Izdavač: Ostalo
Žanr: Alternativni Rok, Rok
Poreklo: Strani izvođač

Original, made in EU

Knjizica od 8 str.


knjizica 5 Cd 3+ ima sitnih povrsinskih linijica koje ne uticu na reprodukciju zvuka, radi besprekorno

Studio album by Garbage
Released May 11, 1998
Recorded March 1997 – February 1998
Studio Smart (Madison, Wisconsin)
Genre
Alternative rocksynth-rock[1]
Length 49:34
Label Mushroom
Producer Garbage
Garbage chronology
Garbage
(1995) Version 2.0
(1998) Beautiful Garbage
(2001)

Version 2.0 is the second studio album by American rock band Garbage. It was released on May 11, 1998, by Mushroom Records worldwide, with the North American release on Almo Sounds the following day. With this album, the band aimed to improve and expand upon the style of their 1995 eponymous debut rather than reinventing their sound. Lead singer Shirley Manson wrote dark, introspective lyrics, which she felt complemented the songs` melodies.

Version 2.0 was a commercial success, topping the charts in the United Kingdom, France, and New Zealand, and earning platinum certifications in several countries. The album has sold 1.7 million copies in the United States and four million copies worldwide. Garbage embarked on an 18-month-long world tour, and released a string of commercially successful singles backed with innovative music videos.[2] Version 2.0 received generally positive reviews from critics, and was included on year-end lists of 1998`s best albums by several publications. In 1999, it was nominated for Grammy Awards for Album of the Year and Best Rock Album. The album`s third single `Special` was further nominated the following year for Best Rock Song and for Best Rock Performance by a Duo or Group.

Recording
I don`t think we have ever felt we know where we are going. Songs are an on-going process. It`s hard to find a point when it`s done. The only thing that makes us stop is time and people start yelling to finish.

—Steve Marker[3]

Garbage began writing their second album, which would go under the working title of Sad Alcoholic Clowns,[4] in March 1997 in the band`s label head Jerry Moss`s vacation house in Friday Harbor, Washington. The group demoed and made rough outlines for new songs. When they felt they had made a good start, Garbage took the work they made in Washington back to their Madison, Wisconsin, base at Smart Studios and begin fleshing out the ideas and rough sketches over the following year. The group recorded all of their work for the second album through a 48-track digital system digitally, direct to hard drives utilizing a 24-bit Pro Tools rig.[5] While only one recorder was up in the early sessions, eventually another was installed to edit, and ultimately a third so Manson could record vocals while the other members fiddled with recordings. Vig estimated that the sample collage approach led to `probably have five albums` worth of music`,[6] and songs featuring up to 120 audio tracks. After the digital file was ready, mixing was done in an analog tape deck, which held only 14 tracks.[7]

Much of the percussion was recorded in a disused candy factory located in Madison; Vig, Steve Marker and sound engineer Billy Bush set up a drum kit within the factory and recorded various fills, utilizing the acoustics of the dilapidated building. Forced to stop after local police officers responded to complaints about the noise, some of the percussion was later incorporated into `Temptation Waits`, `I Think I`m Paranoid` and `Hammering in My Head`.[8]

Garbage completed recording by December 1997, as Manson wanted to return to her family in Scotland for Christmas, and asked her bandmates to just move onto the mixing.[6] Vig added that otherwise more time would be spent recording, and `it was kind of scary—because we had to commit to what these songs were going to become.`[5] Production was done until mid-February 1998.[9] The eventual title, Version 2.0, was a tongue-in-cheek take on how computers were heavily involved in the album`s production, with Manson adding that `in the studio, at any given moment, someone would come in and find the four of us in front of the screen.`[7]

Composition and style
Building on framework sound and style Garbage established on their debut set, Version 2.0 featured musical references to the 1960s, 1970s, and 1980s, songs featuring live strings, over 100 recorded tracks, and an interpolation of the Beach Boys and The Pretenders.[10] The band said that the goal of Version 2.0 was to create a `rapprochement between the high-tech and low-down, the now sound and of golden memories.`[11] Butch Vig stated that the band did not want to reinvent their sound, as they `felt that we had carved our own turf on the first record and we wanted to take everything we did and make it better`.[12] This meant to `have the guitars noisier and write poppier melodies`, showing how the band had grown together: `With Garbage, we were struggling to find an identity and to get comfortable with Shirley – and vice versa. After touring so much, there`s a better camaraderie and sense of communication.`[5]

Shirley Manson declared that `we didn`t want to totally embrace the world of electronica`, so Version 2.0 juxtaposed `the super-hi-fi with the super-organic`.[11] The band wanted there to be echoes of music they like in the record, `and that means not just Björk and Portishead and Radiohead but the Beatles and Beach Boys and Frank Sinatra`, Manson said, concluding that the album is overall `more diverse—it goes to extremes.`[11] The increased usage of techno beats emerged from frequent exposure to electronic music during the Garbage tour, both in clubs and listening to The Prodigy and The Chemical Brothers.[5] Steve Marker stated that the band used as a reference point the Garbage song `As Heaven Is Wide`, `but with a more technoey [sic] and dance end.`[9] The band also aimed to channel some of the energy of their live shows into the rhythm parts of the album. Vig remarked that `the songs sound looser, tougher` that way,[11] as by the last concerts, `we`d speeded things up and toughened up a lot of the grooves` and in the album `we wanted that to be apparent from the get-go.`[5]

While Garbage had lyrical input from all band members, Manson was responsible for all the lyrics in Version 2.0.[5] Consequently, it was described by Manson as `more direct and more personal than the first. I was able to verbalize things a little clearer this time—I mean, I`m no Nick Cave, I`m never gonna be Bob Dylan. I do what I can to express myself.`[4] The singer `tried to let the darker undercurrents come through to offset some of the pop melodies`, adding that `like human beings, songs shouldn`t be one-dimensional`.[11] The singer declared that the introspective nature of Version 2.0 served to `reassure myself while I`m going crazy` due to her experiences during production, as she was `living by myself in a hotel, and I had no one to really talk to` and every day coming back by herself really late after working on the studio.[6] Manson added that only `The Trick Is to Keep Breathing` had something that was out of her life, being inspired by her friend Ruthie Trouble.[4] `Medication` came about from a frightful, isolating experience with the US medical system.[13] The song, Manson explained, is `a reflection on past ills in a way ... about taking blame on yourself for things that you had no control of at the time, and finally pushing off and realizing that this was not my fault. It wasn`t all my fault. There`s a huge relief and release that comes from that`.[14]

All tracks are written by Garbage, except where noted.

Version 2.0 track listing
No. Title Length
1. `Temptation Waits` 4:36
2. `I Think I`m Paranoid` 3:38
3. `When I Grow Up` 3:23
4. `Medication` 4:06
5. `Special` 3:43
6. `Hammering in My Head` 4:52
7. `Push It` 4:02
8. `The Trick Is to Keep Breathing` 4:11
9. `Dumb` 3:50
10. `Sleep Together` 4:03
11. `Wicked Ways` 3:43
12. `You Look So Fine` 5:25
Total length: 49:34

Personnel
Credits adapted from the liner notes of Version 2.0.[67]

Garbage

Duke Erikson
Shirley Manson
Steve Marker
Butch Vig
Additional musicians

Daniel Shulman – bass
Michael Masley – cymbalom
Todd Malcolm Michiles – record scratching
Jon J. Vriesacker – violin

Technical

Garbage – production
Billy Bush – engineering
Mike Zirkel – engineering assistance
Scott Hull – mastering
Howie Weinberg – mastering
Artwork

Garbage – art direction
Ade Britteon – design
Michael Faherty – 3D
Stéphane Sednaoui – band photograph