Disco Halloween

TRACK #291:

Disco Halloween by Forbidden Fruits

We’re gonna kick off a long overdue disco block here with the somewhat appropriate Disco Halloween from a band called Forbidden Fruits.

I say somewhat because this song neither sounds very Halloweeny, nor even seems to have much to do with Halloween. I’m not sure, cause I can’t really tell what any of the lyrics are. They don’t sound too spooky, I’ll say that.

As is the case with many bands on this playlist, I had never heard of Italo-Disco outfit Forbidden Fruits and I probably wouldn’t have ever heard of them had they not created a song called Disco Halloween.

But apparently no one else would have either, as it appears to be the only song ever released by Forbidden Fruits. I couldn’t dig up any real info on this band. This led me to believe, like many similar singles, that it was released by other artists as a one-off under a different moniker.

As you can see, the name Jimmy McFoy is splashed up there on that LP. This led me to then believe that he’s a somebody. And hell, maybe he is, but he’s definitely a somebody I couldn’t find much info about either. It seems as though he was a somewhat prominent singer in the Italo-Disco scene from in the early to mid 80’s. He even had semi-notable hit with Hi Girl in 1985.

Italo-Disco, for those readers that are still reading this and aren’t familiar with the term, was a form of electronic music that originated in Italy in the early 80’s. It made heavy use of drum machines and synthesizers and even the occasional vocoder. For some reason, despite being Italo, more often than not the singing would be in English. Like Disco itself, it didn’t last too long, and quickly splintered off into other Italo-centric subgenre’s like Italo-House, Italo-Dance and Eurobeat.

Now, looking further into the matter and Jimmy McFoy himself, I saw the name listed as a pseudonym for Antoine Van Bladel, and boy if that guy don’t have a bunch of stuff listed on his discografia. Among the long list you’ll find all of Jimmy McFoy’s releases, and some from the hilariously named Paul Paul, Tommy Bow, Videovision, Manhattan Claude, Johnny Game and indeed…Forbidden Fruits. He even had one under a band called Bank of America. Seriously? Bank of America? This dude released a record as Bank of America? I dunno, maybe it means something different in Italo.

So, what’s the deal, Jimbo? You singing on this tune? You produce it? You write this fucker? You bringing up the rear? What’s the deal, Jimmy?

We may never know. Whoever’s behind this one, when you bust down a track called Disco Halloween, and it’s half way listenable, you’re getting scooped up. Such is The Shindig. Which side of the halfway you’ll lean is certainly open for debate. For my money, despite be largely unfestive, it’s got a pretty fun beat, and hey, they say Halloween a bunch, so, we’re game.

Like most disco songs though, it’s overly long and doesn’t say a whole lot other than the title over and over. Which, if you’re cutting a rug at the local discotheque in the mid 80’s, is all you can really ask for. However this is 2021, and we’re definitely not coke-stepping the night away at the Starship Discovery, so I opted to use a truncated version so as not wear out any goodwill the song my have with listeners early on.

Now, the question remains, if you’re not getting terribly spooky, why Halloween? Eh, who knows? Maybe it’s like Christmas, where it makes good financial sense and ensures a certain amount of longevity attaching your name and song to an annual event. Hell, it got Forbidden Fruits roped up in The Shindig, which I’m sure was exactly what Antoine Van Bladel was hoping for all along.

Halloween

TRACK #290:

Halloween by Denise Jannah

This smooth operator of a Halloween track, from Dutch jazz-vocalist Denise Jannah, might not immediately strike you as a banger, but its infectious groove, spooky accompaniment and festive lyrics are sure to win you over in the end.

I love the mood of this record, no doubt aided by this it’s laid back clarinet and spooky organ. There’s some other instrument in there pops up later in the song that’s also spooky, but I’m not enough of a musical scholar to able to properly identify it. Perhaps it’s another organ of some kind. All’s I knows is it’s spookyish too.

Now, when it comes to Halloween tunes, you’re basically only really getting 2 types.

First, you got the explicitly and undeniably festive songs of the season, draped in all the imagery of autumn and unashamedly so. These song can go about their pumpkining and tricking in either a fun, spooky or horrific manner, but the end result in always the same – literal Halloweenery.

Now the second kind of song may appear literal at first glance, but they’re using the imagery and traditions of Halloween to tell a different tale. Think Siouxsie and the Banshee’s Halloween, or Otis Reading’s Trick or Treat.

Such is the case with Denise Jannah’s Halloween, which finds her confronting a lover who is duplicitous! She likens their deceptions to the mumming on our favorite holiday. She even goes so far as to just call this dude “Halloween.”

Ouch. That’s a pretty serious accusation, and one that I’m not sure how to take. I don’t know how comfortable I am with “Halloween” just getting tossed around as some pejorative. I’m not even sure how effective it is.

For instance, would you say to a friend whom you have just discovered is a liar…

“Wait, you told the boss I took a shit on his desk? But you’re the one who dared me to do it! You know what bruh, you’re Halloween.”

Then this dude for sure is gonna be like…

“I’m sorry, did you just call me ‘Halloween?”

Then you’ll have to be all…

”Yeah. Ya know, cause like people wear masks and shit on Halloween to disguise their identities. And that’s what’s you did to me bro! You disguised your ass as my friend! So just stay the fuck away from me, alright?!”

To which any reasonable person should respond…

“Yeah, well I definitely don’t want to associate with anyone that uses dumb ass roundabout insults, so no problem guy.”

But hey, I get it. Music is art and art is figurative and all of that. Don’t be so literal, man. Sure sure. But don’t start taking Halloween’s name in vain either!

We’ve had a bit of fun her at Denise Jannah’s expense, but seriously, I found this song last year and I absolutely love it, and I’m glad to be able to add this spooky little number to the playlist this year and I hope ya’ll like it to.

Halloween, it’s in your heart and your dreams!

Body Talk

TRACK #289

Body Talk by Sandy Farina

The Toxic Avenger Theme by Scott Casey is pretty damn Toxie, there’s no doubt about that. But for my money, nothing says “The Toxic Avenger” like Sandy Farnia’s leg warmin, synth-bassin, aerobicidin Body Talk.

Setting the stage for perhaps Troma’s most Tromatic and beloved film of all time – Lloyd Kaufman’s 1984 mold-breaking indie slasher, The Toxic Avenger.

While it’s certainly not out of place among the films featured on The Shindig, can The Toxic Avenger truly be considered a horror movie?

Well, being that it was Lloyd’s attempt to capitalize on the slasher craze of the early 80’s and that it started its life as The Health Club Horror, I think we definitely can. Toxie stalking his tormentors alone – one by one for his own horrific revenge – is the stuff of 80’s horror. Factor in his monstrous appearance and it’s Jaws-like slow reveal, and I think we’re looking at some genuine horror people.

All the humor and goofiness aside, Lloyd did something truly interesting and different with The Toxic Avenger. He made the slasher the hero (and a superhero at that) and simultaneously flipped both genre’s on their heads. He gave audiences a legitimate reason to root for the killer: an avenger for the common man, a slasher with a cause, a superhero that wasn’t affair to get his hands dirty.

Made a shoe-string budget and defining “reel” independence, this film gave a fledgling studio it’s mascot and craved their name into the history of cinema.

There’s just no denying the impact of The Toxic Avenger: the first superhero from New Jersey.

Now, let’s get physical!

Raiders of the Living Dead

TRACK #287:

Raiders of the Living Dead by George Edward Ott

As I stated in an episode of Shindig Radio that you readers have yet to hear, most people seem to refer to our next song as “The Dead Are After Me.”

And once that chorus hits the first time, there’ll be no doubt in your mind why.

However, it is my assertion that this song, composed and performed by George Edward Ott, is actually a Title Track, despite its chorus.

See, the film itself only ever credits this tune as “Title Song” and George Edward does say the phrase “Raiders of the Living Dead.”

Says the title?

Claims it’s a title song?

Good enough for me, internet be damned.

Now, if George Edward Ott himself reaches out to me and says…

“No, ya moron. Listen to that chorus! Obviously the title of the song is “The Dead Are Are After Me.” What kind of idiot are you?

…then I’ll stand down. But until that day, I’m holding fast. This is a Title Track.

Either way, it’s a great little lo-fi piece of analog rock accompaniment that definitely belongs on this playlist, under any name.

As for the film, it’s a crack up. Featuring Flick from A Christmas Story as a industrious young inventor who accidentally turns his Grandfather’s laserdisc player into a death ray. Score.

There’s this Doctor on some prison island, and he’s turning dead convicts into Zombies, as ya do. That gets a little hairy and they’re running amuck. Then a reporter and a local librarian (yeah, it’s that kinda movie) get webbed up in this zombie business, but eventually they team up with Gramps and his recurve bow and Flick with his laser ray to save the day.

Top all that off with a Title Track like this, and you got yourself a kind of a winner.

I said the dea-ea-ea-ea-ed….are af-ter meeee!

Teenage Exorcist

TRACK #286:

Teenage Exorcist by Tim De Nardo

If you’re a Shindig Radio fan, you’re no doubt familiar with our next tune, which we clowned around on pretty heavily during Title Tracks Part 4 last season.

It’s Teenage Exorcist, the Title Track which says the name of the film incessantly, while never really talking about the film at all. Even the title doesn’t make any sense. There’s an exorcist, but he’s hardly a teenager, played by 66 year old Count Yorga thespian, Robert Quarry.

Additionally, I’m not sure anyone appearing in the film is even in their 20’s, much less a teenager. Brinke Steven, whom the exorcism is performed on, was 37 at the time. Pizza delivery “boy” Eddie Deezen was 34. So much for that, I suppose.

Though, to clarify our “uninformed” query from that episode, this box art here to your right seems to suggest that, yes, someone (at least someone in marketing anyway) did in fact consider Deezen to be the “teenage” exorcist. Ok then.

Whomever this song is about, it’s a fun tune which, as Mikey and Graham so easily illustrated, can perfectly accommodate any 5 syllable movie title.

So try it out with your favorite 5 syllable movie title while we rock a little closer to Halloween 2021!

Sleep-A-Way Camp 2….Un-Happ-y Camp-ers!

Once Bitten

TRACK #285:

Once Bitten by 3 Speed

Since we’re talking about 80’s Monster comedies, and that subject is near and dear to my heart, let’s keep that theme running with our next track.

Way back in 2013, when the Halloween Shindig blog was in it’s infancy, we dropped Maria Vidal’s Hands Off from the film Once Bitten. It’s a prominent feature in the film, which plays during the very memorable 3-way dance-off between Lauren Hutton, Kim Coppins and a young Jim Carrey.

Now, why it’s taken 8 years to get that same film’s Title Track in the rotation is anyone guess, particularly since it’s been in the bullpen since before The Shindig ever made its way to the internet. For shame.

This one comes from the relatively unknown synth-pop band out of Boston called 3 Speed. They were pretty much a local act until they’re manager randomly sent a demo tape off to MGM. So impressed, the studio immediately flew the band out to do some recording for a new film.

They enjoyed some moderate success after this tune too, opening for the likes of Pat Benatar, but they were never offered a full-on record deal. Mostly, they just appeared on film soundtracks. Their song Cry can be heard in the Linda Blair’s awesome crossbow ladened revenge actioner, Savage Streets. Packed among all the tunes in bizarro 80’s sci-fi musical Voyage of the Rock Aliens is their song Back on the Streets. And Wind Me Up is featured in 1986’s BMX freakout, Rad – a movie I love that I’ll probably have to crowbar into an Action Distractions episode at some point.

But for now, let’s keep this spooky with 3 Speed and their synth pop title tracks Once Bitten.

You Bring Out the Werewolf In Me

TRACK #284:

You Bring Out the Werewolf In Me by Simon Stokes

So, yesterday I talked about how Child’s Play and My Mom’s a Werewolf both contain the same song by D.B. Night. Now that’s a rather obscure track to be featured on either soundtrack, to be sure. But both? That’s even more bizarre.

On the surface, Child’s Play and My Mom’s a Werewolf don’t have much else in common. Although only 6 months separate their releases, they’re both produced, written and directed by completely different people.

However, if you dig a bit deeper, a common name appears, and it’s music supervisor David Chackler.

And Chackler’s no slouch, as he’s responsible for uniting Lindsay Buckingham and Stevie Nicks with Fleetwood Mac, bringing Queen to the United States and recording 2 Live Crew.

In the early 80’s David began working as a music supervisor in Hollywood. And if you take a browse through his storied filmography, a lot of Shindiggery starts making a lot more sense.

First and foremost, he was the music supervisor for Quiet Cool in 1986. Then in 1987, he provided that same duty for Dream Warriors, which draws an immediately line from the replacement of Dokken’s Into The Fire with an instrumental version of Joe Lamont’s Quiet Cool for the opening credits of Dream Warriors’ home video release. Pretty nifty.

Is it any wonder then that David was also the music supervisor for Return of the Living Dead 2, a movie which features certified banger and Shindig hit Flesh to Flesh from the same Joe Lamont?

Now flashback to 1985 and you’ll see David was the music supervisor for Tom Holland’s original horror hit, Fright Night. That film features one of the greatest title tracks of all time by the J. Geils Band. But do you know who actually wrote that song? Why it was Joe Lamont.

Sidestepping Joe Lamont for a moment, consider that David Chackler was the also supervisor on 1986’s rap classic Knights of the City. That movie, if you’re not familiar, features an awesome jail cell performance from Kurtis Blow and The Fat Boys. Well, guess what? David Chackler was also the music supervisor on A Nightmare on Elm Street Part 4 and is directly responsible for The Fat Boys doing Are You Ready for Freddy. That alone makes this guy a Shindig legend, you ask me.

And speaking of The Dream Master, guess who also shows up on that soundtrack? Yep, it’s Joe Lamont, writing and performing a song called Pride and Joy.

And, since it’s what we’re here talking about, is Joe Lamont featured in My Mom’s a Werewolf? You bet he is, singing (as it happens) a version of his very own Fright Night!

I’m sorry, what?! And it’s playing a during a Halloween party? Get right outta town. I need to hunt down this version of that tune, pronto. Though I must say, my initial surface search proved fruitless. When (and if) I find it though, you’ll definitely be the first to know.

Considering all of this, it perhaps comes as less of a surprise that both Child’s Play and My Mom’s a Werewolf each feature the song I’m Hangin’ by 80’s heavy-hitters D.B. Night. David Chackler makes it happen.

And then, connecting these 2 films even further is our next Shindigger, You Bring Out the Werewolf in Me, written and performed by Simon Stokes, whom some of you may know as the guy behind The Chucky Song. Yep, same the track unceremoniously axed from…Child’s Play.

Filling the same role here, Simon’s light hearted track plays over the end credits in much the same way The Chucky Song should have. I guess the producers all felt it was more appropriate at the end of something like My Mom’s a Werewolf, and I can’t say I disagree.

Here’s Simon getting straight beastly with You Bring Out the Werewolf In Me!

I’m Hangin’

TRACK #283:

I’m Hangin’ by D.B. Night

Ah, D.B. Night.

Was there a bigger band in the 80’s than D.B. Night?

Yeah. All of them. Who the hell is D.B. Night?

I dunno, ’cause I couldn’t find fuck-all about them on the internet, but they do appear on 2 separate horror related soundtracks!

And it’s the same the tune too – a little piece of power-pop called I’m Hangin’, which shows up not only in the original Child’s Play but also in My Mom’s a Werewolf.

Apparently D.B. Night only had 1 album to their credit, the eponymous 4 track EP which thankfully contains I’m Hangin’. Here’s that EP in all its glory, hangin’ (as it were) in the Halloween Hole.

What I can tell you (other than that this EP cost next to nothing to have shipped to my door and is 100% responsible for the following information) is that D.B. Night is the brain child of guitarist/vocalist combo of Bobby Boyle and Debbie Darnell. B.B. and D.D.? I guess that gets ya the D.B. anyway. The Night? Well, why not, it was 1983.

Back that up with the competent Bass work of Jim Bates and the impeccable timing of Dave Slap on drums and you’ve got yourself and engine room. Why Dave Slap isn’t on bass is anyone’s guess, as that might seem more appropriate. But hey, you can slap the drums too, so it’s not as out of place as it might seem.

Now, if you’re a big Child’s Play fan, you might be saying to yourself,

“Look, fellas. I’ve seen that movie 7 ways from Sunday, and I’ve never once heard no I’m Hangin’ by no D.B. whoever the fuck.”

And you wouldn’t be wrong.

Child’s Play has a fairly rare and strange soundtrack, in that it’s filled with a bunch of songs that are barely in the movie. I’m Hangin’ can be heard, if ever so slightly (and ever so briefly) as Chris Sarandon is getting choked-out by Chucky in his car. It plays for about 2 beats right as Chris is burning Chucky with the cigarette lighter. Trust me. I trawled the movie looking for this song, and it’s there, but man, it might as well not be.

As such, I’m gonna file this one under My Mom’s a Werewolf, as this song can be very clearly heard (also in a car, no less) as Suzanne Stokely is driving around town. She even sings along with it, which is always a nice bonus for this kinda thing.

So kick back in bask in some obscure 80’s power-pop courtesy of D.B. Night, Dave Slap and all.

Secret Loser

TRACK #279:

Secret Loser by Ozzy Osbourne

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

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

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

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

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

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

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

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

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

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

That year was 1986.

That film was The Wraith.

And that song was Secret Loser.

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

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

But let’s check the facts.

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

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

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

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

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

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

On Your Feet

TRACK #278:

On Your Feet by Shok Paris

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

He’s also rude as shit.

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

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

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

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

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

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

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

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

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

Halloween Shindig

The Horror Fans Halloween Playlist

The 80’s