were young(ish) and cocky and I think it shows….Still, it was cheap and cheerful, and it helped us to meet an awful lot of people". The record ended up selling over 20,000 copies. The cohesion of a "proper" band, David J's Bauhaus notoriety and the success of Scandal led to a more ambitious touring schedule. 1985 was also a prolific time for the band in the studio, releasing the singles "Real Men", "The Human Jungle", as well as the live album Hamburg (credited to The Jazz Butcher and his Sikkorskis from Hell). Glass released The Gift of Music, which compiled many of the band’s singles and b-sides, including a re-recording of "Partytime," which was a staple of their live performances. The Jazz Butcher also released Sex and Travel, again recorded with John A. Rivers as producer. "One day's rehearsal in Kevin Haskin's living room, five days' recording and two days' mixing was all it took for us to make my favorite of the Glass records,” said Fish in 1993. In February 1985, David J left the band to form Love and Rockets, and Graham "Felix" Fudger was brought in as his replacement as the band continued with a tour schedule that was three times the year prior; 110 shows in 1985, as compared to 36 shows in 1984. In 1986, the band released singles for "Hard", "Conspiracy", "Angels", and the fan club only release "Christmas with the Pygmies", as well as appearing on compilation albums, such as 50,000 Glass Fans Can’t Be Wrong (which also features solo songs by David J. and Max Eider). Bloody Nonsense, a compilation of b-sides was released in America and Canada, finding its way onto the college charts. In May 1986, The Jazz Butcher returned to the studio with John A. Rivers to record their next LP, Distressed Gentlefolk. The extensive touring had honed the band’s skills, but according to Fish, they were also exhausted and went into the studio with “a scanty armful of tunes,” many ideas having already been released as singles. Rivers had embraced the digital revolution, which was reflected in the production. Fish and Eider had both been focused on their song writing, but their styles had begun to drift apart, with Fish leaning toward a heavier sound, and Eider maintaining a quieter, more jazz-influenced style. Touring continued, including America and Canada for the first time in 1986. The popularity of