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certain_harbors
@themayor666 that is wild! we must have a friend at a CD mastering house somewhere...so weird, if your charts weren't so impressive I'd say you were trollin' ;D
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HIBICK
Uno de los discos más completos de la música gótica (ya no entraré en polémicas si es Death Rock o Rock Gótico). La influencia de David Bowie es muy notoria en temas como This Glass House, The Drowning y Electra Descending. Las últimas dos pudieron salir en Diamond Dogs, y This Glass House es, a mi punto de vista, un tributo sonoro a Cat People. Aaaaah, y sin olvidar la influencia de Lou Reed en Awake at the Wall.... Las letras surrealistas, toda esa atmósfera, esos riffs.... es un álbum completísimo.
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themayor666
I've got a version on CD with 5:06 of silence on track 1 instead of "Beneath His Widow", then track 2 is "Awake at the Wall" with no crossfade at the beginning. Are these a thing or is this a misprint? I'd consider it a blessing at least.
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certain_harbors
@Bokkai I maintain that it's a serious transgression putting a hither-to unknown recording at the beginning of the record...tacking on bonus tracks at the end of a reissue is a standard practice and at least gives a listener the chance to listen to the original release uninterrupted...making someone skip to track 2 to preserve the integrity of the original is pretty unforgivable IMO, though I suppose the CD release of "In the Flat Field" does this too with "Dark Entries"...unfortunately "Beneath His Widow" is no "Dark Entries" - try again, Valor, or better yet don't
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JoseMariaAznar
@certain_harbors not only does he place the "bonus track" at the beginning of the album, ruining the purpose of the opener as a fantastic intro, but also mixes them up so you can hear BHW fading out as Awake at the Wall starts WTF?
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prominence_la
@certain_harbors - Thanks for the heads-up. This was my first listen, so I wouldn't have known. After reading your comment, I decided to skip Beneath His Widow and listen to the album proper first - which was, of course, amazing - and then backtrack, just to hear the difference. Glad I did so, or I might've rejected the entire album on a false premise.
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certain_harbors
re: "Beneath His Widow" - leave it to Valor to mar this classic album by sticking a newly finished fragment at the BEGINNING OF THE FUCKING RECORD - what an egomaniac...why I bother defending him to Rozz fans I'll never know. everyone should be encouraged not to support this remaster series in any way. download away!
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dogmanstar
I kinda agree w/ android9791. It seems Valor grabbed bits and pieces of Rozz's vocal leftovers and "compiled" his singing - that is much possible to do on studio. Rozz's vocals are also so buried in the mix that you can hardly hear him singing - and in the chorus, when there's the "duet" between Rozz and Valor, Valor's voice is much louder than Rozz's. =) In the end I don't think it's a baaaad song, it's just not great either - I always suspected that something real awkward would come as this "bonus track" has never been documented in Rozznet, John Collins' archives, Anton's The Blue Hour or any other source I rely on.
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android9791
you can tell that the song (besides the lyrics) was recorded recently. it doesn't fit in to the album at all. it would sound better on american inquisition. also, the lyrics don't really fit the song. valor probably just took some lyrics that Rozz recorded but never used on anything.
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xtiandeth
umm, Rozz is singing on the new track, and is credited with writing the lyrics. That's not exactly having 'nothing to do with it'. Yeah, the song was clearly a work in progress, and yes its obvious why it wasn't included on the album, but it's still nice to have, and the Christian Death legacy is far better off in Valor's hands than in Cleopatra's.
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android9791
great album. i hate the 'new track' on the remastered version, though. it's so easy to tell that Rozz had nothing to do with it.
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