Music and Recording
6:66 Satan's Child has a mostly industrial metal sound. As with its predecessor Blackacidevil, several songs include effects-treated vocals. It was the first Danzig album to be produced using digital recording methods, as Glenn Danzig explained: “This record is the first time I've ever recorded my vocals digitally. I recorded with a mic and in a booth, but through a computer, and that's how the overdubs were done on this record as well. What I tried to do with this record is take all my favorite elements from Danzig 1 through 5, and the Thrall EP, put it all together and add a couple of new flavors.”
The lyrical themes on the album include pain, evil and death. "East Indian Devil (Kali's Song)" was written about the goddess Kali.
Glenn Danzig originally wrote "Thirteen" for Johnny Cash, whose acoustic version appears on his 1994 American Recordings album. Danzig's own version of "Thirteen" is gothic blues in style. The song is a mournful dialogue of a life blighted by bad luck and misery. Danzig's version is featured as the opening song in the 2009 film The Hangover.
A remixed version of "Belly of the Beast", called "underBelly of the Beast", appeared on the soundtrack to The Crow: Salvation in 2000. A remix of "Unspeakable" appeared on the soundtrack to the Grub Girl pornographic movie.
"Five Finger Crawl" has appeared on the Nuclear Blast compilation albums Death Is Just the Beginning, Vol. 6 and Beauty in Darkness, Vol. 4, both released in 2000. It was also used for the opening theme of Xtreme Pro Wrestling's TV show, where Danzig bassist Josh Lazie was working at the time. Lazie most notably managed the wrestler Sabu, who used the song "Firemass" as his entrance theme in XPW.
Read more about this topic: 6:66 Satan's Child
Famous quotes containing the words music and/or recording:
“I fear I agree with your friend in not liking all sermons. Some of them, one has to confess, are rubbish: but then I release my attention from the preacher, and go ahead in any line of thought he may have started: and his after-eloquence acts as a kind of accompaniment—like music while one is reading poetry, which often, to me, adds to the effect.”
—Lewis Carroll [Charles Lutwidge Dodgson] (1832–1898)
“I didn’t have to think up so much as a comma or a semicolon; it was all given, straight from the celestial recording room. Weary, I would beg for a break, an intermission, time enough, let’s say, to go to the toilet or take a breath of fresh air on the balcony. Nothing doing!”
—Henry Miller (1891–1980)