Review Summary: One hell of an introduction.
In hindsight, Danzig’s 1988 self-titled debut had a rather fascinating batch of ingredients behind its conception. Danzig himself cut his teeth singing for Misfits and Samhain with bassist Eerie Von and drummer Chuck Biscuits serving as additional punk veterans and guitarist John Christ as the true new kid on the block. This mix being overseen by legendary producer Rick Rubin and a template that feels like a lost AC/DC album with Jim Morrison singing. Comparisons could be made to a similar transition that Rubin had influenced on The Cult from Love to Electric, but Danzig came with a uniquely darker edge.
With that established, the musicians successfully make the jump from punk to hard rock by applying their natural strengths to a different style. Danzig always stood out as a vocalist for his mix of power and melodic flair, but toning down the speed and aggression allows him to exert a more dynamic performance. He still has a youthful exuberance but it is tempered with more drawn out wails and smoother croons. It lends itself to a certain degree of King Diamond-esque camp but also expands his character.
However, he’s at his best with a strong team of musicians behind him and he never did better than the original lineup. The guitars have a dominant effect on the template with a tight, choppy tone that allowed for some loose swagger and enough pinch harmonics to set the line that Zakk Wylde would trample over years later. The drums might be the real secret sauce, reinforcing those slinky rhythms while putting in enough hard hits and off-the-cuffs rolls to keep things interesting.
Of course, these elements wouldn’t work so well without some tight songwriting. The hits are fun as the opening “Twist of Cain” and “Mother” benefit from simple yet infectious riffs, upbeat rhythms, and sing-along choruses while “She Rides” plays like AC/DC’s ”The Jack” on steroids. Other tracks provide hints of future ambitions as “Am I Demon” and the take on “The Hunter” push for more overt metal, “Possession” sees the occult at its strongest, and “Soul on Fire” and “End of Time” reach for more ambitious blues.
The irony of this is how the album ends up somewhat held back by the ambitions that were merely hinted at here getting fully realized on subsequent efforts. Despite fitting the organic desert atmosphere, the production can feel a little too dry at times to the point that bass is minimal if not nonexistent. There are a couple lesser songs to work with but nothing fells below a good execution. There’s just a lingering notion that maybe this album could’ve sounded better with a production job like its successors.
At the risk of sounding too goofy, the first Danzig album is kinda like the first Super Mario Brothers. The formula is arguably better executed in future installments that had more toys to play with, but the way it’s done here is fun enough to stand out in its own right. “Mother” may have been overplayed and memed to high hell, but the influences still feel fresh and there’s enough substance overall to keep coming back. It may not be their best work, but it’s one hell of an introduction.
