당신은 주제를 찾고 있습니까 “nine inch nails hidden track – Nine Inch Nails The Fragile: Deviations 1 Hidden Track #3 \”Drainage\”“? 다음 카테고리의 웹사이트 https://ppa.pilgrimjournalist.com 에서 귀하의 모든 질문에 답변해 드립니다: ppa.pilgrimjournalist.com/blog. 바로 아래에서 답을 찾을 수 있습니다. 작성자 Dione 이(가) 작성한 기사에는 조회수 163회 및 좋아요 8개 개의 좋아요가 있습니다.
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nine inch nails hidden track 주제에 대한 동영상 보기
여기에서 이 주제에 대한 비디오를 시청하십시오. 주의 깊게 살펴보고 읽고 있는 내용에 대한 피드백을 제공하세요!
d여기에서 Nine Inch Nails The Fragile: Deviations 1 Hidden Track #3 \”Drainage\” – nine inch nails hidden track 주제에 대한 세부정보를 참조하세요
it’s real
nine inch nails hidden track 주제에 대한 자세한 내용은 여기를 참조하세요.
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: 9/18/2021
View: 1803
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: 4/26/2021
View: 6635
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: 7/21/2021
View: 4814
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: 9/8/2022
View: 2974
Nine Inch Nails – Untitled (from Head Like A Hole) – nin.wiki
“Untitled (from Head Like A Hole)” is a hden track on Nine Inch Nails’ 1990 release Head Like A Hole. It consists solely of host Heather “Princess” Day …
Source: www.nin.wiki
Date Published: 12/5/2022
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Broken – What is the hidden track under the center? : r/nin
I had the original cd that had 6 tracks with the bonus small cd. … r/nin – “You should check out this band called Nine Inch Nails”.
Source: www.reddit.com
Date Published: 8/3/2021
View: 1021
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: 8/21/2022
View: 1516
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: 2/7/2022
View: 2041
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 163회
- Likes: 좋아요 8개
- Date Published: 2021. 7. 3.
- Video Url link: https://www.youtube.com/watch?v=NCYTpaLx4eI
Which albums have hidden tracks?
| Artist | Album | Release year |
|---|---|---|
| British Sea Power | Open Season | 2005 |
| Chuck Brodsky | Letters in the Dirt | 1996 |
| James Brown | Live at the Apollo, Volume II (Deluxe Edition) | 2003 |
| Brutal Deluxe | Divine Head | 2000 |
What was the first hidden track?
According to Smith, the very first hidden track is probably The Beatles’ “Her Majesty.”
Where was broken recorded?
| Broken | |
|---|---|
| Released | September 22, 1992 |
| Recorded | March–August 1992 |
| Studio | Hell (New Orleans) Royal Recorders (Lake Geneva) South Beach (Miami Beach) The Village (West Los Angeles) A&M (Hollywood) Le Pig (Benedict Canyon) |
| Genre | Industrial metal alternative metal |
Why is Sea a hidden track?
In his interview for Billboard, RM explained that Sea remained a hidden track (a track only found in a physical album) because it was something that was special between BTS and ARMYs. Sea reminds us of the role fate and destiny played in the story of BTS.
What is the hidden track on Nevermind?
That’s right. There’s a secret track on Nevermind. It’s a messy jam called “Endless Nameless” and it follows ten minutes of silence at the end of most albums. “To me it definitely sounds like the band is trying to blow off steam,” says McMurray.
Was Her Majesty the first hidden track?
The Beatles’ Abbey Road includes the first hidden track, Her Majesty.
Why does BTS have hidden tracks?
A hidden track is a piece of music that’s placed on a CD which isn’t a part of the official list but is intended to be shared as a bonus or special. In case of BTS, they include hidden tracks when adding details about their concept.
What is the hidden track on Korn’s first album?
“Michael & Geri” is the hidden track from Korn’s self-title 1994 debut album.
Why did Nine Inch Nails break up?
The album was written and recorded throughout 2004 following Reznor’s battle with alcoholism and substance abuse and legal issues with his former manager, John Malm Jr. With Teeth debuted on top of the Billboard 200, Nine Inch Nails’ second reign at number one with an album.
What genre is Nine Inch Nails?
Nine Inch Nails, American alternative rock act known for dark and tortured industrial rock songs. Nine Inch Nails was essentially a stage name for singer and multi-instrumentalist Trent Reznor (b.
Is Nine Inch Nails industrial?
While Ministry and Skinny Puppy were the undisputed alphas of the scene, Nine Inch Nails represented its global ambition. One need only listen to Reznor’s radical remake of “Suck” for Nine Inch Nails’ 1992 industrial-thrash Broken EP to understand his subsequent strengths as a producer.
Why do some albums have hidden tracks?
In the field of recorded music, a hidden track (sometimes called a ghost track, secret track or unlisted track) is a song or a piece of audio that has been placed on a CD, audio cassette, LP record, or other recorded medium, in such a way as to avoid detection by the casual listener.
Are hidden tracks part of the album?
Hidden Tracks (What Are They, What’s the Point of Them?) A hidden track (or secret track) is a song placed on an album, EP, or single, which is recorded in such a way that the average listener would not notice them. A hidden track is often placed after a large gap of silence after the last song on the release.
How do you find hidden songs on Spotify?
Tap on the Home button then on the Settings button. Under Playback, switch Show unplayable songs on. Now, go back to the playlist and tap on the “Hide” button again. Your track is no longer hidden.
What are bonus tracks?
A bonus track (also known as a bonus cut or bonus) is a piece of music which has been included as an extra. This may be done as a marketing promotion, or for other reasons. It is not uncommon to include singles as bonus tracks on re-issues of old albums, where those tracks weren’t originally included.
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 ]
List of albums with tracks hidden in the pregap
Artist Album Release year Name of track (if known) or remarks
311 Transistor 1997 “Transistor Intro”
A.C.T Last Epic 2003 Hidden orchestral introduction
Aavikko Novo Atlantis 2009 Pseudo-baroque versions of “The Final Countdown” by Europe and “Novo Atlantis” by Aavikko
Adventures in Stereo Monomania 2000 —
The Adverts Crossing the Red Sea with The Adverts 1997 (reissue) Reissue of 1978 album includes four songs in the pregap: “Gary Gilmore’s Eyes”, “Bored Teenagers”, “Safety In Numbers” and “We Who Wait”[1]
AFI Decemberunderground 2006 The hidden track is an extension to the intro “Prelude 12/21”
Agoraphobic Nosebleed PCP Torpedo/ANbRx 2006 “Azido Phencyclidine Electrophoresis” on PCP Torpedo and “Agoraphonic Nosecandy Mix” on ANbRx, which is a remix by Submachine Drum
Alcazar Alcazarized 2003 “Dance with the DJ” (on the first edition of the album, released in Sweden)
Antiloop Fastlane People 2000 “Dead Man”
Apollo Up! Light the End and Burn It Through 2004 “Roken Is Dodelijk”
Arab Strap Cherubs 1999 Cover of “Ben Kenobi Theme” by John Williams from Star Wars
Arcade Fire Reflektor 2013 The first of the album’s two CDs contains a ten-minute medley of instrumental parts from the 7 tracks of the CD, burned in reverse
Die Ärzte 13 1998 “Lady” in the pregap of “Punk ist…”
Die Ärzte Geräusch 2003 “Hände innen” in the pregap of “Als ich den Punk erfand…”
Die Ärzte Jazz ist anders (bonus EP) 2007 “Nimm es wie ein Mann” in the pregap of “Wir sind die Besten”
Autechre EP7 1999 Untitled track included on the UK pressing by Warp Records:[2] not included on the US pressing by Nothing Records[3]
Angelo Badalamenti and David Lynch Twin Peaks: Season 2 Music and More 2007 1. “Untitled Track #1” (Abstract wind noises with David Lynch speaking the phrase “Booth 34, X5149,” a code that unlocked the song “The Norwegians” for download from his website), 2. “Untitled Track #2” (Poem “It Was Laura” from Episode 8 of Season 1, mixed to heighten the sound of the piano accompaniment)
The Bar-Steward Sons of Val Doonican The Bar-Steward Sons of Val Doonican/2008-2018 2018 “Morris Dance”
Billy Bauer Plectrist 2000 1. “Lover Come Back to Me” (incomplete take 1), 2. “Lover Come Back to Me” (incomplete take 2)
Ben Folds Five Whatever and Ever Amen 1997 Message by Ben Folds about Ben Folds (only on re-masters)
Tab Benoit What I Live for 2006 Interview with Tab Benoit
The Berzerker Dissimulate 2002 Instrumental version of “Compromise”
Lewis Black The Carnegie Hall Performance (disc 1) 2006 Pre-show backstage noises and talking
Black Moth Super Rainbow Dandelion Gum 2007 “Chinese Witch Guy With an Axe”
Blind Melon Soup 1995 “Hello Goodbye” (US version; on the European version, it comes as a hidden track after the last song)
Blink-182 Blink-182 2003 “Stockholm Syndrome Interlude” (Spoken-word interlude before track 5, Stockholm Syndrome)
Bloc Party Silent Alarm 2005 “Every Time Is the Last Time”
Blood Duster D.F.F. (EP) 2002 1. “TheSpiritOfSoreThroatHasLongSinceDied”, 2. “PainfullNoiseEntitled”Htabbaskcalb”
Blur Think Tank 2003 “Me, White Noise”
David Bowie Rarestonebowie 1995 RCA Records 1973 radio advertisement for the Bowie album Pin Ups
British Sea Power Open Season 2005 “How Will I Ever Find My Way Home?” (organ version)
Chuck Brodsky Letters in the Dirt 1996 “Chuck’s Here”
James Brown Live at the Apollo, Volume II (Deluxe Edition) 2003 Radio DJ (and concert MC) Frankie Crocker talks to the crowd with a comedian for about four minutes before the show begins (not present in all editions)
Brutal Deluxe Divine Head 2000 “Soulmurder”
Camouflage Sensor 2003 “Sensor Intro” (0:35)
Camouflage Relocated 2006 “Relocated Intro” (1:21) – based on track “Bitter Taste” with words “I’ve got a name for you… Relocated”
Cavity Somewhere Between the Train Station and the Dumping Grounds 1997 27-minute live performance
Cheap Trick Cheap Trick (a.k.a. Cheap Trick ’97) 1997 Original pressing features montage of studio outtakes and rough versions of songs from the album
Clearlake Cedars 2003 “Sounds of Clearlake”, nine minutes of music/sound clips
MJ Cole Sincere 2000 “Silence” (not on all versions)
John Coltrane Interstellar Space 2000 (reissue) False starts for the track “Jupiter Variation”
Course of Empire Initiation 1994 “Running Man”
Criteria En Garde 2003 Song by Team Rigge
The Czars The Ugly People Vs. the Beautiful People 2001 “Top Breed”
Damien Rice 9 2006 Demo version of the first song “9 Crimes” with all vocals sung by Rice
Darkane Demonic Art 2008 Jazzy version of “Chaos Vs. Order” (US Edition)
Diamond Rio IV 1996 Various earlier hits mixed with sound effects
DJ Food & DK Now, Listen Again! 2007 Sound of Spaceship ‘Needle 1’ descending onto a flat, grooved plane, followed by a compressed megamix of the first ‘Now, Listen’ CD Mix from 2001
Ed Case Ed’s Guest List 2002 “Mayhem” featuring Skin on vocals
Electric Light Orchestra Face the Music 1993 (reissue) MasterSound gold disc reissue of 1975 album contains 34-second reversed clip from “Fire on High”
Endstille Verführer 2009 —
Evanescence Origin 2000 A humorous outtake from the song “Anywhere”
Freddy Jones Band North Ave. Wake-Up Call 1995 “Play Guitar”
Frenzal Rhomb Shut Your Mouth 2000 “Baby Won’t You Hold Me In Your Arm”
David Gray White Ladder 1998 “Through to Myself” (only on the original UK pressing)
Harvey Danger Little by Little… [Bonus Disc] 2006 Spoken words, presumably before a live show: “You were promised some guest stars for this evening’s performance, and guest stars you shall have. Ladies and gentlemen, I give you…” (on the 2006 re-release by the label Kill Rock Stars, track is approximately 28 seconds, with about 17 seconds of silence at the start)
Harvey Milk The Kelly Sessions 2004 “My Broken Heart Will Never Mend” (appears first on the album’s track listing, but not described as a hidden track, thus resulting in much subsequent confusion)
Hayden Skyscraper National Park 2001 “Mingus” (only present on the Canadian version)
Head of Femur Ringodom or Proctor 2003 Consists of glockenspiel and soft voice
Hella The Devil Isn’t Red 2004 “Your DJ Children (Demo)”
Hilltop Hoods The Calling 2003 “Stay the Fuck Away Because I Spilt When I’m Talking”
HK119 HK119 2006 “11th ID” (a cappella track added to the album as part of a remix competition)
Hoggboy Or 8? 2002 Instrumental
Holy Molar The Whole Tooth and Nothing but the Tooth (CD 2) 2003 —
Hybrid Morning Sci-Fi 2003 “Lights Go Down Knives Come Out”
Hybrid I Choose Noise 2006 “Everything is Brand New”
Immortal Technique The 3rd World 2008 “Apocalypse” [remix] featuring Akir & Pharoahe Monch
Item One Sliced Behaviour 2003 —
Kane As Long as You Want This 2000 The orchestral track from “Damn Those Eyes”
Karališka Erdvė Aistra 1998 retrospective of band’s career with short samples of songs from previous album
Kid Carpet Ideas and Oh Dears 2005 “Message 1”
Kinobe Wide Open 2004 Instrumental
Lemon Demon Nature Tapes 2014 “Sexy DVD”
Lemon Demon View-Monster 2020 “Super Hey Ya”, only present on the Needlejuice Records reissue, on disc 2.
Less Than Jake Losing Streak 1996 “Yom Kippur”, banter spoken by former band mascot “Howie J. Reynolds”, an elderly Gainesville local
Mae Singularity 2007 “Last Transmission: Part I”
Maxwell Embrya 1998 “Gestation: Mythos” with various voices and watery sound effects
Mayhem Grand Declaration of War 2000 “Completion in Science of Agony (Part II of II – Backwards Version)”
The Meligrove Band Stars & Guitars 2000 A song about trucks and nonsense
Melys Casting Pearls 2003 —
Miocene Cellular Memory (EP) 2002 Instrumental jam
Mono Puff It’s Fun to Steal 1998 Two-minute introduction to the album, song about the isolation of being a hidden track, thanks to the listener, note from the producer, and scat portion, all spoken and sung by MacinTalk (including its dirge voice)
Jim Moray Sweet England 2003 “After the Fire”
Morbid Angel Entangled in Chaos 1996 Static / interference style noises
Motorpsycho Angels and Daemons at Play 1997 “Ohm’s Concerto for Alto and Soprano Saw”
Motorpsycho Blissard 1996 —
Muse Hullabaloo Soundtrack (CD2) 2002 “What’s He Building”, a poem read by Tom Waits
The Never Antarctica 2006 Only confirmed on a promotional version of the CD
Ocean Bottom Nightmare We Are Serious (EP) 2009 “The Town Meeting”
Ochre A Midsummer Nice Dream 2004 —
Osdorp Posse Geendagsvlieg 1997 “Sleur”
Ott Blumenkraft 2003 —
Out of Eden This Is Your Life 2002 DJ Maj discussing the album with group member Lisa Kimmey (1:20)
David Pajo Pajo 2005 “Hybrid Moments” (cover of The Misfits) song
Lisa Papineau Oh Dead on Oh Love 2019 “Firma” (a cappella track)
Passion (worship band) One Day Live 2000 An introduction, welcoming the live audience to the “OneDay” event, leading directly into the intro of “The Noise We Make”.
Peter, Paul and Mary Carry It On 2003 Each of the 4 music CDs has hidden tracks
Gilles Peterson INCredible Sound of Gilles Peterson 1999 Earl Zinger – “Another Saturday Morning Rush”
Pierrot Heaven: The Customized Landscape 2002 “Paradox”
Jack Planck To Hell With You I’ll Make My Own People 2003 “Fuck You”
Pearl Jam Yield 1998 “Hummus” (appears on the track “All Those Yesterdays”, around 5:08)
Preston School of Industry All This Sounds Gas 2001 0:30 of silence and a 0:43 untitled collage of music (mostly backwards) that leads directly into the intro of “Whalebones”
Pride and Fall Elements of Silence 2006 “December (live)”
Protest the Hero Fortress 2008 “On Conquest and Capture” (piano intro to “Bloodmeat” sharing a name with the outro to “Bone Marrow”)
Public Enemy Muse Sick-n-Hour Mess Age 1994 “Ferocious Soul” (Drum track with Chuck D ranting about the state of hip-hop and the impending negative criticism the album is going to receive—which it did)
R.E.M. Murmur 2008 (reissue) 25th Anniversary Deluxe Edition – bonus disc (vintage radio promo for the album’s original 1983 release)
R.E.M. Reckoning 2009 (reissue) 25th Anniversary Deluxe Edition – bonus disc (vintage radio promo for the album’s original 1984 release)
Timo Räisänen …And Then There Was Timo 2008 Timo’s English-language cover of “Rambling” written by Håkan Hellström. This is openly listed on the artwork as being track 0.
Rammstein Live Aus Berlin 1999 Audience cheering
Rammstein Reise, Reise 2004 Final 30 seconds of the flight recorder audio from Japan Airlines Flight 123
Regular Fries War on Plastic Plants 2000 “War on Plastic Plants”
Relient K Forget and Not Slow Down 2009 Matt Thiessen’s father sings a line from “Sahara”
Relient K Air for Free 2016 The chorus of “Marigold” with piano and vocals only
Resin Dogs Grand Theft Audio 2000 —
Robyn My Truth 1999 “Det Gör Ont Ibland”
Sanctifica Negative B 2002 9 minutes 20 seconds of hidden content (band members talking?)
Shaver Highway of Life 1996 “Mother Trucker”
Jimmy Smith Root Down 2000 Band and audience banter before the first song including Jimmy Smith telling the audience to be quiet
SNFU FYULABA 1996 Before the first track, an argument between a band and a nightclub owner who accuses the band of trashing the dressing room
Sol Invictus The Giddy Whirl of Centuries 2003 Disc 1 – “Then He Killed Her (Demo)” Disc 2 – “In God We Trust” (demo)
Soulwax Much Against Everyone’s Advice 2000 50-second song titled “Turn on the A.C.”
Soulwax Nite Versions 2005 Untitled 51-second instrumental, borrowing the guitar riff from E Talking
Soulwax Belgica: Original Soundtrack 2016 —
Soulwax From Deewee 2017 Announcement “Zero Two Two Compact Disc” (022 is the album’s catalogue number)
Staind Dysfunction 1999 “Excess Baggage” (on some versions of the CD this track is within the pregap, others it starts 16:20 into the last track. This song is also sometimes mistakenly called “Black Rain”)
Tait Empty 2001 Various random recordings
Télépopmusik Angel Milk 2005 Spoken word intro
Terrorust Post Mortal Archives 2008 Static / interference style noises. Found on original release of 1000 copies
tobyMac Welcome to Diverse City 2004 The “real” intro to the track Burn for You and some (fake) messages from Toby’s cell phone
Total Eclipse Access Denied 1999 “Cornered”
Tripping Daisy Time Capsule (EP) 1997 “Disgruntled Customer”
Tryo Grain De Sable 2003 Talk and joking
UNKLE Psyence Fiction 1998 “Intro (Optional)” (Uncredited intro featuring an audio collage of some of DJ Shadow’s and James Lavelle’s musical influences). This hidden audio is not on the US pressing, but can be found on UK and Japanese pressings
UNKLE Never, Never, Land 2003 Only on some versions
Versus Two Cents Plus Tax 1998 “Oriental American”
Virgin Black Elegant… and Dying 2003 “And the Kiss of God’s Mouth Part 1” and “Cult of Crucifixion”
Vitalic OK Cowboy 2005 “One Million Dollar Studio”
The Wannadies Bagsy Me 1997 Demo versions of both “Silent People” and “Bumble Bee Boy” (one track in left channel and the other in the right)
The Wedding Polarity 2007 Outtakes from “Southside”
Welle: Erdball Die Wunderwelt der Technik 2002 “Funkbereit”
When The Lobster Boys 2001 —
Winds Reflections of the I 2002 (eerie track for 9 minutes 26 seconds)
Wintersleep Untitled 2005 “Spring”
XTC Coat of Many Cupboards 2002 Disc 2 – Wanking Man, Disc 3 – “The Shaving Brush Boogie”
Uncovering The History Of Hidden Tracks
Ernie Smith is the editor of Tedium, which explores “the dull side of the Internet.” And he’s on a mission to take a deep dive toward the absolute end of the long tail. One of these said missions found him uncovering the history of hidden tracks on vinyl records and CDs.
Smith told WPR’s “BETA” that “a hidden track is basically any piece of audio on a record that’s not listed on the track list. Sometimes, it can be something very short like a vignette. It can be an actual, out-and-out single that just they decided to add after the album’s record sleeve had been printed.”
According to Smith, the very first hidden track is probably The Beatles’ “Her Majesty.”
The 23-second song was written and performed by Paul McCartney and was originally going to be part of the medley that appears on side two of “Abbey Road.” However, Smith explained there was no good place to fit it into the medley so McCartney told engineer John Kurlander to leave it off of the album. Kurlander followed McCartney’s instructions but later added it to the very end of the album, following a few seconds of silence.
“The Beatles always picked up on accidental things. It came as a nice little surprise there at the end and he didn’t mind,” Kurlander said in an interview.
The inclusion of “Her Majesty” on “Abbey Road” launched the hidden track micro-genre.
“It actually started a bit of a trend,” Smith said. “It was probably more pronounced during the CD era but there were definitely examples of this during the vinyl era. One that really kind of stands out is Monty Python. They basically created an album called ‘The Monty Python Matching Tie and Handkerchief.’ It came out in 1973 and the trick of the record is that both sides of that record were listed as Side Two. One of the sides of the record actually had a double groove to it.”
This double groove was the result of the record being mastered with two concentric grooves on side two so that different content would be played according to where the stylus was placed down on the surface of the record.
Python member Michael Palin told an interviewer that the Pythons “had these visions of stoned fans — of which there were a lot in the early ’70s — having the shock of their lives when brand new material was playing on a record they had had for months. Some people thought there was an alternative version because they would hear talk of these mysterious sketches that they had never heard on their record. It drove people mad. This was precisely why we did it, of course.” Fittingly enough, that record was cut at Abbey Road Studios.
While the phenomenon got its start in vinyl, Smith makes the case that CDs contain more interesting hidden tracks than vinyl records do.
“There was more to mess with. CDs being a digital format, they allowed you to do things like mess with the track numbers. You could emphasize silence a little bit more. Because compact discs, they held more stuff so you had more white space to work with,” he said.
“And one of the things they messed with is called the pre-gap,” Smith explained. “Basically … if you take a CD with a pre-gap track on it, you can actually rewind it back beyond zero-zero-point-zero-zero and find a whole other song or two. A really good example of a band that used this really well is the band Ash. They were a ’90s alternative rock band and on their first record, they actually included one of their early singles that was recorded before they did this album.”
One of the most famous hidden tracks appears at end of Nirvana’s album, “Nevermind.” It’s called “Endless, Nameless.” And it shows up 10 minutes after you think the album has ended.
As Smith explained, “Nirvana specifically designed it in such a way that it would sound like the end of the record hit, there would be 10 minutes of silence and then all of a sudden, the listener would get blasted with this loud, abrasive rock track. It became the high-water mark for hidden tracks. It was the one that really made the concept of hidden tracks something that a lot of bands did. Because it was such a popular album and because it was a relatively novel trick at the time they did it. I don’t think it was intended to be anything more than just the thing that Nirvana finished this album off with. It just happened to become much more of a cultural phenomenon because Nirvana as a whole became a cultural phenomenon.”
So why aren’t we seeing so many hidden tracks these days? Are we just not looking hard enough?
“The hidden track has been replaced by the bonus track,” Smith explained. “These days, when it comes to streaming, it’s harder to catch someone off guard with a piece of music. So I think that while the hidden track is less relevant than it once was.”
Still reading? Great.
Since this is a “BETA” story about hidden tracks, we thought it was only fitting to hide some hidden tracks at the end of the story. And these just aren’t any hidden tracks. These are four hidden tracks that, according to Smith, transcended their “hidden” status.
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 – Untitled (from Head Like A Hole)
Album: Head Like A Hole Length: 0:04 Tempo: {{{BPM}}} BPM Versions: Untitled (from Head Like A Hole) Live: n/a
“Untitled (from Head Like A Hole)” is a hidden track on Nine Inch Nails’ 1990 release Head Like A Hole. It consists solely of host Heather “Princess” Day saying “Let’s hear it for Nine Inch Nails! Woooo! They’re GOOD!”. It is the shortest non-silent track on any NIN release, and also notable for being a NIN track for having no input from Trent Reznor.
Appearances
Halos
Head Like A Hole
Down In It (UK version, appended to track 6)
Versions
Untitled (from Head Like A Hole)
This is the only known version, a four-second clip of television host Heather “Princess” Day cheering for Nine Inch Nails when they appeared on Dance Party USA. “Down In It” can be heard playing in the background. It is often mis-attributed to being the voice of Kelly Ripa, who was a dancer (but not host) on the show.
Live
This has never been played live
Lyrics
Let’s hear it for Nine Inch Nails! Woooo! They’re good! (in the background) …come again some other day. Rain, rain-
What is the hidden track under the center? : nin
I have noticed grooves on the center of my broken vinyl under the paper label in the middle of the disk. My record player won’t play that far in. It resets. What is the hidden track under the center of the vinyl disk?
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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