I've written about Metallica many, many times in this blog; I'm not really going to do that now but listed below is the incredible cache of songs I've seen them perform over the past 37 years. Not too shabby. I've seen Metallica 12 times, in three states (NY, FL, CA) seen them play arenas, stadiums, festival grounds and (twice) an actual club! After all these years somehow, even with them releasing records I FIRMLY do not like, retain the coveted spot as my favorite band of all time.
Right upfront 10/15/25 photo by the author
Right upfront 10/15/25 photo by the author
The list of every song I've seen Metallica play at least once:
The first time I saw (or heard) AFI was on April Fool's Day 1997 and I HATED them. Being "Mr. Serious Hardcore Guy" at the time, their goofy skatepunk totally missed the mark with me. Being 23 then, I wrote them off as slop for 14-year-olds, entry level garbage. They landed on my radar two years later when I saw an ad for Black Sails in the Sunset and thought, "this is no different!"
The offending ad
Fast forward to the Summer of 2000. The girl I was dating at the time and I were given free warped tour passes and when we looked at the board during a lull in the line up, I said "Hey, let's go make fun of AFI!" we walked over to the stage they were slated to play on, and they came out and blew us away. I CANNOT express how good they were. I became an instant fan. They mentioned that they weren't even supposed to play that day but asked to be added as they hadn't played buffalo is so long and had gotten many letters requesting that they do. I'm glad they did. At a merch table I got a free sampler cassette with some garbage Vandals song and the enticing Sacrifice Theory for the upcoming record AFI record, The Art of Drowning. I was smitten; it immediately changed how I wrote songs for my band at the time, The Control. I soon owned Black sails in the Sunset, All Hallow's and Art of Drowning. This stuff was a far cry from the band I saw in 1997 and right in my wheelhouse: Spooky Melodic Hardcore.
The girl I was dating on that fateful Warped Tour Day eventually broke up (after seeing AFI another time in 2001) and my first wife and I started dating. Thankfully, she was already into AFI and together we went to the BEST AFI gig I ever saw January 1/29/03. Sing the Sorrow leaked a few weeks later and at first, we were taken aback, she even joked "Did they lose a bet or something?" Within a week I couldn't stop listening to it. We saw them 3 more times in 2003.
AFI at the Opera House 1/29/03 (shot with a potato)
AFI at the Opera House 1/29/03 (shot with a potato)
AFI continued to be an influence on me, my next band Dead Hearts- every record had to have the huge intro ala AFI. When we were in the studio recording our most popular record Bitter Verses, we stopped at a record store on the way to the studio (6/6/06) to grab the CD for DECEMBERUNDERGROUND and Derek, Tom and I were like "uhhhhhh?" it was just OK at best. I like songs but over all that record falls so flat for me. I saw them in Toronto two weeks later and everything was white- their clothes, the back drops, the fucking tree they had on stage. WHITE. I was bummed. They were good but some of the songs weren't. Crash love followed up December... and I stood outside their show handing out flyers because aside from two songs, the record REALLY sucked and the band looked like Maroon Five. Burials followed- I like that one mostly and I took my son to see AFI when he had just turned 3 (he starts middle school soon). I firmly like the Missing Man ep. But really, it's been slim pickings since 2003.
My son at his first gig- AFI 2018
The author at the 20th STS show 2023
I did have a BLAST at the 20th anniversary of Sing the Sorrow in LA 3 years ago and both other times I've seen them in 2022 and 2025. Each time they played a few classics I hadn't seen and are still a great live band, it's just not the same. I don't like the last two albums at all and although I respect them as artists wanting to continue to grow, the stuff they write now isn't what I look to them for. Plus, they were VERY GOOD at writing the songs the wrote from 1999-2003 and fairly mediocre at writing the kind of stuff that came after. They were so locked in, but now the freeway has so many exits, they never quite get to the destination. Last time I saw them, they did do Malleus Maleficarum, so perhaps all is forgiven. As a matter of fact, Black Sails in the Sunset turned 27 today!
Anyway, on to the list of every AFI song I've seen performed live:
Answer That and Stay Fashionable:
Half-Empty Bottle
Brownie Bottom Sundae
I Wanna Get a Mohawk (But Mom Won't Let Me Get One)
So, something I've done for a while is keep a list of live songs I've seen from some of my favorite bands. I never really did this for the hardcore bands I've seen, as the vast majority of them, I saw while they were playing their material what is now (or even, then) considered classic. Also, those bands were so accessible, that they just reside in a different place in my mind than the subject of this post (another one) about Danzig.
I first saw Danzig in the 1990's (as documented elsewhere in this blog) for a current total of 13 times, which does not include the two great "Original" Misfits gigs or the (EXCELLENT) Samhain reunion in 1999. There was a (technically) 12-year dry spell from November 2010 (the 11th 'Zig gig) until May 2022(#12), though in that time, I saw those aforementioned Misfits gigs. Also, I had Tickets to a show in Sept 2017 at the Warfield, but it got moved due to illness to the same night as another gig (L7) and, as I had only seen L7 in 1992 once, I chose that. I should also mention that the L7 gig was over early and I hopped in my car and sped over to the Warfield, only to spent 25-30 minutes looking for parking and another 15 or so walking to the venue, just to arrive as the doors opened and the crowd was streaming out, thus missing my only chance to see the song Godless live. Bummer summer- Though excellent gigs in 2022 and 2025 with a few songs I'd never seen more than made up for that. I've included the time's Danzig did Samhain or Misfits songs
It’s kind of a given that the stuff after Danzig’s 4p isn’t
really that great. The song writing and production is uneven and his
voice often sounds, well, tired. But really, I think it comes down to focus. The
band started to have revolving members and there was very little consistency in
direction and playing ability after 1995. Sure, you could argue that Joey C
took over drums in late ‘94 (until 2002!) and is a great drummer, but he is the
WRONG drummer for Danzig. It’s not a skill or talent question; it’s
just a stylistic mismatch. Danzig requires a strong solid drummer who is cool
to be in the background- Joey’s drumming becomes the brightest star on the
records he recorded with Danzig and can detract from the songs themselves. Tommy
Victor drops in and out, as does Josh Lazie and Todd Youth. Touring Lineups
have (Mostly) stabilized over the past 10ish years, but FIVE different drummers
(including Glenn Danzig himself) Played on Black Laden Crown, his last original
studio album. FIVE. But we’ll kind of get to that.
It’s not to say there’s not good stuff on the Danzig albums
post ‘94- there is, it just requires cherry picking that didn’t need to be done
on the original band’s records (OK, maybe skip Sadistikal). But fear not, I
have put in the time, done the work and will show you how to successfully poach
Danzig’s catalog over the past 30 years. I will advise you, weary traveler, on
the songs in order of release- it is up to YOU to decide in which track order
you will build your mix tape, or playlist, but as you will read – a streaming
playlist will have complications.
1996- Deep- from the X-Files - Songs in The
Key of X Soundtrack:
A song written for and appearing in a March 1996 episode of
the X Files, the first hint that something was going to be VERY different with
the impending Danzig 5. This slightly industrial plodder is still standard
Danzig fare as far structure goes and the “8th grader writes a
Sabbath Riff” guitar is satisfying (it’s Glenn on guitar on this one). The production
is stark and works well with the song. It’s not a song that’s going to get you
on your feet, and the production makes it less sexy than if this song was on
Lucifuge, but it’s enjoyable and despite David Duchovny working his magic and getting
this song on the X Files soundtrack, looks like he has no pull with the gods of
streaming or publishing, because, despite even appearing on the Lost tracks of
Danzig compilation, Apple Music and Spotify are devoid of this track.
1996- Hint of Her Blood- 5: Blackacidevil:
Blackacidevil is not good and the joys on it are few and far
between. I still do not understand what the fuck is going on with this record,
despite trying for 30 fucking years. Danzig, at times, uses the "Butthole Surfer’s
guy" accent from Ministry’s Jesus Built my Hotrod. Glenn, we have heard your
voice on countless records since 1977, this is not your voice- what are you
doing? With its heavy NIN leanings, this is the first time that a record Danzig
has performed on that sounds like it’s following, not leading. One could argue
Sacrifice is a strong song on the record- Glenn’s voice is in fine form and the structure,
despite the electronic industrial sounds and keyboards, is what we love Danzig
for, but I don’t care for it. What I do care for though, is another one of the era’s
plodders- Hint of Her Blood. I’m guessing it was written in the same mindset as
Deep, as the two songs are pretty similar in feel. Again, points for the everyman
Sabbath meat and potatoes riff but you cheese eaters can actually stream this
one. I have to wonder if Danzig saw a bunch of hot women at an L.A. club in some
latex tops and decided to write a whole ass record for them… but it’s his least
evil sounding record and least sexy. It sounds forced and… Lame.
1999- Thirteen-
6:66 Satans Child:
I actually don’t hate Satans Child, there’s just some
problems. Whereas I think this is the last time any money or true consideration
was put into producing a Danzig album, it just SOUNDS BAD. There are these
weird random sub bass drum hits and Glenns voice forever feels like he needs a
little honey in his tea. Seriously, get him a fucking lozenge or something. But
the album has a drive to it and a few stand out tracks, the top of which is
Thirteen. Thirteen was written for Johnny Cash by Glenn Danzig and appeared on Cash’s
1994 album. This version was on the Hangover soundtrack a decade later and continues
the plodding ways of a lot of the stronger later songs, this time without a
Sabbathesque riff.
2002- Black Mass and Angel Blake-
777: I Luciferi:
Another record I don’t hate, 777: I Luciferi is uneven but
not completely unlistenable. Seems like maybe Glenn had a couple sips of tea
before stepping into the vocal booth and the performances are strong. I think I saw Danzig the most during this era,
with the BEST Danzig show I’ve ever seen being on this tour run in November
2003. Black Mass has a great intro (albeit
a little too drawn out) and gets you right on your feet. It’s a good rocker
that deserves its place near the later era strong songs. Of course, on the
album, all the good Black Mass did is immediately undone by the trash song Wicked
Pussycat, where Danzig one again sound like a follower and not a leader. Other
songs fall into this as well, kind of going where Marilyn Manson and Korn had
been just a couple of years previous, with the saddest of these being The
Coldest Sun, a song that has an Incredible chorus sandwiched between verses
where you expect Glenn to start saying “the beautiful people, the beautiful
people.” I know Danzig would never see it that way, but you know what they say
about horses and water. Speaking of water, Angel Blake (lives by the lake) is a
fucking banger of a track and one of the best 21st century Danzig
songs. It’s got kind of a Led Zeppelin feel during the chorus and sounds huge
and I swear to god there’s a flute melody in there too. Angel Blake is also the
song that does the most justice for the album’s production as the production
does for it.
2004- Black Angel, White Angel- Circle of
Snakes:
My god Circle of Snakes is a slog. I hate, I mean HATE how
this record sounds and how it’s mixed. The choice to down tune to the key of x
(see what I did there?) was a poor choice and the guitar sounds like mud. I
like the drumming on the record, but there’s no warmth to be found in the
production and Glenn’s powerful voice finds itself buried in amateurish
riffs. As a matter of fact, “amateurish” is how I’d describe the production of
all the 21st century Danzig albums. There’s like three songs toward the
end of the record that are nearly impossible to discern from each other and sound
like they’re just a slightly different part of the same tune. But, there is redemption,
all of these songs are just gate keepers and speed bumps to another contender for one of the
best 21st century Danzig songs- Black Angel, White Angel. This song should
have been the main single on the album; Glenn and his label should have been all
in on this track because it is stronger than any of the tracks released to that
point since 4p. It’s a shame the rest of the album is practically unlistenable
and Skincarver can get fucked. No one likes that song except Danzig himself. NO
ONE GLENN.
2007- The Lost Tracks of Danzig:
This one has so many great tracks I’m going to end up
getting more into the weeds. It almost doesn’t seem fair that tracks from the
original band go here, but as this stuff wasn’t released until 2007, here we go.
Pain is Like an Animal, When Death Had No Name (alt take), Angel of the
Seventh Dawn, Cold, Cold Rain and Satan's Crucifiction
are all choice offerings from this compilation of outtakes and rarities from 1988-2004.
Covers aside, there are a couple of clear stinkers that should have remained unreleased
from their era but I’m not going to mention them here. The acoustic version of Come
to Silver, a boat anchor on Danzig 5, is pretty strong in this loose jingly
presentation and Warlock, which sounds like it was recorded with
a 4 track and a drum machine in Glenn’s Livingroom (making full use of the
Mother riff) brings something to the table that most Danzig material does not. Crawl
Across Your Killing Floor Absolutely insane to me that this was left
off of 6:66, as it’s a stronger track than anything that actually MADE THE
ALBUM. This song has a classic Danzig feel through and through. Danzig was
smart and made this the lead video “single” for Lost Tracks. Great track. Lastly,
Bound by Blood, an outtake from 777, another song that should
have absolutely made that album (instead of Wicked Pussycat perhaps?) Another great
track. Perhaps Lost tracks should stand on its own, but then I wouldn’t have a
theme here, would I? Maybe this collection should have been just one disc? I
don’t know, we’re building a mix tape here. Why didn’t I say playlist? Oh- that’s
because The Lost Tracks of Danzig isn’t streaming either.
2010- Deth Red Moon, Pyre of Souls: Seasons of Pain, Left
Hand Rise Above- Deth Red Sabaoth:
Well, well, well. We’ve finally made it to the BEST of the
later Danzig albums, Deth Red Sabaoth. Honestly, this record is the best record
since 4p and highest charting (35th) since (4p charted at 29) and
there’s a reason for that- It actually SOUNDS like a Danzig record. Sure, it’s
not perfect, it does contain JUJU Bone, but it’s the 5th best Danzig
record, and Johnny Kelly is the right guy on drums. Deth Red Moon should have
been the lead single from this record, it’s the strongest song because, well,
it sounds familiar. That’s the thing about most of DRS, it’s sound familiar,
like Glenn is finally ready to embrace what made his namesake band so fucking popular
in the first place. All three of the songs listed here are absolutely stunning,
classic sounding Danzig tracks. Back again is some of the blues feel of earlier
releases, a lot of it is because Johnny Kelly locks in the beat properly, which
makes up for Tommy Victor’s mediocre lead work. Like Lost tracks, perhaps this
record should just stand on it’s own and maybe without JUJU Bone and better
cover art I would say that 100%, but again, that’s not the exercise for our mix
tape. Danzig must hate stuff that’s really good because the Misfits Walk Among
Us, all of the Samhain catalog and Lost Tracks and DRS are not streaming.
2017- Last Ride, Pull the Sun- Black Laden
Crown:
Any gains made with the Lost Tracks and Deth Red Sabaoth
were almost completely undone with the covers album Skeletons and Black Laden
Crown, an uneven dumpster fire of an album that offers up one good track and
one great track surrounded by songs that are fucking cement shoes dragging this
album into the murky depths to drown. I could seriously write all day about how
I hate the slow boring pace of the record and the ONE TIME the pace pops up in
the title track, I’m absolutely furious that Johnny Kelly did not do a fill leading
into it, you and I know he’s better than that, his playing on Deth Red Sabaoth
SHOWED that he’s better than that and makes me believe the part was tacked on. Anyway,
Last Ride is a good song that suffers from a terrible video and that Glenn
himself plays drums on it. But the structure is there the chorus is there… The
song is there. Every single track on the album is two minutes too long. And that
is a detractor for most of it, but it helps Pull the Sun, the only song on the
record that it seems to help, lulling your senses into submission, almost
forgetting how underdeveloped and BAD this album sounds. I feel like no care
was put into its production, like Glenn wanted to do a record and just pulled
in who he could (FIVE DRUMMERS) at any given time to record, without
workshopping anything or giving anything a second thought. The mix is bad, the
tones are bad and most of the songs are too. I think the miracle here is that there’s
any passable songs at all but I think Glenn’s talent shows through with these
two tracks.
And there you have it. 20 tracks poached from Danzig’s
records post the classic era. If you want to get technical, yes, I guess it’s
15 tracks because 5 of the Lost Tracks songs are THE GUYS, but whatever, let’s
not OVER think this whole Danzig thing.
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