When news first broke that Type O Negative frontman Peter Steele had died 12 years ago, fans were skeptical as the notorious prankster had sparked rumors of his own death just five years earlier. Unfortunately, on April 14, 2010, it became painfully clear that the news was true. Once it became a reality, the collective devastation and anguish among fans was palpable. The legend had become the embodiment of one of his most prominent lyrical themes: death.
But Steele wasn’t all death and darkness. He was sardonic and witty, a vampiric Pagliacci who masked his pain with biting humor. He was erotic and romantic, a dreamy lover who wore his perversions on his sleeve. He was soft, but tough around the edges, a serious, sensitive Brooklyn boy who could “love you to death” or kick your ass. Indeed, Peter Steele was a multifaceted man with many layers wrapped deep within his tortured core, which was not only reflected in his musical prowess, but also reiterated in interviews with those who had known him.
Steele’s absence has left a huge void within the metal. You can still hear the influence Type O Negative had on so many bands that have since come to fruition, and yet no one can compare to the legend. And on rock radio we remember him with the 10 best Type O Negative songs.
Black No. 1 (Little Miss Scare-All)
Of course, “Black No. 1” is included in this list. Type O Negative’s best-known song is as classic as it gets, and with good reason. A sarcastic parody of gothic narcissism, it’s packed with inescapable hooks, witty lyrics, and playful references, so that even in its 11-minute+ uncut version, and even nearly three decades later, it never goes out of style.
“Wow, this would make a great stripper song!” …no one ever said about Neil Young’s classic “Cinnamon Girl.” Well, that is, until the Canadian’s folk rock track met the “four dicks from Brooklyn,” who fully accentuated Young’s slightly undulating riff to transform it into a full-tilt hip grinder that would have left Elvis Presley clutching her pearls It’s almost as if Type O Negative took the last lyric, “you see, my baby loves to dance,” as inspiration to transform this stiff original into a melody-driven tune that you can actually dance to, instead of tiptoeing around. the fire.
2003’s “Life Is Killing” Me was polarizing for many fans, with its more pop songs and less dark sound, but its seventh track “Anesthesia” has all the touchstones of Type O’s classic, doomy sound and the morbid vision as Steele rhapsodizes an emotionally numb existence. in that immortal hum. “Between birth and death, every breath repents,” he intones, “I pity the living, I envy the dead.”
The first proper song on “Bloody Kisses” is technically three songs in one, the first of which, in its four-and-a-half-minute edited form, was a smash hit. Musically, the fan-favorite owes its infectious hooks to ’80s new wave: “I always like to refer to Type O Negative as ‘Flock of Assholes,'” Steele joked, but its blasphemous lyrics had anything but a radio origin. “She was a Roman Catholic, as much as I was,” Steele recalled of the Christian woman who inspired the song. “But she would break the rules a little bit. She would ask me to dress up as a priest and, well, I guess you can imagine what would happen after that. So, I guess you could say I have a bit of a priest infection.”
Seals & Croft’s “Summer Breeze” is a smooth, folksy song that really captures the essence of its birth year: 1972. Type O Negative transforms this light and fun song into something dark and sexy. The addition of sultry breathy sighs from Steele, as well as some cowbells, give it that Type O Negative signature mark.
From its heavy, doom-laden opening to its whispery, piano-accompanied verses, explosive chorus, and sing-along bridge to its sabbatical finale, this somber “World Coming Down” manages to be earnest, nihilistic, sardonic, and downright funny. , All at the same time. That it sounds especially poignant after the death of Peter Steele only adds to its power.
I love you to death
Sexy, romantic, and goth as fuck, the monumental opening cut of “October Rust,” well, after two 30-second tracks of rambling, is as close to a straight-up love song as anything in the esteemed catalog of the band. But as with all his music, there is always a touch of self-awareness and a bit of irony. As Type O Negative’s Kenny Hickey said in 2010, “‘October Rust’ was intentionally sensual. That was Peter’s ‘pimp drive’, and it worked. It’s a great record, but it was designed to make him a woman.” Well played.
Black Sabbath (from the satanic perspective)
Black Sabbath’s title track is arguably one of the darkest, heaviest and most sinister songs ever written. On a record that set the precedent for heavy metal, this lone song would also help shape the doom metal genre. It’s only fitting that Type O Negative tackle this iconic song as they are the kings of dark vibes and doom. The band really makes this their own. The addition of haunting keyboards, satanic chants, and Peter Steele’s deep singing culminate in a version of this song that might be even more evil than the original.
my girlfriend’s girlfriend
This track and Type O Negative contains one of the most colorful metal video clips ever. Peter Steele’s deep voice is absolutely amazing on this song, and the instruments are out of this world. In the song, he describes a polyamorous relationship and how he feels about it. The song has a light-hearted mood and is included on the band’s 1996 album, “October Rust”.
Day hiker” (Medley)
Considering the era the guys from Type O Negative grew up in, it’s no surprise that they were heavily influenced by The Beatles. This medley contains snippets of “I Want You (Ella She Ella ‘s So Heavy)”, “Tomorrow Never Knows”, “If I Needed Someone” and of course “Day Tripper”. During an interview with MTV, Steele revealed the steps the band took to obtain the rights to these deep cuts. Unsurprisingly, it was an expensive endeavor, but Steele jokes that maybe the money wasn’t enough and drummer Johnny Kelly had to seduce Yoko Ono. Whatever the case, Type O Negative once again reworks existing music and creates something that is completely their own and unique.