It spanned his entire time with the group from 1977 to 1983, from their mordant first single “She” to the skull-rattling ragers of swan song Earth A.D.
Only told Rolling Stoneearlier this year that he wanted Danzig to pick the set list, and the singer’s song selection did not disappoint. The iconic punk band’s set was clearly the most anticipated performance of the weekend. Some had arrived early, before the fest’s gates opened at 11 a.m., wearing their Crimson Ghost T-shirts as they watched bands like Bad Religion and Converge, the latter of which praised Misfits when singer Jacob Bannon said they “made all the difference for me when I was a kid.” By 2 p.m., the only Misfits shirts available at the merch table were sizes medium and small.
#Misfits discography turning into a martian free#
Toward the front of the stage, fans pushed each other like some living organism, with the few that had free hands raising them to fist-bang along with Danzig’s anthemic lyrics. Right from the start, after a curtain fell to reveal the band’s elaborate stage set, the audience began crushing forward.
At least in New York City it was.” Then they led a round of their ragged sing-along “Where Eagles Dare” as the audience bellowed its chorus, “I ain’t no goddamn son of a bitch.” That’s pretty much what punk was back then, getting fucked up and fucking people up. We were angry, pissed-off and we dressed all in fucking black and we were always getting into fights and shitloads of fucking trouble every night. “About 40 years ago, Jerry and I got onstage in New York and we shocked the whole fucking punk scene who didn’t know what the fuck to make of us,” Danzig said at one point. Yet here they all are, with help from former Slayer drummer Dave Lombardo and second guitarist Acey Slade, who plays in Joan Jett’s Blackhearts, reciting 25 of their so-called “hits from hell” for a little more than 70 minutes and even reminiscing. It’s a reunion that never seemed possible, as Danzig and Only have spent the decades since their breakup filing soul-sucking lawsuits against one another and taking bitter snipes at each other in the press after Only and Doyle reactivated the group without Danzig in 1995 (Doyle and Danzig settled their differences around 2004). That’s because the original Misfits’ comeback, the closing event of the Mile High City’s three-day Riot Fest & Rodeo, was a celebration of the group’s nearly 40-year legacy of out-and-out punk subversion, one that’s resounded in the music of Metallica, Guns N’ Roses, AFI and countless other groups. But for all of Misfits’ signature doom and gloom, everyone onstage looks surprisingly happy. Two coffin-shaped entryways sit at either side of the drum riser, the band’s iconic “Crimson Ghost” skull-man icon seems to adorn every other square foot of stage, and the other “original Misfits” – bassist Jerry Only and guitarist Doyle – are decked out in their Walpurgisnacht best: ghoulish white face paint, black leather and spikes, “devilock” hairdos swaying over their instruments. The band is midway into the first Misfits concert in 33 years to feature its founding fiend behind the mic, and the horror-punk trailblazers have just finished playing their gruesome “Halloween,” with its catalog of “candy apples with razor blades” and “dead cats hanging from poles” – and the 10s of thousands of people watching seem to sing every word. “You like our fucking pumpkins?” Glenn Danzig asks a deafening Denver crowd, gesturing at the 15-foot jack-o’-lanterns glowering at the audience on either side of Riot Fest’s “Riot Stage.” “They’re pretty fucking cool.”
0 kommentar(er)
