Samhain: November-Coming-Fire
In honor of Halloween, I am going to write a bit about one of the greatest albums ever recorded (in my opinion, at least). That record is also quite appropriate for the season: November-Coming-Fire by Samhain (Glenn Danzig's criminally overlooked band between the Misfits and Danzig).
Originally released in 1986, this was the final release the band had during its existence. Glenn would record a few more songs over the next few years to complete one last EP for the band, Final Descent, which was accompanied in its original release by the 1987 reworked version of the band's other EP, Unholy Passion, making it something of a compilation album.
Even though Samhain was only around for about 3-4 years, there is a lot of growth evident on the records. Each release had its own feel and each was brilliant in its own way. Initium was the punkiest of the records, but the songs were darker and featured various moody touches, such as chimes ringing through the atmospheric haze. Unholy Passion was more primal in a way, featuring drumming that often has a more tribal feel than a standard rock or punk beat and some unorthodox riffs. The original version had a boomy, murky sound that may not suit some, but I find to be enthralling. Then came November-Coming-Fire, affirming the band's own greatness and its ability to stand on its own reputation (until the band would later be overshadowed by the more-accessible and ever-classic Danzig and the ever-growing popularity of the Misfits).
It all starts with the classic album cover, featuring skeletal creatures in front of flames (including the center creature, dubbed the Scarecrow Beast, whose head is the familiar skull Samhain used and would also be used by Danzig). Flip the record over and there are the band photos. Taken on a hill somewhere in New Jersey, each band member kneels by a huge fire as the sun goes down and the darkness of night creeps up.
The record opens with an energetic and moody instrumental, "Diabolos '88" and then from there, Glenn, Eerie, Damien, and London May take you through a dark and mesmerizing journey, coming to a close with "Human Pony Girl". There is the anthem power of songs such as "In My Grip" and Mother of Mercy", then there is the nocturnal, poetic feel and slower pace of "To Walk the Night". And, as with the previous two releases, there is a reworked version of a Misfits song. This time around it "Halloween II", which has a more powerful and epic sound than the original. After that, there are the big chords and pummeling chorus of "November's Fire" followed by the relentless drive of "Kiss of Steel". The album ends with the hypnotic "Human Pony Girl". Although I didn't list every song, it not to knock those unnamed. Each song on this record is brilliant and memorable. Unlike so many albums today, they don't all blend together making an album that goes nowhere. This album is a journey, albeit a somewhat short one, clocking in at about 28 minutes. That is because there isn't filler or fluff on this record.
I always find it difficult to describe music, so I will do my best here. Despite sometimes getting lumped into horror punk by virtue of Glenn's previous band, the Misfits, or other times as metal, due mostly to the heavier sound and the eventual direction Glenn took in Danzig after his days in Samhain, the band is really neither. Samhain is also called goth and deathrock. I would say that the band incorporates elements of all these things, but none of these terms fully captures the band's essence.
Lacking the ghoulish humor and fun of the Misfits and less accessible than Danzig, Samhain is something of the bastard son of Glenn's career, rarely ever getting a mention. In most interviews with Glenn in the last couple of decades, the writer always seems to feel it necessary to point out the is the ex-Misfits singer, despite the article having nothing to do with that band, instead discussing whatever Danzig album was new at the time. However, they almost never mention Samhain. It is almost like the band never happened-- the Misfits split and then, boom, Danzig is born. Samhain is a key part of the man's career, showcasing him in his prime, both as a vocalist and a songwriter.
Perhaps because of this general sidelining of the band by people, Samhain's material has remained unavailable for years. The last release was around 2001, when Glenn released remastered versions of the old releases (excluding the original version of Unholy Passion, which has remained unavailable since the late '80s). This makes it more difficult for the band's music to continue finding an audience and has also driven prices on pretty much any edition of the albums up quite a bit.
If you are able and have not done so already, I highly recommend picking up any and all of Samhain's albums. You won't get the Misfits or Danzig with them, but instead you'll something different, something that exists in its own realm, yet still features that familiar voice of Glenn (both in the sense of his singing and his writing style).
Happy Halloween!
Originally released in 1986, this was the final release the band had during its existence. Glenn would record a few more songs over the next few years to complete one last EP for the band, Final Descent, which was accompanied in its original release by the 1987 reworked version of the band's other EP, Unholy Passion, making it something of a compilation album.
Even though Samhain was only around for about 3-4 years, there is a lot of growth evident on the records. Each release had its own feel and each was brilliant in its own way. Initium was the punkiest of the records, but the songs were darker and featured various moody touches, such as chimes ringing through the atmospheric haze. Unholy Passion was more primal in a way, featuring drumming that often has a more tribal feel than a standard rock or punk beat and some unorthodox riffs. The original version had a boomy, murky sound that may not suit some, but I find to be enthralling. Then came November-Coming-Fire, affirming the band's own greatness and its ability to stand on its own reputation (until the band would later be overshadowed by the more-accessible and ever-classic Danzig and the ever-growing popularity of the Misfits).
 |
| Samhain spirit board |
It all starts with the classic album cover, featuring skeletal creatures in front of flames (including the center creature, dubbed the Scarecrow Beast, whose head is the familiar skull Samhain used and would also be used by Danzig). Flip the record over and there are the band photos. Taken on a hill somewhere in New Jersey, each band member kneels by a huge fire as the sun goes down and the darkness of night creeps up.
 | |||
| Original record, front and back (left) and 3 different CD releases (right) |
The record opens with an energetic and moody instrumental, "Diabolos '88" and then from there, Glenn, Eerie, Damien, and London May take you through a dark and mesmerizing journey, coming to a close with "Human Pony Girl". There is the anthem power of songs such as "In My Grip" and Mother of Mercy", then there is the nocturnal, poetic feel and slower pace of "To Walk the Night". And, as with the previous two releases, there is a reworked version of a Misfits song. This time around it "Halloween II", which has a more powerful and epic sound than the original. After that, there are the big chords and pummeling chorus of "November's Fire" followed by the relentless drive of "Kiss of Steel". The album ends with the hypnotic "Human Pony Girl". Although I didn't list every song, it not to knock those unnamed. Each song on this record is brilliant and memorable. Unlike so many albums today, they don't all blend together making an album that goes nowhere. This album is a journey, albeit a somewhat short one, clocking in at about 28 minutes. That is because there isn't filler or fluff on this record.
I always find it difficult to describe music, so I will do my best here. Despite sometimes getting lumped into horror punk by virtue of Glenn's previous band, the Misfits, or other times as metal, due mostly to the heavier sound and the eventual direction Glenn took in Danzig after his days in Samhain, the band is really neither. Samhain is also called goth and deathrock. I would say that the band incorporates elements of all these things, but none of these terms fully captures the band's essence.
Lacking the ghoulish humor and fun of the Misfits and less accessible than Danzig, Samhain is something of the bastard son of Glenn's career, rarely ever getting a mention. In most interviews with Glenn in the last couple of decades, the writer always seems to feel it necessary to point out the is the ex-Misfits singer, despite the article having nothing to do with that band, instead discussing whatever Danzig album was new at the time. However, they almost never mention Samhain. It is almost like the band never happened-- the Misfits split and then, boom, Danzig is born. Samhain is a key part of the man's career, showcasing him in his prime, both as a vocalist and a songwriter.
 |
| Glenn Danzig- Samhain version figure from 3 Faces of Danzig set |
Perhaps because of this general sidelining of the band by people, Samhain's material has remained unavailable for years. The last release was around 2001, when Glenn released remastered versions of the old releases (excluding the original version of Unholy Passion, which has remained unavailable since the late '80s). This makes it more difficult for the band's music to continue finding an audience and has also driven prices on pretty much any edition of the albums up quite a bit.
If you are able and have not done so already, I highly recommend picking up any and all of Samhain's albums. You won't get the Misfits or Danzig with them, but instead you'll something different, something that exists in its own realm, yet still features that familiar voice of Glenn (both in the sense of his singing and his writing style).
Happy Halloween!
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