From 1985’s made-for-TV Halloween bonanza The Midnight Hour comes this creepy curio with so much mid-80’s budget-pop pizazz it even features a Soundwave-styled vocorder performance. Radical!
Harry Belafonte’s daughter Shari (pops wasn’t big on creativity, I guess) stars in the film and sings this tune, perhaps fashioned after the recent mega-hit Thriller.
In fact, the whole project seems to be an attempt to cash-in on Michael’s occult success; semi-spooky, family friendly, monster-mash madness with a throwback, 50’s drive-in flare. And this tune, an ensemble dance number staged at a Halloween party, appears to be the piece de resistance.
Though clearly made for TV and a little toothless, The Midnight Hour is a pretty enjoyable and festive addition to anyone’s October line-up. It’s even a fair bit more creepy than something you’d imagine was just made for TV.
You’ll get some fun guest appearances too, from the likes of Spaceball’s King Roland, Clarence Boddicker, that one guy from 21 Jumpstreet, UHF’s R.J. Fletcher, Yori from Tron and The Reading Rainbow Dude who wore that bitchin’ visor on Star Trek. Studded.
Plus there’s tons of Halloween ambiance, creepy Thriller-Lite graveyard scenes, a lot of cool make-ups and FX, a bunch of fun Halloween costumes, more monsters than you can shake a stick at and this kickin’ ‘digger. What more could you want from an October evening’s Televison adventure?
Freddy Krueger: What can be said about the quintessential 80’s man-specter that hasn’t been said a thousands different times by a thousand different nerds? Who am I to pretend like I’ve got some groundbreaking shit to drop on you? I’m no one, and I don’t, so I won’t. I’m simply another nerd with a foolishly myopic blog, so I’ll just stick to the script.
Freddy (whether I’ve said this before or not I can’t recall) is the reigning champ of horror tunes. He owns the 80’s pop-music-via-monster-icon scene. The guy even cut his own album. He’s all over it.
Jason comes close, but the Friday people didn’t fully climb aboard this particular train until part 6, and they never really bought a ticket. Freddy was shoveling coal in it’s boiler room.
And from jump too, as even his first outing got its own little referentially inclusive tune in the form of 213’sNightmare.
Well, who the fuck is 213? Apparently they’re no ones, as no one seems to have any information on these guys. Well, aside from the painfully obviously “they were some local LA band that provided this track” or the goofier and obviously nonsensical “they were Johnny Deep’s band” theory.
Whoever they were, they’ll go down in the Shindig’s book as they guys who churned out that thoroughly apropos end credit song from the original Nightmare On Elm Street, and baby, that’s enough.
So, up yours with a twirling lawnmower,…whatever the hell that even means.
While fairly understated and never quite as rousing as it seems like it should be, The Devil’s Men is a somewhat worthwhile endeavor, if only to see card-carrying good guy Peter Cushing all cloaked out and evil, raising a 10 foot, fire-breathing Minotaur statue he calls “lord.” Oh yeah, and all the creepy robed Minotaur worshippers. Oh yeah and them all exploding at that end. That shit is pretty awesome.
But it’s mostly worth seeing for the grooviest title track this side of Scream and Sceam Again, which incidentally, Cushing also appears.
Paul Williams, whom many of you may know well from his performance in and musical contributions to, Brian DePalma’s Phantom Of The Paradise, wrote and produced this shindigger. And props all around, cause it’s a doozy.
However, much like the last 2 cuts in this True Title Track block, someone had it out for TheDevil’s Men, someone who sucked at their job.
They took it and retitled it Land Of The Minotaur. Which (while in and of itself isn’t such a bad title) seems pretty unnecessary, particularly during the 70’s satanic panic where one would imagine a film called The Devil’s Men might play just fine.
They also saw fit to removed a bunch of violence and all the nudity. Seriously? What’s next? Did they cut out an awesome Title Track too?
Yes! That’s exactly what they did, and they should be tried and hung for the successive severity of their crimes.
So, if your gonna watch The Devil’s Men, make sure you watch The Devil’s Men, and not Land of the Minotaur, cause it doesn’t have a lot going for it to begin with, and the censored version removes just about every reason there is to watch it at all. For shame.
Here, now returned to its former glory, it’s Paul Williams with The Devil’s Men!
Aerobicide/Woman On Fire by Mary Hylan/Jill Colucci
For a certain type of 80’s horror junkie, Aerobicide might be a wet dream come true.
There’s a formulaic and totally telegraphed whodunit plot. There’s an impractical and ridiculously oversized safety pin for a murder weapon. There’s an awesome hard-boiled detective. There’s even awesomer private investigator played by 80’s cheeseball-badass Ted Prior. There’s cheap karate, a rake fight, nudity and no shortage of 80’s babes in workout gear getting physical.
But above all, there’s absolutely relentless 80’s synth-pop soundtrack.
However, there’s a couple injustices besetting this soundtrack. Namely, it was never officially released. Why? This thing is great. And why hasn’t anyone resurrected it yet? Where’s Death Waltz Records on this forgotten gem of a soundtrack?
There are rumors of promotional copies floating around that were release in ’84. It’s also said that all of the songs were released separately on 7″ vinyls by their various artists. Good luck finding any of those.
Secondly, and most unfortunately, the greatest of all these tracks is featured so briefly in the film it beggars belief. Worst of all, it’s the film’s Title Track. What? This isn’t the song played over the credits? This is the song that gets barely a minute of screen time so as we can’t even steal it properly? What cruel rouse is this?
Perhaps it can be explained by the inexplicable decision to retitle the film Killer Workout. Why would someone do such a thing? Is Aerobicide too high-concept? Too confusing? Similar to Land of the Minotaur, it’s not a bad title on its own. But when you compare it to Aerobicide, it’s no contest.
And because of that, this song should be all over this movie, or at the very least played during the credits. As a people, we need this whole song.
But, beggars can’t be choosers, so well provide what’s available of that track and just lead it into the aptly titled Woman on Fire by Jill Colucci, cause what else can we do?
On a side note, if you happen to find the voice of Jill Colucci sounds a bit familiar to you, it may be because she’s responsible for the theme to America’s Funniest Home Videos. Ok, that’s pretty weird.
For now, take what you can get and try to grab a copy of Aerobicide for yourself, which was finally made a whole lot easier last year when Slasher//Video released both a DVD and Blu-Ray of a video transfer.
Oh, and keep and eye out for this spray paint, which predates the film Death Spa by about 3 years. Coincidence? I dunno, but these 2 would make for one heaving, sweaty double-feature.
There’s an 80’s horror fan reading this right now. Aerobicide is their favorite movie, they just don’t know it yet.
If there’s one thing The Shindig hates, it’s when foolish producers try to bench a perfectly good Title Track. The Shindig lives for Title Tracks and finds this practice to be an affront to both the movies and their visionary creators.
A great example is our next digger, a song we absolutely love, Fall Break.
Now this is a Title Track; tailor made, vaguely referential, tonally incongruous and totally bizarre. It sounds like an 80’s sitcom theme and it’s awesome.
But somebody with a suit and a wallet thought no one would watch a movie called Fall Break. He was probably right. It’s a strange title. Is Fall Break even a thing? I’ve never heard of it outside of this movie. We certainly never got one growing up. Fuck, the school year just started, they need a break already? It sounds like some lame version of Spring Break in New Hampshire with no bikinis. Who’s getting jazzed for Fall Break?
Nobody, that’s who, and the money guys know it. They want rentals at the local Video Stop, and that same nobody is renting Fall Fucking Break.
Enter: The Mutilator.
People wanna see The Mutilator. Hell, I wanna see The Mutilator, it sounds tough as shit. It’s direct, violet, unambiguous, and a hell of the lot more intriguing then whatever stupid shit is happening in, what did you say that title was again? Fall Break? Yeah, that’s gotta go.
”But the movies already been made, cut and released as Fall Break. We even have a song called Fall Break playing during the opening credits and everything!”
Yeah, whatever to that bullshit, it’s The Mutilator now.
And a Title Track died.
Except, technically the film was released as Fall Break, so here on The Shindig we’re keepin it real; resurrecting all Title Tracks and returning them to their rightful seats on the throne!
Fall Break, like its title, is a strange song. It’s a great fit for the playlist, inspiring autumnal images perfectly befitting our night of All Hallows. As a Title Track to the film however, it feels a little out of place.
As mentioned above, it seriously sounds like a sitcom theme, with a tone straight off the Silent Night, Deadly Nightsoundtrack. There’s nothing ominous here. In fact, it’s a rather nice love song of sorts, ringing with the hopeful promise of an Autumn getaway; beer, football, leaves, skinny dipping and fun at a beach house. In a way, I guess it’s like the beginning of a slasher movie. No fear, just fun. Maybe it’s not so out of place after all.
Speaking of the beach house, here’s a warning to all would-be college kids seeking a weekend getaway at a similar beach front condo…
If the man who owns the house has a framed picture of a guy he “accidentally” murdered with his ski boat – leave. That’s it. Just take off. Politely excuse yourself, and say “Nope. Not stayin’ here. I hope you understand, but that photo is just too much” and leave. I don’t care if dude’s there or not. Doesn’t matter. Just terminate your presence immediately.
Because this is not just any picture of the guy, mind you, it’s a photo of his actual corpse. Not the guy hanging out during better times, ya know, as a nice reminder of their friendship – it’s his dead fucking body, gore strewn, presumably only minutes after the incident.
This photo is crazy. Why does Big Ed have this picture, and framed no less!? Why aren’t any of Ed Jr.’s friends the least bit perturbed by this photo? It’s absolute madness.
As far as the movie is concerned, I’d say apart from a couple of pretty interesting murders staged by Anthony Show and Mark Shostrum (who would later go on to produce FX for Dream Warriors and Evil Dead 2 amongst other things) Fall Break is a rather throwaway mid-era slasher devoid of any laughs, intentional or otherwise.
There’s barely any skin and all the tension of an untied shoe, kind of like the prospect of a Fall Break. Essentially, this is a who-dun-it where you already know who-dun-it before they’ve even dun-it. What’s the point? I dunno, some cool gore scenes, I guess. Oh yeah, and an awesome title track.
Speaking of which, here it is, the best thing about Fall Break, its Peter Yellen and The Breakers with Fall Break!
What better place to bring our Haunted House Rockin’ block to an end than here, at the Berber House with Hauntedween, a Haunted House Halloween Title Track?
While not a real haunted house, The Berber House is just a festive Haunted House, or rather a Haunt, which has hitherto but unrepresented in our block.
A staple of the season since well before I was brought to this plane of existence, The Haunted House is as much a part of Halloween as Trick-or-Treating, Jack-O-Lanterns and slutty costumes.
High school kids in rubber masks weave through a thick mist of dangling limbs and fake fog looking for their next mark.
Disorienting lights strobe to the beat of pneumatic pistons firing foam jump scares.
You can hear a chainsaw perpetually chugging, but you can’t see much of anything at all.
Grown adults tip-toe around corners in the dark, weary of things they know aren’t really out to get them.
The nervous shriek, the tough guys almost instictively punch and the weirdos laugh uneasily.
Some are good and some are terrible, but they all have that same smell, that same vibe, the same excitement, and you should always treat yourself to at least one visit a season.
Hauntedween is a low budget affair filled with that same sort of passionate home-town charm and love for the holiday you find in local Haunted Houses, and it features a killer lying in wait at just such a local Haunt. You can read The Shindig’s write-up here!
This Title Track (which it is gracious enough to give us) plays over a montage of the Sigma Phi frat boys rebuilding the old local Haunt in preparation for a holiday fundraiser to save their fraternity!
It may be awkward to say, and it may not make one bit of sense, but here it is all the same…it’s Hauntedween!
Ok, so Ghost Fever‘s a pretty shitty movie, right? Oh, not sure you believe me? Go see for yourself. I’ll meet you back here in 92 minutes.
Alright, so now that we’re all on the same page, we can hash this thing out.
I’m not sure how much Ghost Fever you actually came down with but chances are it wasn’t enough that you’ll be requiring any antibiotics.
That being said, I love Ghost Fever. It has the distinction of being the only movie where Sherman Hemsley plays corner man to Luis Ávalos as he boxes Smoking Joe Fraizer with the assistance of Southern ghosts. Well, the only one that I’ve seen anyway.
It’s also the only movie I’ve ever seen with a break-dancing mummy.
Now, that’s pretty awesome.
All of this however does not make Ghost Fever a good movie, it just makes Ghost Fever a movie I enjoy watching. Admittedly, it is a little more than hard to sit through but if you can get behind a poor idea executed in the poorest possible fashion with the more eye-rolling bafoonery this side of Pandemonium, it’s a certain kind of treat.
James Ross at Badmovienite.com probably puts it best in his humorous review:
“At times it’s like a live action episode of Scooby-Doo meets the Harlem Globetrotters. Except it’s not really fun, or funny, and there are no talking dogs.”
Well, there’s definitely no talking dogs, I’ll give him that. But I’m laughing (kind of), particularly when it decides to get all batshit crazy toward the end. It’s not always the kind of laugh Alan Smithee is intending, but a laughs a laugh, right?
Oh yeah, did I mention Ghost Fever is an Alan Smithee film? That oughta give you an idea of what’s going on here.
For those of you who aren’t familiar with Smithee, he’s a pseudonym the Director’s Guild of America allows a filmmaker to use if he feels too embarrassed with the final product and can demonstrate a lack of artistic control.
Yeah, so even the director Lee Madden disavowed this pile. I’m not quite sure it’s exactly so bad it’s good material but it’s definitely bad, that much I can say with confidence. But, dear Weeners, it’s not without its moments and with the right amount of intoxicants and the right amount of friends with the right sensibilities, it could be the right movie.
Of course, here on The Shindig, we don’t talk about this kind of nonsense without merit or a cause célèbre and Ghost Fever (as you might imagine) has a fucking doozy.
Submitted for your Halloween enjoyment, here’s George Jefferson himself spiriting his way through a disco title track of supernatural proportions.
Return of the Living Dead 2 gets a bad rap. Granted, it’s pretty well deserved, but it gets a bad rap all the same.
Honestly though, in its defense, it had a full count walking to the plate: take one of the most beloved, successful and awesome zombie horror/comedies ever, which wraps itself up pretty fucking tightly and expand on it. Go!
Yeah it strikes out, but that was to be expected. At least it doesn’t get caught looking. It goes down swinging.
It’s never very dark or scary or serious (as the trailer led people to believe) nor is it ever terribly funny. Comedy is tricky and when it face-plants, it does so hard and loudly. It’s not quite as cringe inducing as its equally I’ll-advised contemporary, C.H.U.D. 2, but unlike its counter part you at least feel like your watching an honest to god sequel, despite how shitty that sequel may be.
One thing ROTLD 2 gets sort of right is the music. While nowhere near the iconic status of its predecessor’s, there’s some good tunes to be had on this soundtrack. Whether it’s Anthrax or Leatherwolf or this turn from Joe Lamont.
Being that this really the only thing the Shindig ultimately concerns itself with, Return of The Living Dead 2 gets its day.
Since our Halloween movie countdown is focusing on Halloween Seqeuls, let’s keep the sequel soundtrack train rolling over here with a tune from an actual Halloween sequel.
If you’re a C.H.U.D. fan, a horror fan or even just a normal person trying to sit down and watch an enjoyable movie, C.H.U.D. II: Bud the C.H.U.D. doesn’t have a whole hell of a lot to offer you.
If you’re Halloween Shindig, a blog centered around a Halloween Playlist which encompasses all types of random nonsensical horror-related music from the movies, suddenly C.H.U.D. II: Bud the C.H.U.D. has something quite fantastic to offer.
And that thing is out next number, by-liner title track Bud The C.H.U.D. from Kipp Lennon.
Who the hell is Kipp Lennon?
That’s a great question. Apparently he’s a founding member of the folk group Venice. Yeah, I’d never heard of them either.
However, it appears he’s also the voice behind mental patient Leon Kompowski who believes he’s Michael Jackson in the Simpsons episode “Stark Raving Dad.” As such, he’s the guy who sings “Happy Birthday Lisa.” That’s pretty weird.
Seems he’s had a handful of gigs impersonating Michael Jackson’s voice. He doesn’t do that here unfortunately, presumably using his natural God-given sound to accentuate all the incredible lyrics Bud the C.H.U.D. has to offer.
Outside of this track, C.H.U.D. II is a rather harmless, if midly entertaining tangent to the original C.H.U.D. It also takes place during Halloween and features a pretty great Halloween party sequence (a staple) and some fun trick or treating.
Compared to some of the junk featured on The Return of the 31 Days of Halloween Horror list, you can do a lot worse this season the C.H.U.D. II.
So, if you’re feeling festive and silly, pop it on and you’ll be treated to this fun 80’s tune from Kipp Lennon.
Fred Krueger the myth or Fred Krueger the man? It doesn’t matter cause they’re still rappin’ bout him, understand?
The lesser heralded of the 2 Freddy rap songs, I feel Are You Ready For Freddy is superior to Nightmare on My Street for several good reasons:
It’s The Fat Boys and they’re cooler than Will Smith any day of the week.
It’s offically from a Freddy movie (Part 4: The Dream Master)
It actually features Robert England rapping as Freddy, as opposed to whoever the hell is rapping on the DJ Jazzy Jeff track.
It’s less generic about it’s Freddydom, as multiple Elm Street films are referenced and sampled.
And if that wasn’t enough, lines like
“With a hat like a vagabond
Standin’ like a flasher
It’s Mr. Big Time, Fred Krueger
make all the difference in the world.
Freddymania is in full swing here in 1988 and the series has finally degraded into pure schillery. Freddy is a tradable commodity now, hitting the talk show circuit, making more music video appearences and hanging out in the windshield of cars.
I actually own this and it’s fucking awesome
A double-edged sword no doubt, as it’s exactly this kind of boardroom buffoonery that gives us such an awesome track as Are You Ready for Freddy (and my equally awesome sunshield.)
But in terms of the movie, well viewers paid the price. Freddy’s crackin’ wise, sportin’ sunglasses and eatin’ pizza like some damned Ninja Turtle. Ceasing to be at all frightening and with the cleanest sweater I think he’s ever worn, Freddy’s less your dirty old dream diddler and more your pal. Hell, he’s brought back from his “grave” by the fiery urine of Kincaid’s dog Jason. Yeah, it sets up its jackassery early and securely.
But I enjoy The Dream Master for much the same reason I enjoy Freddy’s Dead: I love Freddy as a character (either scary or silly) and it’s just a ridiculous piece of horror filmmaking.
Plus it has this song.
Which, interestingly enough, has an alternate version. There was a second, longer version of the track cut for the 12″ single. What? Now that’s the kinda shit The Shindig lives for.
So why isn’t that the featured track? Well, to be honest, I don’t like it as much. It’s a bit slower, the beats a little different and there’s a bunch of extra incidental sounds tossed all over it. It’s kinda weird. Plus, it cuts out Freddy’s original rap at the end! What?! You get an alternate, almost spoken-word outro from The Dream Crasher, which is fun but just isn’t quite the same.
However, it does feature some pretty fantastic extra verses in the middle where The Boys detail the plot from the original Elm Street and talk about Freddy more. And there’s more samples from the original Elm Street thrown in for good measure. Bonus.