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------------------------------------------------------------------ Living Hell - Volume #1, Issue #19 ------------------------------------------------------------------ Special Shocking Confessions of a Metalhead Issue! ================================================== November 25, 2001 ================= Contents ======== o Remasters o Track Listing o Track Listing Plus o Poetry By Numbers o Discography o History o Favorite Songs o Favorite *Parts* of Songs o Solo Discographies Remasters ========= Ten years ago, or abouts, and I'm on the horn with Columbia Records Quality Control, making my repeated case for a "remastered" version of the compact disc release of the 1984 Judas Priest album "Defend- ers of the Faith." What!? And, most importantly... why!?! Let us look back even *farther*, to those innocent, insular college years, to an 18 year-old, pop music-ignorant freshman at North Carolina State University in Raleigh and who's about to experience his first concentrated dose of rock 'n' roll. *Real* rock 'n' roll. *Hard* rock 'n' roll. AKA, heavy-metal. (I know, I know, sub-genre gen- eralization here, but, hey, it works the purposes of this essay...) Prior to college, the boy listened to classical music. And sound- track scores. And show tunes. But did the kid know a Stone from a Beatle, much less a Hagar from a Halen? Hell no. Our story begins in a dormitory, Owen Hall, in the room next door to "255," mine, and a pair of seniors who knew no mercy with the volume control of their stereo. Lo that stuffy fall semester of 1983-- no air-conditioning in Owen, nor most other residence halls -- the walls rumbled frequently with the sounds of thick guitars and deep drums. Such as ZZ Top's "Sharp Dressed Man," the most well-remembered of their rotating playlist. (At the time, mind you, Yours Yet Deafened knew of That Lil' Ol' Band From Texas more for long-legged music-video babes than their newly synthesizer-en- hanced bottom end. And, if I recall correctly, which was played a little too loudly, a little too early one Sunday morning, resulting in *my* cranking of the cannon-accompanied "1812 Overture" with wall speakers turned *inward* for maximum retaliatory effect.) My "roomie" didn't mind the music, however. And, as Dave was well- versed (HA!) in "rock," he answered those inevitable, million-plus questions of mine during that aurally stimulated school year: who is the Who? What is a Rolling Stone?? How did Bon Scott die and Brian Johnson come to replace him??? The lanky engineering major from Pennsylvania knew band histories, line-up lineage's, and the many subgenres of the electrified form. (e.g., punk, glam, thrash, etc.) And up above my head, saturating those facts day after day after day, I'd hear music in the air. Think a constant stream of squeals and screams, of 2/4 and 4/4 and other assorted rhythms, the persistent syncopation buried beneath wall-garbled vocals. And, yet, I grew to... like it. Into the spring semester and that infernal noise was working its magic and slowly, surely rewiring my brain. 'Specially, my music- appreciation center. My Allegrix. Cells, undernourished from years of classical music and soundtrack scores, hungrily expanded to accommodate the amplified styles of rock, hard rock, and heavy metal. (The precipitating nail for want of that the kingdom was lost was a 45 RPM single of Billy Squire's "Everybody Wants You" that my sister left playing on her turntable one night, back home, back before I went off to college. Again and again it played, the rhythmic riff and haunting vocal melody burrowing into my half-as- leep consciousness. Memo to self: beat sister up for same.) By the summer of said freshman year, I'd accumulated a handful of hard-rockin' tapes, including Quiet Riot's "Metal Health," Motley Crue's "Shout At The Devil," and the aforementioned Judas Priest release, "Defenders of the Faith." (Though the *music* was new to my ears, such *albums* were almost familiar. During high-school, I worked afternoons at a Morehead City record store, filing similar- styled efforts from such strange-named artists as "AC/DC," "UFO," and "The Scorpions.") And, of the heavy-metal acts initially sam- pled, 'twas "the Priest" that compelled me the most: the multi-oc- tave voice of singer Rob Halford, the intertwined melodies of gui- tarists Glenn Tipton and K.K. Downing, and the rapid-fire rhythm section of bassist Ian Hill and drummer Dave Holland. (Mr. Hol- land, formerly Trapeze, was Priest's *seventh* drummer, a rotating position most famously parodied in Rob Reiner's faux documentary film "This is Spinal Tap.") I remember "Defenders" as thick, forceful, vicious-sounding music, played fast 'n' hard, but possessing a soaring melodic quality that belied the more brutal, brutish chords. Wagner-style rock, if you will, though this listener *still* had precious little experience with *any* rock 'n' roll, period. Prior to college and Dave, the All-Knowing, All-Explaining Roommate, the "devil's music" was ei- ther caught while channel surfing cable television or overheard at school dances. (During high-school, my 45 RPM tendencies ran along the embarrassing lines of "Hooked on Classics," "Pac-Man Fever," and, nyuk nyuk nyuk, "The Curly Shuffle.") So, during that first summer "home"-- and in-between weekend work as a beach condo secu- rity guard (with hallway vacuuming duties during daylight hours)-- Yours Awakened browsed the local record racks, which, in the bus- tling metropolis of Morehead City, NC, consisted all of two music stores and the record section at Roses. (True story: my *second* Judas Priest purchase was an LP copy of "Screaming For Vengeance" from 1983. My turntable, however, was still set at 45 RPM speed. On first playing, as the rapid, chipmunk-sounding vocals commenced, I thought "how interesting...") X hundred dollars heavier at summer's end, I took the plunge and purchased a newfangled stereo component called a "compact disc player." Might've cost three-hundred smackers back then, but the promise of noise-free, non-skip playback was irresistible. 'Spe- cially since my hyper-focusing ears could not *not* notice the pops 'n' hisses associated with both vinyl and magnetic-tape formats. (Years later, those same, obsessively aware ears battled a car cas- sette deck for months on end, as Yours Tormented tried every imag- inable trick or tweak to inexpensively improve fidelity before fi- nally breaking down and piping in a newly purchased portable CD player.) Returning to Raleigh as a strapping sophomore, I bee-lined for the nearest record store-- School Kids on Hillsborough Street and the lovely, tall, black-wearing store clerk that I had a crush on-- and purchased the then-new compact disc release of Judas Priest's now- familiar "Defenders of the Faith." (Truth be told, I don't remem- ber if the 1984 album was readily available in August, 1989, or if it came out later that year.) Racing back to the dorm- North Hall now, a former hotel with air-conditioning *and* showers in each room-- visions of pristine fidelity danced through my head. I imagined crystal-clear cymbal crashes and firm, tight drum beats. And all gloriously free of Rice Krispies. (You know, snaps, crack- les, or pops...) Imaging my crushing disappointment, then, discov- ering said CD sounded even *worse* than the LP version! (To ape a reviewer writing around the same time, the speakers sounded like a blanket had been thrown over them.) I exchanged the disc and tried another. No dice. The second copy sounded just as crappy as the first. I tried a *third* copy a cou- ple years later, hoping that the record company (Columbia, later absorbed by Sony Music) had improved the CD quality. Bupkiss, a- gain. I even special ordered a *Japanese* pressing that sounded, maybe, five percent better. (Like only a *cotton* blanket thrown over the speakers, instead of wool.) And to anyone who'd listen-- notably those associated with WKNC-FM, the campus radio station that I was soon "jocking" at-- I'd rant ad annoyum about the horri- ble fidelity of this particular disc. (Alas, the *second* Judas Priest CD transfer, the aforementioned "Screaming For Vengeance," turned out better but not *best*. Not until the appearances of "British Steel," "Stained Class," and "Point of Entry" did the head-bangin' Brits get their digital due.) As compulsion morphed into obsession, by the fourth year of college, I was ranting di- rectly to the record label. (Aside: Though my first-year roomie "Dave" planted quite a number of musical seeds, my "metal tutelage" took off during my tenure at "'KNC." First hired as a giggle-prone newscaster, I subsequently spun records, co-directed the news, managed the station library, spent a semester as an all-powerful Program Director, and, most colorfully remembered, hosted "Chainsaw Rock" every Saturday night from 9 until midnight. Completed with taped screaming, power-tool sound effects, and a comic book-derived air name for Yours Theatri- cal of "Rip Hunter." But those are other stories for other essays. Plus, the author doesn't want to risk a life-threatening case of the giggles recalling the redneck-sounding voices drawling threats on the request line like "you better play some Metallica, or we'll be waitin' outside." Yeah, whatever, Bubba.) Ergo, how I came to contact Columbia Records, first in writing and subsequently over the phone. (As I recall, I obtained their number by simply calling long-distance directory assistance for whatever city and state was listed on their CD linear notes!) And thus the reason I *continued* contacting Columbia during the first few years out of college, repeatedly making my case for a "better version" (or "remastered") version of my still-favorite Judas Priest album. (Feel free to cringe if recalling similar encounters with similarly super-focused geeks.) And at least the contact person, soon known by name, appeared to take my comments (read: complaints) seriously. Of course, problems were not uncommon in the early days of the com- pact disc. Copies of copies were used in pressing, instead of the "original tapes"; songs were truncated by seconds or, worse, whole minutes (gasp!); cues got misplaced, such as what happened with Ju- das Priest's 1977 album "Sin After Sin." (When released on compact disc in the late Eighties, one minute and nine seconds of "Here Come The Tears" was inadvertently included as part of the preceding "Raw Deal." For starters.) Alas, nothing came of those self-initiated exchanges. Within a few years, I'd forgotten my long-fought battle, save for a brief moment of hope mentioned earlier, when a Japanese pressing of "Defenders" was purchased. (Such pressings, called "imports," are sought after for "bonus tracks." These extra songs, such as newly released "B"- sides, add value, as overseas-delivered discs are either (a.) much more expensive or (b.) take longer to "get there." (Can't remember which.) Plus, music publishing rights are handled differently in different countries, so songs (or entire albums) that can't be re- leased domestically for legal reasons, *can* be distributed in the East. (Such as the soundtrack to "The Exorcist," which still isn't available in the US. Or the soundtrack teaming of ELO and Olivia Newton John on "Xanadu," which has been available as an import for years, but was only recently released in the States.) But what *I* wanted was a revisiting of the original studio master tapes, *not* bonus tracks or the like. (As for the author's all-too-embarrassing history as a dyed-in-the- leather, "Creem" and "Hit Parader"-skimming, "Rolling Stone" biased bothered Judas Priest fan both during and after college, I'll admit to three and only three anecdotal details: first, caught them but twice in concert, once Charlotte in 1986 for their "Turbo" tour and once in Raleigh in 1992, as one of five acts appearing in the De- sert Storm-themed "Operation Rock 'n' Roll." Second, having owned the personalized license plate "PRIEST," a geeky fact found *very* cool by my cousin's kids in Minneapolis with the same last name (Priest, not Legeros); third, once or twice attempting Halford's spikes 'n' chains stage attire as a casual dress style in college. Needless to say, the less said about the latter the better... As the Eighties turned into the Nineties, such "remasterings" be- came increasing commonplace-- at least for rock's more "mainstream" (read: non-heavy metal) artists. These "revised discs" were both artistic ventures-- restoring songs omitted from the first CD re- lease, due to running time restrictions-- and shameless attempts at money-grabbing, where an artist's entire "back catalog" would be re-released or, sometimes, *re-*re-released. (Warner Brothers re- cently revisited Van Halen's audacious ouvre, improving the sound and restoring the original album art.) Bonus tracks began appear- ing as well-- "B"-sides, live tracks, and unreleased studio re- cordings. Not surprisingly, these "restored versions" often coin- cided with the release of an artist's *newest* album, as happened to Ozzy Osbourne's catalog in 1995, when "Ozzmosis" hit stores. (Trivia: The latter features a song co-written with whiz guitarist Steve Vai, written for Osbourne's "X-Ray" project that never saw light. 'Twas to be a "supergroup" album, but with no band members identified and only an "x-ray" of the participants on the cover!) Needless to say, fans go wild when an artist's catalog is revisit- ed, both for better-sounding playback and new-old content, be the latter linear notes, rare photos, or, best-est of all, bonus songs never-before-seen on CD. (We're *still* waiting for a digital re- lease of the Ozz-Man's first, four-track live EP. Same for his still-unreleased, Dweezil Zappa-hosted cover of "Staying Alive." All aboard the disco train!) Word had Ozzy's catalog being remas- tered *again*, which I'm sure I'll purchase when they're finally released next year. I'll brace for that one-time (or, perhaps, in- crement) "hit," off-set only but whatever cash I can get for sell- ing off my *current* copies of Oz, either at work or at a record store. (With, say, $4 per used disc income, applied to, oh, $10 per new disc expended.) So what became of "Defenders" and the author's long-desired desire for a better-sounding CD version? Lo and behold-- and not coinci- dentally coinciding with the release of "Demolition," the band's long-awaited follow-up to their "mark 2" debut "Jugulator"-- it fi- nally happened. But first, a bit of history. The current incarna- tion of Judas Priest is fronted by Tim "Ripper" Owens. He replaced veteran singer Rob Halford, who departed in 1990 after the release of "Painkiller" and subsequently pursued a solo career. Owens was discovered some years later, during the inactive band's extensive auditions. Owens was found fronting... a Judas Priest tribute band and, as the story goes, was hired after a single play of an audi- tion submitted by his *friends*! (His rise to fame was chronicled in a later "New York Times" article that, even later, was the loose basis for the Mark Wahlburg and Jennifer Aston-starring movie "Rock Star.") For the purists, however, Judas Priest "Mark 2" is really "Mark 3" as the *original* vocalist is Al Atkins, who first fronted but never officially recorded with Priest. (Decades later, he'd release a solo album of early Priest tunes-- songs he helped to write-- with another ex-band member, "Defenders"-era drummer Dave Holland.) Lo and behold and a mere *twelve* years after its first, failed CD release, "Defenders of the Faith" arrived in local music stores in 2001 as one of four "remastered" reissues, along with "Screaming For Vengeance," "Point of Entry," and "British Steel." 'Twas was the first "four pack" of three that, when finished, will comprise the Priest's entire Columbia Records catalog, with X studio and Y live tracks-- most unreleased-- added as "bonus material." So on that long, long, *long* awaited, "Tuesday new releases" day, guess who was waiting at 10:00 a.m. at his friendly neighborhood music store? (Millennium Music on Capital Boulevard, next door to Mars.) And, yes, it sounded better. Finally, sounded better. Track Listing ============= 1. Freewheel Burning (4:24) 2. Jawbreaker (3:26) 3. Rock Hard Ride Free (5:34) 4. The Sentinel (5:04) 5. Love Bites (4:47) 6. Eat Me Alive (3:34) 7. Some Heads Are Gonna Roll (4:05) 8. Night Comes Down (3:58) 9. Heavy Duty (2:25) 10. Defenders of the Faith (1:30) Track Listing Plus ================== With opening lyrics included... 1. Freewheel Burning (4:24) "Fast and furious, We ride the universe To carve a road for us, That slices every curve in sight... " 2. Jawbreaker (3:26) "Deadly as the viper, Peering from its coil The poison there is coming to the boil... " 3. Rock Hard Ride Free (5:34) "Get a grip on the action, Movin' heaven and earth Gotta get a reaction, Push for all that you're worth... " 4. The Sentinel (5:04) "Along deserted avenues, Steam begins to rise The figures primed and ready, Prepared for quick surprise... " 5. Love Bites (4:47) "When you feel safe, When you feel warm That's when I rise, That's when I crawl... " 6. Eat Me Alive (3:34) "Wrapped tight around me, Like a second flesh hot skin Cling to my body, As the ecstasy begins... " 7. Some Heads Are Gonna Roll (4:05) "You can look to the left and look to the right But you will live in danger tonight... " 8. Night Comes Down (3:58) "In the last rays of the setting sun And the past days, that's where our memories run... " 9. Heavy Duty (2:25) "I know you like it hot Love to writhe and sweat... " 10. Defenders of the Faith (1:30) "We are defenders of the faith We are defenders of the faith... " (All songs by Tipton/Halford/Downing, except "Some Heads Are Gonna Roll" by Bob Halligan Jr.) Poetry By Numbers ================= By my calculations, the lyrics to "Defenders of the Faith" contain 1388 words and 528 *unique* words. Such as these occurrences... heads 12 challenged 1 pleasure 1 roll 12 charging 1 quake 1 love 11 concede 1 scabbards 1 bites 9 contend 1 scorching 1 rock 8 defiant 1 screams 1 free 7 deliver 1 shattered 1 ride 7 ecstasy 1 shrieks 1 hard 6 enemy 1 spitting 1 fear 4 fists 1 spread-eagled 1 blade 3 flames 1 squealing 1 bore 3 gut-wrenching 1 sweat 1 distort 3 hungers 1 thrusting 1 explode 3 insatiable 1 tight 1 devour 2 moan 1 warm 1 duty 2 obliterations 1 wrapped 1 heavy 2 piercing 1 Discography =========== (EPs and compilations excluded) o Rocka Rolla, 1974 (Gull) o Sad Wings Of Destiny, 1976 (Gull) o Sin After Sin, 1977 (CBS) o Stained Class, 1978 (CBS) o Killing Machine, 1978 (CBS) / Hell Bent For Leather, 1979 (Columbia)* o Unleashed In The East, 1979 (CBS)** o British Steel, 1980 (CBS) o Point Of Entry, 1981 (CBS) o Screaming For Vengeance, 1982 (CBS) o Defenders Of The Faith, 1984 (CBS) o Turbo, 1986 (CBS) o Priest...Live, 1987 (CBS)*** o Ram It Down, 1988 (Columbia) o Painkiller, 1989 (CBS) o Jugulator, 1997 (CMC) o '98 Live Meltdown, 1998 (CMC)*** o Demolition, 2001 (Atlantic) * - US title ** - Live album *** - Double live album Charting ======== o 1974 - Rocka Rolla (Gold) o 1976 - Sad Wings Of Destiny UK#48 (Gold) o 1977 - Sin After Sin UK#23 (Gold) o 1978 - Stained Class UK#27 (Gold) o 1978 - Hell Bent For Leather UK#34 (Platinum) o 1979 - Unleashed In The East UK#10, USA#70 (Platinum) o 1980 - British Steel UK#4, USA#34 (Platinum) o 1981 - Point Of Entry UK#14, USA#39 (Platinum) o 1982 - Screaming For Vengeance UK#11, USA#17 (Platinum) o 1984 - Defenders Of The Faith UK#19, USA#18 (Platinum) o 1986 - Turbo UK#33, USA#17 (Platinum) o 1987 - Priest... Live UK#47, USA#38 (Gold) o 1988 - Ram It Down UK#24, USA#31 (Gold) o 1990 - Painkiller UK#24, USA#26 (Platinum) o 1993 - Metal Works '73-'93 UK#37, (Platinum) o 1997 - Jugulator UK#47, USA#80 (Gold) o 1998 - Live Meltdown 98' UK#74, (Silver) Band History ============ o 1969, formed. First members are Al Atkins (v), Earnest Chata- way (g), Bruno Stappenhill (b), John Partridge (d). Band name from Bob Dylan song title "The Ballad of Frankie Lee and Judas Priest." Also an expletive from our parent's time. o 1970, disbanded. Reformed later that year with Al Atkins (v), K.K. Downing (g), Ian Hill (b), and John Ellis (d). First gig on March 16, 1971, at St. John´s Hall in Essington, England. Steady gigging follows on Midlands club circuit. o 1971, two songs recorded as demos for Zella records, "Holy is the Man" and "Mind Conception." (July, 1971) o 1971, Alan Moore replaces John Ellis on drums near end of year. o 1972, Chris Campbell replaces Alan Moore on drums. Band writes songs that would appear on "Rocka Rolla." Band begins playing larger cities, opening for acts like UFO, Status Quo, and Thin Lizzy. Band also occasionally headlines. o 1972, Rob Halford replaces Alan Atkins on vocals. John Hinch replaces Chris Campbell on drums. Glenn Tipton joins as second guitarist. Band spends subsequent year playing club dates up and down country. o 1974, Gull Records releases debut album "Rocka Rolla." Deep Purple bassist Roger Bain produces. Band tours abroad for first time, playing concerts in Germany from February 19 through March 4. o 1975, Gull Records releases "Sad Wings of Destiny." Alan Moore on drums, replacing John Hinch. o 1976, CBS Records releases "Sin After Sin," first recording on major label for band. Session player Simon Phillips on drums, replacing Alan Moore. Band releases eleven more albums on CBS and Columbia Records between 1976 and 1986. o 1977, Les Binks replaces Simon Phillips on drums. First appears on "Hell Bent For Leather." Band performs first US concert on June 17 in Amarillo, TX, opening for REO Speedwagon. o 1978, Band tours Japan for first time. Records live album. o 1979, "Unleashed in the East" released. Band tours with Kiss in US, headlines in North America, tours with AC/DC in Europe. Dave Holland replaces Les Binks on drums. First appears on "British Steel." o 1980, "British Steel" released in March. Priest play at first Castle Donnington "Monsters of Rock" festival. o 1981, "Point of Entry" released in spring. Band begins world tour, touring from February to November with only brief summer break. o 1989, Scott Travis replaces Dave Holland on drums. First ap- pears on "Painkiller." o 1991, band appears in Reno, NV courtroom, subject of wrongful death lawsuit involving suicide attempt of two teens. Parents charge subliminal messages contained in album "Stained Class." Judge clears group. Emmy-nominated television documentary re- sults. ("Dream Deceivers: The Story Behind James Vance vs. Ju- das Priest," by David Van Taylor.) o 1993, Rob Halford leaves band. Band subsequently begins world- wide search for replacement. o 1995, Tim Owens replaces Rob Halford on vocals. Discovered fronting Judas Priest tribute band in Akron, Ohio. o 1997, CMC Records releases "Jugulator," first recording with Owens on vocals. Band nominated for Grammy for "Bullet Train" single. o 2001, Atlantic Records releases "Demolition," fourth record label for band. Both Gull Records and Columbia Records con- tinue releasing earlier recordings, both as repackaged albums (Gull) and remastered compact discs with bonus tracks (Colum- bia). Favorite Songs ============== Too many to list. Favorite *Parts* of Songs ========================= o "Dreamer, Deceiver" (from "Sad Wings of Destiny," 1976) Harmonized wailing meets brief piano at end of song o "Eat Me Alive" (from "Defenders of the Faith," 1984) A capella drum pedal, end of final verse o "Evil Fantasies" (from "Hell Bent For Leather," 1979) Buried moan, end of second verse o "Genocide" (from "Unleashed in the East," 1979) Extended introduction not present on studio version o "Hell Patrol" (from "Painkiller," 1990) Extra-octave in final verse, for line "ripping out hearts" o "Hot For Love" (from "Turbo," 1986) Harmony section of guitar solo o "Johnny B. Goode" (Chuck Berry cover, from "Ram It Down," 1988) Opening riff, bass guitar segment o "Painkiller" (from "Painkiller," 1990) Last couple measures of opening drum solo o "The Rage" (from "British Steel," 1980) Vocal entrance to final verse Solo Discographies ================== [ Titles and release years only, sorry ] Al Atkins --------- o Judgement Day, 1991 o Dreams Of Avalon, 1992 o Victim Of Changes, 1998 Les Binks --------- o Butterfly Ball and the..., 1974 (with Roger Glover) o Wild Thing, 1974 (with Fancy) o Something to Remember, 1975 (with Fancy) o Axis Point, 1980 (with Axis Point) o Mail Order Magic, 1980 (with Roger Chapman) o Wizard's Convention, 1999 (with Eddie Hardin) Rob Halford ----------- o War Of Words, 1993 (with Fight) o Mutations, 1994 (with Fight) o A Small Deadly Space, 1995 (with Fight) o Voyeurs, 1997 (with Two) o Resurrection, 2000 (as Halford) o Live Insurrection, 2001 (as Halford) plus a pair of notable "singles": o "Light Comes Out of Black," from "Buffy the Vampire Slayer" motion-picture soundtrack (as Rob Halford, but backed by... Pantera!) o "The Wizard," from Black Sabbath tribute album "Nativity in Black" (with Bullring Brummies, recorded with Geezer Butler and Bill Ward!) Dave Holland ------------ o Trapeze, 1970 (with Trapeze) o Medusa, 1970 (with Trapeze) o You Are the Music... We're Just the..., 1972 (with Trapeze) o Hot Wire, 1974 (with Trapeze) o Final Swing, 1974 (with Trapeze) o Trapeze, 1975 (with Trapeze) o Hold On/Running, 1978 (with Trapeze) o Songwriter, 1977 (with Justin Hayward) o Play Me Out, 1977 (with Glenn Hughes) o Night Flight, 1980 (with Justin Hayward) o Dangerous Music, 1985 (with Robin George) o Way Back to the Bone, 1986 (with Trapeze) o High Flyers: The Best of Trapeze, 1996 (with Trapeze) o Hold On, 1998 (with Trapeze) o Welcome to the Real World - Live..., 1998 (with Trapeze) o Victim of Changes, 1999 (with Al Atkins) Tim Owens --------- o Heart of a Killer, 2000 (with Winter's Bane) plus one hilariously overblown cover of "Mr. Crowley," recorded with Yngwie Malmsteen for the Ozzy Osbourne tribute "Bats Head Soup" Simon Phillips -------------- Too many to list-- see http://www.allmusic.com-- but has appeared on albums with the likes of: o Jon Anderson o Bernie Marsden o Jeff Beck o Gary Moore o Stanley Clarke o Mike Oldfield o Roger Daltrey o John Parr o Al Di Meola o Tears for Fears o Brian Eno o Toto o Art Garfunkel o Pete Townshend o Ian Gillan o Bonnie Tyler o Murray Head o Whitesnake o Mick Jagger and, if memory serves, even toured with Barbra Streisand! Glenn Tipton ------------ o Just One Night, 1991 (with... Samantha Fox) o Foma, 1995 (with The Nixons) o Baptizm Of Fire, 1997 Scott Travis ------------ o Second Heat, 1987 (with Racer-X) o Live Extreme, Vol. 1, 1988 (with Racer-X) o Live Extreme, Vol. 2, 1992 (with Racer-X) o L.A. Blues Authority, 1992 (with L.A. Blues Authority) o War of Words, 1994 (with Fight) o Mutations, 1994 (with Fight) o Small Deadly Space, 1995 (with Fight) o Technical Difficulties, 2000 (with Racer-X) Copyright 2001 by Michael J. Legeros ------------------------------------------------------------------- -------------------------------------------------------------------
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