Background: Callen Radcliffe "Cal" Tjader, Jr. ( CHAY-d@r; July 16, 1925 - May 5, 1982) was an American Latin jazz musician, known as the most successful non-Latino Latin musician. He explored other jazz idioms, even as he continued to perform the music of Cuba, the Caribbean, and Latin America for the rest of his life. Tjader played the vibraphone primarily. He was accomplished on the drums, bongos, congas, timpani, and the piano.
Context: After recording for Fantasy for nearly a decade, Tjader signed with better-known Verve Records, founded by Norman Granz but owned then by MGM. With the luxury of larger budgets and seasoned recording producer Creed Taylor in the control booth, Tjader cut a varied string of albums. During the Verve years Tjader worked with Donald Byrd, Lalo Schifrin, Anita O'Day, Willie Bobo, Armando Peraza, a young Chick Corea, Clare Fischer, Jimmy Heath, Kenny Burrell, and others. Tjader recorded with big band orchestras for the first time, and even made an album based on Asian scales and rhythms.  His biggest success was the album Soul Sauce (1964). Its title track, a Dizzy Gillespie cover Tjader had been toying with for over a decade, was a radio hit (hitting the top 20 on New York's influential pop music station WMCA in May 1965), and landed the album on Billboard's Top 50 Albums of 1965. Titled "Guachi Guaro" (a nonsensical phrase in Spanish), Tjader transformed the Gillespie/Chano Pozo composition into something new. (The name "Soul Sauce" came from Taylor's suggestion for a catchier title and Bobo's observation that Tjader's version was spicier than the original.) The song's identifiable sound is a combination of the call-outs made by Bobo ("Salsa ahi na ma ... sabor, sabor!") and Tjader's crisp vibes work. The album sold over 100,000 copies and popularized the word salsa in describing Latin dance music.  The 1960s were Tjader's most prolific period. With the backing of a major record label, he could afford to stretch out and expand his repertoire. The most obvious deviation from his Latin jazz sound was Several Shades of Jade (1963) and the follow-up Breeze From the East (1963). Both albums attempted to combine jazz and Asian music, much as Tjader and others had done with Afro-Cuban. The result was dismissed by the critics, chided as little more than the dated exotica that had come and gone in the prior decade.  Other experiments were not so easily dismissed. Tjader teamed up with New Yorker Eddie Palmieri in 1966 to produce El Sonido Nuevo ("The New Sound"). A companion LP was recorded for Palmieri's contract label, Tico, titled Bamboleate. While Tjader's prior work was often dismissed as "Latin lounge", here the duo created a darker, more sinister sound. Cal Tjader Plays The Contemporary Music Of Mexico And Brazil (1962), released during the bossa nova craze, actually bucked the trend, instead using more traditional arrangements from the two countries' past. In the late 1960s Tjader, along with guitarist Gabor Szabo and Gary McFarland, helped to found the short-lived Skye record label. Tjader's work of this period is characterized by Solar Heat (1968) and Tjader Plugs In (1968-69), precursors to acid jazz.
Question: Which other name were worth mentioning with his deal with Verve and Skye records?
Answer: Tjader teamed up with New Yorker Eddie Palmieri in 1966 to produce El Sonido Nuevo ("The New Sound").

Background: Danzig was born Glenn Allen Anzalone, the third of four sons born to a Protestant family of Italian, German, and Scottish heritage in Lodi, New Jersey. His father was a television repairman and a United States Marine Corps veteran of World War II and the Korean War. His mother worked at a record store. Danzig and his family also spent some time living in Revere, Massachusetts.
Context: In the mid-1970s, Danzig started the Misfits, releasing the band's records through his own label, (originally known as Blank, then later as Plan 9). Danzig had attempted to get the Misfits signed to several record labels, only to be told that he would never have a career in music. The impetus for the band's name comes from Marilyn Monroe's last film, combined with Danzig considering himself to be a "social misfit." In October 1983, after releasing several singles and three albums, and gaining a small underground following, Danzig disbanded the Misfits due to increasing animosity among the band members and his dissatisfaction with their musical abilities. Danzig explained his decision: "It was difficult for me to work with those guys, because they weren't prepared to put in the hours practicing. I wanted to move things forward, and they didn't seem to have the same outlook. So it was time for me to move on."  After the Misfits, he began work on a new band project: Samhain. The origins of Samhain began when Danzig started rehearsing with Eerie Von, formerly of Rosemary's Babies. Danzig took the name of the band from the ancient Celtic New Year, which influenced the evolution of the modern Halloween. Initially Samhain was conceived as a punk rock "super group". The band briefly featured members of Minor Threat and Reagan Youth, who contributed to Samhain's 1984 debut, Initium. The band then settled with a lineup consisting of Eerie Von on bass, Damien on guitar, and Steve Zing on drums (later replaced by London May). In 1985 the Unholy Passion EP was released, followed by November-Coming-Fire in 1986.  Samhain eventually began to attract the interest of major labels including Epic and Elektra. Rick Rubin, music producer and head of the Def American label, would see the band perform at the 1986 New Music Seminar, on the advice of then-Metallica bassist Cliff Burton. Danzig has credited both Burton and Metallica frontman James Hetfield with helping to raise awareness about his music: "I first met them at a Black Flag gig, and then we became kinda friends. We'd often bump into each other on the road...James and Cliff helped to spread the word about me, and I was very grateful to them."
Question: Did misfits release any albums?
Answer:
After the Misfits, he began work on a new band project: Samhain.