CLICK HERE for Reviews of Albums by THE MISFITS!
The first three MISFITS albums, ‘Static Age’, ‘Walk Among Us’, and ‘Earth AD / Wolfsblood’ are sometimes considered to be the only real MISFITS albums (in addition to the compilations ‘Legacy of Brutality’, ‘Collection I’, and ‘Collection II’, some of which contain alternate recordings), as singer/songwriter Glenn Danzig then left to form SAMHAIN in the mid-eighties.
A decade later, brothers Jerry Only and Doyle (bass and guitar, respectively) emerged with a new drummer and singer and continued to perform and release new music under the MISFITS name. New singer Michale Graves had a more dynamic vocal range (but a different voice…), and the new albums ‘American Psycho’ and ‘Famous Monsters’ featured hardcore punk songs played in a heavy metal style. Graves would later leave, leading bassist Jerry Only to pick up vocal duties, while former Black Flag singer-turned-guitarist Dez Cadena would pick up guitar duties in place of Doyle, who had also subsequently left (later to reunite on stage with Glenn Danzig at performances of his current band, DANZIG).
There have been teasers for a proper reunion of the 80s lineup for decades, but the bitterness between the parties makes it seem unlikely.
FROM REVIEWS:
WALK AMONG US: Gleeful, hopped up, pissed off, and singin’ the hits like some kind of big rock star, Mr. Glenn leads his competent combo through thirteen individually amazing tracks, not a one of which you could mention around your mother without having to explain yourself. You’ve got your “I Turned Into A Martian,” your “All Hell Breaks Loose” (which contains the moving couplet, “I send my murdergram to all these monster kids / It comes right back to me, signed in their parents’ blood!”), your “Hatebreeders,” your “Devils Whorehouse,” your “Braineaters,” your “Skulls,” your… oh, this is getting preposterous.
EARTH AD / WOLFSBLOOD: So fast, so loud, so mean – decimeters more threatening (if you find music “threatening”) than that pop fluff they’d been forcing down the throats of the American public for the previous five years, these nine tracks reach beyond the boundaries of traditional Ramones melodies to find a sound so ugly and agitated that, combined with the disturbingly morbid pointillism of the cover painting and song titles like “Death Comes Ripping,” “Green Hell,” and “Queen Wasp”…
