a previously unreleased interview Reznor did with Melody Maker magazine, “Physical” was supposed to be a “tongue-in-cheek” cover. It should be noted that the Adam and the Ants version is named “Physical (You’re So)” and features an extra verse.
Appearances
Halos
Broken
Seeds
Versions
Physical
This is the original version found on the Broken EP. It begins with layers of ambience and feedback before erupting into a guitar- and drum-heavy first verse. The chorus introduces a new, chugging chord progression before returning to the power chords and riff of the second verse. A bridge after the second chorus leads to the climactic final chorus variation, which descends into more feedback and whispering.
Physical (Mass Consumption mix)
Running Time: 5:16
A mix only found on radio promos released in the US.
Live
This track was rarely played live post-1993, but resurfaced on the Wave Goodbye Tour and the Cold And Black And Infinite Tour. In 1995, Nine Inch Nails performed this song live with Adam Ant for two nights in a row in New York City. After Reznor introduced Adam Ant and Marco Pirroni on the second night, Adam Ant proclaimed to the audience, “It’s nice to be on stage with the best fucking band in the world.”
Lyrics
I want to date you maybe I want to take you out I want to wine and dine you I want to twist and twist and shout I want you hard in my arms So soft on my bed You get the key to my heart When you wear that sweet dress But you’re too physical, physical, for me You’re just too physical, physical, to me I want your roughhouse baby I want this right in your ear You let me feel your danger I let you make this feeling clear, here I want the touch of your charms The heat of your breath I want to say all those things That would be better unsaid
10 hidden tracks from the ’90s that you definitely shouldn’t skip over
Today’s kids have no idea what they are missing when it comes to CDs being a thing of the past. Namely, the hidden track. What a thing of beauty, truly embraced in the ’90s by musicians and fans alike, only to slowly fall away come the 2000s, popping up sporadically, until the true death knell sometime around 2010.
The resurgence of vinyl doesn’t help any because an artist can’t “hide” a song on vinyl. But on a CD, with no indication there was another song on the back cover or written about in the inside booklet, it would often be a delightful surprise.
Read more:
Sometimes it was a song that didn’t make it to the record for a damn good reason. Other times, it was just a band being silly or even vulgar, the latter making the cut once or twice below.
Alanis Morissette – “Your House”
As if Jagged Little Pill wasn’t a treasure trove of great music already, this gem is buried after the final track fades. There are shades of “Uninvited” here, at least as far as the songstress’s haunting, conspiratorial tone goes. The fact that it’s a cappella makes it feel like even more of a “find,” if that’s possible. The Canadian rocker didn’t make the listener wait some five minutes for this creepy yet beautiful ballad about showering at an ex’s place; it comes on quick enough. While other artists made their hidden tracks a true treasure hunt, Alanis Morissette included what we would later refer to as the bonus track. She just didn’t call it that, or make any mention of it on the CD case.
The Afghan Whigs – “Miles Iz Ded”
The Whigs know how to close out a record. “Faded, ”off their impeccable Black Love record, finishes that sucker off so beautifully, to follow it up with anything would have been a travesty. “Miles Iz Ded,” the hidden track on Congregation, came long before that though, with singer Greg Dulli’s cigarette-beaten, gravelly vocals a perfect fit for a song about seduction and alcohol. The desperation brought about by a last call is relayed as cathartically as the emptiness brought about by a romance ending on the aforementioned “Faded.” Dulli remains one of the most underrated vocalists still in the game.
Green Day – “All By Myself”
Managing to be both silly and vulnerable simultaneously, this hidden track on Green Day’s Dookie clocks in at only 1:40. As Beatles-esque as it is, it’s a clear indicator that “Good Riddance (Time Of Your Life)” was on its way to a fanbase who at this “Basket Case” time had no idea how much they wanted and needed it. Sure, it’s an ode to masturbation—which is perhaps why it was hidden in the first place—but it also aptly illustrated what Billie Joe Armstrong could do all on his lonesome (literally and figuratively), armed with only an acoustic and his thoughts. It was the ballad that paved the way for the other better-known ones…when they came around.
Nirvana – “Endless, Nameless”
Never ones to make things easy, the Seattle trio buried this fan-favorite a solid 10 minutes after their breakthrough, and groundbreaking, record Nevermind comes to an end. Catch is, it’s attached to the official final song, “Something In The Way.” When that song appears to simply still be fading out, the most stalwart of fans will take note (and their time) to get to what Kurt Cobain and co. have up their sleeve. For they know it will be worth the wait. (Plus, you can fast forward on CD, but that’s beside the point.) The jam-heavy, chaotic closer did get its due, though, when it appeared by name as the B-side to single “Come As You Are.”
Better Than Ezra – “Pork Und Beans”
Too quickly dismissed as one-hit wonders (with that hit being 1995’s infectious rocker “Good”), Better Than Ezra can rock out with the best of them. Their setlist usually included a Led Zeppelin medley midway through that was as confounding to the ’90s crowd as it was up to snuff. “Pork Und Beans” (aka “Streetside Jesus”) would seem to let one in on that fact in the sense that it’s the collegiate trio’s foray into industrial metal, of all genres. It begins a little over a minute after the end of “Coyote” on their biggest record, Deluxe, and is the epitome of a curveball. Again, lest you’ve seen them live.
Limp Bizkit – “Stereotype Me”
This track is a trick as far as hidden ones go. It comes not at the end of Three Dollar Bill, Y’All$ but is instead tacked on to the band’s George Michael cover on the debut CD. Left off the single (as Fred Durst no doubt saw to it that his band’s energetic cover of the late Michaels’ big hit “Faith” was released as one), it would have lessened the effect of said cover anyway. It’s a great cover, with Wes Borland giving his guitar a workout on the otherwise breathy beauty of a song and DJ Lethal illustrating the art of the scratch. What, then, would buyers of the single have made of a song that clocks in at less than two minutes and is pure Limp, all distortion and attitude? Although, a song with a title like “Stereotype Me” tied to a Michael cover is quite the statement when you sit back and think about it. Which was the point, of course.
Everclear – “Hating You For Christmas”
One of the ’90s most criminally underrated bands, Everclear continue to make great music to this day, and this should-be Christmas anthem found its way onto their smash So Much For The Afterglow record. It’s pure Art Alexakis: heart on sleeve, middle finger extended upright for the world to see, lyrics awash in disgust and zero regret. Tacked onto final track “Like A California King,” it’s not quite as hidden as so many hidden tracks were in the ’90s but, instead, was there for those inclined to grab onto it in the throes of tragically relating so much to the album’s hit single, “Father Of Mine.”
Pennywise – “Slowdown”
This epic rocker has popped up on more than one pressing from the impressive Californian punk rockers but is best known as the hidden track on Unknown Road, the band’s second full-length. From its foot-stomping start to its cymbals-bashing finish, “Slowdown” is exactly what the band most definitely do not do on this song or even as a band in general. Ever. Here it comes blasting out of speakers shortly after listed final cut “Clear Your Head” ends. And that’s exactly what the first few notes of “Slowdown” will do for the listener.
Beck – “Analog Odyssey”
This Mellow Gold hidden track is quite literally exactly what the title says that it is: an analog odyssey. The groundbreaking Grammy-winning artist totally has fun for just under two minutes messing around with analog, producing trippy sound upon trippy sound. The warping of audio takes place just after final track “Blackhole” ends, which is apropos, as it sounds as if the listener has fallen into one, only to recover and take a ride on the rewind button. This is Beck’s third album—the one boasting “Loser,” what some would deem his biggest hit ever. After songs such as “Soul Suckin Jerk” and “Mutherfucker,” the LSD feel to the LP’s hidden track is actually welcome.
Nine Inch Nails – “Physical (You’re So)”
A companion piece, perhaps, to their hit “Closer,” this hidden track is that rare number to become a hit in its own right, if not simply a fan favorite. An even more interesting fact is that it’s actually a cover song. Not only that, it finds Trent Reznor doing to ’80s icon Adam Ant what Johnny Cash would later do to him with the Nine Inch Nails’ opus “Hurt”: He slows Ant’s ditty down to a point where it’s barely recognizable. Known best for his hit “Goody Two Shoes,” however, Ant was decidedly not one himself, and his oeuvre aptly illustrates that. Reznor simply renders this song a more simmering, sexy ode to the skin on skin. You can find it “hidden” on the band’s 1992 EP, Broken.
The 11 best hidden tracks in rock history
A long, long time ago, people in their millions bought CDs, strange reflective discs with art on one side and laser music on the other. Back then, in that golden age before MP3s were even a glimmer in Steve Jobs’ eye, bands would often include songs on their albums that were unlisted. Whether you called them secret tracks or hidden tracks or something else entirely, they were always fun – in that pre-internet age – to discover. Most often they could be found at the end of a long period a silence that followed the last listed track, but sometimes you’d have to rewind the first song and listen to it in the CD’s pre-track gap.
Nowadays, of course, no-one buys CDs and you can pretty much find everything on YouTube, so it’s not as much fun. Still, there have been some genuinely great secret album tracks over the years, so we decided to round up the best ones. And by ‘best ones’, we mean actual songs, not just hilarious skits or slices of ambient noise (we’re looking at you, Pearl Jam!).
Here are the 11 best secret tracks in rock history…
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