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BACK COVER COVER

R2 524546 © 2010 Rhino Entertainment Company, a Warner Music Group Company. All Rights Reserved.

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I lived in an apartment right around the

corner from the studio where Cowboys From

Hell was recorded, so it was just a short walk to

get there. We’d demoed the majority of songs

beforehand, so I knew most of the lyrics by

heart. I’d wait for a daily phone call, usually

made by our producer, Terry Date, at around 3

p.m., grab my shit, and be out the door.

It was an intimidating thing for me to

perform in the studio at the time. The rest

of the band kicked ass. Pantera was a live band

by nature, so singing to achieve the precise

notes and pronunciations in such a sterile

atmosphere was awkward. But Terry came

up with an ingenious idea: port wine! He

claimed Chris Cornell [Soundgarden] drank it

because it “warmed” the throat. Whatever. It

helped. Mr. Date was a treasure to work with.

I remember watching him and Darrell work

together insidiously. Terry, Darrell, and Vince

were tireless in the pursuit of perfection—which

almost got the best of me, especially on one

specific song: “Cemetery Gates.”

It wasn’t the super-high notes at the end of

the song so much; it was the line in the pre-

chorus—“the memories now unfold”—that

about kicked my ass. I don’t know how many

times I sang that line, but about six hours

later, smashed chair and all, I finally got it

right, twice!

This moment stands out in my mind, because

it was the last hurdle left to overcome on the

CFH album. The other guys had ripped through

their tracks with a vengeance. Rex almost made

it look easy! There was no way in hell I was

gonna let down the rest of my bandmates and

Terry. But in all honesty, I couldn’t have pulled

off that performance without them. By the

end of the session, all of those cats were going

ape-shit, cheering me on! All I could see was a

gaggle of smiling faces behind a filthy Plexiglas

window. I couldn’t hear what they were saying—

I was frustrated with myself—but those guys’

upbeat spirits rubbed off on me.

We got it done. In hindsight, that was what

made Cowboys From Hell and Pantera special;

everything we did was a team effort. Like Vince

once said, “It takes all of us to make this band

what it is.” And that was the truth.

— Philip H. Anselmo

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We recorded Cowboys From Hell where my dad

worked, Pantego Sound Studio. He was always

around during that time and very supportive…

We freaked him out several times, though. Like

we put some distortion on Phil’s vocals, and he

said, “Son, you can’t do that.” And it’s like, “No

dude, that’s what we’re going for.”

As heavy as the songs were, we always made

sure they maintained some hooks and melodies

so people could remember them. Even on

Dime’s guitar parts—he always wanted them to

be something you could air-guitar to.

The song that set the pace for the whole

record was “Cowboys From Hell.” It’ll always be

a staple track for this band, because it’s all about

us—all about being from Texas and feeling out

of place. Back then, people thought metal bands

were from L.A., New York, or Seattle. That was

it. The only famous band from Texas was ZZ

Top, and they’re not exactly metal…

We wanted to be machine-gun tight, so

we always pushed one another and never felt

anyone was a weak link. Obviously, my brother

was a very charismatic guitar player. He wanted

to be everything Randy Rhoads and Eddie Van

Halen were, and then some. Rex was a great

showman—just solid as a rock. Phil was very

different at the time—very honest and open

with his lyrics—and people loved that about

him. Onstage, he was a fucking animal, a beast.

No other frontman could touch him at the time.

He was like a combination of David Lee

Roth and Henry Rollins. As for me, I was the

backbone of the whole thing, and the person

making sure we weren’t broke at the end of the

day, business-wise. One funny thing about Cowboys From Hell

is that it’s a platinum record now, but it never

charted on Billboard, and you couldn’t hear those

songs back then if you tried. Twenty years later, it’s

like Pantera’s a brand-new band and you hear us on

the radio or at a football game. It’s amazing how

long it takes some things to catch on, you know?

— Vinnie Paul

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I still remember the night Mark Ross came to

see us. The place was so small, we had to make

the dance floor part of the stage. I think we were

all on Ecstasy that night—it was legal in Texas

back then and kept my drinking going.

Anyway, we’re playing, and this guy sitting

over to the side looks really out of place. After

the show, he says, “I really love you guys. Do you

have anything new?” And we did—we had pretty

much written and demoed Cowboys From Hell by

then, at the studio where Vinnie’s dad was the

engineer.A lot of musicians have told me they heard

the riffs on Cowboys From Hell and thought,

Man, how can we top this shit? We were pretty

influenced by Metallica in that department.

That, and the grooves of ZZ Top. Cowboys

From Hell just took it to another place in

terms of heaviness—the power of it. When

the groove riff came in, we’d fuck the shit out

of it. We’d just dry-hump it until it stopped

breathing. A lot of bands have tried to do that

ever since, and they can’t…fucking…do…it.

That sound was all about me, Vinnie, and Dime

hunkering down, and giving Phil full rein to do

whatever he needed on top of it.

We were a band of brothers—four different

individuals working toward this common goal.

And that was to be the baddest goddamn band

out there. I think we accomplished that. In fact,

I know we did.

Dime was especially great as a human being

and a guitarist. He was a driving force behind

everything. I didn’t know how he did it, actually.

Sometimes he’d stay up for days. Some were nice,

and some were ugly. He never did drugs, either—

never stuck a line up his nose or anything. He

just took a lot of ginseng to keep going. Yes,

ginseng. And he’d come up with something new

creatively every single time.

I wish he were here today to celebrate with us,

you know? But he’s not, so we’ve got to do what

we’ve got to do and get on down the line.

— Rex Brown

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The first time I bonded with Phil was before

a show of theirs. He told me to shave his head in

the bathroom. It was a little trust thing for him.

Which is fitting, because once we got into the

studio, they trusted me and I trusted them.

Someone was always pulling practical jokes in

the studio. Like every time I bent down to fix

a mic, Dimebag always had a camera ready so

he could take a picture of my plumber’s butt and

post it around the studio.Everything was always a joke with Phil

too. I remember the studio didn’t have any air

conditioning, and I smelled something terrible

one day. So I look up and there’s Phil standing

in front of the studio fan, with his hands on his

hips and his pants around his ankles.

Another thing I remember is the guys

getting their first per diem check, and instead of

spending it on food, which they needed, most of

them spent it on tattoos. I don’t think Vinnie got

one, but I do remember Dime coming in with his

first tattoo. I think it was a Cowboys From Hell

one. I looked forward to working with him—all

of them, actually—every day.

— Terry Date

I knew nothing about Pantera before I saw them, but my jaw was on the floor by the end of the first song. The sonic power of it all—the attitude and the musicianship—blew me away. Basically, you had to be an idiot to not think they’re amazing. I mean, how could you see these guys and not think, Holy shit!?

To give you an idea of how Pantera fit into the rest of the metal scene, another band I signed, Tangier, was opening up for Cinderella at the same time—at a huge arena. There was hardcore stuff going on under the surface, but the only bands labels really touched were, like, Anthrax or Helmet. Pantera was very aggressive compared to a lot of that, but the melodies were awesome.

My favorite song from Cowboys From Hell, though, is “Primal Concrete Sledge.” To me, that epitomizes the raw, primal power of their first album. That’s what I always loved about the band—that they can come at you with a melodic hook or just shred your face off.

— Mark Ross

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the original album

01 COWBOYS FROM HELL 02 PRIMAL CONCRETE SLEDGE 03 PSYCHO HOLIDAY 04 HERESY 05 CEMETERY GATES 06 DOMINATION 07 SHATTERED 08 CLASH WITH REALITY 09 MEDICINE MAN 10 MESSAGE IN BLOOD 11 THE SLEEP 12 THE ART OF SHREDDING Cowboys From Hell was first issued as Atco #91372 ( July 1990) P 1990 Atlantic Recording Corporation

live

01 DOMINATION

02 PSYCHO HOLIDAY

03 THE ART OF SHREDDING

04 COWBOYS FROM HELL

05 CEMETERY GATES

06 PRIMAL CONCRETE SLEDGE07 HERESY Tracks 1-7 Recorded at the Sheraton Plaza La Reina,

Los Angeles (9/15/90) Courtesy of Westwood One

Productions P2010 Atlantic Recording Corporation

previously unissued

08 DOMINATION 09 PRIMAL CONCRETE SLEDGE 10 COWBOYS FROM HELL11 HERESY

12 PSYCHO HOLIDAY Tracks 8-12 Recorded at Monsters In Moscow

(1991) From Alive And Hostile, EastWest #92462

P 1994 Warner Music International, Inc.

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COWBOYS FROM HELL Under the lights where we stand tall | Nobody touches us at all Showdown, shootout, spread fear within, without | We’re gonna take what’s ours to have | Spread the word throughout the land | They say bad guys wear black | We’re tagged and can’t turn back | pre-chorus You see us comin’ | And you all together run for cover | We’re takin’ over this town | chorus | Here we come reach for your gun | And you better listen well my friend, you see | It’s been slow down below, Aimed at you we’re the cowboys from hell | Deed is done again, we’ve won | Ain’t talkin’ no tall tales friend ’Cause high noon, your doom | Comin’ for you we’re the cowboys from hell | Pillage the village, trash the scene | But better not take it out on me | ’Cause a ghost town is found | Where your city used to be | So out of the darkness and into the light | Sparks fly everywhere in sight | From my double barrel, 12 gauge, Can’t lock me in your cage | repeat pre-chorus | repeat chorus

PRIMAL CONCRETE SLEDGE There’s a double standard for the way we live | If there’s nothing to have, well then there’s nothing to give | I’ll break a sweat and I don’t regret | What you’d kill to see brings out the god in me | chorus | Come and be with me | Live my twisted dream | Pro devoted pledge Time for primal concrete sledge | The man of a thousand retirements | Will always be the one to tell you when to quit I won’t take stock in a withered man | I’m reaching into you, I’ll make you understand repeat chorus

PSYCHO HOLIDAY Empty and sweating | Head lying in your hands | Shaking in the corner | Done too much alcohol | Gotta get away from it all | ’Cause it feels my blood is freezing | My self insanity has taken its toll | Frustration has taken its control | chorus | Now I’m far from home | Spending time alone It’s time to set my demons free | Been put through the test | My mind laid to rest | I’m on a psycho holiday Shot down on sight | You are the target of attention | One woman here another there | You can’t please all the people all the time | Can’t tell the strangers | From the friends you know | Frustration has taken its control | chorus | Now you’re far from home | Spending time alone | It’s time to set your demons free | Been put through the test | Your mind laid to rest | You’re on a psycho holiday | I’m strapped in for life Is this where I lived | Or where I died | You want my money | You take my space | My mind is telling me To leave this place | My self insanity has taken its toll | Frustration has taken its control | repeat chorus

HERESY Here we are | In a world of corruption | Human nature is | Of violent breed | Who cares if there’s no tomorrow | When I die my future’s | Laid out for me | Can’t you see? | Rise above the lies Morals on a backwards globe | A sin to you | For me it’s hope | It’s my life and provision | Black or white Some pay to pray | You question why they | Act this way | It’s their fucking decision | pre-chorus No more judgment day | Only tranquility | Peace signs, protest lines | Mean nothing to me | chorus Honesty born in me | Heresy | I know what’s right or wrong | And my belief is stronger | Than your advice | People, they go to war | Because religion gives them | Reason to fight | Sacrifice, die for pride A group that caters | No one’s fees | Or synthetic deities | Is where I belong | My stand is the human race Without a label or a face | So they can lick my sack | repeat pre-chorus | repeat chorus

CEMETERY GATES The reverend he turned to me | Without a tear in his eyes | It’s nothing new for him to see | I didn’t ask him why | I will remember | The love our souls had | Sworn to make | Now I watch the falling rain | All my mind can see | Now is your (face) | Well I guess | You took my youth I gave it all away | Like the birth of a | Newfound joy | This love would end in rage | And when she died | I couldn’t cry | The pride within my soul | You left me incomplete | All alone as the | Memories now unfold. | chorus | I believe the word | I will unlock my door | And pass the | Cemetery gates Sometimes when I’m alone | I wonder aloud | If you’re watching over me | Some place far abound | I must reverse my life | I can’t live in the past | Then set my soul free | Belong to me at last | Through all those Complex years | I thought I was alone | I didn’t care to look around | And make this world my own | And when she died | I should’ve cried and spared myself some pain… | Left me incomplete | All alone as the memories still remain | chorus | The way we were | The chance to save my soul | And my concern is now in vain | Believe the word | I will unlock my door | And pass the cemetery gates

DOMINATION Agony is the price | That you’ll pay in the end | Domination consumes you | Then calls you a friend | It’s a twisted fall | Binds are like steel | And manipulates the will to be | And it’s hard to see How soon we forget | When there’s nothing else | Left to destroy | It’s a useless ploy | pre-chorus Your eyes will see | The dawn of the day | And the writing | On the wall | Those words that stare Into your soul | And to yourself | You will befall | chorus | It’s domination pushed into living hell Domination a now blacked heart | Is reaching out divinity | Body suspended by chains over razors | And nails it’s a penalty | Each razor a vice and each nail | Marks the demise of your life | Grim construction grows | Has life played a trick | Sealed you in brick by brick | Till your end forcing you to bend | repeat pre-chorus | repeat chorus

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SHATTERED It’s storming broken glass, corpses left in piles | Ungracious bludgeonment that breaks the earth for miles | Nothing can stop it, the day has come, from below | it’s catastrophic | pre-chorus Freezing, there’s no healing families are dying | chorus | This world is shattered…All shattered | Life crushing turbulence, this wrath can’t be denied | Wishing you could help your friends, standing where they died | Echoes haunting, a hollow planet, lacerations, | Dissected nation | repeat pre-chorus repeat chorus

CLASH WITH REALITY Sometimes I know | I feel untouchable | Drowning in life | Caught up in the accessible | Back down the ground | I hear the sound | There’s no escape | The concrete cloud Spilling on me | Drenching me with | Laymen’s sins | I hear the sirens | From the back of me | I’m crashing face first | Into the glass eye | chorus | Clash with reality | It rears its ugly head | Clash with reality | The indescribable | Let the dogs lie | Where we sleep | Irrelevant theme | A situation and there’s | Nothing but right | In kicks the door | Nobody moves | ’Cause in walks the problem | Dictates your fate, | Evicts, convicts, | Who’ll sign the writ of life? | This now becomes | Their morbid game Who’s piss-poor excuse | Is this for a world? | It swells my hatred | Day by day | repeat chorus

MEDICINE MAN Many distant miles away | Past the shores of ever dark | There stays a magic man Who bears an evil mark | He helps all concerned | Those who come again return | Injecting lies while fires burn | The devil’s heart | With angel’s words | Have you wondered | What heaven’s like? | He can show you in one night | Overwhelming with euphoric lift | To lure you to steal your gift | pre-chorus Intoxication | Seeping down to the bone | And there’s no question | Where you have to go | chorus Understand just take his hand | He’s the medicine man | Once proud and fearless men | With desire in their eyes | Lost strong and fruitful lives | To self-indulgent ties | Their souls were dipped in venom | And put into a box | Then placed upon a crowded shelf | Where countless souls now rot | Have you wondered what hell’s like? | He can take you there | Just one taste and you’ll be back | And by the high you’ll swear repeat pre-chorus | repeat chorus

MESSAGE IN BLOOD There’s a place that I keep deep inside me | It can trigger my mind | All along I knew it has been with me | Since I was just a child | I just summon power within my soul | It has given me life, beyond life I take | Blame for my murderous problem my signature | Always reminds | chorus It’s a message in blood | It’s your cryptic warning | Within the message in blood | Marks the years of pain And your godforsaken ending to life | I’m provoked into sick confrontations, brutal | Time after time, bed of nails, suffocation | Life’s endings, slay in different designs | One man’s misery is another man’s mystery No cares to understand my | Demented means | Sticks and stones can break all your | Brittle bones, epitaph written at your feet | chorus | It’s a message in blood | It’s your cryptic warning | Within the message in blood | Marks the years of pain, | And your godforsaken ending to life

THE SLEEP Understanding what has | Happened before us | We are confined to a | Darkened hidden tomb | The conquering of our world | As we knew it | Rise above this pit | Of sorrow and pain | Among the few | We are the avant leaders | We’ve got to live | Through this trouble and decay | chorus | This question haunts my mind | Will we survive this night? | We’re harboring the meek | Will we survive the sleep? | Unsure and scared | We are planning our reprise | Revolves around this world | We don’t know anymore | The odds against us | Yet we’re stronger and prevailing | Learn from mistakes | Counting souls for sale | repeat chorus

THE ART OF SHREDDING Unity is a rare thing | Blind eyes of society bring | The category of minority | Now what are we supposed to be? | Born free to be | Powerless to change the world | With our lives in the hands of madmen | Now in times when society needs us | This is where the sin begins | We’re aware they’re going to free us | Rage from our hearts within | Born of this world | Which is a living hell But we’ll be closer to heaven | chorus | So now, this is the art | To shred… Its only emotion

all songs written & arranged by pantera.

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Carolyn Abbott and Everett Scene, Ann C.

Brown, the Ponders, Tami “C” Sims, Rita “Beater”

Haney, Stacie Candles. Anselmo Family: Mom

and Wade Colclough, Dad and Tina Anselmo,

Aunt Pam, Aunt Carol, Mary and Leo Gruba,

Uncle Sid, Uncle John, Jessica, Aunt Meg,

Joshua, Adrian, Andrea, Little Bro John, Alyse,

Aunt Judy and Grandma Nina, Tommy and

John at Brooks Mays Pro Shop, Dallas, Texas;

Mark Cigainero “The guitar fixin’ magician”

at Longhorn Guitars, Fort Worth, Texas; Max

Smirnoff, Houston; Ape Music, Fort Worth,

Texas; Monte (cheers) Conner at Road Racer Records; Valerie Jack and Mary Beth at BMG;; Mike Randall at Hot Connections, Tracey Barnes, Madd Maxx and all at Z-Rock; David Counter; Important Record Distributors; Dave Reynolds and Phil Wilding at Kerrang!; Bernard Doe and Dave Constable at Metal Forces; Gerri Miller at Metal Edge; Dean Adams at Metal Detector; Lisa Roxanne at Star Beat; Jim Shaw, Attorney At Law “Thanks for getting’ us out, keepin’ us out and looking out!”; Mike Siam, Nathan Zuvick, Al and Homer at The Backstage, Houston, Texas; Ed, Bruce, Aaron and Mike at

pantera are: Philip Anselmo—VocalsDiamond Darrell—GuitarsRex—BassVinnie Paul—Drums Produced & Engineered By Terry DateCo-Produced By PanteraRecorded at Pantego Sound Studio, Pantego, TexasMixed by Terry Date & Pantera at The Carriage House, Stamford, ConnecticutAssistant Engineer: Matt LaneA&R: Mark Ross Management: Kimberly Zide Davis for Mike Davis Productions

www.pantera.com

Art Direction: Bob DefrinLive photos:Joe Giron Front cover background photo: Bettman Archive

special thanks to those who made this record possible:Derek Shulman, Mark Ross, Derek Oliver, Steve Kleinberg, Cathy Swan, Matt Pollack, Jim Coffman and all at Atco Records. Jules Kurz. All at WEA. Jerry “L.D.” Abbott, Terry “Rope King” Date, Ken Hensley and Mark at Ampeg. Johnny Montagnese, Matt Lane. Chuck Widner and Tim Lawson at Randall Amps (gotta have that Randall Crunch!). “Uncle” Bob Archigian and all at E&O Mari (Meltin’ the steels!). StevenKaufman at Charvel Guitars.

road dog 1990 crew: Guy “Hard-on” Sykes—Production Manager, Bass TechnicianGravy Champion—Guitar TechnicianScarsdale—African errands& Drum TechnicianSonny Satterfield—Lightning!Androse Esquibell—Sound

diamond darrell uses:Randall Amps, La Bella Hard Rockin’ Steels, Dean Guitars, and Furman Technologies

rex uses: Charvel Basses, Ampeg Amps, La Bella Hard Rockin’ Steels

riggs uses: Sabian Cymbals, Pro-mark Sticks, Remo Heads and Camco Pedals

Reissue produced by Kimberly Zide Davis & Mason Williams

Remastering: Ted Jensen at Sterling Sound

Art Direction & Design: Matt Taylor at Varnish Studio IncPhotography: Joe GironProject Assistance: Charles Benson, Kenny Nemes, Patrick Tempest

special thanks: Monte Conner

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Mike Tyson—Sorry you lost!; Inspiration of old KISS; Old Black Sabbath; Lance “Conan” Evans; Rivethead Rag; Dave “MacGyver” Petika; Steve Blaze; Russel Eller (for the dred work, in your face!); Muhammad Ali; Wayne “Dubie” Fabre; Big Lovie at Jack in the Box (for the x-tra guacamole); I.V.D.H.; The Mongrel; C.L.H.S.; Dave “Horns” Winarsky; Gednose; Benihana of Tokyo; Apple Jacks Liquor; Porno World; The 2300 Club (Busta Jugg); Danny D’s (Rockin’ good Ribs!!); Harrigan’s (Stoli Bloody’s); Quicksign; Bull Hole; Hank Balls and Tailspin; Ryan and Bernie; Jim Walenta (Bold!); Gold Medallions; Dosequis XX; All at the Dream Merchant, Houston, Texas; R.E.B. Roach Clip, Bigfoot Wallace; Barry, Garry and everyone at Spare Time Lanes; Jeff Tyree and Fool Time Productions; 1000 proof nights at Manhattan’s Stuart “Photo Pass” Taylor; Cole “100 bucks” Wallace; Lee and Showcase; Willie “Super Metal, good buddy o’mine” Sides; Rod Patterson; Scene Building company in France; Flaming Dr. Peppers and 2 for 1 Blue Devils; Danny Glen and Martha English; Alida (for the food); Charles and Val; Craig “Skippy” Cazaboun; Cindy “Heels” Anderson; Christians; Dog Man Dennis; Kevin; Jose Morgan; Kelly Mavin; Louis The Thrash Lord; Max and Mike Chapman; The Dark Bros.; Randy Adams and Cathy at Pappa Sans Tattoos; any type of vodka; The

Mountain Ape Enema; Body and Blood; Steve “The Skin Rubbs” Pharr and Laurie Harris; Big Billy Cook; Johnny (I Love ya dude!); I.N.C.; Ben and The Galactic Cowboys; Danny Crash; Big Billy, Gretchen, Mitch and everyone at The Last Stop; Danielle; Trey “The Kid” Rapp; Big J.; Big Bald Walter Nagrotto, Frank “The Gibb”; Warren “I Love ya” Ryan; Nigga Troy; Dirt ol’ Loitch with his hands in his pants; Shaggy; Price “Cool Breeze” Zeppelin; Keystone Beer; The Saints; Christian Robinette and Rebecca, my baby sis, I love you!; The memory of Mike Hatch and Paul Wirth; Grandpa The Druid Genius; Angelo; Kim Prince; Bart (K.F.B.) Alsbrook, Underground Records, Dallas, Texas.

The Basement, Dallas, Texas; Ab, Ben and the Thrashers at Joes Garage (Lebanesian Lounge), Fort Worth, Texas; Neon Leon and all at Dallas City Limits; Bird at Electric Company, Denison, Texas; Pam at The Limelight, NYC; Patti at the Cat Club; Doug Pinnick, Kings X; Wrathchild America (Softball, Is pipes, it’s Football next time!!); Disciple (Bud Potts); Mark Ferrari (for the faith); Donny “Million Dollar” and Shari Taylor and Sly Wolf; Scott from Grammacide; The Katt Daquiri Boyz; The Exhorter Boyz; Mark and The Crumbsuckers; Dan and Oliver Magnum and Crew; Razor White Boyz; Kerry King (Off Limits) and Slayer; Turner and Sedition; Kirk and (The Windstien Family), Sexy T., Jim Tronics and Kevin—Slugs; Pepper Keenan (C.O.C./Graveyard Rodeo); Tammy Taylor NYC; Buddy Blaze and Family and Times; Gail Date; Shannon “I work hard for my cash.” Scott; Stuart Vickers Incorporated; The Hippie Commune at The Loft; Dee Dee and Crystal; Jim “The Codge” Moqueen; George, Fred and all at Quickway; Scott “In the Navy” Brill and Family; The Sykes Family (Dana, Little Guy and Chris); “Big Mick” (actually medium) Hughes; Toby Francis and Aero; Rick Miller and Old Savvy’s Times; Ricky Lynn (Boom Chucka Luka Boom); Jerry Warden, Ricke (“Ball-Busting, H.M. Skull Press”) Warden; Andre “My life’s in shambles but I still

got it!” (Dr. Lubbes, leather hat, credit cards, small hung, high doll, pizza god); Scott Genius Howle; Mike “Medicine Man” Tibido; Chris Morris, Chris Fanning, Jackie Blue, Squeak “Blackout”; Darrell “Hans Solo, smashed van, flyer, print king”, Bret “Shaqwin”; Chuck “A.P.D. New Year” Winters; Marizie and Wife; Psycho + 1; Dusty Showco Skitzburn and Skitzwife; Three-legged Larry and Smoke; Homer “the divin Samoan”; James Craver and Free Beer and old times at Metal Works; Mark Aiken “Green Acres”; Bob Flavor (You know it’s true, Avatar); Wayne “24 Hours component King” Kirwood; Chet from The City; Caroline Lang; Karla Whitton; Jennifer Goldsmith; Bugsy “Yucki” Shamburger; Charlies Pizza (Godly!); Erin; Johnny Vines; Sherry White; Jay Heylin; Laurie Alford; Scene Dominator; Dream Crusher; John Swendell; 9 skinny puppies; Claudio; Crista “Vogue”; Dave Wall from San Diego; Jerry Rose of Black Rose Productions; Kim Fowley; Tristan 1690 Project; Floyd Rose; Steve Ripley; Coors Light; 2 Doomers; Doc Johnson Products; Pat Prince & Powerline; Jeff Kitts; Seka; the memory of John Wadd and his 14-inch ham. Parke (for the high times); Pipedream Records; Pat Bayard; Randy Flint; Sid “Blood Brother” Montz; Shana Stevens; Sean Sitka; Trent and the Morbid Boys; The Scum Boys; Little Vicky Ass Mora; Wayne Abney and Sal; Zebra; The Power of