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While Steele’s relish for performing is consistent, the sound, music and lyrics are pretty uneven, and the best isn’t exactly riveting. With a settled lineup, the Undead might have made a super live record these documents are just as good.Īn insert in Never Say Die! claimed the Undead were already in the studio recording Act Your Rage, but it took three years to finish. It’s gritty, rocking, catchy and angry but, like the title track, often shows a positive attitude. (The title refers to the accident that left Steele with a pronounced limp.) Never Say Die! combines the EP with two subsequent independent singles into a solid mini-LP (eight songs in under nineteen minutes). Guitarist Bobby Steele quit the Misfits in 1980 and formed the Undead, a trio that cut Stiff’s very last US release. Though uneven at points, Legacy does preserve some of the Misfits’ finest moments, such as “Angelfuck” and “She.” Originally CD-only, then reissued on vinyl and cassette, Misfits is a 20-cut retrospective that includes remixes, alternate takes and one jarring edit that cuts out the second half of “Teenagers from Mars”/”Children in Heat.” It also contains a band take on “Who Killed Marilyn,” Danzig’s 1981 solo debut. Legacy of Brutality is a posthumous collection of outtakes and alternate versions, a good chunk of them from the ’78 session that produced Bullet. (A later German edition adds the terrific “Die Die My Darling” an American cassette issue appends that single and its two B-sides.)
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Good tracks like “Blood Feast” and “Green Hell” aside (the latter, along with “Last Caress,” was covered by Metallica on Garage Days Re-Revisited), Earth A.D. Danzig’s voice is downplayed, and the faster, stiffer beat robs the songs of their innate tunefulness. California’s legendary Spot produced while his monochromatic technique served other groups well, it negated many of the Misfits’ strengths. One cut includes guest vocals by Henry Rollins.Įarth A.D./Wolfsblood is an unfortunate step in the wrong direction - a misguided attempt to conform to hardcore convention. The Evilive 7-inch EP (later expanded and reissued as a full-length album) catches the Misfits on rare good 1981 nights in New York and San Francisco, playing material drawn mostly from Walk Among Us. (As a posthumous Misfits cult grew to gigantic proportions during the later half of the decade, goaded by the avid endorsement of bands like Metallica, Walk Among Us became one of punk’s most feverishly sought-after albums.) Years of solid songwriting effort paid off, making this classic album as strong as it is consistent. As a result, Walk Among Us practically wallows in psychotronic shock imagery, imbuing many of the band’s anthems - including “Astro Zombies,” “Skulls,” “Vampira” and “Mommy, Can I Go Out and Kill Tonight?” - with a new-found intensity and larger-than-life touch of evil. (For a musical genre in which tone and articulation don’t count for much, Danzig’s power and control are awesome.)Īfter years as a strictly underground force, the Misfits seized on hardcore and grafted horror-punk onto slam-thrash. Two of these - the superb Bullet EP and the subsequent “Horror Business” single - are compiled on the English Beware EP (along with the legendary melodic outtake “Last Caress”) and epitomize what made the Misfits great: a combination of hooky power-chording, weird horrific lyrics and singer Glenn Danzig’s distinctive basso roar. Drawing their sound from the Ramones and the Damned, and their look from horror movies and Kiss, the Misfits began by releasing a string of 7-inches on their Plan 9 label.