Track 9 recorded June 1998 at Pro Edge (Vernon, NJ)
Track 10 recorded 1998 in Phoenix, AZ
Tracks 11, 12, 13, and 18 recorded April 1999 at Dreamland Recording Studio (Woodstock, NY)
Tracks 14 and 15 recorded August 1999 at Castle Oaks Studios (Toronto, ON)
Track 16 recorded 2000 at Water Studios (Hoboken, NJ)
Track 17 recorded live July 29, 2001, at Bar Opiniao (Porto Alegre, Brazil)
Produced by John Cafiero/The Misfits
Released December 29, 1999, Roadrunner Records (CD)
Notes: This disc is comprised of various American Psycho and Famous Monsters era outtakes/unreleased material.
BOX SETS
The Misfits
DISC 1: “She” / “Hollywood Babylon” / “Horror Business” / “Teenagers from Mars” / “Night of the Living Dead” / “Where Eagles Dare” / “Vampira” / “I Turned into a Martian” / “Skulls” / “London Dungeon” / “Ghoul’s Night Out” / “Astro Zombies” / “Mommy, Can I Go Out & Kill Tonight?” / “Die, Die My Darling” / “Cough/Cool” / “Children in Heat” / “Horror Hotel” / “Halloween” / “Halloween II” / “Hatebreeders” / “Brain Eaters” / “Nike-a-Go-Go” / “Devil’s Whorehouse” / “Mephisto Waltz” / “Rat Fink” / “We Bite”
DISC 2: “Static Age” / “TV Casualty” / “Hybrid Moments” / “Spinal Remains” / “Come Back” / “Some Kinda Hate” / “Theme for a Jackal” / “Angelfuck” / “Who Killed Marilyn?” / “Where Eagles Dare” / “She” / “Halloween” / “American Nightmare” / “20 Eyes” / “Night of the Living Dead” / “Astro Zombies” / “Horror Business” / “London Dungeon” / “All Hell Breaks Loose” / “We Are 138” / “Earth A.D.” / “Queen Wasp” / “Devilock” / “Death Comes Ripping” / “Green Hell” “Wolfs Blood” / “Demonomania” / “Bloodfeast” / “Hellhound”
DISC 3: “Cough/Cool” / “She” / “Who Killed Marilyn?” / “Where Eagles Dare” / “Horror Business” / “Teenagers from Mars” / “Children in Heat” / “Night of the Living Dead” / “Where Eagles Dare” / “Vampira” / “Violent World” / “Who Killed Marilyn?” / “Spook City, U.S.A.” / “Horror Business” / “I Turned into a Martian” / “Skulls” / “Night of the Living Dead” / “Astro Zombies” / “Where Eagles Dare” / “Violent World” / “Halloween II” / “20 Eyes” / “I Turned into a Martian” / “Astro Zombies” / “Vampira” / “Devil’s Whorehouse” / “Nike-a-Go-Go” / “Hatebreeders” / “20 Eyes” / “Violent World”
DISC 4: “Intro” / “Static Age” / “TV Casualty” / “Some Kinda Hate” / “Last Caress” / “Return of the Fly” / “Hybrid Moments” / “We Are 138” / “Teenagers from Mars” / “Come Back” / “Angelfuck” / “Hollywood Babylon” / “Attitude” / “Bullet” / “Theme for A Jackal” / “Outro”
Disc 1 compiled from Misfits/Collection 1 and Collection II
Disc 2 compiled from Legacy of Brutality, Evilive, and Earth A.D./Wolfs Blood
Disc 3 includes “Cough/Cool” single and various studio outtakes circa 1979–1981
Disc 4 compiled from Static Age
Produced by Tom Bejgrowicz
Released February 27, 1996, via Caroline Records (CD)
50,000 copies (first pressing)
(second pressing) [June 1997]
Notes: All copies housed in a coffin-shaped box. The first pressing included a Fiend Club badge, a special jewel case for Static Age, and slim cases for other discs. Caroline issued a second pressing of unknown quantity in June 1997. The Misfits charted at no. 36 on Billboard’s Heatseekers.
NOTABLE APPEARANCES ON COMPILATIONS FEATURING OTHER ARTISTS
Flipside Vinyl Fanzine Vol. 2
“Attitude”
Recorded live December 20, 1978, at Max’s Kansas City (New York, NY)
Released 1984 via Flipside/Gasatanka (vinyl)
Reissued on The Best of Flipside Vinyl Fanzines CD [November 1993]
We Will Fall: A Tribute to Iggy Pop
“1969”
“I Got a Right”
Recorded March 23, 1997, at Baby Monster Studio (New York, NY)
Released September 16, 1997, via Royalty Records
Noted for: While “1969” is technically a Joey Ramone solo track, Dr. Chud and Jerry Only comprise his rhythm section while producer Daniel Rey plays guitar. “I Got a Right” is the full Graves-era lineup of the band.
Just Can’t Get Enough: New Wave Halloween
“Halloween”
Recorded August 1980 at Master Sound Productions (Franklin Square, NY)
Released June 30, 1998, via Rhino Records
Short Music for Short People
“NY Ranger”
Recorded April 1999 at Fat Wreck Studio (New York, NY)
Released June 1, 1999, via Fat Wreck Chords
Noted for: This is a rerecording of the earlier single featuring Michale Graves on vocals.
VIDEOS
“Brain Eaters”
Taped March 20, 1983, Derkin Park, Boston, MA
Produced/Directed by the Misfits
Notes: Never released.
“Dig Up Her Bones”
Produced/Directed by John and Suzanne Cafiero
Released August 10, 1997
“Abominable Dr. Phibes / American Psycho”
Produced/Directed by John and Suzanne Cafiero
Released January 11, 1998
Notes: A 16mm film version of these clips were shown before an October 30, 1998, screening of Mad Monster Party in New York City.
“Monster Mash” (live)
Produced/Directed by John Cafiero.
Released October 28, 1998
Notes: This video consisted of Misfits live footage spliced together with scenes from Mad Monster Party.
“Scream!”
Directed by George Romero
Released October 5, 1999
NOTABLE MISFITS CONCERT BOOTLEGS
Max’s Kansas City (New York, NY), December 20, 1978 [audio]
This show, the band’s second at Max’s that evening, is noted for as a great example of the early Misfits synergy and for its thirty-second cover of the Elvis Presley holiday hit “Blue Christmas.”
Studio Zero (New York, NY), January 1979 [video]
Jerry and Glenn goof off with their friends (who include Howie Pyro and Trixie Sly) in this twenty-minute recording where they play New York Dolls songs, Stooges songs, and the Joey Dee and the Starlighters hit “Peppermint Twist.”
The Pit (Lodi, NJ), September 1981 [audio]
A twenty-seven-minute recording of the Misfits rehearsing in the Caiafa family garage. Notable because it captures the band introducing drummer Arthur Googy to “Queen Wasp,” which they spend several minutes trying to hammer out. This tape was allegedly recorded by Dave Schwartzman of neighboring hardcore band Adrenalin O.D. who says it only became public after someone swiped it from his car during a trip into Manhattan.
Hittsville (Passaic, NJ), December 25, 1981 [audio]
Maybe the most famous Misfits live bootleg in existence, if not for the band’s constantly malfunctioning equipment then for Danzig’s ridiculously livid stage patter. To wit: the singer insults not only those in attendance as “fuckin’ jerks” but also derides those who chose to stay home as “asshole[s]”; later, during “London Dungeon,” he bitterly announces, “I hate the fuckin’ British!” This bootleg also captures one of the more venom-filled renditions of “Teenagers from Mars” featuring the anti-Bobby Steele lyrics (“We don’t care that Bobby Steele sucks!” Danzig announces between lines of the chorus).
Group W Cable (Dearborn, Michigan), January 7, 1983 [video]
The Misfits perform in a storage room at a television station for a smattering of fans; the entire show is videotaped for a cable access program called Why Be Something You’re Not? During the interview portion of the program, Danzig jokes that his real name is Slim Whitman.
Channel Club (Boston, MA), March 20, 1983 [video]
This relatively excellent multiple camera recording was originally commissioned for a Flipside video magazine but was shelved for legal reasons.
Graystone Hall (Detroit, MI), October 29, 1983 [audio/video]
The final Misfits show with Danzig, the longest show the band played with Danzig as well. “Night of the Living Dead” is played twice. A few songs into the set, Danzig goes on an epic rant about stage divers.
ESSENTIAL MISFITS-RELATED RELEASES
The Victims—s/t
(Plan 9, 1978)
Four song single from this New York City band contains sex-starved classics “Annette” and “I Want Head”; the only non-Danzig release on Plan 9 Records.
Active Ingredients—“Hyper Exaggeration”
(Active Records, 1980)
Franché Coma’s after-Misfits project, reminiscent of Devo in its frenetic keyboard mania.
Glenn Danzig—“Who Killed Marilyn?”
(Plan 9, 1981)
Danzig’s first solo release boasts “Spook City, U.S.A.” on the flip side.
The Necros—“IQ32”
(Dischord/Touch & Go, 1981)
Explosive hardcore rager from Midwestern Misfits pals.
The Undead—Nine Toes Later
(Stiff/Post Mortem, 1982)
Debut from Bobby Steele’s long-running Lower East Side contingent, financed by Danzig. The title references the forced amputation of Steele’s infected digit.
Antidote—Thou Shalt Not Kill
(Antidote Records, 1983)
Walk Among Us drummer Arthur Googy provides the backbone for this fierce hardcore slab still coveted by scenesters today.
Samhain—Initium
(Plan 9, 1984)
Haunting inaugural outing from Glenn Danzig’s more visceral mutation of the Misfits.
Samhain—November-Coming-Fire
(Plan 9, 1986)
A perfect blend of punk rock and goth atmosphere; the last true Samhain record before the band was retrofitted into Danzig.
Danzig—s/t
(Def American, 1988)
The taut hard rock major label debut from Glenn Danzig that began a four-album dynasty.
Kryst the Conqueror—Deliver Us from Evil
(Cyclopean Music, 1989)
Jerry Only and brother Doyle go power metal with a friend from the neighborhood and an uncredited Jeff Scott Soto. A full album expanding on this cocksure material remains unreleased.
Danzig—4p
(Def American, 1994)
The final hard rockin’ dance for the classic Danzig lineup of Glenn, Eerie, John Christ, and Chuck Biscuits.
Graves—Web of Dharma
(GDU Records, 2002)
Michale Graves and Dr. Chud prove themselves outside the Misfits with a collection of spook-drenched pop punk.
Rosemary’s Babies—Talking to the Dead
(Ghastly Records, 2004)
Expanded edition of this forgotten Lodi group’s early 1980s Blood Lust EP, including the bone-rattling ten-second rant “What I Hate” and the perverse ode to Vice Squad’s singer “Becky Bondage.”
Son of Sam—Songs from the Earth
(Nitro Records, 2001)
More solid goth punk from AFI’s Davey Havok, Danzig’s Todd Youth, and Samhain members Steve Zing and London May.
SCRAPPED MISFITS RELEASES
“Teenagers from Mars” single (1978)
Six acetates of this seven inch were pressed, one with “Teenagers from Mars” on both sides and five with “Teenagers” on one side and “Static Age” on the other. The band decided not to print the single after all, keeping two copies and giving the rest away (early Misfits supporter George Germain received both the double “Teenagers” copy and a regular copy; the remaining two were donated to the jukeboxes of Max’s Kansas City and CBGBs).
“Who Killed Marilyn?” EP (1979)
This twelve-inch record would have combined the tracks from “Horror Business” with the titular song and “Teenagers from Mars.” An acetate was pressed but completing a run of twelve-inch records was ultimately deemed too expensive.
Walk Among Us (Plan 9 version, 1981)
The Misfits had already put together the material for their debut album before signing with Ruby/Slash. Aside from the specific takes and/or mixing differences, this version of the album would have included “Horror Hotel,” “Ghoul’s Night Out,” and “American Nightmare.”
Enter at Your Own Risk (1986)
A Misfits “greatest hits” release planned by Danzig that was absorbed into Collection II.
Walk Among Us 2 (1986)
This proposed “sequel” to Walk Among Us would have featured alternate versions of many of the original album’s songs, ostensibly so Glenn could navigate around Warner Brothers’ alleged non-payment of Walk royalties.
Xmas at Max’s (1994)
Jerry and Doyle dubbed new instrumental tracks over a December 25, 1978, performance by the band at Max’s Kansas City for a Caroline release; it was scrapped after complaint from Danzig.
NOTABLE FILMS THAT INFLUENCED THE MISFITS
The Misfits have drawn inspiration from myriad film sources over the years. Here is a rundown of key cinematic horror exercises that ingrained themselves into the band’s DNA—for better or worse.
The Abominable Dr. Phibes (1971)
Widowed Roaring Twenties scientist (Vincent Price) with a penchant for pounding the organ avenges his wife’s death at the hands of several doctors. Absolutely Fabulous star Joanna Lumley had her scenes as a comely lab assistant cut from this cult classic at the last minute. Directed by Robert Fuest.
The Astro-Zombies (1968)
Bitter space doctor (John Carradine) creates undead slave who goes crazy and kicks off a wild government chase. Wayne Rogers of “M*A*S*H” fame shares a co-writing credit on this film’s screenplay. Directed by Ted V. Mikels.
The Black Hole (1979)
The USS Palomino, an intergalactic exploratory vessel, searches for answers regarding a fellow ship’s disappearance in the year 2130 A.D. The first non-G rated film in the Disney canon. Directed by Gary Nelson.
Bloodfeast (1963)
A deranged caterer of Egyptian descent (Mal Arnold) goes on a gore spree in the suburbs of Miami. Considered a landmark in shock cinema, not just for what’s onscreen but for the producers’ publicity tactics—barf bags were often handed out at theaters presenting this blood orgy. Directed by Herschel Gordon Lewis.
Boxing Helena (1993)
Disembodied female head (Sherilyn Fenn) torments surgeon (Julian Sands) who was once obsessed with the entire woman. Kim Basinger’s decision to pull out of the title role resulted in a messy lawsuit that succeeded in derailing her career. Directed by Jennifer Chambers Lynch, daughter of David.
The Brain Eaters (1958)
Riverdale, Illinois, is besieged by intergalactic parasites who can control the human mind. Shot in a mere six days with an estimated budget of $30,000. Directed by Bruno VeSota.
The Bride of Frankenstein (1935)
One of horror’s earliest and greatest sequels focuses on finding Dr. Frankenstein’s monstrous creation an equally odd mate. Directed by James Whale.
The Crawling Eye (1958)
Telepathic cloud of alien evil goes on a killing spree near Swiss resort. Inspired John Carpenter to later make The Fog. Directed by Quentin Lawrence.
This Music Leaves Stains: The Complete Story of the Misfits Page 23
