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TRACK #375:
Witches’ Brew by Joyce Vincent Wilson
Ok, that’s enough fake Title Tracks. Let’s get to with real deal, cause we got a bunch of these.
The good news is I thought I’d be playing catch up here with all the new songs from Title Tracks Pt. 6, but since that episode has yet to air, they can all debut right here on the Playlist for a change, like the old days!
You can thank Mr. Josh Spiegel over at Movie Timelines for our first Title Track, as I became aware of this tune and film it hails from while watching an episode of his ongoing series, The 80’s Project.
But Josh is generally pretty good about throwing Title Tracks my way whenever he stumbles across new ones. I’m just grateful to have a guy in the field doings some work for Title Track identification and acquisition.
And this one is a funky, disco-esque groover from Joyce Vincent Wilson, who is perhaps best known for being part of the group Dawn, as in Tony Orlando and Dawn. They were a trio of singers responsible for a string of hits in the early 70’s including Candida, Knock Three Times and Tie a yellow Ribbon Round the ole Oak Tree. They were so popular in fact that they even had a short lived variety show on CBS called, you guessed it, Tony Orlando and Dawn.
I love this tune, and since he mentions it in the first 2 seconds of the show, it’s going to be no spoiler to say it was Kyle Sullivan’s choice for favorite Title Track out of the Ep. 6 lineup.
No one else felt that way however, particularly Graham, who used it as solid evidence that he didn’t actually need to watch the film. Which I had to concur with, he didn’t. No one does, honesty. I mean, it’s fine, for what it is, but it doesn’t need to be burning a hole in anyone’s watch list, knowhutimean?
It’s a bit of a lighter, comedic take on the Fritz Leiber novel Conjure Wife, which had previously been adapted into the 1944 film Weird Woman and the 1962 film Burn, Witch, Burn.
There’s a cool gargoyle thing that comes out of a giant egg, I’ll say that. Richard Benjamin, of Love at First Bite fame is pretty fun. Terri Garr is great, and it was Lana Turner’s final film appearance. Whether that’s a positive or not is up to you, but she gives a solid performance despite the general Made-for-TV vibes this movie generates.
But you can’t blame Joyce Vincent Wilson, that’s for sure, cause it may not really fit that vibe, but this is a certified jammer. Kicking off a full-on Title Track Pt. 6 block, here’s the 1980’s Witches’ Brew!
TRACK #374
The Tingler by The Tinglers
We’re gonna hit ya with another Tie-In Title Track here, this one from 1959, that I very much wish was in the actual movie.
Cause I love The Tingler. It’s easily and simultaneously one of my favorite William Castle and Vincent Price movies. It balances the right amount of camp with just the right amount of ingenuity to create a memorable picture that has truly stood the test of time. And not for nothing, but it features the very first LSD trip ever shown on film. And it’s taken by Vincent Price no less. What could be better?
Well, how about this song? C’mon, it’s amazing. It’s everything you want from a Title Track in 1959 to a movie about a creature that lives in your spine and feeds on fear. So why wasn’t it featured in the film itself? Well, it’s a great question and of course it’s one that I have absolutely no real answer for.
I could suggest that it’s perhaps because the song was produced after the film was shot and edited, solely for the purpose of marketing the film. That seems reasonable. Maybe it was just an after thought. Doesn’t mean they couldn’t have dropped it on the credits real easy before they released the film, but they didn’t, so here we are.
Or I could assume it’s because they didn’t think the tone of this song really matched the tone of the movie, like say The Chucky Song. And perhaps just like that tune, they pulled it from the release. However, unlike The Chucky Song, they didn’t want the tune to go to waste and used it’ll as a piece of the marketing. Perhaps.
I honestly don’t think this song would have felt that out of place played over the credits or diegetically featured somewhere during the film. I guess I can understand why maybe Williams Castle and team thought so. It is a bit campy and silly. But I guess that’s my point, so is The Tingler.
Interestingly, the B-side to this Tie-In Title Track was another (Truncated) Tie-In Title Track called The Thirty Foot Bride from the Lou Costello comedy The 30ft Bride of Candy Rock, also from 1959.
But who are The Tinglers? Well, much like The Five Blobs, they were studio musicians and we might never know for sure. Except, that is, for once vocalist in particular. A very prominent voice you might just be familiar with.
Yep. That main voice belongs to Tony the Tiger himself, Mr. You’re a Mean One Mr. Grinch, Thurl Ravenscroft. How cool is that?
Now, I don’t know about you guys, but you give me something like this, sung by someone like that, then watch out, cause that shit’s hittin’ The Shindig harder than a cease and desist from the Universal Music Group. I don’t care if it was featured in the film or not. Don’t get me wrong, that would certainly help, but it definitely won’t detract from The Tingler by The Tinglers.
TRACK #373:
Dr. Terror’s House of Horrors by Roy Castle
If you’ve been hangin around here for any amount of time, then you know we talk a lot about Title Tracks. This is especially true what with Shindig Radio’s Title Tracks Pt. 6 dropping. Oh wait, that hasn’t happened yet. Shit. My predictive drafting has failed me yet again.
Well, in that episode, I kinda break down all the different types of Title Tracks, everything from Parenthetical jammers to Title Track After the Facts.
But there’s another sort of Title Track that I didn’t mention on the show, and that’s because they’re technically not really Title Tracks at all. But these are Tie-In Title Tracks.
These are songs that, for all intents and purposes, are true blue Title Tracks, meeting the same criteria and serving the same or (in some cases) an even more overtly, promotional purpose.
There’s just one problem; they’re not actually in the goddamn movie. Nope. They just exist, outside of the film, in a purely musical space operating as a full fledged audio commercials for the films they’re named after.
Now, we already have one of these on the playlist at #319 in The Devil Rides Out, but I’ve dug up a few more.
I wonder if they weren’t sort of a precursor to full-on Title Tracks, from a time when producers were starting to realize the potential effect a popular song could have in generating interest, but didn’t want to sully their film with something as coarse as a rock and roll song tonally incongruous to the film being marketed.
It’s possible. The oldest Title Track featured on the playlist is still The Blob from 1958. Not for nothing either, but it’s one of the oldest Title Track period. 1955’s Love is a Many-Splendored Thing has it beat by 3 years, but I’m not really seeing much else earlier than that, but I am always on the lookout.
However, The Blob was released the year before 3 out of the 4 Promotional Title Tracks I’ve found, so a True Title Track certainly wasn’t unprecedented. But The Blob, at present, appears to be a bit of an outlier, as Title Tracks didn’t seem to gain real prominence until the mid 1960’s. James Bond films, long known specifically for their Title Tracks, didn’t start that ritual until 1963’s From Russia with Love.
The next closest thing is Hush Hush Sweet Charlotte from 6 years later in 1964. That one’s interesting as it wasn’t technically a Title Track originally, because the movie was shooting under the name What Ever Happened to Cousin Charlotte. Bette Davis reportedly disliked the name as it made the film sound far too much like a sequel to What Ever Happened to Baby Jane. This song had already been written and recorded though and Bette recommended changing the films title to match. Wild! The movie naming itself after the original song to instantly turn that song into a Title Track is baller as fuck. That’s a powerful ass Title Track.
But I digress. Back to Dr. Terror, cause it’s interesting in its own right.
See, this track is sung by Dr. Terror actor Roy Castle, star of the Voodoo segment. Roy was an accomplished singer and trumpet player in his own right, which probably led to him being tapped for the task. Though Roy plays trumpet player Bailey in the film, the trumpet parts were apparently recorded by legendary Jazz player Tubby Hayes and not Roy himself. He does do a bang on job miming those parts though, as one might expect.
Another curious aspect of the song is that, despite it being sung by someone from the film itself, it completely misrepresents the nature of Dr. Terror’s house of horrors. Its treats it as though it were an actual brick and mortar location filled with horrifying surprises. If you’ve ever seen the film, you’ll know that the house or horrors is simply a metaphor Dr. Terror (or, more appropriately, Dr. Schrek) uses to describe his tarot deck. The fact that Roy enters a spooky old house and keeps meeting strange characters is so wildly out of sync with the film it seems almost laughable, particularly considering this is suppose to be the audio equivalent of a trailer or print ad. You’re selling the wrong film here fellas.
Either way, it’s a fun song with silly interludes that reminds me quite a bit of Carry On Screaming! also British and from the following year, 1966. I wonder if Ray Pilgrim and the crew were taking a bit of a piss on Amicus and Roy here. I certainly wouldn’t put it past them.
At any rate here’s the first of 2 Tie-In Title Tracks we got on tap for you this season. It’s Dr. Terror’s House of Horrors!
TRACK #372:
Doin’ It In A Haunted House by Yvonne Gage
Sometimes you just wish you knew a song existed sooner.
This would have paired perfectly with the 2022 addition, Stay the Night, which sounded suspiciously similar to Bon Jovi’s You Give Love a Bad Name.
But even earlier than that, this song would have fit in nicely with all the other Haunted House hits in 2017.
Or perhaps, if I had know about this tune even earlier, I could have thrown it where it probably belongs, directly after Thriller, because damnit if this isn’t the most shameless Thriller knock-off I’ve ever heard.
Ok, maybe Golimar, but that thing was tucked away inside some obscure Telugu musical that no one saw for 25 years. Additionally, it doesn’t sound anywhere near as similar to Thriller as Doin’ It In a Haunted House does, which released to the American pop charts within a year of Thriller’s debut.
So shameless is this tune, in fact, that it sample’s directly from John Landis’ Thriller video in the opening minutes of the song. That’s either some kinda balls, or just plain wearing it on your sleeve. Cause if they didn’t think people would go “Hey! That sounds just like Thriller!” then someone is outta their goddamn mind.
And apparently they did, with Yvonne Gage herself stating (at least in retrospect) that she expressed concerns over its similarity to Thriller. These concerns were brushed away by the production team and they moved forward with the tune.
And boy am I glad they did, because Yvonne Cage’s Doin’ It In a Haunted House is a glorious thing. Not only is a fairly groovin’ tune, because well, it’s basically Thriller, but it’s called fuckin’ Doin’ It in a Haunted House. That’s just fantastic. And it’s not played for laughs either, at least as far as I can tell. This doesn’t strike me a jokey tune. This is just a straight faced Thriller knock-off with a ridiculous goddamn title and it’s beautiful.
It’s not terribly often that a song just gets an instant spot on the Plyalist based on its title alone. Most of them, I need to at least hear first. But this one? I was basically of the opinion that if it was even remotely listenable, it was goin on there, no question.
Then, I fire it up and it’s some ridiculous Thriller knock-off on top of that? Where has this song been all my life?! There’s still gems to be uncovered, even after years into this juggernaut.
But let’s talk about this song, shall we?
Let’s start with Yvonne, who began singing (as many girls do) at her local church from a very young age. Soon, she joined a band called the Soulettes and they even released an album under the band name Love, but Yvonne had already moved on by then, singing back up for a guy named Captain Sky. From there she met producer Don Burnside.
In addition to introducing her to Ministry (of all bands, with whom she recorded in their ) Don also produced her first 2 albums.
Originally, Doin’ It in a Haunted House was envisioned as a “response” record in the vein of Lydia Murdocks Superstar. If you’ve never heard that tune, I recommend giving it a listen, as it’s pretty wild if you’ve never come across it before.
Sung from the perspective of Billie Jean, Lydia posits Michael Jackson’s No. 1 tales omits some pretty big details and she means to set the record straight.
That record also sounds suspiciously like Billie Jean, aping the bassline and basic rhythm.
That sort of thing isn’t unheard of either, though not typically so overt. In fact, Response Songs (or Answers Songs) are as old as recorded music itself. Take a look at that list to see just how many songs are in fact (a good many of which I was totally unaware were) response songs.
What you might notice missing from that list, however, is Yvonne Gage’s Doin’ It in a Haunted House.
And probably not unjustly.
Despite being sold as the “Female Answer to Thriller,” the lyrics do little to suggest this is anything other than a similiar-ish concept wrapped up in a package sounding entirely too much like Thriller.
At least Rod Temperton thought so, anyway. See, he was the co-writer of Thriller and he proceeded to sue Gage for copyright infringement. Nothing really came from the suit, with Yvonne herself stating that Rod didn’t so much want money as he wanted to simply kill her record. Which, in effect, it kind of did, with deals and appearances evaporating from Yvonne upon the lawsuits release.
Mission accomplished pal, cause I haven’t heard of this thing in 40 years of its existence and I’m looking for shit like this. I guess I’m just not looking hard enough. Or maybe just not in the right places.
But like we always say, these kinds of things can’t hide from The Shindig forever, even if they should have been on there since day 1.
If you’ve never heard this one before, enjoy! If you’ve long been a fan, what the fuck? Drop The Shindig a line, will ya? This is too good an addition for ya’ll to have been sittin’ on.
TRACK #371:
Haunted House Rock by
Cool Rock T and Daggy D
Our next tune is another Monster Rap from the absolutely Monster Rap-dominated year of 1987. In addition to the 9 (yes 9!) Freddy Krueger raps released in 1987, you’ve got the 2 songs we just posted, plus Gregory D’s Monster Booogie and Monster Rap Title Track juggernaut The Monster Squad.
That means tonights tune brings our grand total to 14 Monster Raps on the playlist that were released in 1987 alone. There’s also yet another one waiting in the Bullpen (feel free to click here if you find you’re too impatient for all that) making the true total 15!
And those are the ones that I’m aware of. There could be even more out there and I just haven’t hit the right search yet. So who knows.
Tonight’s ’87er comes from Cool Rock T and Daggy D, and it might sound a bit reminiscent of another…more famous…monster rap that you’re already familiar with, which is funny because the b-side to this single was called…Reminiscing.
This is another tune one that was sort of “lost” to the ages as the rip on YouTube right now is not the full song, and there didn’t seem to be any records floating around for sale. However, that was the case until a few months ago, when Monster Rap hero CCSchwiegert, listed this single on discogs.
Now, they listed it for $300 buck mind you, but to my amazement, they also posted a link to an audio sample of the record for potential buyers. And that sample? Yep, it was the entire fucking song. So, thank you CCSchweigert, you are an absolute legend. Sorry I didn’t kick you down the $300 bills, but owning a rare physical record simply because it is rare isn’t necessarily important to me, particularly at that price. See Track #370.
Now, you may be wondering why you’ve never heard of Cool Rock T (better known as Robert Tingle) and Daggy D (also known as Deron Wilson) and it’s probably because they don’t appear to have any other credits to their names unfortunately. This seems to be it from the duo.
As derivative as it may be, I love this tune. I love this beat. I love the lyrics. I love the way they make fake cars sounds during the intro. It’s just awesome. I mean it’s 100% aping Whodini, but in the best possible way.
Besides, I’m pretty sure I vote for Haunted House of Rock as my favorite Monster Rap of all time, and at present, it appears to be the originator. So what better tune to ape?
Here it is. It’s not a Haunted House made of, or where to find Rock, but rather the kind of Rock that is for, or of, a Haunted House. Ya know, Haunted House Rock.
TRACK #369:
The Bride of Frankenstein Rap by L7
Our next Shindigger here is from the band L7. No Rach, not that L7.
But wait, you say you’re not this “Rach,” and you’ve never heard of any band named L7? Oh, that’ll make this a bit easier then.
See, there was (evidentially anyway) an American Funk band by the name of L7. I call them Funk because this song is listed as being Funk and since it’s their only release, I guess that makes them a Funk band. I genuinely don’t know enough about the in’s and out’s of Funk to say whether or not this claim holds any water, but they might as well be Funk. Sounds Funky, anyway. They’re definitely not a Country band. And I wouldn’t call it this Metal. It’s certainly something. Funk is something. So, let’s go with them on Funk then.
Now, this precursory Funk iteration of L7 it’s is best known for…well…this release. In fact, they’re only known for this release, cause it’s, ya know, their only release. And it’s a Funk release, and Frankenstein, which is always a plus around here.
The 12” Maxi-Single, The Bride of Frankenstein, contains 4 tracks, but essentially only 2 songs. There’s Mr. Boogie Bop, which gets the standard and instrumental treatment, and the title tune, The Bride of Frankenstein. That one gets the standard treatment as well, but also an extra-special “Rap” version. And I say extra-special because this single is from 1983, the very year I believe to be the birth of Monster Rap itself.
That year gave us Whodini’s Haunted House of Rock, Edgar Winter’s futuristic Frankenstein 1984 and now, The Bride of Frankenstein Rap. I’d say only one of these tunes is legitimately Rap, however. Can you guess which one?
Yep, it’s the only one not actually claiming to be Rap. Go figure there.
But while this song may not pass a street test, for us ‘Diggers lookin for Halloween tunes, you can’t ask for much better than this. It’s solid gold.
Dudes strapping some reasonable whack-simile of Rap onto an otherwise bizarre “Funk” tune and just running with it? Oh you know we’re all over this.
Apparently a guy in the graveyard (why he’s in this graveyard is anyone’s guess) meets a dancing corpse that claims to be The Bride of Frankenstein. At least she shows him a gravestone to that effect. Now, why The Bride of Frankenstein would have “Bride of Frankenstein” carved into her tombstone is also anyone’s guess, but here we are.
Then, all of sudden it’s Halloween and the Rap shows up. Nice! Now the guy is looking for the Bride of Frankenstein and he winds up at the Monster Club. Which isn’t a bad place to look for her really, so I get it. Does the actual song shed any light on these events?
No, not really.
I’ll say this, they are 2 separate songs. They’re pretty much the same song musically, but the lyrics are all different. This isn’t just L7’s The Bride of Frankenstein single with a Rap verse tacked on, and I can appreciate that.
In the original tune (which was perhaps a more fitting tune for the playlist, but oh well) our narrator is at a monster party where he meets a girl that he takes a liking to. However, he is warned, as he learns that she is the Bride of Frankenstein. Bummer for him I guess.
So, it’s kinda more dance-able, makes a bit more sense (albeit a very small bit) and is generally just a more regular tune. It definitely has less weird “mommmy mommy mommy” sounds, whatever the hell those are suppose to be, and that counts for something.
But that version of the song has no Rap (or whatever this is that is calling itself Rap) and it definitely doesn’t have any Halloween. So, when it comes to the playlist, we’re goin The Bride of Frankenstein Rap all day long on this one.
She can rock your mind.
TRACK #368
Igor at Midnight by Cagé (Drac. E. “D”)
Our next Frankenstein adjacent track is the best kind of track; an 80’s Monster Rap.
This is a pretty rare tune it seems, and I had to ante up to catch this one. It wasn’t terribly expensive, but did take some waiting. Why this song isn’t in heavier rotation or found in more places online is beyond me.
So, we posted it up onto our YouTube channel DigTV a couple years back, as we wanted to get a clean copy out into the world asap.
But those things are fragile. Anything can get taken off YouTube at a moment’s notice and Lord knows I’m just waiting for Shindig Radio to get slapped with a cease and desist. So, we’re finally committing this one to the playlist, where it can hopefully have a second and long digital life, cause awesome vintage Monster Rap like Igor At Midnight, needs preserving.
This super referential and festive Electro Rap drops the names of everyone you’d expect, makes a reference to Halloween, and even includes a shout out to Thriller, a clear inspiration here for Cagé. I dunno bout that Darth Vader reference though, that one’s a little weird and random, but we’ll take it.
Once again, a huge shout out goes Werner Von Wallenrod and his Humble Little Hip Hop Vids for hipping me to this tune and sending me on the hunt.
From 1987, here’s the only release from Cagé (Drac. E. “D”), the extra halloweeny Igor At Midnight.
TRACK #367:
Igor’s Party by Tony and The Monstrosities
Hey, you know Igor, right?
Sure you do. Who can’t conjure up a mental picture of some hunchbacked lab assistant of a generalized nature?
But what is that picture exactly? And from where are we all drawing that imagery?
Igor is a strange character. The popularly held conception of him isn’t fixed to any one particularly version, nor even a character named Igor.
Whaddaya mean? He’s Victor Frankenstein’s assistant, right?
Well, even that’s a little tricky in and of itself, because Victor isn’t even Victor in Universal’s 1931 classic. He’s Henry. Even then, Victor has no lab assistant in the original novel.
And to complicate the matter, the Igor in the 1931 film isn’t an Igor at all, he’s a Fritz.
Igor, or rather Ygor, didn’t appear until 1939’s Son of Frankenstein, as played by Bela Lugosi.
But that Ygor was a bit of a renegade and hellbent on revenge. See, he was grave robbing, and the villagers caught him, so they tried to hang him. Only they fucked up and left him with a busted up neck and back.
He eventually gets involved with Frankenstein, but only because the particular monster that that particular Frankenstein brings to life only responds to Ygor’s commands. So, Ygor decideds to use the monster to get revenge on the villagers that hanged him. Nice.
Universal then tossed a hunchback assistant in House of Frankenstein, but his name was fucking Daniel, of all things. Later, Charles Bronson played an Igor to Vincent Price’s mad wax man in the ‘53 iteration of House of Wax.
And so went Igor’s trajectory, characters vaguely resembling Fritz playing assistants to whomever the movie happened to be about and sometimes no not even a Mad Scientist.
Time was, I think generally people thought of Marty Feldman’s Igor from Young Frankenstein. And just as well, as not only was he a wildly original and memorable take on the character, but he is literally the first Igor in film history to be a hunchbacked assistant to a Dr. Frankenstein. Wild right? But we’re old as shit and that was 50 goddamn years ago now, so the popular image might just as well be something akin to Dreamworks’ Igor, or (god forbid) Daniel Radcliffe.
But whatever that image is and whatever its sources, Igor is as classic horror staple, as iconic now as the Universal Monster’s themselves. So, we’re gonna take a brief moment here on The Shindig to finally honor that icon with a double shot of Igor goodness.
First up, is Igor’s Party from 1960, the lone record from Tony and The Monstrosities.
The Tony here appears to be Tony Wilde, who released a pair of very different singles that same year. One was Funny Bone and the other was a patriotic split featuring John Henry and There’s a Star Spangled Banner Waving Somewhere. Ok. Guy was diverse, what can we say?
Igor’s Party, as you might imagine, details a very swinging Monster Shindig happening over at The Frankenstein place. Our narrator got the invite from his buddy Igor. Dracula’s dancing, a mummy shows up. Hell, the Purple People eater is there biting shit. They even have dinner. It’s a classy occasion.
And yet again dear Weeners, not even one song later, we are presented with an example of this sort of thing 2 full years before Boris Picket ever did his graveyard smash. What is it about Pickett’s song that captured the masses? It was the only real hit, and thus why it has endured and is remembered. But I mean, in its day. There had already been a number of other (and perhaps better) monster party tunes before it that failed to chart. Was Boris’ just catchier? Was it funnier? Who can say? Right place at the right time, I suppose.
Whatever the reason, let’s give some airtime to Tony Wilde and his Monstrosities and dig ourselves a Rock ‘N Roll Band over at Igor’s Party.
Oh, and we got back to back Mysterioso abusers here folks. Chalk it it!
TRACK #366:
At The House of Frankenstein by Big Bee Kornegay
Since we’re talking about Frankenstein, I figured this might be a good time to slot in a song that’s been waiting to get on the playlist for years now.
It’s an old Halloween classic you might recognize straight away called At the House of Frankenstein!
Coincidentally, this swinging booger from Big Bee Kornegay, was released along with Burt Convey’s Monster Hop in 1958, a full 4 years before The Monster Mash, proving once again that one needn’t be the first to do something to be everyone’s immediate association.
There ain’t a whole lot of info on Big Bee, or rather Big Bob, Kornegay (or even rather Bob Cornegie) other than some attributions to vocal groups like The Du Droppers, The Dixieaires and The Ravens.
Whoever this Mystery Man of R&B really was, he knocks it outta the park here with At The House of Frankenstein, a monster party blueprint from as far back as they come.
What’s more? It’s our first Mysterioso Pizzicato offender of 2024, and doubtful to be our last.
TRACK #365:
Evils of Frankenstein by Choctaw John
Look, we’re reasonable people.
And as reasonable people, we can overlook the fact that there isn’t any actual film called The Evils of Frankenstein
Cause c’mon, it was 1976, after all. Cross referenceable material, albeit available, wasn’t nearly as ubiquitous as we’ve come to expect in our cushy age of instantaneous digital information. Unwittingly adding an “S” to the title of some movie you randomly caught on Creature Features one night…a movie that scared the shit outta you so bad you had to write a song about it…isn’t nearly the worst thing you could do. Who knows, he was probably hammered anyway.
But was this dude even watching The Evil of Frankenstein?
First and foremost, he describes Frankenstein and his hunchback assistant building a creature. This does not happen in The Evil of Frankenstein. Not only does Victor not have a hunchback assistant, he doesn’t even build a creature. They discover Victor’s original creature frozen in ice, ala Frankenstein Meets the Wolfman.
And speaking of ala, of all the Hammer Frankenstein’s to write a song about, you pick Evil? Hammer’s co-opted, financed by Universal “let’s just retcon this whole thing and port the entire Universal aesthetic over to Bray Studios” travesty? Really? C’mon John. Just about every other Hammer Frankenstein is better than that mess.
And to that point, despite being called The Evil of Frankenstein, it’s probably Cushing’s least evil portrayal of the character, and thus the least likely to turn your hair white.
Part of the Universal-ization of Evil extended to the Doc’s entire demeanor, I guess. Cause gone was Hammer’s original and refreshing take, which placed Victor front and center as a villain, a man willing to straight up take life in his obsessive quest to create life.
But hey, maybe he just picked that name out of a hat. Maybe he just liked the way it sounded… after he added an “s” of course.
Cause I mean, he clearly didn’t watch it. And if he did watch it, he didn’t remember it too well. Maybe it just scared the shit so far outta him his mind blocked all the small details like, ya know, the entire goddamn plot. Who’s to say?
But then he changes the channel and lands on some idealized version of House of Frankenstein or some such thing, who knows. We’re clearly in the realm of fantasy here and that’s fine, cause I don’t wanna pick on Choctaw John too much here. I mean, outside of perhaps naming yourself Choctaw John, but that’s a matter for a different website.
For our part, John recorded a great Frankenstein tune and we’re happy to have him. This 7″ also contains the B-side World of Darkness, which is another wild-ass banger chocked to the brim with dark imagery about global nuclear holocaust. Shit, John. I guess when you weren’t sittin’ around getting scared by old monster movies, you figured you might as well just scare the fuck outta everyone else, huh? Yeesh.
Well, thanks for the dark twang, bud. Now go rewatch…or maybe even just watch…The Evil of Frankenstein, will ya? And when you’re done, pop in any other Hammer Frankenstein flick, as they’re pretty much all superior to that pile.
TRACK #364:
Frankenstein by Chuck Osbourne
Whether talking about the man himself or his godforsaken creation, lots of folks have sung about Frankenstein. I still think not as many as Dracula, but it’s a pretty hefty list either way.
However, I don’t think anyone has sung about him as enthusiastically as Chuck Osbourne does here, on his 1975 single, Frankenstein.
Like the bastard son of Louie Armstrong and Screamin’ Jay Hawkins, Chuck practically throws my voice out screaming the praises of the creature for doing a bunch of shit I’m not even sure he ever did. Hard to know really, cause I can’t rightly understand most of whatever the hell Chuck’s even saying in this song. But man, is it awesome.
I might even go so far as to call this the coolest song I’ve ever heard about Frankenstein, Doctor or otherwise. I’m not sure why it took me so long to find this one, but I’m sure glad I did, and I hope that you are too.
Seems there’s a little confusion over Chuck’s name, though. See, he released this song twice on a Pennsylvania label called Hittsburgh USA, which I gotta say, is a pretty outstanding name for a label from the Monongahela Valley.
Can’t tell which record was first though, as they both got released in ‘75. One of them was the B-Side of Day Dream Drifter. That one is credited to Chuck Osborne. And that guy had a couple of other singles.
The other one is a A-Sider with an instrumental version of the tune on the B-side. Now, that one is credited to a guy named Chuck Osbourne, with a U. That’s weird. Chucky U doesn’t have any other singles, just this one.
Was this just a typo? What gives? Guy hiding from the Feds? What’s the deal here?
I imagine if my name was spelt wrong on my own goddamn single, the only single Hittsburgh USA had to their name mind you, I’d be pretty pissed off. Maybe that’s why he spends the whole song just screaming.
And it’s not like they didn’t know how to spell it. One of these pressings got it right. Useless, of course, that’s not even his name at all, and it’s some kinda cover. Maybe he is hiding from the Feds. Guy sounds a little unhinged here about Frankenstein, it’s not outta the realm of possibility to think he’s done some wild shit. I better stop asking so many questions.
I’d say I’m gonna go with Osborne, cause that guy had more releases, but I don’t think so. That no U business is some B-Side bullshit.
I’m goin Osbourne, cause that’s the guy who released the full-on Frankenstein single, with the instrumental on the flip. Frankenstein by Chuck Osbourne is an goddamn A-sider, fuckin’ Hittsburgh USA. Put some respect on that name, however you spell it. Cause if this song is any indication, Chuck deserves it.
TRACK #363:
Frankenstein by The Doctor
So here’s another (allegedly) Italo tune about Frankenstein. This one is really from Italy as well, which is nice. It also appears to definitely be about the Doctor, which is also nice.
It’s also by The Doctor, which is a little confusing. It also seems to be The Doctor’s only musical contribution to the world.
Here he is rockin a sweet Frankenstein mask, which is more than I can say for the intense and sweaty Phoebus. But maybe Phoebus had just taken his Frankenstein mask off. Latex is notorious for inducing a good sweat.
What’s also peculiar about this song, is that it too is from 1986. So, that year saw 2 separate Frankenstein related Italo-Disco tracks that were actually from Italy, by acts that never released ny other records? That’s weird. I mean, at least i think so. Is that weird? Seems weird to me anyway. What was going on in Italy in 1986 with Frankenstein that produced such similar efforts? Beats me, cause these songs don’t even really sound similar.
I do like this one though. More than the Phoebus tune anyway. It’s strange. What’s also strange is that The Doctor here is sporting that mask while the song appears to be about Doctor Frankenstein for a change. Meanwhile Phoebus, clearly singing about how The Monster gives him a boner or whatever, appears mask-less, all intense and sweaty. Hmm. Perhaps that’s more apropos than I initially gave it credit for.
But I digress. This song is fun and certainly very danceable, but I’ll be honest here, I don’t really know what The Doctor is saying. But, unlike the Ecstasy song, I’m not sure I really care. Something about Chris Dobarts accent and the variety of words in Hey Frankenstein made me genuinely curious as to the lyrical content.
But here, I dunno. I guess I’m just not as interested. Either way, this could be the night!
TRACK #362:
Frankenstein by Phoebus
We’re gonna segue out of Disco here with 2 different Frankenstein tunes from the same year out of the Italo-Disco scene.
We’ve got a few Italo-Disco tracks already on The Shindig, namely Disco Halloween from Forbidden Fruits. But what the hell is Italo-Disco? It doesn’t seem much like Disco, nor does it sound terribly Italian.
It’s been years now since we posted that song, and you don’t feel like clicking away to reread stuff you maybe never even read back then, so why don’t we just talk about it again, huh?
Well, it seems the question of “what is Italo-Disco” elicits a fairly complicated answer. Enthusiasts and historians can’t seem to agree on what exactly is, where and when it all started or what even really qualifies as, Italo-Disco.
As such, the sound of Italo-Disco can be a bit elusive. Some of it skews more Disco and Space Disco, while a bunch of it leans more toward dancey 80’s Pop.
The short versions seems to be that it’s what happened when inexperienced Italian producers in the late 70’s tried to imitate the Disco hits that were no longer flooding in from outside Italy in the wake of Disco’s stateside decline.
That said, it was also the eventual electronification of Disco and the precursor to just about every form of EDM that now exists. Wow, ok Italo-Disco, shit. Take it down a notch, huh. That’s a pretty bold statement.
These 2 things seem to be most important to a definition though: heavy use of electronic instrumentation (synths, drum machines and vocoders) and either overly melodramatic themes of love and sex, or robots. There’s lots of robots.
Most of it was sung in English, perhaps explaining why a lot of it doesn’t sound terribly Italian. Dunno if that was an attempt to mimic classic disco tracks or simply to appeal to an American audience.
Oddly enough, it’s was a German Record label ZYX, that is largely cited as being the originators of the term. They marketed full-on mixes of the emerging pop scene out of Italy as “Italo-Disco.” Soon, that sound was coming from all corners of the globe and getting slapped with the same moniker.
Meanwhile, over here in the States, guys like Patrick Crowley and Bobby Orlando were touching upon some similar sounds with Hi-NRG. That also featured heavy use of electronic instruments, but typically ran at a higher tempo than Italo, so is somewhat easy to pick out of a lineup. It was popular in the Gay club scene of the mid-80’s and was very much a precursor to Techno and House. We even have a Hi-NRG hit here on the playlist courtesy of Bobby Orlando’s own Whisper to a Scream, which appeared (perhaps less than coincidentally) in 1985’s Freddy’s Revenge.
So, as you might suspect, I’ve been listening to a lot of Italo-Disco over the last year or so, and given its overall variety, I find it to be a wildly mixed bag. Some of it I love, some of it I hate.
The beat and the bass are typically right on the money. The first couple minutes of any Italo song is usually pretty great. But by the time the singer joined the party, it seemed like a 70/30 split on whether I was bailing out. A lot of it just sounds like cheeseball dance music of a variety I’m not terribly fond.
Now, I love Giorgio Moroder, and his pop-driven 80’s work is great. Kano released some good tunes. Koto, Scotch and Casco too. But the genre seems less defined by particular artists then it does the one-off records dropped by total randos never to be heard from again. Those can definitely be hit or miss.
I seemed to prefer the older, earlier variety which leaned a little more into Space Disco territory, a genre that I love which has a lot of overlap with Italo.
But the point at where a thing stops being Italo and starts being any number of other genres that sprung up in its wake, is located somewhere just outside my range of hearing.
Consensus seems to be that the genre had mostly dried out by the early 90’s and had given way to House, or Eurobeat or Eurodisco.
Tonight’s selection, Frankenstein by Phoebus, is a great example of what I’m talking about. This song doesn’t bear the hallmarks of what I think of when I think of Italo-Disco. To me, this just sounds like generic 80’s dance music, which isn’t not what Italo is, but it’s hard to explain. I dunno, maybe I’m not even really sure what Italo is, but I don’t know if it’s this. However, according to the folks on Discogs anyway, it definitely is.
Despite that, I still kinda dig this tune. Perhaps it’s a testament to the fact that just singing about Frankenstein can afford you a fair bit of goodwill over here with The Shindig.
This one seems to be about the Monster. And specifically the monster from the movie, as Phoebus has just recently seen a Frankenstein picture at the cinema.
From what I can gather, the monster has left an impression on our dear narrator. The nature of which, however, I can’t exactly say. Is this guy sexually attracted to the creature? Is that what’s goin on here? Am I adding that in? Am I sexually attracted to the creature? What’s the deal? Cause Phoebus seems to be getting real worked up over this thing, and I’m not sure it’s of the “Hey, just pick up a copy of Famous Monsters and an Aurora Model kit and work it out” variety.
So much so, in fact, that his friends all say he needs a doctor, his dad has kicked him out of the house and his girlfriend won’t even talk to him.
As such we dropped in some clips from Andy Warhol and Paul Morrisey’s Flesh For Frankenstein, cause…c’mon.
But enough of my rambling about a genre you probably don’t care to know about for some Monster song that I’m not even sure is prime example of that genre, in theme or sound.
He’s talkin’ about Frankenstein, so lose your mind already.
P.S. – If anyone listening happens to be familiar with this song but is finding they not familiar with this particular version, that is because it is a Shindig specific edit exclusive to the playlist.
It is a mashup I made of the 7” Mix and the Horror Mix. Not sure why I did this exactly, as I did it quite a while back. I think I liked the Horror Mix better in general, but preferred the opening of the 7” Mix. I think anyway. There’s something going on at the end too that’s different. Either way, we hope you enjoy!
TRACK #361:
Hey Frankenstein by Ecstasy
So, what’s all the fuss about Dracula, anyway?
Guy’s kinda boring, ain’t he? Drink a little blood, flash a little cape, hiss a bit with some fangs maybe, whatever. Big deal. Why’s this dude getting so much love in the tracks?
What about ole Frankenstein?
Well, while seemingly not as referenced as The Count, Frankenstein is still no slouch when it comes to recordings. In fact, according to a title search of “Frankenstein” on Discogs, there’s 785 master recordings. That’s almost 120 more than Dracula! Maybe old nut-neck ain’t 2nd banana after all. Maybe he is the big dog at the party. Though in fairness, a ton of those releases are just various compilation appearances and covers of the Edgar Winter classic. Without meticulously scrubbing either search for duplicates of that nature, it would hard to say for sure who emerges as the clear winner.
That’s of no real concern to us though, cause we’re gonna show Frank a little love now anyway, cause Lord knows he’s been getting the high-hat. Plus, I got a bunch of Franken-Jams clogging up the bullpen. Not as many as Dracula, but still quite a few.
I think it’s worth noting that in 9 out of 10 songs it’s the monster that’s being referenced rather than the Doctor. Sometimes that can be hard to determine with some of these songs, but it’s a safe bet it’s usually the creature.
And we can look the other way on that one, right gang? We can just accept that most people are calling the creature “Frankenstein,” accurate or not. I’m prepared to let it go for a block of Franken-Rock, aren’t you?
Yeah, of course you are, cause you don’t give a damn. Does the track groove? Yeah? Well then fire it up.
And groove this one does, cause we’re flippin’ the switch on this block with another song I had to fish outta the drink just to hear. And once again, it was definitely worth it. Some people had the A-side from the Ecstasy single What’d I Say? but no one seemed to have the B-side, Hey Frankenstein.
Ecstasy was a French disco band in the late 70’s that cut a number of 45s, but seemed to fizzle out just before the turn of the decade.
Chris Dobat, otherwise known as Mister Ecstasy, was the driving force behind that band and he seems to have pivoted to solo Funk work in the 80’s. Not bad.
Here, he lets it all hang out with some funky disco dedicated to Doctor himself. At least, I think anyway. Cause I’m not gonna lie, half the time I can’t tell what the hell Chris is actually saying. The fact that this is the B-side to What’d I Say? seems entirely appropriate.
However, I didn’t wanna leave y’all hanging. So, I decided to listen to this song on repeat, for an ungodly amount of times, until I figured out what the lyrics are.
Here is my best attempt. If anyone would like to assist me or correct any of these lines, I’ll take all the help I can get. We posted the song to YouTube last year, and you can use their playback speed to help with the translation. Though I warn you, it’s only so helpful.
Hey Frankenstein
Hey Hey, Hey Hey (x2)Hey Frankenstein
Comes walking in
you know its him
Oh, bad FrankensteinHey, Frankenstein
He’s gotta prove
He’s in the groove
Oh, bad FrankensteinHe takes a drink
To make it quick
It’s all feelin fine
He can’t play fair
He doesn’t care
He’s bad FrankensteinHey, Frankenstein
He’s doctor
When his medicine
Oh, he’s FrankensteinHey, Frankenstein
He wore his dice
And they’ll look nice
He’s no valentineSo full of ice
He wore them twice
He’s no friend of mine
And if your taught
To live to start
Don’t, bad FrankensteinHey Frankenstein
Hey Hey, Hey Hey (x2)He’s moving fast
He’s moving where it’s at
Looking for fun
Anyway, anywhere, anyoneWhen there’s no more fun
He’s back on the run
Playboy #1
Always looking for funOn the run
?
He’s got a secret
Dice!
He wore them twice!
Louder
Sexy
Horns
He begs itMr. Frankenstein
Comes a-walking in
Mr. Frankenstein
Funky ValentineHey, Frankenstein
He’s gotta prove
He’s in the groove
Oh, bad FrankensteinHey, Frankenstein
When it get hot
He’s very bad
He’s bad, FrankensteinHe knows the way
To scare his prey
Oh he’s Frankenstein
He’ll never let you get away
Here comes FrankensteinHey Frankenstein
Comes walking in
you know its him
Oh, bad FrankensteinHey, Frankenstein
He’s gotta prove
He’s in the groove
Oh, bad FrankensteinHe takes a drink
To make it quick
It’s all feelin fine
He can’t play fair
He doesn’t care
He’s bad Frankenstein (x4)
So, that’s what I got anyway.
Can’t say I’m entirely convinced I got any of this right, and lots of it just sounds wrong. But some it of seems right, and after entirely too many listens, I gotta call it a wrap. But please, if you’re feeling like maybe you also gotta know what this guy is saying and my translation seems like trash, help me out. Lemme know what you think.
Oh, and hey! Speaking of letting it all hang out, that’s a full on fully up there adorning the front of this 45. Cause hey, if you jump into a tub to record your single, maybe a nipple slips out, ya know? It’s ‘78! It’s disco! What’s a nipple? C’mon, get loose, will ya?
Mary Shelley would have wanted to see her nipple.
Howdy Ha there Shindiggers and Happy October.
Though the nascent years of this website were not at all seasonal, I’d like to welcome you to what I’ll call the 12th season on Halloween Shindig. It’s wild to me to think it’s been that long.
We’ll be wrapping up the late 300s this year and bringing the count right up to the edge of next year’s big milestone – the 400th track!
I had hoped to hit that mark this year but the episode we recorded of Shindig Radio (yes, the same episode I have yet to finish editing) had me cut the playlist off a little earlier than I had hoped. That’s ok though, cause we’re back to pick up right we left off.
Now, if you recall, we ended last season with a block of Dracula Disco. That was suppose to lead straight into a block of Franken-Rock, which seemed a fitting way to end “The Year of the Referential Track,” but alas, it was not to be. Thankfully though, these Frankenstein-Jams start off hot and heavy and ready to go.
So, let’s get the party started once again, and shock some life back into the playlist with The Monsterizer as we work our way to the 31st, one terrifying tune at a time.
Welcome to Halloween Shindig. We’re glad to have you listening in.
Have you been waiting patiently for a new episode of Shindig Radio?! Well, then we regret to inform you we only have this hour-long video hanging out over on YouTube of our pre-show show, In the Hole!
Join perennial hole-filler Kyle Sullivan as he fists some Zach’s, gourds a pumpkin or two and receives more than just a couple Nasty Grams on his way to Title Tracks Pt. 6.
See Graham C. Schofield and Mikey Rotella, Gordy Falk, Jiminy Glick, Mr. Nasty and that guy named Janet who won’t shut up about the mix levels try to engage Kyle in all manner of conversations to limited success.
It’s all waiting there for you…
In the Hole!
Also available in an audio only format for any of our visually impaired listeners, or those whom may just find our collective appearances objectionable.
TRACK #360:
Halloween I by The Splash Band
So, we’ve hit the 10 slot now on this disco run, but there’s a problem. Ya see, there just really aren’t any disco Halloween songs. There’s certainly songs you can listen to on Halloween. Hell, we just heard like 6 of em, but actual “Halloween” disco songs, for whatever reason, seem non-existent.
Now, there is Disco Halloween, which kinda tricks you into thinking it’s disco, but that’s just Italo-Disco and we know the story there. Besides we already got that one, it’s back at #291.
There was even a disco/funk band called Halloween. Exciting, I know. But alas, they never released a Halloween song, nor anything even mildly Halloween related, which seems like a big whiff, you ask me. Why even call yourselves Halloween? What’s the gag there? I couldn’t tell ya, I’m just a guy scratching his head.
Now, there is Number One Ensemble, better known around town as NOE, and they have a full-on Halloween song called Halloween. Various outlets will either refer to them as Italo-Disco or out-and-out Disco, and indeed they have some sorta Disco sounding tracks. Unfortunately, their song Halloween isn’t one of them. It’s a fine song that I like quite a bit and it’ll definitely get its day on the playlist, but that day is not today.
No. Tonight, we’re gonna go with the other track that you might see pop up in a search for Halloween Disco. And since we’re already talking about Meco, now seems like the perfect time to finally highlight The Splash Band, who kinda did for John Carpenter what Meco did for John Williams.
In the early 80’s, German electronic outfit The Splash Band released, almost exclusively, dance versions of John Carpenter themes. They did drop a Buck Rogers and Power of Love as well, but most were just the J-Carp hitters.
Now, they’re not exactly disco, despite some of the themes having that word attached to them, which certainly explains the search results. I’d say it’s closer to Italo-Disco, or more probably Space Disco. But honestly, this is electronic music through and through and it wouldn’t seem at all out of place snuck inside your typical modern Synthwave playlist. But it is somewhat dancy and definitely of the era, so we’re gonna go with it.
The Splash Band were the product of absolute workhorse Italo Producer, Ralf Hennings. This guy churned out a ridiculous amount of records for German label ZYX, the people who basically gave Italo-Disco its name. But we’ll get to that more in a little bit.
As you’ve probably already inferred, this is a cover of John’s classic Halloween Theme. But The Splash Band have 2 different versions of that theme; Halloween I and Halloween II. I didn’t know which one I wanted to include, so I listened to them back to back for like 3 straight hours. Each time one ended, I was convinced it was the one I wanted to include,…until the next one started. They’re both great!
Now, their Halloween II is definitely different, but I wouldn’t say it’s a straight cover of the Halloween II Theme. It’s funky though, and it’s got a quality that separates it from other versions of the theme. Le Matos, composers of both the Turbo Kid and Summer of ‘84 scores, also have a version of the Halloween II Theme that’s definitely worth checking out as well. Very Synthwave, very retro, but totally sidechained and modern sounding. That one sounds like a direct cover of the Halloween II. Splash Band? Not exactly.
As much as I like that Halloween II though, it ultimately felt just a tad sluggish when compared to the other, so we’re goin with Halloween I.
Dancing us out of our Dracula Block, here’s The Splash Band asking…you wanna go to the dance?
This isn’t exactly where I intended to end the additions this year, but we got a little sidetracked recording a new episode of Shindig Radio that I hope you’ll all be able to hear real soon!
Until then, I’d like to thank you all for joining us this season, letting Halloween Shindig fill your ears with festive sounds, and I wish you all a very Happy Halloween!
TRACK #359:
Werewolf (Loose In London) by Meco
Now, I probably should have just wrapped this all up with another Drac-Track and gotten us straight to the 10 slot on nothing but Draculas. And I could have too, Lord knows I have enough. But I figured we’re all a little fanged-out.
So we’re gonna double down on Meco and pivot to a bit referential werewolf action.
Cause If you ever wanted to hear what it might sound like if you asked AI to give you 80’s KISS covering Queen’s nonexistent Almost Title Track from An American Werewolf in London, allow me to present Meco’s Werewolf (Loose in London.)
In 1967, Mike Nichol’s tapped Simon and Granfunkel to provide songs for his new film The Graduate, and proceeded to blow Hollywood’s collective mind. A #1 hit single, a #1 hit album and 3 Grammy awards later, that town had a whole new blueprint for cross-marketing. One that generated its own goddamn revenue stream to boot.
And it was cheaper too. At that time, anyway. It isn’t any longer, but in the late 60’s and 70’s it sure was. Need a soundtrack? Just populate your film with licensed music, get a popular band to cut ya an exclusive track or two, then take all the money you just saved and put it in the bank to wait for all the other money you’re gonna make.
In 1977 however, John William’s skirted this new trend and brought soundtracks back to the golden era with Star Wars. In the process, he created the best selling non-pop album of all time and a theme which itself hit #10 on the Billboard charts.
As we know, Meco then made his disco version, and that fucker shot to #1 and stayed there for 2 weeks.
The same year though, the Bee Gee ladened soundtrack from Saturday Night Fever dominated the charts with four #1 hits and selling over 16 million copies. It’s still one of the best selling albums, not just soundtracks, but albums of all time. It was even the first soundtrack to win the Grammy for Album of the Year. And that’s only happened twice since.
So by 1981, movie soundtracks we’re big business. They could helped promote a film just as much as TV and Radio spots or good word of mouth. The movie sold the soundtrack and the soundtrack sold the movie and everyone was riding that ouroboros all the way to the bank.
But John Landis’ new horror comedy An American Werewolf in London posed an interesting problem to the formula. Elmer Bernstein’s score for the film, though wonderfully atmospheric, only ran about 7 minutes long. The rest of the soundtrack was made of moon-tunes from the likes of Van Morrison, Creedence Clearwater Revival and 3 different versions of Blue Moon. All good stuff, to be sure.
However, trying to pass off that limited assortment as a real LP for public consumption seemed like like a hard sell, I guess.
So, Polygram got the ingenious idea to let international Disco soundtrack leech Domencio Monardo loose on an “inspired by” album.
What resulted was Impressions of An American Werewolf in London, a double entendre of an album that I’m not sure was intentional or not.
This bizarre mishmash of weird covers, reworkings and strange originals is the official soundtrack for the film. For real. It’s listed in the credits. This was it. This is the thing. And they weren’t exactly flying off the shelves either.
And why not? Isn’t that why people buy soundtracks? To listen to a bunch of weird shit that wasn’t in the movie mixed with bastardized versions of the stuff that was?
No. It’s not. And they didn’t.
For us fans though, some 40 years after the fact looking for referential jams for our Halloween playlist, Impressions is like a weird little dish of what-the-fuckery cooked to order.
Namely, the cut Werewolf (Loose in London), which is exactly the kind of song you’d wish had actually been in the film, if only it didn’t sound like the kind of song that shouldn’t be in a film like this at all.
But it’s here for us now, in all it’s officially sanctioned and referential glory.
I’ll leave you with this quote from John Landis himself, which like Meco’s Moondancer, appears right on the back of the sleeve.
“Here I would like to brag about how unique this is, however I’m afraid Meco has done this same thing rather spectacularly before with the scores of STAR WARS, THE EMPIRE STRIKES BACK, CLOSE ENCOUNTERS OF THE THIRD KIND, SUPERMAN, STAR TREK, THE BLACK HOLE, THE WIZARD OF OZ, and RAIDERS OF THE LOST ARK….”
Oh, I’d say this is just a little bit different than that, John.
And pretty fuckin’ unique.
Well, it was only a matter of time before all these Drac-Tracks started to stack and needed a coffin to call their own.
So, for all The Count’s solo outings (and for all those still yet to come) here’s a mini-playlist for all ya’ll Fang-atics to enjoy!
Sink your teeth into the (admittedly, mostly disco, and mostly already blocked out) goodness that is Dracula on wax, without any of those annoying songs about Freddy Krueger or Trick or Tricking to harsh the buzz.
Not since the Shock! Theater revival of the late 50’s and early 60’s had so many non-acts decided it was a groovy idea to start singing about Frankenstein and Dracula. Especially Dracula, yeesh.
And why? Is there something I’m not understanding about Monster Music? Did this shit sell? Were they making a killing tapping into this market? Who knows. Someone was making something beyond these folks just making these records, or else no one would been having them make ’em, right?
But it’s not like this is Christmas music, where you’re almost guaranteed a boot-load of sales, and for years to come, so long as your record isn’t a complete pile of shit. No, this is Monster music. You’re already dealing with a pretty lean fan base to begin with and without that wholesome, doesn’t-it-just-make-ya-feel-good-by-the-fire vibe, what’s the angle? Your Grandma ain’t listening to fuckin Disco Blood, ya know? Well, I mean, unless she is, and that’s awesome. Doubt that’s most of our Grandmas, though.
Was there a large market for this shit in the late 70’s that I’m just not understanding? Pretty much all of these pre-date Thriller as well, so I’m just confused. Why were so many artists leaning into this?
I couldn’t tell ya, but boy am I glad they did. Above you will find the finest in Monster Disco The Shindig has to offer, including a couple of Monster Disco Ball exclusives!
So blast a rail or 2 off a mirrored ball, throw on a Don Post Mask and Boogyman down!