an orchestral Isaac Hayes recording, "Ike's Rap II". Marketing and sales After Tricky signed to 4th & B'way, the label reissued "Aftermath" in January 1994 and released "Ponderosa" in April to promote Maxinquaye. The following year, three more singles were released—"Overcome" in January, "Black Steel" in March and "Pumpkin" in November. The label also released a four-track EP entitled The Hell E.P. in July, which was a collaboration with the American rap group Gravediggaz and featured "Hell Is Round the Corner"; the song reached number 12 on the British singles chart. 4th & B'way relied on independent record promoters and Tricky's cover story in NME to promote Maxinquaye, even though hip hop records in the United Kingdom generally received exposure through dance music dealers and press. According to 4th & B'way's director Julian Palmer, the UK's demographic of young music buyers such as students was more progressive than in the United States, where he said the record would have to be marketed differently because of his race. He believed that much like Portishead, a contemporary Bristol act, Tricky would have received airplay in the US on alternative or college rock radio if the label focused their efforts to promote him there: "Some people I've met were confused because he's black, and it's not easy to break through those barriers there." According to Rupert Howe from Q, the album's music tested stylistic barriers and "sounded as alien to hip hop" as it did to the Britpop sound popular in the UK at the time. Publicity photos and music videos promoting Maxinquaye featured Tricky and Topley-Bird utilising androgynous imagery. They were photographed on one occasion wearing gender-bending clothing such as a mufti. Other promotional shots based on a wedding concept captured Topley-Bird dressed as the groom. As The Independents Phil Johnson recalled, the very thin Tricky was dressed in drag as the bride and his sickly looking face "painted and preened", with smeared lipstick and a false eyelash in the style of Alex from the 1971 film A Clockwork Orange. In Johnson's opinion, the record's gender-bending promotional efforts were canny in how they "maximized Maxinquayes cross-genre potential". According to Reynolds and Joy Press, while "most post-rock 'n' roll forms of popular music ideologically rest on rebellions against the feminine", Tricky "utilized the feminine to construct his rebellion against the strict categories of black identity and music". The musician later explained that he