The Misfits - Static Age (Cover Artwork)

The Misfits

The Misfits: Static Age

Static Age (1997)

Caroline


5
The legend of Static Age goes like this: In 1977/1978, Mercury Records gave the Misfits 30 hours of studio time so they could use the name 'Blank Records' (which the Misfits had the rights to). Although this was very little time, the band knew what they wanted to record and how they wanted it to sou...

The legend of Static Age goes like this: In 1977/1978, Mercury Records gave the Misfits 30 hours of studio time so they could use the name 'Blank Records' (which the Misfits had the rights to). Although this was very little time, the band knew what they wanted to record and how they wanted it to sound, so they recorded 17 songs and mixed 14 of them. At the time, the record was not released since no majors would touch it. So, over the next few years, the songs were released on various EPs (most of which are now out of print and worth thousands of dollars). 20 years later, in 1997, Static Age was finally released, all 17 songs, with a couple pages of liner notes.

The title track kicks off the album and right away you know what you're in for: dark, disturbing, yet strangely catchy and accessible punk rock. The mighty Glen Danzig has a deeply mysterious voice. I read somewhere a comparison of his distinct vocals to Jim Morrison's (the Doors). This is a very accurate comparison -- if Jim Morrison were in a punk band, he'd sound like Danzig. Next up is the droning "TV Casualty;" this one sounds like zombies are performing it (which is exactly what the Misfits intended). The next 11 songs are all mind-blowingly awesome, classic, punk rock songs. "Some Kinda Hate" takes us back to the days of the Ramones, while "Last Caress" is one of my favourite songs ever -- every time I hear Danzig sing that opening line ("I got somethin' to say!)" it puts a smile (or evil grin?) on my face. Then, I continuously bop my head until the short break near the end -- and when Danzig slowly sings "...oooone last caaarrrresssss!" that grin reappears, wider than ever.

Next up is the spooky "Return of the Fly, " a classic Misfits sound. "Hybrid Moments" is my second favourite song on the record; I wish the chorus would go on forever, but it's only a minute-and-a-half long and whenever I hear that speeded up drum beat at the end, I'm itching to press repeat. But there's no time because the next song is the classic "We Are 138" -- another zombie-trance-like Misfits song with three fast chords (and a short solo). "Teenagers from Mars" is great with its drudging verse and upbeat, Ramones-esque chorus.

"Come Back" slows things down and reasserts that dark, mysterious mood the Misfits are known for. "Angelfuck" is a song everybody's heard and it warms my heart every time it comes on. "Hollywood Babylon" is rockabilly at its finest and the end is delightfully abrupt. "Attitude" ("you got some fuckin' attitude!") is my third favourite song on this record; Danzig is being extremely cavalier in this song. "Bullet" is about a dead Kennedy (not the band).

"Theme for a Jackal" has a piano on it, while "She" and "Spinal Remains" are both very rocking songs. The last song is "In the Doorway" and it wasn't released for twenty years. Actually, that's not the last song...there's about 10 minutes at the end of uncut studio bloopers -- a 20-year-old relic.

So in short, this record fucking rules. Like most punkers, I went through my Misfits-obsessed stage at one point and grew out of it...slightly. You don't need black clothes and a devillock haircut to feel the evil joy of this record.