Danzig bootlegs
But Roy Orbison is a more important spiritual influence on Danzig’s style, at least on this album, even if “Evil Roy” doesn't have quite the same ring to it. The nickname “Evil Elvis” had been lobbed at him ever since his 1988 solo debut, largely due to the way he packaged ferocious energy in accessible charm and his deep, roaring vocal delivery. Danzig’s subtle croon only intensifies the effect of the blaze-stoked by desperate longing, he sounds that much more demonic. Throughout the album, Danzig, guitarist John Christ, bassist Eerie Von, and drummer Chuck Biscuits achieve a bigger, denser sound than they’d previously had. The title track poses a heavy question in a soft tone: “If you feel alive/If you’ve got no fear/Do you know the name/Of the one you seek?” The implication is clear: Are you ready for power you may not be able to comprehend? Are you ready to go to the next level? He and his bandmates surely were. It’s Danzig at his most sinister, yet also his most human.ĭanzig’s voice has always carried a hint of tenderness, and in How the Gods Kill’s slower tracks, that quality comes to the fore. Before all that, though, there was one album that lived up to the mighty image he’d built: 1992’s Danzig III: How the Gods Kill, where the classic lineup of his solo band in its prime found an emotional maturity unmatched by any record he made before or after. No metal god is truly immortal, infallible, or devoid of humanity, so perhaps we shouldn’t have been surprised to find by the mid-’90s that Danzig, at his core, is the sort of guy who gets bummed that kids didn’t trick-or-treat at his house. In time, many fans went from exalting “Tired of Being Alive,” the down-and-out rallying cry from 1990’s Danzig II: Lucifuge, to actually being tired of his conspiracy-minded nonsense and questionable art direction.
His music was tight and muscular, and he made sure he and his band appeared that way, too, particularly after he moved from New Jersey to L.A. Given the way he built himself up in his first decade of public life, he was bound to fall sooner or later: Danzig presented himself as a smooth-voiced demon, a guy with a library of occult tomes and an endless supply of primal lust-the very stuff of Parental Advisory label hysteria and banned MTV videos. As a huge fan of the horror punk pioneers, this one came in quite handy for yours truly and it is worth checking out if you are either a serious collector or simply just looking to start collecting a few Misfits items and need a bit of guidance in that department.Glenn Danzig’s career is a case study in the unsustainability of rock mythologizing. I dig Cotter's creative style of writing as his enthusiasm and passion with respect to the subject matter shines through on every page, which is certainly commendable.valuable.
Actually, the irony and sarcasm that sneaks in quite often is arguably the most charming part of the piece and there were so many phrases and paragraphs that had me in stitches. In other words, there is a red thread running through it all and the author's own perspectives on all things Misfits as well as his thoughts on each album and single and so on are often hilarious and make for a great read.
Cotter guides us through the history of the band from beginning to end too, thereby placing each release in a larger historical context. "This decent-sized 242-page opus is filled to the brim with information on pretty much every release relating to the Misfits and its rather huge musical family that you can possibly think of, and the best part about the book is that the wonderfully geeky yet skilled writer Mr.