Earth A.D./Wolfs Blood - The Misfits (By Sammy Wetzel)

In their final and most ambitious release, the seminal punk band, The Misfits, abandons their prior melodic horror-influenced punk for a violent, feedback-filled, raw double album clocking in at just under 15 minutes. 

Style

By this point, The Misfits had existed for almost 6 years, and their style of punk had become outdated and outclassed by their counterparts. The band was on the verge of breaking up and had to adapt to keep up with the violently changing scene around them. The Misfits had recently gained drummer Robo (previously of Black Flag), bringing a much harder sound to the band. The album sees the group pushing themselves to their absolute limits, with breakneck speeds and a less polished vocal performance. The short, melodic turns the band built themselves off of are replaced by faster, hardcore anthems like the title track “Earth A.D.”

Recording and Release

Released after the disbandment of The Misfits, in December of 1983, the album’s sparse recording sessions are shrouded in legend. Famously, the band laid a majority of the instrumental tracks in one, nine-hour session after playing the Whisky-a-go-go in Hollywood. The band recorded from twelve to nine A.M., with singer Glenn Danzig asleep for the majority of the session. 

The band chose to go with producer Spot, most famous for his work on SST with Black Flag. His method of raw, live-sounding recording was reflected in the setup inside their studio. Guitarist Doyle and bassist Jerry Only angled their amps directly at each other, with drummer Robo playing in the middle, creating a huge wall of sound, often prone to feedback. Attempting to record the amps led to bleed-over from the other instruments, creating a large, almost live sound for the album.

According to legend, to achieve the feedback heard on the album, the band would throw their instruments on the ground after each song. They’d lock the instruments inside a separate room made of concrete, letting the feedback run. The album maintains a raw, almost unfinished sound with many audible mistakes. It is for this reason that singer Glenn Danzig often disregards the album, referring to it as “incomplete.”

Content

The album, ambitiously, is a double album, the first side being Earth A.D. and the second being Wolfs Blood. The album sleeve is a double-sided cover, including separate art for each side. The sides differ in lyrical and thematic content, with Earth A.D. focusing on the horror and gore the band is known for and Wolfs Blood centering on werewolves and possession. Some interpret the two songs “Wolfs Blood” and “Demonomania” as telling an interconnected story, a unique move by the group.

The art included on the front cover was drawn by artist “Mad Marc Rude,” famous for his contribution to Southern California punk. The piece reportedly took 300 hours to complete. It includes depictions of the band members in various undead, dismembered forms, with misprints of the jacket going for much higher prices. The back cover was an existing drawing by Caroll Stockard, and in some later European releases is placed on the front. It includes a graphic depiction of various half-human, half-animal creatures, most notably the Wolfman.

The lyrical content of the album falls in line with that of the band’s prior releases; themes of violence, horror, and monsters remain the band's “bread-and-butter.” The album ups the ante with its more graphic content, but lacks some of the political awareness and commentary of prior releases.

Songs “Bloodfeast” and “Death Comes Ripping” were tracks originally written for Danzig’s side project, later turned into his main band, “Samhain,” and included as a last-ditch effort to finish the album.

Legacy

The Misfits famously broke up on Halloween Night, 1983, releasing Earth A.D./Wolfs Blood three months after their dissolution, along with the EP, Die, Die, My Darling. In later releases, both of these were combined, forming the widely accessible Earth A.D./Die, Die, My Darling. Tracks from the album have received many high-profile covers from bands, most notably Metallica’s version of Die, Die, My Darling, bringing the band newfound relevance in the 1990s. 

Review

I personally view this album as perfection, fully embodying the spirit and mantra of early ’80s hardcore. It’s graphic, abrasive, and raw. The live, almost unfinished production of the album makes it feel like you’re in the room with the band, and 40 years later, it still feels fresh. The album is required listening for anyone in the metal or hardcore world and is evidence of the intense transition that music was going through in the ’80s.