On July 14, 1986, Samhain performed what was to be their final show, at The Ritz in New York City. In attendance was Rick Rubin, who was scouting for potential bands to sign to his record label, Def Jam. Upon viewing Samhain's performance, Rubin was impressed with Glenn Danzig's powerful stage persona and vocal abilities. He approached him after the show and propositioned him. At first, he wished only to sign Danzig, with the intent of making him the vocalist for a heavy metal supergroup that Rubin envisioned. However, Danzig refused to sign to Rubin's label without Samhain's bassist, Eerie Von, whom Glenn had become great friends with. Rubin agreed to sign Samhain, and he began making suggestions for the new direction he felt the band should take. Rubin felt the music should be stripped down, and that Glenn's vocal talents should become the focal point for the band.
In 1987, the band evolved into a solid heavy metal act, with the addition of John Christ on guitar and Chuck Biscuits (ex-Black Flag) on drums. In order to avoid a potential lawsuit over royalties from past Samhain members, and also due to the change in musical direction, Glenn decided to change the name of the band to Danzig.
Original lineup
Having formed and begun recording as Danzig the previous year, in 1988 the band released its first album, simply titled Danzig, on Rick Rubin's newly formed label Def American (later renamed to American Recordings). The album featured polished production by Rick Rubin, with heavy, blues-based guitar riffs and Glenn's powerful and melodic vocal performance--a harsh contrast to the gritty, raw sounding production of Samhain's albums. The album was released to lukewarm reviews, but is now considered by many heavy metal publications to be among the best hard rock albums of all time.
In 1990, Danzig released their sophomore album, Danzig II: Lucifuge, the band's most diverse LP. Here the music continued to blur the lines between classic blues and hard rock, and it featured some of the best vocal performances of Glenn's career.
By 1992, Rick Rubin's involvement with the band had waned and Glenn Danzig took credit for producing the third album, Danzig III: How the Gods Kill, which many fans see as the pinnacle of the Danzig catalog. The album continued the unique sound established with the first two, but the music and lyrics had become darker, containing gothic overtones. During this time, Glenn became fond of singing in a throaty bellow, which he says was inspired by classic blues singers. Fans jokingly named this singing style Glenn's "cookie monster" voice, due to its resemblance to the gruff voice of the Cookie Monster from Sesame Street. This vocal style can be heard prominently on the Thrall: Demonsweatlive EP, which contained several live tracks from the band's 1992 Halloween show, as well as three new studio tracks. The "Thrall" EP contained a surprise hit for the band, when the live version of Mother (originally recorded on the first Danzig album) became popular on hard rock radio stations. A new version of the "Mother" music video was created using live footage, and the video became an instant hit on MTV, pushing Danzig into the mainstream.
With Danzig in the mainstream spotlight, controversy surrounding the nature of Glenn Danzig's lyrics and imagery increased. Conservative Christian groups accused Danzig of being a Satanist with obvious intentions to persuade impressionable youths over to the "left hand path". Danzig shrugged off the controversy as a humorous annoyance and often made light of it. Glenn has repeatedly denied accusations of being a Satanist, saying that he is fascinated by the nature of evil and merely finds Satan to be an interesting figure in Christian Theology.
In October 1993, the band entered the studio to record their fourth studio album. Glenn received pressure from the record executives to write songs in the same vein as "Mother," but he was determined not to backtrack his musical progression. Rick Rubin had become increasingly distant from the band and had little involvement in the recording of the fourth album. In 1994, Danzig 4P was released. The album was darker, much more atmospheric than the band's previous releases, and more experimental as well. While it sold well, it did not contain a hit on par with the "Mother" single. The album's second single, Cantspeak, was also a staple in MTV's rotation (even making the Buzz Bin), and it charted on the rock charts, although (unlike "Mother") it failed to appear on the Hot 100. "Cantspeak" is the band's only single other than "Mother" to chart on Billboard, thus making the band a two-hit wonder of the mainstream scene. Danzig's relationship with Rick Rubin deteriorated and Danzig was dropped from the label.
Around this time, the band's lineup began to dissolve as well. First, Chuck Biscuits left due to royalty disagreements with Glenn, leaving the band part way through the Danzig 4 tour. He was quickly replaced by Joey Castillo. In 1995, John Christ left after learning that Glenn was actively seeking a replacement guitarist. At the same time, Eerie Von left of his own accord, ending what most fans consider the classic era of the band. Glenn Danzig has said that it was always his intention to have a revolving line-up, but it just so happened that the original lineup remained intact for much longer than he had expected. Since the end of the classic era, each Danzig album has featured a different band lineup.
Rotating lineups
In 1996, Danzig 5: Blackacidevil (a play on the phrase "Black as a Devil"), was released, surprising many with its heavy emphasis on industrial rock. Glenn has stated that Rick Rubin had been keeping him from experimenting with electronics on earlier Danzig releases, and so with the fifth album, Glenn was eager to indulge in industrial sounds unimpeded. The album was mostly a solo effort by Glenn, although Jerry Cantrell of Alice in Chains played lead guitar on three of the album's tracks, while drum duties were handled by Joey Castillo, the sole member still in the band from the 4p Tour (Joey would go on to record on two more Danzig albums, making him the longest standing member outside of the classic lineup). Most Danzig fans were disappointed with the album, presumably due to the drastic departure from the sound of the first four releases. Additionally, many fans viewed Glenn's vocals as the highlight of the band--and throughout most of Blackacidevil, Glenn's voice is buried under layers of effects. Other fans embraced the album, and saw it as Glenn returning to the more experimental style of Samhain. The album is the most controversial of the bands back catalogue and the music therein is often referred to as being "Techno Danzig".
The next couple years saw Danzig tied up in a legal battle with Rick Rubin over the rights to the unreleased material the band produced under American Recordings. After winning back the rights, Danzig entered the studio to record the sixth full length album. In November 1999, Danzig 6:66 Satan's Child was released, with mixed reactions from fans and critics. It featured dark and heavy doom metal accented by mild electronics, with Danzig singing in an uncharacteristic harsh whispery tone for most of the album. Some critics and fans have described the sound the album as being similiar to nu metal, a genre of heavy music that Glenn Danzig is well known to detest. This comparison is often linked to the fact that much of the album was produced by Jay Gordon and Amir Derakh of the electropop/nu metal band, Orgy. One of the tracks on Danzig 6:66 Satan's Child is Thirteen, a song Danzig wrote for Johnny Cash in 1994.
New millennium (2000-present)
By 2000, Danzig's line up had stabilized with the addition of guitarist Todd Youth and bassist Howie Pyro, both veterans of the New York City punk scene. In 2002, this line up released the album Danzig 777: I Luciferi. The album was devoid of electronics and contained some of the darkest and heaviest songs of Danzig's career. Some of the later tracks on I Luciferi harkened back to the classic sound of the band, and many fans heralded it as a return to form, although some were disappointed with the album's production quality.
In 2004, Danzig released their eighth studio album, Circle of Snakes, which, along with the previous album, many fans view as Glenn's best work since the classic era of the band. On Circle of Snakes the line up was again re-written and now featured Tommy Victor from Prong on guitar. The sound evolved again, and here Tommy Victor’s guitar seemed to be the dominant force on each song. Some critics had a problem with the mixing of the album, citing that the vocals and drums often seemed to be buried under the multiple layered guitar tracks.
Danzig then set out headlining the Blackest of the Black tour across the United States. "The Blackest of the Black" was a package set up by Glenn Danzig as a way to help some of his favorite dark underground bands gain more exposure, while providing fans of heavy music an alternative to Ozzfest, which Glenn felt had become oversaturated with commercialized nu metal acts. During the 2005 Blackest of the Black dates, halfway through the Danzig set, the band was joined by Doyle Wolfgang Von Frankenstein, the Misfits' most iconic guitarist, for a set of classic Misfits songs. These shows were the first time Glenn had played with Doyle in over twenty years, and many of these shows were sold out. Though the album has been out for almost 3 years, the Blackest of the Black tour still seems to be going on. Danzig has ended the bonus sets with Doyle, but has selected new bands to play alongside him from all around the world, including Asesino from Mexico, Belphegor from Austria, The Haunted from Sweden, and Lacuna Coil from Italy.
Glenn Danzig says he is ready to take a break from touring, perhaps permanently, to work on other projects and produce other bands. Currently, Glenn is working on his feature film Ge Rouge". He has also been putting the finishing touches on his second solo album Black Aria II (follow-up to Black Aria). He has stated in several recent interviews that after he finishes Ge Rouge, he will begin putting together The Lost Tracks of Danzig, a double CD containing around thirty unreleased songs that span the entire Danzig catalog. Glenn has also stated that he and Jerry Cantrell have been discussing the possibility of teaming up to write and record an album of dark blues songs.
Group members
* Glenn Danzig - Vocals, Guitar, Keyboards (1987-present)
* Johnny Kelly - Drums, 2005-Present)
* Kenny Hickey - Guitar (2006-Present)
* Steve Zing - Bass (2006-Present)
* Doyle Wolfgang Von Frankenstein - Guest Guitarist
Former members
* Eerie Von - Bass)
* Josh Lazie - Bass,)
* Rob Nicholson - Bass)
* Howie Pyro - Bass)
* Jerry Montano - Bass)
* John Christ - Guitar)
* Dave Kushner - Guitar (1997)
* Tommy Victor - Guitar,)
* Jeff Chambers - Guitar)
* Joe Fraulob - Guitar)
* Todd Youth - Guitar)
* Chuck Biscuits - Drums)
* Joey Castillo - Drums)
* Charlee Johnson - Drums (2002)
* Bevan Davies - Drums)
Discography
Albums
Year Title Notes
1988 Danzig Debut album. US #125
1990 Danzig II - Lucifuge US#74
1992 Danzig III - How the Gods Kill US #24
1994 Danzig 4P Final recording with the original line-up and release on American Recordings. US #29
1996 Danzig 5: Blackacidevil Alice in Chains guitarist Jerry Cantrell makes a guest appearance on this album. US #41
1999 Danzig 6:66 Satan's Child US #149
2002 Danzig 777: I Luciferi US #158
2004 Circle of Snakes US #183
2010 Deth Red Sabaoth
Compilations, EPs and live albums
Year Title Notes
1993 Thrall: Demonsweatlive EP; plus live tracks.
1996 Sacrifice EP; Re-issued with 3 bonus tracks in 2000.
2001 Live on the Black Hand Side Live double album.
2007 The Lost Tracks of Danzig [1] [2] Double-CD; will include unreleased tracks from.
External links
* Danzig Official Site
* Danzig at Encyclopaedia Metallum
Devil's Plaything
Danzig Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
A devil's thing
A violent storm
About to be born
Just look in these eyes
See all the lies
All the things you see
You cannot deny
And this flame
That burns inside
If you get too close
Burn you alive
Just look in these eyes
And see if they lie
All these words I speak
You cannot deny
Got a light
Shines on me
Gentle light
It will never be
See the flame
In my hand
If you're playing with fire
You're playing in Hell
Devil's plaything
In my hands
If you don't want pain
You don't understand
Got a light
Shines on me
If you want to touch flames
Come unto me
Got a flame
Burns inside
If you don't want to burn
Just walk on by
And the pain
You're feeling now
Is nothing compared
To the pleasures I hide
Devil's plaything
In my hands
If you don't want pain
You don't understand
Got a light
Shines on me
If you want to touch flames
Come unto me
Oh oh oh oh oh
Oh oh oh oh oh oh oh
Oh oh oh oh oh
Oh oh oh oh oh oh oh
Got a flame
In my hand
If you don't want a fire
Step out of my light
Walk on by
Just look away
'Cause if you're on my path
You're better off dead
Devil's plaything
In my hands
If you don't want pain
You don't understand
Got a light
Shines on me
If you want to touch flames
Then Come unto me
Oh oh oh oh oh oh
Oh oh oh oh oh
Oh oh oh oh oh
Oh oh oh oh oh
Oh oh oh oh
Oh oh oh
Oh oh oh oh
Oh oh oh oh oh oh
Danzig's song Devil's Plaything is a dark and powerful exploration of the seductive nature of temptation and the destructive consequences that can arise from giving in to it. The lyrics describe love as a flame, a devil's thing that burns inside of you, and once you get too close, it can consume you entirely. The singer challenges the listener to look into his eyes and see that all the lies and pleasures he hides cannot be denied. The temptation is alluring, but the price paid for indulging is ultimately high.
The singer's confidence in his power over the listener is clear. He claims to have a light shining on him that will never be gentle, and a flame burning inside that will burn anyone who gets too close. He warns the listener that playing with fire is playing in Hell, and that if they come unto him and touch the flames, they'll have to endure the pain that comes with it. In the end, the singer makes it clear that if someone is on his path, they're better off dead. This is a chilling depiction of the power and attraction of temptation and how it can ultimately lead to destruction.
Line by Line Meaning
Love is a flame
Love is an intense emotion that burns fiercely like a fire.
A devil's thing
Love can be dangerous and destructive like the devil himself.
A violent storm
Love is like a raging storm that can be powerful and destructive if not handled properly.
About to be born
Love is like a new life, full of hope and potential.
Just look in these eyes
The singer is asking the listener to look into his eyes to see the truth.
See all the lies
The singer is warning the listener that there are hidden lies and deceit behind his love.
All the things you see
The listener can see the truth of the singer's love for themselves.
You cannot deny
The listener is being challenged to accept the truth they see before them.
And this flame
The spark of love inside the singer is burning brightly.
That burns inside
The intense passion inside the singer is like a flame on the edge of burning out of control.
If you get too close
If the listener tries to get too close to the singer and his love, they will be burnt.
Burn you alive
The passion and intensity of the singer's love can consume and destroy everything in its path.
And see if they lie
The listener is asked to look into the singer's eyes and see if he is telling the truth or not.
All these words I speak
The singer's words are a warning of the danger that comes with his love.
Got a light
The singer has a metaphorical light, or guiding force, that he follows in life.
Shines on me
The singer feels like he is favored by this guiding force.
Gentle light
The singer's guiding force is a gentle and comforting presence in his life.
It will never be
The presence of this guiding light is something that the listener will never understand or experience.
See the flame
The singer is holding a physical flame, representing the passion and danger of his love.
If you're playing with fire
If the listener is trying to mess with the singer and his love, they are playing with fire and risking getting burnt.
You're playing in Hell
The danger and pain that comes with the singer's love is like being trapped in Hell.
Devil's plaything
The singer's love is compared to a toy controlled by the devil, a thing of danger and evil.
In my hands
The singer is in control of the situation and his dangerous love.
If you don't want pain
The listener is being warned that they will experience pain if they pursue the singer and his love.
You don't understand
The listener is being told that they don't comprehend the true danger and power of the singer's love.
Got a flame
The singer is holding his passionate love, ready to use it as a weapon if needed.
Burns inside
The passion and intensity of the singer's love is consuming him from within.
Just walk on by
The listener is advised to stay away from the danger and pain of the singer's love and leave it be.
And the pain
The listener will experience pain and suffering if they pursue the singer and his love.
You're feeling now
The listener is already experiencing the pain and consequences of messing with the singer's love.
Is nothing compared
The singer is basically saying 'You ain't seen nothing yet' and that the listener hasn't experienced the true pain and pleasure of his love.
To the pleasures I hide
The singer is hinting at the sinful and pleasurable things he has to offer if the listener dares to approach his love again.
Oh oh oh oh oh
A repeated section in the song with no clear meaning.
Got a flame
The singer is still holding his passionate love, ready to cause destruction if needed.
In my hand
The singer is in complete control of his dangerous love and ready to use it as a weapon.
Step out of my light
The singer is warning the listener to stay out of his way and avoid getting burned.
Just look away
The listener should avoid looking at the singer's problematic love and ignore it entirely.
'Cause if you're on my path
The listener is advised to avoid crossing the singer and his dangerous love by walking in a different direction.
You're better off dead
The singer is warning the listener that if they don't stay away from his love, they'll be better off dead.
Lyrics © Universal Music Publishing Group
Written by: GLEN DANZIG
Lyrics Licensed & Provided by LyricFind