Another favorite interview from the ShockHound archives; this one somehow seems most appropriate to most on Easter morning. I'd interviewed Glenn Danzig a few times in the past, but I'd never seen him as jovial as he was when we had this conversation in the spring of 2010. He seemed truly stoked about the impending release of Deth Red Sabaoth, and justifiably so — it was one of his best records in years, maybe decades, and was certainly one of my top faves from last year...
DANZIG: NO REGRETS — INTERVIEW BY DAN EPSTEIN
Like Elvis Presley, an icon whose influence he proudly cops to, Glenn Danzig has taken more than a few shots as a pop-cultural punchline over the years, often from folks who should really know better. Because while it’s easy enough to bag on Danzig for his overly-serious persona, his weight-lifting regimen or whatever, one should never overlook the fact that the guy has been responsible for a number of truly classic punk and hard rock records via the Misfits, Samhain and Danzig — the latter the long-running band that bears his name. Nor should it be forgotten that the man possesses one of the most powerful and distinctive voices in rock, an instrument that seems almost impervious to the passage of time.
That voice can be heard in all its feral baritone glory on Deth Red Sabaoth, Danzig the band’s ninth studio album, which drops this week. A bluesy, hard-hitting and at times extremely haunting work, it’s easily the best record Danzig’s done in over a decade. Abetted by longtime guitarist Tommy Victor (Prong, Ministry), bassist Steve Zing (Samhain, the Undead) and drummer Johnny Kelly (Type O Negative), songs like “Night Star Hel,” “On A Wicked Night” and the two-part epic “Pyre of Souls” sounding as vital and as ass-kicking as anything on Danzig’s late ‘80s/early ‘90s albums.
Danzig himself seems pretty psyched on it, which might be why the notoriously grumpy artist was in such a jovial mood when we recently sat down with him for this exclusive ShockHound interview. Not that we minded, of course; we had a blast talking to the man about his new album, digging for vintage gear, touring, the blues, and the legacy of the Misfits. Click the “play” button above for our video interview, then scroll down to read the extended Q&A.
SHOCKHOUND: You sound really revitalized on the new record. It’s like you took some time off, and were ready to come back and kick some ass.
GLENN DANZIG: [Laughs] I don’t know about time off, ‘cause I have no time to myself — but yeah, once I started recording this record, each time I’d go into the studio, I’d get more and more psyched about it and how it was turning out. Once I started laying down lots of the over-tracking, me and Tommy, and the vocals, I really couldn’t wait to mix it.
SHOCKHOUND: The record has a really heavy, organic, early ‘70’s kind of vibe to it. Was that the intent going in?
DANZIG: Yeah, my intent was to go in and do an early ‘70s sounding record — with a very contemporary feel, though. But yeah, I used a lot of old gear, especially for the bass and guitar. I used old Kustom amps with big fifteen- and eighteen-inch speakers to get that big, thick sound. For my guitar tracks, I used a [Kustom] bass head and bass cabinet. It’s very organic, a lot of it. Pedals too, to get that organic feel. You can’t use plug-ins on a computer, they just don’t sound right. For that warmth and thickness, you have to go deep — digging through old music shops or on the Internet or whatever, and find the real pedal. The good thing about going into an old music shop is that you can actually plug the pedal in and put a guitar through it, a great amp, and hear how it sounds.
SHOCKHOUND: So what was the coolest thing you scored while going through the old music shops?
DANZIG: Finding a really, really cool bass Kustom stack was good, but I found the original Dallas Arbiter Jumbo Fuzz that I used in the Misfits, which is super rare and super hard to find. It almost looks like it’s a wah-wah pedal, but it’s not. It has equalizers on it. It’s like orange and silver and has a pedal you step on. It’s really hard to find. I only found one once, when I was recording and working on The Lost Tracks of Danzig; it was on eBay on “Buy It Now,” and I had to run and do a vocal, and when I came back, it was gone…someone bought it. It was four or five hundred dollars. So I found this while I was digging through stuff looking for phase shifters and other stuff and was just like, “Yes!” That was the score.
SHOCKHOUND: Which Deth Red Sabaoth tracks did you use it on?
DANZIG: Oh god, I used it on a couple. I’d have to go back and listen again, but I’m pretty sure I used it on “Night Star Hel,” and possibly “Black Candy”.
SHOCKHOUND: You said you went in with the idea of the sound in mind. Did you write the songs with the record sound in mind as well, or did that just flow naturally?
DANZIG: I wrote the songs with the whole idea in mind. I guess I’m known for writing catchy, heavy songs, and I really wanted this one to be even more — not poppy, but very hooky, so people would be really connecting with the songs right away, hopefully. We’ll see.
SHOCKHOUND: Working with Tommy and Johnny, did you just let them run with it, or did you give them very specific instructions of what you wanted to do?
DANZIG: Well, when I work with Tommy, ‘cause I’ve worked with Tommy many times before, he knows what I’m looking for. He also knows he can go crazy, especially when he’s playing leads and I’ll just egg him on — you know, “More, more, more!” [Laughs] He’s so phenomenal, and I think he’s really underrated as a guitar player. So many people have stolen his riffs over the years…so many nu-metal bands. They should erect a plaque to him at every label. [Laughs] Now working with Johnny…this was the first time working in the studio with Johnny because he’s always been out with Type O. He was supposed to play on Circle of Snakes, but he had to leave on a Type O tour. This time, we finally got him in the studio and it was well worth it. He’s beatin’ those things till they cry. [Laughs]
SHOCKHOUND: When you’re making a record, do you think of it in terms of the context of your career — the three decades’ worth of music you’ve already made — or is it just like, “This is what’s happening now and I’m just focusing on that”?
DANZIG: When I’m doing a record, especially like this, I always make sure that I keep in mind what I am and who I am, and what I’m about and what it is I do. Now it’s just second nature. I already know right away when I write something — if it’s not remotely Danzig, it’s out the door, it doesn’t even make it to the studio.
SHOCKHOUND: So you’ve got a built-in quality control system?
DANZIG: Yep! I toss probably six songs for every one I bring down [to the studio], so the quality control element is already built-in, yeah.
SHOCKHOUND: Tell me a little bit about “Pyre of Souls”. That’s kind of the centerpiece of the record.
DANZIG: Is it? [Laughs]
SHOCKHOUND: Well, it doesn’t literally come in the middle of the record — but artistically, it’s kind of the standout track, and everything on the record seems to be leading up to it.
DANZIG: Yeah, it’s in two sections. The beginning is supposed to just suck you in, then it breaks into this heavy…I don’t know what to call it…Danzig track? [Laughs] Me screaming and the band losing their mind. That one has really good Tommy guitar in it. “Pyre of Souls” has Tommy just losing his mind and me just sitting there going, “More, more, more!”
SHOCKHOUND: Is Tommy coming out with you on tour?
DANZIG: Yeah. Actually, Johnny, Tommy, and Steve will be out on the road for this stuff. We’re only doing nine shows until the fall. We’re doing five on the east coast and four on the west coast, and that’s it until the fall.
SHOCKHOUND: What happens in the fall?
DANZIG: Well, supposedly, we’re doing another Blackest of the Black tour and, hopefully, go even bigger this year. We might even have between four and six all-day-event kind of Blackests, with maybe a day stage for young bands.
SHOCKHOUND: The last time we spoke was when you were doing promo for The Lost Tracks of Danzig, and you seemed kind of burnt out on the whole idea of touring.
DANZIG: Yeah, I stopped touring for a while, then started doing some local shows in the LA/Southern California area. That worked out okay, then I did a couple east coast shows, flew home, did some west coast shows, flew home. Then we put together a three-week run where I did like four or five east coast shows and flew home, then did two weeks on the west coast and flew home every two or three days…and that worked out okay. It’s not so much that I’m burnt out on touring, ‘cause I love playing live; it’s that extra time after the show and until your next show. I’m such a workaholic, and I’m on a bus and none of my stuff is there, all of my things that I use to do the stuff I do…it’s just, I’m in limbo. That’s the part I hate.
SHOCKHOUND: So being able to regularly come home and take care of business is key?
DANZIG: Yeah. It’s the only way to do it. Jerry Lee Lewis, who’s been doing it his whole life, I think he leaves at three in the afternoon on his plane for his show, gets there, does the show, gets paid, walks out the door, hops on his plane and goes home, and there’s a lot of other artists that do that. I don’t have a plane, so…[Laughs] I guess I’m not plane-ing it every night, but what I’ve got worked out right now seems to work. We’ll see if it works again this fall. Hopefully it will.
SHOCKHOUND: Let’s talk about the blues. There’s always been a noticeable blues element to Danzig’s music.
DANZIG: Pretty much Misfits and everything…Samhain, Danzig. That’s my vocal style, and that’s a lot of the stuff I grew up hearing.
SHOCKHOUND: Do you remember the first time you heard a blues song and how it affected you?
DANZIG: I don’t think you really know it’s blues when you hear it. You just hear it and you’re like, “Oh, that’s cool.” Later on someone tells you it’s blues and you’re like, “Oh, it’s just a great song to me.” No, I can’t remember. I remember stuff like Elvis that was always really great to listen to, aside from heavy stuff like Sabbath. I do know that the blues artists I really like are people like Willie Dixon, Muddy Waters, Howlin’ Wolf, you know, the screaming and yelling of Howlin’ Wolf. There’s tons more, but those are probably some of the most important ones. Bo Diddley doesn’t get enough credit, especially that song “I’m A Man.”
SHOCKHOUND: Bo Diddley had some very interesting lyrics, as well — he was singing about human skulls long before the Misfits.
DANZIG: Yeah, you’ve got Robert Johnson, too. Making a deal with the Devil at the crossroads to be the best blues player. You have a lot of it going on in that.
SHOCKHOUND: Is there a particular song, in blues or otherwise, that you really wish you’d written?
DANZIG: No. [Laughs] I just enjoy listenin’ to it when I hear it. That’s part of the great pleasure of hearing a great song, you get to hear it and enjoy it. That’s why songs are written…for people to enjoy them. That’s why people play live, so that people can hear the song live and enjoy it.
SHOCKHOUND: And you get the energy back from the audience...
DANZIG: But it’s the enjoyment. You’re getting that energy ‘cause they’re enjoying the song. That’s why you play it live. [Laughs] If you’re just playing live to make money, you should probably find another line of work.
SHOCKHOUND: Looking back at your career, is there anything you would have done differently?
DANZIG: Nope. [Laughs] I wouldn’t have done anything different in my career whatsoever. It would change where I am and what I’m about. There’s no regrets whatsoever. I wouldn’t change a thing.
SHOCKHOUND: What’s your favorite Misfits song, and why?
DANZIG: I really don’t listen to the Misfits stuff that much, or Danzig stuff, or Samhain stuff. Once I’m done with it and I’ve played it so many times on the road…Like right now, I’m still listening to the new record. I’m not sick of it yet. [Laughs] I will be sick of it probably after the fall tour.
SHOCKHOUND: What about in terms of favorite Misfits song to perform?
DANZIG: Oh, performing! Because it’s with the Misfits, the songs haven’t been performed in so long, it was kinda cool when [Misfits guitarist] Doyle and I did that thing on the Blackest 2005. For anyone who didn’t see it, two-thirds of the way into the Danzig set, we brought Doyle out and did about six or seven Misfits songs. Sometimes I didn’t even really have to sing; I’d just have to put the mic out. There are a few Danzig tracks like that, like “Mother,” “Her Black Wings” and “Twist Of Cain.” “Skin Carver” is another one that took me by surprise, where I don’t have to do anything but put the mic out. Thousands of people yelling “Skin Carver” is probably chilling to someone’s parents, but I think it’s great. It brings a smile to my face. [Laughs] With the Misfits songs, though, there’s so many. People have heard those for so long, so many different kinds of people. It’s pretty wild.
SHOCKHOUND: That’s gotta be pretty gratifying, considering how poorly those songs were initially received back in the day.
DANZIG: I remember bringing the Misfits’ recordings — they weren’t really demos, we recorded ‘em in a real studio — around to all the labels and just having people look at me like I was nuts, or a murderer or whatever, and telling me, “You’ll never have a career in music. This is the worst stuff I’ve ever heard. This is just like a wall of noise!” And I go, “That sounds good — a wall of noise!” They were like, “No, it’s bad. You’re terrible. You’ll have no career ever in music. No one will ever care about your music.” And I was like, “Well, okay, go fuck yourself!” [Laughs] But yeah, here I am. Any kids out there thinking of getting in music, don’t listen to what other people have to tell you. [Laughs] I’m sure there’s lots of other musicians who’ve gone on to be successful when people told them, “You’ll never have a career. You’re awful. Go away.” I’m sure they’re now on a tour bus somewhere touring and playing for a lot of people.
Hi. So, I can no longer find the video for this interview online. Do you have it or know where it can be found? If so, can you post it or send me a link? Many thanks if you can help out. -Amy
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Posted by: Amy | May 11, 2013 at 12:04 AM