Customer Reviews

6:66 Satan's Child

5 star:		(54)
4 star:		(17)
3 star:		(11)
2 star:		(11)
1 star:		(8)

 

 

OK, an overview first. In the beginning there was "Danzig", the self titled album, a blues oriented rock music. Then "Danzig II" followed the same vein, more bluesy guitar, more howls, better writing. Following that was "How the Gods kill", a slight departure, but similar enough to keep the fans happy. With the fourth album, aptly titled "4", Glenn tried to grow a little, and do something different. In my opinion, an exceptional attempt. What is wrong with growth and a little change? Some fans didn't like it. I loved it. The fifth album, "Blackacidevil", brought Glenn the opportunity to go even further, and try even more experimentation. Whether, the old band quit, or was fired, or was called to the pits by the dark one, Glenn needed new allies. Enter Joey Castillo, Joseph Bishara, and Josh Lazie, a new band, a new sound. Gone is the bluesy guitar, to be replaced with a more electronic modern sound. But the song writing here is still exceptional. This album was to be yanked summarily from shelves by Danzig's then distributer. Down, but not out, Glenn shopped for another. And in a short time one was found. "666: Satan's Child" is the first album Glenn and friends have recorded with the new company. But this time, Glenn tries to merge his former sounds together. The bluesy guitar with the techno thump. A new sound emerges, and this is wonderful. 5 finger crawl, unspeakable, 13, Lilin, heck all the tracks on this album rock. Though this isn't exactly "Danzig II" or "Blackacidevil" it is the best of both.

On my initial examination of this album, I was disappointed. The cover artwork and photography is hackneyed and cliched, and the tracks, from first to last, lacked the originality and verve that hallmarks all of Glenn's previous offerings; from "Cough/Cool" to "Blackacidevil" (a MUCH better album than most seem to think, one of the finest in the Danzig canon, in my opinion), Glenn's presence was obvious. Not so here. At least, not IMMEDIATELY. Despite the continuing downward spiral of Glenn's lyrical imagination, a few gems can be unearthed here nonetheless, most notably the urgent "Unspeakable", and Danzig's own take on "Thirteen", the track written for, and recorded by, Johnny Cash in 1994 ("Come To Silver" on the "Blackacidevil" album was also submitted to Cash, but rejected in favour of "Thirteen") - although I feel that Cash's version is superior. Many reviewers have lamented the departure of the other members of what I suppose should be considered the definitive Danzig lineup (Von, Biscuits, Christ) since the split from American Recordings, but they really shouldn't be too surprised since Glenn has been chopping and changing his band lineups throughout his career, and although Castillo and Lazie do not stamp their mark on this album with as much authority as the previous Danzig incumbants, they do what is required of them with considerable aplomb. Yes, this album is derivative of all of the acts mentioned elsewhere in these reviews (Korn, Rob Zombie etc.), and yes, this is a shame for long-time fans since all other releases by Glenn Danzig escape any comparison or classification other than simply "DANZIG", but new listeners will find that this album is an album ultimately worth owning, although I would hasten to advise that anyone new to Glenn's work should try ANYTHING else that he has recorded other than this first in order to maximise their appreciation of this unique talent. It IS his worst effort to date, but "poor" by Glenn Danzig's standards is still "pretty damn good" by anyone else's, and as I said, it'll grow on you...

It's been three long years... Danzig's latest release provides fans with his most unique sound to date, a culmination of all his past achievements. From the molten depths of Hell, Danzig emerges wielding 6:66. Like the blackest Katana, Danzig's Metal has been folded, hammered, and heated many times-only to be made stronger. Again Danzig shows why he is years ahead of the genre. Danzig's throaty, hardened, vocals lead the heavy guitar ladened 6:66 juggernaut. Danzig truly flexes his vocal muscle, showing his range and anger, with every track driving, pounding, and punishing the listener. Danzig is the only artist able to encapsulate arduous pain and suffering and make it sound so good. "Cult Without a Name" is a glorious unholy marriage of Danzig's previous endeavors of albums one through five. "East Indian Devil" reaches into the recesses of man's Id with its primordial tribal beat. "Cold Eternal" is a gripping surreal ballad. "Five Fingered Crawl," "Unspeakable," "Belly of the Beast," "Apokalips," "Firemass" and "Satan's Child" all railroad you over like a possessed runaway train. "Lillin" is a slow brooding, restrained, animal. While "Into the Mouth of Abandonment" truly embodies Danzig's "attitude." Finally "13" brings closure to a masterpiece that could only have the name Danzig tatooed on its neck. So tighten your crown of thorns and get ready, because from Danzig's first bleeding howl to his last gutteral whisper, the addictive 6:66 will leave you beckoning for more. ...Lucifer has "Satan's Child" on his steam driven turntable echoing off the cavernous walls of the abyss, while minions Morrison and Presley rake in the burning coals fantasizing about being crucified by "6:66"...the wait is over.

I am a longtime fan of Danzig's work. In my opinion of all his Danzig albums this is probably tied for worst with Danzig 5, but it's still a kickass record. This is the first album where Danzig conceals his vocal strength, or weaknesses as may be the case.

In Danzig 5 many people hated the heavy effects on his voice, but the truth is you could still hear some of his most powerful singing on Hand of Doom, so it was more of a stylistic approach than a concealment. He stated that this would be an album that fans of his older stuff would like more, and it is more true to old form than 5, however I don't dislike the album on the merits of the muffled vocals so much as the weak songwriting. The album feels like it might be B-Side tracks to some of his stronger material, and I think this was a creative low for him.

But before you crucify me, let me state that even Danzig's B-sides is great music in comparison with most [stuff] out there. In a way he's become a victim of his own success in the same way that Star Wars was so hyped that in the end, everyone [got upset] when they saw Episode 1 (which wasn't too bad). But I'm getting away from the subject :).

This album's highlights in my opinion are Lilin, Satan's Child and Firemass. Firemass is probably my favorite and I think the creative highpoint of the album. I love how the bass sounds during a break in the drums in the beginning. There is a lot of fun in this album but in the end you kinda feel a little unsatisfied.

Am I the only one who thinks Danzig I-IV are all terrific albums, but, on average, 5: Blackacidevil through 8: Circle of Snakes are just so-so? Even the change from mostly black-colored CD sleeves to the garrish cartoon demon artwork seems to reflect this aesthetic shift (whether conscious on GD's part or not) over to derived, campy deathrock--whereas Danzig had always been an original up till now, melding dark themes with bluesy hard rock. Blackacidevil and Satan's Child, listed here, are the most unsatisfying selections in the Danzig catalog. And this one by far sports the ugliest Danzig sleeve art. But on to the music. Where's the singing? Danzig is famous because of his voice, but on this album you can't hear it because it's buried under a deluge of distorted protometal guitar tracks. I'm not exagerating. I can barely decipher any of the lyrics. Glenn doesn't let loose. He doesn't sing. Gone are the chills up the spine brought on by the Danzig death-howls and swaggering Jim Morrison-meets Elvis-meets Satan vocals. Disappointing. Give me "Long Way Back from Hell" any day.

Okay, blah blah blah... I'm a long-term Misfits (early incarnation), Samhain, Danzig fan, and I must say, with a great amount of regret that Glenn may be stumbling through his last moments of what could have been a legendary career. Here are some point by point album/career summations:

*The standard commercial cover (not the limited edition cover) is embarassing. Verotik/Danzig can exist within the same sphere, but this cover is just an incredible joke! Is this what Glenn sees himself as? A hulking "evil" force to be reckoned with? He's in his mid 40's!

*The voice! Well, discussions have picked up that Glenn's much beloved voice might be on the decline (a subtle clue: the 'how the gods kill' album was the first to contain Glenn's "dramatic" (read, shortcut) grumbling/growling). Well, all I know is that Glenn's voice, like with 'blackacidevil', is so obscured by effects and layers of white noise, that only the song 'Cold Eternal' escapes this sloppily produced album with some grace (it's actually quite a good song).

*Lyrics. Yuck! Glenn's lyrics from 1977-1988 are wonderful. 'Danzig II: Lucifuge' to the present, marks a definite problem, lyrically speaking. This album coupled with 'blackacidevil' contain some of the most inane and ultimately stupid Danzig lyrics ever penned! Songs like 'Serpentia' and the really awful 'Satan's Child' are real fan killers to say the least. "Let this bad boy breathe?", for the sake of your career Glenn, Iron Maiden and Venom covered this same retarded territory years before you, do you really need to haul out another "devil album"?

*The Music. Simply put, the music is tired and similar to bands like Orgy, Rob Zombie, and in spots Fear Factory... but with none of the orginality (what little there is to even those bands!).

Conclusion, hope that Glenn comes to his senses. Wouldn't we be just as happy for him if he was doing lounge versions of 'American Nightmare' and 'She' at the Luxor in Vegas? I know I'd be ecstatic!

Okay, Danzig 5 was a bit of a disappointment. On this new one, he's found a way to cross the industrial influences of "Blackacidevil" with the huge neckbreaking stomp of the first album. If you're a metal/hard rock fan and you've been lamenting the sorry state of late 90's music, you need this album. The song he wrote for J. Cash resurfaces here and it's worth the price of admission. I'd give it a perfect 5 but it's not quite in the same league as "Lucifuge" or "Don't Break the Oath" (Mercyful Fate).

Wow, this is a good album. Danzig goes further into the world of industrial, and still retains the metal sound. 11 awesome new songs, and Glenn's version of "Thirteen" he wrote for Johnny Cash. I could go on forever about Satans Child...just get it yourself and check it out. DANZIG!

I dont know what all of these other people are talking about. This is an awesome cd. It is like the predecessor to circle of snakes with a touch of lucifuge. I truly enjoy it. Five finger crawl is the best song on the cd, however, the rest of the songs are very solid. This is my second favorite Danzig cd ever. lucifuge is #1

I used to HATE this album, with the exception of "Unspeakable" and "Lilin", I never liked this, I tried, I listened to it a few times and just said forget it, it sucks, but I WAS DEAD WRONG.

This album is great, I love it, I finally got around to buying it, since I've really liked "I Luciferi" and the new "Circle of Snakes", so I said screw it I'll buy this one. and I liked it from the first notes of "Five Finger Crawl", which is an amazing song, "Belly of the Beast", "Lilin" and "Unspeakable" are also amazing songs, Heavy, Melodic, GOOD.

"Cult without a name" is a kick ass song too, really fast and heavy, one of my favorites, I can't believe I didn't like this one before.

The rest of the songs are good as well there isn't a bad song on here and "Thirteen" is one of the greatest songs on a Danzig album ever. (Thanks to the one reviewer for clearing my mistake up, someone had told me that "Thirteen" was a Johnny cash song and I took his word for it, mainly because it sounded like something Johnny cash would do, but I'm much happier knowing that Danzig wrote it, its a great song).
it sounds like a satanic western song, not like "I'm the One" from "Lucifuge", but in a different way, Like you expect to see Clint Eastwood come out of the shadows or something, its great.

I think my problem with this album before was that I was and am such a fan of the first 4 albums (as well as "Thrall") and such a fan of John Christ, Chuck Biscuits, and Eerie Von, that when Danzig 5 came out, I didn't like it, and I already had an automatic dislike for Danzig 6:66 when it came out, so I never gave it an honest listening, but I realized that it is STILL DANZIG, the music is just a little different but Danzig has more than one sound so its still good, and I recommend it to anyone.