Speaking of dudes from our Freddy Raps episode and sampling classic horrors themes for raps beat…oh and recent questionable reboots of aging horror properties…oh and even Halloween, I guess, by way of Rob Zombie…
man, that’s a lot of tenuous connections for 2 songs to randomly have…
here comes an actual Referential Monster Rap in the form of Gregory D and Figgy Balls’ Love letter to The Munsters, Monster Booogie.
Now, why they didn’t just call this tune Munster Booogie is above my pay grade, but honestly that’s the only bone I have to pick with this track, because otherwise, it’s just the goods. Well, there’s is that one verse, but we’ll get to that.
Mannie Fresh twists up The Munster’s Theme into the kinda beat I wish every monster rap had, while Gregory D waxes nostalgic for the days of eating cereal and kickin’ it with the First Family of Fright.
They also spit barbs at The Addams Family, which for a song of this nature, feels right at home.
Then, there is that verse I spoke of earlier. Gregory D goes off on Eddie Munster a bit, and some words get thrown around. Now listen, we’ve laid into Eddie Munster ourselves, more specifically Butch Patrick for his crimes against music, but this is a bit of a different beast. Let’s just say he goes so far as to suggest Eddie Munster might prefer the company of men.
This bar-spanning gag which (in addition to being generally offensive to both Gays and Butch Patrick for a number of reasons) is a really weird joke to make considering the kid’s like 10 years old. But hey, I guess that’s just a little slice of 1987 for ya. Try to ignore it, if you can. If not, I’d understand.
Despite that, this is still a seriously referential tune though, with tons of great samples and a dope ass beat. It’s the kinda diamond in the rough you come across while looking for something else and then all you can do is sit back and bask in great weird wave of the universe.
So, instead of subjecting yourself to Rob’s Day-Glo prequel, just blast Gregory D and Mannie Fresh’s Monster Booogie, and then go enjoy a few episodes of the real thing while scarfing down a bowl of Frankenberry.
The real question is how much can you take of M.C. A.D.E.More specifically, his grating vocoder rapping.
Well, Adrian Does Everything (or Anus Do Exterminate, whichever you prefer) is challenging us to find out, with his tune that inexplicably uses John Carpenter’s classic Halloween Theme.
And to good effect, as thisbeat is pretty awesome. Unfortunately, that fat shit A.D.E. comes in with his monotonous vocoder sound and we quite literally begin asking ourselves “How man can we take?”
I get it. I know. But hear me out.
We gave A.D.E. a pretty hard time on the Freddy Raps episode, and we didn’t really redeem ourselves on Halloween H40 either, and I feel bad.
Dude essentially invented Miami Bass, used the Halloween theme, produced gnarly, trunk thundering bass and he made a Freddy Rap. C’mon, that’s worth some respect, no? And I know his Freddy Rap is pretty irritating, and we definitely took a firm stance on no Nightmare on ADE Street on the playlist, but we gotta throw him a bone, right? Just for being so shitty to a pioneer?
And this song is better! Isn’t it? I mean, I know it’s not much better, but it’s better, right? Plus, he uses the Halloween Theme to craft a great beat for crying out loud. And hell, I’d put money on him being one of the first guys, if not the first guy sample this theme.
But I’m really just guessin’ here. I don’t have that kinda info on hand. In fact, I wanna double check this claim. Gimme a sec.
Ok. So Jaybok the City Ace seems to be the first guy to do this, on 1987’s Hip Hop Phenomenal, followed closely thereafter by Slick Master Rick on his tune Brothers and Sisters House on 13th Street in 1988.
But then, 1989 rolls around with Esham, TheBeat Pirates and M.C. A.D.E. all sampling this theme.
Slick Master Rick and The Beat Pirates both made clubby electronic dance tunes with no rapping, and The Beat Pirates are sampling what sounds to me like the Part 2 theme, not that that matters really.
Esham is definitely using the tune, but it doesn’t sound sampled to me. And the part he uses is kind of a pushed-to-the-back-of-the-mix flourish that decorates a beat that isn’t really built on Michael’s theme. I will say his song is much better all around than A.D.E.’s though. So there’s that.
But then there’s Jaybok. Unfortunately, The City Ace has A.D.E. dead to rights. Hip Hop Phenomenal was released 2 years earlier, and it slaps. The beat is on point and his rapping isn’t all annoying like A.D.E.’s. And not for nothing, but Jaybok’s flow is smooth. Smooth like “is this really from 1987?” smooth.
However, I can’t say for sure, but I might argue that Jaybok isn’t sampling the song either. It sound different, like it’s just played in another synth. It could be a pitched sample, for sure, but it doesn’t sound like a straight sample the way A.D.E’s does.
So, he’s probably at least the 2nd, but at the most generous, I’d stand by my statement and sayA.D.E.was the first cat to really use the sample in this manner, for a rap song that relies heavily on Carpenter’s theme as the beat. You could argue against that effectively though.
Either way, that’s not bad, particularly considering how much it’s been used since, and whom by.
Ice T, Afrika Bambaataa, Dr. Dre, Snoop Dogg, Biggie, Soulja Boy, Juciy J and even (unsurprisingly) The Insane Clown Posse, have all had producers that dipped their MPCs into this classic piece of horror scoring.
But here we are, with our friend A.D.E., the man who makes me reconsider my love of the Vocoder. It’s like Adrian, I know it’s a dope tool, but you can’t rap the whole song through it like that bud, you just can’t. And what Vocoder are you using, cause it doesn’t sound that great. Is it even a real vocoder, or an FX pedal? Whodini had it right. You gotta get that VP330 Whodini had if you go hard like that. I know that fucker was pricey (still is!) and Whodini was Whodini, but there had to be someone around the studio with something close.
But I digress.
I’m sort of in a conundrum over this song. I’d like to include it, but frankly, it doesn’t really nest into any of The Shindig’s categories. It’s not Referential (unfortunately) and it doesn’t appear in any film (that I’m aware of anyway) and it’s certainly not about monsters or Halloween. But it is using the Halloween Theme, right?
But if I went around just adding every song that used this theme (Blood for Blood’sSpit My Last Breath comes to mind) we’d be here till Thanksgiving.
So, technically, it shouldn’t even be here. But we played it on Shindig Radio Ep. 20 and I’d like to commemorate that moment on the playlist and reproduce some of that Halloween Kills vibe here, and maybe assuage some of this guilt I’m feeling over giving A.D.E. so much grief.
So, if you’ll all indulge me for a moment, I’ll just chalk this one up as a Horror Theme and give M.C. A.D.E. his day on The Shindig, lord knows he’s earned it.
Main Titles (A Nightmare on Elm Street) by Charles Bernstein
Well, it would be practically un-Halloween Shindig of us to have a Friday the 13th song, much less 2, and not follow them up with a Nightmare on Elm Street song. It’s a practice we’ve long indulged, though typically in the reverse order, with Freddy usually getting the double shot.
As such, in its 8 years of internet life, Halloween Shindig has been home to 10 different Freddy Krueger songs, no doubt aided by his very own release, Freddy’s Greatest Hits.
However, similar to Friday the 13th (and perhaps then more understandably) we have yet to feature Charles Bernstein‘s classic theme from the original Nightmare on Elm Street.
And a fantastic theme at that.
But not just the theme, because the entire score from Freddy’s rookie outing is a stand-alone marvel of horror composition.
And though it’s intricately threaded into the fabric of the film, and largely responsible for both creating its surreal atmosphere and then using those cues to misdirect the viewer, its an album that’s just as enjoyable to hear apart for the film. If you’re into just listening to that sort of thing, that is.
In a recent interview with Gibson Guitar, Charles admitted he didn’t initially think the picture was going to do well commercially. He thought the thing was just too bizarre and destined for a straight to video release, where no one would hear his music. As such, he felt liberated to just do whatever he wanted, and thank the horror God’s for that, because what he wanted to do was unique, surreal and perfectly suited for this specific film.
And it’s all Charles on this thing, too. With a limited budget to work with, Bernstein told Wes Craven he’d have to do it alone. So with an 8 track TEAC recorder, a guitar, a bass, a few percussion instruments, a handful of synths, his own voice and a stack of Boss pedals, Charles wrote, performed, recorded and mixed everything you hear on this score himself. And that’s pretty nuts.
Various gear forums suggest large helpings of Yamaha’s DX-7 mixed with an Oberheim OB-SX, a Roland Juno-106 and possibly even an ARP 2600 as comprising the electronic palate of Elm Street’s synth ladened soundscape.
However agreed upon the above may be, there doesn’t seem to be a definitive list from Charles himself. Unfortunately, he isn’t exactly sure what all made it onto the final score. He does seem pretty convinced there’s at least an OB in there, whether an SX or something more grand, and the DX is probably a lock regardless of anyone’s memory.
Charles did say though, looking at this old photo from 1984, that he spied a Sequential Circuits’ Pro-One. Indeed! It’s right there on the stand in front of him.
The Pro-One was the monophonic little brother of the infamous Prophet-5 – the old horror composers trusty sidearm of choice. No surprises there, if that’s true, though I personally couldn’t say for sure and apparently neither can Charles.
Whatever he used exactly, it just worked. It was the right score, for the right movie at the right time, and I would certainly credit it as being an important part of what made this first Freddy film so effective and loved, and no doubt a contributor to its continued endurance.
Eerily ethereal, eminently electronic, and unmistakably Freddy, here it is at last, The Main Titles from Wes Craven’s original game changer, A Nightmare on Elm Street.
Overlay of Evil / Main Titles (Friday the 13th) by Harry Manferdini
Well, it’s been 8 years. 8 long years that have passed, rather quickly it sometimes seems, since I began the website form of Halloween Shindig. Yet, despite that speed, it somehow still feels almost like a lifetime ago.
In those 8 years I’ve included numerous horror themes on the playlist, maybe not as many as I should have and certainly not as many as I’d like, but there’s plenty to go around.
Additionally, I’ve added 7 different songs from various Friday the 13th films. However, somehow I have yet to include Harry Manferdini’s iconic theme from the 1980 original.
As any of you that happened to read yesterday’s entry may now be aware, Harry scored not only the original film, but every subsequent installment in the 10 film saga, with the lone exception of Jason Takes Manhattan. Still, no small feat.
But that’s not all, cause Harry scored All 4 House films, The Hills Have Eyes 2, The Children, Slaughter High, Swamp Thing and Iron Eagle III!
I know it’s taken too long to get you here Harry, but that is no reflection on your incredible contributions to not just Friday, but to the whole of horror. Halloween Shindig is honored to have you among its ranks.
As I’m sure anyone reading this is probably well aware, the steaming horror platform Shudder has been airing new episodes of Greg Nicotero’s Creepshow revival.
And while the response seems to be pretty positive, with some even claiming the show “nails” the vibe and spirit of Creepshow, I would respectfully like to disagree. That show isn’t nailing anything for me except the coffin lid on the belief that “sometimes…dead is better.”
That isn’t to suggest it’s not worth watching. It’s a new, and weekly, horror anthology from Greg Nicotero and a pile of other guys directly involved with the original Creepshow. That’s definitely a commendable and worthwhile effort.
But Creepshow, it is not.
I do appear to be in the minority on this one though, so maybe I’m just an old, purest curmudgeon.
Whatever your impression of the show may be, I’d like to hope we can all agree that an area where it’s coming up disappointingly short, is its score.
I mean no disrespect to the team of composers creating music for these new installments, because they’ve produced some interesting and creepy arrangements that definitely sound good. They just don’t sound like Creepshow.
Because Creepshow has a very specific sound. And that sound is the sound of the Sequential Circuits Prophet 5.
Created by Dave Smith and released in 1978, The Prophet 5 was the first completely programmable polyphonic (5 individual and articulated notes simultaneously) that featured a microprocessor for scanning knob positions, allowing for the storing and recalling of sounds; a technological revolution for the fledgling Synthesizer.
And composer John Harrison made extensive use of those novel and stock Prophet 5 presets.
So much so that the Creepshowscore practically plays like a demo track for this breakthrough instrument.
The American made Prophet 5 then became indelibly stabbed into the heart of American Horror.
The bulk of Carpenter’s scores with Alan Howarth, from Escape from New York to Halloween 3 to Christine, all feature prominent use of the board, albeit with Alan’s own programming.
Tim Krog’s score for The Boogeyman, Wakeman’s for The Burning, Brad Fidel’s for The Terminator, Jay Chattaway’s for Maniac, and probably a dozens of others, are all smeared Sequential’s sonic signature. It’s the sound of horror
The Prophet 5 and its big brother the Prophet 10 (essentially just 2 Prophet 5’s strapped together in the same enclosure) became as ubiquitous as the MiniMoog, but with a sound all its own.
It saddens me that these new composers have yet to muster much what John Harrison accomplished with just a Steinway Piano and a Prophet 5; pure 80’s synthy horror. Creepshow.
But maybe they’re not trying to. And maybe that’s the problem. Or at least my problem with it. I think they’re fine horror scores. But, to me, if you’re trying to capture the spirit of Creepshow, at least a third of that vibe lies in the score, and if you’re not trying to capture that, you’re fighting a losing battling.
And it wouldn’t be hard to do. Vintage Prophet 5’s may be expensive, but nothing outside the realm of this production or any professional composers. Hell, you could easily just rent one in here in Los Angeles, if that was a concern.
But even then, assuming you couldn’t get your hands on an original Prophet 5, modern equivalents like the Prophet 6, or a Prophet REV2 or the older but still attainable Prophet 600, would all get you right in that ballpark. A Polysix, a Trident, hell, a 300 dollar Kawai K3, could all to get ya some Creepshowy sounding stuff.
Or shit, even if you just used a laptop. There are several software recreations of the Prophet 5 (including Uhe’s excellent Repro5) which would get you so close to the mark, you’d be Creepshowing out in no time.
Seriously, with just a few clicks: Preset 2-1: Unison Glide with Resonance or any recreation of that and you’re all over Richard Watches Them Drown from Something To Tide You Over. It’s seriously that easy. No programing necessary. It’s a fuckin preset. They practically all were. The thing just sounds like Creepshow straight from the factory. It’s nuts.
So, I’m a rambling nerd right now, and I get that, but I don’t get why this show sounds the way it does. Particularly considering John Harrison – the man himself! – is involved. He’s right there, on set, directing some of these stories.
That is, unless they’re consciously tying to make it sound different. So, I have to conclude that this is the case. And it boggles my mind why you wouldn’t want it to sound like that. It’s so iconic, so 80’s, so exactly the thing they’re trying to evoke.
Now, with all that being vented, if you’re finding yourself a little disillusioned by the new music as well, let John Harrison and The Creepshow Welcome You.
We haven’t had a good Horror Theme here in a spell and it’s also been a while since we’ve had a visit Shindig All-Star Danny Elfman.
So, we’ll take care of both here with this addition that’s been waiting too long in the attic to pop out and scare us all.
What can we say about Beetlejuice that hasn’t been said? If you’re reading this, chances are we don’t need to tell you how great this film is, but I’m sure I’ll tack on at least a couple sentences below this that will do just that. So, who am I kidding exactly?
Arguably Tim Burton’s finest contribution to the world, everything from it’s off-beat story, wonderful production design, inspired special FX and iconic titular performance from Michael Keaton all coalesce to make this a bona fide horror comedy classic that has truly stood the test of time. I’m still shocked to see how much Beetlejuiceshit I see around on Halloween. Hell, I just saw one of those obnoxious inflatable lawn decorations in a store that was a sandworm! It was the first one I ever even remotely considered putting on the front lawn.
And that is to say nothing of Danny Elfman’s amazing score, which fits this film like a black and white striped suit.
So grab a sheet, you’re handbook for the recently deceased and let’s scare the hell out of the Deetz’s!
If you’re a fan of Yes, meandering 70’s Prog Rock or early control voltage wielders, chances are you’re familiar with rock keyboardists, pioneer synthesist and cape enthusiast Rick Wakeman.
This guy crushed a Model D in the late 70’s and basically made that sucker a household name, laying down lead-lines with a sound that defined an era in rock. Check him out here being all weird and Wakemany.
If you’re a fan of 80’s slashers, then chances are you’re familiar with the intersection of these 2 forces of nature, 1981’s summer camp nightmare, TheBurning.
The producers in America, who had already begun lifting moves wholesale from the Italians, no doubt hired well-known keyboard maestro Wakeman to add a bit of that proggy sonic spaghetti sauce to the mix. And Rick delivered.
The entire score of The Burningis great, if you’re into that type of 70’s-style organ and Minimoog noodling. A lot of it just kinda sounds like to Solo from Yes’ Roundabout, but I’m certainly not complaining and it suits the film just fine.
The tale is a simple one, as real Northeastern campfire-legend Cropsy gets the big screen treatment. Here, he takes the form of a cruel camp caretaker who is accidentally burned alive by some prankster kids he’s been drunkenly harassing. Naturally, this turns into fodder for the campfire tale circuit. Cause…ya know,…they never found Cropsy’s body…and he’s still out there,..waiting for his revenge.
While on the surface it might seem like just a straight up clone of Friday the 13th (particularly Part 2, which it shares and uncanny resemblance to) The Burning was supposedly written and copyrighted in 1979. This was done by none other than Mr. Bob Weinstein, co-founder of genre label Dimension Films and brother to Co-Producer and recently run-out-of-town-on-the-rails-for-things-like-probably-getting-real-handsy-with-the-young-girls-on-this-very-set Harvey Weinstein. In fact, The Burning was one of the first major productions for the newly minted Miramax Films and was instrumental in getting the company off the ground.
From the peak of the 80’s slasher boom, and cited by many as being a fine and prime example of the genre and the era, The Burningis also notable for kick-starting the careers of not only The Weinstein’s, but of a young Helen Hunt, Jason “George Can’t-Stands-Ya” Alexander, Brian “Rat” Backer, Fisher “Johnny 5” Stevens and Ned “Holy Shit, Where Do I Know That Guy From?” Eisenberg.
Top that off with a ghastly burn makeup and some fresh-off-the-Friday The 13th-set FX wizardry from Tom Savini and you’ve got a button-hook pattern that reads like it’s ripped from the “How to Make a Successful 80’s Slasher Movie” playbook.
The only thing missing is an iconic, Prophet-5-slingin’ synth theme to really tie the whole thing together.
Main Title (Rosemary’s Baby)by Krzysztof Komeda and Mia Farrow
Fading us out of our witch/spell/magick block is the melancholic and eerie theme from a tale of perhaps the worst witches cinema may have yet seen. Witches so powerful, many have suggested their influence seeped through the silver screen and into our reality.
I know it’s certainly not the type of film we tend to champion around here, and I doubt it would be any Diggers favorite pick (with the exception of one particularly beautiful & faithful reader) Rosemary’s Baby is widely considered one of the finest examples the horror genre has to offer.
And rightfully so, as it’s a fine piece of film-making, in any genre, with a star-making and brilliant performance from Mia Farrow and a supporting cast that provides the best kind of support.
Additionally, Rosemary’s Babyis as much a critique on society of the mid 60′ and men’s abuse and control of women within that society, as it is a critique on American moral and spiritual unraveling and the burgeoning Satanic scene.
Some even say it’s also cursed.
Let’s begin at the beginning…
The film’s source material, Ira Levin’s novel of the same name, was published 1968. It is set in New York City of 1965/1966, or more appropriately, June of 1966,…6/66.
Pitched at a point in history which saw not only the birth of Anton Lavey’s Church of Satan, but when Time Magazine had just famously wondered “Is God Dead?” in an issue Rosemary can be seen reading in the film.
As with any literary success, Hollywood wasn’t far behind. Initially the book was optioned to Alfred Hitchcock, who reportedly turned down the offer. In swooped everyone’s favorite schlockster William Castle, who morgaged his home and purchased the rights for 100,000 with the intent to direct. It was to be his first A-List horror picture, and he was rightly stoked.
He brought the script to Paramount Pictures, but famous executive Robert Evans had other ideas though. There wasn’t any chance in hell he was letting the inventor of “Emergo” and “Percepto” helm the biggest horror property in Hollywood. No, Castle could produce but a young European auteur named Roman Polanski would be brought in to class up the act.
And the the success train kept rolling. Lauded upon release and a blockbuster success, Castle and Evan’s had helped Polanski hit a culture nerve with his first American feature. Not bad.
But then, that’s when the weird shit started happening.
The first victim of Rosemary’s Curse was none other than the composer of tonight’s selection, Jazz musician Krzysztof Komeda. While drinking at a party in Los Angeles shortly after the film premiered, Kryzsztof was “accidentally” shoved of a rocky cliff by author Marek Hłasko. He sustained head injuries that led him into a coma he never awoke from. He died the following April in Poland. He was 37 years old. Fans will no doubt mark the similarity of his fate to that of Edward Hutchins in the film.
Next, though much less severe, was producer William Castle. His kidney’s failed soon after the release, and he was reported to have hallucinated scenes from the film while in the hospital, at one point shouting “Rosemary, for God Sakes put down the knife!”
Most tragic however, and perhaps in need of no further explanation, was the fate of Polanski’s wife Sharon Tate and their then-unborn son at the hands of the Manson Family.
Sharon, who had desperately fought to play Rosemary, was said to have often been lingering around the set, and even eerily appears in the background at Rosemary’s party.
Other strange coincidences can be traced all throughout this tale, such as this bizarre linage of synchronicity:
The words “Healter Skelter” (sic) were scrawled on the scene of the crime at Roman and Sharon’s home on 10050 Cielo Drive. The song Helter Skelter by The Beatles was featured on The White Album, which was mostly written while at the ashram of Maharishi Mahesh Yogi in India. Also in attendance at that time were Donovan, Prudence Farrow (inspiration for the song Dear Prudence) and Rosemary herself, Mia Farrow. On December 8th, 1980, John Lennon was shot in New York City, in the archway of The Dakota Apartments, which will no doubt look familiar to any Rosemary’s Baby fan.
And lastly, I wouldn’t be the first paranoid observer to suggest the strange similarity between Rosemary and Guy’s tale and Polanski’s own career trajectory. Did Roman, like Guy, make some unholy, sacrificial pact for success and legal invulnerability? Only Roman knows for sure. Strange that “Roman” is also Steven Marcato’s false name.
Tonight, The Shindig presents that sweet sort of haunting theme, composed by Krzysztof Komeda. Even more appropriately, Mia Farrow herself provides the quiet vocal accompaniment.
The strange legacy of Rosemary’s Baby, all the players and the true nature of their interconnected fates, may forever remain a mystery. Whatever transpired, whatever it means, whomever or whatever was responsible…beware…because, there’s only one thing we can say for sure…
Though this blog is Halloween Shindig, we’ve been known to take brief holiday detours once Christmas rolls around. Particularly for a film that is near and dear to our hearts….
Primarily this is because Halloween Shindig is a music blog and one of our favorite things about Silent Night, Deadly Night is its unique and original Christmas soundtrack.
5 years ago, when this blog was in its infancy, we posted 2 songs and several crummy gifs (now revamped) from the film. We also asked if anyone knew where we could find the rest of this bizarre music. Of course no one did, because no one knew and no one reads this blog.
However, Death Waltz Records apparently heard our Christmas prayers.
A few years back, they released a double-album featuring not only the unreleased soundtrack by Morgan Ames but also the erratic and beautifully atonal synth score from Perry Botkin. Double bonus.
We thought, it being Christmas and all, that this was a perfect time to roll out a second Super Soundtrack, and give the entire OST and score a little extra Shindig magic.
This Super Soundtrack comes complete with all the original Morgan Ames tracks from the film (plus a bonus track!) and the majority of the Perry Botkin score, all arranged chronologically with tons of great samples to wrap it up in a naughty Christmas bow. We hope you enjoy this gift as much as we do.
So grab a carton of milk and relax under a tiger painting to this festive audio offering.
A few notes here on this amazing album:
This soundtrack is nuts.
What I imagine happened was that either the producers didn’t have the budget to shell out for actual Christmas music or no one was willing to give them the rights to use that music in such a context. Or the 3rd option that they just wanted to have an amazing soundtrack filled with new and interesting Christmas music.
Whatever the reason, what emerged was an absolute gem of an album, both as a Soundtrack and just a good-ole-fashioned Christmas album. Some of these tracks sound so legit you’d almost believe they were actual, pre-existing Christmas songs: specifically, the festive carol Christmas Fever and the subtly unnerving Santa’s Watching, a tune which characters even reference during the movie, adding to its legitimacy.
The original title for Silent Night, Deadly Night was Slay Ride, which is a pretty outstanding title on its own. It was pitched, backed, filmed and even edited with this title, only changing in the last minute for reasons unbeknownst to this blog.
As such, Morgan Ames whipped up one hell of an (almost) Title Track for that movie which, unfortunately, is not featured in the final cut, despite being listed in the credits. For years this drove me nuts. “Slayrider? What fucking song is that?! I need to hear this song immediately! What is this nonsense!?”
The silver lining, of course, is that it exists, someone found it and then decided it was a good idea to finally release it. They were right, because it’s an awesome song. A song I wish was actually featured in the movie, however out of place it may have been there.
Also, the official Death Waltz release contains 2 other songs that I decided to omit from the Super Soundtrack, I Want To Sing You a Love Song and Christmas Party.
These songs aren’t particularly memorable nor are they featured in the film (or even listed in the credits) and so are extraneous in my estimation. I apologize if you really like them. My guess is, you won’t lose any sleep over it.
In closing, I’d just like to say that I really can’t properly express how stoked I was when this album was released. I honestly never thought it would happen. And not just to finally have access to full versions of Christmas Flu or It Must Be Christmas, or to finally hear (and be overcome with Christmas joy over) Slayrider, but because Perry Botkin’s score is absolutely bonkers. It really is as unsettled and layered as Billy’s psyche and works perfectly to express that unbalanced nature.
I love it, and I hope you will love this blending of the many sounds of Silent Night, Deadly Night.
Merry Christmas!
When George Romero’s highly anticipated sequel to Night of the Living Dead hit Europe, Dario Argento recut it as Zombi. This is why sometimes you’ll see Fulci’s Zombi titledZombi 2. Which can get get a little extra confusing by the time you get to Zombi 3 and 4…
but I digress.
Dawn of the Dead’s soundtrack features a bevy of strange, incidental musical arrangements (like Track #89 The Gonk) but the actual score was composed by frequent Argento collaborators Goblin. And though it plays more prominently in Dario’s European cut, some of the tracks ring out through all versions of the film.
Most especially this tune, L’alba Dei Morti Viventi, which roughly translates to “Dawn of the Living Dead.” Seems appropriate.
Here’s Goblin again, at the top of their game, the height of their popularity and firing on all cylinders,… just before breaking up entirely. At least for little while anyway.
