WEIGHTING...

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Track	Title	Duration
1	Fall Guy	3:54
2	I See Through	4:53
3	Right Here Too Much	4:43
4	Miles Jam #2 (w/Charles Gayle)	12:24
5	Plague #3 (w/Charles Gayle)	6:18
6	Night Sweat (w/Charles Gayle)	5:26
7	Jam #1 (w/Charles Gayle)	14:16
8	Volume 4	5:07
9	Divine Object of Hatred	4:22
10	Disconnect	4:56
11	Civilized	4:54
12	Liar	8:05
	Total Time	79:18

Melvin Gibbs: Bass

When we recorded songs for what

Sim Cain: Drums and Percussion

became our album Weight, we were set up in the

Chris Haskett: Guitar

meeting room of a ski-lodge and played at all hours. We ended up

Henry Rollins: Throat

with a quite a bit of music. Fall Guy, I See Through and Right Here Too

Theo Van Rock: Turbulence

Much were songs that ended up as movie soundtrack cuts and b-sides. We

Tracks 1-7 Recorded Meyers CA December 1993 Engineer: Peter Rave Tracks 4-7 Saxophone: Charles Gayle

asked New York Sax heavyweight Charles Gayle to fly out and join us for some

Tracks 1-3 Mixed by David Blanco Can-Am Recorders Tarzana CA Tracks 8-12 Recorded Live UK 1994

jams. He did and we rolled tape for a couple of nights. What a great time,

All songs by Rollins Band

what a great guy. The results have not been released until now. I

All songs Imago Music/Archetext Music (BMI) except for Track 7 Imago Music (BMI)

included some live tracks from the Weight tour to finish.

All tracks produced by Theo Van Rock

Hope you dig it. We thank you. Henry Rollins

Back photo Mitch Bury of Adams Mass. Design: Chapple Design

09-08-03

I, for one, had been looking forward to this release for a long time. Not so much for the movie soundtrack tracks, which can be found on the DEMON KNIGHT and JOHNNY MNEMONIC respectively, nor for RIGHT HERE TOO MUCH, which can be found on any number of LIAR and DISCONNECT singles from 1994. Likewise, the live tracks that fill up the end of this disc have been previously available on the ALIEN BLUEPRINT and HUMAN PITBULL bootleg discs (although I do applaud the act of an artist appropriating bootleged material for an official release, it does put a small hole in several of the arguments commonly made against why artists don't like bootlegs).

No, the real prize on this release is tracks 4 through 7, the studio recordings featuring the Rollins Band with Charles Gayle. For a couple of years, Rollins had been dropping hints that these sessions occurred, and that the material would get released. Well, here it is, and it was worth the wait! One aspect of the late 1990's Rollins Band that I found very appealing was that they combined the really hard sound of metal with the complexity of jazz and its more sophisticated structures. To my ear, it's hard music that makes you think a little, and it sounds great with a horn. Earlier in the late 80's and early 90's, the Rollins Band occassionally appeared onstage in the New Jersey area with Sim Cain's brother, who jammed along with the band using some sort of upper octave horn, and it sounded great.

This achieves much the same effect, and without slighting Sim's brother, I think it's fair to write that Charles Gayle does it even better. These four tracks have a spontaneity and freshness to them that put forth what I can consider to be the best of the Rollins Band; when they jam. It reminds me a little of the sound achieved by Erik Truffaz and his band when they perform live. The horn and electric guitar are playing point and counterpoint, and the bass and drums are laying down the beat and keeping it interesting. It's a great listen, and I hope that Rollins gets back to this sound someday.