Misfits - The Devil's Rain (Misfits)

Where to begin? As with most bands, each “Misfits“ release does some pandering. The key is to make a record that is true to the core of the band without become a caricature. It also helps to create something enjoyable. There is not a more staunch supporter of Glenn Danzig on this planet. In his horror comic book metal catalog, he has always stayed true and refuses to pander (as well as refusing to be personable in interviews and saying no to just one more housecat). It is with that in mind that Misfits co-founder Jerry Only restarted the band in 1997 with brother (and fellow ‘Fit) Doyle and a new singer and drummer (not there was a permanent one in the classic era). I’m not one to condemn a classic band for cashing in on its legacy when they didn’t make the money they deserved for the influence they had. The Pixies keep touring and teasing new material. The Sex Pistols played Trump Tower in Vegas! So, why is everyone down on Only for resurrecting his co-creation? It seemed like it started as a kick for fans to see what could be, and I did rather enjoy the Michale Graves-led American Psycho and Famous Monsters. Danzig was long gone and not looking back and while this may not really be the Misfits, there was something to like. But when Graves and even brother Doyle left and Only kept sailing the sinking ship, it was obvious that the name Misfits was more for Jerry’s vanity as he took up lead vox. The Project 1950 and Nutley Brass debacles cemented the shoes of this comeback.

New hope arrived for me 2 years ago when Only, with Black Flag guitarist/singer Dez Cadena and drummer Robo, released the obviously George A. Romero-inspired Land Of The Dead 12 inch. This being the first new music recorded with Only on lead vocals, I was surprised at how instantly appealing it was. Perhaps it was time to give this incarnation a chance. Cut to present day and Robo is gone. “Land Of The Dead,” is here, as is its b-side, “Twilight Of The Dead”, though are unconscionably recorded to lessen their effect. Sandwiched in between them is the album’s best new track in “Black Hole,”. Unfortunately (or for the doubters’ benefits), the rest of the record falls blah. The second half, which includes two tracks written by Cadena that Greg Ginn would have fired him for writing, is nearly unlistenable. The result is mostly poor goth Ramones. This is one of those bittersweet moments where I get to chastise Jerry Only for another lackluster effort but, at the same time, I am panning a Misfits album.