Risk-taking and exhilarating, Alex North's music for Elia Kazan's A Streetcar Named Desire (1951) explores a territory bounded by jazz, modernist currents, and the composer's idiosyncratic poignancy. Anticipating the rhythms of Leonard Bernstein's West Side Story by six years, North's use of jazz was a perfect choice given the unsparing of this Tennessee Williams drama, once described by the author as "a tragedy of misunderstanding and insensitivity to others." Ringing with the freshness and energy of New Orelans, North's music represents the first time that an American film score used jazz for dramatic purposes. Also groundbreaking was the use of dissonance to convey the grey, ambivalent area of human behaviour, and the deployment of sophisticated character statements to define the interpersonal relationships ("Stan and Stella", "Blanche and Mitch", "Stan and Blanche"). This newly recorded disc preserves all of the score's important moments and intricate details, with Jerry Goldsmith--one of the late composer's best friends and a legendary figure in his own right--conducting the exemplary National Philharmonic Orchestra. --Kevin Mulhall

Paper Moon., 21 Jun 2004
As a playwright, Tennessee Williams was to the South what William Faulkner was as a fiction writer: a creative genius who revolutionized not only the region's arts scene and literature but that of 20th century America as a whole, bringing a Southern voice to the forefront while addressing universally important themes, and influencing and inspiring generations of later writers.

Pulitzer-Prize-winning "A Streetcar Named Desire" dates from the peak of Williams's creativity, the period between 1944 ("A Glass Menagerie") and 1955 ("Cat on a Hot Tin Roof," his second Pulitzer-winner). After its successful 1947 run on Broadway, "Streetcar" was adapted into a screenplay by Williams himself for this movie produced and directed by Elia Kazan, starring the entire Broadway cast except Jessica Tandy, who was replaced by the star of the play's London production, Vivien Leigh. The piece takes its title from one of the New Orleans streetcar lines that protagonist Blanche DuBois (Leigh) rides on her way to the apartment of her sister Stella (Kim Hunter), foreshadowing her later path, from (ever-unfulfilled) Desire to Cemetery (death, or the loss of reality) and a street called Elysian Fields, like the ancient mythological land of the dead.

Although Blanche is the person most visibly engaging in deception (of herself and others), almost everyone of the characters suffers loss after a brutal reality check: Stella, who hasn't been back home for years, first learns from Blanche that their genteel home Belle Reve (literally: "beautiful dream") is "lost" - although in what manner precisely Blanche doesn't specify, which immediately raises the suspicion of Stella's husband Stanley (Marlon Brando) - only to later hear from Stanley that under the veneer of Blanche's appearance as a delicate Southern lady lies a promiscuous past, and the true circumstances of her ouster from her job and ultimately from their home town were not as Blanche would have Stella believe. Stanley's friend Mitch (Karl Malden), who despite their disparate social backgrounds intends to marry Blanche after they are drawn to each other by their mutual need for "somebody" in their life, is similarly disillusioned by Stanley, and subsequently by Blanche herself when he insists on seeing her in bright light instead of the dim light of dancehalls and of the paper lamp she has insisted on hanging over Stella and Stanley's living room lamp, neither able to face the effects of age and a profligate lifestyle herself nor willing to reveal them to others. And Blanche's own loss of innocence, finally, set in years earlier, when she found her young husband in bed with another man and he committed suicide after she publicly reproached him. "Nobody sees anybody truly but all through the flaws of their own egos. That is the way we all see each other in life," Tennessee Williams says about "A Streetcar Named Desire" in Kazan's 1988 autobiography "A Life;" and in a letter opposing the movie's censoring before its release he described the story as being about "ravishment of the tender, the sensitive, the delicate, by the savage and brutal forces of modern society."

The brute, of course, is Stanley, who not only becomes the catalyst of Blanche's fate and the destroyer of Stella's, Mitch's and Blanche's own illusions, but is her antagonist in everything from background to personality: Where she is a fading belle dreaming of days gone by he is all youthful virility, a working-class man living in the here and now; where she is refined he is crude, and where she engages in pretense, he tears down the facade behind which she is hiding. The conversation during which Stanley tells Stella about Blanche's past is pointedly set against Blanche's humming the Arlen/Harburg tune "It's Only a Paper Moon," which sees love transforming life into a fantasy world, which in turn however "wouldn't be make-believe if you believed in me." Yet, as portrayed by Marlon Brando, who with this movie stormed into public awareness with his unique and volcanic approach to acting, Stanley is no mere vulgar beast but a complex, often controversial character, despite his brutal streak almost childishly dependant on his wife and frequently hiding his own insecurities under his raw appearance (thus putting up a certain front as well, but unlike Blanche's, a socially acceptable, even common one). Ever the method actor, Brando reportedly stayed in character even during filming breaks; much to the disgust of Vivien Leigh, for whom lines like "[h]e's like an animal. ... Thousands of years have passed him right by and there he is: Stanley Kowalski, survivor of the stone-age, bearing the raw meat home from the kill in the jungle" must consequently have come from the bottom of her heart.

In early 1950s' society, "Streetcar" was considered way too risque - even downright sordid - to be presented to moviegoing audiences without severe censorship, which Williams and Kazan were only partly able to fight. One of the most substantial changes made in the adaptation was that at the end of the movie Stanley is punished for his brutality towards Blanche, whereas in the play's cynical original ending he is the only character experiencing no loss at all; indeed seeing his world restored after Blanche's exit. Since Kazan's suggestion to produce two alternate versions (one to please the censors, one in conformity with Williams's play) was rejected, even the 1993 "Original Director's Version" retains its altered, censorship-induced ending. Therefore, the play will forever constitute the last word on Williams's intentions. But even in its censored version this movie was a deserved quadruple Oscar- and multiple other award-winner (albeit undeservedly not for Brando). It has long-since become a true classic: a cinematic gem of first-rate direction and superlative performances throughout.

And so it was I entered the broken world
To trace the visionary company of love, its voice
An instant in the wind (I know not whither hurled)
But not for long to hold each desperate choice.

Hart Crane, "The Broken Tower"
(Preface to the published version of Tennessee Williams's play.)

The beginnings of method acting., 10 May 2004
Originally a play by Tennessee Williams, A Streetcar Named Desire follows Blanche DuBois (Vivien Leigh) as she is shunned off of the family plantation after sleeping with one of her students. She goes to New Orleans to stay with her sister Stella (Kim Hunter). Stella is married to the working class Stanley Kowalski (Brando). He is a passionate, violent, self-conscious mess of contradictions. A rivalry ensues between Blanche and Stanley that ultimately ends her.

What is interesting about this film is its place in film history. The Motion Picture Producers and Distributors of America (MPPDA), which Will Hays created in 1929, monitored and censored the content of films closely during its reigning years. However following the Supreme Court's decision in the 1950s, (where they conceded that film should be protected under the First Amendment) it was decided that the Hays Office's demands were not legally obligatory. As a result of this the MPPDA ultimately transformed into the more relaxed MPAA, or Motion Picture Association of America..

A Streetcar Named Desire was made at a time when the MPPDA still had some power in Hollywood, thus enabling them to influence and force director Elia Kazan to cut "unacceptable" scenes from the film. For instance, scenes about Blanche's late husband's homosexuality and her continual desire to have sex had to be eliminated. Likewise the end of the movie, which is more vague than it is explicit, originally showed the event that is, in the final version, only implied. Because of the struggle with the ratings board, even to just allow the implied rape, A Streetcar Named Desire is an important film because it diminished the iron grip the MPPDA's had on cinema and helped in destroying film censorship. So the film deserves plenty of credit for helping end Hollywood censorship, which prevented creative freedom and burdened the movie industry for decades.

Also of note, Brando's performance was revolutionary in 1951. Elia Kazan is credited for inventing method acting. Marlon Brando put this new form into good use as his performance was passionate, animalistic and brutally realistic. Brando’s representation of Stanley Kowalski marked a change in masculine depiction in the 50s. Although previous actors had shown anger and violent predispositions, they never quite mastered Brando's passion and realism.

This is a film that is worthy of remembrance, not only because it is credit with being the reason method acting started but also because it is an interesting psychological examination of the characters within it.

I enjoyed it, although it may not be everyone’s cup of tea.

A masterpiece, 12 Dec 2003
A streetcar named desire is a masterpeice. The conflict between Stanley's brutish and untamed masculinity and Blanche's once refined but manipulative sexuality is explosive. Blanche whom after a life of death and tragedy is mentally unfit, clings helplessly to her past beauty and upbringing which contribute to the only identity she has in the world. Now her life depends on the kindness of Stanley and his wife her sister Stella who is captivated in Stanley's sexuality and masculinity which the viewer will find both attractive and repulsive. The conflict between stanley whose masculinity makes him unable to control his behaviour, is onset by blanche's constant remindings of her past position in society makes the sexual anxiety run high in this movie.

Tennessee William's play about the twisted ways of love, 16 Nov 2002
In "A Streetcar Named Desire" Marlon Brando as Stanley Kowalski gives what is clearly the best acting performance not to win an Academy Award (he lost to Humphrey Bogart in "The African Queen"). Vivien Leigh as Blanche DuBois, Kim Hunter as Stella Kowalski, and Karl Malden as Mitch all won in their respective acting categories. Years later, with "Who's Afraid of Virginia Woolf?" this same thing happened, with both of the ladies winning that time around.

Tennessee Williams' play is one of the major works in American drama, especially after the Second World War, winner of the Pulitzer Prize for drama in 1947 (with Jessica Tandy as Blanche the only cast change from the film; although I should point out Leigh opened the play in England on stage). Although Brando's performance is riveting, representing the new "modern" method of acting at its best, the play is really about the mental and moral disintegration of Blanche, a neurotic former Southern belle whose genteel illusions are no match for the brutish realities of her brother-in-law, Stanley. The fact that Hollywood changed the ending to reflect conventional morality remains one of the great sins in movie history, but I have always thought the fact Brando's legendary stage performance was essentially preserved on film offsets that in the final judgment. Leigh's performance is often seen as an extension of the Scarlett O'Hara role that made her famous, but of course now we know her personal life was as tortured as the character she was playing.

I heard an argument once that "A Streetcar Named Desire" was, at least on some level, a reponsible by Tennessee Williams to Eugene O'Neill's play "The Iceman Cometh" (then again, I have heard the same argument made, more forcefully to be sure, regarding Edward Albee's "Who's Afraid of Virginia Woolf?"). O'Neill's classic play deals with the human need for illusion and hope as necessary weapons against despair. If you are teaching American drama in the 20th century, then using these plays in any combination you might like could be quite provocative for your students.

Personal aside: I was in New Orleans once and actually saw the bus named "Desire," which had replaced the city streetcars. There was certainly an odd little moment.

Most significant line: It does not seem right to talk about romantic lines with any of these characters, but there is a line that is one of the greatest character epitaphs ever. Of course, this is at the end where Blanches says to the doctor, "Whoever you are, I have always depended upon the kindness of strangers." I have usually found that at some point in a play there is a line that defines the character so well it could serve as their epitaph. This line is as clear an example of what I am talking about as you could ever hope to find.

Pure drama and intrigue!!!!, 11 Jan 2002
This is a milestone in cinematic history! It shocked critics and caused censorship to be introduced.
Marlon Brando is magnificent as Stanley, the brooding bully who mentally tortures his sister in law Blanche, a superb Vivien Leigh!
The acting is intense and the setting adds to the intensity and seediness of the film. I don't want to give too much away, but, it's a bit of a depressing film so don't expect it to uplift you!
It really is an achievement and must be seen, NOW!!!

Paper Moon., 21 Jun 2004
As a playwright, Tennessee Williams was to the South what William Faulkner was as a fiction writer: a creative genius who revolutionized not only the region's arts scene and literature but that of 20th century America as a whole, bringing a Southern voice to the forefront while addressing universally important themes, and influencing and inspiring generations of later writers.

Pulitzer-Prize-winning "A Streetcar Named Desire" dates from the peak of Williams's creativity, the period between 1944 ("A Glass Menagerie") and 1955 ("Cat on a Hot Tin Roof," his second Pulitzer-winner). After its successful 1947 run on Broadway, "Streetcar" was adapted into a screenplay by Williams himself for this movie produced and directed by Elia Kazan, starring the entire Broadway cast except Jessica Tandy, who was replaced by the star of the play's London production, Vivien Leigh. The piece takes its title from one of the New Orleans streetcar lines that protagonist Blanche DuBois (Leigh) rides on her way to the apartment of her sister Stella (Kim Hunter), foreshadowing her later path, from (ever-unfulfilled) Desire to Cemetery (death, or the loss of reality) and a street called Elysian Fields, like the ancient mythological land of the dead.

Although Blanche is the person most visibly engaging in deception (of herself and others), almost everyone of the characters suffers loss after a brutal reality check: Stella, who hasn't been back home for years, first learns from Blanche that their genteel home Belle Reve (literally: "beautiful dream") is "lost" - although in what manner precisely Blanche doesn't specify, which immediately raises the suspicion of Stella's husband Stanley (Marlon Brando) - only to later hear from Stanley that under the veneer of Blanche's appearance as a delicate Southern lady lies a promiscuous past, and the true circumstances of her ouster from her job and ultimately from their home town were not as Blanche would have Stella believe. Stanley's friend Mitch (Karl Malden), who despite their disparate social backgrounds intends to marry Blanche after they are drawn to each other by their mutual need for "somebody" in their life, is similarly disillusioned by Stanley, and subsequently by Blanche herself when he insists on seeing her in bright light instead of the dim light of dancehalls and of the paper lamp she has insisted on hanging over Stella and Stanley's living room lamp, neither able to face the effects of age and a profligate lifestyle herself nor willing to reveal them to others. And Blanche's own loss of innocence, finally, set in years earlier, when she found her young husband in bed with another man and he committed suicide after she publicly reproached him. "Nobody sees anybody truly but all through the flaws of their own egos. That is the way we all see each other in life," Tennessee Williams says about "A Streetcar Named Desire" in Kazan's 1988 autobiography "A Life;" and in a letter opposing the movie's censoring before its release he described the story as being about "ravishment of the tender, the sensitive, the delicate, by the savage and brutal forces of modern society."

The brute, of course, is Stanley, who not only becomes the catalyst of Blanche's fate and the destroyer of Stella's, Mitch's and Blanche's own illusions, but is her antagonist in everything from background to personality: Where she is a fading belle dreaming of days gone by he is all youthful virility, a working-class man living in the here and now; where she is refined he is crude, and where she engages in pretense, he tears down the facade behind which she is hiding. The conversation during which Stanley tells Stella about Blanche's past is pointedly set against Blanche's humming the Arlen/Harburg tune "It's Only a Paper Moon," which sees love transforming life into a fantasy world, which in turn however "wouldn't be make-believe if you believed in me." Yet, as portrayed by Marlon Brando, who with this movie stormed into public awareness with his unique and volcanic approach to acting, Stanley is no mere vulgar beast but a complex, often controversial character, despite his brutal streak almost childishly dependant on his wife and frequently hiding his own insecurities under his raw appearance (thus putting up a certain front as well, but unlike Blanche's, a socially acceptable, even common one). Ever the method actor, Brando reportedly stayed in character even during filming breaks; much to the disgust of Vivien Leigh, for whom lines like "[h]e's like an animal. ... Thousands of years have passed him right by and there he is: Stanley Kowalski, survivor of the stone-age, bearing the raw meat home from the kill in the jungle" must consequently have come from the bottom of her heart.

In early 1950s' society, "Streetcar" was considered way too risque - even downright sordid - to be presented to moviegoing audiences without severe censorship, which Williams and Kazan were only partly able to fight. One of the most substantial changes made in the adaptation was that at the end of the movie Stanley is punished for his brutality towards Blanche, whereas in the play's cynical original ending he is the only character experiencing no loss at all; indeed seeing his world restored after Blanche's exit. Since Kazan's suggestion to produce two alternate versions (one to please the censors, one in conformity with Williams's play) was rejected, even the 1993 "Original Director's Version" retains its altered, censorship-induced ending. Therefore, the play will forever constitute the last word on Williams's intentions. But even in its censored version this movie was a deserved quadruple Oscar- and multiple other award-winner (albeit undeservedly not for Brando). It has long-since become a true classic: a cinematic gem of first-rate direction and superlative performances throughout.

And so it was I entered the broken world
To trace the visionary company of love, its voice
An instant in the wind (I know not whither hurled)
But not for long to hold each desperate choice.

Hart Crane, "The Broken Tower"
(Preface to the published version of Tennessee Williams's play.)

The beginnings of method acting., 10 May 2004
Originally a play by Tennessee Williams, A Streetcar Named Desire follows Blanche DuBois (Vivien Leigh) as she is shunned off of the family plantation after sleeping with one of her students. She goes to New Orleans to stay with her sister Stella (Kim Hunter). Stella is married to the working class Stanley Kowalski (Brando). He is a passionate, violent, self-conscious mess of contradictions. A rivalry ensues between Blanche and Stanley that ultimately ends her.

What is interesting about this film is its place in film history. The Motion Picture Producers and Distributors of America (MPPDA), which Will Hays created in 1929, monitored and censored the content of films closely during its reigning years. However following the Supreme Court's decision in the 1950s, (where they conceded that film should be protected under the First Amendment) it was decided that the Hays Office's demands were not legally obligatory. As a result of this the MPPDA ultimately transformed into the more relaxed MPAA, or Motion Picture Association of America..

A Streetcar Named Desire was made at a time when the MPPDA still had some power in Hollywood, thus enabling them to influence and force director Elia Kazan to cut "unacceptable" scenes from the film. For instance, scenes about Blanche's late husband's homosexuality and her continual desire to have sex had to be eliminated. Likewise the end of the movie, which is more vague than it is explicit, originally showed the event that is, in the final version, only implied. Because of the struggle with the ratings board, even to just allow the implied rape, A Streetcar Named Desire is an important film because it diminished the iron grip the MPPDA's had on cinema and helped in destroying film censorship. So the film deserves plenty of credit for helping end Hollywood censorship, which prevented creative freedom and burdened the movie industry for decades.

Also of note, Brando's performance was revolutionary in 1951. Elia Kazan is credited for inventing method acting. Marlon Brando put this new form into good use as his performance was passionate, animalistic and brutally realistic. Brando’s representation of Stanley Kowalski marked a change in masculine depiction in the 50s. Although previous actors had shown anger and violent predispositions, they never quite mastered Brando's passion and realism.

This is a film that is worthy of remembrance, not only because it is credit with being the reason method acting started but also because it is an interesting psychological examination of the characters within it.

I enjoyed it, although it may not be everyone’s cup of tea.

A masterpiece, 12 Dec 2003
A streetcar named desire is a masterpeice. The conflict between Stanley's brutish and untamed masculinity and Blanche's once refined but manipulative sexuality is explosive. Blanche whom after a life of death and tragedy is mentally unfit, clings helplessly to her past beauty and upbringing which contribute to the only identity she has in the world. Now her life depends on the kindness of Stanley and his wife her sister Stella who is captivated in Stanley's sexuality and masculinity which the viewer will find both attractive and repulsive. The conflict between stanley whose masculinity makes him unable to control his behaviour, is onset by blanche's constant remindings of her past position in society makes the sexual anxiety run high in this movie.

Tennessee William's play about the twisted ways of love, 16 Nov 2002
In "A Streetcar Named Desire" Marlon Brando as Stanley Kowalski gives what is clearly the best acting performance not to win an Academy Award (he lost to Humphrey Bogart in "The African Queen"). Vivien Leigh as Blanche DuBois, Kim Hunter as Stella Kowalski, and Karl Malden as Mitch all won in their respective acting categories. Years later, with "Who's Afraid of Virginia Woolf?" this same thing happened, with both of the ladies winning that time around.

Tennessee Williams' play is one of the major works in American drama, especially after the Second World War, winner of the Pulitzer Prize for drama in 1947 (with Jessica Tandy as Blanche the only cast change from the film; although I should point out Leigh opened the play in England on stage). Although Brando's performance is riveting, representing the new "modern" method of acting at its best, the play is really about the mental and moral disintegration of Blanche, a neurotic former Southern belle whose genteel illusions are no match for the brutish realities of her brother-in-law, Stanley. The fact that Hollywood changed the ending to reflect conventional morality remains one of the great sins in movie history, but I have always thought the fact Brando's legendary stage performance was essentially preserved on film offsets that in the final judgment. Leigh's performance is often seen as an extension of the Scarlett O'Hara role that made her famous, but of course now we know her personal life was as tortured as the character she was playing.

I heard an argument once that "A Streetcar Named Desire" was, at least on some level, a reponsible by Tennessee Williams to Eugene O'Neill's play "The Iceman Cometh" (then again, I have heard the same argument made, more forcefully to be sure, regarding Edward Albee's "Who's Afraid of Virginia Woolf?"). O'Neill's classic play deals with the human need for illusion and hope as necessary weapons against despair. If you are teaching American drama in the 20th century, then using these plays in any combination you might like could be quite provocative for your students.

Personal aside: I was in New Orleans once and actually saw the bus named "Desire," which had replaced the city streetcars. There was certainly an odd little moment.

Most significant line: It does not seem right to talk about romantic lines with any of these characters, but there is a line that is one of the greatest character epitaphs ever. Of course, this is at the end where Blanches says to the doctor, "Whoever you are, I have always depended upon the kindness of strangers." I have usually found that at some point in a play there is a line that defines the character so well it could serve as their epitaph. This line is as clear an example of what I am talking about as you could ever hope to find.

Pure drama and intrigue!!!!, 11 Jan 2002
This is a milestone in cinematic history! It shocked critics and caused censorship to be introduced.
Marlon Brando is magnificent as Stanley, the brooding bully who mentally tortures his sister in law Blanche, a superb Vivien Leigh!
The acting is intense and the setting adds to the intensity and seediness of the film. I don't want to give too much away, but, it's a bit of a depressing film so don't expect it to uplift you!
It really is an achievement and must be seen, NOW!!!

"Mommy...can I go out and kill tonight?", 16 Jan 2007
The Misfits were hugely influential in introducing graphic horror to the punk genre. This compilation, and its companion 'Collection II', includes the majority of their studio material from 1977 to the break-up of the original band in 1983. Glenn Danzig, who fronted the group, epitomised the DIY punk ethic: he single-handedly wrote all the songs, founded the fan club (the now legendary "Fiend Club"), made record covers by hand, printed t-shirts and mailed out letters and merchandise info. Between '77 and '83, many Misfits players came and went. The only other permanent member was bassist Jerry Only, who invented The Misfits' famous "devilock" hairstyle. Jerry's brother, the self-titled Doyle Wolfgang von Frankenstein, played guitar from '80-'83. The Misfits were named after the title of Marilyn Monroe's last movie, and adopted as a logo the image of a ghastly skull (nick-named "The Fiend") from 1946 horror movie 'The Crimson Ghost'.

Danzig had the lyrics to match their gothic appearance - on this album, 'London Dungeon', 'Night Of The Living Dead' and 'Death Comes Ripping' need no explanation. In the same pop trash vein, 'I Turned Into A Martian' and 'Teenagers From Mars' explore his love of kitsch sci-fi. Musically, Danzig referenced 50's rock 'n roll with instantly memorable guitar hooks, and the dynamism of his singing (which earned him the nick-name "Evil Elvis"). The Misfits played at a frantic pace - any track that made it past 3 minutes was an epic - and their production values showed total disregard for sharp, clear audio. The combination of Danzig's melodic songwriting with the band's vicious, chaotic performance style creates a unique tension that many have tried to imitate since.

Between this album and 'Collection II', it's a toss-up which one features more classic material. Quite frankly, it doesn't matter, because they both belong in every punk fan's stereo. As for "What happened next?", post-1983 Danzig went on to front Samhain, and then the self-named 'Danzig' (still active today), both of which followed the cult success of the original Misfits with exciting alternative music. Jerry Only spent 12 years in obscurity before resurrecting The Misfits in 1995, without Danzig, after a bitter legal battle over the rights to the band name. Michale Graves, Danzig's replacement, proved to be an excellent frontman (although his performances largely mimicked the "Evil Elvis" vocal style), but he only lasted for 2 albums before leaving to start a solo career. Since then, Only has attempted to front the band himself, with less successful results. Sadly, due to continuing acrimony on both sides, a classic Misfits reunion continues to look unlikely.

Misfits newcomer? Get this., 14 Sep 2004
We all know what a state the Misfits have become in recent years, and 'The New Misfits' is hopefully a signal that they will finally be laid to rest. But listening to this collection of songs from throughout the original horror-punkers discography, you would have imagined they would never be defeated.

Many of the highlights of the original albums are present here; songs like She, Skulls, Where Eagles Dare, London Dungeon and Die,Die My Darling are reminders as to what the Misfits used to be.

We all hate Glenn Danzig now, and laugh at him whenever we can, but on this collection we can see why he was such an influential and iconic frontman back in the day. He actually has a great singing voice. Musically, the Misfits were not spectacular. It's pretty much run-of-the-mill punk, but that's all it needs to be. That isn't to say that they didn't have their share of cool riffs (I love the opening riff to Vampira). Of course, the production on this CD isn't crystal clear, given that the songs were recorded in the 70s, but it's not overly terrible.

This CD will serve as a perfect introduction to anyone wanting to give the Misfits a try, although it's a pointless purchase if you already own a few of their albums. There isn't anything new - no new songs, and nothing at all in the liner booklet. But again, this is a perfect selection of songs for newcomers.

The Misfits ROCK!!!!!!!!!!!!, 17 Oct 2001
This album is a fine combination of a lot of the amazing Misfit songs. If you are a fan and you haven't got this yet you better hurry up and buy this. Then buy collection II which is hard to get. This album has most of my favourite misfits songs like she, bullet etc. every single song on this album is amazing it is really worth it's value. So if you haven't got it go and get it.

The Perfect Introduction ToThe Madness Of The Fiends...., 22 Jan 2001
If there was a way to buy instant punk rock credibility - youd buy it, wouldnt you??

If the answer to the above is yes, then MIsfits collection Vol.1 is for you. A collection of the essential Misfits tracks from the early part of their career, no one could hope for a better introduction to the band - unarguably one of the most important outfits of the scene to date - or perhaps even the whole punk scene.

Nestling nicely between obscurity and cult, The Misfits "cant play, but hold a killer melody" B movie inspired madness will perhaps never be quite as well exemplified as it here (despite the excellence of their newer material) on tracks such as Hollywood Babylon, Skulls, Teenagers From Mars and the ripping Bullet.

Some of the best songs by one of the best bands around.