The 60’s

Drop in, tune out and turn it up with the psychedelic sounds of Halloween!

Audio

Main Title (Rosemary’s Baby)

TRACK #187:

Main Title (Rosemary’s Baby) by Krzysztof Komeda and Mia Farrow

Fading us out of our witch/spell/magick block is the melancholic and eerie theme from a tale of perhaps the worst witches cinema may have yet seen. Witches so powerful, many have suggested their influence seeped through the silver screen and into our reality.

I know it’s certainly not the type of film we tend to champion around here, and I doubt it would be any Diggers favorite pick (with the exception of one particularly beautiful & faithful reader) Rosemary’s Baby is widely considered one of the finest examples the horror genre has to offer.

And rightfully so, as it’s a fine piece of film-making, in any genre, with a star-making and brilliant performance from Mia Farrow and a supporting cast that provides the best kind of support.

Additionally, Rosemary’s Baby is as much a critique on society of the mid 60′ and men’s abuse and control of women within that society, as it is a critique on American moral and spiritual unraveling and the burgeoning Satanic scene.

Some even say it’s also cursed.

Let’s begin at the beginning…

The film’s source material, Ira Levin’s novel of the same name, was published 1968. It is set in New York City of 1965/1966, or more appropriately, June of 1966,…6/66.

Pitched at a point in history which saw not only the birth of Anton Lavey’s Church of Satan, but when Time Magazine had just famously wondered “Is God Dead?” in an issue Rosemary can be seen reading in the film.

As with any literary success, Hollywood wasn’t far behind. Initially the book was optioned to Alfred Hitchcock, who reportedly turned down the offer. In swooped everyone’s favorite schlockster William Castle, who morgaged his home and purchased the rights for 100,000 with the intent to direct. It was to be his first A-List horror picture, and he was rightly stoked.

He brought the script to Paramount Pictures, but famous executive Robert Evans had other ideas though. There wasn’t any chance in hell he was letting the inventor of “Emergo” and “Percepto” helm the biggest horror property in Hollywood. No, Castle could produce but a young European auteur named Roman Polanski would be brought in to class up the act.

And the the success train kept rolling. Lauded upon release and a blockbuster success, Castle and Evan’s had helped Polanski hit a culture nerve with his first American feature. Not bad.

But then, that’s when the weird shit started happening.

The first victim of Rosemary’s Curse was none other than the composer of tonight’s selection, Jazz musician Krzysztof Komeda. While drinking at a party in Los Angeles shortly after the film premiered, Kryzsztof was “accidentally” shoved of a rocky cliff  by author Marek Hłasko. He sustained head injuries that led him into a coma he never awoke from. He died the following April in Poland. He was 37 years old. Fans will no doubt mark the similarity of his fate to that of Edward Hutchins in the film.

Next, though much less severe, was producer William Castle. His kidney’s failed soon after the release, and he was reported to have hallucinated scenes from the film while in the hospital, at one point shouting “Rosemary, for God Sakes put down the knife!”

Most tragic however, and perhaps in need of no further explanation, was the fate of Polanski’s wife Sharon Tate and their then-unborn son at the hands of the Manson Family.

Sharon, who had desperately fought to play Rosemary, was said to have often been lingering around the set, and even eerily appears in the background at Rosemary’s party.

Other strange coincidences can be traced all throughout this tale, such as this bizarre linage of synchronicity:

The words “Healter Skelter” (sic) were scrawled on the scene of the crime at Roman and Sharon’s home on 10050 Cielo Drive. The song Helter Skelter by The Beatles was featured on The White Album, which was mostly written while at the ashram of Maharishi Mahesh Yogi in India. Also in attendance at that time were Donovan, Prudence Farrow (inspiration for the song Dear Prudence) and Rosemary herself, Mia Farrow. On December 8th, 1980, John Lennon was shot in New York City, in the archway of The Dakota Apartments, which will no doubt look familiar to any Rosemary’s Baby fan.

And lastly, I wouldn’t be the first paranoid observer to suggest the strange similarity between Rosemary and Guy’s tale and Polanski’s own career trajectory. Did Roman, like Guy, make some unholy, sacrificial pact for success and legal invulnerability? Only Roman knows for sure. Strange that “Roman” is also Steven Marcato’s false name.

Tonight, The Shindig presents that sweet sort of haunting theme, composed by Krzysztof Komeda. Even more appropriately, Mia Farrow herself provides the quiet vocal accompaniment.

The strange legacy of Rosemary’s Baby, all the players and the true nature of their interconnected fates, may forever remain a mystery. Whatever transpired, whatever it means, whomever or whatever was responsible…beware…because, there’s only one thing we can say for sure…

 

Audio

The Salem Witch Trial

TRACK #186:

The Salem Witch Trial by Kiriae Crucible

Since Christopher Lee’s over here talking about The Salem Witch Trial, let’s follow that up with a song about The Salem Witch Trial, aptly titled The Salem Witch Trial.

This rockin’ piece of obscure psychedelia comes from none other than Kiriae Crucible, a band (or hell, even just a lone dude) that I can seem to find absolutely no information about at all.

Any web search for Kiriae Crucible will undoubtedly return this song, an seemingly only this song, the various compilations that contain this song, or places in which you can hear…this song.

Well, Halloween Shindig now proudly joins the ranks of places at which you can also hear this song but find no other information regarding Kiriae Crucible. If you were led here looking for such information (though I sincerely doubt it) then I apologize for being just another repository with absolutely nothing new to offer.

I will say this, though. The 45 above is curiously adorned with the name “Erickson,” which might lead you (as it did me) to wonder if it was not penned (and perhaps even performed) by Halloween hero, Shindigger and all around way-out-cat Roky Erickson.

Beats me though, as a cross-reference of the 2 also returned no results for me.

Bummer.

Anyway, if you do happen to be reading this and actually have information regarding Kiriae Crucible or this song, please leave a comment below or forward said info to ed@halloweenshindig.com. Thanking you in advance, your assistance is greatly appreciated.

For everyone else, just sit back and enjoy this random-ass song about The Salem Witch Trial by a random-ass band (or dude) known simply as Kiriae Crucible, a name which I’m still not even sure how to pronounce exactly.

 

Audio

Season of the Witch

TRACK #183:

Season of the Witch by Donovan

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

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

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

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

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

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

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

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

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

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

 

Audio

Halloween Spooks

TRACK #182:

Halloween Spooks by Lambert, Hendricks & Ross

Here’s another spooky number about spooks from famous Jazz trio Lambert, Hendricks & Ross, only this time, it’s a Halloween song to boot. Double bonus.

This one’s a kinda weird honestly, and the jazz structure can be a bit of a turn-off if that’s not your bag. Additionally, it will all break down about halfway through into a formless sort of scat, where ghostly sounds and spooky noises take the place of actual lyrics.

I like this part. It’s funny to me. I laugh every time I hear these grown adults goofing around and making silly noises.

You may not have the same reaction, and I would understand, but there’s no disputing, it’s a Shindigger for sure.

 

Audio

It’s Halloween

TRACK #170:

It’s Halloween by The Shaggs

Supposedly Frank Zappa once called The Shaggs “better than the Beatles.”

Kurt Cobain cited their sole album, Philosophy of the World, as his 5th favorite album of all time.

So they’ve got that going for them.

That same album has also been called “the worst album ever recorded,” and “hauntingly bad.”

Wherever the truth lies for you (as with most things of this nature) will somewhat depend upon your temperament. Say what you will however, The Shaggs, with only 1 album to their credit, managed to record a song about Halloween and we all know what that means as far as The Shindig is concerned. Pick em up!

Perhaps more bizarre than the song however, is how The Shaggs came to be.

Hailing from New Hampshire, The Wiggin sisters were forced together with instruments by their obsessive father Austin. Seems their grandmother had a prophetic vision that one day her son would sire girls who would form a famous band.

That was good enough for old Pops Wiggin, who set about providing training and putting secondhand instruments into the hands of his less than willing daughters. The results were, well…

Legendary singer, songwriter and music critic Cub Koda probably sums it up most accurately:

“There’s an innocence to these songs and their performances that’s both charming and unsettling. Hacked-at drumbeats, whacked-around chords, songs that seem to have little or no meter to them … being played on out-of-tune, pawn-shop-quality guitars all converge, creating dissonance and beauty, chaos and tranquility, causing any listener coming to this music to rearrange any pre-existing notions about the relationships between talent, originality, and ability. There is no album you might own that sounds remotely like this one.”

However, this one from Rolling Stone’s Debra Rae Cohen is pretty spot the fuck on as well:

“The Shaggs warble earnest greeting-card lyrics in happy, hapless quasi-unison along ostensible lines of melody while strumming their tinny guitars like someone worrying a zipper. The drummer pounds gamely to the call of a different muse, as if she had to guess which song they were playing – and missed every time.”

Just one go-round of this tune and every one of these descriptions will all become clear.

As typically, I’m pretty centrist on the matter. The Shaggs produce not the worst music I’ve ever heard but it’s more than just a little difficult to sit through. I wouldn’t say their better than The Beatles, as Zappa suggests, but I do think they’re more interesting. And despite Kurt’s empathic inclusion, I won’t be putting Philosophy of the World on any top five albums list.

What I will be doing however, is including It’s Halloween on The Shindig, because c’mon, how could we not?

“It’s time for games, it’s time for fun. Not for just one, but for everyone!”

 

Audio

Trick or Treat

TRACK #163:

Trick or Treat by Otis Redding

Similar to Chuck’s tune, Otis Redding’s Trick or Treat isn’t necessarily about Halloween either. It is more related though, if only because Otis actually uses the word “Halloween.” That’s a bonus.

Despite his utilization of the name, he mostly seems concerned that this floozy is playing games with his emotions. First she’s hot on him, then maybe she gets a little chilly.

Either way, Otis just wants to know what the score is, cause he ain’t about to wait until Halloween to find out he ain’t gettin’ a Treat, which I can only assume is some sort of sexual favor.

What does any of this even have to do with Halloween? Nothing really, I suppose. Then why use Halloween at all? It’s a good question. He gets to incorporate the phrase “trick or treat,” but I don’t see that as a huge selling point from a song writing perspective.

Here, it implies that it’s a treat if the girl loves him, and a trick is she only likes him. That’s pretty odd though, to consider being “liked” a trick. I get what Otis is saying, but it does seem a little strange to perceive the state of being “liked” as mere trickery.

I’d rather be liked than disliked, or straight up hated on, but hey, that’s just me.

At any rate here’s another Trick or Treat song with dubious usage of Halloween, albeit from one of the greats, Mr. Otis Redding.

 

Audio

Trick or Treat

TRACK #162:

Trick or Treat by Chuck Berry

So, Chuck Berry pretty much invented Rock ‘N Roll, right? Well, at least how we might conceptualize it now anyway? That rhythm and blues styled, riff-based, axe-out-front, back beat driven, power-stance Rock ‘N Roll? The kind that soothes Bob Seger’s soul? Yeah, I think that’s pretty widely agreed upon.

You know what else Chuck Berry did? He wrote a song about Halloween.

Well, kinda.

See, this tune makes no real overt reference to the holiday itself or its traditions. It is, however, called Trick or Treat and that phrase is repeated quite a number of times.

So, when the true King of Rock ‘N Roll straps one on and starts wailing “Trick or Treat, Baby,” The Shindig isn’t about to split hairs.

You know that new Halloween sound you been looking for? Well, listen to this!

 

Audio

Haunted House

TRACK #144:

Haunted House by Jumpin’ Gene Simmons

Here’s a dusty old ditty that proves folks have been fascinated with Haunted Houses for well over 50 years.

From Jumpin’ Gene Simmons comes this lighthearted tale of terror with an upbeat tempo from 1964. However, this song was originally recorded by Johnny Fuller in 1959. If we’re being honest, we prefer Johnny’s version quite a bit more than Gene’s. It’s faster, more bluesy and Johnny sings the thing with a lot more character. It’s just more fun in Johnny’s hands. Have a listen – you be the judge.

 

However, we’ve “officially” opted to include Gene’s version on the Shindig for 3 reason:

1. It appears on Elvira’s Haunted Hits (and Vinyl Macabre for that matter)
2. It’s a little more polished and user friendly.
3. KISS’s very own Gene Simmons took his stage name in tribute to Jumpin’ Gene, and that’s pretty great.

Despite starting his career with legendary Sun Records and opening for Elvis Presley, this was Jumpin’ Gene’s only Top 40 hit, and it made it all the way to #11! Not bad for a silly novelty song about a haunted house. I guess people were into that sort of thing back in 1964.
What a world. I can’t picture anything even mildly resembling this song performing as well in 2017.

In fact, check it out at your next Shindig. See how a modern audience reacts to this little rockabilly spookster. My guess? It won’t make it to #11 with any of your guest. 
But it definitely makes it to at least #144 here on Halloween Shindig.

 

Audio

Monster Shindig

TRACK #122:

Monster Shindig by Danny Hutton

The last time I checked this was a fucking shindig.

But what is a shindig, exactly?

Well, Merriam-Webster defines shindig as follows:

ˈSHinˌdiɡ/
noun informal

  1. a social gathering with dancing
  2. a usually large or lavish party

Google definitions had this to add:

  1. a large, lively party, especially one celebrating something.

Now, if you listen to any of the turkeys over at Urban Dictionary, they’d all have you believe a shindig is a small affair, consisting of anywhere from 5 to 20 people. One bozo even suggests it can contain no more than 12!

That’s why Webster’s is Webster’s and these idiot kids are logged into Urban Dictionary from their mom’s laptop.

No one better try curtailing our shindig, particularly not because some dildo in the cafeteria uses it improperly. No, we’re going definitive with our socially lavish and lively gathering that’s celebrating something.

And around here, that something is Halloween, which encompasses jack-o-Lanterns, trick or tricking and and all sorts of spooky shit of a generalized nature. That definitely includes Monsters.

From Hanna-Barbera’s 1965 record of the same name, Monster Shindig looks to muscle in on Boris Pickett’s racket by throwing their characters Super-Snooper and Blabber Mouse into the mix, stumbling upon just this type of haunted jamboree.

The cat and mouse team doesn’t show up in the song however, leaving this bizarro tune free to roam around the streets on Halloween night.

So, let’s have a party…big big big and kick-off the second half of our playlist right, with another kind of shindig, performed here by Danny Hutton, who some of you may know as one third of Three Dog Night.

Bring a ghoul-friend and go berserk!

 

Audio

The Monster Mash

TRACK #117:

The Monster Mash by Bobby “Boris” Pickett and The Crypt Kickers

Around Halloween, dozens of internet outlets will cough up a dozen or so songs they think you ought to play at your Halloween party. The more enterprising sort might even toss you a couple you didn’t think of or haven’t heard before. The too-cool-for-ghoul-school nitwits’ll even attempt to buck convention with some underground hits which barely qualify and have little to no business playing at your party.

Invariably though, most Halloween playlist fakers tell ya the one thing you should never even consider playing at your party is The Monster Mash; so horrifically lame, so dreadfully passé.

I read one list that even had the audacity to claim it didn’t conjure up any feelings of fright. Are you serious? It’s a novelty song…about a bunch of monsters…having a party. Of course it doesn’t conjure up any feelings of fright you fuckin’ nimrod, it’s a joke.

They also went on to suggest I play Disturbia by Rhianna.

They shouldn’t be allowed to make Halloween party playlists and they certainly shouldn’t come up on the first page of a Google search.

Moreover, they included The Freaks Come Out At Night by Whodini. Who-fuckin-Dini! They have a song called The Haunted House of Rock, which is played at a Halloween Dance in a movie titled Trick Or Treat. F minus to your bullshit suggestions.

These people are idiots. Don’t listen to them.

Is The Monster Mash played out? Of course it is. It’s 50 fucking years old and the only time anyone ever plays it is at Halloween.

Can you’re Oct. 31st spare 3 and half measly minutes for The Monster Mash? Yes it can and you should take off your fucking mask in reverence for the Halloween National Anthem. The fucking heathens…..skip The Monster Mash….skip your passing interest in a holiday that didn’t need your bogus suggestions. Can’t even find The Shindig in a Google search on the matter and I get these bozos telling me to pass on The Monster Mash.

Ok, if you’re offering up 10 suggestions, I can seeing glazing over it in lieu of a few songs that people are less familiar with. Should have made it 13 songs and showed a little class. Even still, what’s 13 songs? You throwing a party for an hour?

Saw a list of 25 once. Could have just made it 31 and been a bit more festive. Still ain’t handling the job of party DJ.

That’s why Halloween Shindig exists, to rebuke these johnny-come-latelies and offer up a list of serious suggestions; to encompass all and handle the task at hand. Does anyone need a 12 hour Halloween playlist? Probably not but it’s here and growing longer each year. I hope to one day have 24 hours worth so your Halloween couldn’t possibly fit anymore music.

You only need to fill 4 hours? We’ll hook you up 3 times over again. Only want a party filled with Monster Raps? No problem. Here’s 2 hours worth.

Is Love Is A Lie very Halloweeny? Not at all but it’s in Friday 4 when Crispin Glover dances like an idiot and that’s the kinda Halloween party some people are throwing. Not your Shindig? There’s 230 other songs to pick from but it should be represented, just like The fucking Monster Mash should be represented.

To hell with your non-festive, non-referential garbage pop. Play that shit at your wedding. Tonight is Halloween and you should be playing the goddamn Monster Mash.

 

Audio

The Munster’s Theme (with lyrics)

TRACK #84:

The Munsters Theme (with lyrics) by Jack Marshall & Bob Mosher

Everybody loves The Munsters’ foot stompin’ surfy theme, but Jack Marshall’s tune actually had some lyrics to go with it.

Written by the show’s producer Bob Mosher, this version of the theme was never featured on the show.

However, thanks to the album At Home With the Munsters, fans are given a chance to hear this more typical sounding theme.

It may be a little slower, and definitely not better, but it does feature some clever lyrics and even a nod to our hallowed holiday. Shindig approved!

I led the track it with a clip from The Munsters’ Revenge, a TV movie produced in 1981 which actually takes place around Halloween, and features The Munsters at 2 different Halloween parities. Finally.

Because, every evening is Halloween, at The Munsters!

 

Audio

The Munster’s Theme

TRACK #83:

The Munsters’ Theme by Jack Marshall

Speaking of iconic, it’s high time we talked about the most iconic family in all of horror-dom, The Munsters.

Though only lasting 2 seasons, Herman, Lily, Grandpa, Eddie and Marylin Munster have lingered on, long past their short stint on the airwaves to become some of horrors most beloved characters.

With such talented actors as Yvonne DeCarlo, Al Lewis and Fred Gwynne hamming it up in such great costumes and make-up, it’s not hard to understand why the show has remained so wonderful to watch and still manages to capture new generations of viewers.
So loved are The Munsters, they’ve been revisited and recast more times than just about anything in the genre, with 5 separate actors playing Herman, Grandpa and Lily, and 7 stepping into the role of Eddie. Marilyn still has the most though, at 9, including 2 actresses (Beverly Owen and Pat Priest) during the show’s initial run. That’s pretty crazy.

However for fans, these revisits have run the gamut from quaint and acceptable (1981’s The Munster’s Revenge) to somewhat watchable (1995’s Here Come The Munsters) to the flat-out cringe inducing (the ill-advised, ill-conceived and ill-received The Munsters Today.) The latter, a rebooted, sequel-series that aired from 1988 to 199, somehow managed to stay on the air an entire season longer than the original show, though only producing roughly the same number of episodes.

While each installment has something of merit (The Munster’s Today does feature a rather good turn from Howard Morton as Grandpa) nothing quite matched or lived up to the series. Even 1966’s Munster, Go Home! (the closest to actually feeling like the show) is hampered by the decisions to film in color, recast Marilyn and lose the laugh track.

All that said, perhaps the most iconic aspect of the show is its oft played, oft covered and oft imitated theme song composed by Jack Marshall. If you’ve ever seen the un-aired (and colorized!) pilot for the show, you know just how instrumental Jack’s theme really was.

Instantly recognizable, it’s one of the great television themes of all-time, and just about every rehash (including Munster, Go Home!) has either failed to include it, or used some seriously bastardized version (The Munsters Today) that feels egregious.

Though they were changed a bit between seasons 1 and 2, I’m not quite sure which I honestly prefer most. I’ve included the season 2 theme on the Shindig because I believe it’s the one most often referred to, covered and imitated. Also, The Los Straitjackets’ version appears later in playlist, and that definitely has a distinctly Season 1 sound.
So, let’s spend some time on the Shindig with America’s First Family of Fright, The Munster.

 

Audio

Morgus The Magnificent

TRACK #63:

Morgus The Magnificent by Morgus & The 3 Ghouls

Chances are, if you grew up in New Orleans between the years of 1959 and 1989 (and maybe even later) you’re familiar with local legend and House of Shock host Morgus The Magnificent.

Perhaps the most prolific host, Sid Noel’s seminal mad scientist still gets syndicated airplay down in the Big Easy, where the good doctor has one hell of a loyal fan base.

So much so that hometown hero Dr. John, who most famously speculated that he was “in the right place, but it must have been the wrong time,” cut this tune about the doc back in the early 60’s.

Released under the pseudonym band “Morgus and the 3 Ghouls,” Dr. John pays tribute to medical contemporary and self proclaimed 38th degree Mason Dr. Morgus and his late night House of Shock.

Morgus also has the honor of being one of a few hosts to have his on movie. The Wacky World of Dr. Morgus finds our titular physician creating a Batman: The Movie-style machine which turns people into dust and then back into people again.

So sit back with the 2 docs, and enjoy this old piece of Horror Host history.

 

Audio

Happy Halloween

TRACK #60:

Happy Halloween by Zacherley

Perhaps the granddaddy of all Horror Hosts, John Zacherle donned the guise of Roland (later Zarcherley in New York) as Philadelphia’s host of Shock Theater in 1957.

In addition to being one of the most iconic personalities of the genre and one of its earliest originators, Zarcherley also released tons of spooky music during his career as a Horror Host.

Just in time for #60, here’s the Cool Ghoul himself wishing us all a very Happy Halloween.

 

 

Audio

Dracula’s Daughter

TRACK #44:

Dracula’s Daughter by Screaming Lord Sutch and The Savages

British rocker Screaming Lord Sutch is a pretty spooky cat.

Check him out.

That’s pretty spooky.

He also made some spooky music, too.

Like this tune that I’m filing under the Monster Song category, as he isn’t explicitly detailing the plot of the 1936 sequel to Universal’s classic Dracula.

He pretty much just uses the title as a jump-off point for some crazy story about a girl named Mary that bites him in a graveyard. A girl who’s pops just happens to be Dracula.

In addition to this music, he also founded a totally legitimate British political party called The Official Monster Raving Loony Party.

Here’s their totally legitimate logo.He also hung himself in 1999 following his mother’s death, and years of clinical depression. Now that’s pretty spooky.

But what the 3rd Earl of Harrow left behind was a lot of a fun garage tunes and some perfect Shindiggin’ material.

Bookended with clips from Dracula’s Daughter just for good measure.

The Shindig hopes you’re resting in peace David Sutch, you spooky sonofabitch.

 

Audio

Bad Moon Rising

TRACK #41:

Bad Moon Rising by Creedence Clearwater Revival

This annual addition to most Halloween playlists and radio stations is made all the more relevant to The Shindig for its inclusion in John Landis’ lunar based soundtrack for An American Werewolf In London.

One of my first experiences with the wonders of special makeup FX, Rick Baker and his team won the category’s first Academy Award for the groundbreaking and amazing work on display here. If anyone tells you the effects in this film appear “dated” or “cheesy,” discontinue conversing with that person post-haste.

Cinematic werewolf transformations, until this point, had mostly been the stuff of cutaways and time-lapse photography. Baker (along with Rob Botin over on The Howling) reinvented the wheel with a combination of animatronics, change-o-heads, reverse photography and skillful editing, to show a man literally transforming into a creature of the night right before your eyes. And that’s to say nothing of the intense murder and slow decay of Jack Goodman, played to perfection by Griffin Dunne.

Speaking on the film itself, I feel American Werewolf is hanging out near the top of the horror/comedy heap for its ability to separate the 2 so effectively. When it’s joking, it’s hilarious; when it’s deathly serious, it’s fucking horrifying. Nazi werewolves.

Oh, the music, yeah. I love Creedence, and this is a great song, used to great effect here with all the other moon tracks in the film.

Keep off the moors…stick to the roads…

 

Audio

Riboflavin Flavored Non-Carbonated Polyunsaturated Blood

TRACK #36:

Riboflavin-Flavored, Non-Carbonated, Polyunsaturated Blood by Don Hinson & The Rigarmorticians

It may sound like Boris Pickett (hell everything did for a while, following the success of The Monster Mash) but this particular novelty installment comes from Vegas DJ Don Hinson and his Rigarmorticians.

I like this novelty track more than most because it’s well written, funny and has an interesting premise. A premise so interesting in fact, I’m fairly sure Charlaine Harris hijacked the whole concept for her Sooki Stackhouse Novels.

An honorable mention goes out to fan-favorites 45 Grave for their cover simply titled “Riboflavin” which does not appear on the Shindig.

 

Audio

The Lurch

TRACK #31:

The Lurch by Ted Cassidy

Holy shit! Lurch has a song?!

Yeah, that was my reaction too, and whenever I have such a response, onto the Shindig it goes.

What’s more? This song and it’s accompanying dance were both introduced to the world the day before Halloween in 1965, on ABC’s popular variety show entitled Shindig! Hows that for synchronicity?

This episode also had a guest host, none other than horror icon Boris Karloff himself, who indulges in a strange speak along to The Peppermint Twist.

We’ll also hear him close out the track with Lurch himself from that very program, wishing all you Shindiggers a fond farewell.

Until then, lurch along with Ted Cassidy, who probably says more here in 3 minutes than an entire season’s worth of The Addams Family.

 

Audio

The Addams Family (Theme)

TRACK #30:

The Addams Family (Theme) by Victor Mizzy

No matter what era or medium they seem to find themselves, be it a comic strip in the late 1930’s, a sitcom in the 60’s, cartoons in the 70’s, movies in the 90’s, or a modern Broadway musical, The Addams Family always seems perfectly suited to their surroundings and never disappoint.

In honor of America’s first family of the macabre, let’s all gather with a shawl on, a broomstick we can crawl on and lets make a few calls on – The Ad-dams Fam-i-ly.

 

 

Audio

Spooky

TRACK #17:

Spooky by Classic IV

Ash might call it “Groovy.”

I’ll call it a Shindigger, cause with a verse like…

Just like a ghost, you’ve been a-hauntin’ my dreams,
So I’ll propose… on Halloween.
Love is kinda crazy with a spooky little girl like you

…this song’s gotta get some Halloween props.