Recording and Production
While producing their second DVD Disasterpieces in 2002, the band members of Slipknot were inspired to produce a live album after noticing how well they performed when they knew they were being recorded. Two years later, in 2004, Slipknot promoted Vol. 3: (The Subliminal Verses) during a world tour which included 233 concerts across 34 countries in 28 months; music for the live album was recorded during the tour. The tracks on 9.0: Live were compiled from performances in Singapore, Tokyo, Osaka, Las Vegas, Phoenix, New York City, and Dallas.
Percussionist Shawn Crahan said the band made an effort to pay more attention to detail than usual during the tour, noting, "when you've got a microphone hanging onto your every note, you tend to give maybe 115 percent instead of 110 percent." The album begins with a staged vocal introduction which was recorded before a concert, informing the audience that the band would not be performing, in an effort to incite anger in the crowd. 9.0: Live includes tracks from the band's first three studio albums, and the banned track "Purity" which was removed from the band's debut album, Slipknot, due to copyright issues. It also contains tracks that are rarely played live, such as "Iowa" and "Get This", as well as the only live performance of "Skin Ticket".
Read more about this topic: 9.0: Live
Famous quotes containing the words recording and/or production:
“Write while the heat is in you.... The writer who postpones the recording of his thoughts uses an iron which has cooled to burn a hole with. He cannot inflame the minds of his audience.”
—Henry David Thoreau (1817–1862)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)