Index Misfits Samhain Danzig Misfits '95 Undead Biographies Related Bands Appendices Lyrics/Tab Forum


     Good evening, and welcome to the HALLOWEEN issue of PUNK
FLOYD...THE ZINE.  Our features, this season of death, are on the
band the MISFITS, and the TV show THE MUNSTERS.  The
CLASSIC REVIEWS section kicks off its new on-going series,
KISS: GREASE PAINT & VINYL.  Also included in this issue are
some cool drawings to look at,  cool poems to read, mutant reviews
& more.  
I remember Halloween  
     On HALLOWEEN 1983, the MISFITS played their last show, and
never worked together as a band again.  I didn't hear the
MISFITS until 1985.  The MISFITS were one of the coolest
bands of all time!  They had all of the ingredients it takes to
make a great band: they were punk, played songs about sci-fi &
horror, had cool guitar, looked extremely cool, were not political,
and most important, they wore black make-up around their eyes and
had the word "mutant" in at least one song. Since hearing the
MISFITS that first time, my enjoyment of, and thirst for, their
music has done nothing but evolve, almost to the point of
Come a little bit closer  
     When you hear a MISFITS song, you can easily identify the
sound and know that it's a MISFITS song.  This is not to say
that all of their songs sound the same.  As far as punk bands go,
the MISFITS were one of the most diverse of all.  From the
DEVO-ish sounds of their first release (Cough/Cool / She), to
the feedback drenched, NY thrash sounds of (Earth A.D.), the
MISFITS never stopped producing and delivering a sound that
would mutate from one recording to the next.  Throughout change,
one thing remained the same with the MISFITS, the songs were
always good.    
Demon I am  
     The main constant of the MISFITS, that caused the
perpetual,  above average songs, was the writing of Glenn Danzig. 
Although there seems to be no end to the depth of Glenn's
songwriting skills, and talent for singing, I think it took a
joining with the power and energy of the MISFITS, to churn out
the perpetual, far above average songs.  This is evidenced by the
music of his first post-MISFITS band, SAMHAIN.  While SAMHAIN, 
formed by Danzig with fiend Eerie Von,  did produce some
masterpieces, like "Unholy Passion," "Archangel," the overall
quality of the songs was not up to par with Glenn's songs with the
MISFITS.  I think this change shows that the other members of
the MISFITS, especially co-founder/bassist Jerry Only, played 
vital roles in the creative process of the MISFITS. With
SAMHAIN'S evolution into the band DANZIG, it now seems that
Glenn Danzig is again at the point of being unable to write a bad
song.  Another mainstay of the band, powering the nonstop tunes,
was the energy that the MISFITS were able to capture on record,
throughout member changes.  
Take 1: "Teenagers from Mars," and "Children in Heat"  
     Jerry Only and Glenn Danzig were the only MISFITS to be a
member of the band from beginning to end.  Through the six year
life of the band, the line-up changed alot.  A guy named Manny
played drums on the first MISFITS release (Cough/cool She). There
was no guitar on the record, instead was some keyboard, supplied by
Glenn.  Manny was replaced by Mr. Jim, and Franche Coma came in on
guitar.  This line up recorded the bulk of the CD "Legacy of
Brutality."  After Mr. Jim, came the drummers Joey Image, Arthur
Googy, and Robo.   The next, and last two guitarists were Bobby
Steele & Doyle.   
Bobby Steele's an asshole, and we don't care  
     Of all member departures, none is more noted, or more
rehashed, than Bobby Steele's.  Bobby played guitar on some early
MISFITS records, including the immortal (Beware) ep & the
(Horror Business) ep, two of the MISFITS' best recordings.  One
of the reasons the attention of Bobby being fired from the band
didn't fade away, was the fact that unlike previous ex-MISFITS,
Bobby didn't fade away.  He quickly came out with his own brand of
horror-punk, via his band the UNDEAD, and remains a part of the
underground music scene today.     Also, the fanzines wouldn't let
the event of Bobby's exit from the MISFITS die.  In most
post-Bobby Steele, MISFITS interviews, the Bobby departure
questions are staples.  The MISFITS, themselves highlighted the
severing of ties by replacing the chorus of "Teenagers from Mars," 
with "Bobby Steele's an asshole...," during live performance.  
When you're seeing twenty things at a time  
     Bobby Steele was replaced by Doyle, who by the way, is Jerry
Only's brother, and was the coolest looking MISFIT.  Doyle had
played with the band on previous occasions, and was already groomed
for the part.  Joey image (who quit the band during a tour of
England), was replaced by Arthur Googy.  With Doyle and Googy, the
MISFITS reached what may have been the peak of the band's
existence.  The epic (not the record company), (Walk Among Us) LP
was released.  The band was at it's tightest, as this this is the
most cohesive of all MISFITS records.  
  Many times, within bands, the individual members have different
visions of what direction their band should take.  Many times this
creates problems within the bands. With the MISFITS Jerry and
Glenn had their sights set in different directions.  Glenn
envisioned a darker, faster, thrash MISFITS.  Jerry, on the
other hand, wanted to take the band down the path that (Walk Among
Us) had forged.  In an interview from UGLY THINGS #12, Summer
1993 (this zine is still available, and strongly recommended to all
fiends), Jerry says, about the (Walk Among Us) Lp:  
     "The problem here was that it (Walk Among Us) was a stepping
stone, and no one internally wanted to accept that as what we were
and what we would be.  In other words, it wasn't a time to draw a
tangent, it was time to go forward.  And that was the demise of the
band after that point. Glenn wanted to get heavily into this thrash
stuff, and me, I wanted more songs like "Astro Zombies" and
     The last recording ever done by the band was the (Earth A.D.)
LP, which was more along the lines of Glenn's idea progression
rather than Jerry's.  The band was joined by ex-BLACK FLAG
drummer, Robo.  With Robo's hardcore drumming style, and Glenn's
heavier style of writing, (Earth A.D.), is nothing less that the
ultimate NY Thrash record.  
fiend (fend) n.
     1. an evil spirit; devil  2. an inhumanly wicked or cruel
person  3. a person addicted to some activity, habit, etc  4. 
a person who is excellent at some activity   5. a fan of the MISFITS
     Since the break-up, the popularity of the MISFITS has done
nothing but continue to grow.  With the Caroline/Plan 9 releases of
the late eighties, METALLICA'S cover of "Last Caress/Green
Hell", James Hetfield wearing all sorts of MISFITS t-shirts, a
whole new generation of fiends were born.  It's a safe bet to say,
that the MISFITS have sold more records since their 1983
break-up than they did during the band's tenure.  Collectors
continue to dish out huge amounts of cash for the original records. 
A recent fiend catalog listed the "HORROR BUSINESS" 7" for $150, and
that's not really alot considering what has been paid for some of
the records.  If you're not into record collecting, but want to
hear some of the great MISFITS songs, you can check out the
Caroline/Plan 9 releases, mentioned above.  You can also find "Walk
Among Us" Cd on Ruby records.  For the true fiend, you can find
most of the unreleased MISFITS stuff on various boots, but it's
gonna cost you.  Why do we pay so much for booted MISFITS stuff? 
Because we can't get it anywhere else.  HINT release stuff HINT.  
This is the Static Age we live in  
     The one thing that surprises me most about the MISFITS, is
the fact that the band did very little with video.  The MISFITS
were a very visual band, and it would seem that video would have
been a perfect vehicle to display the band.  A video for
"Braineaters" was made.  It features the band with a whole slew of
friends, raising hell in a NY restaurant, while dinning on brains. 
Also, out there among collectors, are videos for "Halloween," and
"Skulls."  These videos seem to be fan produced.  The MISFITS
did do some work on a video for "Skulls," but the project was never
finished.  I don't know if the band had any of their shows
professionally shot.  There are some shows that were captured on
video, and they too are out there among fiends.  The most popular,
and usually the one that you can find in pretty good shape, is a
show in Detroit from 1982 that was filmed for a cable TV show, "Why
Be Something You're Not?"  The rest of the shows that pop up on
video, usually look like soup.  Maybe there's more out there, and
maybe one day it will surface.   
I've got something to say  
     I decided to do a feature on the MISFITS, when someone
asked me, "Who's that doing a METALLICA song?," as I was
playing "Green Hell" on my box.    
     The feature consists of my own personal comments about the
MISFITS, along with interviews with Jerry Only & Bobby Steele. 
Jerry and Bobby were both very polite, and helpful to me, with this
story.  Both guys were friendly, and spoke fondly of their days in
the MISFITS.  I'd like to thank them for giving me their time
for the interviews.  
     If you are a fiend, I hope this feature will give you some new
info, or some new outlook, on the MISFITS.  If you are not a
fiend, I hope this article will spark your interest enough to seek
out and hear some of the bands brilliant music, you'll be happy you
     My half-ass educated guess is that in 1994, a new form of the
MISFITS, will walk (hopefully) tour among us.  
I remember Halloween   
Top ten MISFITS songs
Of the 52 MISFITS songs, here's my favorite 10:  
Note: this list changs about every month  
 1. 20 EYES  
 5. SKULLS  

Q: What was it like when you first joined the MISFITS?  What was
   going on?
A: I was led to believe that they were alot bigger than they were. 
   But, you know, it turned out it was a fun band to play in and
   stuff.  Despite a couple of personal gripes that I had with them,
   and stuff, you know, I figured I would stick with it because I
   really thought the band was gonna be something big.  They had the
   potential to be something big if they handled things properly.  I
   tried to get them to do that but they just didn't seem to like
   really, you know.....  
Q: Was the horror image happening then?
A: Not when I first joined, that kinda came a like few months
Q: So did you have part in bringing that into the band?
A: Nah, that just happened.  
Q: Were all you guys into that stuff as kids?
A: Yeah, we were all like horror movie fanatics, and stuff so, you
   know, it added to it.  
Q: What was Arthur Googy like in the MISFITS?
A: He was a wacko.  Just to put it in the simplest terms, this guy was
   a wacko.  This guy was just like so hyper, and like if he wanted to
   do something he did it and he did it great.  I had met hime through
   his girlfriend, who was a friend of mine, and just kinda mentioned
   that we were looking for a drummer, and she was like "Oh, my
   boyfriend plays drums."  So, y'know we hooked up with an audition,
   and he was great.   And then when I was driving him home, after the
   audition, he admitted to me that he had never played an entire song
   before, in his life y'know, and it was like the guy was incredible. 
   Always seemed to be like the kind of guy that he sets his mind to
   something, he does a great job of it.  
Q: Have you been in touch with him at all since the MISFITS?
A: Yeah, I just saw him yesterday.  He still lives around New York. 
   Y'know, I run into him every couple of months, and stuff.  
Q: Is he doing anything music related that you know of?
A: I don't think so.  He...he...he's put put it
   bluntly, guy's like, y'know so unpredictable, you never know.  I
   remember one day turning on my TV and seeing a fuckin' Levi's
   commercial that was just, it was just Googy, that's all the
   commercial was, was just Googy, the whole commercial.  And another
   time, I'm watching TV and this Burger King commercial comes on and
   there's Googy, eating Whopper, so you never knew where the fuck he
   was gonna turn up next.   
Q: That'd be classic to have on tape.
A: Oh man, I'd love to have that on tape.  
Q: What all did you actually record with them (The MISFITS) that was
A: Ok, let's see:  There was HORROR BUSINESS Ep, NIGHT OF THE LIVING
   DEAD, THREE HITS FROM HELL, & HALLOWEEN.  And, there's a bunch of
   stuff on that 20 hits Cd.  It's pretty much like all the WALK AMONG
   US songs.  The different versions of the WALK AMONG US songs on
   there are older versions with me on guitar.  
Q: What was it like when you guys were in the studio?  Did you try
   to set an atmosphere?
A: No, it was like... I remember the first recording session:  By the
   time the rest of the band the showed up, I was like, so drunk,
   because they showed up about 3 or 4 hours late.  And I was just
   like sitting there, and there was all this liquor sitting there and
   stuff.  So I was just waiting and waiting and like started drinking
   and stuff, figuring "ah, they'd be here any minute" y'know?  Just
   kept drinking, and by the time they'd got there, I was like,
   y'know? I was pretty drunk.  
Q: Shit like that happens sometimes.
A; Yeah, but you know? That was about the only atmospheric thing we
   did.  Then we had recorded the guitar through like...Jerry had
   brought his  bass amp, which was, I think like 3 or 4 hundred
   watts, and they didn't bring an amp for me.  They just, you know?,
   expected me to use this studio amp, which was like this 20 watt
   Music Man practice amp.  And ah, we had like no separation between
   the amps and stuff, and my amp was about 3 feet away from Jerry's
   amp, so like anything that Jerry played just bled into my tracks
   and shit, so it was a pretty messy recording.   
Q: I guess that was pretty hard to mix.
A: Yeah. Especially when we mixed it, it was like the Monday after Sid
   had died, and Jerry was like driving Sid's mother around to police
   stations and hospitals and mortuaries and all that kind of shit,
   all weekend.  In the studio, y'know?, it was kind of a depressing
   situation, everybody was like, just like really fucked-up.  It was
   just a matter of like: "well I can't hear enough guitar" so we'd
   turn the guitar up, "now I can't hear the snare", "ok, turn the
   snare up", and when we just couldn't turn anything up anymore, we
   just said "well, I guess that's it then."  That's the way it came
Q: Were you up there that day Sid died too?
A: No I wasn't.  I had been invited, but Jerry, y'know?, the person
   who was throwing the party had called Jerry and said, "look
   y'know?, the MISFITS are invited" and y'know?, Jerry never told the
   rest of us.  He just went there by himself. It was kind of like one
   of Jerry's things was Jerry always wanted everything for himself. 
   That was just another expression of his selfish behavior, he never
   told the rest of us that we had been invited to this party.  I
   found out, I guess about 2 or 3 months later.  On Sid's birthday,
   I ran into Michelle Robinson, and she told me that she had called
   Jerry and told Jerry to y'know?, invite all the MISFITS, but you
   know?, Jerry just took it upon himself not to.  Actually, the whole
   thing of the party was that Sid wanted to talk to me, Jerry, and
   Joey about blowing off Glenn and joining him.  
   There was an article in ahh..., it was the Soho news, back then,
   like you know?, talked about the whole thing, Sid was talking about
   having the MISFITS become his back-up band and shit.    
Q: That would have been pretty wild.
A: That would have been really wild man, 'cause you know, at that point
   Sid had like realized that he was on his way to some major stardom. 
   He had no intention of dying.  He saw all the response he was
   getting from all these little girls that were seeing the MY WAY
   video on TV.  

Q: So, you think that would worked out cool, you guys backing him up?
A: Oh yeah, it would've been great.  We would have been rich, you
   know?  And Sid would still be alive.  
Q: Was there much drugs around the MISFITS, and the people who hung
   out with the MISFITS?  
A: Oh yeah.  Back then it was just like, y'know?, you didn't even
   think about it, it was just there, and you did it.  It was so
   common.  I could tell you a million stories.  You know?, people
   just coming up to and giving you stuff because you're a MISFIT.  It
   got out of control sometimes.  Sometimes, it got really out of
   control.  I mean, I can remember times, just like being comatose,
   just like nothing else would move.  Sitting at Max's just being so
   fucked-up on something that I had sniffed, that I shouldn't have
   sniffed.  It was just like, I wasn't breathing, I was just like, I
   was paralyzed.  I knew everything that was going on around me and
   people were freakin' out goin, "Bobby, Bobby, wake up, wake up." 
   I was just sitting there not moving.  
Q: Were you like playing smashed too?
A: Yeah, pretty much, ya know?  I remember my first MISFITS show, we
   went in there and there was supposed to be, we were supposed to be
   going on first, there was some other band going on after us.  That
   band never showed up.  So, the management of Max's said "look, we
   want you guys to go on later."  So, here we were, already partying,
   expecting to go on like a half hour later, and all of a sudden, we
   had to extend our party another hour and a half.  So, you know?, by
   the time we went on stage, we were pretty fucked-up.  It was cool. 
Q: What were your favorite gigs with the MISFITS?
A: It's hard to say.  The gigs we did with THE DAMNED, were pretty... 

Q: In England?
A: No, in New York.  That was pretty memorable, that was when the
   MISFITS like made our mark.  That was when we finally showed New
   York City that we were here and we meant business.  It was the
   first time we played in front of like a really big crowd.  It was
Q: THE UNDEAD has been together now for what, 11, 12 years?
A: 12 years now.  
Q: The last new stuff I heard was LIVE SLAYER, what else has come 
   out since?
Q: Do you sell alot of 45s still, during these Cd times?
A: Yeah, we still move 45s.  It's not like it used to be,
   unfortunately everybody's kinda like slumped into this whole Cd
   thing.  Cds are great but, you know?, I still like vinyl.  Why
   spend 5 or 6 bucks for a Cd single, when you can get a vinyl single
   for 3 or 4 bucks.  You can't do color vinyl Cds, some things you
   just can't do on Cds, that you can do on a record.   
Q: How was the tour you just got off of?
A: This tour I don't really count, because we booked this tour with a
   professional booking agency, and it was the worst tour we have ever
   done.  We never received any signed contracts for any of the shows
   we did, so we took a big gamble going out there.  You know, we've
   still got money owed to us, and stuff you know, that I really don't
   expect to ever see.  I lost almost $800  on this, you know, 10 days
   on the road & I lost $800.  So you know, it wasn't too pleasant.  
Q: It's alot harder than alot of people realize.
A: Yeah, I get people like this Dave ? who keeps writing to
   MaximumRocknRoll about how like, you know, I got paid $450 for a
   show that his band opened up on, and the opening bands had to split
   $65.  They came and asked me for 20 bucks for gas and I said, "I
   can't afford to give you $20."  You know, they don't want to
   understand that it cost alot of money when you are traveling, even
   though I was traveling by myself, I still had all this MIDI
   equipment that I had to pay off.  I had hotel rooms, I got food, I
   had medical expenses, in fact, right after that show, I had to
   drive all the way back to NY to go to a doctor and you know, get
   close to a hundred dollars worth of medical treatment.  People
   don't understand, there are alot of expenses when you are on the
   road.  It's not like you can just sleep on somebody's dirty floor,
   and eat McDonald's.  It's about time that people that read
   MaximumRocknRoll realize that musicians are human beings and we're
   not slaves.  They can't keep treating us like the slave traders
   treated their niggers back in the 1800s.  Basically, that's
   MaximumRocknRoll's fuckin' attitude about musicians,  you're all
   niggers and you do what we want, you never have a right to make a
   fuckin' penny off of it.  
Q: Some people don't understand that people aren't in punk rock
   bands, living with their mom & dad anymore.
A: Yeah.  I'm living in like a ghetto in NYC, I got drug dealers
   standing outside my apartment, giving me shit every fuckin' day,
   breaking into what's left of my car, you know?  And ah, you got
   these guys that write into MaximumRocknRoll, and they're making a
   thousand times more money than I'm making.  Not that they make much
   money, but believe me, they're making alot more than I'm making. 
   I'm sick of people that write to me, and they want to know what I
   do with my profits from THE UNDEAD.  I write back and ask "what do
   you do with the money that you make at Burger King?"  What business
   is it to you what I do with the money that I make, if I ever make
   money?  People don't realize.  You know, MaximumRocknRoll has
   twisted & manipulated what they have decided what the punk scene
   should be, to satisfy their needs.  You know, they tell kids money
   is evil, so send us your money, and we'll free you from this evil. 
   Meanwhile these guys are sitting on record collections that are
   probably worth fuckin' millions.  They've probably got homes that
   are paid for, and all kinds of shit, and they're going out, you
   know, they're covering their asses by attacking everybody else with
   accusations, and nobody gets back and investigates them.  I'm sure
   that if starts really investigating MaximumRocknRoll, they would
   find out that these, you know "causes", that they are donating all
   their profits from MaximumRocknRoll to, are actually their own
   causes.  Just the fact that that one of the people they seem to
   like choose to attack more than anybody else, is some fuckin'
   cripple, that lives in a fuckin' ghetto in NYC, and has been robbed
   fuckin' millions of dollars by this industry, it just says to me
   that there's something real shady about these people.   
   God forbid Bobby Steele says "MaximumRocknRoll looks at musicians
   as niggers", God forbid Bobby should say the word "nigger."  I use
   that word because that's the best word I can find for it because
   that's the way white people looked at black people, back in the old
   days, and looked at their rights.  That's exactly the way
   MaximumRocknRoll people treat musicians.  It's no different.  I'm
   sure you read MaximumRocknRoll, and you've seen the letters,
   they've opposed in the past year.  You know, all the evils of Bobby
   Steele.  Dozens of people that have written to me, and told me that
   they've written letters to MRR, supporting me, defending me, and
   not one of those letter has been printed.  That makes MRR fuckin'
   waging a slanderous campaign against me.  They've even gone as far
   as.....I've purchased advertising from them, earlier this year, I
   purchased two 1/2 page ads, one for THE INVISIBLE MAN 45, which
   they printed, the other one was an ad warning people about people
   who were defaming me by advertising fake UNDEAD shows when they had
   no show booked.  MaximumRocknRoll took that money, and never
   printed that ad.  
Q: Did you get the (cashed) check back?
A: I got the check back, cashed, and I'm getting ready to write them
   a letter saying "what is going on here?"  How come I've got proof
   that one ad was printed, but I never got proof that the other ad
   was printed.  This is the first time I like really kept an eye on
   things, because, before I said to myself "didn't I by an ad from
   MRR & I never saw it printed?"  So this time I decided, well I'm
   gonna keep a close eye and see what happens, and it's been six
   months, seven months, and that second ad still has not come out.  
Q: How has the scene changed over the years, or has it?
A: I've noticed a change in some places, when you get to towns that
   been influenced by this whole Seattle thing.  You know, I'd rather
   be playing at a fuckin' nursing home.  `Cause these fuckin' kids,
   they'll fuckin' sit around in their fuckin' flannel shirts and their
   fuckin' ski caps, when it's a hundred and fuckin' five degrees
   inside, and they just sit there.  You know, I mean it could be
   their favorite band, they could fuckin' love you, but they're just
   sitting there like a bunch of fuckin' old ladies.  You don't get
   the response.  
Q: What's next from the UNDEAD?
A: I don't know (laughter).  I don't know what's gonna happen
   next.  We were gonna be going into the studio, right at this point,
   but I'm like laid up with my foot now.  What I'd like to do is come
   out with another single, as soon as possible, and then follow that
   up with an LP.  You know, as soon as we can find a label to put it
   out, and not screw me too badly.    
Q: Will the Lp have like some of the singles you've put out recently?
A: Yeah, we're gonna like do new versions of the songs on the
   singles.  Part of the problem is, I haven't gotten paid for any of
   the records I've put out, through other labels yet.  Like right
   now, LIVE SLAYER, I haven't seen any money off of that, I think
   it's sold, you know, somewhere between 15 & 20 thousand copies.  

Q: What label is that on?
A: Skyclad Records.  I've been trying to get ahold of him, to
   find out what's going on with the royalties,  he never answers the
   phone when I call.  When I check my machine, like two or three days
   later, there will be messages like you know "I'd appreciate it if
   you'd stop calling me."  I'm working on a lawyer right now to take
   his ass to court, the way the contract was written and stuff, 
   there's like anywhere from 20 thousand to 50 thousand dollars in
   royalties that he owes me.  
Q: That's alot of money.
A: Yeah, that could be the next UNDEAD album.  
Q: Who's playing with you now?
A: Right now, I've got Jeff O'Hara on drums, and Anthony D'mata on

Q: Were they on the road with you this last time?
A: Yeah.  
Q: Are they happy with the way things are going with the UNDEAD?
A: I don't think Jeff is.  Anthony is happy but, you know, Jeff,
   he just complains about everything.  So, I don't think he's like,
   really planning on staying with us too long.  
Q: Are you doing any MISFITS tunes in your set now?
A: Yeah, we're always pulling out different things, you know, lately
   we've been doing "I TURNED INTO A MARTIAN", "BULLET", and we're
   going to be pulling out a few more surprises, I think we're gonna
   pull out like a real big surprise for the next tour, do a MISFITS
   song that nobody's ever heard the MISFITS do.  

Q: Well, I guess that's about it, man.
A: That's it huh?  Don't want to ask me anything about the Jerry
   Only interview in UGLY THINGS, I guess, huh?  
A: I'm working on tearing that interview apart, limb from limb. 
Q: What...What do you,... I mean do you find things untrue about
A: Yeah.  Not just untrue, but provably untrue.  I mean like, he
   (Jerry Only) starts out in the beginning of the interview saying
   how like, he was grooming Doyle for a place in the band.  Ok, they 
   got me, you know, he's basically saying, when Bobby came into the
   band,  Franche had just left, I was grooming Doyle, Doyle wasn't
   ready yet, so we needed someone to fill in until Doyle was ready. 
   So, at that point, he's saying, that we were just using Bobby
   Steele.  But then later on, he's saying that they kicked me out of
   the band because I was a fuck-up.  Ok, so it's you know, what's the
   story?  Did you kick me out because you were just using me in the
   first place, until you felt Doyle was ready?  Did you kick me out
   because, I wasn't showing up for rehearsals?  When actually what
   was going on was Jerry was telling me there were no rehearsals. 
   Was it because of the story about the recording sessions......  
Q: What was the story about the recording sessions, you being drunk?
A: Right, and not showing up.  Jerry was the ride.  Jerry was the
   one who was picking me up and taking me to the studio everyday, and
   all of a sudden one day, he doesn't show to pick me up.  I called
   his house and his mom was like "well, he left a couple of hours
   ago."  I called the studio, and he tells me he just got his
   corvette back and he wanted to take it, that there was no room for
   me, and I'd have to take a train out.  That means I'd have to take
   a train with my guitar, a Marshall stack, a bunch of effects
   pedals, ok, I only got one fuckin' free hand, because I walk with
   a fuckin' cane.  I was like "Jerry, even if I could get the stuff
   out there, by the time I get there, I'm gonna be in no condition to
   play."  He said he guessed he'd have Doyle do it.  You know, it was
   all calculated, he already had Doyle there.  
Q: Do you think the band wanted you out, but didn't want to tell you?
A: I don't even think Glenn was like, totally on to what was
   going on.  I think this was something that Jerry took on his own,
   you know, he just took his own initiative in doing this.  I don't
   think Glenn really knew what was going on.  
Q: Well, Who was running the show in the band?
A: Glenn was running the show for the most part, but every now &
   then, Jerry could pull something that would, like manipulate Glenn. 
   Glenn wouldn't realize it.  But, generally, you know, Glenn was on
   top of things.  But then, Jerry wasn't always the most loyal person
   to the band.    
   Another thing that Jerry says in that UGLY THINGS interview,
   he talks at one point, he says WALK AMONG US is the ultimate
   MISFITS, that that's the way he wanted the MISFITS to
   sound.  He's talking about songs like "SKULLS", and.....  

A: "ASTROZOMBIS", he names a couple of songs.  But Glenn wanted
   things to be thrashy.  Then as you go further into the interview,
   almost to the very end, Jerry's talking about KRYST THE
   CONQUEROR, and he says "...I thinks it's the way the MISFITS
   shoulda went."  It's speed metal.  It's a contradiction, because
   it's not what he earlier said he wanted the MISFITS to sound
   like.  It's this speed metal thing that he's saying, you know, he
   never wanted.  So the guy is just like so bad at lying, that he
   can't even keep consistent within the same conversation.  And then
   these fuckin' idiots that fuckin put out this magazine, who have
   the nerve to fuckin' write to me and say they're a fan of mine, you
   know, when they've interviewed me before and never printed the
   interviews, and then they print this shit, you know, fuck that
Q: Seems like they would have printed your interview too, that issue.
A: Their excuse was they felt that Glenn and I had had our say
   in other interviews and Jerry never really had his say in an
   interview.  I got a Jersey Beat from last year, or two years ago,
   where Jerry like did a whole big interview, and it was the same
   shit, just putting his foot in his mouth.  He talks about Glenn &
   Bobby living off the MISFITS name and that he's above that. 
   Then he puts out KRYST THE CONQUEROR CDs with stickers on it
   saying "featuring ex-MISFITS."  Up to that point, I hadn't even
   done yet.  It wasn't until LIVE SLAYER, that was the first
   UNDEAD thing that came out with stickers saying anything about
   the MISFITS, on it.  
Q: I don't think anyone of you guys are "living off" the MISFITS
   when you do that, y'all were in the band, you're not getting any money...
A: We deserve it.  You know, shit, from all of the MISFITS
   stuff that's been sold, that I'm entitled to, you're talking at
   least a half million dollars.  We had an agreement that me, Glenn,
   Jerry, & Googy were all like equal, we all equally owned equal
   shares of the band.  So, basically anything that got split up after
   that was not my share.  If they wanted to kick me out, and bring in
   Doyle, then they would have to split, their three fourths, four
   ways and when they got rid of Googy, then they would have to split
   what's left of that among, you know, with Robo & shit.  They're not
   going to take my share and spilt it with people.  It was a bad
   deal.  It wasn't even just the money thing,  afterwards, they had
   to start fuckin' lying about me and slandering me, and threatening
   promoters, that if they booked the UNDEAD, they would never get
   the MISFITS back, and shit like that, so that for five or six
   years, I couldn't even get a fuckin' gig.  There's record companies
   that want talk to me.  
Q: Who owns PLAN 9 RECORDS?
A: Glenn.  Well actually, me, Glenn & Jerry, own PLAN 9 records. 
   That was our agreement.  Ok, what is was, was Joey Image no longer
   wanted to take any risk in the band.  He wanted to get paid a
   salary for every gig.  So we told him "Ok, but if you get paid a
   salary, you're no longer in the band, you're just a sideman, and at
   that point, we decided that me, Glenn, & Jerry are the MISFITS,
   and we're PLAN 9 records, and we all own equal.  
Q: Were there any contracts?
A: No, it was all just like on a hand shake.    
Q: So, Glenn owns it on his own now?
A: Well, he thinks he owns it on his own.  That's the way he
   operates it, but technically, legally he doesn't.  

Bobby Steele on Caroline records.
   They won't even like, listen to my stuff.  They just give me
   total lip service, I mean here they are, they're making fuckin alot
   of money off of my fuckin' performances, I'm getting no money for
   it, and then they're fuckin', you know, treating me like I'm some
   fuckin' nobody that's trying to get his first record deal.
   They're afraid that if they do anything for me, it's gonna piss
   off Glenn, and Glenn's not gonna give `em that last, great, missing
   MISFITS recording.  Which, you know, doesn't exist.  Pretty
   much everything's been released, in fact, the only "lost"
   MISFITS recordings that are probably still out there, are the
   ones that I own.  I've never said this before, but I've got live
   tapes of the MISFITS.  When I first left the band, I made
   copies for a bunch of friends and stuff, without thinking anything
   of it, but I've still got the originals. Hey, I coulda fuckin'
   bootlegged the shit, but I didn't.  I should get some kinda
   respect, just there on that.   
Bobby Steele on his part in the creation of "LONDON DUNGEON."

   I was in jail with Glenn (in England).  I just turned to
   Glenn, I was like, we should like, you know,... `cause I'd seen
   these brochures for London Dungeon.  I don't know if you know what
   that is, but that's kinda like one of these haunted house type
   things they have out there, like a wax museum.  I actually, in the
   cell by myself, the night before, like came up with the idea, and
   then when I got together with Glenn, I said "We should like, make
   a song about this called "LONDON DUNGEON".  We were like sitting in
   this cell, it was like 10 feet perfectly square, you know, solid
   painted walls, it was real echoy in the room, and stuff, and we
   were just like slapping the beat out on our legs, and humming
   that.....(hums intro guitar music), and it sounded so cool in that
   cell, that it just, you know, stuck.  Glenn took it from there.   
Bobby Steele On G.G. ALLIN
   I avoided G.G. like the plague.  
Bobby Steele On TV
   I grew up in the sixties.  I remember there was so many
   fuckin' weird TV shows back then.  
On legalization of marijuana
   It's gonna come around......We've got three former pot smokers
   in the White House right now.  Well, two former smokers, and one
   that just ate brownies.  He said he didn't inhale, he said "I tried
   it but I didn't inhale."  He was eating brownies, obviously, you
Thanks to Bobby Steele for his time he devoted to do this

JULY 1993
A: 3700 (said by receptionist at Proedge factory)
Q: Is Mo in?
A: Hold on.
Q: What was it like working with Aurthur Googy?  Do you see him often?
A: I haven't seen him in a long time.  Googy's real good people. 
   You know, Googy's a good guy. 
Q: A few years ago, I read about a KRYST THE CONQUEROR comic book
   coming out.  What's happening with that?
A: Basically, we don't have the funds to pay an artist to sit
   down and do the whole thing.  It's still under the works, it's just
   you know, it's funding.  Bottom line is we need some cash to get
   the job done.  
Q: So, you want to put out the book yourself?
A: Well, I'm going that way, if somebody wants to step in and
   pick up the band, and you know that kind of thing, I would love to
   run it through somebody with some type of calliber.  
Q: Have you ever heard of revolutionary comics?
A: No  

Q: They're doing alot of rock comics.  It's suprising they haven't
   done a MISFITS issue yet.  They're doing some neat stuff with
   KISS.  Are you a big fan of KISS?
A: Yeah, I liked KISS.  I liked KISS when they first came
   out, after they got going, they kinda sucked.  I saw their DRESSED
   TO KILL, tour.  After they got too, ah....cosmetic, you know what I 
   mean?  With all the bullshit, then once the band split up, and they 
   went and they got the other guys in the band, it was never the same.  
   Yeah, I like KISS, but I'm not a big collector, let's put it that way.  
Q: Were you influenced by them at all?
A: No, not really.  David Bowie is the one that I liked.  I was
   really into bowie when I was in high school, right before we
   started the MISFITS.  I was into KISS when I was like a
   freshman or a sophomore.  By the time I was a senior I was more into
   like ....David bowie was doing the "Diamond Dogs" thing, and stuff
   like that.  So, KISS was cool, but you know, I wouldn't have
   wanted to be KISS, let's put it that way.  
Q: Is the Doyle Fan Club still going on?
A: Well, The Doyle Fan Club, see, we formed three different
   corporations.  We formed the fan club.  We formed KRYST THE
   CONQUEROR, which was the band, and then we formed CYCLOPEAN
   MUSIC, which is our record label/publishing company.  The Doyle
   Fan Club, what wound up happening was, I used The Doyle Fan Club,
   as a, like a messenger to get people, who were still into the
   MISFITS, into seeing what we were up to.  But, at the same
   time, I didn't want to use the name MISFITS, and I didn't wanto
   use Jerry Only in any way because of the lawsuit with Glenn.  I
   didn't want to have any contreversy where someone would go, "Oh
   yeah, they're doing this, or they're doing that."  So I used The
   Doyle Fan Club as the name.  The Doyle Fan Club,  pretty much any
   product that came out on The Doyle Fan Club, is over and done with. 
   So we legally shut down the company, but the fan club is still in
   operation, through KRYST THE CONQUEREOR, or CYCLOPEAN MUSIC. 
   So, if people want to buy a Doyle poster, or something like that,
   they, you know, they still can.  But The Doyle Fan Club is gone. 
   Whatever merchandise is left, you can get.  But, there's very
   little stuff left.  I pretty much got rid of everything I had.  
Jerry Only on the music industry

A: What it is, it's like sheep.  They, when they're
   gonna slaughter them, they send them all down the chute, you know,
   it starts as a giant herd, and it works it's way right down to
   there's five of them, four of them, three of them, two of them, one
   of them, and then you're down the chute.  Record companies and the
   industry in general, follow the chute.  They want to sign bands
   that are doing what is going on, and they don't look down the road. 
   They didn't do it when the MISFITS were around, and they still
   don't do it today.  So, if you wanna do something that's, you know,
   swimming upstream, you gotta do it yourself.  That's what sucks. 
   I mean, you know, 10 years ago, actually we're talking seventeen
   years now, when the MISFITS first came out, nobody wanted to
   book us, nobody wanted to hear what we had to do, anybody that was
   interested in what we were doing, wanted to chang what we were
   doing.  "Oh yeah, but play it like this," what do you mean play it
   like that?  That's not what it is.  That's the situation we wound
   up getting stuck in.  We roughed it out through the MISFITS,
   until Glenn & I came to a little mis-...well not misunderstanding,
   two different directions where people wanted to go, and after we
   broke up, you know, ten years after the band started, people
   started realizing what the hell was going on.  METALLICA kinda
   brought it back to life, by covering some of our shit.  
Q: If you read any of the MISFITS, they all say, oh Glenn
   Danzig did everything.  He created the planets, the moon, the
   stars, ok, but,  He didn't write "ATTITUDE" alone.  "ATTITUDE" was
   written by me, Glenn, and Franche Coma, who wrote the lead.  Doyle
   co-wrote "GREEN HELL" and didn't get credit for it.  You know, we
   were young when we did this, and we didn't know how the buisness
   worked.  It seems to be, in the long run, a big error, not taking
   the thme to figure out how things worked.  Glenn was a little wiser
   to the game, and he knew where the money was gonna be made, and he
   made sure that his name is all over the place, and everything is
   going into his pocket.  
A: I wanted Glenn to send me some t-shirts, `cause I had paid for
   all the silk-screens that we use to do our t-shirts on.  We moved
   up into the country over here, we don't live near the city anymore. 
   So, when we moved here, all the young kids we hired to work for us
   said "Oh, you guys were in the MISFITS, can you get me some
   t-shirts?"  I said "Well, let me see what I can do."  So I had a
   mutual friend, between Glenn & I, who use to work on our equipment,
   I said "Hey look, do me a favor, ask Glenn to send me up about
   fifty t-shirts, a couple of different ones."  I figured what the
   hell, I never took any money out of the band, I actually paid for
   the silk-screens, the least he could do is run me off fifty shirts
   for the kids.  So the message comes back: "If you want MISFITS
   shirts, go buy `em."  
Q: Is there any MISFITS stuff out there that we haven't heard yet,
   like maybe Glenn still has some unreleased stuff?
A: Well, I'll put it to you this way, I've got to buddies who are
   like the ultimate MISFITS collectors.  They've got like one of
   the sixteen pink records that are supposedly around, and shit like
   that.  So they made me a tape of everything that's out there, and
   pretty much it's either come out on boot, or .....there maybe tapes
   that Glenn has of tapes, that we did, you know like at diferent
   periods and times.   In other words, "TEENAGERS FROM MARS" was
   recorded with the STATIC AGE band, and then it was recorded later
   with Bobby Steele, it came out as a single.  But there is an
   earlier recording, without Bobby on guitar. There's fifty two
   MISFITS songs, that's not counting "RATT FINK."  

Q: That was the only cover you ever did, right?
A: Yeah.  

Q: Did you perform "SPOOK CITY USA" live, very much?
A: No.  That song kinda sucked (laughter).  That's kinda one of
   the ones I wouldn't do.  It always amazed me that Glenn wanted to
   do it, and then when he did it, it sounded so shitty, that I
   couldn't understand why.  We had done it in the MISFITS, better
   than he did it on his solo thing, so why the fuck do it?  But, you
   know, who the hell knows what goes through his mind.  
On Bobby Steele
A: I don't wanna say anything bad about the guy, it does nobody
   any good.  
On brother Doyle.
Q: I was happy when Doyle finally got in the band.  I had planned
   on having Doyle in the band long before that, when he was fourteen
   years old.  He was ready to play, it was just not praticle.  He was
   in high school and shit, my folks were like "Hey, you can't go
   dragging you brother around the country when he's supposed to be in
On Sid Vicious

A: Sad situation.  It aggravated the shit out of me that somebody
   had that kind of hype going for them, and couldn't tie their own
   fuckin' shoe.  You know what I mean?  I just saw the movie (THE
   GREAT ROCK N ROLL SWINDLE), and it's so obvious that they screwed
   this kid.  He's in the fuckin' ground, and I don't know if
   anybody's making money on the deal or not, but look who got the
   short end of the stick.  When Sid played in town, you'd sit back
   and go "Wow, wouldn't you like to be him? You could play anywhere
   you want, get a record deal."   Then you realize right away, "Whoa,
   I wouldn't want to be him for nothing." Who the hell wants to die
   when they're 21?  When I saw him play, I'd never met him, it was
   before I'd met him.  I was checking hime out, I was a big Sid
   Vicious fan.  When he came up, and he started singing, he really
   sucked.  After I met him, I found out that he was, you know a very
   quiet kinda guy.  They screwed this kid over.  I was talking to him
   about, you know, playing racket ball and shit, and getting in
   shape.  I said, "Yeah, you know, when you get out, you know you got
   a good lawer.  You'll probobly beat this.  Nobody saw anything,
   it's all specualtion.  It sucks that you gotta go back to Ryker's,
   but you know, hang in there.  You've got a life ahead of you, if
   you can get out of jail."  All he had to do was come out with a
   Billy Idol type album, and he was a hero.  He would have been a
   millionaire.  He didn't see it, he couldn't tell the trees from the
   forrest.  I mean, he was a nice kid, but he died the next day.  It
   aggrivated the shit outta me, `cause here I am, working like a dog
   twelve hours a day, and going out and running and lifting at night,
   trying to practice my bass befor I get up the next day, and do the
   same shit.  And here's this motherfucker, with everything going for
   him, and blew it.  Even to this day, I'm happy I wasn't in his
Drugs in the MISFITS
A: We'd go and buy a case of beer after the show, or something
   like that, but you know, we never did like heroin or anything like
   that.  Never.  That's why I kinda get aggrivated at Glenn going and
   saying that shit, `cause he knew it wasn't true.  I get tired
   enough at the end of the day, you know what I'm sayin'?  I try to
   be productive.  I think that doing heavy drugs is very
   unproductive, and it doesn't do anything for you.    
Q: How much do you bench press now?
A: About 305, I hurt my shoulder about a year and a half ago, I
   was up to 315, Doyle was doing about 340.  I'm going easy.  When
   you get hurt, not only do you lose, it takes you three times to
   come back.  
Favorite MISFIT tunes

A: I don't know about the Bills again.  I would say the Saints
   are gonna go, and maybe Washington.    
Last words

A: Just keep your eyes open, and youre nose down.  Try and, you
   know, do the best you can, and all that.  Rock n roll.