Living Hell - Volume #1, Issue #19


Special Shocking Confessions of a Metalhead Issue!

November 25, 2001


  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


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

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

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


(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
  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


  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

  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"

  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-

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,"
     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...

  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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