Tag Archives: glenn danzig

September 24, 2025

Super7 The Misfits Vintage Style Action Figures

By Joe

A few months ago, we took a look at a pair of Glenn Danzig action figures made by Super7. The figures depicted Glenn in his Samhain era and his early Danzig era. The figures were in the style of old Masters of the Universe action figures with only the smallest of revisions. Now, we’re back with The Misfits era of the same because you can’t have a Samhain and a Danzig Glenn without a Misfits version. And since Super7 has a longstanding working agreement in place with Jerry Only and his brand, we have a Jerry figure and also a bit of a Super7 original in the form of the band’s mascot The Fiend (aka The Crimson Ghost).

If you have the Danzig figures or read my review, then you know what to expect with these ones. The figures come on a blister card designed to mimic the MOTU cards they’re inspired by. The dimensions are even the same as the current MOTU Origins packaging. The cardback depicts an explosion of skulls on a neon green which is very Skeletor-like while the card bubble is in the shape of the Fiend’s visage. The rear features some artwork from the Die, Die My Darling single and a cross-sell that only includes these Misfits figures. It does not include the Danzig ones and I guess that’s because we’re dealing with two copyrights. The Danzig figures were licensed through Glenn’s evilive imprint while these are through the new entity, Misfits AD, referring to The Original Misfits which is shared by Jerry and Glenn. I thought maybe Jerry’s would just be through him, but I guess not. Both of their websites are referenced on the box. There was some weird hang-up with the Danzig figures from Super7 and I don’t know if it had anything to do with the legal stuff or if it was an approval thing. This Danzig, as well as the other two, were cancelled at one point while Jerry and the Fiend were not. Whatever the issue, it was resolved and they’re all here now.

“Let’s all laugh at his lack of accessories!”

We’ll start with the Glenn figure first which features the frontman in his skeleton shirt and sporting his devilock hairstyle. The torso is basically a blank body with the skeleton image printed on the front only with the back left bare. The head is the same head that came on the Samhain figure only now it lacks blood and the eyes are painted. The crotch piece is basically a blank with some slight creases sculpted in and it’s shared with Jerry and the Fiend. The legs are reused from the Samhain figure with the only difference being the boot buckles are painted silver on this one where as they were blank on the Samhain version. Glenn has no accessories, which is pretty weird and also pretty cheap. The other two each came with a microphone, and while it is kind of boring, this figure should have at least come with the same. They already tooled it, how much extra cost could that possibly add to the package? A quarter?

The Fiend is an interesting inclusion, but not unwelcomed. He features a unique, hooded, head and his skull face is painted white. It’s quite clean and I like the black and white approach to the figure. The torso is a blank done on black plastic while the legs are the same as Glenn’s only his buckles are left bare like the Samhain figure. Distinguishing him from the others is this wrap-around skeletal armor with the Fiend Club logo stamped on the front. It carries onto the back which is nice and it’s glued in so you can’t remove it without some hassle. Interestingly, all of the promo shots of the figure featured the skeletal-printed arms that Glenn has plus paint on the legs, but the final edition is bare. For accessories, The Fiend has some catcher’s equipment on his right forearm which is something Glenn used to wear as part of his stage getup. It is removable so if you want to swap it with Glenn you can. He also has his own take on Skeletor’s Havok staff only this one is topped with a jack-o-lantern that’s based on the Halloween single artwork. It’s black and white as well as it’s done on white with black, painted, features. The paint isn’t as clean, but in terms of accessories it feels appropriate.

Jerry is the most involved of the group from a sculpt and paint angle. He’s depicted in his current stage outfit which features a black, spiked, vest trimmed with red and The Fiend behind the collar. The paint is just okay on the vest as there’s some red on the back of the collar and some other slop in places. The profile looks pretty good and they got the little hit of red under the eyes mixed in with the black. Super7 was pretty kind to Jerry’s receding hairline and the devilock comes down over the nose and mouth. The arms and legs are both unique to Jerry as he has his big gauntlets and his unique boots which also have a relief of The Fiend sculpted on. Jerry does come with his bass which looks pretty good. The paint on the strings isn’t very clean, but the cyclops skull at the head of the neck looks okay. The strap is covered with spikes which are legitimately pointy. The outside is black while the inside is painted red. Jerry’s left hand is positioned so he can hold the neck while the right hand is flat like he’s slapping his bass. I don’t think he plays like that, but it’s fine. It’s a little tricky getting his hands over the strings so it’s probably easier to pose him with his right hand up like he’s getting ready to smack the hell out of that thing.

There’s not much to say about articulation here. It’s very basic as we have a swivel at the head, shoulders, and waist. The hips are a ball-hinge, but since the legs are preposed they’re not particularly useful. As a trio, it’s a fun mix on the shelf, but sticklers for era may be annoyed. This is basically 80s Glenn and modern day Jerry which might bother some. It might have made more sense to base the figures off of a specific show in the 80s, maybe set during the Walk Among Us era, and then do another set based on the current version of The Misfits. It’s also a little disappointing that Doyle didn’t join in on the fun. He is his own, separate, license and I’m guessing Super7 tried, but he either wasn’t interested or they couldn’t come to an agreement. Maybe he still has regrets over those dolls they used to sell at Hot Topic? And it’s unfortunate that The Misfits never really had a permanent, iconic, drummer. I guess Robo is the most famous? It might have been fun to make The Fiend the drummer, but since we don’t have a guitarist I guess it doesn’t feel like a missing piece. Super7 likely doesn’t want to tool any drums anyway.

If you like these figures based on The Misfits then you should have no trouble finding them in various places. They’re basic, but there aren’t many sets of Misfits figures that include both Jerry and Glenn. The real drawback here is that these will set you back $30. That’s a ridiculous price for what you’re getting, these should be less than $20, but that’s also Super7 for you. There are a lot of Misfits collectors out there who will scoop these up and probably multiples to keep some carded, but even so, I can’t imagine they’ll sell out at $30. You’re probably better off waiting to see if anyone has to discount them. The Glenn one is a particularly bad value since he doesn’t even come with a single accessory. These are for the diehards only and that particular niche of Misfits fans who also like vintage toys. The rest need not apply.

The Misfits and Danzig are no stranger to toys:

Super7 Vintage Collection Glenn Danzig – Samhain and Danzig era

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by Joe May 14, 2025May 14, 2025

Misfits Holiday Fiend Figure from NECA

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by Joe December 13, 2020December 12, 2020

NECA Misfits Ultimate Fiend Action Figure

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by Joe September 5, 2023September 1, 2023

Leave a comment | tags: action figures, Danzig, glenn danzig, jerry only, masters of the universe, motu, super7, the crimson ghost, the fiend, the misfits | posted in Danzig, toys

May 14, 2025

Super7 Vintage Collection Glenn Danzig – Samhain and Danzig era

By Joe

I’ve got a couple Danzigs coming at you today.

For a guy as tied into comic books and the properties associated with them, Glenn Danzig has had a lot of disinterest when it comes to toys based on his own likeness. It was about 20 years ago that musician and publisher of his own books partnered with Medicom to produce a trio of vinyl figures of his own likeness from his time with The Misfits, Samhain, and the band that bares his namesake. Those figures were very stylized and not exactly what one would call an action figure. It was mostly in-line with the snippets of Glenn’s own collection of toys that are floating around on the internet which seems to focus on Japanese properties and soft vinyl. This approach is in contrast with what his former and now current bandmate Jerry Only has done who had a doll of himself (and then Misfits guitarist Doyle) sold in the early 2000s and has partnered with Super7 to produce a ReAction figure of himself. He also went the Medicom route as well with a figure stylistically the same as what the company did with Glenn.

Previously, the only Danzig toy of any kind I’ve had is this big fella on the left from Medicom. There was a Samhain and a Misfits version of that guy as well.

I don’t know if Glenn Danzig has ever said specifically why there aren’t more toys of him out there. I’m sure he doesn’t mind the income that comes with such deals, but I know he did throw some shade at Jerry for those dolls that wound up in Hot Topic’s clearance section eventually. It was awhile ago, but NECA’s Randy Falk, in response to a question from another user on social media, mentioned he had been trying to get Glenn onboard with the company to do a figure of him, but the singer always brushed him off. NECA tends to do realistic portrayals of music personalities which leads me to think that Glenn just isn’t interested in such a thing. We saw similar sentiment out of actor Elias Koteas when NECA was trying to secure his likeness to do a Casey Jones figure and, for him, he indicated it just seemed weird that people would want a tiny version of himself to mess around with. Maybe Glenn feels similarly about the whole thing, or maybe he knows the internet or a show like Robot Chicken would have too much fun at his expense if such a thing existed?

The style of these Danzig figures is clearly based off of the old Masters of the Universe line. Since I don’t have any of those, here’s an Origins He-Man for comparison.

That hypothesis seems to track with what Super7 has recently released. Brian Flynn of Super7 teased a deal with Danzig years ago in a conversation with The Fwoosh. I didn’t try and look it up again, but I want to say it was in either 2020 or 2021 and may have been part of the San Diego Comic Con at home thing. That deal was apparently not an easy one and Super7 never elaborated on what they were doing, but it turns out they had Danzig in mind for a new line they wanted to launch. It’s possible Glenn said “No,” to ReAction and Ultimates and this came about as a compromise – who knows? Super7 calls the line it’s Vintage line and it’s heavily inspired by the original Masters of the Universe toyline from Mattel. And by inspired by, I mean it’s basically the same thing. They’re 5.5″ figures with super basic articulation in a preposed stance. Glenn was obviously onboard with this depiction of him in plastic, though it still came with more controversy. It was sometime last year that retailers abruptly cancelled the line indicating that word came down from Super7 that they weren’t happening. Super7 blamed it on retailers auto-cancelling items that have been outstanding for too long, which makes no sense since I’ve had stuff on preorder from the same retailers for Super7 product that literally took years to deliver. Danzig, for his part, seemed to be confused by the whole thing so he wasn’t expecting it. The Jerry and Misfits Fiend figures in the same style were not cancelled, so it was definitely an issue with Glenn and Super7. Was the company having an issue with approvals and playing hardball or something? I don’t know, but something fishy was going on. Either way, the figures went back up for preorder eventually and started rolling out at the end of 2024.

The first two figures in this line to arrive are figures of Glenn based on his appearance with Samhain and one based on his early 90s Danzig look. They’re packaged on a cardback the exact same dimensions as a MOTU figure. There’s even a castle, but instead of it being Castle Grayskull it’s a castle sporting the Samhain/Danzig/Golden demon skull. The Samhain figure, based on the album cover for Initium, has a blister bubble with the shape of a skull blown in while the Danzig one has an inverted cross. The castle on the Initium card is also bloodied. It’s a thin card so it’s not the most sturdy, but I suspect the packaging is nice enough that many will just leave this on card.

On second thought, maybe don’t fuck with He-Man?

And that’s because the figures themselves are not the most interesting to handle. These are faithful interpretations of the MOTU style which is a mold that is over 40 years old at this point. Those figures were designed during a time when action figures were almost exclusively the domain of children. They were engineered to be durable and functional first and foremost. The form was also still really new so there hadn’t been much in the way of innovation beyond some swivel joints. They were also designed for maximum profit so the molds were just used over and over recolored and joined with new accessories and new heads to flesh out the cast of characters.

And that brings me to the subject of vintage inspired releases. Super7 very clearly wants to be as faithful as it can to the old toys in this style at the expense of perhaps even saving a few bucks. There is really nothing modern about these Danzig figures, but the molds are not exactly the same. The torso is the only intended shared part between these two. Samhain Danzig has fingerless gloves on while Danzig era Glenn has just wristbands. Since the arms are one piece, that’s an entire new mold. Samhain Glenn also has boots with buckles on them while Danzig era Glenn has long pants that go over his boots. Or he’s supposed to, but my figure has the correct right leg, but the wrong left leg which is the Initium figure’s leg.

I find Super7’s approach here kind of interesting, and a bit frustrating. The company could have saved itself some money if its molds for the legs and arms ended at the boot and wrist. This would have also given us another point of articulation if the hands and feet were separate pieces, but then that would break with the original line’s articulation which is just a swivel at the head, shoulders, and waist and a ball-hinge at the hips. How much does the consumer value this slavish adherence to a format from the early 80s? I don’t think many care and would happily trade the inaccuracy for a couple of swivel points. You may be thinking that a wrist swivel or a boot swivel won’t do much, but these guys are packaged with microphones that they can only hold in their right hand and not turn towards their face. It’s kind of dumb looking.

Those are my thoughts on the approach here, as for the figures themselves they look about as good as you could get out of this form factor. These are exaggerated, hulked-up, takes on Glenn Danzig from two different points in his life. The Initium head has the old devilock hairstyle which obscures the face while the Danzig era figure has the side part long hair and sideburns. The face on the Danzig era figure does look like Glenn, albeit it looks more like an older Glen to me than an early 90s one. He’s got some of that modern grump to him. The Samhain Glenn has no facial features to really take in. Even his eyes are unpainted. His selling point is the blood paint job which does look pretty damn cool. Both also feature Glenn’s tattoo on his left bicep. I’m honestly not sure if it was finished when the Initium album cover was shot, but I don’t really care. The batwings on the Fiend in the middle is a little smooshed looking, but it’s fine considering the size we’re dealing with. I think he also had some other skulls added to it for Unholy Passion and November Coming Fire. I don’t know when they were added, but they’re featured on the Medicom figure.

“Did he just say he wants to kill a baby?!”

The only accessory each figure comes with is a microphone that has a bit of wire trailing off of it. The Danzig era figure does have the skull-cross pendant which is affixed via a plastic wire. It’s not a bendy wire and has a tendency to want to float. I’m curious if I heat it up if I can get it to lay flat on his chest, but I think it’s just not heavy enough. That figure also has the skull belt buckle which is painted silver and looks decent enough. The presentation across both figures is pretty clean and the paint kept to a minimum. I wish the Samhain figure had a little paint on the buckles of his boots or something, but I’m definitely not surprised by the omission.

“Hey man, what’s up with the bear?” “I vibe with this bear.”

Are these stylized takes on Glenn Danzig worth adding to your collection? I guess it all depends on what your initial reaction to them is. If your first thought is “These look pretty cool,” then you’ll probably like them. If you’re buying them to keep on card then you’ll be even more pleased since they don’t really do much out of the box. I personally wish they were engineered like a MOTU Origins figure, but that’s just me. These will set you back about $30 so they’re not exactly cheap. A MOTU Origins figure is about half that and a much better figure, but none of them are Glenn Danzig. For the price, I do wish they had more stuff. Maybe a dagger for Danzig era Glenn and that weird mask he sometimes wore for Samhain performances? The mic makes sense, but is kind of lame. That said, I have a rather extensive Danzig collection so I had to add these and I’ll be adding the Misfits ones soon as well. If I have anything to say about them you know I’ll say it here, but I could have saved myself a lot of words by just saying what you see is what you get. If you like it then cool, and if you don’t you probably won’t regret passing on them.

Here’s a look at some related figures you may find interesting:

NECA Misfits Ultimate Fiend Action Figure

by Joe September 5, 2023September 1, 2023

Super7 Ultimates! Ghost Papa Emeritus IV

If you’re reading this the day it went up then you should know April 25, 2025 as Skeleta day! This is the day that Ghost unleashed its latest album upon the masses and there’s a lot of hype surrounding this one. It’s arguably the band’s first release since it saw its popularity explode in recent…

by Joe April 25, 2025April 25, 2025

MOTU – Turtles of Grayskull Skeletor

When it’s come to the Turtles of Grayskull line by Mattel, I have mostly stayed in the Teenage Mutant Ninja Turtles side of the pool. I have all four turtle boys plus Sla’ker, who is more Slash than Faker if you ask me. The one exception has been Mouse-Jaw, but the classic Masters of the…

by Joe June 25, 2024June 18, 2024

Leave a comment | tags: action figures, Danzig, glenn danzig, masters of the universe, medicom, Misfits, retro action figures, samhain, super7, the misfits | posted in Music, toys

September 5, 2023

NECA Misfits Ultimate Fiend Action Figure

By Joe

When Glenn Danzig and Jerry Only reached a settlement over who owned the rights to The Misfits in the mid 90s (resolution: they both did), it set off a wave of new merchandise plus a new version of the band. What had once been a logo found mostly at punk and metal shows, the visage of the Crimson Ghost began showing up at malls all across the country. And not just on t-shirts, but shoelaces, lunchboxes, and even light switch covers. Within the anti-establishment culture of punk rock, this type of merchandizing could be seen as selling out. “Sell out” was the dirty name artists didn’t want to hear coming from its fanbase, but it almost always followed when a small act jumped from an indie label to a major one and started putting its name on everything and anything. Old fans mocked and looked down on the new ones, but usually the money would keep on rolling in so it’s hard to say if any of this licensing actually hurt a band’s reputation.

As a teenager, I would fall into those traps and look down on the “Newfits” fans with their American Psycho t-shirts and Jerry Only dolls. Not that it bothered me to buy a Misfits shirt with Glenn Danzig’s evilive logo in the fine print or a skull-printed wallet. I was applying a double standard at the time, one I can freely admit to now because as one gets older they tend to care less and less about that stuff. A guy’s gotta eat, and if your fanbase wants shoelaces and light switch covers with your band on it then why not give it to them? For a price, of course. And today, The Original Misfits is now a cash a cow for Danzig and Only. They can sell out a few large venues each year, play for a couple of hours, and laugh all the way to the bank until they’re ready to do it again. By not doing full tours, they even get to avoid waring out their welcome. I get the impression that once (if?) the well starts to run dry and these Misfits shows can’t support a large venue anymore then they’ll stop and I don’t begrudge them that at all.

The retro cloth is in a different scale, so while some parts look similar, they at least had to be re-tooled to make them smaller.

Because of my one-time avoidance and outright disdain for anything Misfits-related released by Jerry Only’s Cyclopian Music, I never acquired much in the way of toys and such baring the likeness of the band’s mascot: the Crimson Ghost. Or is it The Fiend? Or, as Danzig referred to it, simply the Misfits Ghost? Only goes with The Fiend, and I guess neither uses the character’s original name of The Crimson Ghost for legal reasons, even though there’s likely little chance of a lawsuit at this point. The character is from an old film serial shot in black and white, hence why it’s often shown as a black-robed skeleton, though in reality the robe was crimson and the face was more of a blue. I’m not sure if it was blue for stylistic reasons, or just to get it to show better on film. Regardless, most fans of the band were introduced to the character via the Horror Business 7″ which featured that smiling, skull, face with arms folded across its chest. From there, its appeared on other records and inserts and has been a major part of the band’s marketing and presentation.

NECA has done multiple versions of the character as an action figure, but up until now, they’ve been in the company’s retro cloth line. The retro cloth, as the name implies, is basically a throwback brand similar to Mego figures sporting soft goods clothing. Two standard versions of The Fiend (we’re going to go with that name for the rest of this post since that’s what is on the box) were released: one in black and one in red. I passed on both as the retro cloth line isn’t really my thing, but I could not resist the third version which was a Christmas variant with Santa hat and sack. It’s a fun display piece, though the quality of the figure did nothing to sell me on the retro cloth line. After only a year of owning the figure, displaying it Christmas time then putting it back into its box for the rest of the year, the ball joint in the neck basically deteriorated and crumbled like Play-Doh left out in the sun. It was bizarre, and the head just fell off when I put the figure out last Christmas. I glued it back on, but it was a bummer and now I’m afraid to touch it.

Other times he just needs the knife to feel safe when the power goes out.

NECA apparently decided that another retro cloth release would no longer suit the property, so it gave the figure an upgrade. NECA’s Ultimate line of action figures is basically their flagship format. A five-panel window box, upgraded articulation, and lots of accessories and optional parts. That was the format chosen for this new take on The Fiend and I figured I’d give it a whirl. It comes in a simple, but attractive, black box with the skull face dominating the front. The band’s logo plus The Fiend from the Horror Business cover are on both spines with product shots on the back and inner flap. The figure is viewable through the window as well as the accessories included. Did fans of the character need yet another version in plastic? Time to find out.

The head sits real low and it’s due to the jaw being far below the opening for the ball joint.

The Fiend stands a tick over 7″ and sports a soft goods hood and robe. The robe is sleeveless as the arms of the figure feature sculpted sleeves. The legs are sculpted to feature work pants and shoes while the torso is completely blank since its always hidden by the robe. The hood clasps under the figure’s chin and it’s a bit of a pain to undo, so I wouldn’t bother. By keeping the hood separate from the robe, it’s easy enough to pop the head off and remove it from the hood if desired. The hood and the material extended off of it that drapes over the shoulders is wired and poseable as is the hem of the robe. It feels like good quality soft goods, but is a bit frumpy. I don’t think anything is reused from the retro cloth figure, so it’s not an issue of NECA shoe-horning old soft goods to suit this figure, but the robes are so frumpy that the figure basically loses its neck. He looks like a shriveled up old guy, and maybe that’s what NECA was going for since it is a skeleton, but I wish the head appeared to sit higher.

The shaded portrait is basically the same as the retro cloth one, only smaller.

As for the face, NECA opted to exercise some of its creative license. They basically did it a full skull and retained the eyes recessed deep in the sockets. It’s scratched up and dingy looking and sculpted in a bone white covered in gray paint with a black wash. It’s certainly not bad looking, and the teeth and “smile” basically match the source material, but this is very much a “what would this character look like if it was real?” It juxtaposes with the hands, which still look like black gloves with bones painted on them, and I don’t know that this is the approach I wanted. As an alternate head – sure, but for a standard head I’d have preferred the retro cloth approach which is a black head with the face painted on in white. And if they were going for this more realistic approach, why not include boney hands? And it may only be me, but for some reason, when I look at this face I see Rudy Giuliani. I think it’s the eyes, I don’t know, but if you see it now then I apologize because what has been seen cannot be unseen.

There are additional heads and accessories to play off of them. The second head, is basically the same as the first, but with the eyes shifted to the right. It’s fine, but I’ll never use it. The third head is closer to what I wanted, but has some weird shading on it that ruins it for me. It’s very similar to the retro cloth head that came with the Christmas figure I have, just smaller to suit the scale of this release. It’s all black and the face is painted on with white, but it has gray and crimson shading over the left eye and in the teeth. I’d use it if it wasn’t for the shading which does nothing for me. The whole appeal of the character, for me, is how the white face appears to be floating in darkness in the hood and obscuring the face with shading destroys it. If you like it though, then it’s here.

“You’re getting a little too close to my likeness with that face paint, Papa!”

For hands, we get two sets: relaxed and gripping. The gripping hands have the superior vertical hinge which comes in handy for the two daggers included. The daggers are identical, except that one has some blood painted onto the tip. The blood is basically just there, it doesn’t stand out on a shelf, and I’m left wishing they had included a dripping effect piece instead. There’s also a lit candlelabra which looks fine, but it strikes me as a nod to American Psycho and I could not care less. Mine is also slightly warped, though I bet I could straighten it out with some hot water. The flames are painted on and I think it would have looked better if done with translucent plastic. We also get a tombstone with the Fiend’s face on it and the band’s logo plus their born year and Lodi, NJ. No death year yet. It’s fine, though it looks and feels like a 3D print so it feels a bit cheap in hand.

Who could have anticipated some cardboard inclusions would steal the show?

By far, the best accessories included with this figure are the LPs. NECA included three, cardstock, LPs that I guess The Fiend can just hold and admire. They are based on actual releases by the band and include Horror Business, Earth A.D./Wolfsblood, and Die Die My Darling. As a longtime fan of the band, I do feel it is my duty to point out that the Horror Business here is inaccurate. That was never released in a 12″ format, but I’m going to give NECA a pass because doing an in-scale 7″ jacket would be a lot harder. And what they did here turned out way better than I could have expected. The track-listing is even readable on the rear of the release and the little details pass the eye test. The only thing missing are the actual records which would have really put them over the top. Even without that, I still dig these and they render the other accessories irrelevant for me because there is no way my figure isn’t going to be holding one, or all, of these in my display.

By moving The Fiend to the Ultimate format, we should see a benefit to the articulation and that’s mostly true here. The head is on a double ball peg, and even with the hood, there’s little in the way of restrictions there. You won’t get a ton of range up and down, but there’s probably enough. The shoulders are hinged ball pegs and since the robe lacks sleeves they’re not hindered by the soft goods. The elbows are NECA’s special, unusual, double hinged peg that swivels above and below the elbow. They bend past 90, but the figure does lack the range in the arms to do a proper arms-crossed pose. I feel like that pose is so iconic and important to the character that NECA should have found a way to make that happen, maybe with a separate arms piece like the cross-arms pose we get from Bandai all of the time.

The torso of the figure features a diaphragm joint that basically just allows for some rotation. Strangely, there’s no waist joint of any kind. The hips are ball and socket joints and since there is no need for a diaper piece the range is terrific and your Fiend can kick forward, back, and do splits. There’s a thigh twist as well and at the knees we get a single hinged joint that can swivel a bit. I have no idea why they decided not to use a double-joint. Is it something we’ll need? Probably not, but why not have it anyway? The ankles hinge and there is a rocker so standing this guy is easy enough. And we do have the aforementioned wired robe which does work well.

I don’t know if this figure is worthy of the term “ultimate,” but it sure isn’t bad.

Is NECA’s Ultimate take on The Fiend a much needed upgrade over the retro cloth release? Yes and no. I prefer this action figure to the Christmas one I have in almost every way, but I have to concede, if you just want a Fiend that looks like the character depicted on the box art then you may be better off with the retro cloth version. That’s entirely due to the approach taken with the figure’s head. It’s a shame NECA didn’t account for this. We get three heads, but not one of them is just a simple black and white? That aspect of the figure annoys me, but doesn’t entirely ruin it. It’s possible this is just capitalism at work and NECA plans on including such a visage with the next version of the figure that is almost guaranteed to come. It will probably have a red robe and maybe it will come with different record jackets. I don’t really want a red-robed version, but would I get one if it came with the accessory I want? That remains to be seen. For now, we have this one and it’s okay. To my surprise, I find myself liking the Super7 Ultimates! release of Papa Emeritus a little more so now I’m wondering if Super7 will give The Fiend the same treatment. At least this one is cheaper at around $36-$38 so even if Super7 does give it a shot, I don’t feel confident they’ll get $55 out of me.

Interested in more NECA or rock n’ roll stuff?

Misfits Holiday Fiend Figure from NECA

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by Joe December 13, 2020December 12, 2020

Super7 Ultimates! Ghost – Papa Emeritus I

I feel like I have a pretty interesting relationship with the band Ghost. They came to my attention in 2010 with their album Opus Eponymous and came at the recommendation of one of my friends. It wasn’t so much a recommendation based on quality, but more of a “You have to hear this,” because it…

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by Joe October 21, 2022October 13, 2022

The Misfits – Ultimate Song Ranking

Happy Halloween! I don’t know about you, but for me Halloween is synonymous with The Misfits – the horror punk band out of New Jersey fronted by Glenn Danzig from approximately 1977-1983. It has been that way ever since I discovered the band when I was in middle school thanks to a revival in the…

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by Joe October 31, 2017June 30, 2023

1 Comment | tags: action figures, crimson ghost, fiend, glenn danzig, jerry only, Misfits, misfits ghost, neca, the misfits | posted in Music, toys

June 7, 2022

Psycho Unlimited Danzig Gamblers Box

By Joe

For once, my liquor backdrop kind of makes sense.

These days not a lot of merchandise comes out from Danzig. It sure seems like we’ve reached or are nearing the end when it comes to music releases as the man, Glenn Danzig, has turned his attention towards movie-making. And that’s his right, since Glenn Danzig has been making and releasing music for over 40 years at this point and if he wants to do something else then more power to him. It just means for someone like me who has collected Danzig stuff for years that I really don’t have much to seek out anymore. Unless I want to buy every reissue of a past Danzig album on vinyl (you can now easily get a copy of Danzig 6:66 Satan’s Child for the first time in over 20 years), and I don’t, I get to keep my money and throw it at other things so when something as innocuous as a “Gamblers Box” came around I basically said “Why not?” since I hadn’t bought anything “Danzig” in awhile.

Each set comes hand-numbered on the back.

Psycho Unlimited is a company that handles lots of merch for various music acts, most (if not all) of which fall under the heavy metal umbrella. Psycho also has its own annual festival, Psycho Las Vegas, which it promotes and last year one of the headliners was Danzig so it’s no surprise to see that Psycho partnered with Danzig to do a unique item. And that item is the Gamblers Box. I don’t know why the word “Gambler” is pluralized and not a possessive, but that’s how it’s listed so we’re going with it. It was solicited last fall and it’s mostly what it sounds like. When it was put up for preorder, it was priced at $99 and for some reason it seemed like a thing to throw my money at. It’s limited to 666 copies, naturally, and there are still some available at the time of this writing only Psycho has upped the price to $139. Marking it up to $139 instead of $138 seems like a real missed opportunity.

How much is too much for what is essentially a cool box?

The Danzig Gamblers Box appealed to me most because it comes in a rather neat package. It was over 20 years ago when Glenn Danzig first started floating the idea of a box set of unreleased material which he envisioned being packaged in a box in the shape of an inverted cross. To my teenage mind, that sounded way too damn cool and I wanted it instantly. It would be several years later that collection of unreleased material would finally be released as The Lost Tracks of Danzig, and while the packaging was pretty awesome, it was no inverted cross box. The Gamblers Box has taken its place, and while the contents are far less interesting than a collection of unreleased music, the box itself is bad ass. The box measures 11″x8.5″x2.25″. It’s a matte black and quite thick and sturdy. The classic ~~Michael Golden~~ Danzig skull is in the center set on a crimson depiction of the Danzig skull/cross logo from the Lucifuge era with the only addition being the Danzig logo appearing at the top of the cross.

Unfortunately, the box is far and away the most interesting part of this release. Not that it’s anyone’s fault, but the contents are what they are. This is a novelty Texas Hold’em set, basically, except it doesn’t come with chips. For some reason I thought it did, but it actually never advertised poker chips, I just lost track of what was advertised over the months between order and release. The interior of the box is as nice as the outside. It’s done in a red felt material, but it’s nice and thick. It’s basically a foam material that’s quite firm and it’s thick enough that an imprint of the “Psycho” logo appears at the top. It’s not that cheap “felt over plastic” tray that the Misfits Box Set featured which usually cracks over time. Aside from the insert, the contents of the box boils down to the following: a deck of cards, a dealer coin, and 3 dice.

I’m a little surprised Danzig has never authorized novelty D&D dice before.

The dice set is done in a slate gray color with each number carved into a side and painted black. When you open the box, each die will be set to display the number 6 so that you get a 666 staring back at you as they surround the cards. In place of the number 1, each die has the Danzig skull partially printed on it. Rather than try to squeeze the whole image onto a panel, it’s cut-off similar to the cover of the first Danzig record. I’m not much of a gambler, and when I do I usually don’t bother with dice games, but these feel a little on the light side to me. They’re fine though and they’re probably the most usable part of the set as they’re not likely to get worn much when actually played with.

The reverse side of the coin is pretty damn cool.

The coin is placed at the top of the cross and is quite heavy. The side facing out features a raised Danzig skull with the number 777 above it. The base color of the metal is basically a brushed nickel gray and the area around the skull is painted black, as are some of the details on the skull itself. I suspect it wouldn’t be hard to scratch this thing up so do be a little cautious. The skull itself is slightly off-center on my set and I’m not sure if that’s true of all. I’ve already seen some sets where the numbers on the dice weren’t facing the same direction so there could be some production variances to be mindful of. The rear of the coin features the Angel and Demon Yin Yang featured in the Danzig IV booklet. The art was done by artist Michael Kaluta and has long been one of my favorite pieces of art associated with Danzig. The demon half is painted black while the angel side is natural steel, but it’s been polished so it’s a little different from the color of the rest of the coin. It’s a neat little novelty item and I suppose you could utilize it as a dealer token in a game of cards if you wanted to, but I’d hate to see this thing sliding across a table unless you were playing on a felt-top table.

Cards are obviously needed to complete the set, even if they’ll never be played with.

The deck of cards is the last item we need to talk about. I suppose it’s the item most could find a use for, but cards ware out fast and I personally haven’t played a game with a novelty set of cards since I got X-Men ones as a kid. The box is a dark gray with black detailing. There’s a cross-hatching texture and what appears to be thorns. On the front and rear we have the same logo printed that appears on the box itself only now the red is done with a shiny, foil, finish rather than the muted shade on the box. On the long side is the words Psycho Unlimited printed in the same red and on the top and bottom we have, in gray, the phrase “Devil’s plaything in my hands” printed in the Danzig font. A reference to my personal favorite song from the band.

I applaud the choice of artwork for the high cards, very old school.

The box is a bit tricky to get open without ripping the lid. I had to go super careful and I did slightly crease the center of the top flap in doing so, but better than a rip. The numerical cards are pretty standard stuff while the rear of all cards resembles the card box itself only with a purple filter on the background. The face cards and the ace cards are where some opportunities present themself to incorporate some Danzig art. The jack features the classic “Demon strangling Jesus” image from the “God Don’t Like It” t-shirt sold during the band’s early years. The queen features the cover image of Thrall-Demonsweat Live while the king uses an illustration of the cover image from the first Danzig home video of Glenn with a goat mask tied to a cross. The ace reuses the Kaluta Yin Yang. All four have that purple filter applied from the rear of the card and look pretty cool. I do wish there was a different color filter for each suit. All of the suit images on the card faces are in black except for the symbols right under the numeral. Clubs and spades are black across the board while diamonds are purple and hearts red. Some sets also include four 1 cards. These can be brought to Psycho Las Vegas and exchanged for something. What that something is, Psycho hasn’t revealed. And I don’t know if they’ll let you keep the cards. Psycho sent an email indicating these are only in some sets, but so far I have yet to see a fan not find the cards. Each deck comes wrapped in cellophane and arranged by suit so it seems like the type of thing that would be more trouble than it’s worth to filter out, but who knows? If you’re going to Psycho Las Vegas it wouldn’t hurt to bring a set and if you have no interest in this box there’s probably some cards out there that people don’t want.

These will apparently get you something at Psycho Las Vegas if you’re going. I am not.

The Danzig Gamblers Box is a true novelty item. It is what it is and whether you’re into card and dice games or not it’s unlikely something you’ll get much use out of because who wants to ruin a $100 deck of cards? This is really a display piece and something for people to go “What’s that?” when they’re looking at one’s collection of Danzig memorabilia. And as a display piece, I do think it’s pretty cool. You could even display it closed or open since the interior displays well too. It’s just not the type of thing that’s for everyone and I can easily see a lot of fans passing. At $100, it felt a little pricey, but it seems few limited collectibles are rarely under $100 these days. At $139, it’s too much. The development cycle for this item ended up being longer than Psycho predicted so I wonder if they’re trying to recoup some additional costs they previously didn’t budget for. At 666 units, it will probably sell out eventually, but maybe not at that price. If they still have stock after the event in August then I could see it getting discounted so it may be worth it to wait if you’re on the fence. For most though, I think they already bought it if they thought it looked cool. I’m reasonably satisfied. I don’t know that it was worth $100 (plus shipping), but I paid for it over 6 months ago so it’s easy to separate the cost from the item. It’ll look cool on a shelf, and that’s pretty much all I wanted it for.

2 Comments | tags: Danzig, gambling, glenn danzig, heavy metal, poker, psycho las vegas, psycho unlimited | posted in Music

September 10, 2021

Blackacidevil is Coming to Vinyl

By Joe

The preferred medium for music has changed quite a bit in my lifetime. When I was born in the 80s, the vinyl LP was still king, but 8-tracks were still tolerated for their portability and cassette tapes were taking hold. It wouldn’t be long until the compact disc, or CD, started to take over. Portable like a cassette, but with crystal clear audio even surpassing vinyl, made the CD very desirable. It was also really cheap to manufacture, though actual players were quite expensive at the onset (as is the case with most new technology). A CD player in your home stereo was a status symbol that quickly became ordinary, while players in the car or as part of a PC tower would remain expensive and uncommon into the 1990s. Other formats would attempt to overthrow the CD, but nothing took hold. What finally knocked the CD off of the mountain is what would eventually crush the DVD and Blu Ray: digital. People realized they liked the convenience of just downloading music. Audio compression techniques were perfected throughout the 90s and into the 2000s to the point where only the snobbiest self-proclaimed audiophiles could claim to tell the difference. Once massive sections of CDs at record stores dwindled and some multi-media stores have abandoned them all together.

With the era of physical media essentially over nostalgia has been allowed to take hold. And one of the main benefactors has been the old school vinyl LP. Listening to a record on vinyl is a different experience from that of a CD or digital one. There’s an imperfection and variance to the audio experience as variations in the player’s needle or something as mundane as a little dust on the record itself can alter the experience. It’s also an active experience as the listener has to physically flip the record over after 20 minutes to a half hour or even change the disc all together if the album is a long one. The package has to be physically bigger to accommodate the medium’s size which affords ample opportunity for oversized artwork, liner notes, and pictures. Cheaper records are released in little more than a slipcase for the record, while most feature a gatefold design that opens to reveal a more dramatic image. The medium is popular enough that most new albums are released on CD and vinyl today. The pressing numbers are far lower than what they were 10 or 20 years ago, but there’s enough demand out there that bands and labels see a benefit to producing them.

Back in 1996, that was a rarity. Vinyl was all but dead and most new releases ignored it. For the band Danzig, it was an era of new beginnings. The band’s founder and namesake, Glenn Danzig, had served out his recording obligations to American Recordings, the first major label he had worked for. The first four Danzig albums, plus one EP, had done well, though not exceptionally so. The band wasn’t that far removed though from it’s first of two top 100 hits, “Mother,” so there was some appetite for the band’s services. Hollywood Records came calling and offered Glenn Danzig what was reported as a 9 figure deal to join the label. Danzig took the money and promptly replaced every member of the band that had played on the most recent record and produced the band’s fifth studio album Blackacidevil.

The record bombed. Danzig ditched the heavy metal crooner persona he had refined at American in favor of an electronic/industrial mix. The vocals were often buried under a thick layer of distortion and traditional instruments were sometimes left out all together. Alice in Chains axeman Jerry Cantrell contributed to a few tracks, and the album did have its moments with the fuzzy blues number “Come to Silver” and the morose album closer “Ashes,” but it’s hardly a controversial statement to refer to Blackacidevil as Danzig’s worst album to date. To complicate matters further, when some parent groups found out that Hollywood Records had signed the “satanic” Danzig to its label there was some public outcry. This was a problem for the label’s parent company, The Walt Disney Company, and the controversy combined with the album’s poor performance caused them to cut bait. Danzig was again a free agent, but a wealthier one, and he even got to retain full distribution rights to the album.

It’s taken 25 years, but Danzig V is coming to vinyl.

Because of the timing of the album’s release and poor commercial performance, Blackacidevil never saw release beyond CD and cassette. The album would be reissued a couple of times as a website exclusive and as an enhanced version through E-Magine music in 2000. The enhanced version featured new artwork by the late Martin Emond as well as three additional tracks, none of which did much to elevate the poor original release. Ever since, the album has been mostly ignored by Danzig. The songs are never played live any longer and the band even ignored it for the chronological 20th anniversary setlist that featured songs from every release except Blackacidevil. There seems to be little enthusiasm for the record from both the band and the music community. The album still has its share of defenders amongst the diehard fanbase, but even those defenses have become more muffled over the years. As the years have gone by, Blackacidevil has never shaken off its status as the black sheep of the Danzig catalog. Driving that point home even further is the fact that the album is the only Danzig release to not be released on vinyl. All of the American Recordings releases received a vinyl release, though some were exclusive to certain regions of the world. Even the post Blackacidevil albums received sporadic vinyl editions. The follow-up album, Satan’s Child, was released in Europe in small numbers and it’s follow-up received a curious one-off release as well that was apparently licensed by the band, but not overseen. After that, vinyl started making its comeback so Circle of Snakes, Deth Red Sabaoth, and even the covers records received vinyl editions. And in the case of the most recent, they received numerous special editions of varying colored vinyl and picture discs.

Even though Blackacidevil is not an album I much care for, it has been a hole in my Danzig vinyl collection for some time. I am, by no means, a completist, but I have at least one vinyl edition of every Danzig release. The only ones I’ve passed on were some of the singles and the Glenn Danzig release Black Aria II, quite possible the worst thing he’s ever put his name on (well, until the movies). I even used to have a dedicated room for my collecting, before I had kids, in which I had my Danzig vinyl collection arranged on the wall in special LP frames. It always bothered me that Blackacidevil was not represented, but now that era is coming to a close.

I am happy to report that the band selected the superior artwork of the reissue for this release.

It was years ago that Glenn Danzig indicated he was looking to re-release some of his work on vinyl. Blackacidevil was mentioned along with his first solo release, Who Killed Marilyn?, but nothing came of it. Then pretty much out of no where, solicitations for a Blackacidevil vinyl release started appearing online. They started at smaller places on the web, but soon even Danzig’s current label Cleopatra Records put the record up for sale. It’s to be released in October and the album will have two pressings: black and silver colored vinyl. The jacket features the updated Martin Emond artwork from the reissue while the track list features just the original ten from the Hollywood release. It looks to be a gatefold release and even though it’s referred to as a “deluxe” reissue I don’t see anything new attached to it. Some places are also selling a CD reissue as well.

If you have read my review of the album then you already know that it isn’t something I recommend. This is a release for the diehard fans that either do actually like the album or are like me and just see this as a missing piece to their collection. With the amount of editions Cleopatra pressed of the more recent Danzig Sings Elvis I guess I shouldn’t be surprised they’d give this album a look. It gives me some hope that maybe more reissues are on the way. I don’t have that much interest in rebuying albums I already have on vinyl, but with Blackacidevil getting a release that just leaves one, last, grail item in the Danzig catalog: Final Descent. Yes, the fourth and final Samhain release is the only one from that band to not see release on vinyl. It was a hastily thrown together effort as it came out after the band had been dissolved and turned into Danzig, so it was only released on CD and tape. The entirety of the Samhain catalog is long overdue for a re-release of some kind and is far more worthy than Blackacidevil. Hopefully that’s something being actively discussed. As for Blackacidevil, I have no intention of doing a review of just the vinyl when I have it in my possession. I ordered a silver copy since I’ll likely never actually listen to it. It’ll come in, I’ll look it over, and file it away in my Danzig record collection where it likely will go untouched for years, but at least the catalog will now feel complete.

Leave a comment | tags: blackacidevil, cleopatra records, Danzig, glenn danzig, jerry cantrell, music mediums, samhain, vinyl | posted in Danzig, Music

December 13, 2020

Misfits Holiday Fiend Figure from NECA

By Joe

2020 will be remembered for a lot of things, many of them not good. One non-negative aspect of 2020 that will be memorable for me was that it was the year I really got back into toy collecting. Most of that was courtesy of NECA toys and their various Teenage Mutant Ninja Turtles lines. Those started hitting retail in 2019, but that year was largely a catch-up year as NECA rolled out figures to market that had previously been made available as convention exclusives, which I had purchased at the time. The first new to me figure release came in November of 2019 in the form of the cartoon Bebop and Rocksteady two-pack. Waves 3 and 4 hit in 2020 along with new releases in the movie line such as Casey Jones and Super Shredder. Super7 got in on the fun too launching its own line of TMNT products and I didn’t just stop with that brand. I also got figures from Hasbro, Bandai, and more as the lack of entertainment options and stay-at-home orders had me turning to toys to fill time.

Since 2020 ended up being a big year for toys on this blog, it seems only fitting to interrupt the annual Christmas Spot advent calendar (don’t worry, this doesn’t replace a normal entry) with a holiday themed toy review. In this case, it’s the Holiday Fiend action figure from NECA. The Fiend, also known as The Crimson Ghost or Misfits Ghost, is the mascot of the horror-punk band The Misfits. When it comes to Misfits fandom, there have been two camps for the past 25 years: the Glenn Danzig camp and the Jerry Only camp. Sometimes the fandoms have overlapped, but for the most part fans seem to pick sides. For me, I was always team Glenn. Nothing personal when it comes to Only, but I just never liked his version of The Misfits. The original band broke-up in 83, and it wasn’t until the mid-90s that Only and his brother Doyle tried to resurrect the band. After some litigation with their former frontman, it was decided the two individuals would share merchandising rights to The Misfits and that Only could continue the band without Danzig. Shockingly, The Misfits have now existed as a Jerry Only band far longer than it did with Glenn Danzig as the singer and songwriter of the group.

He’s got a bag that’s filled with…something.

Since I wasn’t a fan of “The Newfits,” I tended to avoid the merch put out by that band. I did end up with a t-shirt here and there, but I tended to only buy stuff that Danzig put out. The same has been true of the various dolls and toys that have come out over the years, including the original release of this figure I’m about to talk about. The original NECA release of The Fiend is clearly an homage to the album cover of American Psycho, the big come-back record for Jerry’s version of The Misfits. Being that, I never had much interest in it. Throw in a dash of Christmas though and now you have my attention! I’ve managed to resist Christmas themed releases before with The Misfits. Only’s band even covered the holiday classic “You’re a Mean One, Mr. Grinch” and released it as a single with artwork basically depicting a mash-up of the classic character with the Misfits Fiend. I was able to resist though, and it was made easier by the fact that the cover was really not very good. I’ve caved this time though and it’s time to find out if that was worth it.

If you want to lessen the Santa look you can remove the hate, though why would you want to do that?

The Fiend comes in a window box package featuring some festive artwork on the front. Inside you get a good look at the contents of the box with some nice product shots on the back. The Fiend stands at about eight inches and is basically just a plain, black, action figure. And that’s because you’re never meant to see what’s under his robe, and I don’t think the source material has ever revealed what’s supposed to be there anyway. All that is visible are the face and hands, which are skeletal in nature, but also have always embodied the look of the serial from which the character originated. That means that rather than just being an actual skeleton, the being is clearly wearing black gloves with printed bones and the head is wearing a mask. The new, festive, robe is meant to be the defining characteristic and it’s a plush, red, piece of fabric that looks rather lovely draped over this handsome boy. The ends of the sleeves and the hem of which have been embroidered with white to give the figure a very Santa Claus look. And he even has the hat to complete the ensemble. The robe isn’t mean to be removed, but I’m sure you could if you wished. The hat is and it sits over the normal hood The Fiend features. A plush, green, sack is also included to create a Santa Fiend look and one is left to ponder what this creature would bring to all of the good little boys and girls of the world? Skulls?

The base figure underneath is pretty basic. I think, but I don’t know for sure since this is the first horror or music figure I’ve purchased from NECA, that this body is pretty standard for the company’s clothed releases. The head is on a simple ball peg (and it’s really tight) with good rotation and tilt. The shoulders are standard ball-joints and the elbows and knees on this figure are single-jointed hinges. The wrists rotate and have a hinge each and unlike the head are really easy to remove, so much so that I accidentally have popped them out when manipulating the figure. There is no ab or upper body rotation, but there is a waist swivel. The legs are on ball-joints and actually have very good range of motion. There’s a thigh swivel and the ankles are hinged. The Fiend, if you were wondering, appears to be wearing black high-tops. It’s an acceptable amount of articulation for what this figure is, but one thing missing that disappoints me is the lack of peg holes on the bottoms of the feet. This guy can be tricky to stand because of all of the material draped over the figure and I really wish I could utilize the standard NECA stand. Instead, something more like a Barbie stand is needed as I don’t want to spend 10 bucks on an action stand for a figure that literally just needs to stand.

He looks positively resplendent in those robes!

The star of the show is the Christmas soft goods. The robe is really nice to look at and NECA included wires where needed. It shimmers in natural light and really catches the eye and I love that it’s hemmed with white at the cuffs and bottom of the robe. A Velcro strip runs up the front of the robe so if you wish to take a peek underneath you certainly can. The hood is a separate piece that is stitched to the back of the robe. It has a wire running through the hem and you’ll probably have to manipulate it a bunch out of the box. The only odd aspect of the robe I’m not sold on are the sleeves. They’re meant to have large cuffs that hang low, but NECA tailored the white onto a smaller cuff to go around the hand leaving a big hole behind it for the rest of the red cuff to hang down. I think it would look better if they had done the white around the whole thing and inserted another wire for posing as it’s just kind of weird as-is. The hat is a simple, Santa, hat that also contains a wire. It fits snugly on the Fiend’s head and looks pretty terrific. The sack is basically just a piece of green velvet-like material with a string tied around the end. There’s nothing inside it, though it has a wire running around it to allow for some posing. I kind of wish NECA had filled it with cotton or something to fluff it up. I suppose I could do that myself if I was willing to mess with the knot on it. It gets the job done though.

If you prefer a more “classic” look, NECA included a second, all-white, face on a second head.

NECA opted to include some swap-able parts with this figure, though they’re not particularly exciting. The finish on the face of the included head has some embellishments on it. I think it’s from the original release which is aiming to mimic the American Psycho cover by Basil Gogos (who also did the art for this release) which was going for a grave-emerging or crypt-lurking kind of look. Only now, the colors are a muted red and green to go with the whole Christmas theme, but it almost looks like some sort of weird camo. I’m not really a fan. The alternate head is a bone white version with no added paint which is basically how the character was depicted in art on the classic releases like Horror Business. The hands on the stock version also feature the same red and green paint on the back of the hand and they provide alternate bone white versions to match the face. All four hands are in a relaxed, open, position. He doesn’t have any proper gripping hands, but since the sack is light and empty he can still hold onto it well enough. Swapping the head on this guy was quite a bitch. I had to give it a real, good, tug to get the stock one off and I heated the other one with running water to get it on. I didn’t want to use a heat gun or anything given the presence of soft goods which could catch fire. At least I don’t like the regular head very much so I shouldn’t have to swap it again.

I think this is the look I’ll stick with.

The Christmas version of NECA’s The Fiend action figure is largely as expected. While I think there could have been some better design choices and I wish the stock head better matched the artwork, this figure should largely satisfy any Misfits fan looking to add the ghost to their holiday decorating. I love Christmas decorations and this guy will certainly stand out with what I already have. I could even see some NECA collectors paring this guy with the Santa Stripe released this year from the Gremlins line. And fans of the Jerry Only Misfits who already have the Horror X-Mas release should definitely try and pair that with this for their holiday display. The only reason not to is the price. At an MSRP of $35, this guy is on the pricier end of NECA releases. That could have something to do with the cost of the license, and anyone who saw the merch prices at the more recent Misfits shows know how expensive that stuff can get, and it’s definitely more than what I’m used to with NECA given what’s in the box. If price is an issue, maybe wait until the spring when this guy hits clearance. At least this isn’t an exclusive and you should be able to buy this wherever NECA products are sold, in particular the horror figures.

And if you’re still on the fence, he makes a nice tree topper!

Leave a comment | tags: action figures, basil gogos, christmas, christmas toys, glenn danzig, jerry only, neca, the crimson ghost, the fiend, the misfits | posted in christmas, Music, toys

August 6, 2020

Teenage Mutant Ninja Turtles #5 (1987)

By Joe

The cover and back cover features a fun wrap-around image in full color different from the first pressing of this issue.

This summer has been a very TMNT kind of summer around here. It’s getting to the point where I might have as many posts about the Teenage Mutant Ninja Turtles as I do Glenn Danzig music. Well, this is the rare post to feature both.

When Mirage Studios started to gain recognition thanks to the success of the TMNT comic book, founders Peter Laird and Kevin Eastman needed to hire more staff in order to churn out material in a reasonable amount of time. One of those hired was artist Eric Talbot, a former classmate of Eastman’s and apparently a fan of rock, metal, and punk music. One of Talbot’s earliest assignments was composing short stories for supplemental books and reprints of the original run of comics, which is how we ended up with the story “Ghouls Night Out.”

They had no idea how rich they were about to become.

“Ghouls Night Out” was included in the reprint of issue #5 of Teenage Mutant Ninja Turtles printed in November of 1987. This is actually a pretty noteworthy issue of TMNT as it contains a special announcement in the middle of the story which officially blows the lid on the licensing deal Laird and Eastman had made with Mark Freedman. Included in the announcement are details about Playmates toys and its first wave of TMNT action figures due out in 1988 as well as the announcement of the animated mini series which was set to premiere the following month. This was the first time fans of the property were introduced to Bebop and Rocksteady and read the name Krang. There’s even a double page ad that follows with the inaugural lineup of turtle toys. Pretty cool!

“Ghouls Night Out” follows the main story and is eight pages of mostly art. In it, a turtle (most fans seem to assume it’s Donatello because he carries a spear at one point, but it could be any of the four) is patrolling a grave yard at night when monsters soon descend upon him. He’s forced to run for his life from the zombies, Frankenstein’s monster, a wolfman, Nosferatu, and others. Most of the Universal Monsters basically get to make an appearance. The story ends when the turtle wakes up in April’s apartment having fallen asleep watching a monster movie marathon on television.

Might be hard to make out, but some familiar names are on those tombstones across the top.

The story is pretty simple, but what drives it is the artwork. The cloaked turtle, wicked monsters, and ghoulish scenery are what sells Talbot’s story. What attracted me to it though was the obvious connection to The Misfits, one of my all-time favorite bands. The title is a reference to the song of the same name, and the very first page features a message on a tombstone thanking The Misfits with the year of the band’s demise also present. Above the title is a row of tombstones which feature arguably the most popular lineup for the band: Jerry Only, Robo, Doyle, and Danzig.

The following pages contain other references as well. The band Metallica can be found on some headstones on page 2 as well as the entire staff of Mirage Studios. And for good measure, some other artists that likely influenced Talbot, such as Frank Frazetta, are tossed in as well. It’s a story that’s supposed to be spooky, but it’s almost cute due to all of the shout-outs Talbot included. I also really dig his turtle design and if anyone at NECA is reading how about an action figure of this cloaked, spear-wielding, mutant? NECA even has a licensing agreement with The Misfits so might as well work in that tombstone too!

I don’t know where this one came from, but it swaps out The Misfits for just Danzig. The colored reprints of this story kept The Misfits.

This is an interesting little nugget of TMNT history and a fun find for a Misfits/Danzig fan such as myself. I’ve seen other versions of the headstone image online with The Misfits removed and replaced by Glenn Danzig. I don’t know if Talbot redid the art at some point or if a fan did that. It’s pretty cool that this thing exists and it’s another piece of my Misfits/Danzig/TMNT collection.

Leave a comment | tags: comic books, eric talbot, ghouls night out, glenn danzig, jerry only, kevin eastman, mirage studios, peter laird, teenage mutant ninja turtles, the misfits, TMNT | posted in Comics, Danzig, Music

April 29, 2020

Danzig Sings Elvis

By Joe

danigelvis 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

1 Comment | tags: cover songs, covers albums, Danzig, elvis presley, glenn danzig | posted in Danzig, Music

March 18, 2020

Verotika (2019)

By Joe

Verotika (2019)

Say what you will about the various art Glenn Danzig has released to the public, but the man should be admired for doing what he wants with said art. At a young age, Danzig decided he wanted to be a musician and for over 40 years he’s been committed to that industry. Along the way he’s taken risks, both creatively and commercially, and some have worked out well financially and some have not. Always though, he’s stayed true to his own vision and rarely does it feel like he’s ever compromised that vision.

In the mid-90s, Danzig decided he had other pursuits he wanted to undertake. He launched his own comic book publishing company and named it Verotik. Verotik specialized in horror and hyper sexualized stories that the main publishers in the world of comics would never touch. Around the same time, he also started poking around the world of Hollywood eventually taking a small role in the film The Prophecy II in which he was almost comically dispatched of in a few seconds of screen time. It was also around this time he was boasting about being sought for the role of Wolverine in a future X-Men film, though how serious such overtures were at the time are unknown.

For who knows how long, Danzig has wanted to climb into the director’s chair and oversee the creation of his own film. In 2019, that dream came true. And true to Danzig’s musical legacy, his film is undoubtedly uncompromised and the film Glenn Danzig wanted to make. Verotika is a horror anthology film based on properties launched by Danzig’s comic line. Some of the stories are more or less taken right from the page and adapted for the big screen. In creating the film, Danzig formed a partnership with Cleopatra Entertainment in what looks to be a multi-film deal. The movie was released in June of 2019 in very limited amounts, basically just special screenings attended by Danzig himself in high profile markets like LA and New York.

Glenn Danzig steps off the stage and into the director’s chair and appears to be pretty happy with the end result.

Verotika was never screened in a city near me so I never had to make the perhaps difficult decision of whether or not to attend. The film has been nearly universally panned by critics with the often repeated comparison being that this is The Room of horror films. That doesn’t mean all of the reviews have been necessarily negative. Some expressed that film is not good, but it’s charmingly bad in ways that some of the most awesomely bad movies are. The film is low budget and full of the sex and violence that appeals to Danzig. The cast is populated by trained actors and actresses as well as veterans of the adult film industry, so I think anyone familiar with Danzig’s work likely has a good idea of what kind of experience they’re in for.

As a longtime fan of Glenn Danzig’s music, I felt like I basically owed it to myself to watch this film. I love the music of Danzig, but my fandom has largely ended there. What little of Verotik I thumbed through rarely appealed to me. Danzig’s directorial efforts with his music videos are mostly bad, and I basically assumed that I am going to dislike this film. Maybe I’ll be able to laugh at it, but I don’t know. I’m not the type of person that enjoys watching bad movies typically. At least with Verotika I’m signing up for an anthology that totals just 90 minutes, so it’s not a huge investment of time and there is a built in mechanism to reset my attention span. And even though I have in some ways dreaded viewing this film, I know my curiosity is too much to ignore so when the film went up for pre-order on Amazon I placed my order and waited.

Fans of the Verotik comics will likely get a thrill out of seeing these characters come to life on the big screen. Here we have Morella played by Kayden Kross.

Verotika arrived and alongside it came an unexpected surprise. The physical release for the film is the standard Blu Ray and DVD combo, but it also includes a CD soundtrack as well which is pretty cool. It’s not a particularly great soundtrack, and the only Danzig track is the previously released “Eyes Ripping Fire,” but it’s still a nice gesture. The soundtrack is also available separately on vinyl, for interested parties. I settled into watch this one, and since it is an anthology film, it presents nice opportunities for breaks during the feature. There are three segments and they are: The Albino Spider of Dajette, Change of Face, and Drukija: Contessa of Blood. There’s a framing device in-between them all hosted by Morella (Kayden Kross) in a Vampira-like role as she introduces the macabre to come while some hapless girl (Noelle Ann Mabry, with possibly the best performance of the entire film) is tortured.

Women being victimized by other women seems to be the name of the game in this film. All three stories feature that in some capacity, though in the first segment the woman, Dajette (Ashley Wisdom), is inadvertently harming women. I was prepared for a lot of things when I sat down to watch this. I knew there would be gore, I expected plenty of nude women, and I also anticipated some unintentional comedy on account of the fact that this is a relatively low budget film. What I did not anticipate was boredom. Yes, Verotika is a bad movie, but as far as awesomely bad is concerned I’m not sure I’d classify this as such. There’s a lot of bad acting, and what’s not helping the actors out is the need to utilize accents in two of the three segments. The script is poor and at times laughable, but not gratuitously so. It’s a just a lot of wooden scenes surrounded by poor lighting, hollow audio, and irrational editing. There’s even a shot where a corpse blinks and it’s confusing how something like that makes it into the final cut of any film.

Dajette and the spider that haunts her.

The three stories ask very little of the audience. Only the first felt the least bit ambitious as it concerns a woman, who when sleeps unleashes some sort of spider-demon on the populace. The spider wants to mate and kill in that order, and our protagonist needs to come up with a way to stop it. The segment relies way too much on actress Ashley Wisdom who is not up to task. The spider (Scotch Hopkins) does better, but the script gives him little to work with. He’s also burdened by some ambitious prosthetics that really aren’t all that bad, but could have been helped out with better lighting choices.

That segment might actually be the most narratively sound as the other two leave a lot to be desired. “Change of Face” follows the not very mysterious Mystery Girl (Rachel Alig) as she goes around cutting the faces off of young women and then masquerading as a stripper during the night. A detective pursues her, but is laughably played by Sean Kanan and hard to take serious. This segment features the most padding as on three occasions it resorts to extended segments of strippers performing their routine in a rather mundane fashion. Verotika would actually disappoint in the titillation department if stumbled upon at two AM on Cinemax.

Verotika is not particularly gory, but it does bring the blood by the tub-full.

The third segment is even more droll as it casts Alice Tate (who performs quite well under the circumstances) as Drukija, an Elizabeth Bathory type who poaches young girls from a village to bathe in their blood. She one-ups the countess by also feasting on the heart of a young girl. The story has no pay-off and is more of a fetish as we watch Drukija murder several young women. It takes place in a medieval setting so the costumes are a bit interesting and her ceremonial bathing apparatus is certainly a sight to see, but it offers little else.

Verotika is neither sexy, nor particularly gory. There is a lot of blood in some scenes, but the most gratuitous probably occurs during the film’s opening minutes. The film is not thought-provoking and it isn’t interested in exploring much of anything. And at 90 minutes it overstays its welcome by a lot. It’s hard to even pick which segment is the superior one. The concept of the spider is the most complex, while the “Change of Face” segment is the most procedurally ambitious as it attempts to present a murder-mystery thriller, but it really just exposes the weakness of the talent on hand. I guess the third is the best by default since it’s at least visually interesting and presents a decent premise. It just doesn’t move beyond its premise and could easily have been half as long. Or better yet, it could have just been a music video.

Glenn Danzig not only wrote and directed this picture, but he also provided the score. If you’re familiar with his Black Aria albums then it should sound mostly familiar. There are a few moments where I liked what I was hearing, but for the most part it’s forgettable. The licensed tracks are largely reserved for the stripper scenes, and in that respect they work fine. They’re not particularly sexy, but it’s not like Danzig was going to pay Rick Rubin to utilize “She Rides.”

Obviously I did not enjoy my time with Verotika. That doesn’t change what I started off with though. This is a film made by Glenn Danzig for Glenn Danzig. He’s gone around the country and personally shown this film to audiences and he appears to be quite proud of it. I can only assume that this is the film he wanted to make. And that is great. I wish I could put myself in position to pursue my own art in such a fashion, so even though I didn’t enjoy it I still applaud the man for the film he created. There’s just no way I’m going to seek out his next film.

3 Comments | tags: bad movies, cleopatra entertainment, glenn danzig, horror films, verotik, verotika | posted in Comics, Danzig, Film

December 1, 2018

Dec. 1 – Aqua Teen Hunger Force – “Cybernetic Ghost of Christmas Past from the Future”

By Joe

Aqua Teen Hunger Force – “Cybernetic Ghost of Christmas Past from the Future” originally aired on December 29, 2002

Welcome back to The Christmas Spot! It’s that time of year once again when this blog takes a break from the usual and turns into your very own Christmas advent calendar of holiday goodness, and some badness. Starting today, it’s nothing but Christmas specials until the big day, and to kick off this year’s installment it seemed appropriate to tackle the episode “Cybernetic Ghost of Christmas Past from the Future” from the Adult Swim original Aqua Teen Hunger Force.

Aqua Teen Hunger Force was created by the duo of Dave Willis and Matt Maiellaro and was one of the inaugural shows featured on Cartoon Network’s Adult Swim programming block in 2001. The show follows three anthropomorphic fast food items: Master Shake (Dana Snyder), Frylock (Carey Means), and Meatwad (Dave Willis). At first, the trio are a mystery solving team, but that premise is pretty much dropped after a few episodes and the show is essentially about nothing. It’s random and absurd with the bad-natured Master Shake often trying to enrich himself at the expense of his roommates, Meatwad and Frylock. Their neighbor Carl (Willis) is a frequent victim of their various schemes and they often attract the attention of weirdos, freaks, and aliens who seek to do harm. Crudely animated and briskly paced, each episode is essentially 11 minutes of surreal comedy. Most of the time it works and it’s really funny, though there are some duds in there that swing and miss badly. The show ran for 139 episodes and even spawned a movie making it one of Adult Swim’s most successful shows.

Carl has a ghost problem.

Closing out the first season is this episode, “Cybernetic Ghost of Christmas Past from the Future.” That mouthful of a title refers to a new character introduced in this episode, the actual Cybernetic Ghost of Christmas Past from the Future (Maiellaro), heretofore simply referred to as ghost or robot because I am already sick of typing out that title. The ghost first shows up at the episode’s open haunting Carl’s house. In February. Yes, this may be a sort of Christmas special but it doesn’t take place at Christmas for the sake of comedy. At first, the ghost is just annoying as he keeps telling stories about the past accompanied by an unusual amount of smoke. He shows Carl his Christmas as a child when his poor, dirtbag, of a father had nothing but carpet samples to give him as a gift. He couldn’t even play with them as the samples were also Christmas dinner. The scene is actually reminiscent of Scrooged and the flashback to Christmas past from that film.

Carl’s unfortunate childhood.

Carl is not exactly thrilled about being haunted by a ghost robot, but he becomes really annoyed when the ghost fills his prized above ground swimming pool with blood. Apparently, the blood is actually elf blood and at this point the neighbors enter the episode to question Carl about the blood-filled pool and the weird, annoying, robot. The ghost is happy to tell them about why the pool has been filled with elf blood, but not before first suggesting they pull up a few chairs and some snacks. He regales them with a story about the origins of Santa Claus, who was once a great, red, ape named Sir Santa of Claws. He constructed crude toys and hurled them at other apes. There’s also lots of defecation, as the robot points out. This Claws came into contact with some martian elves, that he enslaved and defecated upon and the story goes on and on. Eventually, everyone either gets annoyed or falls asleep. All except Meatwad who seems both horrified and captivated by the story.

The ghost is eager to tell his tale, but warns that any who listen will likely want to get a snack first.

At this point, Carl just wants to know how he can make the blood in his pool go away. The ghost tells him he needs to give of himself to the great, red, ape in space. And by give of himself, he means sexually. Carl, surprisingly, doesn’t seem mad as he deadpans a “wonderful” response to the request. We then time-jump to the next day (presumably) and Frylock and Carl are discussing him selling the house. Frylock asks if he considereds just doing what the robot said, but Carl is pretty adamant about not getting raped by a gorilla in space and I can’t say I blame him. He mentions he has somebody coming over to look at the house, then tells Frylock to go away so he can take a shower. He heads off to do just that, then comes running out of the bathroom horrified and covered in blood. Frylock tells Carl he can just shower at their house, but he’s about as excited about “gettin’ nude in your house,” as he is about the space monkey.

Santa Claws!

Carl is then shown giving a tour of the house to his respective buyer, and it is none other than Glenn Danzig who is voicing himself. We’ve covered quite a bit of Danzig material this year at The Nostalgia Spot so it seems only fitting we should cover his foray into animation this Christmas, no? Danzig is illustrated as being a shirtless guy in black pants and he’s pretty intrigued about a house that bleeds. His only concern really is if the robot can make the blood flow up the walls, and the robot pops in to assure he can. He’s also in love with the idea of a swimming pool filled with blood. He’s not a good house-buyer as he’s clearly let on to Carl that he wants the place, and when he asks for a price Carl just throws out a million and Danzig happily accepts. Carl is overjoyed, a rare occurrence on this show as he usually ends up dead or something at the end of most episodes.

Shake has the right idea.

Sometime later, Master Shake is looking out the window at the house formerly owned by Carl and sees Danzig heading over. He tells everyone in the house to scatter as the door is pounded upon by the muscled musician. Shake cheerfully opens the door and offers food from their “Haunted Kitchen!” and Meatwad goes into a lame routine of turning the lights on and off while wailing “Daaaaaaaanziiiiiiiiig! You want something to eaaaaat?” Not amused, Danzig goes into a rant. His robot ran away and he’s the source of the house’s blood so Danzig is quite ticked off that he’s not around. He warns Shake that if he’s hiding that robot there will be Hell to pay, in more words or less. After he leaves, Shake is relieved and the ghost robot pops into the image. He announces that he hates living with Danzig and finds him annoying. Plus, he never wears a shirt. Shake doesn’t care and simply demands that the robot make their house bleed right now and then we cut to the end credits.

Looks like Carl has miraculously found a buyer for his bleeding house in Glenn Danzig.

So this one really isn’t much of a Christmas special. It contains a really wild tale about the origins of Santa Claus, though it will be admitted in later episodes that the ghost who spins this tale knows nothing of the past and isn’t even from the future. Like many characters on this show he’s just insane. Carl is the victim, as he often is, throughout most of the episode but actually ends up doing well in the end. The main characters of Shake, Meatwad, and Frylock actually don’t have much to do since the ghost’s story takes up so much of the meager 11 minute runtime.

Danzig isn’t too happy when his robot runs away. Seems like we’re overdue for a follow-up episode about a rocker and his search for his beloved robot.

There’s no denying that, as a Christmas special designed to make you have those warm, fuzzy, feels “Cybernetic Ghost of Christmas Past from the Future” comes up woefully short as there’s really no Christmas spirit to be found at all. How much you enjoy the episode depends on your brand of humor, and if you’re amused by the Glenn Danzig cameo (which I obviously am). Danzig apparently wrote a lot of his own lines and if you’ve ever heard him rant in an interview or on stage then that probably doesn’t surprise you as his rant at the episode’s end is very much on brand. The episode is animated crudely so it’s not particularly attractive, but there’s value in the crudeness and humor as well. I find this one funny, and it’s short enough that it doesn’t overstay its welcome (though the intentionally long back story of Santa does toe the line) so I can give this one a solid recommendation.

And if you’re looking to catch this one on television this year then you may be in luck. Adult Swim is pretty good at airing its various Christmas specials throughout December. Since this one is so old and from the pre-HD era they may bypass it. In that case, it appears to be streaming for free at adultswim.com and finding it online isn’t particularly hard either. It was also released on DVD as part of Volume 2 of the show (even though it was considered a season one episode) and getting that set probably won’t set you back much. If you liked reading this though then come back tomorrow when we’ll have another Christmas special to talk about, and I promise it will be a bit more “Christmasy” next time. See you then!

1 Comment | tags: adult swim, aqua teen hunger force, cartoon network, christmas specials, cybernetic ghost of christmas past from the future, frylock, glenn danzig, master shake, meatwad | posted in christmas, Television

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Tag Archives: glenn danzig

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