LP: (Liquid Flames Records; LF001) jacket variant - Thu 01 Jan 1981
LP: US (Liquid Flame Records; HM13666) - Sat 31 Jan 1981
“HEAVY METAL 13666 CIRITH UNGOL FROST AND FIRE”
Everything is the same day except every time is been re-released the back cover with the credits has changed a little bit, not the photograph but just the text etc.
I think because there was quite a bit of interest in the band and we were broken up for so long it was fertile ground for so many people to make bootlegs. We were recording from almost the time the band started so we always had copies of our songs but they were mainly for ourselves and on a limited basis we will let friends have them. Just so you know the only official demo we really ever did was that orange cassette until we released frost and fire.
in 1981 we released “Frost & Fire” on Liquid Flames Records #10766 not sure how many we made but then signed a deal with Greenworld who rereleased it under #LF001 (On the spine.) a rare one came out without the logo.
We released it as a demo technically 10766, once we signed a distribution deal it was I guess a album release Lf001.
Robert Garven, Mar 2019
1st pressing. Liquid Flames Records is only mentioned on the spine. Copyright (c) Cirith Ungol, no (p) mentioned. Insert w/ lyrics, pictures and credits. Also different labels & deadwax etchings to the Liquid Flames repress.
Barcode and Other Identifiers
Matrix / Runout (Side A): MASTERED AT ALLEN ZENTZ L.A., CALIF. / + / KM + / FOR ENZO / HM 13666-1
Matrix / Runout (Side B): MASTERED AT ALLEN ZENTZ L.A., CALIF. / HM 13666-2 / + / KM +
Rights Society: none
Limited to 5000.
LP: US (Liquid Flame Records; HM13666)
LP: (Liquid Flames Records; LF001) - Sat 31 Jan 1981
Includes insert. Repressing with different label layout, pressed by a different company.
LP: (Liquid Flames Records; LF001)
MC: (Liquid Flames Records; LFMC001) - Sun 01 Jan 1984
LP: Young – 308.7089 - Tue 01 Jan 1985
LP: Young – 308.7089
LP: Restless Records – 70118-1 - Thu 01 Jan 1987
MC: Restless Records – 70118-4 - Thu 01 Jan 1987
CD: Metal Blade Records – 3984-14252-2 (2) - Fri 01 Jan 1999
CD: (Metal Blade Records; 3984-14252-2) - Tue 05 Oct 1999
This is the first CD release of Frost and Fire where the album got it own release. Previous CD editions were split CDs together with King of the Dead. This edition has Cirith Ungol (live) as bonustrack.
The 1999-remaster has the title “Frost and Fire” on the front.
CD: (Metal Blade Records; 3984-14252-2)
PD: [bootleg, picture disc] - Sat 01 Jan 2005
bootleg picture disc. Limited to 500.
2005? 1993? Switzerland?
PD: [bootleg, picture disc]
PD: (Metal Blade Records – 142521) [pd] - Fri 13 Jul 2012
Metal Blade will soon be putting out picture discs of Frost and Fire. Official picture discs of King of the Dead and One Foot in Hell was released in 2005. All previous issues of Frost and Fire picture discs are bootlegs.
On the 13th/16th of July Metal Blade will release the following picture discs:
AMON AMARTH – Fate Of Norns
CIRITH UNGOL – Frost And Fire
POWERWOLF – Blood Of The Saints
All three picture discs will be limited to 500 copies each!
PD: (Metal Blade Records – 142521) [pd]
LP: (Metal Blade Records; 3984-25019-1) [Clear/Green Splattered Vinyl] - Fri 12 Jun 2015
- 200 copies clear/green splattered (High Roller exclusive)
- Order from Metal Blade @ eBay.de
LP: (Metal Blade Records; 3984-25019-1) [Clear/Green Splattered Vinyl]
LP: (Metal Blade Records; 3984-25019-1) [Green/Yellow Splattered Vinyl] - Fri 12 Jun 2015
LP: (Metal Blade Records; 3984-25019-1) [Green/Yellow Splattered Vinyl]
LP: (Metal Blade Records; 3984-25019-1) [180 Gram Black Vinyl] - Fri 12 Jun 2015
LP: (Metal Blade Records; 3984-25019-1) [180 Gram Black Vinyl]
CD: Hellion Records / Nomade Records – NRCD0001 - Fri 01 Jan 2016
“This record was made to be played at maximum volume”
Frost and Fire was produced by Cirith Ungol and originally self-released through the band’s own record label—Liquid Flames Productions—in 1981. The album was re-released later that year by Enigma Records, re-released again along with King of the Dead on one CD by One Way Records in 1995, and finally re-released again in September 1999 on Metal Blade Records. A bootleg picture disc version of this LP, limited to 500 hand-numbered copies, also exists. While Michael “Flint” Vujea is credited as the bass player on this album, it has been confirmed in several interviews that Greg Lindstrom was actually the bassist on this album. In Brazil the LP Frost and Fire was released with the cover of the King of the Dead. (1985).
- Tim Baker – Vocals
- Jerry Fogle – Guitars
- Robert Garven – Drums, Vocals
- Greg Lindstrom – Guitars, Synthesizer, E. Bow, Vocals, Bass
- Michael (Flint) Vujea – Bass (credited, but does not play on the album)
- Produced by Cirith Ungol
- All songs arranged by Cirith Ungol
- All songs written by Greg Lindstrom
- Randall L. Jackson – Executive Producer
- Michael Whelan – Cover Masterpiece – Our favorite artist and illustrator
- Warren Archer – Color Service – For all his help and friendship
- Rusty Muir – Ivy Hill For his hospitality, and kind staff
- Jim Auchterlonie – KM Records – For our pressing needs
- Chris Bellman – Allen Zentz – For cutting the master so hot!
- Mastered at Allen Zentz, Hollywood, CA
- Tim Nelson – Goldmine – For his time, patience, and know how
- Engineered by Tim Nelson
- Re-mastered by Brad Vance at DNA Mastering (2015)
- Cirith Ungol is a registered trademark of Tolkien Enterprises and is used here with permission
- All songs published by La Rana Music, except “Cirith Ungol” published by Amgine Music/Molten Metal Music/Bug Music. BMI.
- Administered by Bug Music.
- ED – Santa Barbara Sound
- Dan Keeler – Mike’s Drum Shop – For the sticks
- Mike Shimizu – For not playing to the album
- Neal Watson – For the English models
- Norman Watson – For the lesson
- Moose Choreography by Nick Charalambous
- Michael Moorcock – Author – For creating Elric, Corum, etc., etc.,
- Our Crew: Dan, Rick, Kevin
- Pressed at KM Records, Burbank, CA
- Sleeve by Ivy Hill Communications, Los Angeles, CA
- Rear photography by Wallace F. Rollins
- JD’s Typesetting, Ventura, CA
- Color by Color Services, Monterey Park, CA
- Stage Manager: Kevin “Dr. K” Sage
- Road Crew: Dan Baker, Rick “Kirk” Love, Mike Mowrey
- Contact: Liquid Flames Productions (805) 643-6003
- For Enzo (scratched on the first record)
|title/credit||time||written / music by||year||earliest live||earliest cover||earliest various||event/record/etc.|
|Frost And Fire||03:32||Lindstrom||1979 Sep||Live 1981||2001, Static Laughter||Lauschangriff Vol. 003 (2010)||Frost and Fire Records (same as CU?)|
|I’m Alive||04:46||Lindstrom||1980 Sep||Live 1983||1988, Revelation (only instrumental)|
2010, Convixion (live)
|LA Steel (1986)||I'm Alive (release, 2019)|
|A Little Fire||03:40||Lindstrom||1979||KnuckleTracks XVII (1999)|
|What Does It Take||03:24||Lindstrom||1979||2005, Solemnity|
|Edge Of A Knife||04:27||Lindstrom||1980?||Live 2017||1988, Revelation (fragment)|
2012, Finger of Scorn
|Fenriz Presents The Best Of Classic ’80s Metal And Punk! (2008)|
|Better Off Dead||04:38||Lindstrom||1979 Dec||1988, Revelation (only instrumental)||Better off Dead! (release bootleg, 2009)|
|Maybe That’s Why||06:05||Lindstrom||1980 Mar||Live 1981|
|1988?, Revelation (unreleased)|
At the time we wanted a “Sword and Sorcery” theme cover called “Berserker” by Frank Frazetta, a famous sword and sorcery artist, but it was taken by the country rock band MOLLY HATCHET!
Robert Garven, Metal Nightmare interview 2000
I was reading Stormbringer by Michael Moorcock at the time and was thinking, “man this is the ultimate cover art!” I never thought we could use it but I contacted the publisher who got me in touch with Michael Whelan, who is one of the few people in our entire music career who was honest, friendly and kind, and we got to use it. I think we were the first album cover he had done at the time and we really wanted to use all his Elric series on our covers which we did! I told him that I always wanted to buy the painting for the cover of #1 (Stormbringer) from him if we made it big but we never did. He was quite successful then, but now he is probably the world foremost fantasy artist/painter/illustrator and his paintings cost a lot of money. It’s funny, DEEP PURPLE had an album named after the book and we got the cover. BLUE OYSTER CULT also had a song, “Bane of the Black Sword” which was based on Michael Moorcock’s writing.
Robert Garven, Metal Nightmare interview 2000
The cover was painted by Michael Whelan in 1977 and is entitled “Stormbringer“. According to Greg, it is one of the best album covers. The full painting can be seen at bought at the official Michael Whelan website, and here and a funny here.
The painting was used for the DAW edition of Michael Moorcocks fantasy novel also called Stormbringer (Elric of Melnibone saga #6). The book was published in 1965 and revised 1977 and is available at Amazon.com and eBay.com. There are various editions of the book, and not all editions has the same cover. The book has also inspired Deep Purple’s “Stormbringer”, Magnum’s “Stormbringer” and many more. The song Stormbringer is also known as the Forever Black album (2020).
To me, Elric is a classic anti-hero. He deplores all the evil in his world, and tries to fight against it, but in the end, he cannot overcome it and even unwittingly aids the forces of chaos.
Greg Lindstrom, Tombstone interview 09/2001
The cover looks almost identical. But there original is from 1981 and the second is 1999 and the third one 2015(?). The first one has purple text on the left upper. The second little dark green, and it says “Frost And Fire”. A third has a blue text, but without “Frost And Fire”.
About the album in the band’s own words
Actually, Michael didn’t join the band until after we recorded the “Frost And Fire” album in December 1980. I played bass on that record, but we put Flint’s name on the album so people would recognize him as a band member when they saw us live.
Greg Lindstrom, interview by Patrick Lefevre
I wish we could have gotten a heavier sound, but were all still learning how to use the studio. We definitely would have liked to put “Last Laugh” and “Hype Performance” on the album, but we basically just ran out of money to pay for recording time. Remember, we paid for everything on “Frost And Fire” ourselves, from the recording time to the shrinkwrap.
Greg Lindstrom, interview by Patrick Lefevre
I’m partial to F & F, I just wish we could have gotten a heavier sound on the album, but we were on a very limited budget and we were all still learning how to use the studio. The sound I imagined in my head was much heavier.
How long did it take to make Frost and Fire?
It took a while because it was self-financed, so we would have to wait to get studio time and then more money. It probably took maybe a couple weeks altogether, so not that long. We had all the songs, and we had already done them all at our home studio as demos. So, we already knew what they were gonna be, and what the overdubs would be. So, once we were in a real — at that time — 16-track studio, it was already kind of ready to go. It was just a matter of picking the songs and getting ’em done.
Interviewer Chris Corry asking Tim Baker
We wanted to make it big, but all of our music was so heavy and dark, we thought we would use our most commercial material on Frost and Fire, so that we would get air time and stuff. Although all the lyrics and some of the music on Frost and Fire were written by Greg, almost all of our songs over the years were a collaborative effort, some times “I” would even hum out parts until we got it right. Everything had to be perfect, sometimes leading to fist fights over riffs. Anyway, it just turned out Greg’s songs had the more commercial sound. After Frost and Fire came out it was only played a couple of times on the LA radio station KLOS because everyone said it was way too heavy….. So we figured FUCK IT!!! If they think that is heavy why are we holding back? Let’s show them something really heavy!!! We wrote about thirty songs with Greg that have never been released, some not even on tape. It was only understandable that we put some on King of the Dead. Greg did not leave until after Frost and Fire, so we were writing songs up to the day he left.
One reviewer in Kerrang! called Frost And Fire the worst heavy metal album ever recorded! I think a lot of critics at the time just didn’t know who to compare us to and tended to dismiss us. But the fan reaction from all over the world was great. Unfortunately, our albums didn’t have very good distribution and were often hard to find in stores. And that’s part of the reason I quit the band. I felt I had reached a turning point in my life after graduating college and spending 10 years in the band. It was more than a year after Frost and Fire had been released, and sales were decent, but nothing was really happening for us, and I felt it was time to move on, which I did with much regret.
We used to walk around neighborhoods knocking on doors and offering to wash peoples’ cars! The first 3000 copies of “Frost And Fire”, as well as the recording costs were totally paid for by the band.
Greg Lindstrom, The Corroseum interview
I think the confusion lies with “Frost & Fire”, which we wrote to get noticed and popular and so it was intentionally all of our most accessible or radio friendly or commercial songs. We wrote and played heavier songs before and after but that album was meant to launch our career. Unfortunately it was considered too heavy by the radio stations in LA, and though it did receive much underground and college airplay it was not apparently what we needed to succeed. After Greg left we said well, why try to appease an audience that we were to heavy for anyway so we made a conscious effort to make the next album much heavier and gloomier.
Robert Garven, Diabolical Conquest interview
Question: What are your ten most valuable records from a collectors view?
My ten remaining sealed copies of the original Frost & Fire LP on Liquid Flames Records! I’m not sure how valuable they are
Greg Lindstrom, interview
A review by Robert Garven
The Tales that Speak of “Frost & Fire”
As co-founder and drummer of Cirith Ungol for 22 years I feel I need to respond to some of the reviews here.
A previous reviewer mentioned that “Frost & Fire” sounded thrown together. The real truth is that we had been in the band for 9 years already and “Frost & Fire” was our attempt to get “commercial” airplay and find success with what we considered some of our more accessable music and yes radio friendly music! When the local LA station KLOS played it once and considered it too heavy, we decided to go for broke with our second album and pulled out all the stops. I disagree with some of the reviewers and think Tim’s singing is not only excellent here and that “Frost & Fire” has some of his best vocals. This album features his highest pitched and clearest singing. Anyone who does not call it sining has to compare it with some of todays death metal. “‘Im Alive” was one of our all time best songs, which we started almost every set with. The LA Times said that Pearl Jams “Alive” was a blatant rip off of our song, which is debatable.
I also think the title track “Frost & Fire” is excellent with a great middle break and solo and that “Better off Dead” has a great bass line and some of Tim’s greatest singing range. This is all said looking back with a historical view that only I of all the reviewers can comment on being there the whole time. Jerry’s solos are amazing and his passing was very tragic and sad.
This album has to be listened to many times to appreciate the lyrics, songwriting and performance as a whole not separate parts and to understand as opposed to it being thrown together is was a calculated attempt to obtain a major label contract during a time that only bands with catchy songs that would get any radio airplay were signed. Although i think “King of the Dead” was more representative of the band I am most proud of this album because not only was it our first but it was graced by the unbelievable cover illustration of Michael Whelan’s epic portrait of Elric of Melnibone holding Stormbringer high above his head. This was a dream of ours and after so many years of struggle it was our reality. And yes our music can never be worthy of this great artists work!
Considering we produced, self recorded and paid for the entire project and that we were one of if not the first independent band to put out their own album before the wave of indie productions during that time, I think “Frost & Fire” “King of the Dead” & “Servants of Chaos” are a mandatory listen.
That said “King of the Dead” is my favorite and the last album which we had total control over. I am proud that we are mentioned in the same breath as bands that were epic and hope you all appreciate what we were trying to acomplish at a time when only big label bands had any chance of distribution or airplay.
Unfortunately for you the listener you never got to hear the other 20 or so odd songs that never made it to print such as: “Half Past Human – A Quarter to Ape” & “Brutish Manchild” but then that is another story for another day…………
Amazon-review (5 out of 5 stars)
Fenriz of Norwegian metal band Darkthrone is an old fan of Cirith Ungol.
1980, USA, EPIC/TRUE METAL WITH 70S VIBES AND MORE SOUL THAN SLY AND THE FAMILY STONE!
Darkthrone, from their list of album recommendations in the booklet for the F.O.A.D. album.
Metalfan: But, of course, it’s hard not to ask you: regarding the music and its image, which is the most beautiful vinyl from your collection?
Fenriz: Most beautiful… never gave that much thought, I think the album front cover of the first Cirith Ungol and also the second is very beautiful.
- 7 Digital
- Barnes & Nobles
- CD Universe
- Cirith Ungol Band
- Eat Metal Records
- EMP Online
- Hells Headbangers
- High Roller Records
- HMH Records
- Indiemerch (Cirith Ungol)
- Indiemerch (Metal Blade)
- Napalm Records
- No Remorse
- Nuclear Blast.de
- Shadow Kingdom Records
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