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Plan 9 Records

Plan 9 Records was an independent American founded in 1977 by musician , initially under the name Blank Records, to release early recordings by his band the . Renamed Plan 9 Records after the cult film directed by , the label became central to the punk and horror rock scenes of the late 1970s and 1980s, distributing the ' singles such as "Bullet" (1978), as well as full-length works like the compilation Collection I (1986). It later supported Danzig's post- projects, including the band's successor —releasing albums like Initium (1984) and November-Coming-Fire (1986)—and select solo efforts by Danzig, such as the single "Who Killed Marilyn?" (1981) and the neoclassical album (1992). The label's operations were closely tied to Danzig's creative control, with many releases initially self-produced and distributed in limited runs through fan clubs like the Misfits' Fiend Club, reflecting the DIY ethos of the era's community. After 1986, Plan 9 partnered with for broader distribution, enabling wider reach for and early Danzig material. However, internal conflicts within the led to its demise; in 1995, amid a legal dispute over band rights and trademarks, Danzig settled with bassist , resulting in the label's discontinuation and the transfer of certain assets to Only's control. Despite its short lifespan, Plan 9 Records remains influential for preserving raw, influential and metal recordings that shaped horror-themed rock.

History

Founding and name change

Plan 9 Records was originally established in 1977 by in , under the name Blank Records, as a means to self-release recordings by his newly formed band, the , during an era when major labels exhibited limited interest in the burgeoning scene. The label operated as a quintessential DIY venture, with Danzig personally overseeing production, pressing, and initial distribution from his home to circumvent the barriers faced by independent acts. The inaugural release on Blank Records was the ' debut single, "Cough/Cool" backed with "She" (catalog number Blank 101), issued in August 1977 in a limited pressing of approximately 500 copies that Danzig hand-assembled and mailed to supporters. This 7-inch record, featuring Danzig on alongside the band's raw sound, marked the label's entry into the world and exemplified its bootstrapped approach. In 1978, a trademark dispute arose when Mercury Records independently launched its own Blank Records imprint for Pere Ubu's debut album, , without knowledge of Danzig's prior registration of the name. To resolve the conflict, Danzig traded the Blank Records name to Mercury in exchange for 30 hours of free studio time, prompting a rebranding to Plan 9 Records. The new moniker drew direct inspiration from Ed Wood's 1959 cult science-fiction film , resonating with the Misfits' thematic fixation on B-horror aesthetics and reinforcing the label's niche in . Throughout its early phase, Plan 9 Records maintained its home-based operations in Lodi, with Danzig handling mailing lists, , and even artwork design to sustain the label's and direct connection to fans via the Misfits' Fiend Club. This hands-on model not only enabled the release of subsequent material but also embodied the ethos of self-reliance amid industry indifference.

Expansion and distribution

Following the initial releases under its rebranded name, Plan 9 Records experienced significant growth in output from 1979 to 1986, focusing primarily on the Misfits' material to solidify a niche in horror punk. Key EPs such as Horror Business (released June 26, 1979), which featured tracks blending punk aggression with horror-themed lyrics, marked an early surge and helped establish the label's signature sound. This period saw increased production of Misfits singles and EPs, including Night of the Living Dead (1979) and 3 Hits from Hell (1981), alongside the band's debut album Walk Among Us (1982), which was primarily released through Ruby Records. The label's commitment to this genre was evident in limited-edition pressings, often on colored vinyl, which built a dedicated fanbase through mail-order sales and independent networks. By 1983, as the disbanded, Plan 9 shifted toward broader and hardcore influences with the formation of , led by . Samhain's debut album Initium (released August 1984) exemplified this evolution, incorporating darker, more experimental elements while maintaining Danzig's songwriting vision that moved beyond strict constraints. The label released subsequent Samhain works like Unholy Passion (1985) and November-Coming-Fire (1986), expanding its roster to reflect Danzig's growing artistic ambitions and attracting a wider audience interested in gothic and metal-infused . A pivotal business development came in 1987 with a distribution agreement between Plan 9 and , which professionalized operations and extended reach across the U.S. and internationally. This partnership facilitated broader availability of releases, such as the ' live album (1987), allowing Plan 9 to scale beyond DIY methods while retaining creative oversight. Throughout this expansion, production emphasized control by Danzig, who handled songwriting, recording, and often artwork; sessions utilized New York-area studios like C.I. Recording and The Song Shop for projects, and Mix-O-Lydian Studio in for , ensuring a cohesive aesthetic across outputs.

Legal disputes and closure

By the early 1980s, escalating internal tensions within the , particularly between frontman and bassist over creative control and band direction, had reached a breaking point. These disputes culminated in the band's final performance on October 29, 1983, at the On Broadway club in , with the official disbandment occurring in 1983. Although Danzig retained control of Plan 9 Records, the label he founded, ongoing conflicts arose with Only and other former members regarding master rights to the Misfits' recordings. These simmering issues erupted into formal legal action when filed a against Danzig in 1994, seeking control over the trademarks, including the iconic "fiend skull" logo, as well as ownership stakes in Plan 9 Records. The suit highlighted disputes over royalties, merchandising, and the label's operations, which Only argued Danzig had monopolized post-breakup. In March 1994, the parties met to negotiate, leading to an out-of-court settlement finalized on January 1, 1995, which granted Only and his brother exclusive rights to perform and record as the while sharing merchandising revenues with Danzig; as part of the agreement, Danzig was compelled to discontinue Plan 9 Records entirely and sell the master tapes to . In the years leading up to closure, Plan 9 issued several archival releases, including the compilation Collection I in 1986, which gathered early singles and tracks, and Samhain's Final Descent in 1990—a posthumous collection of outtakes and demos from Danzig's post- project. After the 1995 settlement, no further material was released under the Plan 9 imprint, effectively ending its operations. The closure marked a pivotal shift for Danzig, who had already transitioned from independent releases on Plan 9 to major-label backing for his solo career, beginning with the self-titled debut album by his band Danzig on Def American Recordings in 1988. This move to larger labels like Def American (later American Recordings) represented the conclusion of Danzig's independent era tied to the and , allowing him to pursue heavier, metal-influenced projects with greater resources.

Artists

Core roster

Plan 9 Records' core roster centered exclusively on projects led by founder , a strategy that prioritized thematic cohesion in horror-infused punk and metal over broader artistic diversity. This approach enabled the label to build a unified catalog emphasizing dark, cinematic aesthetics, with Danzig's vision driving all major outputs from inception through the early . The , formed in 1977 with Danzig as frontman, anchored the label's early years as pioneers until their 1983 disbandment. Operating under Plan 9's direct control, the band released seminal EPs and albums like (1979) and Earth A.D./Wolf's Blood (1983), blending raw punk aggression with B-movie horror motifs to define the label's foundational sound and influence subsequent acts in the genre. Danzig's subsequent band, (1983–1987), served as a core transitional project post-Misfits, evolving the label's output toward , , and proto-metal territories. Over their tenure, Samhain issued two full-length albums on Plan 9, Initium (1984) and November-Coming-Fire (1986), which incorporated heavier riffs and atmospheric depth to bridge punk's immediacy with emerging metal complexities while preserving horror-centric themes. Glenn Danzig's solo endeavors on the label included the early single "Who Killed Marilyn?" (1981) and culminated in the 1992 instrumental album , showcasing orchestral and elements distinct from his band work. These projects highlighted Plan 9's flexibility in supporting Danzig's experimental side, extending the label's horror legacy into ambient, film-score-like territory without diluting its core identity.

Peripheral releases

Plan 9 Records maintained a highly selective approach to its roster, releasing music by only four unique acts throughout its history, all rooted in the American punk and scenes with no international signings or ventures into diverse genres. This DIY ethos prioritized quality and personal connections over broad commercial expansion, limiting the label's output to acts closely tied to founder . The sole non-Danzig release on the label was the 1978 EP by the punk band The Victims, issued as catalog number PL1005. Formed in 1976, The Victims captured the raw energy of the early U.S. scene with glam-influenced tracks like "Annette" and "Nervous," reflecting Plan 9's initial support for local talent shortly after its founding. However, the EP was quickly discontinued, with low print runs contributing to its rarity and cult status among collectors today, often fetching high prices due to its scarcity. The peripheral nature of these projects underscored Plan 9's focus on its core Danzig-centric bands, with such exceptions remaining isolated rather than indicative of wider label ambitions.

Discography

Singles and EPs

Plan 9 Records' singles and EPs output primarily featured the in its early years, with later releases including , emphasizing short-form punk tracks with aesthetics. These releases were predominantly issued on 7-inch and 12-inch formats, showcasing DIY production methods such as hand-printed sleeves and limited press runs, often incorporating imagery of skulls, zombies, and motifs to align with the label's thematic focus on elements. Early pressings were self-distributed through mail-order and channels, evolving to broader distribution via by the mid-1980s, though original issues avoided cassettes or digital formats until later reissues. The label's inaugural release was the ' "Cough/Cool" 7-inch single in August 1977 (catalog PLAN 9-001 or Blank 101), pressed in 500 copies on black vinyl at Rainbow Studio with a thin and large center hole, marking the DIY ethos of founder . This was followed by the EP in June 1978 (catalog PL1001), a 7-inch pressing totaling around 3,000 copies (1,000 black vinyl initially, followed by 2,000 red), recorded at C.I. Recording with silk-screened sleeves and lyric inserts. In 1979, the issued two EPs: on June 26 (catalog PL1009), limited to 2,025 copies (25 black vinyl test pressings and 2,000 yellow), also recorded at C.I. Recording and including insert in some copies; and on October 31 (catalog PL1011), a 7-inch EP of 2,000 copies produced by D. Zelonky at The Song Shop, featuring a checkered insert. The Beware EP followed in January 1980 (catalog PLP9), a UK-market 12-inch of prior singles pressed in 3,120 copies to promote the band's 1979 tour with The Damned, recorded across multiple sessions at C.I. Recording and featuring a distorted band photo cover with Fiend Club inserts in select copies. The year 1981 saw three Misfits releases: the 3 Hits from Hell EP in April (catalog PL1013), a 7-inch pressing of approximately 10,000 copies (7,000 black with grey/white labels and 3,000 black with red/orange labels), recorded at Master Sound with Fiend Club inserts; the "Who Killed Marilyn?" 7-inch single on August 5 (catalog PL1015), initially 5,000 black vinyl copies mixed at Mix-O-Lydian; and the Halloween 7-inch single on October 30 (catalog PL1017), limited to 5,000 copies with an orange lyric insert and rare black/white sleeve variants. These maintained the label's focus on vinyl singles with punk urgency and horror visuals. Subsequent Misfits EPs included in December 1982 (catalog PL1019), a live 7-inch EP limited to 1,000 stamped and numbered copies for Fiend Club members (plus 99 packs), drawn from 1981 performances with Fiend Club inserts and unique cover variants; and in May 1984 (catalog PL9/03), a 12-inch of 5,500 copies (5,000 black and 500 purple ), recorded at Studio with colored vinyl stickers on later white pressings. The label's final EP before closure was Samhain's Unholy Passion 12-inch in January 1985 (catalog PL9-05), pressed in 1,000 black vinyl copies initially (with later runs of 500 red, 200 white, and additional black on tan or maroon covers), recorded at Reel Platinum and including Plan 9 order forms or mini-posters as inserts, reflecting the shift to distribution for wider reach.

Full-length albums

Plan 9 Records released a series of full-length albums that marked the evolution of Glenn Danzig's musical projects from the ' punk roots toward and metal influences, often featuring Danzig's hands-on production and thematic shifts toward darker, occult-inspired narratives. These releases, spanning 1983 to 1992, showcased higher production values following the label's distribution deal with in the mid-1980s, allowing for expanded recording resources and wider reach. The label's first full-length album was the Misfits' Earth A.D./Wolfs Blood in 1983, a raw record produced by and that accelerated the band's shift from horror-themed to faster, more aggressive sounds. This 10-track LP captured the band's final studio effort before their breakup, emphasizing speed and intensity over earlier melodic elements. In 1984, Samhain's debut Initium emerged as a pivotal release, with Danzig handling multi-instrumental duties and production to craft nine songs blending aggression with gothic and themes, such as ritualistic imagery in tracks like "Black Dream." The album represented Danzig's post-Misfits vision, incorporating slower tempos and atmospheric elements that foreshadowed his heavier solo work. Legacy of Brutality (Misfits, 1985) served as a post-breakup , compiling 13 archival tracks including unused outtakes from the band's unreleased 1978 sessions, all overdubbed and produced by Danzig to fill the void left by the group's dissolution. Released on colored variants, it preserved early material while highlighting the band's foundational brutality. Samhain's November-Coming-Fire (1986) expanded on Initium's darkness with 10 tracks produced by Danzig, incorporating metal-infused riffs and themes of fire and apocalypse, benefiting from 's early distribution support. The fold-out edition underscored the label's growing attention to packaging amid rising demand. The ' Collection I (also known as Misfits, 1986) compiled 16 tracks of remixed and alternate versions from the band's catalog, produced by Danzig to provide a overview, with handling wider U.S. distribution. This palindrome-titled LP emphasized the group's enduring punk legacy through key singles and rarities. Evilive (Misfits, 1987) documented the band's live energy across 12 tracks recorded in 1981, expanded from an earlier EP and released on LP with Danzig's oversight, capturing their chaotic stage presence during the transition to hardcore. The album's palindrome title and inclusion of guest spots, like Henry Rollins on "We Are 138," highlighted Plan 9's role in archival live documentation. Samhain's Final Descent (1990) combined five new tracks with remixed material from the 1985 Unholy Passion EP, produced by Danzig at Reel Platinum Studios, exploring mature themes in a 11-track format that closed the band's original run. Originally planned as Samhain Grim in 1988, its release on CD and cassette reflected post- production enhancements. Finally, Danzig's instrumental Black Aria (1992) marked a stark departure, featuring nine neoclassical pieces composed and performed by on Plan 9, delving into orchestral darkwave without vocals and produced with symphonic ambitions. Distributed via , it debuted at No. 1 on Billboard's classical , illustrating the label's versatility in supporting experimental shifts.

Legacy

Influence on punk and horror genres

Plan 9 Records played a pivotal role in pioneering the subgenre through its releases by the , whose B-horror-inspired lyrics and imagery drew from low-budget sci-fi and monster films, as exemplified by the sci-fi elements in their 1983 album Earth A.D.. This aesthetic blended 's raw energy with campy tropes, establishing a template for the genre that emphasized theatrical visuals and themes over political commentary typical of contemporaneous acts. The label's support for such innovation helped solidify as a distinct underground movement in the early . The ' output on Plan 9 directly influenced later bands, including , whose early work echoed the fast-paced, horror-infused punk style with tracks like their cover of the ' "Halloween," and the , who adopted similar schlock horror imagery alongside glam-metal flair. These successors expanded the subgenre's reach into the 1990s and 2000s, incorporating Plan 9-era elements like devilocks hairstyles and B-movie references into broader alternative scenes. By providing a platform for the ' uncompromised vision, the label ensured 's enduring appeal beyond its roots. Following the ' dissolution, Plan 9 shifted focus to , whose dark, ritualistic sound on albums like November-Coming-Fire (1986) bridged to gothic and territories, incorporating themes, slower tempos, and atmospheric production that foreshadowed Glenn Danzig's eponymous solo project. This evolution introduced pagan and motifs with a heavier edge, influencing the development of by emphasizing brooding intensity over punk's speed. Samhain's releases prefigured Danzig's blues-infused metal career while laying groundwork for bands exploring similar dark aesthetics. As a quintessential DIY operation, Plan 9 Records embodied the ethos of self-release and artist autonomy, funding and distributing the ' and Samhain's early singles and albums independently to bypass major label interference. This model, which prioritized creative control and direct fan engagement, contributed to the proliferation of independent labels in the 1980s, such as , which similarly championed underground acts against corporate dominance. Plan 9's hands-on approach—handling everything from recording to mail-order sales—reinforced the DIY principle that empowered countless entrepreneurs. The label's name, drawn from Ed Wood's 1959 cult classic —a film renowned for its inept yet endearing sci-fi horror—amplified horror themes within the 1980s scene, aligning punk's irreverence with B-movie . This connection resonated in an era when cult films gained traction among subcultural audiences, enhancing Plan 9's releases' thematic cohesion and helping embed horror iconography into punk's visual and lyrical lexicon. The film's enduring status as a staple mirrored the label's role in fostering a niche community around macabre, .

Post-closure reissues and archival work

Following the 1995 legal settlement between and , which required the closure of Plan 9 Records, the label's masters for the catalog were transferred to . This agreement allowed Caroline to handle reissues of early material, including the comprehensive The Misfits released in 1996, which compiled nearly all of the band's Danzig-era recordings from Plan 9 originals. As part of the same settlement, Danzig retained ownership of the masters. Danzig later reissued Samhain material through his own Records label, such as the 2001 CD edition of Initium. Archival efforts post-closure focused on unearthing and releasing previously unreleased Plan 9 material, particularly for the . A key example is the 1997 release of on , the band's long-shelved 1978 debut album, which was mastered directly from the original Plan 9 tapes to fill historical gaps in their . These compilations and reissues helped preserve the raw punk sound of Plan 9's output, drawing from multi-track tapes that captured the era's live-in-studio sessions. In the digital era as of 2025, early material from the Plan 9 catalog has become available on streaming platforms like , managed through rights holders such as (now under ). However, releases remain unavailable on major streaming services. Vinyl repressions have also surged during the punk revival, with 's Initium seeing unofficial color vinyl editions in 2014 that replicated the original Plan 9 aesthetic to meet collector demand. Ongoing trademark disputes, primarily between Danzig and Only over Misfits-related assets, have complicated official reissues and contributed to the prevalence of bootlegs for both and material. Danzig's retention of Samhain rights has allowed selective control, but legal frictions have limited broader archival accessibility, distinguishing official releases from unauthorized ones.