Children of the Night

TRACK #282:

Children of the Night by Buddy Miles

With that bit of seasonal tabling setting out of the way, let’s move onto a straight up banger from Buddy Miles.

Buddy has quite storied musical career. He began early, playing in his dad’s band The Bebops. Then, as a teenager no less, he performed with acts such as Wilson Pickett and the Delfonics. Eventually Buddy teamed up with Mike Bloomfield to form Electric Flag and later became a founding member of Jimi Hendrix’s Band of Gypsys. Solid repertoire.

What’s more? Buddy is actually the lead singer of The California Raisins. Yep, Will Vinton’s iconically 80’s claymation spokes-band. That’s this guy. Well, I guess.

See, all of this info leads me to believe that Children of the Night, which sounds almost nothing like anything Buddy had been involved with up to that point, is sung by a totally different Buddy Miles altogether.

But apparently, no. After a bit of cross referencing, it seems that they are in fact the same Buddy Miles. Not shocking, given Buddy’s numerous musical projects, but if some new info came to light disputing that claim, I think I’d believe it.

But I’ll only I say “think” because Buddy here, whichever Buddy it may be, is straight belting it. And OG Buddy Miles can fuckin’ belt it. So yeah, maybe this really is that Buddy Miles, cause this tune is a stone cold jam.

You can find it playing during Cheryl’s dance at The Club 69 in Larry Cohen and William Lustig’s more than worthy follow-up, Maniac Cop 2.

Now, I never went to any in a strip clubs in 1990. At least none that I remember anyway, so I can’t confirm if this is the sort of thing they would have been playing. It certainly isn’t anything close to something I’ve heard in a strip club, but maybe that’s how they got down 30 years ago. I dunno. Or maybe I’m just goin to the wrong damn strip clubs, cause if I went to one that was bumpin tracks from the Maniac Cop 2 soundtrack, I’d pull up a stool and open a fuckin’ tab, real quick.

So let’s do just that, and maybe even hit the buffet, as we join Buddy and his new fiends, the Children of the Night, for a little October striptease.

Secret Loser

TRACK #279:

Secret Loser by Ozzy Osbourne

I love Black Sabbath. C’mon, who doesn’t?

If you’re here reading this, the chances are pretty good that you love ‘em too.

But for as influential and important as they are to Heavy Metal, they aren’t intrinsically tied to Halloween or Horror, at least not in my mind anyway.

Sure, I could throw on band anthem Black Sabbath, say it’s referential, add some samples and call it a day. But the fact of the matter is, that song’s not really about that movie at all. Besides, for as much as I like that tune, it’s a bit laborious for a party playlist.

Or, following a natural progression, I could tap Ozzy Osbourne himself and select generic Halloween Playlist mainstay Bark at the Moon, but I won’t.

Despite the monstrous nature of the song, and of course, Greg Canom’s fantastic prosthetic work for Ozzy’s wolf-like transformation, I’ve never really associated that song with Halloween.

It’s certainly a song you hear a lot around Halloween, but I dunno, doesn’t feel Halloweeny to me.

I think, more to the point though, it’s an Ozzy song I don’t care for that much. It’s a good enough tune, don’t get me wrong. I won’t change it if it comes on the radio, but it’s not one of my favorites from the man.

But, if you’re Halloween Shindig, you’ve gotta have a more suitable solution to the problem, right? Surely Ozzy’s songs have been all over the movies, Horror movies to boot.

Well, not exactly. Strangely enough, Ozzy hasn’t really been tapped that often by the pictures. And the first time he was ever included on any soundtrack at all happened to be the same year this song was released. Coincidence? Knowing record execs, probably not.

That year was 1986.

That film was The Wraith.

And that song was Secret Loser.

From Ozzy’s 4th solo album, Ultimate Sin, comes this 4-on-the-floor, pedal-to-the-metal Rock ‘N Roll race car rumbler that kicks the tires and lights the fires.

Now, you could argue that The Wraith isn’t exactly a horror film, so this song doesn’t exactly qualify. And, to a certain extent, I’d agree. The Wraith doesn’t exactly feel like a typical horror movie.

But let’s check the facts.

A guy is killed and then returns from the dead as a ghost to enact deadly revenge on the people responsible for his murder. Sounds like a horror movie to me gang. In fact, it even sounds strangely familiar

I often like to argue that The Wraith was ripped off almost wholesale by a much more celebrated gothic-horror film of some report, known as The Crow. There’s even a character named Skank in both films. Coincidence? How bout the fact that The Wraith has a Gutterboy and The Crow has a Funboy? Ok, that ones a stretch, but still kinda weird in context.

You could come at me with the fact that The Crow is based on a graphic novel by James O’Barr and that’s where those names and plot come from. You’d be right, but that comic was also published 3 years after this movie released and maybe James O’Barr was a big Charlie Sheen fan, I dunno. I’m just saying, smells a little Wraith-like to me.

All I’m really saying is, if I threw a My Life With the Thrill Kill Cult, or Nine Inch Nails song on here song from The Crow, there wouldn’t be any question. And since The Wraith is basically a more fun, 80’s, racecar version of The Crow, …with Sheryiln Fenn, Clint Howard and Randy Quaid mind you…it’s a perfectly reasonable addition.

So keep that in mind while listening to this much cooler song, from this much cooler movie.

A wraith man! An evil spirit and it ain’t cool!

On Your Feet

TRACK #278:

On Your Feet by Shok Paris

As mentioned a few tracks back, the body jumping, insectoid alien creature from The Hidden has a penchant for loud music.

He’s also rude as shit.

He blast his loud ass music all over the place – on the sidewalk, at a nice family restaurant and from whatever stolen car he’s just peeled out in. He even beats the hell out of a poor record store clerk in order to steal a boom box. What can I say, the thing knows what it wants.

As such, The Hidden soundtrack is loaded with some pulse poundin’ tunes. My favorite of the bunch is On Your Feet. You can hear this one early on in the film, while the Hank Jennings form of the alien is recklessly tearing ass around Downtown L.A., killing cops and blasting through roadblocks. It’s a hell of a tune, and right up ole Shindig alley. And when you’re me, the first thing you think of when hearing a song of this nature, in a movie of this nature is “Who the hell is this, does it exist outside of this movie, and where can I fit it on the playlist?”

Well, it’s Shok Paris. Yes it does. And, apparently, right after a double-shot of W.A.S.P.

Now, Shok Paris was a band I was a little shoked to see in the credits of The Hidden. I’m no authority on music by any means, let’s get that out of the way. Sure, I have this blog here, and I can probably answer a few questions regarding the specific 277 songs that have preceded this one, but no expert does that make me, not even on those 277 songs.

You could certainly say I’m a guy who likes himself some 80’s metal. But again, I’m no scholar on that matter, either. I’ve heard of some bands, and I’m familiar with some of the ones that have had songs like this in movies like this. But there’s a metric fuck-ton of 80’s metal, of varying varieties, and I’m not up on all of them, Shok Paris included. My apologies, Lou Kiss.

So, I couldn’t tell you how familiar everyone else is, and how familiar I should have been with Shok Paris. But, what I can tell you however, is how familiar I am with them now.

Shok Paris was a local Cleveland group who eschewed the typically cover-band trap and launch directly into writing original songs. In 1984, they released their 1st record, Go For the Throat. However, it was their 1986 album, Steel and Starlight, that produced the 2 songs used in The Hidden, a move which afforded the band perhaps it’s widest exposure.

After opening for such acts a Savatage, and fellow Shindigger’s Lizzy Borden, Shok Paris hung it up in 1989. Which, given the musical landscape’s shifting terrain, probably wasn’t the worst idea they could have had.

So here’s to Shok Paris, for tearing it up on The Hidden with On Your Feet!

Scream Until You Like It

TRACK #277:

Scream Until You Like It by W.A.S.P.

I’m not sure really which way the Ghoulies winds are blowing these days. I’m not out there on the streets catching the general consensus regarding a 30 year old rubber monster franchise no one with real concerns has actual time to give a shit about.

A quick, but not completely unrelated sidenote: this is my cat named Ghoulie. Seen here when she was just a kitten, hangin’ out with some pumpkins back before this website existed. She didn’t come out of a toilet or anything, but we did find her in a bush. And I’m sure someone pissed in that bush at some point, so there’s that.

Anyway, back to the real, but still fake, Ghoulies.

So yeah, I dunno how people feel about this shit, but if you ask me, I’m a Ghoulies 2 guy all day long.

Now, I would never suggest Ghoulies is high drama. It’s plenty silly. But it’s not quite silly enough, given the context. It takes itself just a tad too seriously for a movie with little monsters raising hell.

On the other hand, Ghoulies III is almost too silly. It’s fun and all, and I like seeing the Ghoulies in a cliched College romp, complete with threats of expulsion, panty raids and full scenes of Kevin McCarthy arguing with rubber monsters. But the concept is taken to its goofy extreme.

Ghoulies IV? That one’s just of a mess of a thing, really. It barely even feels like a Ghoulies movie for the most part.

Ah, but Ghoulies 2? Now, that’s silly in the best and most appropriate way.

Additionally, Buechler’s Ghoulie puppets are a definite improvement the 2nd time around. They look good in part 3 also, but I think I like their look best in part 2.

Plus, you get Royal Dano, genre vet Phil Fondacaro, and that guy from Dazed and Confused that never seems to be in enough shit.

Then they throw all of that into a carnival featuring an animatronic monster filled house of horrors called Satan’s Den? C’mon, what better locale for a movie about demonic little puppet monsters? They tie a guy to a pit and pendulum in front of a roomful of excited children that think its a gag. It’s great. What more do you want?

Well, how bout some rockin 80’s hair metal?

No problem.

Compliments of Blackie Lawless and the W.A.S.P. gang again, here’s Scream Until You Like It.

Where are my tunes!?

Interesting side note, Halloween fans: I just noticed while rewatching Shindig favorite Trick Or Treat, that this is the song Nuke fires up on that fine fine Rocktober morning. Now, I don’t know if everyone already knew this, but I’ve seen that movie I don’t even know how many times and that’s the first goddamn time I ever noticed. Granted, I happened to be editing something for the show using a clip from the movie, and had my headphones on. Perhaps that made the difference. But yeah, Scream Until You Like It can boast being featured in both Ghoulies 2 and Trick Or Fuckin’ Treat?

I might just need to update that Super Soundtrack…

Savage

TRACK #276:

Savage by W.A.S.P.

A Nightmare on Elm Street Part 5 has a pretty notorious soundtrack.

2 Golden Raspberry nominations for Worst Song of the Year, including the recipient of that award, Bruce Dickenson’s unfortunately listless solo version of Bring Your Daughter to the Slaughter. In fairness, that was a song even a fully assembled Iron Maiden couldn’t make much better.

The other nominee, Kool Moe D’s Let’s Go, isn’t such a bad song by itself. In the context of A Nightmare on Elm Street though, it does kinda feel like a lazy attempt to rebottle the lightning of Are You Ready for Freddy without any of the referential charm that made that song so great.

2 unspectacular Freddy tracks, to be sure. You won’t be seeing either turning up on the playlist, I can say that. Worst Songs From a Film: 1989? I dunno about all that.

Incidentally, that Kool Moe D song a diss track aim squarely at L.L. Cool J, as apparently the two had been feuding around that time. Way to go, music supervisors Kevin Benson and Neil Portnow. I’ll bet that isn’t the only ball you guys dropped on this production.

Nope, because buried on this soundtrack, almost so’s you wouldn’t even notice, is this pedal-down metaller from Blackie Lawless and the boys of W.A.S.P.

Savage, a preexisting W.A.S.P. song, is totally wasted in the film, playing only briefly as an ambient background track during a graduation pool party at Springwood High.

It’s even more of a waste knowing the following scene finds Dan being attacked in his truck by Freddy while listening to the radio. What a perfect time to utilize this perfect, 4-on-the-floor rocker that was just playing mere seconds earlier.

It’s even more of an inexplicable waste once you consider that immediately after this, Dan jumps on a Yamaha VMax and it turns into Moto-Freddy at top speed. This song is literally about driving the open road on a motorcycle…like a savage. A fully squandered opportunity.

But, that’s probably a microcosm of The Dream Child as a whole, which is easily my least favorite numbered installment. A rushed production, edited deaths and multiple script revisions all coming together to form the sort of under-cooked mess that is Freddy’s 5th outing.

Don’t get me wrong, like any Elm Street, it’s got some great moments. It’s got the aforementioned Moto-Freddy scene, a largely likeable cast, Super Freddy and his AH-HA dream sequence. But, attempting to illuminate Freddy’s origin, it’s seemingly desperate inclusion of a pregnancy, it’s nonsensical ending and it’s lack of any real Elm Street kids just make it definitely feel like Freddy in decline.

So, let’s unearth the goodness of W.A.S.P.’s unfortunately buried Savage. Let’s put it on Halloween Shindig’s open road of sprawling, horror-paved blacktop, so it can finally ride free.

Don’t dream and drive!

I’m No Animal

TRACK #275:

I’m No Animal by Felony

Welcome back Weeners, to the abundant musical bosom of Friday the 13th Part 6: Jason Lives.

When we last saw Court and Vicki, they were being assaulted to the smooth sounds of Alice Cooper‘s Teenage Frankenstein.

But we’re gonna jump back in time here a bit, to just before Court starts bombing down Forest Green Drive in Horrace’s RV. It is here, in that same RV, that couple takes part in a time-honored Friday The 13th tradition – banging at Crystal Lake.

Of course, this is never a good idea when Jason’s on the prowl, which he most certainly is if we’re allowed access, but that has never stopped any of these promiscuous youths before.

Here’s the big guy as he tries to make heads or tails of this RV’s a-rockin’.

Providing the beat for that rockin’ is none other than Graduation Day’s own Felony.

Times have changed a little in intervening years though and they sound just a bit different. A little less Doobie Brothers and a little more Kenny Loggins.

Court just has to make it through the song here, and he’s home free. Vicki tells him it’s only 10 more minutes, which wouldn’t be far off if this was Gangster Rock. Fortunately for Court (and us,) it’s I’m No Animal, and it’s only 3 and a half minutes.

And for Court, it’s even shorter, cause Jason pulls the plug on this ugly-bump inside of a minute. Good call.

Understandably, Vicki’s a little freaked out by this. So, Court hits the gas and gets them speeding away from any trouble. Only Jason’s already stowed himself away on the RV, and now he’s just biding his time.

And we all know how that ends for them.

But Court and Vicki don’t. So, let’s allow them one final, blissfully unaware moment of lust before their Friday fates are sealed. And let’s let Felony set the mood.

Here’s I’m No Animal.

Gangster Rock

TRACK #274:

Gangster Rock by Felony

And now back to Graduation Day…

Some songs that appear in horror movies aren’t referential. That’s OK. Some of the best songs on the playlist are purely inclusive. Fast As a Shark, Goo Goo Muck, Angel of Death. All great.

But sometimes they’re more than just not referential. Sometimes they seem totally out of place. But even that’s OK. Everybody But You, Computer Date, Love Is a Lie. Still good stuff. In fact, I’d argue they’re the backbone of this playlist.

Most often, you’ll get these if a band makes a surprise cameo in the movie, playing their tune live at a party or a school dance. Usually this is a nice treat, like Maria Videl in Once Bitten. Sometimes it’s a dirty trick, like The Offspring in Idle Hands.

And just as much might be the case with LA Rock outfit Felony, who are performing at the titular dance in the the film Graduation Day. Their song Gangster Rock seems just a little out of place.

But I get it. It makes plenty of sense that a band would perform a completely innocuous song that’s totally unrelated to the horrific goings-ons around them. Goings-ons of which they are completely unaware. It’s perfectly reasonable. Logically, I might even say it’s preferred. Why would a band, playing a normal Graduation Day dance be playing some spooky or otherwise horrifying jam?

But that’s inner logic. The outer logic is you’re a music supervisor and you should theme it up. And if you’re gonna hard pass on that, at least grab a better song than fuckin Gangster Rock. Which, while not the terrible (I mean, I am including it) is far from the best.

Classic rock fans will immediately note its flagrant similarity to a much more famous song called China Groove by the much more famous Doobie Brothers. Seriously, is this China Groove? It sounds exactly like China Groove. In fairness though, it’s probably the song’s saving grace. Making your tune sound like a more famous hit isn’t the worst move you can make. More famous have engaged in more overt and made more money doing it. So hey.

But more importantly, even under a favorable light, Gangster Rock overstays it’s welcome. Well overstays it.

Now, I could be mistaken, but I doubt Gangster Rock is a 7 and half minute song. But it keeps playing, in almost comic mockery, for what appears to be an impossible amount of time for a song of this nature.

It starts innocently enough, with Felony adorned in some vaguely prohibition-era mobster attire, playing live on stage while kids cut a rug and…roller skate? Sure why not, it’s 1981.

And that’s all well and good for a spell, but the song just won’t end. It powers on, rebelling against all previous notions of pop-rock architecture, approaching an, I’d almost say Prog-Rock level, if it weren’t so blatantly repetitive.

Ultimately, it gets dragged over poor Linnea’s Quigley death at the hands of an aggressive bee-keeper. Wait, he had a sword. Hmm, I’m gonna say he was a fencer. It’s easy to get confused with Gangster Rock stabbing at your cochlea.

Since I couldn’t track down an official release from Felony containing Gangster Rock, I’ve grabbed it directly from the film. However, for the sake of your own sanity, I’ve employed some clever editing to spare you it’s ungodly runtime. Cause no one should be ask to deal with almost 8 minutes of Gangster Rock. Hell, even the 3 and change I’m subjecting you too here is of suspect length.

So grab a fencing mask, strap on a pair of roller skates and do the China Groove…I mean Gangster Rock.

Too Far

TRACK #273:

Too Far by Jim Cushinery, Ken Brown and Michael Linn

For the salacious among you, it may be of interest to know that Night Screams provides some much needed nudity no less than 10 seconds into it’s runtime. Not a record I’m sure, but disarmingly quick.

Eagle-eyed slasher fans could be forgiven for thinking it all looks very familiar. That’s not surprising, because you’re actually just watching Graduation Day, an act you’re sharing with 2 of Night Screams characters. And you’re gonna see more.

It’s a strange move, but not the boldest move Night Screams has on offer.

Seems that none of the film’s actresses signed on for getting buff, so director Allen Plone (Phantom of the Ritz) judiciously added in random clips of nudity to make up the difference. He even went as far as to use some actual pornography. Nothing graphic, but still.

You’ll be treated to classic porn icons like Seka and Honey Wilder. You also get Linnea Quigley, but only via the Graduation Day clips. You also get Bobby from The Karate Kid, but he doesn’t get naked.

You’ll also get, at no extra charge, a sometimes amusing, but largely yawn inducing, late-in-the-game slasher that can only be recommended to either completists or the terminally bored.

But, as you’re well aware, there must be some great music to be had, or else what the hell are we talking about, right?

Well, of a sort. There’s a good amount of garbage 80’s sub-rock on display and I think that’s definitely worth noting. Additionally, I rather enjoy the score for Night Screams. It’s minimalistic, synthy and very 80’s. But that’s not what we’re featuring here today.

What we’ve chosen to highlight for the playlist is a bit more poppy. It’s my favorite of the low budget tracks featured in Night Screams, but it really only appears briefly during the film.

Then unfortunately, the movie ends on some lethargic trumpet jazz you wouldn’t even use to put your fish to sleep.

But wait, what’s happening here? Night Screams has decided to show each of its low-rent murders again during the credits for no particular reason? By God, it’s another bold move. Wait, the trumpet music is fading…c’mon play it..play it….

And then it starts. The exact song I was looking to include. Sometimes you get a fortuitous lie. In this case, it’s an untitled Track I’ve given to calling Too Far.

Performed (I guess) by Jim Cushinery, Ken Brown and Michael Linn – the credits aren’t terribly specific. Their names are attached, but only generally speaking.

But the killings keep going. Oh man. What’s happening now? Oh, they’ve decided to replay some more of that budget rock. Ah, I remember this one. It’s that song from the night club called Chill Out. Hmmm.

Yeah, I’ll just pull the cord on this right here I guess. I think including Chill Out too might be going Too Far.

The Stuff Medley

TRACK #272:

The Stuff Medley by Larry Cohen

I love The Stuff. You probably do too. The Stuff is great. It kills all the bad things inside us.

Larry Cohen’s 1985 send up of consumer-culture plays like an Invasion of the Body Snatcher for the Reagan Era.

It’s fun and light, yet still decidedly unsettling. Maybe that’s because, despite its outlandish premise, its various parts feel so completely believable. You can actually imagine everything playing out this way, should an invasive alien organism present itself as a tasty new dessert. From the corporate feeding frenzy, to the social obsession, to the aggressive marketing campaign, The Stuff’s absurdity feels genuinely authentic.

Which leads us here. There’s no shortage of commercial jingles in The Stuff. There’s even a pretty fantastic extended track about The Stuff. Unfortunately as of yet, despite my longing, this song has not presented itself in isolation.

So, I’ve taken the 2 instances of the song featured in the film and tried to splice them into something resembling a complete version.

Additionally, I’ve surrounded it with other Stuff related promotional material, just for kicks.

Hey, is that Ave Vagoda? Yep.

Graduation Day will be right back after a word from our sponsor.

Enough is never enough!

The Winner

TRACK #271:

The Winner by Lance Owg, Gabriel Rohels & David Cole

Whenever I throw on an 80’s slasher flick I’ve never seen, I want it to sound exactly like The Boogeyman. It lets you know, right out of the gate, that a certain vibe is headed your way. The shoulders relax a bit and you can settle right into that warm, grainy fuzz of analog era horror.

In the event that the movie doesn’t sound like The Boogeyman however, I want it to sound exactly like Graduation Day; the sort of upbeat, discoed-out answer to that sound.

Can you beat this song? Sure. There’s a whole host of of better songs. There’s even better songs that have started off other horror movies. But if you’re giving me some B-grade horror movie bullshit, raise the flag. And it’s a short list of songs raising that flag higher than The Winner.

Listen to this thing. Are you kiddin’ me with this song? Lance Owg (which is a great name by the way) teams up Gabriel Rohels and David Cole to produce a song so suited to its surroundings, so perfectly a product of its era, so seemingly at odds with the movie, yet so wonderfully in tune with it, that you almost have to stand in awe.

Played over an extended slow motion montage of a highschool track and field competition, it’s priming you for an evening of go-for-the-gold and give-it-your-all horror. Whether Graduation Day makes good on that promise is a bit dubious. Ultimately, that’s up to you, but I like it well enough.

From 1981, right in the thick of the action, it skimps ya a bit on the gore, but there’s plenty of hallmarks here for slasher lovers to embrace; sub-par acting, strange behavior, a live rock band performing at a dance (more on them later) and, of course, some nudity.

In fact, The Queen herself, Linnea Quigley, was cast to replace an actress that would not fulfill her contractual nudity clause. And when you’re in a tight spot, you need to bring in a big gun, and our girl Linnea’s about as big a gun as you can get. Maybe not in 1981, sure, but in retrospect, it’s a serious pull.

Sorry. Linnea gets me sidetracked every time. What were we talkin’ about again? Oh yeah, a song. And a questionable song, to say the least.

Is this a song people wanna hear? I dunno. I doubt it. It’s a song I wanna hear and that counts for something, I think. At least around here, anyway.

Is it a song people are gonna associate with Halloween? Probably gonna go with a big “no” on that one too. But there’s no shortage of songs like that on this playlist.

Is it a song your party goers are gonna wanna hear on Halloween? 2+2 still equals 4, so this one, maybe not such a big hit at the party. Though certainly danceable, you can’t deny.

But, is it Shindig Material? Oh, you better believe…it’s a winner. The Winner, in fact.

And everybody wants to be the winner.

Halloween Shindig

The Horror Fans Halloween Playlist

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