| My Sanctuary | 5:48 |
| Gravy Train | 3:45 |
| Angel | 4:03 |
| Valley Of The Ignorant | 3:37 |
| A Touch Of Upheaval | 3:34 |
| Infinite Shame | 4:06 |
| Hog Love | 3:54 |
| Sweet Child | 5:51 |
| Sweat And Sour | 1:43 |
| The Blood Slicked Highway | 5:16 |
| ¡Toxico! | 5:11 |
| Sick City | 5:08 |
Praise the Lard, a record album by PIG (Raymond Watts), was initially released on Concrete Records in 1991 and re-released by Cleopatra Records in 1997.
The re-released version has an incorrect track listing, due to the use of artwork from the original LP version.
Cleopatra Records reissued the album after “purchasing” the rights from someone who did not legally own them; Watts eventually worked out a deal with the label that allowed the reissue to remain in print.
| CD | Concrete Productions | CPRODCD 017 | UK | 1991 |
| LP | Concrete Productions | CPRODLP 017 | UK | 1991 |
| CD | Cleopatra | CLP 9980-2 | US | 1997 |
| CD | Dolphin Entertainment | BLCK-85927 | Japan | 1999 |
Using his love of sampling and big dumb drumbeats, Raymond Watts creates a twisted landscape that embodies everything from hardcore industrial to swing. The sinister build up of “My Sanctuary” and psychotic lustful ranting of “Hog Love” (which has some insane lyrics) give the impression of Watts being a truly disturbed guy, one with more than a slight preoccupation with sex. As further evidence of his insanity in the field of music, listen to “A Touch of Upheaval” and “!Toxico!,” a marching song laced with orchestration and a drunken industrial swing, respectively.
Praise the Lard is in many ways one of Pig’s most defining albums. It is the album in which Watts began to implement classical orchestration with metal guitar riffs, a combination that becomes so prevalent on his later albums. Lard also touches upon the ultra-dark and angry themes that are embraced on newer albums such as Wrecked and Sinsation.
Raymond Watts is one of those artists that can take a myriad of different sounds and samples and turn it into something completely different. His impact on industrial is substantial if underrated and under-appreciated, especially in the United States. Raymond, I salute you.
~ Alan Esher, All Music Guide
Concrete:
All songs written, performed and produced by Raymond Watts except:
Hog Love: Words by Anna Wildsmith
Angel: Organ played by Mike Watts
Sick City, performed by R.G. Watts and J.G. Thirlwell
Produced by J.G. Caffery and J.G. Thirlwell
1, 2, 3, 8: Recorded by Paul Coleman, mixed by R.G. Watts at Remaximum, London.
4, 5, 8, 11: Recorded and mixed by R.G. Watts at Studio Skalitz, Berlin
7, 10: Recorded by Paul Coleman at Kling + Klang Munich
6 Recorded and mixed by Martin Hawkes at Joe’s, London
12 Recorded by J.G. Caffery at Preissen Ton, Berlin.
Remixed by R.G. Watts at Joe’s, London.
Designed by Machine – “The body electric”
Photography by Martin Thompson
Cleopatra:
All songs written, performed and produced by Raymond Watts except:
Hog Love: Words by Anna Wildsmith
Organ played by Mike Watts on Angel
1, 2, 3, 7: Recorded by Paul Coleman, mixed by R.G. Watts at Remaximum, London.
4, 5, 8, 10: Recorded and mixed by R.G. Watts at Studio Skalitz, Berlin
6, 9: Recorded by Paul Coleman at Remaximum, London and mixed by Paul Kendall at Kling + Klang Munich
Designed by Machine – “The body electric”
Additional Graphics by Control