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THE RESURRECTION When I was doing “The Year The Sun Died” album, I was talking with Lenny about the early days and we talked about the demo before the “Refuge Denied” album. He had it on a CD and played it for me. I was blown away at the rawness of the original versions of some of the songs that would be on that record. He mentioned that they still had the original multi-track tapes. One night when we were hanging out after working, I brought up how cool it would be to transfer those tapes to digital and see what was on those tapes. I thought if the recordings were still intact, it would be really cool to remix some of the songs and maybe get them out to the fans.

I got a call, and Lenny said that he went into a studio and baked the tapes and had them transferred to digital. I was in the area working on the Queensrÿche album and stopped over to check it out.

The recordings were still in decent shape. There were not many tracks recorded during those days. 7 of the 9 songs were only 16-track recordings. The drums didn‘t even have any mics on the cymbals. The guitar tracks were minimal and sounded awful and there were very few vocal tracks. Some of the tracks even had dropouts of blank space.

We agreed that we wanted it to sound as best as possible without taking away from the original vibe and vision of what the band had in 1985.

After a year of mixing on and off we were able to resurrect these original demos. I hope everyone enjoys these recordings as much as I did working on them especially being a huge fan myself.

Zeuss, 2016

THE NAME When we were growing up, one of my favorite movies, “Logan’s Run”, was a big influence on me. I saw this movie many times as a teenager. It was set in the future under a large dome. The occupants were required to attend a ceremony called “Carrousel” on or near their 30th birthday.

Basically, they were executed at Carrousel. There was no one under the dome that was over 30 years old. Some of the dome inhabitants refused to attend and would run or try to escape to a place that they referred to as “Sanctuary”. It was located somewhere outside the

dome. The defectors were called “Runners”. There were enforcers called “Sandmen” that would hunt down the Runners and try to prevent them from escaping the dome.

I had not seen this movie for many, many years until my 30th birthday.

I remember being depressed that I was turning 30 and I was just having a beer and turning on my TV. It just so happened that the movie that inspired our band name and represented the end of life at 30 was the first thing that came up when I turned on the television. It was a very odd coincidence.

THE INCEPTION Not everyone knows this, but Sean Blosl and I are cousins. We grew up together and were pretty much like brothers for most of our teenage years. Always very interested in music and dreaming about starting our own band someday. One day we were at a local record store in the Seattle area. I think we were about 15 years old and we saw a $100 bill on the floor under some guy‘s foot. When he walked away I reached down and grabbed it. We took it outside to see if it was real and ran across the street to the local music store and bought our first guitar for exactly $100. From that day on, we always talked about someday forming a band called SANCTUARY. After a few years of honing our skills on guitar we finally started building our band. It was a long process of auditioning prospective members and writing riffs. Sean and I continued searching for the perfect members for our ultimate band. It took a few years before we settled on the right members. We must have auditioned a hundred different local musicians! Early on we mostly played cover songs and sometimes I would even sing (very badly, though!).

We always thought very big, even when it was just the two of us. We built a huge stage that was about 32 feet by 20 feet out of plywood

and 2x4 wooden boards. It was awesome. It had a cage around the drum riser and two levels with stairs and rock walls made of Styrofoam.

It was very convincing. It wasn’t very portable or practical but everyone was amazed when they came down to our rehearsal room for auditions. Dave Budbill was the first to join after many temporary drummers. He was very young when he came down and he blew us away with his energy. I remember his drum set was a total piece of shit that was literally falling apart, but he nailed it at the audition. We told him he was in the band if he bought a new drum kit. The next week he came back with a brand new drum set.

Within the first few weeks of joining the band, Dave suggested that we check out a singer that he knew from North Seattle. At the time Warrel (Wally) Dane was in a band called Serpent’s Knight. Dave had some inside information that Warrel was looking for a new band to join. Warrel came down and saw the band live at rehearsal. He was blown away as well by the songs and stage setup. We gave him a rough recording of the song ‘Soldiers Of Steel’. As the story goes, Warrel went home and took LSD and wrote the lyrics. He came back a few days later and we all agreed that we had something special with this new partnership.

THE LOGO One of our first vocalists, Randy Bowman, came up with a very rough sketch of the logo. After that, I believe Sean modified it and afterwards it morphed into its current version.

THE SEATTLE SCENE In the early days of Seattle metal, most of the bands were close like family. We all would go to the same parties and shows. “Brain Pain” was the hugely popular college radio show here. We would all have parties during the broadcast and many of the bands would hang out during the show. It was very good exposure for all the underground metal bands in the region. “Metal Shop”, on local radio station KISW needs to be mentioned, too. The show aired on Thursdays at 10 pm. It was hosted by Cathy Faulkner. She was also very supportive of SANCTUARY and had us come down to the station many times and host the show with her. The Seattle metal scene was really starting

off with Queensrÿche and Metal Church. We even had somewhat of a glam scene in Seattle, but of course what the world called “grunge” was what really got the city massive international attention.

Even though Seattle was becoming a hotbed for musical talent, the region seemed to retain its integrity. It was different than other cities.

We spent a lot of time in LA as well, but the people and atmosphere were much different. When you met a girl in LA her first question was “Are you signed?” or “What label are you on?”. It was very pretentious compared to what we were used to at home.

During the early years of live metal performances in Seattle most bands had to put on their own shows. There were some clubs and venues but it was hard to get decent exposure unless you were doing the club circuit or a ‘Battle of the Bands’. We had a venue on the east side in the Bellevue area called Lake Hills. This was the venue that Sean and I would visit every weekend. We saw many local favorites and early versions of popular Seattle bands. One of our goals in SANCTUARY was to try and resist the trap of the club scene in Seattle. It appeared that some bands would be locked into this perpetual hell and we wanted to have a further reach.

FIRST SHOWS Our first show was at our rehearsal spot in Auburn, Washington. We shared a giant warehouse with a local audio company. You could park many large commercial trucks in this place. It was a massive room. The audio company had huge PA systems around that we would use and test during rehearsals on our big homemade stage. We had a bit of an identity crisis with big hair and spandex early on but eventually we sorted our image out. We had a huge setup. A massive PA system and a curtain painted by Sean. I remember being quite surprised about the amount of attendees at the show when the curtain dropped. I think we made a huge impression. The first show was supposed to be sort of a secret gig but we had recently taken a copy of our demo to the local college radio station which was playing us on regular rotation. There was a DJ there

named Jeff Gilbert who helped us immensely early in our career. He happened to mention the “invite only” party a few times on his radio show. We expected about 100 of our closest friends but I would say there must have been closer to 600. Eventually, police got involved and shut us down but not before we finished our set. That was our first show.

I remember as a metal fan and musician my ultimate goal was to play a sold out show at the Moore Theatre. This dream became a reality after the release of “Into The Mirror Black”. The Moore was (and still is) a beautiful old theatre in downtown Seattle. We all saw many shows there growing up. We also played several times at a large club venue called The OZ and later DV8.

THE RECORDINGS

LOST SONGS

We decided to make our first recording in 1985 / 1986. We recorded it in multiple sessions. We started out at a studio called Triad Studios in Redmond, Washington. This was an upscale studio that other local bands recorded at. It was, at the time, the best and most expensive studio in the area. The first songs we recorded were ‘Battle Angels’ and ‘Soldiers Of Steel’ with Rich Furtner on bass. Rich was a good friend that was in the band for about a year.

I think at the time we just didn’t feel like ‘Dream Of The Incubus’ was right for the album. I have to admit it has been growing on me this time around. The same goes for ’I Am Insane’. I think it was too much rock, or something. It just felt too different compared to some of the other songs. We did decide to re-record ‘I Am Insane’ for the demo of “…

Mirror Black”. Again, it didn’t make it. That’s actually an even better recording and slightly different take than the “Inception” version.

In March of 1986, we recorded seven more songs at a studio called Studio One in White Center near Seattle. White Center was considered a bad area in the 1980s. Studio One was pretty rough but affordable. I think we spent two or three weekends there. Back then having 16 tracks at a budget studio was a great opportunity. However, the studio was

not exactly ideal. We had many struggles. Later on, we found out that some mics on the drums had malfunctioned and there were actually no overhead mics! During the remix and mastering process, Zeuss had to fix many issues with the original recording. The 2-inch master tapes from the original sessions were eventually stored in my barn for many years.

It has two floors and the second one is on top of our current recording studio that we call “Metal Camp”. It’s pretty rough and basically open to the elements of bad weather conditions. I don’t think I even realized they were there. They were actually mouldy and wet when I found them in some unknown box. It was kind of a surprise when I came across them one day. After that I had the tapes restored and then converted to digital. Then Zeuss did his magic!

WHITE RABBIT It was Warrel’s idea as he had been covering the song in Serpent’s Knight already. He played it for us and we all really liked it, so we decided to do our own take on it. There are multiple versions of it, I think three in total. The one that’s on “Inception”, and two separate ones done for “Refuge Denied”. We originally recorded the RD version

in Seattle before we got signed to Epic. Then after signing to Epic, they suggested that we re-record ‘White Rabbit’ during our mix session for “Refuge Denied”. I think they wanted a more polished version for radio or something. I wish I had the first version of it, we did for “Refuge…”, but I don’t think any of us have a copy.

THE REACTIONS It was way before the Internet so distribution was much more organic.

You had to physically trade or sell your tapes. It was spread without a cover or insert, and especially within Seattle it was a great success.

Fortunately, Jeff Gilbert loved the demo and played it on the very popular “Brain Pain” radio show on KCMU. He really was key in spreading the word not only for us but for many other metal bands and

later even the grunge scene. Jeff was a Seattle icon and hero within our local metal / music community.

Our popularity really took off after the demo release even if it was not for sale and mostly just a promotional release. Ultimately, it got our foot in the door and got us to the next level.

DAVE MUSTAINE I remember it like it was yesterday. I actually told the guys in the band one night at band practice that I was going down to the Megadeth / King Diamond concert and I was going to hunt down Dave to convince him to listen to our demo. They all basically laughed at me!

And looking back now, it sounded fucking ridiculous. My friend Joe Hayden and I, accompanied by two hot girls, headed down to the Moore Theatre for the show. Of course, I had no real plan and we never did make it backstage to meet Dave. When we were leaving we happened to be walking near the back of the venue when we heard one of the Megadeth road crew guys mention that the band was staying at the Tropics Hotel down the street. Luckily, when we got to the hotel there was no security. We parked in the underground garage and proceeded to walk every floor of the hotel one by one until we found the loudest room in the building. The hotel room door happened to be slightly open. We decided to push the door open and send the girls in before us to cause a distraction. It worked and we were in! With the rest of the band now preoccupied with the girls I walked in the door and saw Mustaine sitting across the room and we immediately made eye contact. He motioned for me to come over and I thought he was going to throw me out. I was well aware of his reputation so I was a

bit apprehensive. When I walked over, I thought it was odd that he had a toy shark in his hand. It was actually pretty cool. He asked me if I wanted to drink some Courvoisier with him. I had no idea what the hell that even was, but I was all for it.

We hit it off pretty well. Dave and I discussed music and riffs for a few hours. I knew eventually I had to get him to listen to our demo. It took some convincing and we were all very boozed at this point. I convinced him to come down to our car to listen to the demo. I think we may have offered him some party supplies. Remember this was 1986.

Enough said! Anyway, we played him the demo and he really seemed to like it. He actually listened to some of it multiple times. He told me right then he was interested in producing a record for us. I didn’t even really believe it at the time. I kind of thought he was fucking with me.

Dave asked to keep the tape and wanted me to call him in a few weeks when he got home from tour. I remember thinking, “No way is this guy giving me his real number”. I remember calling the number when I got home just to see if it was a working number. It was Dave Mustaine’s answering machine. Now we were getting somewhere! A few weeks later, Dave and I spoke on the phone and he invited us down to LA.

GETTING SIGNED The record deal all happened after meeting Dave. Before that meeting and after finishing the demo, I was obsessed with getting us to the next level without becoming stuck in the local club circuit. I was determined to break the band. We all knew we had something that metal fans would relate to. Once we had Dave on board it was time to secure a manager and he suggested their manager Keith Rawls. I must have called him 100 times. I called at least three times a day for more than a month with no luck. Every time I called I was sent to voice mail or left messages with the receptionist. I finally got on a very brief call with Keith right before our first mini tour with Megadeth. He promised to meet with us if I agreed to stop calling him and leaving messages, ha ha! After our first meeting we all hit off. He was impressed by the band’s persistence and we now had a big time manager. Keith agreed to finance the record that Dave was about to produce. This was even before we spoke to any record company.

The word got out that we were working with Dave and Keith. We flew down to LA for a week with our demo in hand, and Mustaine took us to several record companies. All we really hoped for was a deal with an independent record label like Combat, Metal Blade, Shrapnel or even Enigma.

We felt pretty good, but there was no real solid leads produced from that week in LA. We did get a few offers but decided to wait. I think we waited until we had finished “Refuge Denied” before we tried searching for a label again. Once the album was done and Keith shopped us around, the buzz started to happen. MCA offered to fly us back down to LA to play a showcase just for them. I remember it was pretty terrifying to play for a bunch of industry big wigs rather than a metal audience.

The showcase was actually a blast. Dave was there and introduced us to the audience of MCA employees. We did great and it really was an awesome experience. The band made a huge impression and an offer was made by MCA but later fell through. Now, the buzz was bigger

than ever. By the time we got home from LA, Sony / Epic also had an offer on the table that was much more money than we ever expected to get, let alone having the option of signing to a major label. After signing with Epic they requested that we remix the record and re-record ‘White Rabbit’. The band packed up and flew to Reno, Nevada. We did the remix at Granny’s House in Reno and The Village Records in LA. I think our friends and family were as surprised as we were. Not that we didn’t think we were a decent band, but I guess you’re never really sure if it’s going to happen, let alone happen that fast. I lived with my mother at the time. She would have all these messages for me when I got home every day from our management or record company. She was always supportive but I don’t think she ever thought it would blow up that fast. At the point where we were signed I think we all quit our day jobs. We kind of had to. There wasn’t time for anything else and this was exactly what we wanted.

THE PRODUCTION I think this was a first for both parties. I believe this was the first time Dave produced another band, and it was our first time in a major studio with a high profile member of the metal world. Not everything was perfect but I can tell you we were all riding the wave and loving every minute. We had what we considered a dream team. Not only did we have Mustaine producing but Terry Date was our engineer! There was no way we could lose. Dave and Terry worked very closely together.

There were also times where Dave had other commitments and Terry

would work with the band. Sometimes it all went off the rails a bit with partying, but no one ever got out of control to the point of being not productive. It was the ‘80s for fuck’s sake! We partied at every chance we got. Drugs, hot girls and tons of alcohol were all part of the studio and touring experience. Mustaine was an invaluable part of our success and growth early on. He was a mentor to all of us. I’m not saying this to kiss his ass. It truly was an on-the-job type of experience and we got advice that most bands didn’t get back in the day.

FIRST TOURS Our first mini tour was with Megadeth. We played a handful of shows with them on the west coast. I actually have a video of one of these first shows at the Stone in San Francisco, probably not our best show.

We had our original bass player Rich help us haul our gear with his truck. He wasn’t in the band at this point but still a great friend. On the way back home his truck broke down and we actually had to leave it behind in Grants Pass, Oregon. I’m not sure if he ever went back to get it. Once the record was out, we did a full world tour with Megadeth!

On the US leg of that trek, we used to have food fights as we would drive between gigs. We had a band vehicle and a crew vehicle. We would take food from the previous show and throw it out the windows at each vehicle while driving down the highways. Our rigs were a total mess by the time we got to the next gig. We would pull in with dried up eggs, random fruit and lunch meat all over our vehicles.

Before a show somewhere in North Carolina, I cut my index finger on my fretting hand with a razor and was rushed to the hospital. They couldn’t really do much. Stitches were not really an option and it’s difficult to play with a bandage as well .They gave me these mini condoms to put on my finger. That and Super Glue held my finger together temporarily. About two minutes into our set, my finger ripped open and blood started squirting everywhere on my white Gibson V. It hurt like hell but the audience loved it. I think they may have thought it was part of the show. Luckily, we had the next few days off so my finger could somewhat heal.

More than one time, I remember entering the tour vehicle when Warrel would have a few lovely ladies tied up and covered in honey, mustard or some other condiments. Usually in some very precarious positions. He was always pretty creative when it came down to interaction with groupies.

Another time during our tour in Ireland, Mustaine had just received a brand new guitar. It was an awesome custom guitar and this show was going to be the first night he played it. Megadeth did their sound check and their guitar tech left the new guitar out on our drum riser during our sound check. A few minutes into our sound check, Dave Budbill hit one of his cymbals and the stand slipped off the drum riser. As the stand fell, the cymbal came crashing down like an axe on Mustaine’s brand new guitar and hacked a good sized chunk out of it. We were in shock. We thought for sure this was the end of the tour for us. It was a very tense night but luckily we continued on with the tour.

On one tour headed for Milwaukee, we were pulled over by the police in Montana. We were driving down the interstate and our driver warned us that we were being pursued by multiple police cars with lights on. At this point we were all on high alert and noticed that all traffic coming from the opposite direction had stopped. As we pulled over with the police cars following, we saw an army of police vehicles approaching head on. They were crossing the median of the interstate and preparing to create a blockade. They were also preventing all traffic from passing through both directions. That was pretty terrifying!

When we finally stopped we had several patrol cars in staggered battle

formation behind us and ten plus police cars blocking the road ahead of us. As we looked up we saw a single heavily armed officer that looked like some sort of a SWAT team member or special ops heading for our vehicle. This guy literally looked like he was performing some full-on military operation. He was ducking and rolling like he was in combat. As he approached the van, he was slamming his shotgun barrel on the van’s windows, shouting that we had better not move or he would blow our heads off. At the same time, the team of officers behind the vehicle were demanding that we exit the van immediately with our hands in the air. This went on for some time before the cops agreed that they wanted us to exit the van.

They had us lay face down on the interstate, handcuffed with shotguns pointed at our spines. I remember looking up and seeing news crews across the freeway filming everything. These cops thought they had hit a major drug bust. As we lay there on the freeway, the cops tore our van and trailer apart. They had an entire team including multiple drug-sniffing dogs. They never found what they were looking for and it pissed them off. One of our crew members had a small bud of weed and that was it. It turns out they were looking for some drug dealers but this was a case of mistaken identity. It was obvious they fucked up.

I remember being afraid that they would going to drag us to the woods nearby and kill us. After the search, they escorted us to the local city hall. We had to go in front of a judge because of the tiny bud of weed.

We were sent on our way with a small fine. There was a collective sigh of relief.

THE COVER Yeah, the evil Nazi priest was originally going to be our mascot. I think we intended to use him on other albums. For some reason we decided to go another direction on “…Mirror Black’”. The priest did make other appearances on T-shirts. We had a ‘Long Since Dark’ T-shirt that he was on that also tied into “…Mirror Black”. The outfit or uniform concept was inspired by my interest in World War 2. When I was growing up in grade school, I was fascinated by anything that had to do with WW2. I read every book on fighter pilots and stories of war heroes. I was particularly obsessed with German military weapons and uniforms like the MP40 machine guns and Luger pistol. To me everything about German weapons seemed to have more character and efficiency. Even the hand grenades were cooler. The Stielhandgranate 24 had this long wooden handle, so that they could be thrown longer distances. Brilliant! Anyway, Dave Mustaine suggested that we contact Ed Repka for the artwork. He was interested and drew up some rough images. We actually flew out to his house at the time and spent a day going over the concept. The cover was actually very loosely based on an image I found in a book. The image was of some underground gathering in a dark cavern. There was an evil figure that was standing at a podium and casting judgement on the participants down below.

Basically, we wanted something in the same vein of the image. We knew we wanted the Nazi priest standing at the podium and pointing at the “Book of Sanctuary” with the German Luger pistol. The pistol strap (Sam Browne belt) was also an important distinguishing part of the uniform.

THE RETROSPECTION I think just getting the chance to tour with some of our heroes would have to be my highlight. Getting signed to a major label and having the opportunity to work with some real pros in the business. Literally, every day was always something cool and exciting for the first few years. I think you assume it’s going to go on forever. Being in a band is like being married to multiple spouses. Sometimes it is complete bliss and other times it is sheer torture. I’m not going to specifically call anyone out, because I think we all contributed equally to the breakup. I have heard the inaccurate story of why the band broke up in 1991 many times. I get asked in interviews about it all the time. This is the real story as I remember it: As everyone knows, grunge was making a huge impact in Seattle and the rest of the world. Bands like SANCTUARY were about to become un-fashionable. I have heard people say that

grunge killed SANCTUARY, but it’s really not true. Yes, our record company would have loved if we had modified our style to blend in with the current scene, but that would never have worked. The truth is that the band were on a fast train to being a total dysfunctional mess.

Our egos were huge, we partied way too hard and we barely got along anymore. It was actually getting to the point of fist fights. By the time Jeff Loomis had joined the band, we were already doomed. A few months after Jeff joined the band, Dave and I could see that Warrel, Jim and Jeff were going in a somewhat different musical direction. This direction later became Nevermore. At that point Dave and I felt like it was time to make our exit. I continued on with Dave for a few years after the break up in another band called Undone.

THE AFTERMATH For me personally I just wanted fans to be able to hear proper versions of the demos. We knew they had a certain energy that was captured during the early days, maybe even more so than “Refuge Denied”. It’s no secret that you can find these on the Internet, but the quality is

horrible. I think most people are under the impression that these are remastered versions of “Refuge…”, but this is all a prequel!

Lenny Rutledge, 2016

DREAM OF THE INCUBUS

I AM INSANE

I COME TO YOU IN DREAMS AND DRILL YOU SLOWLY I GIVE THE GIFT OF SACRED SEX TO YOU

THROW AWAY THE KEY AND LOCK THE DOOR INSANITY INSIDE MY HEAD RETURNS ONCE MORE

I AM INCUBUS, OBSESSED BY LUST NO ESCAPE OR SANCTUARY FOUND

I CANNOT SEE THE REAL WORLD IS GONE ASYLUM FOR THE TWISTED IS MY HOME

NIGHTMARES IN THE DARK CAN PENETRATE YOU I MANIFEST DESIRE IN THE NIGHT

DEEP IN YOUR HEART THERE IS THE SECRET YOU HIDE DECEPTION IS EATING YOUR MIND

COPULATION BURNING DEEP INSIDE YOU AND HIS LOVE IS DRIPPING DOWN YOUR THIGHS

FRUSTRATED YEARNINGS, UNUSUAL DRIVES RELEASED IN DEVIANT CRIME

I AM INCUBUS, OBSESSED BY LUST NO ESCAPE OR SANCTUARY FOUND

INSIDE MY BRAIN I AM INSANE

INCUBUS, ONE FATAL THRUST WILL MAKE YOU FEEL THE FIRE IN MY GRIND

I CAN’T SURVIVE IN THIS LIVING HELL TAKE ME AWAY TO MY PADDED CELL

WRITHING SWEATING FLESH SURROUNDS YOUR BODY SCREAMING PAIN BUT NOTHING YOU CAN DO

THE WHITE COATS SNEER AND THEY CALL ME LIAR STRAIGHT JACKET BOUND YOUR LITTLE BRAIN IS FRIED

I SUCK YOUR MIND YOU BLOW MY HEAD I’M CUMMING VIOLENT THRASHING TEARING YOU IN TWO

SOCIETY’S NIGHTMARE HAS UNLEASHED ITS CRIME THE TORMENT OF MORAL DECLINE

I AM INCUBUS, OBSESSED BY LUST NO ESCAPE OR SANCTUARY FOUND

A VICTIM OF HATRED YOU LIVE ON THE LINE LOCKED UP SAFE WITH YOUR OWN KIND

INCUBUS, ONE FATAL THRUST WILL MAKE YOU FEEL THE FIRE IN MY GRIND

INSIDE MY BRAIN I AM INSANE

…I WANT TO FUCK YOU TO DEATH!!!!

SOLO RUTLEDGE

SOLO BLOSL

DEEP IN YOUR HEART THERE IS THE SECRET YOU HIDE DECEPTION IS EATING YOUR MIND

I COME TO YOU IN DREAMS AND DRILL YOU SLOWLY I GIVE THE GIFT OF SACRED SEX TO YOU I AM INCUBUS, OBSESSED BY LUST NO ESCAPE OR SANCTUARY FOUND

FRUSTRATED YEARNINGS, UNUSUAL DRIVES RELEASED IN DEVIANT CRIME INSIDE MY BRAIN I AM INSANE CRY OUT IN PAIN I’M A FACELESS NAME INSIDE MY BRAIN I AM INSANE

SANCTUARY in 1986 Warrel Dane – vocals Jim Sheppard – bass Lenny Rutledge – guitars Sean Blosl – guitars Dave Budbill – drums Rich Furtner – bass on ‘Battle Angels’ & ‘Soldiers Of Steel’ All songs recorded at Studio One in White Center, Washington in 1986 Engineered by Paul Chrisman Except ‘Soldiers Of Steel’ & ‘Battle Angels’ recorded at Triad Studios, Redmond, Washington in 1986 Produced by Sanctuary and engineered by Mike Tortorello Digital restore done by Stuart Hallerman / Avast! Recording Mastered, repaired, restored, and magically mixed by Zeuss in 2016 Cover illustration by Ed Repka © E. Repka 2016 “Inception” layout by Nora Dirkling / hafensatz.de Additional layout by Matt Akana Booklet front: “Refuge Denied” sketch by Ed Repka Booklet back: Original t-shirt design Original photos used with kind permission from Lynn Debon, Shawn Higman All visual material collected and provided by Lenny Rutledge Product management by Stefan Franke / Century Media Records Interview for liner notes by Stefan Franke & Lenny Rutledge Lenny Rutledge would like to thank my wife Kendra Tetzlaff. Thanks for putting up with me! My entire family.

My daughter Amber Jacobs. Joe Hayden for all his support. Thanks for driving me to the tropics!! You were a big part of making the dream a reality.

“The Fireball Commander” Christopher Zeuss Harris – you are the man! Janet Rutledge and Karen Nacht (Blosl). Ryan Downey. James Overaa / You were there from the very beginning and still got my back 30 years later! Shawn Higman / Thanks for giving me a place to crash.

Dave Budbill would like to thank Diane Budbill, Lacey Peterson, Kaleb Budbill, James Overaa, Peggy and Don Overaa, Shawn Higman, Zeuss for one hell of a remix!

SANCTUARY would like to thank Dave Mustaine. Jeff Gilbert / Thanks for giving us a chance and all the massive support. Shawn Higman for all his help throughout the early years.

All at Century Media, Jens Prueter, Stefan Franke, Nasrin Vahdani, Continental Concerts, Carlos Reuter, Gerald Wilkes, Volkmar Udri, Thomas Pieper, Arne Lakenmacher, Neil Sussman, Gavin Higman, Kendra Tetzlaff, Kathy Littlemoore, Theresa Littlemoore, Paul Chrisman, Mike Tortorello. www.enterthesanctuary.com facebook.com/sanctuaryfans