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E aqui vai um link para dowload do video da musica "LITHIUM" ao vivo no vma de 1992, aquele video que kurt começa tocando a musica que tinha sido censsurada "" (em portugues significa "me estupre"), baixei este video direto do youtube usando um serviço disponibilizado pelo site KIPVID para baixar videos da internet sm autorização. Para entrar e contato comigo para saber mais escreva para [email protected] que ficarei feliz em esclarecer quaquer duvida. Outcesticide V: Disintegration (1998) From the Live Through This sessions with Cobain on backing vocals; Out. 1993: 1. "Asking for It" (como "Live Through This") – 4:28. VPRO, Hilversum, Países Baixos; Nov. 5, 1989: 2. "" – 3:30. De teste de som em performance ao vivo em Hollywood; Ago. 17, 1990: 3. "Verse Chorus Verse" (como "In His Hands") – 3:14. Ao vivo em Barcelona, Spain; Fev. 9, 1994: From a soundcheck at a live performance at MTV Studios, Nova Iorque; Jan. 10, 1992: 'Lost Tapes of the 27 Club' used Google AI to 'write' a new Nirvana song. Were he still alive today, Nirvana frontman Kurt Cobain would be 52 years old. Every February 20th, on the day of his birthday, fans wonder what songs he would write if he hadn't died of suicide nearly 30 years ago. While we'll never know the answer to that question, an AI is attempting to fill the gap. A mental health organization called Over the Bridge used Google's Magenta AI and a generic neural network to examine more than two dozen songs by Nirvana to create a 'new' track from the band. "Drowned in the Sun" opens with reverb-soaked plucking before turning into an assault of distorted power chords. "I don't care/I feel as one, drowned in the sun," Nirvana tribute band frontman Eric Hogan sings in the chorus. In execution, it sounds not all that dissimilar from "You Know You're Right," one of the last songs Nirvana recorded before Cobain's death in 1994. Other than the voice of Hogan, everything you hear in the song was generated by the two AI programs Over the Bridge used. The organization first fed Magenta songs as MIDI files so that the software could learn the specific notes and harmonies that made the band's tunes so iconic. Humorously, Cobain's loose and aggressive guitar playing style gave Magenta some trouble, with the AI mostly outputting a wall of distortion instead of something akin to his signature melodies. "It was a lot of trial and error," Over the Bridge board member Sean O'Connor told Rolling Stone . Once they had some musical and lyrical samples, the creative team picked the best bits to record. Most of the instrumentation you hear are MIDI tracks with different effects layered on top. One thing neither AI gave direction on is how exactly Cobain would have sung the song. Outside of cadence and tone, Hogan had to interpret how the grunge star, who famously suffered from crippling stomach pain, would have channeled his anguish into the lyrics. Over the Bridge isn't the first group to use AI to emulate a dead artist. But the intent here is different from similar past projects. "Drowned in the Sun" is part of the organization's Lost Tapes of the 27 Club initiative. They set out to record AI-generated songs by musicians who died at the age of 27 to raise awareness about mental health resources musicians, and people more generally, can turn to when they feel they need help. The Toronto-based non-profit has a Facebook page where it offers support. It also offers online sessions and workshops. If you're experiencing thoughts of suicide or self-harm, you can reach the National Suicide Prevention Hotline at 1-800-273-8255 or over an online chat. A look at Nirvana's collectible recordings. In November 1988, Kurt Cobain and drove to Seattle to pick up copies of Nirvana ’s first ever single, “Love Buzz”/“Big Cheese,” from their label, Sub Pop Records. It was an exciting moment for both musicians, who were keen record buyers themselves. Anxious to hear the single as soon as possible, they asked to play it on the office stereo. “We played it for them and I don’t think I ever saw Kurt happier,” Daniel House, the label’s sales manager, later told Cobain biographer Charles Cross. The single became an instant Nirvana collectible, and not just because it was the band’s first official record. “Love Buzz” was also the first release in the Sub Pop Singles Club, a subscription service the label had devised to increase cash flow; for $30, subscribers would receive a year’s worth of limited edition singles. The singles were mostly available only through subscription, though in the case of “Love Buzz,” copies were also sold in local stores. “Love Buzz” was the first in what’s become a long line of collectible Nirvana recordings. Since 1988, the band has released well over 30 recordings on vinyl, CD, and cassette (not counting their numerous appearances on compilations), and they remain a highly collectible band. Indeed, record companies continue to release records they hope will attract collectors; the recent reissues of Nirvana’s Live and Loud and Unplugged shows on vinyl each had a limited edition run on colored vinyl (though the collectors at the livenirvana.com forums remained unimpressed, as the records had no previously unreleased material). Generally, it’s Nirvana’s pre- Nevermind releases that are considered the most valuable, and most of this list focuses on that era. Initial runs of records came on colored vinyl; singles and EPs featured songs that then weren’t available on any other release. But the band’s later years produced its share of rarities too, and this list mentions a few. Collectors were consulted regarding prices, as well as online sites like Discogs. With a few exceptions, this list primarily focuses on official releases, not promos or test pressings. The website www.nirvana-discography.com has a lot of insightful information about Nirvana’s official releases, and useful information on identifying known counterfeits. Just 1,200 copies of this single were pressed. Numbered editions (1 through 1,000) have a number handwritten in red ink, on the back sleeve, in a white box in the lower left corner; the 200 unnumbered editions have a red slash through the box. Unnumbered editions have been described as “promo copies.” But Nils Bernstein, who worked for Sub Pop in promotions/publicity, has said that’s not necessarily the case: “I think the idea was to slash all the promos, but then we lost count (since a bunch of people were doing them), so rather than repeat a number, we just slashed the rest. I know tons of slashed ones ended up in stores (I know some people who got numbered ones as promos), so it’s not just as simple as being a promo.” Currently, a numbered single has a going rate of $3,000, with lower numbered and unnumbered copies going for more. The site www.lovebuzz7.com lists every known owner of every edition of the record. Contact the site if you have a copy. Bleach 1989. Originally released in 1989, this album has been reissued numerous times in the wake of Nirvana’s success. The first run of the record on Sub Pop Records produced 1,000 albums on white vinyl (though not a pure white; black smudges can be evident), and 2,000 on black. Some early editions also included a poster. An online dealer was selling the white vinyl edition with the poster for $3,296. The first U.K. edition, from the Tupelo Recording Company, came in a run of 200 copies on white vinyl. It’s been selling online ranging from $448 to $1,900. Around the time Nevermind was released, Bleach was repressed on vinyl. The pressing plant decided on its own to make a small run (a Sub Pop employee guessed it was around 200) on light green marbled/“iceberg” vinyl. It’s valued between $2,000 and $4,000. A 1992 reissue, sold in Europe, came on red and white swirled vinyl, and was packaged in a limited edition set of 500 that also included Nirvana’s “Sliver” single (on blue vinyl). It’s been selling online for between $1,400 and $1,800. Australia’s Waterfront Records pressed an edition on green vinyl (the sleeve also tinted green) to promote Nirvana’s 1992 tour of the country, packaging the record in a cloth bag with the tour dates printed on it. It’s been selling online for between $1,098 and $1,373. Sub Pop created an inadvertent cassette rarity of the album, when they cut “” and “Love Buzz” from Bleach ’s master tapes when they were needed for the Blew EP — and then forgot to restore the tracks when the next run of cassettes was manufactured. Yet that didn’t hurt sales; “People actually went out to the store and began buying them up, because it was a mistake and a collector’s item!” says the album’s producer, Jack Endino. Though hard to find, it’s been seen selling for a modest $75. Blew 1989. Released in the U.K. on 12-inch vinyl and CD by the Tupelo Recording Company, this four track EP featured “Blew” and “Love Buzz” (from Bleach ) and two new songs, “” and “Stain.” Dealers are starting to charge upwards of $100 for this, but copies can be found for sale under $50 as well. For years, this version of “Been a Son” only appeared on this release, until it was included on the 2002 compilation, Nirvana . Any copies on colored or picture vinyl are not official. The vinyl single version of “Sliver” features a conversation between Sub Pop co-owner Jon Poneman and a hungover Novoselic, accidentally recorded on Novoselic’s answering machine, which is exclusive to this release. The initial run of 3,000 copies was pressed on black, marbled blue, or clear pink vinyl. Blue goes for the highest price ($238 to $528), pink seen at around $200, and black for less than that. In addition to the 7-inch single, the Tupelo Recording Services also released versions on 12-inch vinyl and CD, with the live track “About a Girl”; the CD added a fourth track, a live “” (misspelled as “Spank Through”). The live tracks, from a February 9, 1990 show in Portland, Oregon, were exclusive to these releases until the 2009 reissue of Bleach , which included the entire show. Online dealers have been listing the 12- inch ranging from $10 to $50, the CD ranging from $10 to $133. This single was Nirvana’s last release for Sub Pop, part of the buyout deal when DGC took over the band’s contract. It was also another Sub Pop Singles Club release, and a split single with the Fluid’s “Candy.” Not wanting to put much effort into the record, the band simply handed over another live track from the February 9, 1990 show in Portland, Oregon, an exclusive track until the complete show was released as part of Bleach ’s reissue package in 2009. The initial run was 7,500 copies, 3,500 on black vinyl, and 4,000 on green. Ironically, Sub Pop’s penchant for releasing limited editions on colored vinyl has led dealers to price the green vinyl editions higher, though the first run actually had fewer black vinyl editions. Online dealers have listed sales prices for the green vinyl ranging from $80 to $365, with black vinyl ranging from $45 to $219. “Here She Comes Now”/ “Venus in Furs” 1991. Nirvana’s cover of “Here She Comes Now” was included on the compilation Heaven and Hell Volume 1: A Tribute to the Velvet Underground , first released on Imaginary Records in the U.K. in 1990 (the label reissued the album in 1994 under the name Fifteen Minutes: A Tribute to the Velvet Underground ). When released in the U.S. in 1991, on Communion Records, it was accompanied by a single, with Nirvana’s track on one side, and the ’ “Venus in Furs” on the other. The album can be found on vinyl and CD for under $50. But with far fewer copies of the single available (it’s believed that 1,000 copies were pressed, on varying colors of vinyl), it commands a higher price, ranging from $250 to $1,200. The song was only available on the single and compilation until 2004, when it appeared on the With the Lights Out box set. Hormoaning 1992. This six track EP was only released in Australia and Japan, to tie in with the band’s 1992 Pacific Rim tour. The Australian edition came in a run of 15,000 copies; 10,000 on CD, 4,000 on red and blue swirled vinyl, and 1,000 on cassette. Even though the cassette is the smaller run, it’s the vinyl that rates higher, from $500 on up (one hopeful seller was recently offering a copy for $6,750). In 2011, the record was reissued on brown vinyl for Record Store Day. “”/“I Hate Myself and Want to Die” 1994. This was scheduled to be Nirvana’s next European single released from In Utero . But it was cancelled and recalled in the wake of Cobain’s death in April 1994, as the record company didn’t want to be seen as cashing in on the tragedy (not to mention that unfortunately titled B-side). The single featured a remix of the track that first appeared on the “censored” version of In Utero (Walmart had objected to the back cover art, which was altered so the store would carry it). The remix later appeared on the 2002 Nirvana compilation. No vinyl singles were manufactured, though some sleeves exist. CD singles (which added “Where Did You Sleep Last Night” from Nirvana’s Unplugged appearance) were manufactured and distributed, but were recalled before being put on sale. Recalled copies were then supposed to have been destroyed, but some (it’s not known how many) survived. Recent sale prices range from $346 to $1,100. Some CD promo singles also escaped destruction, misspelling the title as “Penny Royal Tea.” Expect to pay upwards of $1,000 (a copy was recently on sale for $2,597). In 2014, the single was reissued on vinyl in the U.S. for Record Store Day. More about this single’s complicated history can be found at: https://www.crimson-ceremony.net/pr3/index.php. The Songs of Kurt Cobain 2007. This promo set was compiled by Primary Wave Music Publishing, who’d acquired the rights to Cobain’s compositions, for the purposes of promoting interest in licensing his music. It features five CDs, packaged in a wooden heart-shaped box, which is itself packaged in a larger white cardboard box. Three CDs feature Nirvana recordings; the other two feature cover versions of Nirvana songs by 11 different artists, including Patti Smith (“”) and Sinead O’Connor (“”), as well as seven “Lullaby Renditions” by Michael Armstrong, and six tracks by The Tallywood Strings. The set is limited to 500 copies. Discogs gives it a high value of $699.99, but one dealer on the site was selling it for $2,086. Verse, Chorus, Verse 1994. The first album DGC initially planned to release after Cobain’s death was going to be Verse, Chorus, Verse , a live set featuring both Nirvana’s Unplugged appearance and a concert drawn from their numerous live recordings in the vault. But Novoselic and the band’s drummer, , felt too overwhelmed to work on the project, so Unplugged was the sole album that came out that year. A provisional live album had been compiled at the time, with cassette copies made for DGC staff and the band. A similar album, From the Muddy Banks of the Wishkah , was ultimately released in 1996. But the 1994 “rough draft” has a different track listing, with most of the 17 songs drawn from different shows than Wishkah. Only one copy has been known to come up for sale, via memorabilia specialists Recordmecca; coupled with an advance tape of Unplugged , the set went for $5,000. Gillian G. Gaar' s first book on Nirvana was In Utero , for the well-known 33 1/3 series. She is also the author of Entertain Us: The Rise of Nirvana and The Rough Guide to Nirvana , among others. She was a project consultant/photographer for Nirvana’s With the Lights Out box set, and edited Krist Novoselic’s book Of Grunge and Government . Cedric Vanoverstraten provided all Nirvana images from his personal collection, except the Pennyroyal Tea promo, owned by Fred Philippe. In Computero: Hear How AI Software Wrote a ‘New’ Nirvana Song. Computers have written and recorded a new song in the style of Nirvana. Photo illustration by Griffin Lotz for Rolling Stone. Photographs used in illustration by Frank Micelotta/Getty Images; Agencia el Universal/AP; Michel Linssen/Redferns/Getty Images. Ever since Kurt Cobain’s death in 1994, Nirvana fans have hypothesized about the music he would have made had he lived. But other than “You Know You’re Right,” the scabrous, throat-shredding meditation on confusion that Nirvana recorded a few months before his suicide, and a few comments he told confidants about potentially collaborating with R.E.M.’s Michael Stipe or going completely solo, he mainly left behind question marks. Now an organization has created a “new” Nirvana song using artificial-intelligence software to approximate the singer-guitarist’s songwriting. The guitar riffs vary from quiet, “Come as You Are”–style plucking to raging, Bleach fury à la “Scoff.” And lyrics like, “The sun shines on you but I don’t know how,” and a surprisingly anthemic chorus, “I don’t care/I feel as one, drowned in the sun,” bear evocative, Cobain-esque qualities. Related Stories. Dave Grohl on ' Rock Hall Induction: 'None of Us Imagined This Would Happen' FBI Releases Long-Withheld File on Kurt Cobain. Related Stories. The Beatles in India: 16 Things You Didn't Know. Black Sabbath on the Making of 'Vol. 4': 'It Was Absolute Pandemonium' But other than the vocals — the work of Nirvana tribute band frontman Eric Hogan — the song’s creators say nearly everything on the song, from the turns of phrase to the reckless guitar performance, is the work of computers. Their intention is to draw attention to the tragedy of Cobain’s death by suicide and how living musicians can get help with depression. The tune, titled “Drowned in the Sun,” is part of Lost Tapes of the 27 Club, a project featuring songs written and mostly performed by machines in the styles of other musicians who died at 27: Jimi Hendrix, Jim Morrison, and Amy Winehouse. Each track is the result of AI programs analyzing up to 30 songs by each artist and granularly studying the tracks’ vocal melodies, chord changes, guitar riffs and solos, drum patterns, and lyrics to guess what their “new” compositions would sound like. The project is the work of Over the Bridge, a Toronto organization that helps members of the music industry struggling with mental illness. “Drowned in the Sun” (In the style of Nirvana) “What if all these musicians that we love had mental health support?” says Sean O’Connor, who is on the board of directors for Over the Bridge and also works as creative director for the advertising agency Rethink. “Somehow in the music industry, [depression] is normalized and romanticized … Their music is seen as authentic suffering.” To create the songs, O’Connor and his staff enlisted Google’s AI program Magenta, which learns how to compose in the style of given artists by analyzing their works. Previously, Sony has used the software to make a “new” Beatles song, and the electropop group Yacht used it to write their 2019 album Chain Tripping . For the Lost Tapes project, Magenta analyzed the artists’ songs as MIDI files, which works similarly to a player-piano scroll by translating pitch and rhythm into a digital code that can be fed through a synthesizer to recreate a song. After examining each artist’s note choices, rhythmic quirks, and preferences for harmony in the MIDI file, the computer creates new music that the staff could pore over to pick the best moments. “The more MIDI files you input, the better,” O’Connor says. “So we took 20 to 30 songs from each of our artists as MIDI files and broke them down to just the hook, solo, vocal melody or rhythm guitar and put those through one at a time. If you put whole songs through, [the program] starts to get really confused on what [it’s] supposed to sound like. But if you just have a bunch of riffs, it’ll put out about five minutes of new AI- written riffs, 90 percent of which is really bad and unlistenable. So you start listening through and just finding little moments that are interesting.” O’Connor and his team used a similar process for lyrics, using a generic AI program called an artificial neural network. They were able to input the artist’s lyrics and start off with a few words and the program would guess the cadence and tone of the poetry to complete it. “It was a lot of trial and error,” O’Connor says, adding that the team examined “pages and pages” of lyrics for turns of phrase that syllabically fit the vocal melodies Magenta produced. “Man, I Know” (In the style of Amy Winehouse) Once the compositions were in place, an audio house arranged all the different parts to evoke the musician. “A lot of the instrumentation was MIDI with different effects added to it,” O’Connor says of the finished recordings. Then they started recruiting singers. “Everyone that we brought in, for the most part, were working tribute artists for these bands, so they could kind of do the inflections and make it sound as realistic as possible,” O’Connor says. Eric Hogan has been fronting Atlanta’s Nevermind: The Ultimate Tribute to Nirvana for the past six years. The band started out as a one-off lark for Halloween; an excuse for Hogan and his friends to perform Foo Fighters, Stone Temple Pilots, and Nirvana tribute sets. But when they saw the huge reaction their Nirvana set got, they went full grunge. When the Over the Bridge team asked him to sing on “Drowned in the Sun,” he thought the project sounded both unbelievable (in the most literal sense of the word) and cool. “After the conversation, I still didn’t really think it was a real thing,” he says. “And then they sent me files and money.” When he first heard the music, he was dumbfounded. “I was like, ‘I don’t know how to [sing] this,'” he remembers. “I had to have the guy who came up with the AI track mumble and hum [the tune]. I would feel weird trying to assume what [Cobain] would do. They had to give me a little bit of a roadmap, and then from there, it was fine.” O’Connor and his staff put about a year into research and development for the songs and another six months to get recordings finished. As they worked, they sought out superfans of the artists to help police themselves for potential plagiarism. They worried that the Doors-esque tune, “The Roads Are Alive,” might sound a bit too much like that group’s “Peace Frog,” but ultimately decided it didn’t. “An audio engineer took ‘Peace Frog’ and played it for us,” O’Connor says. “He’s like, ‘This is what “Peace Frog” is doing; this is what this is doing.’ It’s different. OK, now we’re comfortable with it.” “The Roads Are Alive” (In the style of the Doors) Nirvana proved to be one of the harder artists for the machines to approximate. Whereas an artist like Hendrix often built songs like “Purple Haze” and “Fire” with easily definable riffs, Cobain frequently played chunky, punky chord progressions that confused the computers. “You tended to get a wall of sound,” O’Connor says of the Nirvana-inspired music Magenta produced. “There’s less of an identifiable common thread throughout all their songs to give you this big chunk of catalog that the machine could just learn from and create something new.” “[‘Drowned in the Sun’] is accurate enough to give you that [Nirvana] vibe, but not so accurate to where someone’s going to get a cease-and- desist letter,” Hogan claims. “If you look at the last quote-unquote Nirvana release, which was, ‘You Know You’re Right,’ this has the same type of vibe. Kurt would just sort of write whatever the hell he felt like writing. And if he liked it, then that was a Nirvana song. I can hear certain things in the arrangement of [‘Drowned in the Sun’] like, ‘OK, that’s kind of an In Utero vibe right here or a Nevermind vibe right here. … I really understood the AI of it.” Hogan says he especially appreciated the lyrics that the computer concocted. In his opinion, Cobain’s words were always “sort of a hodgepodge,” but he feels these lyrics are more direct without losing sight of Cobain’s typical messages. “This felt like a complete thought,” he says. “The song is saying, ‘I’m a weirdo, but I like it,'” he says. “That is total Kurt Cobain right there. The sentiment is exactly what he would have said. ‘The sun shines on you, but I don’t know how’ — that’s great . Essentially, what I get from the song is, ‘I’m F-ed up, and you’re F-ed up. The difference is that I’m OK with it and you’re not.'” (When Hogan heard the music, he offered to play the guitar himself, but the producers declined, opting for a machine.) So then is “Drowned in the Sun” some kind of Frankenstein creation, existing in defiance of God and the universe? “I don’t know if I’m the best guy to talk to about ethics,” Hogan says with a laugh. “I mean, I travel around the country pretending to be somebody. “You’re Gonna Kill Me” (In the style of Jimi Hendrix) “I think that you’re going to have a lot of people who are going to vilify this and are going to look at it like, ‘Oh, it’s the death of real music,'” he continues. “But I’m totally fine with it. Used as a tool, I think it’s pretty cool. I don’t know what’s going to happen legally in the future. Once you start going down the road of where it starts to really sound good, maybe then you start to have an issue with that.” Over the Bridge’s intention is to simply raise awareness about mental health resources; the organization runs a Facebook page that offers support, as well as Zoom sessions and workshops to educate artists and make them feel less alone. (They have no plans to sell the tracks.) “Sometimes just the acknowledgment of one other person saying, ‘I’m feeling the same way that you are’ is enough to take people at least feel that they’ve got some sort of support,” says Michael Scriven, a rep for Lemmon Entertainment whose CEO is on Over the Bridge’s board of directors. Scriven hopes the project also raises awareness about just how much work goes into AI music. “There’s an inordinate amount of human hands at the beginning, middle and end to create something like this,” he says. “A lot of people may think [AI] is going to replace musicians at some point, but at this point, the number of humans that are required just to get to a point where a song is listenable is actually quite significant.” Each song required work from O’Connor, a Magenta technician, a music producer, an audio engineer, and the vocalists. “We’re not going to push a button and replace these artists,” O’Connor says. “I hope [the Over the Bridge people] go deeper with AI,” Hogan says. “There’s so much more in this category that you can do.” If you are struggling with thoughts of self-harm, the National Suicide Prevention Lifeline is 1-800-273-8255. You can also reach the Crisis Text Line by texting TALK to 741741. Nirvana rough tapes album download. Add to Collection Eye. Add to Wantlist. Marketplace. Statistics. Avg Rating : Ratings : Last Sold : Lowest : Median : Highest : Videos (9) Play. Lists. Contributors. Tracklist. 1-1 You Know You're Right 3:38 1-2 Smells Like Teen Spirit 5:01 1-3 Sliver 2:14 1-4 Lithium 4:16 1-5 Heart-Shaped Box 4:41 1-6 About A Girl 3:18 1-7 Come As You Are 3:39 1-8 Been A Son 2:23 1-9 4:15 1-10 Rape Me 2:49 1-11 School 2:42 1-12 All Apologies 3:52 1-13 3:16 1-14 Pennyroyal Tea 3:37 1-15 Polly 2:56 1-16 Dumb 2:32 1-17 3:26 1-18 Aneurysm 4:36 1-19 Molly's Lips 1:54 1-20 Pay To Play 3:29 1-21 Even In His Youth 3:06 1-22 Marigold 2:34 1-23 Where Did You Sleep Last Night 5:06 2-1 Breed 3:05 2-2 3:38. Prev Next Chevron Right. Companies, etc. Manufactured By – ООО "Смарт" Distributed By – ЗАО "Аура Мьюзик" Notes. All tracks are album or B-side versions, except for: Track CD1-1 You Know You're Right is as on 'Nirvana' compilation, 2002. Track CD1-8 Been A Son version is from 'Blew' EP, 1990. Tracks CD1-6 About A Girl, CD1-23 Where Did You Sleep Last Night, CD2-5 The Man Who Sold The World & CD2-10 Lake Of Fire are from 'MTV Unplugged In New York', 1994. Track CD1-14 Pennyroyal Tea is a single mix as on 'Nirvana' compilation, 2002. Track CD1-20 is Pay To Play (Demo, 1990), track CD1-17 is Sappy (Retitled 'Verse Chorus Verse' For Release - B-Side, 1993) & Track CD2-23 is Old Age (Nevermind Outtake, 1991) as on 'With The Lights Out' Box Set, 2005. Track CD2-18 Spank Thru is unknown version, sounds like a studio recording. (P) 2008 Star Mark Compilations. (C) 2008 Geffen Records. Изготовлено в России. Изготовитель: ООО "СМАРТ". Back cover also says "Copy protected & pre-ripped for PC". But the CDs are not copy-protected. Digipak panels contain a short biography (in English), discography and images of the artist.