Eerie Von - Misery obsura

I am Hydro, and some things never change. The artwork that I hold today has needed time to sink in. I needed to clear my mind of pure elation. Yes, this is going to be about as non-angry as I could get. The only thing that would make me happier would be unreleased Misfits songs (if they even exist…which I’m sure they don’t). The Book of Poo was started, and for the most part still is, in homage of Glenn Danzig and those associated with him and all forms of music and artwork. To this day that very drive to start making fun and poking a stick at that which we love and gives inspiration maintains to this day. We are fiends. And if you don’t like that go suck a rotten wart hog cock.

However, for those loyal readers, you know that this is not the 7th house and never has been. The Book will now bow to poorly produced music. We do not accept expensive bullshit that Danzig expects us to buy yet gives us nothing we didn’t already have. A DVD with 13 tracks but only 5 songs is a non-lubed fucking with not cuddles. And don’t even get me started on the cluster fucking gang bang Jerry Only calls The Misfits. I digress from the point of my writings. BOPsters will not be cheated by money making schemes and we do not worship every fluid that excretes from Glenn Danzig’s body. We leave that to the 7th house cultists.

When a product of superior nature is released proper due must be given. I come to the point of this review. Eerie Von is the fucking MAN!!! Released in late 2009 on Dark Horse books comes “Misery Obscura”. After 10 years of working this site I never thought I would be looking at a book this cool. I know I’m a few months late on this, but I had to let this settle. Honestly, fear permeated my whole body after the Danzig lyric book; that and the 25 dollar sticker price. Don’t get me wrong I appreciate the Danzig lyric book and am glad to have it, but it could have been so much more. Eerie Von has reestablished my faith in the fiend world.

The book chronicles five eras in Von’s life. Rosemarie’s Babies. The Misfits. Samhain. Danzig. Solo. His photography is brilliant. With all of the rare promo shots, behind the scenes shots, and tour footage we get small stories and little incites to enhance this adventure. This is a collector’s wet dream. I even dig on some Rosemarie’s Babies music. Eerie Von you get the Book of Poo seal of approval.
So this 159 page romp (smoke that one Danzig) starts off with two forward notes. One by Mike D’Antonio of Killswitch Engage and the other by Lyle Preslar from Minor Threat and the first guitarist of Samhain. I honestly don’t know why D’Antonio was asked to write this. Maybe he is friends with Eerie. If that is the case than that is cool. Otherwise I’m calling bullshit. What makes this guy so fucking special? I’m a huge fucking fiend too. I started playing music in part because of The Misfits and Samhain. This does not give me enough credit to write a forward to such a great book. Though with this lack of information I a merely speculating on the subject in a very angry manner. Also, metalcore and Killswitch Engage are very shitty. I’m not a fan of that crap and hold it up with new school metal influenced hardcore. YUCK! I’ll tell you what doesn’t suck. Old school hardcore such as Minor Threat is pretty damned sweet. Lyle Preslar is a pretty funny guy. His forward oozes of sarcasm and fond memories of the time. The sense that he knew he didn’t really fit in Samhain is evident, but he gave it a good try. This was a pleasant read to start off this addicting journey.

Chapter 1 begins when Eerie and Doyle were attending Lodi High, New Jersey. Anyone deeply familiar with The Misfits and their old scene knows about Lodi. Von covers 1978 – 1981. Photo’s of he and Doyle in class and dressed in their high school sports team uniforms are really neat. Things really take off starting in 1981’ as Doyle joins the Misfits. Eerie get’s his first photography jobs with the band. I had always wondered about the infamous cave photos and the stories behind that. Maybe I’m just a fan boy, but this is just damned fascinating. The contrast between spooky and punk rock helped inspire a whole genre. The picture of the band coming out of the cave is just super bad ass too (pg 21). I really want that t-shirt. The pictures make me a little sad as well. Back when Danzig cared more about his fans, Jerry Only wasn’t such a douche bag and looked cool (less like a punk rock bowling pin w/devilock), and the music was raw. There are various show shoots presented. Also, a few pictures pop up (I’d seen online) that I had wondered who was presented in the photo. My curiosity has been sated.

The DIY ethic that ran rampant through the many years of this mans work is prevalent here. Eerie states several times that he developed his own pictures in his basement and ran copies. That is really cool. I endorse this type of ethic in this rampant age of instant gratification. DIY or Die!!! The various custom shirts that are pointed out in the early photos are amazing. Glenn sports a great Count Chocula shirt. I could go on about nearly every page in the book, but that would be pointless. Chapter one is just Misfits and Rosemarie’s Babies overload. It is a fine reminder of past events if you were there, and a genuine peak if you weren’t.
Chapter two starts the Samhain era. There are some great shoots done by Eerie that were never seen by the public. This is one of my favorite eras of Glenns career. It was far more realistic and spiritual. The pure “tear your face off” horror was still there, but the hole went deeper. Von delivers a visit to the King’s house in Graceland many unseen promo shots, stories about blood, and the first meetings with Rick Rubin. I could not have asked for anything more.

Next the behemoth arises from the ashes, Danzig. Eerie gives his take on the happenings for those early years up through the beginnings of change in 94. So 6 or 7 years of Danzig touring documentation is shown. The picture of Glenn in the vocal booth (pg 100) is really damned cool. The many different studio sessions shown are very nice. Many photos of Metallica (close friends of the band), White Zombie, and Marilyn Manson can be seen throughout. I’m a big White Zombie fan so that was a real treat. For some reason I didn’t know that Jesse James, of West Coast Choppers fame, was security for Danzig. I’m sure I just missed that one in my rabid lust of Samhain and Misfits history. My Danzig knowledge lacks in some areas; extended crew being one of these areas.

The final bits of chapter give Eerie’s take on the split of the original Danzig line up. From what I’ve heard he wasn’t biased much at all. Once Biscuits left the fun ended. He was the heart. The two pages of crew photos are really cool. I cannot say enough good things about the book. Even with the near buzz kill at the end the documentation and well taken photos kick ass.

My one complaint about the whole book is that we do not have enough of Eerie Von’s own fiend art and recent photography. I understand how and why he put this together, but I want to know what he is doing now. He lists his recent CD. All of which I really want to review on the Book. Seriously, Eerie, get on sending me those and I’ll do a write up. His artwork is “incredible”. I honestly want some on my wall. An individual piece of art by a great man would be great for my collection. What more could any fiend want. Many years ago, just before the last mock interview of the Book came out we had the idea to do one with Eerie. That may still see the light of day. However, after reading his final entry into this book I understand the spot he was in. Hard times hit everyone. It does make me happy that he is getting back out into the world and spooking things up. But really…only four paintings out of dozens? Come on Eerie, we want more.

Go forth my legions and buy this book. If you are a fan of any of the aforementioned bands then get this as fast as possible. If you want to support an independent fiend who is still putting out quality material, then get this book. If you are a fan of old school east coast punk…well you know the drill.

Danzig - Deth Red Sabaoth | James Only

Greetings citizens! Its been awhile! I went to see Danzig in Charlotte, NC last night after not seeing him perform in 5 years. Gorgeous Frankenstein played before Danzig and they did pretty good. I was suprised, because what i heard and saw was not what i had been introduced to by that band and that's a good thing. They've shown improvement. I was pretty psyched to see Dr. Chud joining the band. (I know, I'm late on the news)

So long story short, the show was amazing, i had a great time, and i picked up an advanced copy of Deth Red Sabaoth!

I'll be honest, after only hearing "On a wicked night", I wasn't expecting much out of this record. I didn't hate the song, but I didn't love it either. I have to give credit, though, i really love the artwork! The layout is sick!

The record starts off with "Hammer of the Gods". This song has a very Danzig 1 "Am I Demon" kind of vibe to it with hints of Danzig 4 or even Danzig 6 with the slow in tempo towards the end. "The Revengeful" is a steady rockin' track. It feels very familiar and very Danzig 1ish. You'll hear me say that alot about this record, but once you hear it you'll know what I mean, I promise. Track 3, "Rebel Spirits" is a little more on the melodic side and it feels like it could easily be alongside Danzig 3 somewhere. "Black Candy", the title of the song kinda made me laugh when I thought of it in a literal sense with the chorus being "Black Candy is so hard to find", but in all honesty this song goes pretty hard! Again, I have to say this is something that could easily be on Danzig 4. It has that slow ominous build that we all know and love. Glenn's vocals on this song are awesome. Track 5, "On a wicked night". I kinda gave my opinion on this song in my preface, but i dunno, I don't dig it that much. It feels kinda like its on that Johnny Cash vibe which some will undoubtedly like, but I think this is the weakest track on the record. I don't hate this song, but it doesn't do anything for me. Maybe its the chords they're playing, but musically it almost sounds happy to me. I don't like my Danzig songs happy. Track 6, "Deth Red Moon", This song has a great vocal melody to it. I can see this song pairing up with Danzig 2 or at least on that vibe. This song has a great sing along chorus. From start to finish this song is AMAZING! I wouldn't be surprised if this becomes one of the more popular songs off the record! "Ju Ju Bone", again another title that i found kind of funny but this song rocks pretty hard. This is a more steady paced song. "Night Star Hel" has a very slow ominous build that reminds me of parts of Danzig 4 as well as Danzig 6 (ala the Unspeakable) the end of this song kind of reminds me of "Am I Demon?". "Pyre of the Souls" is a very powerful and melodic kind of interlude. Musically it kind of takes you a few places; you can't help but get immersed in it. It's very mesmerizing. The next track, "Seasons of Pain" i'm not sure if it is part of Pyre of Souls, but the two track go together perfectly. It is a very punchy and powerful sounding track. This is the longest track on the record. The final track, "Left Hand Rise Above" starts off with an ominous and melodic intensity that is made of the stuff that we just love about Danzig. This song is so brilliant! It has a nice touch of Danzig 4 (going down to die) kind of vibe to it, but it is also very original in its composition. Let me say it again, I LOVE THIS SONG! It's SO awesome sounding! I'd have to say this is my favorite track off of the record along with "Deth Red Moon".

So, the good news. Musically, this record is very well written. The sound is great, the solos are awesome, the drums are spot on, the melodies are memorable, and what I love the most is that Danzig's voice is VERY prominent in this record! There's no crazy vocal effects clouding his sound at all like in alot of his previous releases. This is the real deal. You can put this record up against Danzig's earlier catelogue and see alot of similarities and it will hold its own as well. You get all the intensity that you are accustomed to and love so much from the original records but in a slightly new but familiar direction. Make no mistake, Deth Red Sabaoth is the Danzig record we have all been waiting for! 5/5

-James Only

Danzig 4P and 5: Blackacidevil - Thoughts by Hydro

It would appear I am continuing this great epic week of Danzig related material with my thoughts on Danzig 4P and V: Blackacidevil. This is all in anticipation of the newest release from Glenn. Every single time a new Danzig album comes out we see a flurry of activity. The pro-Glenn era Misfits team starts bashing his metal ways. The 7th house Glenn worshippers wax their lips to kiss his ass more. The rest of us become very weary of what is about to be released. The man makes great music, don’t get me wrong. However, for years he has been low balling his fans with sub-par material, ill mixed music, and release dates that are about as reliable as the prospects of finding a sasquatch in downtown L.A. Already the new record entitled “Red Deth Saboth” has been pushed back a month. It was to be expected in light of who we are dealing with. Being the music aficionado that I am, I can look past the poor mixes, unreliable release dates, and gratuitous exploitation of the Danzig fan base. The lyrics are generally quite deep and the music 8.5 times out of 10 is damned good. So I was asked by a friend what my general thoughts on these two records are. I was aghast at the thought of reviewing a couple of albums I actually like, but then again this is metal and I always have time to talk about the cheese factor. Luckily with Danzig we will not find much of the blatant metal excess; especially with 4P and Blackacidevil.

I’m sure any fan-boy worth his weight has heard the bi-polar reviews of these two records. 4P is arguably the pinnacle of Glenn’s solo material. In the other direction Danzig 5 has been said to be his largest mistake. I will still shout from here to my grave that Danzig 7 was the largest mistake in the whole of his library, but I am just a lowly critic. These albums are so amazingly opposite one another that they compliment each other nicely. I feel that they are both his most spiritual albums. Yes…I said BOTH are his most spiritual albums. They are different areas of what is spirituality. 4P is the mystical and philosophical occult side of the spectrum. Then Blackacidevil is the primal animalistic feral side of spirituality. I think he address the whole idea of evil as a natural force in this album (more than others…har har) as a theme. Musically these albums are completely different. One can hear the basic progression between the two. 4P has a very rock base to it with little bits of experimentalism. In contrast, Blackacidevil is one of the most experimental albums the man has ever recorded. However, I can guarantee I know what happened. Who here knows of Rick Rubin? Back in the early 90’s Rubin was known for pulling the raw elements of a band to the forefront of a record. He has worked with Slayer, Counting Crowes, Danzig, Beastie Boys, and many more. He has fucked over most of those bands as well. From what I’ve heard Glenn say about the recording of the first 3 Danzig albums Rubin would get really pissed off if Glenn tried to experiment on them. By the time 4P came around I’m sure Glenn was getting really irate with how Rubin wanted no experimental elements to an album. We all know Glenn loves his echo boxes. Anyway, once Danzig left American records Blackacidevil was the first album to be put out. It was like a giant blue ball release of experimental insanity. I dig some pretty weird music (Skinny Puppy and FLA being two of my favorite bands) and I even had to give this album a couple spins before I began digging it. The final large change between these two records came from the line up change. 4P was the last album that showcased the original line up of Danzig/Von/Christ/Biscuits. Blackacidevil had a completely new band of men…all with J names: Joey Costillo, Joseoph Bishara, and Josh Lazie. Jerry Cantrell makes a few guest appearances as well. I wonder if Glenn planned that out or not, having guys with names that started with J.

I think 4P is more than just Glenn’s most spiritual record, well one half of the spiritual duo, but it has a little bit of everything Danzig was known for up to that point. One thing Glenn never liked was being pigeon holed into one sound. Go and listen to “Static Age” and then “Earth A.D.” I’m sure the contrast is apparent. Then if you compare “November Coming Fire” to “Danzig 1” the contrast is, again, striking. The one constant between all of these albums are the lyrical content. Ok granted much of the Misfits material is pretty straight forward and far from deep (I could argue that about Static Age), but my point is that the poetry is top notch. With 4P the lyrics get deep into the soul of Glenn. If anything he bares his self a bit more than normal on this album. Sex is a primal human urge that is apparent in ALL of Glenn’s work. This album is no exception. Songs like “Little Whip” have an air of sensual sexy theme. I think many of the songs that have this vibe are more about love of some kind. To take that thought one farther; this album is almost a lyrical love hymn. Almost like Glenn is saying to the world that his is sad and needs a hug…well maybe not. This could be a giant ode to Lucifer falling and his thoughts toward god and how betrayed he feels. That seems a bit more likely. It is hard to tell apart which parts of this is Glenn’s soul speaking and which part is Luciferian narrative. It is a beautiful album and one of my favorites.

Suddenly the disc changes and the tribal experimentalism is unleashed. I really like this album, but I can see why the average Danzig fan thinks it is horrible. Most people don’t give it a chance. I would like to see the ratio of industrial fans that actually like this album. It is still an acquired taste. The track “Sacrifice” is probably the most accessible to most fans, and it still has a major industrial edge to it. Personally, I would kill to see more Danzig material in this very experimental vein. I think it is the raw primal nature of this record that I love. I like music that is gritty and back to the earth. A record that makes you want to pick up a fallen tree branch and bang on a log. A record that makes you want to fuck on the floor and break shit. Blackacidevil makes me want to do just that. We have said goodbye to Rick Rubin with this album and Danzig has blown a big experimental load. I think he really had some revelations between albums. This album is just so raw and sexual. This is, as I stated, the polar opposite to 4P. The rock back bone is under a swash of distortion, tribal drums, and vocal processing. I find it odd that there is no talk of Lucifer or hint of him on this record. I think Glenn went deeper with his spiritual search. My guess is he was reading topics on the anthropology of evil and watching a lot of porn. This whole album is the base side of humanity. This album addresses root of why we go to war and why we have odd fetishes. This record attacks the physical beast and the primal urge.

So in finality we have 4P addressing the metaphysical aspects of love and loose (probably of Glenn and Lucifer); an album of mystical soul searching and spiritual purging. Then Danzig 5: Blackacidevil counters with a raw and feral look at evil, lust, and the human condition. These two albums could easily be a double album, and at the same time should never be. I feel that they compliment each other rather well if listened to back to back. As long as the mind is open and willing, then a journey toward some odd kind of enlightenment can be started. I think I should get the second printing of Danzig 5, because I don’t have all the neat extra tracks. That could take the journey even farther. At this point I think I’m finished and am going to read something. Go out and listen to these albums and take the journey.

^^^^Can't Speak - single from 4P^^^^

^^^^^Sacrifice - single Danzig 5^^^^^

~~ Hydro

Danzig 4P and 5: Blackacidevil - by R.K.

Danzig 4 has always been my personal favorite. The songs really spoke to me on a much deeper level than most other music. I feel like Glenn's lyrics were more personal and emotional at points. It gave me this occult vibe that I can't really place. Maybe it's just me and that's a completely subjective feeling. The album is quite literally magical for me. From a sound standpoint, all of the previous albums have certain consistencies within them but the consistency on 4 seems to be its lack of consistency. The style changes from song to song and they pulled it off quite well in my opinion.

Danzig 5 never appealed to me when it came out. I was too young and close-minded to appreciate it. Every couple of years, I would give it a run and be like, "nope, I can't do this..." until one one day a couple of years ago. I listened to 4 from start to finish and I wanted more but I wanted some Danzig that was fresh, something that I haven't heard a million times. So, I said fuck it and through on 5 (the re-release with the extra tracks [that's important to my outlook]) and it fucking blew me away! Hearing the albums back to back put everything in a new context for me. They are a perfect duality or yin/yang per se.

Like I said, I approach 4 from the standpoint of an emotional occultist. Looking at the album in that light, this is what I get: 75% emotions intertwined with spirituality/mysticism and 25% of the focus on physicalities. Songs like "Can't Speak", "Going Down To Die", "Bringer Of Death", "Son OF The Morning Star", and "Let It Be Captured" take on the occult qualities in a very human personal/emotional way. Spliced in between are songs like "Sadistikal", "Little Whip" and "The Stalker Song" which reach into base, physical ideas. To me this is a genuinely spiritual side of Danzig and also the first and last time that he's revealed it in such a clear, powerful, and direct way. Musically, it's 75% rock, 25% experimental/electronic. The album ends, there is a long silence, and then "Invocation" kicks in. It is almost entirely occult-based, maybe more so that any other Danzig song up to that point, but musically it's also one of the most experimental. Here is the bridge between the 2 albums. From this point on everything inverts.

Danzig 5 is, to me, the perfect opposite of 4. Musically it's 75% experimental/electronic and 25% rock. 75% of the content focuses on physical/human/base ideas: lust, physical pain, bondage, deceit, etc ("7th House", "Sacrifice", "Come To Silver"). 25% of the album consists of the shadow side of spirituality ("Ashes", "Bleedangel", "See All You Were"). A lot of these songs, like Danzig 4, blur the line between physical and spiritual but I think they are all top heavy with either one idea or the other.

On both albums, he strays off into synthetic sounds when the subject matter strays from the spiritual. The more base and physical the idea, the more electronic/synthetic everything becomes.

So to sum it up.

4 is rock with electronic/experimental undertones and flavorings. 5 is electronic/experimental with rock undertones and flavorings.

4 is elevated/lofty/spiritual/mystical (at points) with undercurrents of sex and physicalities. 5 is sexual/base/physical/brutal (at points) with undercurrents of occultism and dark spirituality.

4 is a pentagram. 5 is an inverted pentagram.

According to some Luciferian philosophies, man is said to be an ignorant animal created by God while Lucifer was elevated and given the gift of knowledge. Man is trapped between two contradicting principles: the baseness of animals/biology and the spiritual nature and intellect of angels (who are asexual). Man strives to ascend but is anchored by animal urges. (And every mythology, I'm sure you know, basically states this idea where man is the sum of the parts of the good and bad guy but that strays from this discussion!) Danzig gave us the duality with 4 and 5.

4 is white muddled with some grey. 5 is black muddled with some grey. 4 is yin. 5 is yang.

I don't know if Danzig is even aware of this. I always hope that it was intentional and sometimes I think it may be based on sketchy things he has said but interviewers never dig in that department with him...and that pisses me off. Whenever he says something a bit "kooky" they dive back into the same boring shit ("so any talk of a misfits reunion?", "how do you feel about these new bands...?") Who gives a fuck! Why doesn't someone ask about the 7 album cycle where he said he numbered them through 7 on purpose because he had to. He set something in motion that cannot be stopped. Why the fuck would someone ask about a Misfits reunion after he says something like that?! Around the time of 4 someone asked him if he believed in Satan. He said, "I used to believe in alot of things. I don't know what I believe in anymore." Going down to die?

If you take the duality concept, it ends on a negative note. Instead of ascending into spirituality, Danzig descends into base physicalities.

...And from that point on, all of his albums lost the passion and fire and magic. And it was all replaced with campy comic book bullshit. I've grown to love and accept these albums and there are glimmers of that old magic in there but something seriously changed.

-- R.K. --

Hidden Lyrics of the Left Hand - Danzig Lyric book

Today we are going to deviate from our standard programming to look at the new Danzig lyric book entitled “Hidden Lyrics of the Left Hand.” We know how the “Misfits” world is split into various factions. In fact I have never seen a fan base so fragmented into cliques as I have with followers of those involved with the Misfits. You’ve got the Glenn-era Misfits-only people, the New Misfits fans, The Misfits and Samhain fans who don’t like anything post 88, members of the7th house who worship anything and everything Glenn shat forth into this world, the occasional odd person who only likes the new Misfits and not the Glenn era, and so on. This can make problems for doing reviews on Misfits related material. We find some releases much easier to review than others, such as Project 1950. However, when Glenn Danzig brings something new out we must take care to give the art its due.

One can argue the many merits of Danzig’s career. However, I think we can all agree that he has influenced countless people and helped spawn a subgenre of punk rock. His influence can be seen in most areas of darker rock; this putting him in the legendary category with progenitors of gothic rock, black metal, and post punk. Maybe one of these days I will write my thoughts on his most recent albums and focus of his career. Hell, he is doing great compared to the huge fucking clown show Jerry Only is taking on tour these days. If the world can’t tell who wrote the original songs for the Misfits, then the world is too far gone for me to care.

Let us now dig into this lyric book. First, I have to address this price. I bought this for 20 dollars. The book has $24.95 printed on the back; this leads me to think that some comic shops could actually be selling it for that price. I believe with shipping that was about the price I paid. For a book that comes in at 25 bones I should expect it to be hardcover. However, what we have is a soft bound gloss covered book. I suppose this could have been ok if the price was lower, but when I spend 25 clams, I expect a hardcover. My next issue was the availability. First of all this was not listed on the Danzig online store. Also, I didn’t even know it was out until a week or so after the book was released. A person could snail mail a money order to the Verotik P.O. Box, but anymore I get a sketchy vibe from this. The Danzig website stated that the book would be available at select comic shops. This turned into a damned wild goose chase. Since the run must have been small, many of the larger comic shops sold out of it rather quickly. I ended up going to a very small, very specialized trade paperback comic shop called Panel to Panel (excellent service – maybe a little slow). Now I have “Hidden Lyrics of the Left Hand” and am fairly pleased with it.

The art throughout the book is by Simon Bisley, commonly known as The Biz. The front cover is a nice depiction of Glenn on a throne with an extremely ripped demon look about him. Five characters surround the throne; many of these characters can be seen on former Danzig albums covers, Black Aria II and Circle of Snakes being the most obvious. This piece is well done if not a bit campy. I think something a bit more epic should have been used. Maybe Biz could have drawn something in the vein of Thrall’s album art. The cover could have been worse, but could have also been far better.

Opening the front cover we find a bat winged skull with the numbers 666 carved into its forehead. Chains tipped with inverted crosses flow from the skulls base, mimicking metalized veins left from its removal from the main body. This is so damned bad. When I say cheesy metal I hope everyone understands my statement. If you want a good example of this style of cheesy, go and view early Black Metal band promo photos. Nothing gets quite as good as laughing at pictures of Immortal from the early 90’s.

Moving on from the opening credits we come across a letter written from the man himself. He explains that the book was put together for the fans and how much he appreciates us all. Nice sentiment, but if he really appreciated us he would have give us more than 22 songs (10 Danzig, 4 Samhain, 8 Misfits). I understand that much of the Danzig library has been released with the albums and the same goes for Samhain. Nevertheless, with eight Misfits songs in this book that leaves 29 more that are unconfirmed by Glenn himself. I’m sure you are saying something about the lyrics in Collections II and the Boxset. Well those lyrics were lifted from the text files at the Misfits Central. The only lyrics that were official were those found with "Walk Among Us", "Bullet 7”, and "Halloween 7.” The rest of those lyrics were interpreted by the fans and the creators of Misfits Central. Also, the Boxset does not have the lyrics to "Mephisto Waltz". I would have killed to have had those lyrics officially released. In any case, we get what we get with this book, and I’m sure there will be a volume II released on the Danzig time line (which is as equally quick as evolution).

To start with the actual lyrics (after a page and half of writing) we have ten selections from Danzig’s solo career. Eight of the 10 lyrics are from the lost tracks album; excluding “When Death Had No Name” and “It’s Coming Down.” The art that accompanies each of these sets of lyrics is excellently drawn if at times blatantly cheesy – slathered with pentagrams, the number 666 and naked demon girls (not that I have a problem with that). "Satan’s Crucifixion" is by far the worst of these. For one "Crucifixion" in the book is spelled incorrectly. Secondly, the image drawn brandishes an inverted cross, lots of fanged skulls and a long-haired man with an inverted cross on his forehead. This man is either the Undertaker from WWE or the lead singer of the death metal band Deicide. I would say this may be the lamest image in the whole book, but I could be getting ahead of myself.

Let me give a rundown of each song in the Danzig section and a small critique of the artwork and lyrics. I think this will get my point across with much more fluidity than an all-out rant.

1. Lady Lucifera – Glenn is, by no means, a happy feely male, and his lyrics exemplify this to a T. His short work here is a typically dark and esoteric piece for a Danzig song. The man’s knowledge of occult, religious, and historical themes is astounding yet again. He mentions the goddess Nera in passing. I would imagine the reference to her as a deeper meaning in this lyrics. The image boasts more stock metal visual with a half-named demon woman riding a demon Pegasus. It fits the song well.

2. Naked Witch – I’ve noticed that Glenn has a fond love for the sexual side of things that go bump in the night. Not that I find anything particularly wrong with this. However, every time you see a woman, be it real or drawn, they are naked, pierced, and usually demonic or dead. The song is a well written poem about fucking a naked witch. This is not my favorite song, and really I’d have to listen to the Danzig 7 to remember it. Oh, I believe I was wrong in saying that eight of the lyrics were from the Lost Tracks album. This is clearly from Danzig 777, which leaves seven songs from the rarities album. Sorry for the mistake. As far as the artwork goes, we have a well drawn naked witch who has a half dead and pierced look. She brandishes the Danzig 777 logo on her belly and between her breasts. It fits the song well but is forgettable.

3. Liberskull – I need to just eat my own words about how many songs were on the Lost Tracks album. Liberskull is another track from Danzig 777. I personally hated that album, so I couldn’t tell you what this songs sounds like either. The artwork is the same bat skull from the inside cover of the book and is extremely lame. Lyrically this is song weaves a very compelling visual of depressing times and past wrongdoings. I dare say the words found here are better than the music that accompanies it.

4. Warlock – Here we find a Lost Tracks lyric that was cut from the Danzig 5 sessions. Say what you will but I like Blackaciddevil. Maybe I should review that album at some point; either way lyrics are lyrics and Glenn writes some pretty good material. In this case we find a poem that is fantastic. I enjoy Danzig’s lyrics best when he tells a story. In general I enjoy storytelling. I think this song should not have been cut from that album. Warlock is escorted by a fantastic portrayal of a Warlock performing his darkest magic on a woman, possibly a witch as mentioned in the lyrics, who is naked in a pentagram. The art has elements of cheese, but could be much worse. I think it works well with the lyrical accompaniment.

5. Satan’s Crucifiction – For one crucifixion is spelled incorrectly on this page. That annoys me greatly. The lyrics for this song were written as a joke aimed at the owner of American Records. That being said, these are some of the most blatant Satan references that can be found in Glenn’s works. I know he writes about Lucifer a whole lot, but this is just Satan in your face. Actually, I rather like this poem. I bet this was a shock to the director of American Recordings after he asked Glenn and Rick Rubin to not make another satanic record. The artwork is horribly stupid. This is by far the worst image in the book. I described this Undertaker wannabe and his inverted cross background filled with images that belong on a Wal-mart goth t-shirt.

6. Invocation – Biz steps up his artwork with a demon making sweet fuck to a woman in a dress. Yeah…no bare boobs in this one. The interpretation of this song is interesting, but I can buy it. Lyrically we have another tale of a demon being summoned. I might venture to say this is a bit wordy for what the song presents. This is average at best, but not Glenn’s finest work.

7. It’s Coming Down – Here is a classic track from the Thrall EP. I’m pretty sure this song weaves a tale of Angel torture, but maybe I’m just putting Bisley’s image to the words. Still these are classic early 90’s Danzig lyrics. Biz really steps up his artwork with this illustration. Three men in hoods stand around a bound angel suspended from the ceiling being tortured. Thankfully, this dispenses with stereotypical metal schlock.

8. Angel of the 7th Dawn – This was supposed to be the name of the official Danzig fan club and this song the anthem. The song was not released until the Lost Tracks album and now the lyrics are found here. Glenn digs deep into angel lore with this one. Much of his work from the mid 1980’s and until now has a scholarly edge to it; Angel of the 7th Dawn fits into that category. As for the art work, I believe this is one of my favorite pieces in the whole book. The logo of the 7th dawn is fantastic. Under the logo we see a zombie horde and a city under siege. This gets the point across of holy war.

9. Cold, Cold Rain – For years this song was one of the most anticipated songs Glenn had written. We can thank that anticipation to Eerie Von via the Danzig hotline back in 91 or 92. I don’t remember the exact year, but that doesn’t matter. When listening to the song ol’ mumbles is extremely hard to understand. Makes me happy he placed this number in the lyric book. This lyric is a love song; as much as Danzig can really write a love song. The artwork fits perfectly to the song. A comic version of Glenn is standing behind an open grave (in a very cramped cemetery) in the rain. The grave is home of the desiccated corpse of a woman holding flowers. This is very touching in that gothic romantic kind of way. Excellent!

10. When Death Had No Name – I know someone out there is going to bitch and moan about the late 80’s version of these lyrics. I know on some rehearsal bootlegs Glenn had not finalized the lyrics, but the two different official recordings have the same…or very similar lyrics. Here we find those lyrics in their official form. The first couple lines of this are just classic, “When Death Had No Name, Time Stood Still” It kills me that this only made it as a B side of a single from Danzig III. It was originally recorded for Danzig 1 and 3, but only got its official album release with the Lost Tracks. The artwork is almost as bad as Alchemy Gothic’s poster work. It depicts the mainstream version of the Grim Reaper with the word death etched into his scythe. This is cheesy to say the least, but drawn with skill.

11. Final Descent – Ah, now we roll into the Samhain territory. Final Descent was to be a track on the never released “Grim” album, as it was scrapped in the wake of Danzig 1. Glenn was delving deep into Christian dogma with this song. It tells the poetic story of the original fallen angels. Biz rolls right out of metal lameness into bad ass demonic fantasy artwork. The background shows many falling bodies which really connect the picture to the lyrics.

12. Death…In Its Arms – Another rocker from the scrapped “Grim” album. These lyrics ooze everything that made Samhain great. As an example: “Before you kiss, the sing of life, embracing unkind, nothing is safe from this fate, Death In its arms”. I did just observed that there is a typo on the page as they spell “its” in the fashion of “it’s”. Where was the editor during the final checks of the book? The artwork hammers home with some epically creepy visualization. A creepy black-winged skeletal man holds a mostly naked unconscious woman. They are surrounded by crows and inverted crosses on chains. It would have been near perfect until you realize part of the background is a gigantic dinosaur type head with its mouth open. I’m really not sure what this has to do with the song. It nearly ruins the rest of the visual for me…call me picky.

13. Lords of the Left Hand – The last of the scrapped “Grim” album songs. This one is all about the Nazi, well Hitler, obsession with finding occult objects to help them rule the world. The artwork reflects this. Taken out of context I could see this being some pro-white power bull shit. This is not the case by any stretch of the imagination. If you want to know about the history behind this song go find the various books written on the subject. I feel this was one of Glenn’s more experimental songs.

14. Unholy Passion – This is a classic Samhain song. One that I could have sworn had the lyrics released previously. This is a song about the darkest carnal pleasures. To quote Glenn “this is a song about fuckin’”. The artwork mimics the cover of the Unholy Passion EP. Biz has a far more realistic and pretty edge to it. His pencil work on the demon girl's hips is outstanding. An old school fiend skull is seen in the background, which seems a bit out of place.

15. Earth A.D. – I can’t say anything bad about the Misfits lyrics. I don’t think there is a one I don’t like. I do wish we could have had a few more (Angelfuck, Mephisto Walz, etc), but I suppose I can wait until the expected Vol. II comes out. This song is brutal and the lyrics make it clear just how violent the Earth A.D. album could get. The Artwork shows Doyle and Danzig standing victorious in a battle field…FUCKING EPIC!

16. Hellhound – This was never one of my favorite Misfits songs, but I have a new found respect for it. The artwork comes strong with a near skeletal version of Cerberus, the lupine guardian of Elysium, tearing apart a naked woman. One head is ripping off her face, another is menacing the viewer, and the third finds a snack in the form of a hand. Fantastic. It seems Biz was saving his super artwork for the Misfits section.

17. Death Comes Ripping – Another brutal treat from the Earth A.D./Wolfsblood release. It is very nice to have the bits right after Glenn says “Chopped up, Hacked up” cleared up. Man, the art gets better and better through this section. Here we find a punk naked demon girl sitting on the chest of a man holding the heart she just ripped out. Really…I mean REALLY!!! This should have been the standard throughout the book.

18. Wolfsblood – Another hard hitter from Earth A.D. I haven’t listened to this album in a very long time, so I can’t comment on what I think the lyrics were. What is presented is a very violent poem of a man’s struggle through werewolf transformation. Biz presents a picture of that very struggle. The face on the moon is a bit weak, but the rest of the image hammers home the point.

19. Die, Die My Darling – Fuck Metallica for covering this song. It is not my favorite, but it is very nice to have the official lyrics. The Artwork is a very high class version of the EP cover. Completely excellent! Fits the original design of the Misfits perfectly.

20. American Nightmare – To think I always thought he said “Hot Cherry on a Friday Night” and now I learn it’s “Hot Chevy on a Friday Night”. DAMN YOU MUMBLES!!! This was the only attempt the Misfits, well Glenn, gave at Rockabilly back in the early 80’s. The song is fantastically campy and very catchy. The artwork is a bit horrorpunk cliché, but fits the song nicely.

21. Ghouls Night Out – This is a fantastic Misfits b-side and I’m glad it is here and official finally. These lyrics only vary slightly from those found on Misfits Central, so rest easy. The artwork is of three naked demon girls eviscerating a naked man. Simple and to the point. Pretty good.

22. Horror Business – Here is a staple Misfits and Samhain song. I’m not sure why these lyrics really needed to be confirmed. What you find here is what most thought he said. I am glad they are official, but would have rather have had a different song. The image here is pretty much a horror punker’s fantasy. It fits perfectly; A man in a decrepit bathroom with a disemboweled woman in the shower. He is looking in the mirror and seeing the fiend skull as his own face as he wipes blood down his eye. This is such a great image.

If you’ve made it this far, then I applaud the effort. I would say this would be a great buy for the average person if it were less expensive. For those of us who are collectors of Glenn Danzig’s work, then no matter the price this will end up in our collections. If you don’t fall into the realm of collector then maybe try and track this down digitally. Overall this is still better than anything Jerry Only has put out in the last decade!