(It’s A) Monsters’ Holidayby Buck Owens and The Buckaroos
On Oct. 30th 1973, Hee-Haw co-host and future Country Hall of Fame inductee Buck Owens entered his Bakersfield California studio with his Buckaroos to record this shit-kickin’ country creep-out.
Released the following summer, just ahead of Halloween 1974, (It’s A) Monsters’ Holiday reached #6 on the Billboard Country Charts. Not bad for a silly monster song.
And boy howdy, is this one silly.
Rattling off all kinds of monsters – Frankenstein, The Wolfman, Dracula, The Hunchback, Gremlins, Goblins, Mummies and Zombies – Buck Owens gives shout outs all around in this goofy and upbeat tune.
Now, why all of these Monsters inexplicably appearing in Buck’s bedroom constitutes a “holiday” I couldn’t well say. To me, it just sounds like more work.
Cause for Monsters, scaring people is their job, right? At least, you could say it’s not below their pay-grade. So, if they’re just doing their job, than it sounds like they’re at work. Not much of a holiday, just doing what you do for a living.
Now, if they were hanging out by the pool, hittin’ the slopes, or yuckin it up down at the local Monster VFW, I could see considering this a nice little reprieve from their everyday responsibilities; a true holiday.
As it stands, this doesn’t sound like much of a vacation to me. But it does sound like one down home, country-fried Shindiggin’ Halloween hoedown if I’ve ever heard one.
It’s been roughly 7 years, 6 months and 16 days since Blue Öyster Cult has made an appearance on The Shindig. Roughly.
Back then, it was their contribution to John Carpenter’s 1978 classic Halloween, (Don’t Fear) The Reaper, which afforded them an early nod on The Playlist.
Well now they’re back, all these years later, with the less inclusive, though infinitely more referential, Nosferatu.
This one was the final track on their 1977 release Spectres, an album which opens with the much more celebrated (though no less referential) Godzilla. As it happens, Nosferatu was actually the B-Side to Godzilla, making for one very referential 45.
Being horror fans, Nosferatu is a word I’m quite sure you are all fairly familiar with. But what hell is Nosferatu?
Well, it’s a word that for sure appears in Bram Stoker’s 1897 novel Dracula, though Ole Bram claimed he got it from Emily Gerard’s Transylvania Travelogue The Land Beyond the Forest. However, Emily seems to merely claim it’s a Romainian word which means “Vampire,” although no such word really seems to exist in Romanian.
Some claim the word came from the Greek “nosphoros” which meant “disease-carrying.” Others say it takes root in the old Romanian term “necurat,” meaning “unclean.” It was the kinda thing you’d say so you didn’t have to say “vampire,” lest speaking it’s name called the creature to you.
Lotta ideas. No concrete answers.
At any rate, occultist producer Albin Grau and screenwriter Henrik Galeen liked the word so much, they used it to evade securing any rights for their unauthorized 1922 adaptation of Bram Stoker’s Dracula.
They were unsuccessful however, as Bram Stoker’s widow, Florence, sued the shit out of them, bankrupted their fledgling occultist studio Prana-Film, and almost had every copy of the FW Murnau’s film Nosferatu burned into oblivion.
So, for almost 100 years now, “Nosferatu” has directly related to not just vampires, but specifically, Dracula.
And Blue Öyster Cult, like Grau, Galeen and Murnau, are clearly referencing Bram Stoker’s classic novel. So much so that some of the lyrics directly reference passages from the book.
But, since the 1922 Nosferatu is a silent picture, I’ve added some samples from Werner Herzog’s awesomely unsettling 1979 remake, just for a little ambiance.
So get unclean with Klaus Kinski and the disease carrying cultists of the Blue Öyster with…
Let’s keep the weird late 70’s Halloween Special train rolling here with this strange number from perhaps the strangest Halloween cartoon of them all, Witch’s Night Out.
First aired on October 27th in 1978, this festive Canadian offering follows the Halloween adventures of 2 children named Small and Tender. Fully disillusioned after their Werewolf and Ghost costumes fail to scare a single soul in their small town, they unwittingly call an equally disillusioned Witch to their aid.
She promptly turns them (and their weird babysitter Bazooey) into literal versions of their get-ups. They then proceed to scare the hell out of an entire Halloween party and then the whole town. Despite being hunted down like dogs by a town full of joyless assholes, the children (and then everyone else) manage to rekindle their love of All Hallows’.
Highly stylized and very 70’s, the characters are all monochromatic and the voices (provided by Gilda Radner and Catherine O’hara to name a couple) are weird. Hell, this wholething is just plain weird, but if you grew up watching it on the Disney channel during the ’80’s and ’90’s, chances are it’s nostalgic as all get out.
YouTube can definitely provide you with several trips down memory lane of varying qualities, if you feel so inclined.
As for The Shindig, we’re gonna slot in its bizarro, vocoder heavy theme song, Witch Magic and send you down an audio nostalgia trip to a time when Halloween Specials were great, and filled analog airwaves with festive joy.It’s a bag of garbage!
A Merry, Shh, Creepy Hallowe’en by David Levy & George Tibbles
The Addams Family is a staple of classic American pop culture that has evolved over time to adapt to any medium thrown its way.
The Addams took their first breaths in 1938 as a single panel comic strip from cartoonist Charles Addams. Featured in the New Yorker magazine, they would be run periodically for 50 years until Addams’ death in 1988.
During that span (and then beyond), The Addams set about conquering every corner of entertainment the tried their hand at. First as the 1964 sitcom we all know and love, which ran for 2 seasons.
In 1972, the first animated incarnation of the Addams met Scooby-Doo. After that, a variety show was planned featuring (strangley) Butch (Eddie Munster) Partrick as Pugsly. A pilot was filmed but the show was ultimately not picked up by the networks.
Then, in 1973 The Addams Family became another beloved show, this time a cartoon which also ran for 2 seasons and featured a young Jodi Foster as the voice of Pugsly. Weird!
After that, the original cast reunited for the Television film Hallowe’en with the New Addams Family. In it, the legend of old Cousin Shy is told; a Chirstmas-like tale about a family ghost that mysteriously carves pumpkins and brings presents on Halloween.
Then, in 1991, The Addams took to the big screen in the Paramount Pictures adaptation which spawned a sequel in 1993 and then a direct to video reboot starring Tim Curry as Gomez.
After that, another animated series based on the new film followed before a second live action television show took form in 1998 as The New Addams Family.
In 2010, The Addams Family took on Broadway in a musical starring Nathan Lane and Bebe Nuewirth. Was there anywhere The Addams could not make their own peculiar home?
Today, as I’m sure you’re all aware, America’s First Family of the Macabre takes another trip to the big screen and gets another animated makeover, this time of the digital variety. Now, while sadly this not the much anticipated (and later canceled) stop-motion animated film based on Charles Addams’ original designs that Tim Burton had planned, it is good to see The Addams back on their feet and ready to capture a whole new generation of fans.In honor of the return of The Addams Family, Halloween Shindig presents the very Halloweeny but Christmas-like carol A Merry, Shh, Creepy Hallowe’een from their 1977 Halloween Television reunion special.
Because how long could we ignore a Halloween song sung by The Addams?
Mostly a funked-out disco instrumental, we filled that track with some fun samples from Blacula and called it a day.
Now, the soul returns with Dr. Beezar, Soul Frankenstein!
True to form, it’s mostly a funked-out disco instrumental, so this time so we shoved in a bunch of samples from Blackenstein.
Unfortunately, BlaculaBlackenstein is not.
What could have (and probably should have) been a fun, campy and exploitative horror romp like its predecessor, slowly unfurls into a dull, plodding and joyless affair that isn’t funny, scary or entertaining.
The Dr. Frankenstein character (here called simply Dr. Stein) isn’t even Black! What kinda sense does that make?
Featuring a plot that resembles something more akin to The Island of Dr. Moreau, you’re getting limited horrific goings-ons and even less Blacksploitation from Blackenstein. It’s as if the filmmakers were neither familiar with Mary Shelley’s classic tale or even the concept of Blacksploitation.
But enough about this crummy movie, because Captain Dax will make all of it worthwhile.
One of several aliases used by The Lafayette Afro Band, this track was a big hit in Japan in 1976. So yeah, these guys were quite literally big in Japan. I guess that’s really a thing people can be.
This boogie-down creepster features so much synthy 70’s goodness, it feels right at home among the spooky ranks of Halloween Shindig.
While I typically recommend staying away from things lightly, because most movies are at least good for a single watch, I wholeheartedly advise avoiding Blackenstein at all cost.
I do not recommend, however, avoiding Captain Dax’s funked out, Franked-up, Moogin’ groove Dr. Beezar, Soul Frankenstein!
Because there seems to be a serious shortage of songs specifically about The Creature from the Black Lagoon, we’re gonna spin you a twofer for the old Gillman.
This one comes from Welsh singer/songwriter/producer Dave Edmunds, who had a pretty solid career performing in several different rock acts in the late 60’s and 70’s while also producing a number of different artists.
The story behind this album is a little goofy, because by all accounts, this is an album by the band Rockpile.
You see, after several years of limited success with different bands and a solo album, Dave hooked up with notable singer/songwriter Nick Lowe. Together, with guitarist Ed Bremner and drummer Terry Williams they formed the band Rockpile. However, Lowe was signed to Stiff Records at the time and Dave was signed to Led Zeppelin label Swan Song. This caused a bit of confusion for recording and releasing albums.
What followed was a series of solo releases that actually featured the entire band as background accompaniment. These included Edmund’s 1978 Tracks on Wax 4, Lowe’s Labor of Lust and this album from 1979, Repeat When Necessary.
Offically, the writing credits for this tune belong to Ed Bremner. Now, why Ed decided to write a strange toe tapper about a 25 year old soggy monster, we may never know exactly. Why they all decided to slip it among the rest of the tracks on a fairly standard Pub Rock album, we may also never know.
My guess? Well, it’s a pretty fun tune that’ll quickly worm its way into your head.
This has been in the Shindig Bullpen for years, as it appears on Elvira’s compilation Haunted Hits. The bullpen is a secondary playlist I have filled with songs yet to get officially added or songs that I’m considering for addition. I listen to it throughout the year. I add songs, remove songs, play around with order, see what fits together nicely. That sort of deal.
For years this was a song I kinda hated. Slowly but surely though and against all odds, it finally weaseled its way into my head and I’ve come to enjoy it quite a bit. Perhaps you may find yourself having a similar response. Though, I certainly wouldn’t blame you if this one never comes around for ya like it did for me. I get it.
However, since there is that shortage I mentioned earlier and Lagoony is one of the Big 5, Dave Edmunds and his strange by the numbers rock song about a classic monster get their chance to swim.
While we may not be entirely sure who the fuck The Wolf Man actually is, we can safely say we know exactly who The Mummy is, and his name is Long Tall Ernie.
Dutch rockers Long Tall Ernie and The Shakers started out life in The Netherlands in 1968 as a band called The Moans, which they later changed to simply Moans.
These guys were all a bunch of jokers I guess, because during live performances The Moans would go offstage halfway through the set and re-emerge as a sort of spoof act called Long Tall Ernie and The Shakers. As The Shakers,The Moans would play traditional Rock ‘N Roll from across the pound…as they probably don’t say over there because that’s a definitely a British phrase.
Whatever they say, these guys never found much success as The Moans, but people seemed to love Long Tall Ernie and his Shakers. No problem for them, they just said “fuck it” and changed the band completely to Long Tall Ernie and The Shakers and started knocking out albums.
One of the last of those albums, from 1979, was Meet The Monsters. While maybe a little late in the game for this brand of Shock Theater styled rocking , being a direct goof on 50’s Rock ‘N Roll sensibilities, it only makes perfects sense that these jokesters might eventually release a full on novelty Monster album.
And god bless ‘em, because they threw on a song about the Mummy, and those aren’t exactly spilling out of the sarcophagi.
The Mummy is a bit underrepresented in the Monster Song game, at least when compared to Bash Brother’s Dracula and Frankenstein. Even the Wolf Man, or at the very least, Werewolves, are getting more at-bats than The Mummy.
And rightfully so. Of the Big 5, you’d have to slot this bozo 4th.
The Wolf Man-Dracula-Frankenstein lineup is a veritable Murderer’s Row when it comes to Monstering and popularity. Them’s just the breaks, kid. These dudes are batting 1000, mercing fools left and right and you’re over there lumbering around all slow, reaching at people, looking for some a lost lover or purloined artifact or some shit.
You don’t think you belong 4th, band-aid breath? Come at me. I’ll take you the fuck out, Rudy style, without even breaking a sweat. Frank’s tossin’ me straight into a river, I got nothing for a walking corpse quilt of those measurements. The Wolf Man’s probably ripping my gentials straight off and God help me if Dracula’s got any of them bimbo’s in tow, cause I’m a goner. You? You’re getting unwrapped up quick.
But enough calling out of probably imaginary Monsters. Let’s get back to Long Tall’s take.
For some reason, The Mummy here sounds like any numbers of novelty Dracula’s or weird Igor fashioned character. Seriously, why does The Mummy sound like this? I understand these guys are Dutch, but surely they realize this is not a voice associated with The Mummy, right?
But maybe that’s the problem. Is any voice really associated with The Mummy? What is he supposed to sound like? Egyptian I’ll wager, at the very least. You do have Karloff just Ardath Bey-ing it up, and maybe that’s what they were going for here, cause you could claim this is a voice approaching Boris.
Either way, this is a fun Novelty Monster song about a guy we don’t get to hear too much about. And in regards to Meet the Monsters, it’s a great Monstrous album that deserves a full listen, if you’re into that sort of thing. An album we certainly haven’t heard the last from around here.
By far the spookier (and more mellow) track with this title, Blug Magic’sBorn On Halloween may take the prize for smoothest song on The Shindig. This a slow jam of the baby making variety. Provided of course you’ve found the right spooky lady.
No one affiliated with Blue Magic appears to have been born on Halloween. That’s okay though, because their song is not about themselves, but rather the spookiest girl in town; the Queen of Witchcraft.
She was born on Halloween, and since I’m 99% sure she’s 100% fictional, that can hardly be cross-referenced. We’re just gonna have to take their word for it.
So grab that witchy woman, dim the orange lights and fire up your favorite horror movie, cause Blue Magic’s about to smooth up your holiday with Born On Halloween.
We’re gonna slow things down a bit here, just before our run to Halloween, when things are bound to get all types of hairy.
In my research for an upcoming (and long overdue) addition to The Shindig, I came across not 1, but 2 different songs of the same title. Now you know what we say around here whenever that happens…
Pick ’em up!
From the 1976 album Winningfrom Russ Ballard comes Born On Hallowe’en.
Now, in case you were incredulous (I know I sure was) Russ Ballard was in fact born on Halloween in 1945, somewhere in Britain, if I recall correctly. Pretty spooky.
Unfortunately, this is the least spooky of the 3 songs featuring that title. Fine by us, as a song needn’t be spooky to find itself on The Shindig. It certainly helps, but it’s not a prerequisite.
While I’m quite sure none of us are terribly familiar with Russ, we’re probably familiar with his generous professional output, as many of his songs have been recorded and turned into big hits.
Originally the lead singer for the rock outfit Argent, who’s hits Hold Your Head Up and God Gave Rock N Roll To You are surely recognizable to anyone with even passing interest in classic rock or has seen Bill and Ted’s Bogus Journey.
He’s also responsible for America’s comeback hit You Can Do Magic, Rainbow’sSince You Been Gone, Santana’sWinning, Peter Criss’Let Me Rock You and the Ace Frehley solo track New York Groove.
Coming in at #198 to pump the breaks a little, here’s a mellow rocker from Halloween Hero Russ Ballard, who was definitely Born On Hallowe’en.
And since we’re talkin’ about sweet songs and everything, nothing quite says “Halloween” without saying “Halloween” at all, like The Rocky Horror Picture Show.
Poor Tim’s been sitting in the Shindig Bullpen for years now, just waiting for the right opportunity to provide some relief.
And rowing away from Camp Arawak aboard Dr. Frank-N-Furter’s transsexual canoe seems as good a place as any for him to step in at last and provide a nice hanging curve-ball.
So here, at number #194, it’s Tim Curry’s trash-camp classic, Sweet Transvestite.
As influential and essential as Alan Howarth may have ultimately been to that “Carpenter” sound, nothing proves John’s singular mastery like his score from 1978’s Halloween.
Everyone knows the iconic theme. Hell, people that haven’t even seen the movie recognize it’s repetitious, modulating sound.
However, John’s score is more than just that simple and oh-so-effective opening number. The entire sonic landscape of Halloween is synthy and unnerving, with buzzes and stabs that have become icons in and of themselves.
So we’d be remiss, particularly since our block of synthetic horror themes has bleed into Halloween, to leave out the man himself and one of his lesser heard arrangements from that classic seasonal favorite.
So, tingling your 31st spine is Shindig All-Star John Carpenter with the haunting and memorable and succinct, Laurie’s Theme.
Phantasm (Intro and Main Title)by Fred Myrow & Malcolm Seagrave
With so many great horror scores from the 70’s and early 80’s, you might be hard-pressed to pick a favorite. Maybe Carpenter’sHalloween Theme is your choice. Perhaps it’s Michael Oldfield’sTubular Bells. Would you select Charles Bernstein’s theme from A Nightmare Elm Street? Maybe even Wendy Carlos’ work on The Shining? Or is it something from Goblin?
All great choices, without question.
However, I don’t think any horror fan would fault you if your selection was this opening number, from Don Coscarelli’s 1979 classic Phastasm, performed by Fred Myrow and Malcolm Seagrave.
This entire score is great, fashioned as it is with a veritable dream-list of vintage electronic gear. Frequencies from an ARP Odyssey to a Moog Model D, to a Mellotron and even a Fender Rhodes buzz all over this thing, and it simply oozes a warm, green slime of 70’s electric creepiness.
Spooky, unsettling and perfectly matched for Phantasm’s eerie, fever-dream otherness, it ticks every box you could want for a Horror Theme.
On top of that, it’s Halloweeny as all get out, and I can’t think of a more fitting track to start off this October 31st.
I don’t know if I could ever actually pick a favorite horror theme, but if I was in a pinch and hard-pressed to give a knee-jerk answer, I might very well just pick this one.
No Goblin block (or indeed even any brief conversation about Goblin) exists without a mention of perhaps their most famous of all arrangements, that from Argento’s Ballerina-Witch-epic, Suspiria.
This spooky, ethereal and very Italian supernatural shocker is classic horror business.
It has captivated and inspired fans and other filmmakers since its release in 1977. Not the least of whom being John Carpenter, who’s own classic horror offering, Halloween, has hallmarks of Argento’s masterpiece all over it.
And not the least of that being John’s score, which takes much inspiration from Goblin’s kinetic and prominent sounds.
Presented here at number 176 and rounding out our Goblin-Fest is the title theme from Suspiria.
When George Romero’s highly anticipated sequel to Night of the Living Dead hit Europe, Dario Argento recut it as Zombi. This is why sometimes you’ll see Fulci’s Zombi titledZombi 2. Which can get get a little extra confusing by the time you get to Zombi 3 and 4…
but I digress.
Dawn of the Dead’s soundtrack features a bevy of strange, incidental musical arrangements (like Track #89 The Gonk) but the actual score was composed by frequent Argento collaborators Goblin. And though it plays more prominently in Dario’s European cut, some of the tracks ring out through all versions of the film.
Most especially this tune, L’alba Dei Morti Viventi, which roughly translates to “Dawn of the Living Dead.” Seems appropriate.
Here’s Goblin again, at the top of their game, the height of their popularity and firing on all cylinders,… just before breaking up entirely. At least for little while anyway.
Despite being represented on the original Halloween Shindig mix CD back in ‘02, or their standing as the Horror Themes icon since this site launched, Italian Prog outfit Goblin has yet to see any action in 170 tracks. What gives?
Well, they’ve always just kinda gotten shuffled around. Maybe it didn’t felt like quite the right moment, or maybe some other song seemed better to load up next. “Yeah, we’ll get to them later” always seemed like the move.
Whatever the reason, we’re correcting that this year with a solid block of voltage-controlled chaos from Claudio Simonetti, Massimo Morante and Fabio Pignatelli.
Let’s begin at the beginning. First up from the boys is from their first foray into the world of horror scoring, Dario Argento’s Profondo Rosso. And when it comes to Italian horror scores, this ones a doozy.
Originally named Cherry Five, Goblin actually changed their name to Goblin specifically for this soundtrack. See, they had a debut album due out as Cherry Five, and they didn’t want any confusion regarding their output.
That was until this song blew up all over Italy.
Profondo Rosso, much (I’m sure) to everyone’s surprise, was a legitimate #1 hit in Italy in 1975, spending 5 weeks in the top slot. Not bad for the bands first stab at scoring. Particularly considering they stepped in last minute,…almost literally.
Original composer Giorgio Gaslini was either fired or quit (depending on which Wikipedia article you believe) and Goblin was asked to fill his shoes. Supposedly Dario’s original choice, Pink Floyd, turned down the offer.
Dunno if I believe that either. Nor is it disappointing to hear, as I believe Goblin performed the tasked exceptionally and I’m not sure how well Roger and the guys from Floyd would have fared.
But I digress.
Argento supposedly gave Goblin a night to write the new score and then the following day to record it. I’m not sure how true that is, but it sounds cool and I want that to be the story, so I’m choosing to believe it. Because to bust out the score for a horror movie, particulary this score, on-the-fly mind you, and have it reach number #1 on the charts is absolutely insane.
Here’s the song that put Goblin on the map, in more ways than one, and (with help from Mike Oldfield’s Tubular Bells) shaped the sound of horror to come.
Speaking of Paul Williams, let’s take this moment to segue right into one of Horror’s most beloved rock operas, Brian DePalma’s 1974 pitch-perfect send-up of the entire recording industry, Phantom of the Paradise.
Elements of Faust, Phantom of the Opera,Frankenstein, Portrait of Dorian Gray and even a little Dr. Phibesare all fused together to tell a tale of love, betrayal, fame and revenge set to the backdrop of the doped-out, sinister 70’s music scene.
Williams scored the entire film for DePalma, and stars as Swan, the unscrupulous producer who collects talents and souls for his Death Records label.
Phantom of the Paradise is unique, visually arresting, kinetic and humorous all in equal measure. From DePalma’s active camera, to Gerritt Graham’s flamboyant Beef, to Winslow’s killer Phantom disguise, to Swan’s bitchin’ giant, record-shaped desk, to the parodist music, to the satire – everything here just works, and works so damn well.
Even getting Rod Serling himself to handle the opening narration is like a stroke of genius.
Here we have the film’s final track, a rocking little number played over the picture credits, that has all the seeming of Satan himself speaking directly to Swan.
If you’ve never seen Phantom of the Paradise, give this pop-rock-horror-satire a spin this October. And if you already love it, watch it again, just for the hell of it!
While fairly understated and never quite as rousing as it seems like it should be, The Devil’s Men is a somewhat worthwhile endeavor, if only to see card-carrying good guy Peter Cushing all cloaked out and evil, raising a 10 foot, fire-breathing Minotaur statue he calls “lord.”
Oh yeah and all the creepy , robed Minotaur worshipers.
Oh yeah and them all exploding at that end. That shit is pretty awesome.
But it’s mostly worth seeing for the grooviest title track this side of Scream and Scream Again, which incidentally, Cushing also appears.
Paul Williams performs this number, but apparently not the same Paul Williams with whom many of you may be familiar with from his performance in and musical contributions to, Brian DePalma’s Phantom Of The Paradise. Naw, this is some other Paul Williams. Which is unfortunate, but not terribly surprising, as this Paul Williams doesn’t sound much like that Paul Williams.
But props all around anyway other Paul, cause this one’s a doozy.
However, much like the last 2 cuts in this True Title Track block, someone had it out for The Devil’s Men, someone who sucked at their job.
See, they took the movie and retitled it Land Of The Minotaur. Which (while in and of itself is a cool title) seems pretty unnecessary, particularly during the 70’s satanic panic where one would imagine a film called The Devil’s Menmight play just fine.
They also saw fit to removed a bunch of violence and all the nudity. Seriously? What’s next? Did they cut out an awesome Title Track too?
Yes! That’s exactly what they did, and they should be tried and hung for the successive severity of their crimes.
So, if you’re gonna watch The Devil’s Men, make sure you watch The Devil’s Men, and not Land of the Minotaur, cause it doesn’t have a whole lot going for it, and the censored version removes just about every reason there is to watch it at all. For shame!
Here, now returned to its former glory, it’s Some Different Paul Williams with The Devil’s Men!
UPDATE!
Ok, so weird almost 10 years after the fact Post Script on this number, but I was just watching the Christian documentary Rock: It’s Your Decision,
The Time Warpby Richard O’Brien, Patricia Quinn, Nell Campbell and Charles Gray
You all know the moves, most assuredly, because you all know the song and the musical it originates from, The Rocky Horror Picture Show, all too well.
It’s just a jump to the left, and then a step to the right. Pretty simple shit honestly, but here’s a diagram anyway. Act like you know. Halloween is inexplicably associated with Rocky Horror. I may never understand exactly why, within the larger culture, these 2 things are so entwined but VH1’s Halloween showings of it in my youth have forever bonded them together in my own consciousness. Perhaps that’s the case for a lot of people.
According to the production however, the laboratory sequence and Rocky’s creation were filmed on the 30th of October in 1974. So there’s that and that’s pretty Halloweenish, not that Rocky Horror really needed any justification.
The most well known, oft played and Shindigable track is the bizarre inter-dimensional dance craze that was all the rage on Transsexual in the galaxy of Transylvania.
Is it about sex? Probably, everything else in Rocky Horror appears to be. Or perhaps it’s more literal, as they use a time warp to transport themselves back to Transexual. Maybe it’s both.
I’ve heard it interpreted that Riff Raff’s initial verse is about feeling horny and then orgasming. Magenta’s solo describes the viewing of pornography or perhaps a more direct for of voyeurism, while Colombia’s solo is a depiction of a rape scenario. Dunno if I cotton to all of that exactly (particularly since Colombia doesn’t seem to mind all that much) but it’s as solid a read of the songs intentions as anyone could ask for. And of course, there’s all that pelvic thrusting.
Whatever the hell the Translyvanian’s are on about, it’s certainly getting them riled up and causing them to dance like buffoons all over the place, just as you should be doing at your Halloween party right…about…now.
Vampire Hookers; honestly I could have used a little more nudity.
Nathan “Unpainted” Arizona and I guy I thought was Michael Rooker for the about the first 20 minutes play a pair of bumbling greenhorn sailors on shore leave in the Philippines. At the local cemetery, they run afoul the pimp-hatted head vampire John Carradine and his titular hoes. Late 70’s porn music and goofball shenanigans ensue.
They’re trying, I’ll give ’em that.
It’s filled to the brim with silly slapstick and toilet humor that’ll probably set both of your eyes on a pivot, but it’s rarely boring, and at 78 minutes it feels pretty brisk and good natured.
Poor John Carradine though stumbles around waiting for a check, spouting Shakespeare and poetry, which could either be interesting or irritating depending on your temperament.
There’s also a fat Filipino familiar who farts a lot for comedic effect. Whether you laugh at his flatulence will also depend on your temperament.
Seen also is a ladyboy pissing at a urinal, which apparently doesn’t tip off old Nathan Arizona, who proceeds to engage in a sexual transaction. Later Michael Rooker yells “Oh God! Balls!” which is always funny to hear someone shout after grabbing a lady’s crotch.
A few silly fistfights later and where onto the cemetery and our plot.
Though severely deficient in the generalized sleaziness and nudity you’d expect for a film called Vampire Hookers, you’re eventually treated to a 7 minute slow-mo vampire 4-way between Michael Rooker and the 3 sex-starved immortals. Thankfully, John Carradine bows out of that one, but the fat familiar watches and farts a bit. Probably jerks off too, couldn’t really tell and thank god for cinematic ambiguity. It’s pretty awesome though, complete with its numerous and repetitious cutaways to the lascivious murals painted around the room of beasts and Devils fornicating. Who’s turn is it?
And that’s not even the best part of the movie.
That would be our next Shindigger at #105, the Title Track Vampire Hookers, played to rousing appreciation during the picture credits at the end of the films. I love picture credits! And Title Tracks! And hookers! What an ending. If only we knew who the hell was performing this tune.
It’s a Shindig first; an Unknown Artist! I searched endlessly to no avail, as I could not track down the culprits. If anyone happens to know who performed this tune, we’ll gladly update the entry.
“Blood is not all they suck,” informs our unnamed composer. The Skinemax orgy sequence tells a different tale, I’m afraid. However, I think it’s safe to assume some sucking has taken place regardless, one way or the other.
While never terribly funny, it is somewhat fun, particularly in a group setting and there’s plenty of worse ways to spend 78 minutes. Plus, those will typically end up sucking an extra 20 minutes from your life and still not have the goddamn common decency to give you the reach around of an awesome Title Track.
So, as far as The Shindig is concerned, Vampire Hookers, you’re all right. As Lord Summerilse might say “you will sit with the Saints, among the elect,” here in our Title Track-heavy center block.
Is there any song that says “zombie” quite like Herbert Chappell’s strange tromboner The Gonk? Ok, maybe Thriller, but you know what I mean.
George A. Romero’s bizarre choice for musical zombie accompaniment has gone on to exemplify human stupidity, mass consumerism and well, the two combined together in the form of zombification.
More recently, the song got a well heard revamp from Robot Chicken’s clucking outro, further stapling this catchy tune onto the brains of pop culture.
Rounding out the 80’s and wrapping up our little zombie interlude, it’s The Gonk, on KZMB, all-zombie radio!
