When it came time to make my 666th post on The Nostalgia Spot, I could not think of a more fitting subject than something Danzig related. I even delayed this post by a few days to make it work, but this is an occasion you only get to mark once so pardon my lateness.

Every time a new Danzig record comes around for the past ten years I’ve wondered if more will follow. The music industry has changed and it’s not as lucrative as it once was for many artists. Combine that with Glenn Danzig’s advancing age and there’s a natural curiosity about when he’ll call it quits. I don’t think career musicians necessarily ever stop, but I could definitely see a day come when Danzig no longer felt the need to deal with the usual hassle it is to record, master, and distribute a new collection of songs. And I think some of that wariness has already settled in since Danzig has just released its second covers record in five years.

Danzig Sings Elvis follows in the footsteps of 2015’s Skeletons only this time the focus is placed entirely on the works of Elvis Presley. Elvis is probably one of the most covered artists in history, so it’s fair to wonder if the world needs more Elvis covers, let alone an entire album of them by one artist. True to himself though, Glenn Danzig is making another album for Glenn Danzig. He has done what he wants when he wants. I’m sure there have been moments over the years where he has had to compromise here and there, but for the most part Danzig has always created the art he wants to create. That’s true of the music and also true of the comics and now films he’s done.

When Danzig released Skeletons in 2015, it included a cover of “Let Yourself Go,” a song made famous by Elvis. During the press for the record, Danzig mentioned he had recorded a number of Elvis tracks and decided they would be best served as a stand-alone release. It was originally floated as an EP, but over the years has grown to comprise 14 tracks. Now it’s common knowledge that Elvis wrote very little of the songs he’s famous for, so it should be noted this is a collection of covers done in the style of Elvis Presley and it’s his version that is influencing Danzig here. And like Skeletons, a lot of the songs here are lesser celebrated works. If you were expecting Danzig to cover “Jailhouse Rock” or “Burning Love” then you might be disappointed, though if you’re a Danzig fan you shouldn’t be surprised.

Danzig has made his affection for Elvis known for awhile especially in how he setup the Legacy TV Taping to resemble the Elvis comeback special.

Covers records are in general a tough thing to review and critique. So much of one’s enjoyment of a cover is dependent upon familiarity and expectation. If you love and are familiar with a popular version of a song and are presented with another take, you probably won’t like it as much as the version you already adore and may not even have a use for it. There are always exceptions, but they are few. And if you aren’t familiar with the source material, you still may not like the cover if it’s from an artist you like as chances are it’s different from what you’re used to. And then there are also the fanatics that are going to like a performance just because it’s from a familiar source. That’s not something unique to any fanbase as I encounter a great deal of Danzig fans that adore anything Danzig puts out. Just like there are a bunch of Metallica fans that insist their covers of Misfits songs are better than the originals.

Artists seem to turn to covers when they’re getting on in years. It even dawned on me as I was writing this that Glenn Danzig is around the same age Johnny Cash was when he started doing his covers albums with Rick Rubin which included the Glenn Danzig song “Thirteen.” The dedicated covers record where an artist covers just one other artist feels like a rarity. They can come with mixed emotions too as it can feel like one artist making money largely off of the work of another, even though that’s all factored into how royalties are paid out. One of the more distasteful examples was the Jorne Lande record that was entirely covers of Dio songs, which felt like it had been held back and primed for release to coincide with the singer’s death. It was something even Ronnie James Dio’s widow Wendy refused to comment on, though it was obvious she wasn’t pleased. With a record devoted strictly to Elvis songs, there’s no such baggage. It’s one artist basically covering a covers specialist, but it is still a bit of a hard sell. It’s obvious that Glenn Danzig likes Elvis and wanted to record his own versions of the songs he either likes best or just feels he has something to add to. It’s a bit of a financial gamble as Danzig is betting on his fanbase also liking Elvis to some degree. And while my own grandfather once said “Everyone likes Elvis,” when my grandmother asked if I didn’t mind them putting on one of his records, I think it’s likely the vast majority of Danzig fans are casual Elvis fans at best and likely are unfamiliar with the deep cuts presented here.

None of those concerns likely matter to Glenn Danzig though as we’ve firmly established this isn’t necessarily a record for Danzig fans. And what should be concerning to fans or anyone that listens to this record is simply the question of “Is it any good?” Skeletons is definitely one of the lesser Danzig albums, and since it is a covers record it was always going to be. The album suffers from a lack of spark as many of the covers were pretty straight forward, which was a bit unexpected. When Danzig released The Lost Tracks of Danzig in 2007, the artist had this to say in the liner notes when talking about the T Rex cover included on that set:

[…]my feeling on covers is unless you are bringing a new dimension to it, why bother? The original will always be better.

Worse than the feeling of redundancy was the uneven production on Skeletons in which some songs just sounded terrible. There were a handful of gems, for sure, but my enthusiasm towards that record (or lack thereof) certainly resulted in low expectations for Danzig Sings Elvis. In some respect, I suppose I should have had more reason to be optimistic since Elvis possessed a vocal style appropriate for Danzig to imitate. Danzig has already covered “Trouble” multiple times and the band’s take on “Let Yourself Go” was one of the better tracks from Skeletons.

I should state upfront that I am not a fan of Elvis. I do mostly agree with my grandfather’s sentiment and confess there are a number of Elvis tracks I’m fine with, though I can’t say any of them feel ripe for a Danzig cover. Of the many Elvis songs I have heard over the years, I think the only one Danzig picked that I would have selected too is “One Night.” The only other song I can think of that I would have liked to hear Danzig attempt is perhaps “Suspicious Minds” as it’s stylistically similar to “You and Me (Less Than Zero),” which already is basically a cover of “To Sir With Love.” As such, if I weren’t such a dedicated Danzig fan there’s no way I would have ever bought this record, let alone the multiple versions I indeed ended up purchasing.

Drummer Joey Castillo returned to record drums on “Fever.”

The song selection here definitely trends towards Elvis’ softer side and not his rock n’ roll energy. In a vacuum, this is a style that suits Danzig as evidenced by songs like “Sistinas” and “Blood and Tears.” My concern when I saw this list though was that it might be too much. Danzig isn’t the most convincing vocalist when he tries to portray vulnerability. It works in small doses when the rest of the songs surrounded those moments contain his usual dose of dominance. For the band to essentially reverse that mix feels like a hard sell. I suppose it’s true to an Elvis release in which it sounds more like a collection of singles as opposed to a cohesive album, but that’s also not a format Danzig is known for. The one silver lining was the thought that maybe these quieter and simple tunes would help hide any production missteps. Skeletons didn’t sound great, but at least the questionable production on that one seemed to matter least on the closing ballad “Crying in the Rain.” That was as optimistic as I would allow myself to get though, since banking on just an overall improvement in the production values was a fool’s errand since that’s something that’s plagued Danzig releases for over a decade at this point.

The inspiration for the album cover art.

Before we dig into the music presented on this album, we should probably talk about the technical bits. The album cover with Glenn Danzig and the repeating “Elvis” (in case you were confused what artist he was covering) are a clear homage to the Elvis single for “Witchcraft.” Change the text and swap out The King for Danzig and there you have it. The personnel for the record is obviously Glenn Danzig on vocals, but he also plays drums on most of the tracks and guitar and bass where needed. Guitarist Tommy Victor is on-hand for some of the leads and returning Danzig drummer Joey Castillo played on “Fever.”

Ever since Glenn Danzig hooked up with label Cleopatra Records his material has been pretty easy to get ahold of. Considering the state of the world at release, you can’t walk into a store and buy this thing, but you have multiple options online. One can order directly from Cleopatra or via the Danzig storefront on eBay which also sells signed copies from time to time. Cleopatra also has a presence on bandcamp.com and you can order there as well. All bandcamp orders also feature a digital download so you get instant access. The album is also available on Amazon and probably several other online record stores. Two formats of the album are available:  CD and vinyl. If you’re ordering vinyl, you also get your pick of color between black, green, or pink with a special leopard print recently going up for pre-order. The artwork is the same on both. The vinyl is a gatefold release with some liner notes form Danzig on the inside. He talks about his love of Elvis and gives some thoughts on why he chose the specific songs here which is a nice touch. The CD is a cardboard sleeve with an inner sleeve to protect the actual disc. It too is a gatefold shape though so it basically looks like a mini version of the LP. If speed is important, and if you want the artist to get as much of the profits as possible, ordering directly from Cleopatra is probably best, though the album generally costs the same no matter where it’s ordered from. Cleopatra also ships media mail so nothing is particularly quick. I ordered both a vinyl (pink) and CD copy, one from bandcamp and one from Amazon. The CD from Amazon took the longest to arrive, while the vinyl came from Cleopatra directly. It was packaged fairly well, but one corner still got dinged. It’s the risk you take when ordering vinyl through the mail though.

Interior of CD release with big brother behind it.

Leading up to the release, Danzig released a pair of singles digitally. First was “Always On My Mind” which was over four years ago and wasn’t technically a single release. Glenn Danzig just played it on the radio and posted it to YouTube (since deleted, likely because Cleopatra uploaded it as well). The second, “One Night,” was in the last month or so. “Always on My Mind” is a perfectly suitable cover of a much covered song. The production isn’t great, but it also doesn’t need to be and surprisingly it’s one of the tracks I like most on the finished record. “One Night” is a song I would have liked to hear Danzig perform 30 years ago. Unfortunately, it might be the worst song on the album. I guess if you like the single then that’s good news to you. The song makes liberal use of slapback echo on the vocals, which is totally fine for covering Elvis, but here it’s way overdone. The tempo of the vocals further distorts it, and the end result is more annoying than pleasant. Danzig’s vocals are also wooden and bored. I’m not sure what he was going for. The instrumentation backing it, a weakness of the record in general, is even more bland than the vocals. “One Night,” and a lot of Elvis ballads, are heavily dependent on the vocal track so when it doesn’t land there usually isn’t much left to pick up the slack.

Before this COVID stuff cancelled basically all gatherings, Danzig was scheduled to perform a few dedicated Elvis shows. He best do them right and show up in proper Elvis attire.

That single left my expectations all but cratered for the final release, but upon receiving it I was at least relieved to find it isn’t as bad as expected. I wouldn’t call Danzig Sings Elvis a great record, but it’s not a train-wreck. Most of these songs are slow, quiet, ballads so the album is an easy listening experience that totals roughly 39 minutes. The only real up-tempo numbers are “Baby Let’s Play House” and “When It Rains It Really Pours.” “Baby Let’s Play House” might be the only song that sounds obviously “Elvis” to those fans who are not familiar with The King. Danzig really goes for that rock-a-billy sound as he did many years ago on “American Nightmare.” It straddles the line between authentic and parody, and while it breaks up some of the monotony of the record, I’m left feeling glad Danzig didn’t go for more songs that sound like this. “When It Rains It Really Pours” has Glenn singing through a scowl. It’s interesting, but over in a blip as the song doesn’t even hit the 2 minute mark.

The slower tracks probably suit Danzig’s vocals more in this day and age. Most are fine, and while I feared it might be too much hearing Danzig go for so much melancholy I’ll say my fears there went unrealized. It’s interesting to hear Danzig croon and even go for the occasional falsetto like he does on “Pocket Full of Rainbows.” The only one that approached “One Night” in terms of dubiousness is probably “Love Me” where the vocals don’t complement the song much at all. The production is inconsistent from song to song, but with the quiet stuff it doesn’t matter as much. The guitar is often “just there,” and I don’t even notice much bass at all, save for “Fever” and “Baby Lets Play House.” Pretty much all of the guitar work is electric too, in case you were expecting more acoustic stuff on an Elvis covers record. Danzig did not bring in backing vocalists, which is probably for the better. There’s some parts where he recorded his own backing vocals, such as “Loving Arms,” and they’re kept fairly low in the mix. Basically, nothing stands up to challenge Danzig’s voice on any track.

If you want this record, at least you have options. And if it’s anything like other recent Danzig releases, you can expect a picture disc and maybe a swirled vinyl to follow.

The prevailing thought I keep coming back to when I listen to this record is, “does this need to exist?” And the answer should be an obvious “No.” That’s not a slam against it, it’s just the reality of any Elvis cover. Though it is disappointing that Danzig really didn’t find any place to add his own spin to any of these tracks, unless you count mediocre instrumentals as spin. The press release I saw from the label hyped up “Fever” as featuring some Danzig touch to it, but it’s just a straight cover. It’s not nearly as interesting as the many covers of that song that exist, and it’s a song I’ve never liked anyways so I don’t fault Danzig for not being able to make me like it any more. Perhaps more than any Danzig record before it, this is a record for Glenn Danzig. He’s covering one of his idols and I suspect he’s pretty happy with how it turned out so good for him. And I mean that sincerely. As a testament to that notion, 12 of the album’s 14 tracks are streaming for free right now on YouTube so anyone can go check it out. For myself as a Danzig fan, I’m not sure if there’s anything on this record I’ll feel compelled to return to. With Skeletons, there’s at least a track or two I might toss onto a hypothetical Danzig playlist (I say hypothetical because I’m an album man – fuck playlists), and I don’t know if I can say the same for any song on this record. The slow tempo and almost mournful performance on some tracks makes it an okay rainy day listen. Diehard Elvis fans will probably be more dismissive than I, while diehard Danzig fans will probably think it’s okay, which I guess makes it like every other covers record to come before it.

Top Tracks

• Lonely Blue Boy
• Pocket Full of Rainbows
• Always On My Mind