Audio

Nightmare On My Street (Extended Mix)

TRACK #206:

A Nightmare On My Street (Extended Mix) by DJ Jazzy Jeff & The Fresh Prince

I think it’s a testament to Freddy’s legacy and iconography that this Monster Rap is more well known than the Referentially Inclusive (and wildly superior) song by The Fat Boys. Seems more people are familiar with Freddy as a pop culture window cling than they are with the films themselves.

That’s not to say I don’t enjoy A Nightmare On My Street. Quite the contrary! I think it’s a great Monster Rap, and all the more so that the song is its own entity outside of the films. But when comparing the 2, I feel it is the clear also-ran, and i wish Are You Ready For Freddy was the more popular cut.

But here we have the DJ Jazzy Jeff & The Fresh Prince detailing an evening in which they take to the cinema with Ready Rock 3 and some honeys. There, they enjoy a new (and generic) Elm Street film, only to find themselves tormented by Freddy in the real world once the film ends. Shades of New Nightmare, or simply imagery from the original? Only Wes Craven knows for sure.

Though recorded in ’87, this single was released in August of ’88, right when Elm Street 4: The Dream Master was about to hit theaters. And while it’s more probable the the trio was seeing Dream Warriors at that time, the song seems similar in tone and even references Freddy’s Revenge. So who knows which Elm Street they did in fact see that night. Either way, it was def.

Speaking of The Dream Master, the producers actually considered including this song on the soundtrack, but ultimately could not come to an agreement with Misters Jazzy & Fresh. New Line decided instead to just sue Jive/RCA  Records for copyright infringement. How’s that for a 180? Apparently there was a music video that was pulled from MTV as a result. Bet that was pretty def too. Unfortunately, that video seems to be lost forever, as it has yet to resurface on the Internet. It’ll be a pretty def day when someone find some forgotten copy and posts it.

Adding more intrigue to the mix, there’s even a handful of different versions of this track. The original LP and cassette version ran over 6 minutes long and contained some different lyrics. Now, a 6 minute rap song about a popular horror icon just won’t do for radio play, and the song was not simply trimmed, but altered somewhat. For reals?

Yep, that version we’ve all been listening to for the last 30 years ain’t the original. But, since the Shindig rolls hard on such matters, it has included the original 6 minute LP version for your enjoyment.

What revelations are to be found in this uncut version? Well for one, The Fresh Prince mentions Nancy, and while that could also refer to Dream Warriors, in context It seems more referential to the original. And while the extended lyric of “something about Elm Street was the movie we saw” is more ambiguous than him stating simply (but also a bit ambiguously) “we saw Elm Street,” I think it suggests they indeed done rushed a screening of Wes Craven’s 1984 classic.

What else is revealed? Welp, perhaps most strangely is that a rather innocuous original line about grabbing something cool to quench his thirst was replaced by a completely unnecessary product drop for Coke.

Now, I’ve read about fans being upset about this, but I’m not convinced its the nefarious product placement it may seem.

I guess if you need to shorten the song, the whole bit about coming downstairs, being alone but seeing the TV on is a little expository, so its a good spot for some revision. Moreover, the replacement of “remote” with “coke” actually alleviates the initial false rhyme with choked. It’s not great, but its an improvement.

Is it the marketing arm of Jive records stepping in and forcing a commercial? Naw, probably not, but I will admit, it is a little suspect. But mostly the omitted lyrics just add a little color, honestly. Just some more depth of descriptions to the events.

Because I couldn’t find one online (read: because no sane person really gives a shit or wastes their time on such nonsense) I’ve composed a comparison of the 2 versions for other dorks to look at and find interesting for a half a second.

  • Lyrics featured in both verisons will be in normal text color.
  • Lyrics specific to the Single version will be in green.
  • Lyrics specific to original Extended Mix will be in orange.

[Fresh Prince:]

Now I have a story that I’d like to tell

About this guy you all know him, he had me scared as hell!

He comes to me at night after I crawl into bed

He’s burnt up like a weenie and his name is Fred!

He wears the same hat and sweater every single day

And even if it’s hot, outside he wears it anyway!

He’s gone when I’m awake but he shows up when I’m asleep

I can’t believe that there’s a nightmare – on my street!

It was a Saturday evening if I remember it right

And we had just gotten back off tour last night

So the gang and I thought that it would be groovy

If we summoned up the posse and done rushed the movies

I got Angie, Jeff got Tina

Ready Rock got some girl I’d never seen in my life

That was all right because the lady was chill

Then we dipped to the theater set to ill
[Fresh Prince single:]

We saw Elm Street and man it was def

And man, it was def!

Buggin! Cold havin a ball

And somethin bout Elm Street was the movie we saw

The way it started was decent, ya know nothing real fancy

Bout this homeboy named Fred and this girl named Nancy

But word, when it was over, I said, “Yo! That was def!”

And everything seemed all right when we left

But when I got home and laid down to sleep

That began the nightmare, on my street!

It was burnin in my room like an oven

My bed soaked with sweat, and man, I was buggin

I checked the clock and it stopped at 12:30

It had melted it was so darn hot, and I was thirsty

I went downstairs to grab some juice or a coke

Flipped the TV off, and then I almost choked

I wanted something cool, to quench my thirst

I thought to myself, “Yo, this heat is the worst!”

But when I got downstairs, I noticed something was wrong

I was home all alone but the TV was on!

I thought nothin of it as I grabbed the remote

I pushed the power button, and

then I almost choked

When I heard this awful voice comin from behind

It said, “You cut off ‘Heavy Metal’ and now you must die!”

Man, I ain’t even wait to see who it was

Broke outside in my drawers and screamed, “So long, cuz!”

Got halfway up the block I calmed down and stopped screamin

Then thought, “Oh, I get it, I must be dreamin”

I strolled back home with a grin on my grill

I figured since this is a dream I might as well get ill

I walked in the house, the Big Bad Fresh Prince

But Freddy killed all that noise real quick

He grabbed me by my neck and said, “Here’s what we’ll do.

We gotta lotta work here, me and you.

The souls of your friends you and I will claim.

You’ve got the body, and I’ve got the brain.”

I said, “Yo Fred, I think you’ve got me all wrong.

I ain’t partners with nobody with nails that long!

Look, I’ll be honest man, this team won’t work.

The girls won’t be on you, Fred your face is all burnt!”

Fred got mad and his head started steamin

But I thought what the hell, I’m only dreamin

I said, “Please leave Fred, so I can get some sleep;

Or gimme a call, and maybe we’ll hang out next week.”

I patted him on the shoulder said, “Thanks for stopping by.”

Then I opened up the door and said, “Take care guy!”

He got mad, drew back his arm, and slashed my shirt

I laughed at first, then thought, “Hold up, that hurt!”

It wasn’t a dream, man, this guy was for real

I said, “Freddy, uh, pal, there’s been an awful mistake here.”

No further words and then I darted upstairs

Crashed through my door then jumped on my bed

Pulled the covers up over my head

And said, “Oh please do somethin with Fred!”

He jumped on my bed, went through the covers with his claws

Tried to get me, but my alarm went off

And then silence! It was a whole new day

I thought, “Huh, I wasn’t scared of him anyway.”

Until I noticed those rips in my sheets

And that was proof that there had been a nightmare, on my street

Oh man, I gotta call Jeff, I gotta call Jeff

Come on, come on

Come on Jeff, answer

Come on, man

[Jazzy Jeff] Hello?

[Fresh Prince] Jeff, this is Prince, man

Jeff, wake up,

Jeff, wake up

[Jazzy Jeff:] What do you want?

[Fresh Prince:] Jeff, wake up, man, listen to me, Jeff

[Jazzy Jeff:] It’s three o’clock in the mornin, what do you want?

[Fresh Prince:] Jeff, Jeff, would you listen to me?

Listen, whatever you do, don’t fall asleep

[Jazzy Jeff:] Man!

[Fresh Prince:] Jeff, listen to me, don’t go to sleep, Jeff

[JJ:] Look, look, I’ll talk to you tomorrow, I’m going to bed

[Freddy:] RRAHHHH!

[JJ:] Ahhhhhh!

[Fresh Prince:] Jeff! Jeff!

[Freddy:] Ha ha ha ha ha haaaa!

[Jazzy Jeff:] Ahhhhhh!

[Fresh Prince:] Jeff!

[Freddy:] RRAHHHH!

[Fresh Prince:] Jeff! Answer me, Jeff!

[Freddy:] I’m your D.J. now, Princey!

Ha ha ha ha ha ha ha haaaaa!

So there you have it. Far too much copy regarding a silly novelty song about Freddy Krueger. But, I’m not sure The Shindig would have it any other way. Enjoy the extended version of A Nightmare On My Street.

And whatever you do,..don’t fall asleep.

Audio

Do The Freddy

TRACK #205:

Do the Freddy by The Elm Street Group

Here’s some certified, all-American, 80-proof ridiculous bullshit from the incomprehensibly titled Freddy’s Greatest Hits.

Greatest Hits? Why, that suggests a larger body of work cultivated and condensed into only “the tracks you wanna hear,” no?

First of all, Freddy doesn’t have any other albums. This is it, folks.

Secondly, even if there were several albums, are these the choice cuts? Are these just the “tracks you wanna hear?” Probably not. They’re the tracks I wanna hear, no doubt, but I don’t speak for anyone else, much less everyone else.

Perhaps there were other Freddy songs. Maybe they had 3 albums worth and just decided these were the best, and released it as a Greatest Hits to spare everyone. If that’s the case, then fuck gang, what did those other songs sound like?

These greatest of hits encompass mostly cheese-ball covers of songs that feature the word “Dream” while Freddy cackles randomly around the melody. However, there are a few original cuts, like this number – perhaps the collection’s most unfathomable offering.

The “Do The Freddy” sticker from my toolbox at work. It’s pretty great.

What is this shit? Do the Freddy? He’s got a fucking dance now? Are you kidding me? This shit is out of control.

Nowadays, whenever I hear that people find it impossible to be scared of this character, I completely understand, and it’s because of shit like this.

Once a master of fear in the hearts of children the world over, Freddy is here reduced to a few dance moves. And not even good ones! Behold…

Pick your feet up

swing your arms up too

Move you head both ways

like you see him do

Then jump 3 feet to the swinging beat

Of The Freddy

What? What kind of fucking dance is this? I’m not even sure what I’m supposed to be doing really. And the weirdest part (as you may have thought to yourself) is clearly the “move you head” instruction.

What, exactly, does moving your head both ways actually look like? Is it just shaking your head? Turning and looking in either direction like your crossing a street? It’s too vague.

Moreover, is this Freddy’s signature move? Not “claw at the air” or “scrape your blades on the wall.” Nope, it’s moving your head both ways. Ya know, that thing everyone probably does several times a day. That’s it. That’s Freddy’s big move. You could have written a more appropriate, or hell, even a slightly less vague line with roughly 2 minutes worth of thought.

Also, I think it’s important to note that no one listening to this song has a 3 foot vertical. Fuck, Michael Jordan had a 46 incher, and he’s one of the greatest dunkers of all time.

To put a more comparative and current prospective on it, Russell Westbrook has a 36.5 inch vertical. He can barely compete this dance. And Kevin Durant, at a paltry 33.5″, can’t Do The Freddy at all.

I’d ask “Just who the hell is this for, exactly,” but as you’ll soon hear Mr. Robert England proclaim straight away – “this is for you.”

So, there’s that. Enjoy this song, because it’s for you.

 

Audio

The Chucky Song

TRACK #204:

The Chucky Song by Simon Stokes & Joe Renzetti

As we’ve often said here on The Shindig, it seemed like everything and everyone was rapping in the late 80’s. If you wanted to lame something up real quick, you made a fuckin’ rap.

Which is apparently exactly what composer Joe Renzetti and songwriter Simon Stokes did in 1988 for Child’s Play. Only problem was that someone above their pay grade said “Yeah, I dunno about this bullshit, fellas.” And like that, the The Chucky Song was shelved.

Now, while that person may have had half a brain, they were also a goddamn communist. How the fuck do you axe this track? In 1988? As a Sweet Song playing over the end credits? I mean, I understand why maybe it makes some logical sense, if you’re attempting to keep up the appearance of a legitimate horror film, but c’mon. This shit is gold, and not just because it’s ridiculous. I mean, it is, but all playing aside, this is a legit song, and not a half bad one.

Sure it’s goofy, but it’s catchy as shit and the lyrical content is on point. There’s tons of direct references, Good Guy Doll phrases, a Chucky voice, kids singing, and they even toss in Charles Lee Ray’s voodoo chant. C’mon! There’s a lot of bad monster raps out there, and this definitely isn’t one of them.

As such, I’m stoked (pun firmly intended) that this escaped. I don’t know how, why, or who’s responsible for this ultimately seeing the light of day, by they deserve the goddamn Noble Peace Prize.

This could easily have never graced the public’s ears. Or worse yet, we could have quiet rumors of it’s existence with no actual proof. But we are a fortunate people, and for that we bestow upon it the highest of honors we can…a spot on The Shindig.

Hidee-Ho!

 

Audio

Lep In The Hood

TRACK #203:

Lep In The Hood by Warwick Davis

When it comes to Monster Raps, I’m a huge fan. A legitimate fan. I legitimately like these songs.

That’s not to say I don’t see why they’re ridiculous. But I like them. I bump them in my car. In a lot of cases, they’re actually good songs.

I can not say the same for this particular Monster Rap.

Don’t get me wrong, I love The Leprechaun. I love Warwick Davis. I have the box set. Vegas is awesome. Space is fun as well. Leprechaun in the Hood is a particular joy, and even Back 2 the Hood has its moments. But Lep In The Hood is not a good song.

I enjoy it. I love that it exists. It’s hands-down playlist material, but it’s a bad song, to be sure.

It could have been good too; with a better beat, some more inspired lyrics and a little more commitment than the halfassery on display here, this could have been a great Monster Rap.

But I’m not one to stare a gift horse in the mouth, and any Warwick Davis rapping as the Leprechaun is better than no Warwick Davis rapping as the Leprechaun, so hats off to the producers on that account.

Thank you for giving this to the World, even if the World doesn’t really appreciate it.

 

Audio

On Our Own

TRACK #201:

On Our Own by Bobby Brown

Yeah, I think it’s gonna be another one of those funky ones…

Ghostbusters 2, the definitive statement on Monster Raps, continues its genre dominance here with perhaps its most popular track, Bobby Brown’s On Our Own.

Featured during a montage of the GBs kicking it into gear and revving up for a final showdown with Vigo the Carpathian.

Total side note here, but if you’ve never heard the skinny on Vigo’s painting, definitely check this out.

This track’s especially relevant in that Bobby Brown actually has a cameo. His excitement at seeing the Ghostbusters emerge from ECTO-1a is a great movement in the film. He asks Egon and Ray if he can get a proton pack for his little brother. Naturally, Egon flat out rejects this ludicrous proposal, while Ray halfheartedly agrees.

“I guess he’s right.” Ray responds.

You guess? Really Ray?

Am I to believe that if Egon hadn’t been there, then Ray would have seriously considered giving Bobby fucking Brown a proton pack? For his kid brother, no less?

I’m not sure if Ray should be allowed to handle such dangerous equipment if he doesn’t know well enough not to just hand it over to random citizens, or fucking children. Maybe dickless Peck was right all along.

Bobby Brown gets in on the action all the same, proton pack or not, serving up a Ghostbusters jam to beat all. Yeah, yeah, you know it.

Tryin to battle my boys? That’s not legal!

 

Audio

Born On Halloween

TRACK #200

Born on Halloween by V. Ice (feat. Violent J)

V. Ice, as the horror-core iteration of Robert Van Winkle (aka Vanilla Ice) refers to himself, was actually born on Halloween. October 31st 1967,  to be precise. That’s pretty awesome as far as The Shindig is concerned. What’s more? He cut a referential Halloween track about it.

Double bonus.

Depending on your perspective that is.

From The Shindig’s perspective, it’s an all around winner. First and foremost, its a Referential Halloween Monster Rap. That’s pretty special. Referential Halloween tracks are a rarity, and the few others that appear on this playlist are weakly included in either direction. Not V. Ice’s jam though. Born On Halloween a card-carrying referential Halloween Monster Rap.

This is not a good song though. I love it. At times it fills me with Halloween joy. At other times it makes me laugh. I rock out to it in my car. Genuinely. I don’t change it at red lights when cute girls or tough guys pull up next to me.

It’s on The Shindig, hands down, no question, but it can’t really be called good. I love a lot of things genuinely that are not objectively good. Go scrolling randomly through this playlist; the evidence to that fact is compelling. Many things about this song are not good.

Starting with it’s absolutely ridiculous chorus. Random weirdo’s chant “Born On Halloween” in a manner that sounds suspiciously like This Is Halloween from A Nightmare Before Christmas. Fitting then, 100 songs after posting that track, we’ve finally decided to post this one.

Add to that some of the weakest referential rhymes to hit The Shindig since The Maniac Cop Rap, and it’s hard to make a strong case for the quality of this song.

“Some call him Psycho
the Norman Bates of Hip-Hop.
The ladies call him Alfred
Cause they’re all over his Hitchcock”

Wow.

No one calls V. Ice that, full stop. I doubt anyone calls him V. Ice for that matter, but hey.

I’ll also set my watch and warrant that no woman anywhere has ever referred to Vanilla Ice as “Alfred” for the sole purpose of alluding to his cock.

There’s no fucking way that’s mathematically possible. The amount of cognition involved in devising such a reference, divided by the relevance and knowledge of Alfred Hitchcock to any ladies within shouting distance of Robert Van Winkle on any given night, produces a probability that could only be visible through a high powered telescope, so fucking insane is it.

The kicker is that this incredibly juvenile rhyme…doesn’t even rhyme!

All of the above would be completely forgivable (as with most ridiculous rap boastings) if the lyric was actually clever. This one is not. And I fucking love it for that.

Violent J (not in fact born on Halloween, as he [perhaps] suggests) shows up to add some much needed street cred to the whole affair. I’m sorry, what?

When a rapping Clown from the Posse Insane is noticeably stepping up your track’s game, something is fucking broke. J quite honestly puts V. Ice to shame on this song with better rhymes, better rhythm and a tone becoming of the subject matter. It’s a breath of fresh air when J steps up to the mic. And that’s not a joke, either. That’s my sincere assessment.

The weirdos will intermittently spout off  “With my mask I trick or treat, spooks and freaks all over your street” and “born on Halloween” to everyone’s delight, giving the song it’s air of Halloween spirit.

My research suggests that most listeners will find that all of this nonsense adds up to about 4 minutes of Halloween torture they’d rather have no part of. Can’t blame them for that. The more masochistic audiophiles however or any undercover Juggalos in your crowd might actually enjoy this business. Can’t blame them either, except maybe the undercover Juggalos, for well, being a fucking Juggalos.

I’ve been hard here on V.Ice here, as has the world as a whole for the last 25 years or so. Most of that is completely reasonable considering the seemingly disingenuous output of Robert’s career.

But seriously V.Ice, if you’ve somehow miraculously stumbled across this blog and are reading this, The Shindig loves this song, both genuinely and ironically, all at the same time. It loves that it exists and hoists it proudly amongst the ranks of Halloween rockdom. We wouldn’t change a thing about it. Your references, as weakly constructed as they are, jam-pack the front end of this track and the Halloween quotient is undeniable, right down to the cribbing of Danny Elfman and the good people of Halloweentown.

Please accept my apologies if this I have made you feel, through any of the above criticism, that I am anything less than a fan of this track. There’s a lot of Halloween music I hate (a few ICP songs that come to mind here) that I roundly refuse to include on this playlist. Born On Halloween is not one of those tracks. Born On Halloween is a Halloween song for the ages.

 

Audio

Sleepaway

TRACK #193:

Sleepaway by John Altyn

Aside for his contribution to Sleepaway Camp II: Unhappy Campers, and this (almost) title track for the 3rd installment, I’m not sure there’s a whole lot of info floating around about 80’s rocker John Altyn.

I did find this nugget though, from The Sleepaway Camp Official Website, where John talks a bit about himself and the music he did for SC 2and 3. Bonus.

I guess he wasn’t a fan. As you’ll hear in the song, that “Same old story” part toward the end was John taking a little jab at the script for Teenage Wasteland, which I guess he thought was pretty lame.

Can’t say I blame him really. As a franchise, Sleepaway Camp was never all that compelling, and I think there’s a little bit of a noticeable dip for the 3rd installment. And if you’re familiar with Sleepaway Camp IV’s troubles, or have ever seen the ret-conned and wildly uneven bootquel Return to Sleepaway Camp, you know things didn’t follow an upward trajectory.

But as far as late cycle slasher films go, it’s honestly not terrible. Pamela Springstein’s Angela is still very charming and is a pleasure to watch as she does her best here to have some fun with the overtly campy material.

The kills are all rather lazy and not terribly explicit. It takes place almost exclusively in broad daylight and all at a very leisurely, almost blase pace. It’s not to be taken all that seriously though, and for that we can cut it a fair amount of slack. It’s the Angela show, and for that it works well enough.

This song however, is pretty kick ass. It’s a “sweet song,” used during the end credits of the film. This is a term I just learned from John himself in the above interview, and will henceforth use constantly. In fact, I may even update The Shindig categories and add Sweet Songs. I love that this has a term, and there’s tons of them all over The Shindig.

Here’s the Sweet Song from Sleepaway Camp III: Teenage Wasteland, John Altyn’s Sleepaway.

 

Audio

You’re Just What I’ve Been Looking For (Angela’s Theme)

TRACK #192

You’re Just What I’ve Been Looking For (Angela’s Theme) by Frank Vinci

Let’s take a little canoe ride from Camp Blackfoot across the lake to Camp Arawak for a 2 days overnighter with Angela Baker at Sleepaway Camp.

Mostly known for having the creepiest fuckin’ side-swipe ending of any generic Friday the 13th knockoff, Sleepaway Camp spawned several sequels and holds it own as a franchise that was able to climb out of Jason’s long shadow.

I’d love to post a gif, but I’d hate to spoil this for anyone that’s never seen it.

Ah, fuck it. This shit is 35 years old. If haven’t seen this by now, I don’t know what to tell you, it’s just gonna get spoiled. Cause we can’t talk about Sleepaway Camp without talking about this ending. It’s the only thing that’s differentiates Sleepaway Camp from any number of faceless slash clones.Horrifying.

Seriously. This shit still gets under my skin all these years later.

I had the fortune of seeing Sleepaway Camp long ago enough so that is wasn’t spoiled for me, and at an age where it could do maximum damage. And it did.

Given our current cultural climate, Sleepaway Camp tends to be derided as an artifact of Transphobia. Much the same way Dressed to Kill is now criticized.

And it’s a reasonable enough argument. If the sight of a girl with a penis was not frightening to you before, Sleepaway Camp certainly goes to some lengths making sure it forever will be. But, while I think that does support the argument against it, I think you can also cite those lengths as reason why it perhaps isn’t wholly Transoygnist.

Like any good horror tale, Sleepaway Camp takes a social phobia (right or wrong) and uses it as a basis to create horror for its audience. I’m not sure the film is saying anything overt about that fear. Is it exploitive? Probably. But I don’t think it’s a condemnation. It’s not necessarily sympathetic either though, but films from the early 80’s rarely are in regards to any minority concern.

Now, you could argue that simply using a transgender reveal as a source of horror is insensitive, sure. You could also argue that by making a transgender character a violent and horrifying freak because of its transgenderism, and then having the other characters react as such, is just flat-out irresponsible. Thus you could condemn the film for perpetuating a negative cultural view of transgenderism. That is totally valid.

I think part of Sleepaway Camp’s defense though, could be that Angela’s transgenderism does not come from within her, but from an external source. She is forced into it by her adoptive aunt. Being abused into identifying as any gender against your will is wrong and itself horrifying. Almodovar’s similarly criticized The Skin I Live In also comes to mind here.

Considering this, one might argue that Sleepaway Camp is then perhaps even pro-transgenderism; a cautionary tale of the dangers (figurative, or literal, mental, or physical) of forcing anyone to align themselves with a gender they do not identify with. Maybe the biggest takeaway from Sleepaway Camp, intentional or not, is to let people just be who they are, whatever that is for them.

Additionally (for me anyway) the least horrifying aspect of this ending is the reveal of Angela’s gender. Sure, it’s part and parcel to the whole scene and its endurance, but there are several elements at work which give this scene its haunting quality. You could say they are thus making the transgender reveal horrifying, hence the argument against it. But I would say they are the factors, and not the reveal, which actually make this scene so horrifying. That might just be splitting hairs though.

Firstly, there’s the music. The piercing brass stabs are enough to set your teeth on edge by themselves.

Then there’s the build up. It’s abrupt and clumsy, but Aunt Martha’s characterization is so over the top and cartoonishly creepy, it is enough to give you the willies in context.

This is then followed by Angela’s guttural moaning. She says nothing. There’s no pleads of innocence, no explanations, just a heaving and animalistic breathing that send shivers down my spine still.

Then, the most effective part of this sequence, that wide shot. While this of course features the gender reveal, it is Angela’s frozen gaze which I’m actually disturb by here.

This shot was made possible by life casting Angela’s same horrifying look. They then turned that cast into  a mask which was worn by a male actor. For me, this is the most upsetting part of the whole reveal; Angela’s static expression, made doubly creepy (and doubly static) by this horrifying mask.

It’s just stays there, frozen. And then the film freeze frames on Felissa Rose’s actual face and runs credits.

Credits over which you will hear this Shindigger, a creepy synth pop number seemingly written specifically for the film.

So whether or not this ending, or Sleepaway Camp as a whole, is something you find totally offensive and reprehensible, you can’t deny that it causes a deep emotional response, and that is something you don’t always get from this sort of film. And maybe that alone is worth the legacy.

 

Audio

Horror Hotel

TRACK #185:

Horror Hotel by The Misfits

Here’s another classic example of referencing a horror classic without actually talking about the movie at all, from Shindig All-Stars and referential magicians, The Misfits.

Sure, it might be called a Horror Hotel, but God knows what Danzig’s actually talking about here, because it’s not the 1963 Christopher Lee film.

What we do know is that it’s definitely about a hotel and some bad shit’s going down there, maybe even some horror. Particularly in Room 21, where all the underworld scum seem to congregate. Can’t say I know of any specific Room 21s from horror lore, but I’d be open to suggestions about what other references Glenn might be bandying about. Though I’ll wager it’s probably used simply because “Room 36” doesn’t rhyme with “scum.”

But that was sort of Glenn’s deal. Name a song after a classic movie and then whip up some lyrics that sort of jive with the mood that title conjured. Unless of course you’re talking about Return of the Fly, which basically reads like a Videohound entry of the film of the same name, right down to listing of its actors and characters.

None of that really matters though, does it? I mean, at least not where The Misfits are concerned. Personally, I rather like that these songs are less overt in their referential nature. Something like Blitzkid’s Candyman lacks any of that artistic (?) subtlety, opting to bludgeon you with lyrics so simple and childlike, it sort of takes something away.

You get none of that from Danzig and Co., and as such are gifted that wonderful space of ambiguity and interpretation.

Plus, it give us the opportunity to cram that space with plenty of samples from the song’s namesakes. Couldn’t do that if they just named the song Room 21, now could we?

You wanna start somethin’ with me…?

 

Audio

Season of the Witch

TRACK #183:

Season of the Witch by Donovan

Speaking of Seasons of the Witch, here’s a song tailor made for the occasion.

Many years ago, while discussing the film Highway to Hell, I stated that simply naming your film after a preexisting song does not automatically quality that song to be a Title Track.

I said this because the song Highway to Hell only appears in the trailer for the film, and not in the actual movie, something I think is important. And while I don’t think that makes it a true Title Track, it’s definitely enough scratch to get a seat at the table.

Though George A. Romero may well have named his film after the Donovan song, he utilizes it to great effect during a montage of noob-witch Jan White procuring magickal supplies from her local witch shop.

You know, that weird store you have right around the corner with the creepy eyeball sign, filled with crucibles, bejeweled daggers and strange smelling shit?

Oh, you don’t have one of those in your town? Well thankfully Jan does, cause she’s gonna need to gear up if she wants her dick spell to work on the young Professors she’s been eying.

I don’t, however, recommend playing with Black Magick. I’ve yet to see one film where that works out in anyone’s favor.

Although, in fairness, it doesn’t not work out for Jan, now that I think about it. She might accidentally kill her husband, but that guy was kind of a douche, and she didn’t really like him anyway. So, I guess you can play with Black Magick and have everything turn out ok.

I still wouldn’t recommend it, though, cause that’s pretty rare.

Here’s Donovan’s classic Halloween witch hit, elevated to Title Track status by George A. Romero.