Johnny Kelly is an American drummer, best known as the former drummer for the gothic metal band Type O Negative from Brooklyn, New York. He is the current drummer for the bands Silvertomb, A Pale Horse Named Death, Kill Devil Hill, Danzig, he joined Type O Negative in 1994 to replace Sal Abruscato. He had been the band's drum tech, he endorses Gretsch Drums, Sabian cymbals, Easton Ahead drumsticks and Evans drum heads. Contributing to his long music history, he lent his drumming skill to the song Blood and Flames from Roadrunner United: The All Star Sessions. Kelly served as a fill-in drummer for heavy metal band Pist. On on an American tour while their drummer, Jeff McManus, dealt with chronic muscle pain. Kelly has been the drummer for Danzig for 15 years, recorded drums for the band's ninth album Deth Red Sabaoth, covers album Skeletons, shared drum duty on the band's latest album Black Laden Crown. Kelly is the drummer for heavy metal band Seventh Void with fellow Type O Negative member Kenny Hickey.
He plays drums in a Led Zeppelin tribute band called Earl's Court. On February 25, 2011, it was announced that Kelly would be replacing Will Hunt as the drummer for Black Label Society for the remainder of their European tour, he made his first live performance with the band that night at La Cigale in France. As of 2011, Kelly is the drummer for former Type O Negative drummer Sal Abruscato's new project, A Pale Horse Named Death. On January 29, 2018, it was announced on the band's website that A Pale Horse Named Death had recruited Tommy Spano of Corey Glover and Sekond Skyn as the new drummer, replacing Kelly. On April 5, 2018, it was announced. Kelly is touring with Seven Witches. On March 10, 2014, it was announced that Vinny Appice had left Kill Devil Hill, that Kelly was his replacement. Official Type O Negative website Official Seventh Void website Seventh Void MySpace Profile Official A Pale Horse Named Death website Interview from 2006 at GlobalDomination.se
Lilith is a figure in Jewish mythology, developed earliest in the Babylonian Talmud. Lilith is envisioned as a dangerous demon of the night, sexually wanton, who steals babies in the darkness. Lilith may be linked in part to a earlier class of female demons in ancient Mesopotamian religion, found in cuneiform texts of Sumer, the Akkadian Empire and Babylonia. In Jewish folklore, Alphabet of Sirach onwards, Lilith appears as Adam's first wife, created at the same time and from the same clay as Adam—compare Genesis 1:27; the legend developed extensively during the Middle Ages, in the tradition of Aggadah, the Zohar, Jewish mysticism. For example, in the 13th-century writings of Isaac ben Jacob ha-Cohen, Lilith left Adam after she refused to become subservient to him and would not return to the Garden of Eden after she had coupled with the archangel Samael. Evidence in Jewish materials is plentiful, but little information has survived relating to the Sumerian, Akkadian and Babylonian view of this class of demons.
While the connection is universally agreed upon, recent scholarship has disputed the relevance of two sources used to connect the Jewish lilith to an Akkadian lilītu—the Gilgamesh appendix and the Arslan Tash amulets. In Hebrew-language texts, the term lilith or lilit first occurs in a list of animals in Isaiah 34:14, either in singular or plural form according to variations in the earliest manuscripts. In the Dead Sea Scrolls 4Q510-511, the term first occurs in a list of monsters. In Jewish magical inscriptions on bowls and amulets from the 6th century CE onwards, Lilith is identified as a female demon and the first visual depictions appear; the resulting Lilith legend continues to serve as source material in modern Western culture, occultism and horror. The Semitic root L-Y-L served as derivative for the Hebrew layil and Arabic layl, meaning "night"; the Talmudic and Yiddish use of Lilith is cognate with the Hebrew. In the Akkadian language of Assyria and Babylonia, the terms lili and līlītu mean spirits.
Some uses of līlītu are listed in The Assyrian Dictionary of the Oriental Institute of the University of Chicago, in Wolfram von Soden's Akkadisches Handwörterbuch, Reallexikon der Assyriologie. The Sumerian female demons lili have no etymological relation to Akkadian lilu, "evening". Archibald Sayce considered that Hebrew lilit לילית and the earlier Akkadian līlītu are from proto-Semitic. Charles Fossey has this translating to "female night being/demon", although cuneiform inscriptions from Mesopotamia exist where Līlīt and Līlītu refers to disease-bearing wind spirits. Another possibility is association not with "night", but with "wind", thus identifying the Akkadian Lil-itu as a loan from the Sumerian lil "air" — from Ninlil, "lady air", goddess of the south wind — and itud, "moon". Samuel Noah Kramer translated ki-sikil-lil-la-ke as Lilith in "Tablet XII" of the Epic of Gilgamesh dated c.600 BC. "Tablet XII" is not part of the Epic of Gilgamesh, but is a Assyrian Akkadian translation of the latter part of the Sumerian Epic of Gilgamesh.
The ki-sikil-lil-la-ke is associated with a zu bird. In Gilgamesh and the Netherworld, a huluppu tree grows in Inanna's garden in Uruk, whose wood she plans to use to build a new throne. After ten years of growth, she comes to harvest it and finds a serpent living at its base, a Zu bird raising young in its crown, that a ki-sikil-lil-la-ke made a house in its trunk. Gilgamesh is said to have killed the snake, the zu bird flew away to the mountains with its young, while the ki-sikil-lil-la-ke fearfully destroys its house and runs for the forest. Identification of ki-sikil-lil-la-ke as Lilith is stated in Dictionary of Deities and Demons in the Bible. According to a new source from Late Antiquity, Lilith appears in a Mandaic magic story where she is considered to represent the branches of a tree with other demonic figures that form other parts of the tree, though this may include multiple "Liliths". Suggested translations for the Tablet XII spirit in the tree include ki-sikil as "sacred place", lil as "spirit", lil-la-ke as "water spirit".
But simply "owl", given that the lil is building a home in the trunk of the tree. A connection between the Gilgamesh ki-sikil-lil-la-ke and the Jewish Lilith was rejected by Dietrich Opitz and rejected on textual grounds by Sergio Ribichini. Kramer's translation of the Gilgamesh fragment was used by Henri Frankfort and Emil Kraeling to support identification of a woman with wings and bird-feet in the Burney Relief as related to Lilith, but this has been rejected by sources, including the British Museum, in current possession of the piece; the terracotta plaque depicts a beautiful, naked goddess-like sylph with bird-like features who stands atop two lions and between two owls. Although once believed to be the actual image of Lilith, it is now thought to represent Inanna, the Sumerian goddess of love, beauty and sexual desire; the depiction of the nocturnal and predatory owls, have led many to believe the relief is an affirmation of Lilith's role as a demon who flies about the underworld, delivering night terrors to those who sleep.
The Arslan Tash amulets are limestone plaques discovered in 1933 at Arslan Tash, the aut
The Lost Tracks of Danzig
The Lost Tracks of Danzig is a compilation album by American heavy metal band Danzig. The set showcases a number of unreleased Danzig songs, ranging from the band's first recording sessions in 1987-88 until the sessions for Danzig's 2004 studio album, Circle of Snakes. Glenn Danzig mentioned a compilation of unreleased songs in several interviews as early as 1990, prior to the release of Lucifuge. Due to his touring schedule and various other projects, the material that comprises The Lost Tracks of Danzig was set aside for a number of years, was confirmed to be under preparation in the summer of 2006, he was only able to start work on the project after gaining back the rights to Danzig's unreleased material from American Recordings. Scheduled for release on May 29, 2007, it was delayed twice before its official release in North America on July 10, 2007, in Europe one week earlier; the set was made available over iTunes in June 2007. Glenn Danzig has said in various interviews and in the compilation's liner notes that he does not consider these songs "throw-aways".
It was the case that these unreleased songs didn't fit the theme or concept of the album for which they were recorded. Danzig explained: "The songs together as a whole; some tremendous Danzig songs have never been released, not because they weren't great, but because they didn't fit the overall vibe of the particular album, or for other reasons.”When Glenn Danzig began the Lost Tracks project, the songs were in various stages of completion - some were still in demo form, some had no vocals, some needed a different mix or new instrument tracks. After tracking down and reviewing the original tapes, over thirty of which had to be baked before undergoing digital conversion due to their age, Danzig entered the studio and completed the tracks, finishing all vocal and instrumental recording himself; the project took nine months to complete. The songs "Pain Is Like An Animal" and "When Death Had No Name" were written toward the tail end of Glenn Danzig's tenure in Samhain. In the liner notes Glenn Danzig says "Pain Is Like An Animal" was “originally a Samhain song that became one of the first Danzig tracks.”The album includes "White Devil Rise", recorded during the sessions for Danzig 4 in response to racist comments by Louis Farrakhan and his use of the term "The White Devil" to describe the white race.
Danzig has explained that the song is his conjecture as to what would happen if Farrakhan incited the passive white race to rise up and start a race war: “No one wants to see a race war. It would be terrible, so the song's saying,'Be careful what you wish for.'”Glenn Danzig spoke fondly of the track "Satan's Crucifiction", describing it as one of his favorite songs on the set. According to Danzig, the song was written to anger American Recordings, the band's label at the time. Eerie Von explained it had been played during rehearsals to scare off unwelcome executives from the label who might happen upon the band's recording sessions; the song title is misspelled "Crucifiction" intentionally as a pun. The song was performed live for the first time in the fall of 2007, was a regular in the Danzig set-list during the fall 2008'Blackest of the Black' tour; the 1992 version of "When Death Had No Name", recorded during the How the Gods Kill sessions and available as a B-side on the 1992 "Dirty Black Summer" single, is one of three tracks on the set to have been released.
"Deep" recorded and intended for Danzig 5: Blackacidevil, was available on Songs in the Key of X, the soundtrack to The X-Files television series. The mix used on the X-Files soundtrack differs slightly in its final second of audio, ending abruptly rather than with a brief echo as on Lost Tracks; the remix "underBelly of the Beast" appeared on the soundtrack to The Crow: Salvation in 2000. "Unspeakable" was not released prior to the Lost Tracks, though it did appear as looped background music in the 2006 Grub Girl pornographic movie. Other songs were released in a different form; the original version of "Come to Silver" can be found on Blackacidevil. The original versions of "Unspeakable" and "Belly of the Beast" were released on the 1999 album Danzig 6:66 Satan's Child; the Lost Tracks of Danzig is packaged as a two disc digipak. Two versions of the cover exist; the album cover is by artist Simon Bisley. The set contains a booklet; the booklet front cover is by artist Joe Chiodo. Blistering - "The Lost Tracks of Danzig is a diverse collection covering every facet of his expansive career.
It comes across as a true retrospective rather than a bunch of unfinished songs. An essential addition to any fan's collection, regardless of whichever Danzig era is your favorite." Ultimate Guitar - "It’s full of the band’s classic evil blues sound, doesn't veer off that path... Between the chugging, down-tuned guitar and the smooth delivery from Glenn Danzig, there is plenty to satisfy anyone, a fan of the band." Billboard - "The Lost Tracks of Danzig is a dark holy grail for followers of the lone wolf icon... The set works well as a history lesson, although its dirge-and-dreary atmospheres make the double album linear." About.com - "The Lost Tracks of Danzig is aimed at hardcore fans of the band, those fans will love this CD. There are enough quality songs that casual Danzig fans should enjoy it as well." A music video was released for the song "Crawl Across Your Killing Floor". The video is shot in black and white, is inspired by t
Nothingface was an American heavy metal band from Washington, D. C. formed in 1993. Their best-known and most prolific line-up consisted of Matt Holt, Tom Maxwell, Bill Gaal and Chris Houck, they disbanded in 2004, only to reform the following year, reuniting with Gaal and Houck, disband four years later. In 2017 Matt Holt died from a degenerative disease; the band released five studio albums: Nothingface, Pacifier, An Audio Guide to Everyday Atrocity and Skeletons, achieving moderate success, as evidenced by their 2001 single "Bleeder" peaking at number 32 on the U. S. Mainstream Rock Chart and touring with high-profile acts such as Soulfly and Ministry, as well as the Tattoo the Earth and Ozzfest 2003 tours. Formed in 1993, the band's original line-up consisted of vocalist David Gabbard, guitarist Tom Maxwell, bassist Bill Gaal and drummer Chris Houck; the band started when Chris Houck put an ad out in a local magazine called Rox Magazine in Baltimore. Tom Maxwell, living in Baltimore at the time, contacted Chris about the ad, said he was interested in getting together and jamming.
Tom sent a tape with music. Chris, living with Bill Gaal at the time in Damascus, got the tape and they were both impressed with what Tom had sent. From there they got together and jammed on covers of Soundgarden, Alice in Chains, Jane's Addiction and clicked, they released three tapes with this lineup. These demos featured a grunge and hard rock-influenced sound, in contrast to the heavy metal sound the band would become renowned for on in their career. Gabbard left the band in 1995, due to disagreements over the heavier musical direction Nothingface was heading in. At this point Matt Holt took over singing duties. Matt Holt became a part of the band as a result of Ingredient 17, recording at Chris and Bill's house in Damascus. Tom Maxwell heard the material Matt had been doing with Ingredient 17 and thought Matt would be a good match to replace Dave; the band recorded a 1995 self-titled album featuring ten songs. DCide discovered Nothingface, in 1996 they re-recorded the album, with six of the songs featured on their debut album Pacifier, released in February 1997.
The band's second album An Audio Guide to Everyday Atrocity was released on September 22, 1998 via Mayhem Records. The band toured in support of the album throughout the United States with Stuck Mojo, Sam Black Church and Ministry. Two years the band released their third album Violence on October 10, 2000, it featured a single called "Bleeder". The album peaked at 24 on the Heatseekers Chart and 37 on the Top Independent Chart, it was the band's most successful album, their first under the semi-major label TVT Records. Chris Houck recorded drums for this album but had to leave the group due to medical issues that would prevent him from touring, he was replaced by Tommy Sickles of Ingredient 17 fame. In early 2001, Bill Gaal left the group to pursue a career in music engineering, he was replaced by Jerry Montano of The Deadlights. A few months Gaal returned. During the 2001–02 interval between Violence and their next album, Nothingface experienced significant turmoil when lead singer Matt Holt's home burned down, Tom Maxwell's mother dying and bassist Bill Gaal divorcing his wife, leading to the band nearly breaking up.
The band released their fourth album Skeletons on April 2003 via TVT Records. The album is considered their most diverse, featuring some of the band's heaviest as well as most melodic material; that summer, the band played on the second-stage of the popular Ozzfest tour. Nothingface disbanded on February 10, 2004, citing musical differences and lack of support of their label. On November 24, 2005, a posting on the Jägermeister website showed Nothingface as the opening act for Disturbed in a 2006 show; the line-up for this show was Tom Maxwell, Jerry Montano and Tommy Sickles. The band released two new songs online and went on to do a small U. S. club tour that winter/spring, bringing along Crossbreed and Silent Civilian. Jerry Montano was fired from the band after assaulting Tom Maxwell and making gun threats at Hellyeah's debut album party. During the first half of April 2008, the band sent out a Myspace bulletin and changed their default profile picture to one of the band in the studio, signaling that they were indeed working on new material.
On the 20th of May, they posted a short YouTube clip which features them performing and sent out a Myspace bulletin containing said clip. Four days on May 24, it was announced through Blabbermouth.net that original members Bill Gaal and Chris Houck have rejoined Nothingface, with Tommy Sickles now playing drums for the L. A.-based band Noise Within. The band released several additional "teaser" videos and on February 19, 2009, announced that "the band is at Wrightway Studios in Baltimore MD for the next 2 weeks writing and recording." The re-release of their self-titled album with remastered songs and new artwork was released on April 8, 2009. On August 14, 2009, it was announced via Blabbermouth.net that Nothingface would be disbanding again. On September 1, 2009, the band released "One Thousand Lies" on their official website, it is a rough "first draft" demo and was recorded in March 2008. On November 13, 2009 the band uploaded "D2", another rough "first draft" demo with no vocals. In early 2011, the band launched their brand new website Nothingface.com.
Videos linked to YouTube were present so was a Nothingface wiki, guest book, photo gallery and a section for fa
Danzig is an American heavy metal band, formed in 1987 in Lodi, New Jersey. The band is the musical outlet for singer-songwriter Glenn Danzig, preceded by the horror punk bands the Misfits and Samhain, they play in a bluesy doom-driven heavy metal style influenced by the early sound of Black Sabbath. On July 14, 1986, Samhain performed at The Ritz in New York in. In attendance was Rick Rubin, scouting for potential bands to sign to his record label, Def Jam Recordings. Rubin at first wished only to sign Danzig himself, with the intent of making him the vocalist for a hard rock supergroup that Rubin envisioned. However, Danzig refused to sign to Rubin's label without Samhain's bassist Eerie Von. In 1987, he added John Christ on Chuck Biscuits on drums. To reflect the change in musical direction and avoid having to start anew after future lineup changes, Glenn, on Rubin's advice, changed the name of Samhain to his surname, Danzig; the first release from the band, minus Eerie Von, was the song "You And Me" from the Less Than Zero soundtrack and credited as Glenn Danzig & The Power and Fury Orchestra.
In 1988, Danzig released its self-titled debut album on Def American. The band toured worldwide in support of the album throughout 1988 and 1989, and Justice for All tour in Europe, subsequently headlined their own tour, which included support from bands such as Mudhoney, Armored Saint, Circus of Power, White Zombie, Sick of It All and Carnivore. Danzig is the band's best-selling album, having been certified Gold in the U. S. in 1994, going Platinum. In 1990, Danzig released Danzig II: Lucifuge. By 1992, Rubin's involvement with the band had waned. Danzig himself took credit for co-producing the third album, Danzig III: How the Gods Kill. In the following year, the band released the Thrall: Demonsweatlive EP, which contained several live tracks from the band's 1992 Halloween show as well as three new studio tracks; the live version of "Mother," a song from the first album, became popular on hard rock radio stations. A new version of the "Mother" music video was created using live footage, the video became a hit on MTV as well.
On October 4, 1994, Danzig 4 was released. The album did not contain a hit on par with the "Mother" single; the album's second single, "Cantspeak", was a staple in MTV's rotation, but unlike "Mother" failed to appear on the Billboard Hot 100. "Cantspeak" is the band's only single other than "Mother" to chart on Billboard. Amid accusations of unpaid royalties and broken promises, Danzig's relationship with Rubin deteriorated, the band left the record label. Around this time, the band's lineup began to dissolve as well. First, Chuck Biscuits left the band in the summer of 1994 due to royalty disagreements. According to a special issue of Kerrang!, former Nirvana drummer Dave Grohl turned down an approach by the band. Biscuits was replaced by Joey Castillo, who made his first public appearance as a member of Danzig at an in-store signing the day of the fourth album's release. Coincidentally, Castillo would replace Grohl in Queens of the Stone Age. Although the band had toured with its new drummer during the fall and winter of 1994-95, by the spring of 1995 Danzig was seeking a new guitarist, with Pepper Keenan and Dez Cadena considered possible replacements.
John Christ and Eerie Von resigned on July 5, 1995. In October 1996, Danzig 5: Blackacidevil was released; the album was a solo effort by Danzig, although Jerry Cantrell of Alice in Chains played lead guitar on three of the album's tracks. Joey Castillo played the sole member still in the band from the 4p Tour. Castillo would record on two more Danzig albums, making him the longest-standing member outside of the original lineup. For the next few years, Danzig was tied up in a legal battle with Rubin over the rights to unreleased material the band recorded for American Recordings. In November 1999, Danzig 6:66 Satan's Child was released. A long-planned Samhain box set was released, followed by a Samhain reunion tour. Samhain opened for Danzig for six weeks during the tour and consisted of Steve Zing and London May switching between bass and drums. By 2000, Danzig's line up had stabilized with the addition of guitarist Todd Youth and bassist Howie Pyro, both veterans of the New York City punk scene.
In 2002, this line up released the album Danzig 777: I Luciferi. In 2004, Danzig released their eighth studio album, Circle of Snakes, with the line up featuring Tommy Victor of Prong on guitar, who had toured as a member of Danzig years earlier. Soon after the album's release, Danzig undertook the Blackest of the Black tour across the United States, replacing Circle of Snakes drummer Bevan Davies with Johnny Kelly. Throughout 2006, Glenn Danzig stated in several interviews that he had grown tired of the touring cycle, did not expect to partake in any more large-scale tours. Instead, Danzig would go on small, localized tours, such as the ten west coast dates they played for the 2006 Blackest of the Black tour; this tour debuted Kenny Hickey as the band's new guitarist, while the East Coast dates saw the addition of former Samhain member, Steve Zing on bass. In October 2006, Glenn Danzig released Black Aria II, the follow-up to his solo classical album, Black Aria. Black Aria was re-released by Evilive in May 2007.
He spent the rest of the year completing the production and packaging of The Lost Tracks of Danzig, a double CD containing twenty-six unreleased songs that span the entire Danzig catalog, released on July 10, 2007. Danzig has st
Danzig 5: Blackacidevil is the fifth full-length album from Danzig. It was released in 1996 on Hollywood Records, was reissued on E-Magine Records in 2000 with three extra tracks; the album is the first recorded by Danzig after its departure from producer Rick Rubin's record label, American Recordings. It is the first album recorded after the demise of the "classic" lineup featuring John Christ, Eerie Von, Chuck Biscuits. Only the band's leader Glenn Danzig remained, joined by drummer Joey Castillo, who had joined the band late in 1994 after Biscuits' departure, bassist Josh Lazie, who had toured with Danzig as Eerie Von's bass tech and Castillo's drum tech. Guitarist Tommy Victor joined the band shortly after Blackacidevil's completion. On Blackacidevil, the band's sound shifted from doomy and gothic heavy metal to experimental industrial rock. Glenn Danzig explained: "I wanted to do something that nobody else was doing. So I took an element of industrial that I liked here, an element of techno there mixed it with what I do.
I took the best elements of stuff. They're powerful. I'd still experiment with different directions, which I wanted to do anyway, watch what happened when I mixed it together." On several tracks Danzig applied distortion effects to his vocals. Jerry Cantrell of Alice in Chains plays guitar on the tracks "See All You Were", "Hand of Doom" and "Come to Silver"; this was the first Danzig album to feature Joey Castillo and Josh Lazie, the only album to feature contributions by Mark Chaussee and Joseph Bishara. Glenn Danzig plays all the instruments on the remainder of the album. Joseph Bishara described the production of the album: "The way we did it was different from the way records get done, not taking the time to print time-code and lock-up and do stuff we need to get a programmed kick drum in. A lot of, me playing kick drum in. Now you're punching in programming, it was a raw and punk rock way to do electronic."Opening song "7th House" is about the theme of "sex and death". Glenn Danzig recorded his vocal track for the song in a single take."Hand of Doom" is a cover of the Black Sabbath song, with new lyrics and musical arrangements by Glenn Danzig.
Danzig explained his changes to the original version: "I didn't want people to think it's just a cover... I started twisted the words; the melody is still the same, with an industrial kind of groove to the beginning and the chorus comes in and it's full on crazy, with the screaming vocals." The idea for recording a cover version of the song came during a soundcheck by then-Danzig guitarist John Christ. Glenn Danzig had written "Come to Silver" for Johnny Cash during the recording of Danzig 4, although it was never recorded by Cash due to Danzig's split from American Recordings; the song addresses the evils of the almighty dollar."Sacrifice" was the album's first single. According to Glenn Danzig, the song is about "sacrificing yourself throughout your life. It's about giving a little more. It's not about ritual sacrifice...it's more about killing yourself, little by little." Several different versions of the song, remixed by J. G. Thirlwell, appear on the 1996 Sacrifice EP, along with remixes of "Serpentia" and "Deep".
According to Glenn Danzig, the lyrics to "See All You Were" are "about a love that's over....some of it's drawn on." The song "Hint of Her Blood" is "about a girl who can only get off when she sees blood, I didn't say her own, either". "Serpentia" tells of "someone getting into wild sex for the first time". The closing track "Ashes" has been discussed by Glenn Danzig: "It's not a depressing song, it's a melancholy song. It's happy depression and happy at the same time. I don't like to say it's romantic but it is, everyone has different sides to their personality."The song "Deep", released earlier that year on The X-Files television soundtrack, was set to be featured on the album. However, because of Danzig's 1996 departure from American Recordings, the song could not be included. Another version of the same song titled "Deeper", with additional guitar by Tommy Victor, was recorded for the unreleased Bleedangel EP, included as one of three bonus tracks on the 2000 Blackacidevil reissue. Of the remaining bonus tracks, "Bleedangel" was recorded as the title track for the unreleased EP, whereas "Don't Be Afraid" was recorded during the original Blackacidevil sessions and first appeared as a B-side on the "Sacrifice" single.
Danzig has not publicly explained the meaning of the album's title. Various theories have been advanced, including it being a play on the phrase "black as a devil", with the words "black acid devil" run together in a portmanteau. Tickets for Danzig's Halloween 1996 special $6.66 show at Detroit's State Theatre had the phrase "Black Acid Devil" printed on them. The liner notes feature artwork by Joseph Cultice; the re-released version of the album features a new cover by Martin Emond. Music videos were released for the songs "Sacrifice" and "Serpentia". All music videos from the album are featured on Danzig's Il Demonio Nera DVD. Blackacidevil was criticized for its apparent shift in musical direction and was not well received by most critics. Glenn Danzig discussed Blackacidevil's reception: "That album worked the way I wanted it to it shook a lot of stuff up. People either loved it or hated it, we got a lot of new fans from its release. Hey, maybe some of the people who only liked "Mother" dropped out, I've always said those fans are okay, when you get this big MTV exposure, but they're not permanent fans.
The core following you have is your most important thing."Besides the ch
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular