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6:66 Satan's Child

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Détails sur le produit

  • CD
  • Nombre de disques: 1
  • ASIN : B00002EPK7
  • Autres éditions : CD
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Amazon.com: 108 commentaires
16 internautes sur 17 ont trouvé ce commentaire utile 
An overview of the recordings of an overlooked artist 4 février 2001
Par Un client - Publié sur Amazon.com
Format: CD
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.
14 internautes sur 17 ont trouvé ce commentaire utile 
It'll Grow On You... 11 février 2000
Par Mr. A A Dilliway - Publié sur Amazon.com
Format: CD
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...
4 internautes sur 4 ont trouvé ce commentaire utile 
Not Bad, Not Great 1 août 2002
Par Halo - Publié sur Amazon.com
Format: CD
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.
9 internautes sur 11 ont trouvé ce commentaire utile 
Danzig cracks his little whip with "Satan's Child, 6:66" 30 novembre 1999
Par S.T. Holt - Publié sur Amazon.com
Format: CD
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.
9 internautes sur 12 ont trouvé ce commentaire utile 
Satan's Turd Pile 15 février 2005
Par Peter M. Roche - Publié sur Amazon.com
Format: CD
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.
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