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Slow, Deep and Hard Medley - 90%

Petrus_Steele, October 30th, 2019
Written based on this version: 1994, CD, Roadrunner Records

In spite of having Peter's anus as the choice for the album's cover which only broadens the humor that you could see from Slow, Deep and Hard's album, not to mention this album is branded as "live" (although Peter did suggest in some interviews that this album is rather an EP than a full-length), part of the humor is the "live" audience. It mostly consists of boos and negativity. In a sense, the guys are just trying to make a living after all.

Later changed to a more awesome-looking artwork inspired by Albrecht Dürer which includes a gothic version of Paranoid by Black Sabbath (by the way, the cover wasn't recorded "live" but was recorded and released in the 1994 version of the album, which includes the new artwork and retitled the album just The Origin of the Feces), the album's concept for being a "live" album, it "sounds" great! For a re-recorded album (unofficially), it sounds great! Not sure what's the story behind this album's release and why no new material was presented (other than the interlude, Are You Afraid? which is the only original track and the aforementioned gothic version of Paranoid ), I think it sold well enough to earn the band some recognition - or the record label really had made a dumb request.

When I say this album sounds great, I mean the mix is fantastic, the instruments sound amazing, and for being rather unoriginal, it's still a very enjoyable album. That's not implying that Slow, Deep and Hard sounded bad - I mean the overwhelming distorted audio is what sold the band's moniker in the first place, but The Origin of the Feces (Not Live at Brighton Beach) is simply a fun, re-recorded album. Both Kenny & Josh offer extra layers in their respective instruments for songs like I Know You're Fucking Someone Else and Gravity, while Peter added (or changed) some extra lyrics and he doesn't sound as low as he had in the debut album. Here you can hear he's screaming more and adding more range to his vocals, which eventually ended up being his main sound. And when I say this album is more enjoyable than the debut, listening to both albums back to back, the latter is good on its own right.

There's a major flaw with what the band did with their songs, in terms of how we look at the album's re-recorded songs. The change is pretty significant. When we look at the concept as a live album and how the setlist is presented so to speak, not only in the original release it's the band shortest full-length, but Der Untermensch's main part is INSTRUMENTALLY presented in Pain; formerly titled as Prelude to Agony, which has been significantly shortened to just 4 minutes, by only performing the song's main part (which is originally titled Jackhammerape). The formerly known Xero Tolerance that is titled Kill You Tonight was split into two tracks. With the new and only track/interlude, Are You Afraid?, it stands as an interlude to Gravity; formerly known as Gravitational Constant (without the calculated part). And for the first time, you actually hear Hey Pete (Peter's Ego Trip Version).

I Know You're Fucking Someone Else is literally the same song as the original, only clearly it's titled by the main part and features more guitar layers as I mentioned above. But what made this version three minutes longer than the original is a sample used from Glass Walls of Limbo (Dance Mix), as the crowd boos the shit out of the band while Peter taunts the crowd back; followed by the main intro of Prelude to Agony, which at this point became the intro for the song in hand. There's also an interlude where Peter taunts the crowd again by singing I'm in the Mood for Love by Dorothy Fields from the 30s, as the band went silent for the crowd to start booing again. And as the song ends, Peter recalls that twat he sang about "and thanks for the memories, you fat bitch!" in such an intense attitude, and does a bass solo as he tells the crowd "and eat shit, you fat bastards!”.

Are You Afraid? is implied to be the band's first sign in the gothic metal direction, which can be based upon Josh's keyboards input. This short interlude serves as Gravity's opening, in which the song itself hasn't changed much than its original counterpart beside the beautiful keyboard layers in the second and third verses, a more gloomy bridge with extra vocals, and the chorus not sounding as good as the original. Speaking of the third verse, the band had "technical" issues which led the crowd to start booing again and Peter told them to hold on until the sound gets fixed. After the song's outro, the band immediately started playing Pain. However, Peter was being informed that the club in which they were performing was bomb threatened, which forced to move to another venue. This metaphor is in reference back in Europe, when Slow, Deep and Hard was released and the band was threatened because of their controversial lyrics.

Peter perfectly opened the venue with "here we are again... this ain't your lucky day, is it?" This version of Pain is more energetic, in the thrash metal sense. Peter screams more here, while Kenny's guitar sounds stellar, as Sal's drumming. By paying homage to the band's most controversial song, they played Der Untermensch's main part after the first verse of the song, which blended perfectly as the song transitioned to Pain's dark chorus. After this is repeated, Peter calls the crowd morons to inform them about their last song for the night, Kill You Tonight.

As Peter simply puts it: let's get this over with. Before the song begins, Peter mumbles about someone bleeding all over the place. As for the music, again, it's not any different than its original counterpart and somewhat sounds better. The song cuts short before the long main section because someone threw a bottle in the crowd, which for a random reason the band started playing Hey Pete (Peter's Ego Trip Version). Had this not happened, the band would've ended the show in five more minutes at approximately 38:33 minutes. The intro of the main section of Kill You Tonight begins with Peter saying "baby, tonight you sleep in Kenny's house, as Josh starts playing with the organ effect on. More heavily distorted guitar and bass enhance the sound. What's different about this version is when the band uses British accent in the second verse for humor, and Kenny co-leading the vocals. To pay tribute to The Beatles, the band used the piano strike that The Beatles created in their song, A Day in the Life for the outro.

Now introducing Johnny Kelly, who's not only been a friend of the band and a drum technician for Sal but now an official member of the band, as it was meant to be. I suppose his debut was in the gothic version of Paranoid of Black Sabbath, this song wholly has showcased the band's gothic direction. After the second verse, they perfectly blended the main riff from Iron Man; to pay more homage to Black Sabbath, yet making the song much more long than the original Paranoid, which stands about 4:30 minutes less, and the band wrote a pretty personal chorus that still perfectly blends with the covered song in hand.

As I've said before: listening to this album and Slow, Deep and Hard back to back the former is more fun to listen, yet still lacks the quality, let alone a purpose. I guess you could say this album is more accessible. Still a great record to grow up with and it aged well. Including the phenomenal Paranoid cover of Black Sabbath, the best songs that have been re-recorded are I Know You're Fucking Someone Else, Gravity, and Pain (and I just wish the latter two would've had their entire sections recorded as well).

Mostly redundant, entirely hilarious - 70%

Napalm_Satan, September 5th, 2019

When discussing Type O Negative's major releases I often forget that The Origin of the Feces even exists. That's not because it's bad - far from it, the material here is amazing - but this is the one major release they have where no new ideas are introduced and no progression of any sort is made, to the extent that I don't even consider this a main studio album despite this being a collection of studio material. It's more of a foot note in their discography than anything else, and it doesn't mean a whole lot when divorced from Slow, Deep and Hard and by extension the two Carnivore albums. If it does represent anything, it's possibly the greatest example of TON's sense of humour across their entire discography, as this release is literally one giant joke.

The Origin of the Feces is for the most part re-treads of various tracks from Slow, Deep and Hard. 'I Know You're Fucking Someone Else' is 'Unsuccessfully Coping...', 'Gravity' is 'Gravitational Constant...', 'Kill You Tonight' is 'Xero Tolerance' and 'Pain' is 'Prelude to Agony', which is about 36 minutes of this 51 minute tracklist. These songs are abrupt collisions of goth/doom and crossover/thrash that bring excellent riffs, keyboard lines and a bitter, ugly attitude courtesy of Pete's amazing vocals, which range from a hardcore-tinged shout to more conventional singing to go with the more melodic strains of the music. While this material is of quality, this is pretty much the main reason this is their weakest release; though there are differences between the originals and these versions the basic musical foundation here is a straight up rehash of their debut, with no substantial musical progression or new material being presented, merely alternate takes on songs listeners have heard before.

There are differences, of course - these certainly sound more like live performances despite not being live. The sound of the music is as if they were playing in a large room of some sort, with more reverb and space in the sound. The performances differ too, with the riffs and keyboards perhaps having a slightly different sense of melody or the drumming being slightly different in its timing. The vocals are particularly different – Pete often delivers lyrics slightly off the mark or at a different pitch, if he even delivers them at all. The songs are often truncated too, with 'Kill You Tonight' being played here as both a two minute track and a 7 minute reprise and 'Pain' being a bit under 5 minutes in length. The most notable difference however is the crowd noise found throughout the songs, consisting of fans jeering and booing in a studio to be recorded and added to the songs. Honestly, the back and forth between the verbal abuse of the crowd and Pete is one of the only aspects of this release that truly makes it worthwhile; it's actually goddamn hilarious. Highlights include when 'Gravity' is interrupted due to a supposed bomb threat targeting the venue, the very opening moments which is just the crowd chanting 'You suck!' and when the band gets bottled by one of the crowd, but honestly it's all just one giant laugh.

Beyond the humour, the only other main draw here is the various tracks that are exclusive to this release. 'Hey Pete' is a reworking of 'Hey Joe' and it's about as good as a cover could turn out; the band do a great job of making the song their own, turning it from a laid back psychedelic track into a gloomy doom metal number with lyrics to fit Slow, Deep and Hard's concept of murdering your ex over infidelity. The reissue features a cover of 'Paranoid' (one which lacks much of the faux-live trappings of the rest of the songs here) - the band pull a similar trick here by turning this speedy rocker into a 7 minute morose and downtrodden doom metal song and it goes over amazingly. It beats out most of their material up to this point and is perhaps a precursor to their more overtly doom metal-influenced albums down the road. The sole new original song here is 'Are You Afraid', which is a little over two minutes of goth rock, containing the sort of lush keyboard work, gentle bass-baritone crooning mixing with agonised screaming and tender atmosphere that would come to define TON's later, more famous albums. Critically, all of these new tracks show the band going in a more pure goth/doom direction and as such they are the only times they really undergo any progression from their debut; it's a shame that they make up less than a third of the runtime.

As if the original cover of Pete's hairy anus wasn't enough of an indicator, this is obviously not meant to be seen as a serious work from the band at all and indeed it isn't for the most part, being a rehash of their old songs for a joke. This does have some value for the sheer humour on offer and the few new tracks here are certainly interesting, but otherwise this is one of the only non-essential and unnecessary releases in their catalogue. It's fun for sure but most of these songs were done better a year prior, and honestly this makes far more sense as an addendum to their debut than as a standalone release. All this said however, it is quite a testament to the quality of TON's music and sense of humour that they can just play their old songs more sloppily on a new release while getting fans to tell the listener that the band suck and still have it turn out better than most artists could even dream of.

While Nothing New, it is Dark/Dry Humor at its finest - 78%

Gothic_Metalhead, January 18th, 2019
Written based on this version: 2011, CD, Roadrunner Records (Reissue)

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. The version I had listen to is the most recent reissue with the cover song of Black Sabbath's "Paranoid" which made the album better with a stronger end. I may sound critical at first about one of my favorite gothic metal band, but "The Origin of Feces" is a good album with a good concept in mind. The album was inspired by an experience with a show during Type O Negative's European tour where the crowd responded negatively to the band's music. This resulted in Peter Steele's bitter inspiration to make an album that sounds like a live album, recorded like a live album, but not really a live album. Due to the album lacking new songs 75 percent of the time, this review will be short.

There is nothing really much to talk about "The Origin of Feces" Songs as they are the same Songs as in the previous album "Slow, Deep, and Hard" besides a cover song of "Hey Joe" Re-titled "Hey Pete." Instead, the titles of the Songs are re-titled. "Unsuccessfully Coping with the Natural Beauty of Infidelity" becomes "I Know Your Fucking Someone Else", Gravitational Constant..." becomes "Gravity", "Xero Tolerance" becomes "Kill You Tonight", and "Prelude to Agony" becomes "Pain." However, the Songs do excel in one thing: Humor. Type O Negative would become known for their dry and dark humor through this album more particularly. The so-called live performance is not a warm welcome in the album. The majority of the audience in the album are booing at the band, chanting "You Suck", and even walking up on the stage and attacking the members. The best part on the album is in "Gravity" where the band abruptly stops and reports to the audience that there is a bomb threat resulting in the Song becoming quiet at the end. This kind of direction is certainly an experimental one, it is definitely funny in my opinion, though for some reason the tracks in general don't really capture my attention throughout the entire album. Either it has to do with the album sounding like a live album or the fact that there isn't a lot of new material. The way it was supposed to be produced was one of the saving graces of "The Origin of Feces", because it's good experimentation and adds more humor to an album. The lyrics, music, vocals get a pass for trying to make it sound like a concert album.

One of the other saving graces of "The Origin of Feces" is Type O Negative's Cover Song of Black Sabbath's "Paranoid." I really like how the band just slowed down the Song and make more doom and gothic sounding. While it is technically not part of the album, it does get boost of interest for me, just because it sounds like the Type O Negative we will be hearing later on in the future. Its incorporation of keyboards is done really well, its tempo is just right, and Peter's voice sounds great in that track. The majority of "The Origin of Feces" is mainly parts of the band's thrash sounding moments heard in "Slow, Deep, and Hard" as a way to please the angry concertgoers heard in the album, however, the cover Song of "Paranoid" also gives the album darkness and melody, something that the album lacks.

Personally, "The Origin of Feces" is not a bad record. It has a good amount of humor and original experimentation, but it was not too appealing to me. I would still listen to this album mainly for laughs and "Paranoid", but it is definitely at the bottom of the barrel in terms of Type O Negative's Discography. That is saying a lot considering all of Type O Negative's albums are not bad, and provide some fresh ideas in my mind. I would still give "The Origin of Feces" a chance, it is certainly something to laugh about.

Thanks for the memories, you fat ass bitch!!!! - 91%

Thy Shrine, January 9th, 2017

This is it. Type O Negative's infamous "live" album The Origin of the Feces. Complete with crowds chanting about how much the band sucks, Peter Steele's responses to that, fake bomb threats, a cover of Hey Joe called Hey Pete, which deals with Peter Steele essentially killing a prostitute, this album has it all.

One of the things you will notice with any Type O Negative record is that the subject matter is bound to be uber-serious, and it still is. Tales of heartbreak, murder, revenge, and even suicide are the order of the day here, what makes this from becoming ultra depressing is that Type O Negative always had a tongue in cheek way of doing things. The Lyrics on this album are super amusing, despite the heavy subject matter. The one song that has awesome, as well as just badass lyrics would be opener "I Know You're Fucking Someone Else" specifically once you get passed the eight minute mark, and the song turns into an upbeat kickass song complete with cries of Slut, Whore, and Cunt describing the woman in question who broke Peter Steele's heart.

Despite being a Gothic/Doom metal band, Type O Negative sure knew how to ROCK in their early days. The material is balanced between slow dirgy parts, as well as upbeat standard 4/4 time signature parts, and then goes into thrash beats. The diversity of the tempos means that each change in tempo is that much better because it shows a stark contrast to the previous tempo. This is the reason I have always preferred Type O Negative's early albums to their later ones (though Dead Again was very good, because of the reasons above).

The production absolutely makes this album feel as if it is live. Every instrument is easily audible, but the album does not sound too polished. It sounds like you are right there listening to the band perform, Type O also did a very nice job with the "live" audience, as they sound genuine, and actually pissed off. So kudos to the producers of this record.

There are a couple of things on this album that could potentially annoy some people (although I don't mind) one would be that "I Know You're Fucking Someone Else" is the only track that is performed in full. That's right: this album does not have the full versions of the songs, and as a matter of fact, typically puts one part of one song into another song. The other thing is that, in songs such as Gravity, the band stops playing in the middle of the song. I don't personally care, because once they get back to playing the still rock anyway.

Overall, this is a very solid album from the Drab Four, and one that you should check out immediately if you have any knowledge of this band. It rocks, it's clever, it's good music.

Flinging Feces At Convention - 80%

Thumbman, January 2nd, 2014

Carrying on with their politically incorrect and confrontational humour, The Origin of Feces is perhaps most known for featuring a close up of Pete's hairy asshole on the album cover. Type O Negative says this recording is mostly a scheme to rip off their record company - after spending most of the budget on their hedonistic lifestyles it was still in their contract that they owed a live album. Instead of producing a legit live recording, they made a blatantly fake one. With the exception of two songs, this is alternative takes of songs from the debut. Poorer takes, sure, but this album is still funny as shit. The fake and often confrontational and abusive stage banter is Pete's dark and antagonistic humour at its finest. This is far from an indispensable part of the group's discography, but still something worth checking out for a taste of the bands more gritty origins.

Starting with pissed off chants of "you suck", Pete's animosity for the crowd begins early. His abusive attitude is reminiscent of Fear frontman Lee Ving's onstage antics. The crowd is routinely angry throughout the album and often boos and throws bottles at the band. This is probably brought on with them being on tour in Europe with Biohazard and The Exploited and regularly getting shit for playing a different style of music. They received criticism from the left for their political incorrectness and criticism from the right wing for playing with leftist punk bands. They were a band that had a tendency to provoke, which really comes out here. In the middle of the album there is a fake bomb threat scenario. This is inspired by allegedly real events (I have a strong suspicion the band was just making it up for a laugh) - they apparently would call up clubs they were supposed to play at with a bomb threat; a scheme in which they didn't have to actually play but still got payed all the same.

Musically, this is not such a far cry from the originals, except being rougher and sloppier, as well as featuring noticeably different vocal phrasing in many parts. The song names are changed, but they aren't changed dramatically in their composition. Pete does add some more humour to them, though - he adds further mispronunciation to his misogynistic insults on "I Know You're Fucking Someone Else" ("Unsuccessfully Coping with the Natural Beauty of Infidelity") and throws in a ridiculous British accent to a verse on "Kill You Tonight (Reprise)" ("Xero Tolerance"). The album does have two songs that didn't have a spot on the debut. The first is "Are You Afraid" - a nice short brooding piece they were known to play live but didn't make it to the album. The second is "Hey Pete", a humorous take on the classic "Hey Joe" (popularized by Jimi Hendrix). Instead of shooting a cheating lover down, he cuts down a prostitute with an axe. As an added bonus track, some version includes their cover of Black Sabbath's "Paranoid". While it doesn't have shit on their "Black Sabbath" cover, it's still cool. Being slowed down with a dense gothic atmosphere, this version has a slow burning trepidation about it. Haphazardly throwing the "Iron Man" riff into the mix was a silly and inexplicable misstep, though.

This is hardly one of the first things someone should check out while delving into the Type O discography. In fact, it's one of the last. However, the band doesn't dabble in making disposable music. Even their weakest album, Life is Killing Me had a few killer songs and was still an enjoyable enough listen. This is good for what it is and the banter brings back the confrontational attitude of Carnivore. While the songs were presented better on the debut, they still work well in this setting. This album really is punk as fuck, and represents the end of the Type O Negative that died when they made it big with Bloody Kisses. While hurling shit at their record company, they've created something that is a pretty damn funny and cool experience.

Extremely Funny, But Very Dark - 85%

Shadoeking, February 12th, 2010

This is one of the most interesting, funniest albums I have heard. Type O Negative has always had a strange and twisted sense of humor. Nowhere is this more obvious than on this album. They have given us some strange liner notes at times, but this album really is the go-to point if you want to tell someone how weird this band is.

Let's start with the cover. This is allegedly a picture of vocalist Peter Steele's anus. Thankfully, people were angry and the cover was censored eventually. We do not need to really see Peter Steele's anus, thank you very much.

Now, the craziest part about this album is that it is supposed to be a live album. I say supposed to be because the band's label Roadrunner had it written in the contract that Type O Negative was to record a live album. However, the band allegedly took the money they were supposed to spend on producing the live album on cheap vodka instead. Realizing they needed to fulfill their contractual obligations, the band simply re-recorded their debut album Slow Deep and Hard, added a couple of songs and retitled some of the other songs and then added fake crowd noise.

But they did not stop there. It would be too easy to simply add in crowd noise. No, Type O Negative added in chants of "You Suck!" and improvised a fight between Steele and the fans with Steele yelling "You suck too" at one point in the album and then making fun of the crowd because he's getting paid to play and the crowd had to pay to get in. At about the midway point, the band claimed it had to stop playing because there was a bomb threat in the concert hall. After a few seconds of silence, they began playing again.

Beyond the insanity of the fake crowd, the music is very impressive and it does sound as if they are playing live. The first seven tracks are the fake concert and then the band adds in a very interesting cover of the Black Sabbath classic "Paranoid" for the final track. The musicianship is tight and is held together well despite the often changing tempos.

Type O Negative will never be mistaken for an incredibly musically talented act. But that is okay, because the band plays just well enough to sound fine playing the style of music they play. They have always been able to write long, multi-part epic songs and this has been their best musical quality. Here, for example, we have the fifteen minute opener "I Know You're Fucking Someone Else", which lays the groundwork for the rest of the album. The band's style is a form of gothic metal incorporating various influences such as Black Sabbath and The Beatles. They take those influences and slow them down and twist them to form a sound that is unlike any other band.

As for the instrumentation itself, the band has always relied quite a bit on the keyboards and vocals to drive the melodies home, in particular in the softer parts of the songs, of which there are many. This is true of this album as well. There is the occasional guitar solo and the riffs are plentiful, but they do not typically constitute the main melody of the song. The bass and guitar parts mostly lumber their way through the slower songs in a doom-laden dirge but are there to provide main support in the faster songs. The riffs drive the song forward, but it's the additional flourishes that shine through.

The major focus is on the vocals. Peter Steele has an extremely deep voice and it adds a haunting quality to the songs. Occasionally, Kenny Hickey or Josh Silver provide backing vocals to further emphasize the deepness of Steele's voice.

The songs themselves are mostly typical of Type O Negative: gloomy, dirge-like exercises in self-deprecation and depression. The songs deal with the betrayal of a cheating girlfriend and fantasies about killing her, and then actually going through with it. There are some other subjects too, but for the most part it details a relationship gone very wrong. The lyrics are often somewhat humorous despite the dark nature of the subject matter. This has become a well-known trait of the band that was in its infancy at the time of the release of this album.

Two songs are covers. The track "Hey Peter" is a rearranging of the Jimi Hendrix song "Hey Joe" about a jealous lover ready to kill his cheating girlfriend. Here Peter Steele replaces the gun with an axe. The last track is a morosely slow adaptation of the Black Sabbath classic "Paranoid". Somehow the band stretches it out more than twice as long as the original.

The production on the album is crisp and clean. It's the first real sign that this was not actually a live album. Most live recordings are not as clear as this album. That's fine though as it allows the music to be heard very well.

Overall, this is a very fun listen. The humor involved keeps things light and interesting, despite the very dark subject matter. Type O Negative never did record a real live album.

Fun for the Family! - 88%

IrishDeathgrip, December 14th, 2007

Okay, maybe not the whole family... your grandpa will only enjoy the part during I Know You're Fucking Someone Else when Peter stops the song and breaks out into "I'm In the Mood for Love," a song from the 30's by someone who's dead now. But surely the rest of the family will love it...

Many of us know the story; Type O gets paid to record a live album, accidentally blows the money to fund said live recording on booze, uses demos of rerecorded versions and puts in crowd noise and fake confrontations with the fans. But, let's strip it down and look at the songs themselves.

The sound has taken on more of a clear tone, which is hard to recognize beneath the mixing that was intentionally meant to make the album sound more live... Peter's voice has become less like a yelling, intimidating drunkard, and more like a bitterly sarcastic, but good-natured drunkard. This gives the songs a more light feeling, which makes them all the more disturbing. The keyboards are hard to recognize because, aside from the really standout parts, Josh doesn't play a huge role on these first songs. The bass is beginning to come through more heavily in the mix, and on Paranoid you can hear the beginnings of the sound they really mastered on 'Bloody Kisses.' The guitar is just where it's always been, hovering just over Peter's bass, and really shining through when it takes on a lead or acoustic part.

Highlights of the album include the dramatically altered version of Xero Tolerance, found here under the name 'Kill You Tonight.' The second verse has been made into a jumble of horrid british accents and surfer "oh-oh-oh's." 'Hey Pete' is a brilliantly funny reworking of Hey Joe by Hendrix, with some great vocals by Kenny.

My biggest complaint is that they cut out the entire end point of Gravitational Constant and since this rebuilding, they have never played the song in it's entirety, as heard on SD&H. But they can be forgiven. They also drastically shortened Prelude to Agony (here called 'Pain'), but luckily that didn't really stick.

All in all, it's a good buy, if not to hear the beginnings of their seriously goofy sense of musical humor, then to simply enjoy some reworkings, and pretend it really is a live show.

Hey Pete... - 85%

Vim_Fuego, August 8th, 2004

There is some debate over how "live" this album actually is. Some claim it was recorded in the studio. The liner notes say it was recorded October 31st 1991 at Brighton Beach, Brooklyn. However it was recorded, Pete Steele and the rest of Type O Negative were having a bad day, and couldn't be happier.

Early in their career, the band were largely misunderstood, alienating the undeserved right wing following Steele's previous band Carnivore had picked up. They simply weren't hardcore enough for the skinheads. At the same time, the Gothic crowd who later championed the band, were scared off by the double kick drum flourishes, and thrash outs in many of the songs, but at the same time were drawn in by the melancholic, introspective lyrics, the theatrical vocals, and the doom laden keyboards and dirge–like arrangements.

Right from the start, the band are taunted with chants of "You suck, you suck!" but continue to play anyway. The jeers continue through the first song, originally titled "Unsuccessfully Coping With The Natural Beauty Of Infidelity", but more popularly known as "I Know You're F**king Someone Else". And the song winds it's way through pipe organ Gothicism, acoustic sections, hardcore sing–a–longs, a Scottish accent, and thrash metal kick outs. It sounds a mess, but is an incredibly listenable epic.

The between song abuse between Steele and the audience is a treat, as are the moments when it all goes wrong. Third track "Gravity" breaks down completely, and in something reminiscent of Bad News or Spinal Tap, the band has to stop for an apparent bomb threat. "I guess this ain't your lucky day, huh? Let's just get this over with," mutters Steele as the band returns to the stage and blasts through a raucous version of "Pain". There's a silly but fun take on "Hey Joe", with Steele's mournful moan and the trademark lumbering juggernaut guitar and bass sound adding some seriously sinister overtones Jimi Hendrix would never have dreamed of. The show ends with a rollicking romp through a reprise of "Kill You Tonight", a cheerful ode to murdering an unfaithful lover, complete with cheesy New Romantic "whoa whoa" backing vocals, and a silly accent, sounding like a cross between Crocodile Dundee and EastEnders. There's an ill–advised cover of Black Sabbath's "Paranoid" tacked on the end. It doesn't fit Type O Negative's style, so the less said the better.

This whole album is surprisingly good fun from a band who are meant to be miserable bastards. It also benefits from losing the infamous original artwork — a close–up picture of an asshole stretched so far as to make your eyes water!

Not bad, pretty funny though! - 78%

Madman, August 10th, 2003

Starting this fake live album with an opening chant of "You Suck!!" from the "crowd" kind of sums up Type O's attitude about themselves in two words. Going from fast punkish parts to doom to gothy to almost popish the band really stretches out sometimes. You can hear it all on this "live" album as well as a healthy dose of humor.

The better cuts from the album are "I Know You're Fucking Someone Else" (going from fast punk to a doom crawl) and "Pain" (a faster punk type song). I'm not a big fan of "Kill You Tonight" being in two parts but whatever. "Are You Afraid" and "Gravity" are both strong songs with a few little surprises. "Hey Pete" is a great cover. Type O do it extremely well, it's quite surprising how the band can do such great covers and be able to turn every song into something that sounds like a Type O original. "Paranoid" is another good cover that's REALLY slowed down when compared to the original. It's hardly recognizable actually.

Overall a pretty good effort by Type O. The songs are a bit schizophrenic, going from fast punk to gothy or doomy passages in an instant. The fake crowd is hilarious and the stuff Peter Steele says back to them is great. A definite must if you're a Type O fan and even if you aren't it wouldn't hurt to give it a listen.