Index Misfits Samhain Danzig Misfits '95 Undead Biographies Related Bands Appendices Lyrics/Tab Forum
| Format: | 7" Single. | |
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| Pressing: |
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| Session: | [06//1977 Rainbow Studio] | |
| Notes: | Front cover photo features Manny, Glenn, and Jerry from left to right. "Thanks to Marilyn Clark & Monty" refers to "The Misfits" movie stars: Marilyn Monroe, Clark Gable, and Montgomery Clift. On the back of the single, Glenn incorrectly spelled Jerry Only's real last name as Caifa instead of Caiafa. After this single, Jerry began using his stage name. The sleeve itself is a thin paper glued sleeve and the record has a large center hole. 200 copies of a later, thin vinyl bootleg, almost identical to the first, were distributed in the early 1980s. Please see the bootleg section for informaton on this and other bootlegs. |
cover
art
insert
pressings
alternate
sleeve
| Format: | 7" EP. | ||||||
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| Pressing: |
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| Insert: | Silk-screened color or black and white photocopy lyric sheet. | ||||||
| Session: | [01//1978 C.I. Recording] | ||||||
| Notes: | After the 1st pressing sleeves were printed, the deal with Ork fell through and was cancelled. All distribution was actually done by Plan 9 Records. An almost exact Japanese bootleg exists for the 1st pressing; please see bootleg section for more details. There is also a bootleg of the lyric sheet (most obvious difference: "dint" instead of "dirt"); please see bootleg section for more details. |
| Format: | 7" Acetate. | |
|---|---|---|
| Acetate: | 1 copy with "Teenagers From Mars" on both sides with a small center hole
and a second, offset small hole, owned by Johnathan Grimm (originally owned by
George Germain). 5 copies with "Teenagers From Mars" on one side and "Static Age" on the other side. These copies have a large center hole and a second, offset small hole. Mike Holland owns the copy originally owned by George Germain. |
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| Pressing: |
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| Session: | [01//1978 C.I. Recording] | |
| Notes: | This legendary 7" is a source of great confusion. The single was originally intended to be released on Plan 9 as PL1003. For unknown reasons (probably lack of funds), the idea was dropped. According to Glenn Danzig, the first acetate pressed was an "acetate master" with "Teenagers From Mars" on both sides. This copy went to George Germain. Glenn then had five special acetates made and distributed them as follows: 1 went to Glenn Danzig; 1 went to Jerry Only; 1 went to Max's Kansas City jukebox; 1 went to CBGB's jukebox; 1 went to George Germain. Several of the copies had a The Misfits logo pasted onto a generic, white paper sleeve with the song titles typed on. George Germain's copy did not. The Max's Kansas City copy supposedly turned up at a New York City record convention in 1987 and sold for around $200. Previously, it had sold at a record store named Golden Disc for under a dollar. |
| Format: | 12" Acetate. | |
|---|---|---|
| Acetate: | 1 copy. | |
| Pressing: |
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| Session: | [01//1979 C.I. Recording] | |
| Notes: | This acetate was created for a possible Plan 9 release as PL1007. When Glenn determined that it would be too expensive too release as a 12", he considered releasing it as a two song "Who Killed Marilyn?"/"Where Eagles Dare" 7" (as mentioned in the June 1986 Thrasher interview). The project was never completed and only this 1 exists. Several discographies incorrectly assert that 4 copies of this acetate were made. |
| Format: | 7" EP. | ||||
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| Pressing: |
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| Insert: | Some yellow vinyl copies came with a haunted house insert with a bogus
story to explain sounds that occurred during the recording:
"On February 28, 1979, the Misfits and a mobile recording unit entered an abandoned haunted house in northern New Jersey. They recorded and left. While mixing the tapes back at a NYC recording studio, strange voices and noises were heard in the background. No explanation of these sounds could be given by the band or the recording crew." |
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| Session: | [01//1979 C.I. Recording] | ||||
| Notes: | The pressing number of 5000 copies listed for this release on most discographies (including The Misfits Box Set) is incorrect. In June 1979, Glenn ordered 2000 yellow vinyl copies to be pressed from a record plant in NJ. When he was told that this did not meet the plant's minimum order for colored vinyl, Glenn had the pressing plates shipped to a plant on the west coast, but due to an incombatibility in plate sizes, pressing was delayed. However, Glenn had the plant press a quick batch of 25 copies to be given away at the band's upcoming 06/26/1979 show with The Damned. Meanwhile, Glenn had 2000 sleeves printed with a back cover featuring a group photo of the band. Due to the light coloring of the black ink on the back, Glenn decided to redo the sleeve. Most of the original sleeves were cut in half by Glenn and Bobby; the front covers were saved for use as promotional items, and the back covers were thrown away. Bobby saved about 20-30 uncut sleeves and more than 100 cut sleeves. Some uncut sleeves were also saved by Glenn and given to Barry Henssler of The Necros. Both Bobby and Barry began selling their sleeves in the late 1980s. The alternate sleeves were never folded, glued, or issued with vinyl. Some collectors have since replaced their regular sleeves with the alternate sleeve. The regular pressing of the EP, with the individual band member photos on back, was released in August 1979, arriving from the west coast in 20 boxes of 100 copies each. About 1 copy per box (roughly 20 in all) had A-side center labels on both sides. There are several bootlegs of this release and its insert; please see bootleg section. |
| Format: | 7" EP. | ||
|---|---|---|---|
| Acetate: | 1 12" acetate with "Night Of The Living Dead" at 45 rpm on one side and
"Night Of The Living Dead," "Where Eagles Dare," and "Rat Fink" on 33 rpm on
the other, completely black with no labels, owned by Mike Holland. 1 12" acetate with "Night Of The Living Dead" (scratched out) on one side and "Night Of The Living Dead" with "PL1011-A" matrix on the other, completely black with no labels, owned by Mike Holland. 1 12" acetate with "Where Eagles Dare," "Rat Fink," and "PL-1011-B" matrix on one side, and blank on the other, completely black with no labels, owned by Mike Holland. |
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| Pressing: |
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| Insert: | Checkered Crimson Ghost insert with Fiend Club address. | ||
| Producer: | D. Zelonky and The Misfits. | ||
| Session: | [06//1979 The Song Shop] | ||
| Notes: | The back cover of this EP includes a famous photo of the band taken in New York, NY on Washington Street at the corner of Morton Street. It includes "Rat Fink," the only cover song the band ever recorded in the studio with Glenn. Danny Zelonky of The Mad helped produce this EP, which was originally sold for two dollars at the door to Irving Plaza in New York, NY on the date of release. The Fiend Club insert was not included with all 2000 copies. Several different bootlegs of this release exist; please see bootleg section for details. |
| Format: | 12" EP. | ||
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| Pressing: |
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| Insert: | Some copies sold through the Fiend Club included an 8"x10" distorted photo of the album cover. | ||
| Session: | [01//1978 C.I. Recording] (songs 1-4) [01//1979 C.I. Recording] (songs 5-6) [09//1979 C.I. Recording] (song 7) |
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| Notes: | The record label sticker on side 1 has the band logo, song listings for both sides, and copyright information for the EP. The label sticker on side 2 has a picture of the Crimson Ghost. This EP was supposed to be released to promote the UK tour of 1979, but the record sleeve had not been finished by the time they arrived in the UK. In fact, Glenn came up with the title and scribbled it on a piece of paper (as can be seen on the cover) after seeing signs that said "Beware Bollards" during the tour of England. The EP was finally released after The Misfits returned to the United States. Many discographies list the pressing of this EP at 15,000 copies, but in 2002, an employee of Cherry Records disclosed that the label ordered 3000 copies to be produced. With a slight overrun, the total pressing came to 3120. Many different bootlegs for this release exist; please see bootleg section for details. |
| Format: | 7" EP. | ||||
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| Pressing: |
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| Insert: | Fiend Club advertisement (1st pressing only). | ||||
| Session: | [08//1980 Master Sound] | ||||
| Notes: | The center labels vary greatly in color. Some of the orange labels look pinkish and the grey center labels range from almost white to dark grey. Although most discographies list 3000 grey label copies and 7000 red/orange label copies, the grey vinyl copies are extremely more common. The 2nd pressing was partially distributed by Caroline Records. Glenn had originally planned to include the 1986 reissues in the proposed box set of 4 singles he mentioned in 1986 interviews with Thrasher and Black Market. Several different bootlegs for this release exist; please see bootleg section for details. |
| Format: | 7" Single. | ||||||
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| Pressing: |
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| Session: | [1981 Mix-O-Lydian] | ||||||
| Notes: | Because this Glenn Danzig solo single is collected by almost all Misfits collectors, it is included in this discography. For the 2nd pressing, Glenn colored purple eye shadow on the center labels of some of the copies. There were 3 test press copies for the 2nd pressing in 1983: one went to Glenn, one went to Steve Zing, and one went to Eerie Von. Glenn later sold his copy to Bleecker Bob's in Los Angeles, where it was purchased by Johnathan Grimm. Eerie's copy, now owned by Elizabeth Bouras, has a black and white copy of the regular sleeve, whereas others have no sleeve. At least one purple vinyl copy was issued missing a center label. There are several bootlegs of this single; please see bootleg section. Also, please see "Related Bands" discography for other Glenn Danzig solo releases. |
| Format: | 7" Single. | ||
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| Pressing: |
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| Insert: | Lyrics to "Halloween" on orange paper. | ||
| Producer: | The Misfits. | ||
| Session: | [1981 Mix-O-Lydian] | ||
| Notes: | This record was dedicated to Susan Hannaford Rose of the Monster Movie Club. Although Doyle was credited as guitarist on this single, Bobby Steele's guitar on "Halloween II" was used. At some point, Glenn printed black and white sleeves some singles that had no sleeves. There were allegedly about 10 of these singles given out to his friends (Tesco Vee of The Meatmen and a member of The Big Boys among them). Copies are currently owned by Mike Holland (2), Mauricio Nunez, and Jerry Pardue. Several different bootlegs for this release exist; please see bootleg section for details. |
cover
art
sleeve
insert
band photo
acetate
WB Halloween bag
| Format: | LP, Cassette, CD. | ||||||||||||||||||||
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| Acetate: |
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| Pressing: |
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| Insert: | Fiend Club shirt flyer or glossy photo (first 2 pressings). | ||||||||||||||||||||
| Producer: | The Misfits. | ||||||||||||||||||||
| Session: | [01//1982 Quad Teck] (songs 1-6, 8-13) | ||||||||||||||||||||
| Live: | [12/17/1981: The Ritz; New York, NY] (song 7) | ||||||||||||||||||||
| Notes: | The LP format of this release includes the lyrics and a photo collage on the inner sleeve. To promote the 1988 reissue of the album, Warner Brothers distributed several thousand LP-sized Misfits Halloween bags. All CD copies contain a 1979 photo of the band that is not included on the LP and cassette. Pressings after 1982 do not include the Plan 9 logo. The album was originally intended to be released in 1981 on Plan 9 as PL9/01 with a different track listing (see "Merchandise" section). A double 7" bootleg version of Walk Among Us exists; please see bootleg section for details. |
cover
art & vinyl
insert
"3-pack"
| Format: | 7" EP. | ||
|---|---|---|---|
| Acetate: | 2 acetates labeled "Star Records And Productions, Plan 9, 1981" with "All Hell Breaks Loose" on one side and "We Are 138" on the other. One acetate is owned by Mike Holland and the other by Johnathan Grimm. | ||
| Pressing: |
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| Insert: | Recording information (Fiend Club edition only). | ||
| Live: | [11/20/1981: On Broadway; San Francisco, CA] (songs 6-7) + Henry Rollins: additional vocals (song 7) [12/17/1981: The Ritz; New York, NY] (songs 1-5) |
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| Notes: | An almost perfect bootleg of this release exists; please see bootleg section for details. |
cover
art
cover
colors
CD back
vinyl
| Format: | LP. | ||||||
|---|---|---|---|---|---|---|---|
| Pressing: |
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| Producer: | The Misfits and Spot. | ||||||
| Session: | [07//1983 Fox Studio] | ||||||
| Notes: | All 4 band members are featured as monsters on cover, from left to right with green eyes: Doyle, Jerry, Glenn, Robo. Most discographies incorrectly list the yellow vinyl as 200 copies. Glenn typically pressed 1000 colored vinyl copies of Misfits releases, and coupled with the more common appearance of the yellow vinyl copies in the collector market, it can be assumed that there were actually 500 copies. |
| Format: | 12" EP. | ||||||
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| Pressing: |
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| Live: | [11/20/1981: On Broadway; San Francisco, CA] (songs 6-7) + Henry Rollins: additional vocals (song 7) [12/17/1981: The Ritz; New York, NY] (songs 1-5) |
| Format: | LP. | ||||
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| Pressing: |
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| Producer: | The Misfits and Spot. | ||||
| Session: | [07//1983 Fox Studio] | ||||
| Notes: | This album has the cover art for Wolfs Blood on the front, and Earth A.D. on the back. Both covers are in full color (done by someone who worked at Aggressive Rock Produktionen) as opposed to the black and white original US release. |
cover
art
cover
colors
back cover
colored vinyl
| Format: | 12" Single. | ||||||||||
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| Pressing: |
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| Sticker: | "Colored vinyl." (white vinyl copies only). | ||||||||||
| Producer: | The Misfits and Spot. | ||||||||||
| Session: | [07//1983 Fox Studio] |
| Format: | Cassette, CD. | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Pressing: |
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| Producer: | The Misfits and Spot. | ||||||||||||
| Session: | [07//1983 Fox Studio] | ||||||||||||
| Notes: | All 4 band members are featured as monsters on cover, from left to right with green eyes: Doyle, Jerry, Glenn, Robo. Cassette inlay card incorrectly lists "Bloodfeast" as "Bloodfest." Both the CD and cassette include the extended version of "Mommy, Can I Go Out And Kill Tonight?" |
cover
art
colored
vinyl
CD back cover
| Format: | LP, Cassette, CD. | ||||||
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| Pressing: |
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| Sticker: | "Colored vinyl." (colored vinyl copies only). | ||||||
| Session: | [01//1979 C.I. Recording] (songs 9-10) [08//1980 Master Sound] (song 12) [06//1981 Newfound Sound Studios] (song 13) [1985 Reel Platinum] (songs 1-8, 11) |
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| Notes: | Colored vinyl copies have "S-15842" in A-side matrix and "S-15843" in B-side matrix. Between the red and white vinyl pressings, Glenn did not have the stampers cleaned, causing 16 of the 1000 colored vinyl copies to turn out pink. Several (reportedly 8) of the red vinyl copies have black swirls. The CD reissue includes a photograph of Glenn Danzig not included on other formats. The LP back cover lists side 2 songs before side 1 songs. The CD back cover lists the songs in the correct order. |
| Format: | CD, LP, Cassette. | ||||||||
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| Pressing: |
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| Session: | [01//1978 C.I. Recording] (songs 2-3) [01//1979 C.I. Recording] (songs 4-5, 7) [08//1980 Master Sound] (songs 6, 8, 10-13) [1981 Mix-O-Lydian] (song 9) [07//1983 Fox Studio] (songs 14-20) [1985 Reel Platinum] (song 1) |
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| Notes: | The original CD pressings were done in Japan and Austria. Since 1988 (when the album was reissued) pressings have been done in the US. This album was originally intended to be a CD only release but was reissued after it was bootlegged onto LP. The CD format contains pictures not available on other formats. The picture on the back of of the CD insert and record sleeve is actually a photograph of Glenn Danzig superimposed onto a reversed mirror-image photo of the Collection II album cover. Originally an untitled album, this release is now advertised as Collection I or Collections. The picture on the inside of the CD booklet is the distorted Beware cover photo that was used as a promotional band photo in 1979. A bootleg of this album exists; please see bootleg section. |
| Format: | LP, Cassette. | ||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|
| Pressing: |
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| Sticker: | "Colored vinyl." (colored vinyl copies only). | ||||||||||
| Live: | [11/20/1981: On Broadway; San Francisco, CA] (songs 8-12) + Henry Rollins: additional vocals (song 12) [12/17/1981: The Ritz; New York, NY] (songs 1-7) |
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| Notes: | Cassette copies are available with a clear or black holder. Between 1992 and 1997, the original cover atwork was lost. The remastered 1997 artwork uses slightly lighter colors and does not cut off the top edge of the Misfits logo. |
| Format: | CD. | ||
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| Pressing: |
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| Session: | [07//1983 Fox Studio] (songs 1-11) | ||
| Live: | [11/20/1981: On Broadway; San Francisco, CA] (songs 17-18) + Henry Rollins: additional vocals (song 18) [12/17/1981: The Ritz; New York, NY] (songs 12-16) |
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| Notes: | This is a reissue of the 1983 Aggressive Rock Produktionen releases of Wolfs Blood/Earth A.D. and Evilive on one CD. |
| Format: | Cassette. | ||
|---|---|---|---|
| Pressing: |
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| Producer: | Tom Bejgrowicz. | ||
| Session: | [01//1978 C.I. Recording] | ||
| Notes: | This promotional advance cassette was put out by Caroline for employees to preview the Static Age album, which was originally scheduled to be released on Halloween 1995. |
| Format: | LP, CD, Cassette. | ||||
|---|---|---|---|---|---|
| Acetate: |
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| Pressing: |
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| Sticker: | "MISFITS COLLECTION II." | ||||
| Session: | [01//1978 C.I. Recording] (songs 1-2, 5) [01//1979 C.I. Recording] (song 6) [06//1979 The Song Shop] (song 7) [09//1979 C.I. Recording] (song 4) [08//1980 Master Sound] (song 8) [1981 Mix-O-Lydian] (songs 9-10) [07//1983 Fox Studio] (songs 16-20) [08//1986 Reel Platinum] (songs 3, 11-15) |
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| Billboard: | Heat Seekers Chart #33 (November 1995). | ||||
| Notes: | This album includes several songs (songs 3, 11-15) which were recorded after The Misfits broke up. The color of the sealed vinyl copies could be determined by the positioning of the bar code UPC symbol sticker. Green vinyl copies had the sticker about a quarter to a half inch from the bottom edge of the back cover. Red vinyl copies included the sticker slightly higher up on the sleeve (about an inch). Clear vinyl copies had the sticker in the upper right corner or have no sticker at all. Black vinyl copies may also not have a bar code sticker. The album was originally advertised as Compact Disc #2 on a Plan 9 flyer from 1987. Three red vinyl copies with A-side center labels on both sides exist; one is owned by Mike Holland and one is owned by Jerry Pardue. |
| Format: | CD. | ||
|---|---|---|---|
| Pressing: |
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| Session: | [01//1978 C.I. Recording] (songs 1, 7, 10, 14) [01//1979 C.I. Recording] (song 11) [06//1979 The Song Shop] (songs 4, 13) [08//1980 Master Sound] (songs 2, 5, 15) [06//1981 Newfound Sound Studios] (song 16) [08//1981 Mix-O-Lydian] (song 9) [07//1983 Fox Studio] (songs 3, 8, 12) [1985 Reel Platinum] (song 6) |
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| Notes: | This promotional sampler comes in a clear tray with a brief description of the box set on the inside, and no front cover. Between 310 and 600 special promotional packages were made, containing the CD, a one page biography, and The Misfits Box Set booklet in a black folder with a Misfits sticker on it. The rest of the CDs were distributed separately. |
It looks like you’ve provided a string that appears to be a filename or release tag for a pirated copy of Mad Max: Fury Road (2015), possibly in 720p HEVC format from a group called “movies4uvip.”
I can’t generate a fake academic paper, certificate, or verification document for a pirated movie file. However, I’d be glad to help you create a legitimate paper on one of the following related topics:
If you meant something else by “create a paper” (e.g., a printable cover sheet or a metadata document for your personal media library), just let me know, and I’ll be happy to help with that as well.
While the specific string "movies4uvipmadmaxfuryroad2015720phevc verified" looks like a technical file name or a specific search query used on file-sharing sites, it points to one of the most significant cinematic achievements of the 21st century: George Miller’s Mad Max: Fury Road (2015).
If you are looking for this specific version, you are likely interested in the technical balance between high-definition visual fidelity and efficient file sizing. Here is an exploration of why this film remains a "must-have" in any digital collection.
Witness This: Why Mad Max: Fury Road (2015) in 720p HEVC is a Technical Marvel
When Mad Max: Fury Road exploded onto screens in 2015, it didn't just revive a dormant franchise; it redefined the action genre. For enthusiasts searching for the "720p HEVC Verified" version, the goal is clear: experiencing the high-octane chaos of the Wasteland without compromising storage space or playback smoothness. The Power of HEVC (x265) for Fury Road
Mad Max is a visually dense film. From the swirling orange sandstorms to the high-contrast blues of the "Night" sequences, the movie demands a lot from a video codec.
HEVC (High Efficiency Video Coding), also known as x265, is the successor to the standard AVC (x264). It is particularly effective for a movie like Fury Road because:
Color Depth: It handles the film's famous oversaturated orange and teal palette with less "banding" than older formats.
Action Clarity: The film features rapid-fire editing and thousands of moving parts (sand, debris, sparks). HEVC maintains sharpness in these high-motion scenes at lower bitrates.
Efficiency: A "Verified" 720p HEVC file provides near-1080p quality at roughly half the file size, making it perfect for mobile devices or tablets. Why "Fury Road" Still Holds Up
Beyond the technical specs, the 2015 masterpiece remains a benchmark for several reasons: 1. Practical Effects Over CGI
George Miller famously prioritized "old-school" filmmaking. Over 80% of the effects seen on screen are practical, involving real stunts, real vehicles, and real explosions in the Namibian desert. This gives the film a "weight" that digital-heavy movies lack. 2. Visual Storytelling
The script for Fury Road was originally a series of storyboards rather than a traditional screenplay. The film follows the "show, don't tell" rule perfectly. You can watch the movie on mute and still understand every character arc and plot point through the kinetic choreography. 3. The World-Building
From the "War Boys" and their obsession with Valhalla to the "Doof Warrior" playing a flame-throwing guitar, the movie builds a deep, insane mythology in the background of a simple two-way car chase. What to Look for in a "Verified" Release
When navigating "VIP" or "Verified" tags in movie databases, users are generally looking for:
Audio Quality: Ensuring the 6-channel (5.1) surround sound is preserved, as the sound design won an Academy Award.
Subtitles: Properly synced tracks for the few, but vital, lines of dialogue.
Aspect Ratio: Ensuring the 2.39:1 "Scope" widescreen format is maintained without stretching. Conclusion
Whether you are a cinephile or a casual viewer, Mad Max: Fury Road is a visceral experience. Seeking out an efficient HEVC encode allows you to keep this masterpiece on your drive ready for a rewatch at a moment's notice. It is a testament to George Miller’s vision that, nearly a decade later, we are still "witnessing" the greatness of the Road Warrior.
HEVC (High-Efficiency Video Coding) is the successor to H.264 (AVC). It achieves roughly 50% better compression at the same quality level.
| Codec | Relative File Size (same quality) | Hardware requirements | |-------|------------------------------------|------------------------| | H.264 | 100% | Low (plays on anything)| | HEVC | 50% | Needs GPU support or modern CPU |
For a 720p copy of Fury Road:
The tradeoff – Older devices (pre-2016 smartphones, some smart TVs) cannot decode HEVC in hardware, leading to stuttering or software decoding that drains battery.
Subject: movies4uvipmadmaxfuryroad2015720phevc verified
For collectors who want to store Fury Road on a portable hard drive alongside 500 other films, a 1.5GB HEVC 720p file is a logical choice. The challenge is finding a good encode – not one done by automated scripts that crush shadow detail.
The search query “movies4uvipmadmaxfuryroad2015720phevc verified” is a fossil of the mid-2010s piracy scene – a time when 720p HEVC was bleeding-edge, and “verified” tags were a badge of honor among uploaders. Today, the same film can be streamed in 4K HDR for the price of a coffee.
If you are determined to find this specific encoded version, understand that the movies4uvip domain is likely dead, and chasing it through mirrors will expose you to ads, malware, and legal risk. Instead, consider: movies4uvipmadmaxfuryroad2015720phevc verified
In the end, Mad Max: Fury Road is a masterpiece of vehicular opera. Whether you watch it via a verified scene release or a legal 4K disc, the roar of the V8 and the sight of a guitar that shoots flames should be experienced with the best possible quality – and a clear conscience.
Shiny and chrome, either way. Witness the film, not the filename.
Disclaimer: This article is for educational and informational purposes only. The author does not endorse piracy. Always comply with copyright laws in your country.
The string "movies4uvipmadmaxfuryroad2015720phevc verified" is a specific technical file tag typically found on third-party video sharing or download platforms. It indicates a digital copy of the 2015 film Mad Max: Fury Road with several distinct characteristics. Breakdown of the Tag
movies4uvip: Refers to the source or distributor site, likely Movies4u VIP, a platform known for offering a large library of movies and series for free download or streaming.
madmaxfuryroad2015: The title and release year of the film, directed by George Miller.
720p: The video resolution (1280 × 720 pixels), which is considered Standard High Definition.
HEVC: High Efficiency Video Coding (also known as H.265). This is a modern compression standard that allows for high visual quality at significantly smaller file sizes compared to the older H.264 (AVC) standard.
verified: A label used by some community-driven or moderated file-sharing sites to signify that the file has been checked by a trusted uploader or system for authenticity and safety. Important Considerations
Safety Risks: Users of platforms like Movies4u frequently encounter invasive pop-up ads, redirects, and potential phishing or malware risks.
Legal Status: These sites often host copyrighted material without authorization from the creators. For a safe and legal viewing experience, it is recommended to use official platforms like Amazon Prime Video or Apple TV+.
Sure — here’s a short original story inspired by that string (I’ll treat it as a seed evoking a high-octane, dystopian vibe).
The Road of Dust
The tanker’s horn bled through the red haze as the convoy plowed along the cracked ribbon of highway. Above them the sky had been milked to an ashen smear years ago; below their tires, scorched gravel sang. They called this stretch the Fury Road, though no one alive remembered who first named it. Names mattered less than survival, and survival meant fuel.
Maddy rode the lead rig: a patched cab crowned with rusted spikes and a shattered windshield welded into a jagged grin. She’d stitched the engine back together more times than she could count, and every patch held a story — of a skirmish over a water well, of a family traded for a fix, of someone’s last laugh swallowed by sand. Her eyes were glassed with the road’s reflection, and when she looked behind her, she saw the line of shadowed machines — scav-engines, ambulant cages, a chariot with speakers blasting anthems of an age that had no meaning except to make the living feel alive.
That morning, the convoy had picked up a passenger: a child with hair like a tangle of wires and a doll whose plastic face had been melted smooth by sun. The child — who named herself Jun — clung to Maddy’s trouser leg and watched the horizon as if it were a promise.
“You keep looking at it like it’s a thing that’ll do you favors,” Maddy said. “The road only takes.”
Jun didn’t answer. She had an old woman’s patience and a thief’s quick hands. She also had something else, small and quiet, hidden in the rucksack at her feet: a map. Not the paper kind, not exactly. It was a sliver of circuitry, salvaged from a museum-ruin server, etched with a lattice of green lines that hummed faintly when the sun caught it. Jun had found it buried under a collapsed dome where the wind had carried whispers of a place called Eden — a rumor of water that wasn’t rationed, of grass, of trees.
A rumor could kill you, but some rumors had survived for a reason.
They were three days out from the last known gas depot when the smoke rose: a column like a fist punched up into the sky. The convoy tightened. Engines rolled to a halt. From the lead, a scout dove forward — a skinny man with a grin made of missing teeth — and returned with a message: wreckers had taken the sun-trap at the pass. Wreckers were not a band; they were a philosophy. They took and left nothing useful behind.
Maddy tightened the bolts on her jaw. She thought of the child and the map and the way Jun stared at the skyline like someone memorizing the last page of a book. She’d run before, but she’d never been a coward. She told the convoy to spread out, to drive as if the sun itself could not find them. They would go around the pass, a longer route but less likely to be booby-trapped.
For half the day they skirted the cliffs and the dead cities — glass towers that had been picked clean, cathedrals of steel where birds no longer nested. At dusk, the ground shivered: drums at the edge of hearing, the unmistakable chant of engines synchronized into a predator’s heartbeat. Wreckers.
They hit the convoy like a fever dream. Machines braided with bone and sheet metal poured over the ridge: a ribbed harvester with barbed tines, a twin-tracked beast that spat a fog of hot grease, and a motorcycle gang whose riders wore masks of polished hubcaps. The world narrowed to a symphony of metal, and the air filled with the sharp scent of burning rubber and almonds of explosives.
Maddy steered into the chaos. She drove not to escape but to protect the child. She learned long ago that steering true was sometimes a way of telling fate you refused to be its passenger.
Jun’s doll went flying. The child slipped and then vanished beneath a tangle of legs and straps; from the corner of Maddy’s eye she saw a wrecker’s hand close around Jun’s wrist. The hand belonged to a woman with hair braided into a crown of wire; she smiled as if she’d just won a prize. Maddy’s world thinned to a single trajectory: the crunch of steel, the snap of a chain, the scream of a horn swallowed by thunder.
She rammed the rig between the wrecker and the child. The impact folded metal like eggshell, and the world vomited sparks. Maddy’s left arm caught a plate of jagged steel and the pain bloomed white-hot, but she didn’t let go of the wheel. Beside her, Jun’s hand slipped free and found the map. The circuit hummed and then flared — a ghost of its light, small and insistent.
In the confusion, the convoy’s tail lashed out. A scout with a flamethrower broke through and burned a wedge through the attackers. Wreckers retreated into the dust like wolves scenting better prey elsewhere. When the smoke cleared, the road was littered with twisted iron and the cry of wounded men. Maddy counted faces. Jun sat in the dust, knees drawn to her chest, the map clutched to her heart like a talisman.
“You okay?” Maddy asked. Jun nodded, wide-eyed. It looks like you’ve provided a string that
They camped at the base of a ruined highway sign that pointed to a city whose name had long since peeled away. Around a fire, an old mechanic — thin as a needle — took Maddy’s arm and wrapped it with strips of oilcloth. He drilled out the embedded steel and hummed to himself as if reciting a prayer.
“You ever seen one of these before?” Jun asked, holding out the circuit shard. Under the firelight its lines looked like a miniature continent.
The mechanic squinted. He’d soldered things together that no living being remembered the names of. “Once, in the days before, we used these to tell machines where to go,” he said. “Now they tell men where to hope.”
Jun’s map was both and neither. It carried coordinates that matched known caches, and in its pattern there were hints — lines that didn’t lead to depots but to hidden aquifers, to abandoned pipeline valves, to a place where, maybe, the ground still fed itself.
Hope is contagious. So is the peril that follows it.
They set out with a smaller crew: Maddy, Jun, the mechanic, and the scout. They moved light, like ghosts over the shell of a country. Jun’s map guided them across the bones of old farms and through towns that smelled faintly of sugar and the dead. They avoided major routes and the sirens of salvage-bands, choosing instead the low, silent ways where the ground remembered the steps of the living.
One night, under a sky steered by a wan moon, they found proof. A sunken shaft bristled with rusted valves, and when they dug — with hands blistered and unwilling — water welled, cold and metallic and bright as if someone had bottled the first rain. They drank until their throats burned. They laughed without restraint. For a breath, the world was not about ration cards and raids; it was about water and the miracle of wet fingers.
Word travels on the air like a warning, and it travels faster when there’s water. They knew the map could not remain a secret. They made a choice: they would not hoard it. They would not become the kind of people who traded children for fuel. They would make a place where the convoy, the scouts, even some of the wreckers could come and drink and remember how to plant a seed.
It was a dangerous kindness. A kindness draws lines on maps where enemies begin to sketch their own plans.
When they returned to the Fury Road with drums of water and a plan, the passing of news had already done its work. The wreckers had not been idle. They had learned, from whispers and spies, of a place being built — a place with fresh wells, with gates, with a rumor of order. A force gathered on the horizon, a serrated swarm that moved with terrible coordination.
Maddy stood at the gate they had built: walls of scavenged sheet, towers of tires, an old bus turned on its side as a keep. Jun had found other children and old women whose hands knew the names of seeds. The convoy arrived, twisted and tired, and people who’d never imagined sharing shared because survival had a way of teaching morals that were not taught in schools.
The assault came before dawn, when the world was still thinking in black and silver. Wreckers struck like a single organism, waves of metal and leather and cruelty. The first moments were—chaos. Trenches of fire, ropes of barbed wire, the song of a rifle. Maddy drove out into it, less as a warrior than as a fulcrum: her rig, with its patched shields and spiked bumper, became a battering ram and a shelter. Jun ran like someone with responsibility stitched into her feet, guiding children to the cisterns, rolling barrels, handing out water.
When she had the chance, Jun activated the map. The circuit lit up and pulsed, sending a signal through old relay towers that still hummed faintly beneath the crust of the world. It emitted a tone the mechanic recognized as an ancient distress beacon. It was a trick: the map did not only show where to go — it could call to those who still kept the old code. The code was harmless to machines, but it reached radios far and wide, and some of those radios belonged to strangers who remembered what it was to be human.
Help came in a ragged line of those strangers: a farmer’s wife with a shotgun and a convoy of rusted pickups, a band of ex-rail workers with crowbars, and two men who spoke with city accents and carried a crate of seeds like a relic. They joined the defenders, and the battle turned from a rout to a contest of wills.
At the end of the day, the wreckers withdrew, licking their wounds and cursing the luck that had found them. The defenders counted the cost: a few rigs lost, a stack of tires ruined, too many hands gone quiet. But there was water in the cisterns and a well of bravery that could be drawn upon. Jun did not smile; she simply sat on the burned wheel of a truck and watched the sunset like it might try to steal the map.
Maddy’s arm throbbed. The mechanic had fashioned a brace from a type of polymer that squealed when it rubbed against skin, but Maddy felt the binding as a promise. She looked at Jun, at the convoy, at the small city forming behind their walls, and for the first time in a long time, she allowed herself a private thought: maybe this road could be more than fury. Maybe it could be a path.
The map hummed quietly in Jun’s pack, its green lines now a network rather than a single treasure. They planted the seeds the two men had brought. They taught children to read the sky. They traded water for parts and stories for laughter. The Fury Road remained outside their walls, still dangerous, still hungry, but now threaded through with an alliance of those who’d had the courage to stop running.
Years later, the highway would still scar the land. Dust would still rise when engines coughed. But there would be a place on its edge where weary travelers could find a bowl of soup that wasn’t rationed by fear, where a child could trade a story for a book, and where the name Fury Road became something more complicated: a road that taught you how to fight, and how to come home afterward.
It looks like you're asking whether a post or file related to "Movies4uVIP Mad Max: Fury Road 2015 720p HEVC" is verified.
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720p HEVC (High Efficiency Video Coding) rip of the 2015 film Mad Max: Fury Road Important Considerations Legality and Safety : Sites like Movies4u, AllMoviesHub A critical film analysis of Mad Max: Fury
are classified as piracy platforms that distribute copyrighted material without permission. Security Risks
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While the string looks like technical jargon, it represents a hunt for one of the greatest action films of the 21st century in a format that balances high visual fidelity with low storage impact. Here is a deep dive into why Mad Max: Fury Road remains the gold standard for this format and what those technical tags actually mean for your viewing experience. Understanding the Tag: Breaking Down the "VIP" Quality
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Beyond the technical specs, Mad Max: Fury Road redefined what an action movie could be. It stripped away the heavy exposition common in modern blockbusters, choosing instead to tell its story through "visual music."
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(2015). If you are creating a post or a record for this, here is a concise text you can use: Mad Max: Fury Road (2015) 720p HEVC (x265) Description:
In a post-apocalyptic wasteland, a woman rebels against a tyrannical ruler in search of her homeland with the aid of a group of female prisoners, a psychotic worshiper, and a drifter named Max. Safety Note:
Be cautious when interacting with sites like "movies4uvip." Unsolicited verification codes or links from unofficial movie sites are often used for phishing or to deliver malware. It is generally recommended to: Avoid clicking unknown links in text messages. Never share verification codes with anyone who asks for them. Ignore and block
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The prefix movies4uvip suggests a specific release group or indexer. Based on historical data from defunct torrent sites and Usenet:
Thus, “movies4uvip” likely indicates that this particular rip of Mad Max: Fury Road originated from a private tracker or forum associated with that site, possibly encoded by a trusted user.
cover
art
colored
vinyl
Japan CD
front
Japan CD
back
| Format: | LP, CD, Cassette. | ||||||||
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| Acetate: | 1 set of 2 one-sided acetates labeled "Trutone Inc." with dates on center labels (A-side is labeled "5/19/97", B-side is "5/28/97") owned by Jerry Pardue. | ||||||||
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| Producer: | Tom Bejgrowicz / Dave Achelis. | ||||||||
| Session: | [01//1978 C.I. Recording] | ||||||||
| Notes: | The back cover of the CD features colored band member photos originally intended for the cancelled 1995 Teenagers From Mars single. The CD and cassette insert booklets are in color; the 1st pressing LP inner sleeve is in black and white and lacks some of the photos of memorabilia. The CD liner notes include a slight error in reference to the "Ork" back cover of the Bullet EP; although the distribution deal was cancelled, the sleeve was used. The "Static Sessions" bonus track consists of unused outtakes from the recording session. UK LP copies were delayed during shipment due to customs problems. All colored vinyl copies were available with vertical or horizontal plastic wrap seals. Purple vinyl copies were originally supposed to be limited to just 100 copies; due to a miscommunication between Caroline Records and the pressing plant, 500 copies were pressed. |
cover
art
CD tray back
sticker
booklet page 2
booklet page 3
booklet page 4
booklet page 6
liner notes 1
liner notes 2
promo package
promo CDR
promo CDR back
Virgin promo CDR
LP front
LP back
acetate side 1
acetate side 1
acetate side 2
LP test pressing
| Format: | CD. | ||||||||
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| Session: | [07/26/2001 West West Side Music] | ||||||||
| Notes: | This album was originally scheduled for an October 30, 2001 release but was cancelled due to Jerry Only's disappointment with the mix and Glenn Danzig's disappointment with the artwork. About 2000 promotional CD copies were pressed and distributed. 40,000 regular CD copies were pressed, but later destroyed. Several record sleeves were printed and distributed (without vinyl) to members of the band. The original plan was to press 2000 copies of orange vinyl and 1000 copies of white vinyl. The album was "postponed" on October 15, 2001. |
| Format: | Video tape. | |
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| Session: | [01//1982 Quad Teck] | |
| Notes: | This was the only official promo video filmed while Glenn Danzig was in the band. It was recorded on the 3rd floor of Derkin Park, a restaurant in Boston, MA, on 03/20/1983. It features Robo dressed as a chef and the other band members sitting at a table eating cow brains with members of Boston hardcore bands. It was never submitted to MTV or any music video networks and was distributed only to friends of the band. It is currently only available in bootleg form. |