Category:Albums produced by Flood (producer)
Albums produced by Flood
Pages in category "Albums produced by Flood (producer)"
The following 83 pages are in this category, out of 83 total. This list may not reflect recent changes (learn more).
Albums produced by Flood
The following 83 pages are in this category, out of 83 total. This list may not reflect recent changes (learn more).
1. Adore (The Smashing Pumpkins album) – Adore is the fourth studio album by the American alternative rock band The Smashing Pumpkins, released in June 1998 by Virgin Records. After the multi-platinum success of Mellon Collie and the Infinite Sadness, frontman Billy Corgan would later characterize Adore as a band falling apart. Corgan has also mentioned the fact that he was going through a divorce whilst recording this album, the result was a much more subdued and electronica-tinged sound that Greg Kot of Rolling Stone magazine called a complete break with the past. The album divided the fan base and sold only a fraction of the two albums. A remastered and expanded version of the album was released on CD, the Smashing Pumpkins had cemented their place as a cultural force with the multi-platinum Mellon Collie and the Infinite Sadness. In this period, the band released two new singles on movie soundtracks—Eye and The End Is the Beginning Is the End, however, the new album material Corgan was writing consisted mainly of simple acoustic songs. The Smashing Pumpkins started demoing in February 1997 and recorded 30 songs for the album which, at one point, the band subsequently cut the number of tracks on the album to 14. After playing several dates in summer 1997, the band began working at a variety of Chicago studios with producer Brad Wood—with whom Corgan previously had worked in the early 1990s. The band rented a house, and hoped that living communally would foster good relations, according to Corgan, Iha refused to live in the house and rarely visited. The recording sessions continued to be slow-moving and heavily technical, in the absence of a drummer, the band used a drum machine as it had in its earliest incarnation. The band also enlisted Joey Waronker, of Becks band, and Matt Cameron, of Soundgarden and Pearl Jam, bon Harris of Nitzer Ebb contributed electronic sequencing and sounds to eight album tracks, with the band giving him mostly free rein. With around thirty songs recorded, Corgan began to see an end, and enlisted Mellon Collie co-producer Flood to help finish the recording, pull the album together, and mix the songs. Art direction for the album is credited to Frank Olinsky, Billy Corgan, the artwork for the album and its singles consisted almost entirely of black-and-white photographs shot by Yemchuk, many of which featured model Amy Wesson. Corgan was deliberately setting out to widen his bands sound and message, Im talking to people who are older than me and younger than me, and our generation as well. He said that much of the record was an attempt to go back to whats important at a musical core and he would later reflect that he was stuck on the idea that I needed to prove I was an artist, which is the death knell of any artist. Distorted guitars and live drums, the hallmarks of the Pumpkins sound, took a back seat in a sonic palette that included much more synthesizers, drum programming, acoustic guitar. At least five songs on the album are driven chiefly by piano, while the track Appels + Oranjes contains only electronic instruments, tear was written for the Lost Highway soundtrack, but was rejected by David Lynch in favor of Eye. Pug was originally recorded as a minor key blues death march with drums by Matt Cameron, the only song on the album to feature Cameron, For Martha, is a tribute to Corgans mother that was primarily recorded as one live take
2. EBX (album) – EBX is the title given to retrospective box sets from Erasure, released in the UK by Mute Records in 1999 and 2001. Four volumes of EBX have been released, both EBX1 and EBX2 were released in 1999, then EBX3 and EBX4 were out in 2001. Each set presents, in order, five singles released by Erasure. Although cover art was altered, the track listings represent all music originally found on the UK versions of their singles and these first four box sets are currently out of print. So Blue Heavenly Action Dont Say No Oh Lamour March on Down the Line Oh Lamour March on Down the Line Gimme. Sometimes Say What Oh Lamour The Circus The Circus Live tracks are mixed together in one only sequence, however. Also, they are presented in order of release, different from the sequence of the show. –3,03 The Hardest Part –3,40 Knocking on Your Door –2,57 She Wont Be Home –3,28 The Hardest Part –5,06 Knocking on Your Door –3,59 Stop. –5,47 Knocking on Your Door –6,07 God Rest Ye Merry Gentlemen –3,10 Drama, carry on Clangers Let It Flow Waiting for Sex Am I Right. Love to Hate You Chorus B3 Perfect Stranger Breath of Life Breath of Life Breath of Life Breath of Life Breath of Life Breath of Life Breath of Life Lay All Your Love on Me S. O. S. Take a Chance on Me Voulez Vous Voulez Vous Lay All Your Love on Me Take a Chance On Me S. O. S
3. Machina/The Machines of God – Machina/The Machines of God is the fifth studio album by the American alternative rock band The Smashing Pumpkins, released on February 29,2000, by Virgin Records. A concept album, it marked the return of drummer Jimmy Chamberlin and was intended to be the final official LP release prior to their first break up in 2000. A sequel album — Machina II/The Friends & Enemies of Modern Music — was later released independently via the Internet, as with its predecessor, Adore, Machina represented a drastic image and sound change for the band that failed to reconnect the band with chart-topping success. After the Adore tour ended in the half of 1998, lead singer/guitarist Billy Corgan immediately began to work on new material. If you want to know what Jimmy brings back to the band, Corgan told Q, then listen to Adore and this new record back-to-back. From there, a story was conceived revolving around a star named Zero hearing the voice of God, renaming himself Glass. Fans of the band were referred to as the Ghost Children, Corgan started recording demos in late 1998 and the band entered the studio in early 1999. Much like previous albums, the songs were first tracked acoustically at Corgans house in late 1998 before the set to work on them at their practice space. The recording was conducted with the responsible for finishing Adore – co-producer Flood and engineers Howard Willing. The band took a break from recording in April 1999 to embark on the Arising, tour, which took the band to nine small clubs. After the tours conclusion, the bass guiatrist, Darcy Wretzky, left the band, I ended up in a broken band with a half-ass enthusiasm towards finishing a project already started. Flood later remembered, We decided that we were going to have to make a different kind of record we pretty much went back to the drawing board. Certain songs on the record are survivors from that first period, many of the songs on the album refer to the ending of love and relationships, most of them obvious references to the band themselves. Corgan described This Time as my song to the band. According to Corgan, the album was structured so that the first eight tracks would be more poppy, generally, Corgan appraised the sound of the album as a rock n roll approach with pop sensibility. After the electronica-influenced Adore, Machina was a return to the guitar sound of previous albums, though synthesizers. Corgan presented Machina to Virgin Records as an album. Machina was released as an album on February 29,2000, with a bonus disc, Still Becoming Apart
4. The Downward Spiral – It is a concept album detailing the destruction of a man from the beginning of his downward spiral to his attempt at suicide. The Downward Spiral was conceived after the Lollapalooza 1991 festival tour as a pivot for Reznors personal issues, the following year, Reznor moved to 10050 Cielo Drive in Benedict Canyon, Los Angeles, where actress Sharon Tate was murdered by members of the Manson Family. It was used as a studio called Le Pig for recording Broken, the album was influenced by late-1970s rock music albums such as David Bowies Low and Pink Floyds The Wall in particular, and focused on texture and space. The Downward Spiral was promoted with the Self Destruct Tour, which debuted the bands grungy, many concerts were violent and chaotic, with band members often injuring themselves and destroying their instruments. The album spawned two singles, March of the Pigs and Closer, in addition to the promotional singles Piggy, March of the Pigs and Closer were accompanied by music videos, with the former shot twice and the latters heavily censored. A remix album titled Further Down the Spiral was released in 1995, for its tenth anniversary, the album was remastered and re-released on November 23,2004 in high-resolution Super Audio CD and DualDisc formats. The Downward Spiral was conceived after the Lollapalooza festival tour as Trent Reznor thought of a negative vibe felt by the band when they were in a European hotel. Nine Inch Nails live performances were known for its aggressive on-stage dynamic, in band members act angry, injure themselves. Reznor had a feud with TVT Records that resulted in him co-founding Nothing Records with his former manager John Malm, Jr. and signing with Interscope. He wanted to explore a character whose life is psychologically wounded and developed a concept about the albums themes. The concept was based on Reznors social issues at the time, when developing The Downward Spiral, Reznor struggled with drug addiction and was depressed as he wrote songs related to personal issues. His friends suggested that he could take Prozac, an antidepressant and he wanted the albums sound to diverge from Broken, emphasizing mood, texture, restraint and subtlety, although he was not sure about its musical direction. The album was made with full range and focused on texture and space, Reznor searched for and moved to 10050 Cielo Drive in 1992 for recording Broken and The Downward Spiral, a decision made against his initial choice to record the album in New Orleans. He called his first night in 10050 Cielo Drive terrifying because he knew it. Reznor chose the Tate house to calibrate his engineering skills and the band bought a large console, the studio was also used for the recording of Marilyn Mansons debut album Portrait of an American Family, which Reznor co-produced. Marilyn Manson accepted Reznors offer of signing a contract with Nothing Records, Reznor collaborated with former Janes Addiction and Porno for Pyros drummer Stephen Perkins, progressive rock guitarist Adrian Belew, and Nine Inch Nails drummer Chris Vrenna. Belews first visit to the studio involved playing the parts in Mr. Self-Destruct, and he was told to play freely, think on reacting to melodies, concentrate on rhythm. This approach improved Reznors confidence in the instrument, he found it to be more expressive than the due to the interface
5. Pop (U2 album) – Pop is the ninth studio album by Irish rock band U2. It was produced by Flood, Howie B, and Steve Osborne, the album was a continuation of the bands 1990s musical reinvention, as they incorporated alternative rock, techno, dance, and electronica influences into their sound. Pop employed a variety of techniques that were relatively new to U2, including sampling, loops, programmed drum machines. Recording sessions began in 1995 with various producers, including Nellee Hooper, Flood, Howie B, and Osborne. At the time, drummer Larry Mullen Jr. was inactive due to a back injury, upon Mullens return, the band began re-working much of their material but ultimately struggled to complete songs. After the band allowed manager Paul McGuinness to book their upcoming 1997 PopMart Tour before the record was completed, they felt rushed into delivering it. Even after delaying the release date from the 1996 Christmas and holiday season to March 1997, U2 ran out of time in the studio. In February 1997, U2 released Pops techno-heavy lead single, Discothèque, the record initially received favourable reviews from critics and reached number one in 35 countries, including the United Kingdom and the United States. However, the albums sales are among the lowest in U2s catalogue. Retrospectively, the album is viewed by some of the music press, the finished product was not to U2s liking, and they subsequently re-recorded and remixed many of the songs for single and compilation album releases. The time required to complete Pop cut into the bands rehearsal time for the tour, in the first half of the 1990s, U2 underwent a dramatic shift in musical style. The band had experimented with rock and electronic music and the use of samples on their 1991 album, Achtung Baby. In 1995, the groups side-projects provided them an opportunity to even deeper into these genres. Bassist Adam Clayton and drummer Larry Mullen, Jr. recorded Theme from Mission, the recording was nominated for the Grammy Award for Best Pop Instrumental Performance in 1997 and was an international top-ten hit. In 1995, U2 and Brian Eno recorded an album, Original Soundtracks 1. The project included Howie B, Akiko Kobayashi and Luciano Pavarotti, Bono and the Edge had written a few songs before recording started for Pop in earnest. If You Wear That Velvet Dress, Wake Up Dead Man, Last Night on Earth, Mofo and Staring at the Sun were also partly written already. For the new record, U2 wanted to continue their sonic experimentation from Achtung Baby, to do so, they employed multiple producers to have additional people with whom to share their ideas
6. Pretty Hate Machine – The album is compiled of reworked tracks from the bands Purest Feeling demo, as well as songs composed after its original recording. Although it was critically and commercially successful, Trent Reznor feuded with TVT Records during the albums promotion, three singles were released from the album, the most successful being its opening track Head Like a Hole, which has become a staple of Nine Inch Nails live performances. The album went out of print in 1997 because of the much publicized disagreement between Reznor and TVT, Rykodisc re-released the album worldwide in 2005, effectively putting it back into print. A remastered version with updated artwork was released on November 22,2010, during working nights as a handyman and janitor at the Right Track Studio in Cleveland, Ohio, Reznor used studio down-time to record and develop his own music. Playing most of the keyboards, drum machines, guitars, and samplers himself, the sequencing was done on a Macintosh Plus. With the help of manager John Malm, Jr. he sent the demo to record labels. Reznor received contract offers from many of the labels, but eventually signed with TVT Records, Pretty Hate Machine was recorded in various studios with Reznor collaborating with some of his most idolized producers, Flood, Keith LeBlanc, Adrian Sherwood, and John Fryer. Much like his recorded demo, Reznor refused to record the album with a conventional band, a lot of it sounds immature to me now, he stated in 1991 of the recordings that were then two years old. I couldnt function in society very well, and the LP became a product of that. Its quite small scale, introverted, claustrophobic – thats the feel I went for, after the album was released, a recording known as Purest Feeling surfaced. This bootleg album contains the demo recordings of most of the tracks featured on Pretty Hate Machine. Unlike the industrial music of Nine Inch Nails contemporaries, Pretty Hate Machine displays catchy riffs, Reznors lyrics express adolescent angst and feelings of betrayal by lovers, society, or God. Themes of despair are collocated with lovesick sentiments, pitchforks Tom Breihan categorized it as a synth-pop album that was shaped by industrial musics nascent new-wave period rather than its subsequent styles. According to Breihan, the beats were muscular, but not in the vein of metal or post-punk, and that the most rock-inspired song on the album was Head Like a Hole. If you want to dive to it, you can. Things occasionally mellow out to moody atmospherics, while Reznors vocals range from whispers to screams, popMatters A. J. Ramirez regarded the album as a synthesizer-dominated industrial dance record that on occasion slipped under the alternative rock banner. I like electronic music, but I like it to have some aggression and that first wave of electro music – Human League and Devo – thats the easiest way to use it. To be able to get some humanity and aggression into it in a cool way, Pretty Hate Machine is a record you can listen to and get more out of each time
7. The Aeroplane Flies High – The Aeroplane Flies High is a five-disc box set released by American alternative rock band The Smashing Pumpkins in 1996. A limited edition release, the box reached number 42 on the Billboard charts, originally intended to be limited to 200,000 copies, Virgin Records produced more after the original run sold out due to overwhelming and unexpected demand. The album was remastered in 2013 under the supervision of frontman Billy Corgan and reissued on vinyl, all tracks written by Billy Corgan, except where noted. The Pastichio Medley is a medley of riffs from a variety of sources recorded after Siamese Dream and before the completion of Mellon Collie and the Infinite Sadness. S. A. Rachel bears a similar sound to, and is apparently a version of, the Mellon Collie. As well, Disconnected is an instrumental version of The Aeroplane Flies High. Tonite Reprise is an acoustic version of Tonight, Tonight with slight alterations to the lyrics. It also appeared on the version of Mellon Collie. As part of EMI Musics extensive reissue campaign, an edition of the album was released on 26 July 2013. The 6-CD set consists of the five original EPs, each now with added bonus tracks, in total the discs feature 90 tracks. The package also includes a DVD consisting of a show in Belfort. The set was released on vinyl as a 5-LP box set. To promote the release of the box set, a four-track CD single was issued by Virgin Records America with customized cover sleeve. The Smashing Pumpkins Jimmy Chamberlin – drums Billy Corgan – vocals, guitar, piano, production, liner notes, mixing, illustrations James Iha – guitar, vocals on. – guitar solo on The Last Song Dennis Flemion – instruments on Medellia of the Gray Skies Jimmy Flemion – instruments on Medellia of the Gray Skies Nina Gordon – vocals on
8. Mellon Collie and the Infinite Sadness – Mellon Collie and the Infinite Sadness is the third studio album by the American alternative rock band The Smashing Pumpkins, released on October 24,1995, on Virgin Records. Produced by frontman Billy Corgan with Flood and Alan Moulder, the 28-track album was released as a two-disc CD, the album features a wide array of styles, as well as greater musical input from bassist Darcy Wretzky and second guitarist James Iha. Led by the single Bullet with Butterfly Wings, the album debuted at one on the US Billboard 200. To date it remains the only album to top the Billboard 200. After the 13-month tour in support of The Smashing Pumpkins second album Siamese Dream, from the outset, the band intended the new record to be a double album, partly inspired by The Beatles eponymous album. Corgan said, We almost had enough material to make Siamese Dream a double album, with this new album, I really liked the notion that we would create a wider scope in which to put other kinds of material we were writing. Corgan felt that the musical approach was running its course. Corgan described the album at the time to the press as The Wall for Generation X. The band decided to forgo working with Butch Vig, who had produced the previous albums. Corgan explained, To be completely honest, I think it was a situation where wed become so close to Butch that it started to work to our disadvantage, I just felt we had to force the situation, sonically, and take ourselves out of normal Pumpkin recording mode. I didnt want to repeat past Pumpkin work, Flood immediately pushed the band to change its recording practices. Corgan later said, Flood felt like the band he would see live wasnt really captured on record, in April 1995, the band began recording in a rehearsal space, instead of entering the studio straight away. At these sessions, the band recorded rough rhythm tracks with Flood, originally designed to create a rough draft for the record, the rehearsal space sessions ended up yielding much of the new albums rhythm section parts. Flood also insisted the band set aside each day devoted to jamming or songwriting. Corgan said, Working like that kept the process very interesting—kept it from becoming a grind. Corgan sought to eliminate the tension that permeated the Siamese Dream recording sessions, Corgan said regarding the problems with recording Siamese Dream, o me, the biggest offender was the insidious amounts of time that everyone spends waiting for guitar parts to be overdubbed. There were literally weeks where no one had anything to do, the band decided to counter idleness by using two recording rooms at the same time. This tactic allowed Corgan to work on vocals and song arrangements in one room while recording was done in the other, during these sessions, Flood and Corgan would work in one room as Moulder, guitarist James Iha, and bassist Darcy Wretzky worked in a second
9. How to Dismantle an Atomic Bomb – How to Dismantle an Atomic Bomb is the eleventh studio album by Irish rock band U2. It was released on 22 November 2004 on Island Records and Interscope Records, the album was produced by Steve Lillywhite, with additional production from Chris Thomas, Jacknife Lee, Nellee Hooper, Flood, Daniel Lanois, Brian Eno, and Carl Glanville. Looking for a more hard-hitting sound than that of their previous album, after nine months of work, the band had an albums worth of material ready for release, but they were not satisfied with the results. The group subsequently enlisted Lillywhite to take over as producer in Dublin in January 2004, Lillywhite, along with his assistant Lee, spent six months with the band reworking songs and encouraging better performances. U2 lead singer Bono described the album as our first rock album and its taken us twenty years or whatever it is, but this is our first rock album. Thematically, the touches on life, death, love, war, faith. The album and its singles won all nine Grammy Awards for which they were nominated, the album was also included in Rolling Stones list of the 100 Best Albums of the Decade at number 68. Lead singer Bono explained that he had to ask himself a few hard questions before carrying on recording, I wanted to check where I was to where I am. So I went back and listened to all the music made me want to be in a band, right from the Buzzcocks, Siouxsie. And what was interesting is, that was what a lot of people in bands now are listening to anyway, so in a funny way, it made us completely contemporary. Looking for a rock sound than that of All That You Cant Leave Behind, U2 began recording How to Dismantle an Atomic Bomb. After nine months of work, the band had a worth of material ready for release. The group subsequently enlisted Steve Lillywhite to take over as producer in Dublin in January 2004, Lillywhite, along with his assistant Jacknife Lee, spent six months with the band reworking songs and encouraging better performances. A demo version of the album was stolen while the band were having their photo taken for a magazine in France in July 2004 and it contained unfinished versions of several songs that made it onto the album. The band publicly announced that if those tracks were leaked online, several months later, tracks from the album were released online, but they were the finished products, and not the rough demos from The Edges stolen CD. The track is of less than standard audio quality, but managed to become a favorite on fan websites and it was cut from the final release, but is described by Blender Magazine as a six-and-a-half-minute outpouring of U2 at its most uninhibitedly U2-ish. The lyrics to the song can be found in the booklet for the Special Limited Edition, Adam Clayton said of Atomic Bomb, Its very much a guitar record. Vertigo, Love and Peace, City of Blinding Lights, All Because of You, all pretty up, rocky tunes
10. Let England Shake – Let England Shake is the eighth studio album by English singer-songwriter and musician PJ Harvey, released on 14 February 2011 by Island Records. Production began around the time of White Chalks release in 2007, Let England Shake was written over a two-and-a-half year period, and recorded in five weeks at a church in Dorset during April and May 2010. Upon release, the album received numerous accolades and it was placed 2011 Album of the Year by 16 publications and in September 2011 won the coveted Mercury Prize. It was PJ Harveys fourth nomination overall, making her the most successful artist in the prizes history, the album also won the Uncut Music Award in November 2011, as well as Album of the Year in the 2012 Ivor Novello Awards. Harvey began writing lyrics for the album before setting the words to music. She has cited the poetry of Harold Pinter and T. S. Eliot as influences, as well as the artwork of Salvador Dalí and Francisco de Goya and music of The Doors, The Pogues, and The Velvet Underground. She has also spoken of researching the history of conflict, including the Gallipoli Campaign, during some solo shows some years prior to working on this album, Harvey had begun playing the autoharp. She told local newspaper Bridport News in 2011, I was really enjoying this different, enormous and its quite a delicate sound, but its also like having an entire orchestra at your fingertips. On the subject of a new style for the album. So I had to find the voice, and this voice started to develop. If Ive done that, then for me, its worked, Im already feeling like I did, and Im happy. Im very pleased because Im not repeating myself, usually I would have planned everything and known what instrumentation I wanted. This time I demoed the songs mostly with one or two instruments with a voice and that was as much as I had. So I basically had the chords and a couple of saxophone melodies, a couple of voice melodies and that was what I took with me to the church. We rehearsed the songs as if we were rehearsing to play live and found quite quickly that we had only rehearsed a song through maybe twice. The sessions were recorded by engineer Rob Kirwan, the album features Harveys first on-record use of the saxophone. Preceding the album release, the first single, The Words That Maketh Murder, was released by Island Records on 17 January 2011 digitally) and 7 February 2011 on vinyl, the album followed on 14 February 2011 and on 15 February. As Island Records released the album in Europe, Canada and rest of the world and it is available as Digital Download on several platforms, CD and LP
11. Broken (EP) – It is the bands second release following their debut studio album, Pretty Hate Machine, and consists entirely of new material. The music videos that accompanied five of the eight tracks from the EP were widely censored from television due to their disturbing content. Nevertheless, Wish won the Grammy Award for Best Metal Performance at the 35th Grammy Awards, contributing to the bands growing mainstream success, Broken debuted to generally positive reactions, and peaked at number seven on the US Billboard 200 chart. A companion remix EP titled Fixed was released in late 1992, Steve Gottlieb, the CEO of TVT Records, was insistent that he would not release anything other than an album much like Pretty Hate Machine. Reznor demanded his label terminate his contract, due to their restriction of his control of the Nine Inch Nails project. Reznor then objected to the 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, Reznor later said that he hated TVT, in part due to their classification of Nine Inch Nails as a synthpop 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 werent ready to sell. So I felt like, well, Ive finally got this thing going, 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, I didnt know anything about Interscope. And I was real pissed off at him at first because it was going from one bad situation to another one. But Interscope went into it like they wanted to know what I wanted. It was good, after I put my raving lunatic act on, Reznor secretly made the then-untitled recording under various pseudonyms to avoid record company interference. English record producer Flood, who produced Head Like a Hole and Terrible Lie, then I used a couple of key ingredients to make it unlike any real sound. Reznors dog, Maise, was invited to the production of the EP and her barking was recorded, along with Sean Beavans line, Ow. fucker. After being owned by Reznor for over three years, Maise died after falling from a balcony during the Self Destruct Tour. The last two studios were used during the production process for The Downward Spiral. 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
12. Melting Pot (The Charlatans album) – Melting Pot is a greatest hits album by the British alternative rock band The Charlatans. Featuring tracks from their time on Beggars Banquet Records between 1990 and 1997 the album was released on 23 February 1998, the cover features a picture of The Weaverdale cafe in Northwich, the site of the groups first meeting after signing to Beggars in 1990. The song Opportunity Three is a remix by Flood of the song Opportunity from the Some Friendly album that only appeared on the Over Rising EP. The album was re-released on 20 May 2002 with a slipcase to match the artwork of b-sides compilation Songs from the Other Side, no changes were made to the album artwork or track listing. All tracks written by Blunt, Brookes, Burgess, M. Collins, the Charlatans, the authorised history, Virgin Books,1999