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.
I never expected to write a part 3, but here we are... (part 1, part 2)
Maybe something bad, maybe something good
4 years ago this month, I ventured with some friends to the annual "This is Hardcore" fest in surly, yet wonderful Philadelphia, PA, I went for the camaraderie and not to really see a specific band per se. The Jerry Only fronted version of the "Misfits" were headlining Saturday night, which had the most bands playing that I was interested in (Killing Time, Cro-Mags, and after the fact, surprisingly, Biohazard were a highlight) so I was kinda looking forward to that, especially when I saw they were going to play Earth AD in it's entirety. Alex, Milford and I had traveled to "Natefest" earlier in the year and it was a solid crew to be travelling with.
Alex, Milford and the Author.
The shows were what festivals always are: fun at times, but arduous at best. The Misfits came on late on Saturday and the Crowd was initially amped, but without a front man, the 39 song set just seemed to drag after like the 8th or 9th song. As the set steamed a long, Milford turned to me and said "I'd never thought I'd be so bored hearing these songs." I agreed. This line up was not BAD they played just fine and was certainly better than some of the late 90's and early 2000's shows I had seen, but it was unbelievably NOT captivating. If you watch the video of the set, it seems like they lose the crowd pretty fast.
After that, I pretty much thought I was done seeing the Misfits (again), why would I want to watch songs I absolutely love be so absolutely mundane? Not to mention, but I had seen the whole "Danzig and Doyle" thing twice and they absolutely crushed the 8 or 9 Misfits songs they did for those shows, plus they were sandwiched in between absolute classic Danzig material. On that 2005 tour, Danzig had his best post-John Christ era guitarist, Joe Fraulob, on guitar. Sad that he didn't make it longer, he could actually play the leads with the skill and feel they require. On the 2006 tour he had Kenny Hickey, another totally legit stand in for John Christ. Those dudes, plus Doyle, put the 2015 Jerry trio to shame. Not to mention in 2006, they did a bunch of Samhain songs too, apparently at Kenny's behest.
Joe Fraulob and the 'Zig 2005, by Maurice Nunez
Kenny Hickey, lifted from a Myspace fan page (lol)
Listen, I love Danzig... Misfits, Samhain and the eponymous band, it just strikes a chord with me. But this love comes with conditions. Danzig's last two records, Skeletons and Black Laden Crown were bargain bin fodder and the Misfits without him is so fucking spotty, it's really not worth the effort. But two weeks ago, tickets for the June 29th "Original Misfits" show in LA practically fell in my lap and I made plans to go and I am so glad I did.
Werewolf bar mitzvah, spooky, scary
I gave my spare ticket to Adrian, who plays guitar in Tuning on the condition that we take his car. It also worked out that we could stay at his brother's place in Ventura. The trip was planned and actualized fairly quickly and soon enough we were at the Banc of California stadium. We ran into, and then hung out with, Andy Coretex (who was responsible for the Tuning record even happening) and his family the whole day. The thing is, although we checked out where our far-away-from-the-stage seats were, we never actually sat in them, as there was a snack area, with a much closer view of the stage had a railing you could watch the show and eat at- and that's where we stayed for the whole show.
I'm having the time of my life here.
The Cro-Mags set was hit and miss, I'm not sold on this latest Harley incarnation, the Age of Quarrel songs sounded terrible, but the Best Wishes songs ruled. Anti-Nowhere League sucked, flat out and The Distillers were terribly uninteresting in this setting. Rise Against were pretty good, I really like their first few records and don't terribly mind the radio rock hits, plus Dead Hearts played with they when they were on the way up and they were really fucking cool. The crowd started to fill out 1/2 way through their set- by the time the Misfits took the stage, there were A LOT of people in that stadium.
The Misfits raged through 30 songs, all played with intensity and with 100% devastating effectiveness. I've gone over the set a hundred times in my head the past three day and it's been tough to really find the words to describe it aside from the typical- AWESOME! AMAZING! INCREDIBLE! But that's exactly what it was, awesome, amazing and incredible. I highly doubt the Misfits reunion shows that came before or that will come after will be as good. I think this is the prefect show to finally put the Danzig baby to rest, end on a high note. Especially considering there will be no higher note than the HILARIOUS $10 parking lot bootleg I got with a terribly drawn likeness of the current band on the front and the MICHAEL GRAVES era on the back! Bravo!
Remember that awesome Misfits reunion show in Toronto I posted about two weeks ago? I'm sure anyone who read that and knows how far the band and brand has fallen might be skeptical; but I had discovered photographic evidence! I stumbled across a flickr account with a few pics from the gig; it looks like a classic show. Thanks Shawn Merrill, whoever you are. STILL I wish there was video of that set.
Portrait of the author wearing his favorite misfits shirt summer 1997.
So, I was singing the praises of the reunited Misfits to anyone who would listen in 1996. I had seen two incredible live gigs and AT FIRST couldn't really tell the difference between the classic era and the current. No new songs had been released and the shows were just filled with maniacs going bananas. Although a couple shows the following year were so-so, I still carried the torch. Then something happened. Something terrible. Something that would have me cowering in the corner in fear. That something was called American Psycho.
Granted, if the album had any other name on it, I may have liked it, but I saw it as one misstep in a great catalogue and thought "fuck it, they'll still do old stuff." So when I found out that they were playing with KILLING TIME in Albany the summer of 1997, some friends and I went. After staying at some weird feminist college "we hate Jeremy compound," we got to the show really early, as we didn't have tickets and wanted to make sure we got in; and as luck would have it, we got there as Doyle and Jerry were carrying a workout bench into the club- SWEET.
While we sat our pale lumpy bodies against the wall outside the club, the promoter Ted Etoll walked up with a grocery bag and handed it to Jerry; they then began rummaging through the contents:
"Hey, I got you some Fruit Loops!"
"FRUIT LOOPS?! I LOVE Fruit Loops!"
Right there the mystique of the Misfits was dead to me. Maybe it could have clawed its way back, maybe the reunited Misfits could have won me over again... That is until I saw Dr. Chud and Michael Graves running down the street chasing after an ice cream truck.
Killing Time KILLED IT, Anthony had less girth back then and the crowd was way into it. The Misfits put on a great "Rock Show" set and I just wasn't into it, it all seemed like a cartoon. These ice cream eating- fruit loop loving guys singing "Die Die." It was over for me BUT they did film some footage that ended up in this video:
I guess I never made it into any of the footage, probably because of my bummed out face.
I actually forgot all about this blog. I know last year I planning on waxing poetic about all things Dead Hearts, but I don't know, my heart really wasn't in it. I think our reunion shows in December of 2012 really gave me closure and though I like telling a good tour story, I'm not going to explore it in the way I intended with my last post, 10 months ago.
Also, since my last post in this blog, I was made a contributor to the great 90's hardcore blog Stuck In The Past I have make 3 or 4 posts thus far there, where I get to relive my 90's hardcore glory; it's been pretty swell thus far.
Also a year ago, I wrote about how I wasn't going to the Judge reunion. Though what I wrote still stands on how I felt about it, as fate would have it, I AM going to a Judge reunion in Chicago next month. My brother's band BLACK X is opening and I am travelling with them; should be a good time. ANYWAY, on to a real update:
I got into the Misfits late in life, as far as "punk rock" goes. I was into Danzig first and equated the 'Fits with terrible live bootlegs I heard in the early 90's. When I was 20, my friend Nick played a tape on a road trip; the infamous Misfits "Collection I," I was hooked the second I heard "She" and by the time I heard the bombastic and ripping "Earth A.D." I had a new favorite band. This was about a year before I rediscovered Danzig and I immediately sought out everything they released, or better yet; WHAT I COULD FUCKING AFFORD. When they announced "Collection II" was coming out in November of 1995, I made sure the local go-to record shop Home Of The Hits held one for me on green vinyl so I could pick one up after work.
I was pretty pumped to head down to pick up my copy and hopped in my van with plans to screech out of the drive way to make it to H.O.T.H. before they closed. I don't know why I put a 20 oz bottle of root beer on the dashboard and not in a drink holder, but I did. I also don't know why I turned the wheel with my body motion to catch it when it nearly rolled off said dash, but I did. I don't know why I totaled my nextdoor neighbor's mint Firebird, but I did. But goddamn that root beer was good.
My van only required minor repairs (IE: sledge hammer to pushed in bumper corner) and the record was still held for me when I arrived the next day; but let's backpedal a little bit in my timeline. Before Collection II, Static Age was supposed to be released, but was blocked, probably due to the impending boxset plans. My friends and I got word that there was going to be a static age listening party at Coney Island High in NYC on Halloween 1995. There were also rumors that the newly reformed Misfits were playing. We all bought tickets and headed down. We sat through some terrible openers, The Voodoo Glow Skulls and a GRUELLING 2 1/2 hour set by Murphy's Law. but at 1am, sure enough, some buff dudes in ripped up T-shirts took the stage, and THEY KILLED. Graves was doing his best early Glenn Danzig impression and people went NUTS.
After the show and in an alley, there was a box of opened "Static Age Is Coming" posters just hanging out by their lonesome. My friends and I grabbed as many as we could carry. The record being shelved made the posters a collectors item. I sold a bunch for between 10 and 20 dollars eventually, some dickweed has one up on ebay now for $175! Anyway, that show was great and when I found out they were playing the Opera House in Toronto in May of 1996, I couldn't miss the gig.
The Opera House show was one of the best shows I have ever seen. Keep in mind this is still 2 years before American Psycho, so it was basically a greatest hits show with a one minute and a half new song (Blacklight) which was fine. Graves was still doing his best at aping Danzig and the show had no barrier and no bouncers. if someone accosted Doyle, he'd just lay them out with a punch. It was sold out, with legal capacity being 850, I assure you there was a lot more in there. There were so many people packed in that place going bananas, that during one of my many stage dives, I couldn't get off the crowd back on to the floor and to this day serves as the only time I've "crowd ridden." So for most of "I Turned Into A Martian" I was a Lollapalooza grunger, I'm not proud of it, but it was FUCKING AWESOME.
The thing I liked about the new Misfits at that time was, though they had a tight drummer who held it together, they still sounded like a legitimate mess. They missed cues and were often out of tune, but with the drummer holding it all together it was massive and satisfying. I sung the praises of these shows to my friends who missed them, hell, I told anyone who would listen. Little did I know that in two years time my bubble was going to be burst by an ice cream truck and a box of fruit loops...
In 1988- 89 I got a copy of the self titled debut by Danzig on cassette. This is the same copy I wrote about in my blog a few days ago. I thought the album was amazing. It was dark and subtle in its approach. It truly was unlike anything I had heard at the time and it got repeated plays on my walkman. I can't explain how, a mere year and a half later, when I saw the video for "Killer Wolf" the vastness of my disappointment was. At the time, I was listening to more aggressive music than I had when I bought the first Danzig outing and jingle- jangle blues jams just weren't what my ears wanted to hear. I remember walking down Robinson Rd in my hometown talking to my friend Bob about how much I thought it was terrible. I wrote the album off and Danzig got no love from me for the rest of my high school career.
In 1995, I moved into my first apartment; a practical flop house with 11 rooms and 14 roommates nicknamed "Headquarters." No one ever did the dishes, we stayed up ridiculously late and most of the time I lived there, we didn't have cable. However, aside from the usual UHF channels and major networks we did get a pay-by-phone music video request channel called "The Box." On Occasion, one would be lucky enough to catch a Slayer video, but mostly it was whatever songs were popular in the inner city at the time. One afternoon while eating whatever awful vegan meal I had just prepared, I saw a music video that grabbed me and didn't let go; it was dark, a little twisted and sounded like it had come from the sleazy depths of hell itself. That video was "Until You Call On The Dark" and it's still one of my favorites to this day.
I couldn't believe how amazing the song was and THAT NIGHT, I went to every record store I liked in the city and picked up everything I could by Danzig: The 4p 12", the Mother 12" on purple, The Mother '93 cd single and the original inverted cross cd version of "Lucifuge." I was a little upset about abandoning the band 4 years prior and reveled in the music I had rediscovered. I needed to repent and luckily that time was at hand, the following month Danzig and company were going to play in Rochester, NY a mere hour away!
A week later, I went to purchase a ticket so I could just see these amazing songs live and the woman at the ticketmaster booth destroyed my dreams. That's right, the show was CANCELED.I found out months later, that it was because both guitar player John Christ and Bassist Eerie Von had quit the band. It would be a few more years before I saw Danzig, but that was ok because the Misfits were back, right?
Well, not quiet, but I was at that show and had fun, the "Newfits' hadn't written new songs yet and M. Graves just aped Glenn Danzig's moves and sound the whole night. Like I said, It was great, as was the show I saw them play a few months later in Toronto. After that, it was all downhill, but thankfully I found out that a new Danzig album was coming out and that he was coming TO BUFFALO!
I went to the Tuesday release for Danzig 5; "Blackacidevil," got home, popped it into the CD player and was DISGUSTED at what I heard. It is one of the worst albums I have ever purchased by an artist I love. Those Blayze Bayley Iron Maiden albums are pretty bad, sure, but at least they're still attempts at playing their style. Danzig 5 is a complete 180, an abomination of songs that I STILL cannot abide. Nonetheless, I went and saw the new Danzig band play that February 2, (1997) and it was decent. I remember at one point turning to my friend John and saying "this riff sounds like Sabbath?!?" To which he reply "It is!" apparently it was "Hand of Doom" but it was just barely recognizable. Like I said the show was nothing to write home about but it wasn't terrible, just not what I really wanted. I don't really like electronic music aside from some Devo and very little industrial so the new songs didn't do much for me. I will admit that the song "Deep" from the X-files soundtrack that preceded Danzig 5, I do like. Eh, sue me.
1999's "Satan's Child" was an improvement and I like some songs off the album, especially "13" which is now a minor hit thanks to the movie "The Hangover." But that wasn't the surprise Danzig had in store for the end of the 20th century. A bigger, more massive announcement was coming; a simple, unthinkable onetime rebirth of an evil classic known simply as "SAMHAIN."
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