The Origin of the Feces is the second studio album by the Brooklyn band Type O Negative, which was released in 1992. The album was recorded in a studio but produced to sound "live" by adding crowd noises, banter with the fictitious audience, and even a song stopping because the venue supposedly had received a bomb threat. This was done to simulate some controversy the band had on tour in Europe for the Slow, Deep and Hard tour.

The Origin of the Feces. Авторы текста и музыки. WMG (от лица компании "Roadracer Records"); CMRRA, UBEM, UMPG Publishing, LatinAutor, UMPI, LatinAutor - UMPG" и другие авторские общества (5). Композиция. The Origin of the Feces. WMG (от лица компании "Roadracer Records"); CMRRA, UBEM, ASCAP, LatinAutor, UMPG Publishing, LatinAutor - UMPG" и другие авторские общества (3).

The Origin of the Feces is the second album by Type O Negative, released on May 12, 1992. The liner note said this album was recorded in Brighton Beach, Brooklyn on Halloween of 1991, but it contradicts the fuller title The Origin Of The Feces (Not Live At Brighton Beach)

Type O Negative's second album "The Origin of Feces" is an album that took a long time to get into, and many tries to listen to out of all of the bands Discography. The album provided no new songs in the album, and were re-recorded and re-titled to different versions

Recorded October 31st, 1991 at Brigton Beach, Brooklyn, NY Mixed March 8th, 1992 from 8:00 to 11:00 PM at Systems Two, Brooklyn, NY "Paranoid" Recorded and Mixed in February '94 at Systems Two, Brooklyn, NY Mastered at Sterling Sound, NYC "Hey Pete" is an adaption of "Hey Joe" published by Third Story Music, Inc. (BMI) All songs published by.

Now I feel the weight of the world on my back I see the future, the future looks black It's what I must do I have no reservations Aint talking 'bout self-preservation Unjustifiable existance Gravity Crushing me Crushing me Crushing me. Yeah I feel something pulling me down forcing me between myself and the ground Of all the nightmares that ever came true, I think that gravity is you Unjustifiable existance Gravity Crushing me Crushing me Crushing me. 4. PAIN.

The second album from Type O Negative, "The Origin of the Feces" was recorded in a studio but a fake audience track was added to give the illusion of a live album. The cover of the original release has a up close picture of an anus, reputed to belong to frontman Peter Steele. Subsequent reissues feature a different cover, a black and green portrait of 1493 painting "The Dance of Death". Thanks to Stooge, UMUR, Vim Fuego for the updates. TYPE O NEGATIVE was a strange band indeed.

By 1992, Roadrunner thought it will be good for Type O Negative to record a live album to appeal European audiences, but the band end up spending almost all the budget to fund a live recording on drugs and booze. Realizing they needed to fulfill their contractual obligations, the band recorded a studio album sounding like a live show. Supposedly recorded live at Brighton Beach, Brooklyn, the album features re-recorded misnamed versions of some Slow, Deep and Hard songs, crowd noises, fake confrontations with the fans, and even a bomb threat interrupting a song

The Origin of the Feces - while maybe hurting some people's sensibilities because of its name - should definitely find a spot on your CD-shelf (Yeah, I know, how outdated. I probably am a little biased since I am a professed Type O Negative fan, but this early album of the band has everything and more you would expect from the Goth/Doom legend. It is Type O's second release on a major label and supposedly a live album following "Slow, Deep and Hard. However, it is not really live even though Pete Steele is addressing a vocal audience.

TYPE O NEGATIVE Gravity (Album: The Origin of the Feces, 1992). Bloody Kisses is, indeed, like Peter said the first true Type O Negative album, because it detaches from the previous albums (namely, Slow, Deep and Hard and The Origin of the feces ) through its ideology: Bloody Kisses really highlights depression and despair through depressive and desperate music precisely, whereas the two previous albums, though employing the same themes, were envisioning them through a.