This Music Leaves Stains by Jr. Greene James

Author:Jr. Greene, James
Language: eng
Format: epub
Tags: undefined
Publisher: Scarecrow Press
Published: 2012-11-09T16:00:00+00:00

Glenn Danzig began a slow and steady climb to rock stardom after signing with Def American in 1987. His group’s self-titled 1988 debut was embraced by critics and fans looking for a powerful, authentic antidote to the superficial hair metal that ruled the airwaves at the time. Danzig the band would prove “real” enough to weather the storm of grunge that descended just a few years later, wiping so many other metal bands into a figurative sinkhole. Of course, by squeezing themselves into extraordinarily tight pants, festooning their videos with sultry bikini-clad woman, and sporting the requisite flowing heavy metal coifs (even Glenn was parting his hair to the side at this point so as to better accentuate his Travolta-esque facial features), Danzig managed to prove themselves far campier than the Pearl Jams, Mudhoneys, and Soundgardens to come. Regardless, positive press from no less than Rolling Stone and England’s Melody Maker helped the leather-clad quartet gain an international foothold, expanding the audience for Danzig’s snarling brand of rock into countless foreign markets.[37]

Sensing an opportunity, Warner Bros. Records (who had acquired the rights to the Slash/Ruby Records catalog years before) reissued the Misfits’ Walk Among Us on vinyl and cassette that July, one month before Danzig had even come out (following the newer record’s positive reception, Warner released Walk on CD in November).[38] Glenn had long held that he and the Misfits had never been fully paid for the original release of Walk Among Us and was furious to learn of the reissue. He briefly considered filing suit against Warners, talking up a potential lawsuit in various interviews at the time, but ultimately never followed through. He had too much to focus on as it was. A long time was spent prepping the conclusive Samhain release, 1990’s Final Descent, a compact disc offering five previously unheard outtakes and the Unholy Passion EP that served as an aural tombstone for the band. Danzig the band’s popularity also seemed to be growing by the minute; their 1990 sophomore effort Danzig II: Lucifuge and its 1992 follow-up Danzig III: How the Gods Kill proved even more popular than Danzig (How the Gods Kill was even given a full four stars by the finicky Rolling Stone[39] ) while simultaneously finding the synergetic quartet growing musically into a slightly more complex animal. Case in point: Danzig III’s opening track “Godless” begins as a hard-charging call to arms before slowing down to the pace of a funeral procession for the majority of its six and a half minutes; through all that time, the listener’s attention is rapt as Danzig preaches from his pulpit of perceived atheism and pagan birthrights. The band ebbs and flows behind Danzig, creating a tense backdrop for the singer’s howls of religious pain.[40] In particular, the performance of Chuck Biscuits on “Godless” is impressive; the drummer’s work here is regularly cited by percussive freaks as one of the best hard rock tracks of the 1990s.

Amid his eponymous band’s rise to glory Glenn Danzig

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