So, all the guys wanted to take the gals to the movie house on a Friday night and see a monster picture. It’s the age old trope, right? And why not? It was dark, close quarters together, away from prying eyes of parents or teachers. And the movie was sure to scare her, right? Right into your arms anyway, was the hope, I’m sure.
And we’ve heard some here from the guys about the practice, but what of the ladies? Surely they went on record about this time honored ritual of patriarchal heteronormativity, right?
Indeed, but probably not in the way that last sentence might suggest. It was, after all, 1963.
No, this just kinda plays out like one of the girls from the previous songs is singing that story from her perspective. He takes her to the scary movie, she gets scared, they “cuddle” and she seems to enjoy that.
However, this one kicks you down a cool Dracula singing alongside her. He’s basically saying, “hey, if you don’t know about this move, here’s this move and let’s let her confirm that move works.” And she does. Not sure why we need this Dracula, but I appreciate his appearance, as always.
As for Monica Kirby, the girl in question, she didn’t release too many other singles. According to Secondhandsongs, she sang for Coral Records (the company that released her singles) in the early 60’s. By the mid 60’s she was in nightclubs in New York City, where (according to them anyway) she was recruited into the New Christy Minstrels in ‘67.
They were a folk ensemble famous for spring-boarding many famous singers to prominence, most notably Kenny Rogers and Kim Carnes. Interestingly, Karen Black was a singer with the Minstrels for a spell. Yep, Karen Black. Like Trilogy of Terrorand Burnt Offerings Karen Black. Weird.
What’s more weird is that I can’t really corroborate Monica’s membership. Some sites, like Secondhandsongs and AllMusic mention her, whereas the Wikipedia roster doesn’t feature her at all, nor is it included on her Discogs or Rateyourmusic resumes.
So who knows?
What we do know is, she loved those scary movies, and God bless her for that.
Curiously, 1962 saw the release of 2 songs called “Spooky Movies” where a guy discusses how his girlfriend is all into the horror pictures. That’s a little weird, no?
Since we don’t know exactly when Gary Paxton’s song came out, we can’t for sure say which one of these came first. But apparently, in 1962, 2 different somebodies thought it was a good enough idea to put a pen to paper on the matter.
In this case, it was a fella named Buddy Lee.
Steve Stone gets the credit for Gary Paxton/Roy Clark version.
Now, the Discogs “notes” tab would have you believe this record was reviewed in an issue of Billboard Magazine from October 20th of 1962. I was pumped to read that too, and was very eager to find that review and glean some first hand, 60 year-old hot-takes on this tune.
I was not previously aware, but apparently all the old Billboards were digitized years ago, so you can look ‘em up by date. Score! So, I scoured through that entire issue, and while it does make an appearance, buried as it is under the 3-star “Moderate Sales Potential” section on page 44, I’d hardly call it a review.
So, unfortunately, there was no information to be gained down that particularly avenue. However, I did manage to pick up a new tune thanks to this issue. Cause just off to the side, under the “Limited Sales Potential” column was Vladamir and The Grave Diggers, with their single Vladamir Twist/Drac Walk. Now, I can’t say for certain if either will get added to the official playlist, but they’re both sitting in the Bullpen right now getting the requisite consideration. It’s always fun going to look for information on one monster tune and walking away with the title of 2 others. That’s a double bonus.
But for now, let’s just listen to Lee Lilly,the man they called “The Big Masher.” Which, now that I’ve typed out, reminds me. If you will, indulge me here for a moment please.
So, apparently Lee Lilly, was known around town as The Big Masher, which isn’t so weird, really. Lots of musicians had these kinda nicknames. It appears ole Lee got his name from a song he performed called The Big Masher. Only, this 45 is the only 45 Lee Lilly seems to have released. And it’s the one that features The Big Masher! It’s not even the A side, it’s on the flip? What?
This guy is goin so hard with this name that they emblazon it upon a record that no one has heard yet, featuring the very fuckin’ song he’s named for? Am I missing something here? That’s weird, right?
Like, the guy’s not even a real guy yet when the records getting pressed, and yet he’s got a nickname from a song that not only is not itself a hit yet (cause it hasn’t been release) but isn’t even the feature track?
Maybe he was called The Big Masher for some other reason, unrelated to the song. And perhaps the song itself is all about how he’s The Big Masher and all the big mashin he gets up, whatever wholesome thing I’m sure that’s suppose to be in 1962s
I couldn’t say, cause it didn’t listen to that song, cause that song doesn’t feature any monsters.
Or shit, maybe it does. I wouldn’t know, cause I was too busy gettin spooky.
Here’s The Big Masher himself, Mr. Lee Lilly, not mashing with some monster kind you, but with some Spooky Movies.
Though made popular by famous country singer Roy Clark in 1963 as Spooky Movies, according to secondhand songs.com, it was first recorded by Gary Paxton here in 1962 as Spookie Movies.
Seems it didn’t see an official release, however, until 10 years after that though. I’m not sure. Information isn’t exactly abundant on this one. Gary’s 45 has no release year printed on it and discogs is apparently in the dark on a release date.
Either way, I’d probably opt for Gary’s version anyway, as I just like it better than Roy’s. Sorry Roy, I dunno what do say. I just like it more. Thankfully, you’re probably not digging around unfrequented corners of the internet looking for the dumb shit I’m writing. Although stranger things have happened.
Claude Lahenaff once commented on an episode of Shindig Radio that featured his title track Dr. Hackenstein. Seriously. Check it out! He’s down at the bottom chiming in.
Now sure, that could just be some bozo taking a piss in the comments, that’s certainly not unheard of on the internet. But I’ll tell ya, if that’s some prankster, then my hat is well the fuck off.
That is such a seemingly improper place to comment upon a song as wildly random as that, in the persona of such an insanely obscure musician that it’s approaching genius level fuckery. I’d be so impressed at that joke that I wouldn’t even care that Claude LeHenaff hadn’t actually reached out, as sad as that would be.
Now, unfortunately, I needn’t worry about that in this case, as Roy passed away in 2018. However, I’d still like that sentiment to be hanging out in the ether. Some people just like some things better than others. It ain’t personal. I’m sure you were a swell guy.
But hey, that’s enough about a guy not directly involved with this version of the song, so what’s up with Gary?
Well, Gary Paxton (or rather Gary S. Paxton, as he preferred to be referred) was an acclaimed producer, known to have struck fear into the heart of convicted murdered, Phil Spector. Now, that’s spookie with an IE.
Gary’s probably best known for producing the hits Alley Oop for The Hollywood Argyles, Sweat Pea for Tommy Roe and Along Comes Mary for The Association. He was also shot 3 times in 1980 by some hitmen. Like seriously, hitmen. Like men hired specifically for the purpose of rubbing him out. How wild is that? He lived thankfully, but it definitely put him out of commission for a bit, and the men were arrested. He supposedly visited them in prison and forgave them, as at that point Gary was a pretty devout Christian convert who was very much involved in the Christian music scene at the time.
However for our part, Gary S. Paxton most importantly (and most graciously) produced and recorded Boris Pickett’s 1962 smash The Monster Mash. Yep, the same year he was himself recording Spookie Movies, he cut the biggest novelty song to ever hit Halloween. So while Boris was shredding up the charts, Gary’s own spookie tune was slowly fading into relative obscurity. Considering the residuals on The Monster Mash, I’m on I’m sure he got over it.
So let’s pour one out for the man behind 2 monstrous novelty hits, including the biggest one of all time, Mr. Gary S. Paxton.
There’s so many “Hey, girls get scared at horror movies, so maybe I can cop a feel” tunes that they could probably sustain their own mini-playlist.
Hell, the most universally recognized and beloved song on this playlist is kinda exactly that sorta tune. Referential sure (if mostly in a generic kinda way) but really just about a girl getting so scared they let ya get to second base maybe without putting up too much of a fuss. Now, how believable all of that is coming from the King of Pop, I’ll leave for you to decide
For now, I’ll spare you that mini-playlist and even some of the songs that might be on it, but I’ll rock a block of these fuckers cause, hey, that’s just the kinda ship we run around here. And off the bow of a course-correcting jam from Skyhooks seems like the perfect time.
We mentioned Dickie Goodman a while back, and he’s a pretty big wheel down at the Novelty Monster Song factory. Hell, the guy could even be considered the Grandfather of Sampling. See, Dickie made it big releasing what he called “Break-In Songs.”
Dickie would conduct an interview of sorts, with say, Frankenstein, and the responses would be in the form of samples from popular music at the time. They were a pretty big hit.
As clever and innovative as that was for the time, it doesn’t necessarily make for good playlist listening. Thankfully for us, Dickie cut some real songs too, and one of them just happens to be Referential Monster Song.
However, if you happen to be a Novelty Monster Song fanatic, you might think this tune sounds strikingly similar to the 1964 Jekyll and Hyde tune, My Baby Loves Monster Movies
And that because it’s basically the same song. It was even written and performed by Dickie as well. Outside of some differences of arrangement, and the line “Horror Movies” being changed to “Monster Movies,” it’s pretty much the same tune. Now, why he did this and released it under a different name is beyond me, but it certainly seems to be the case. His son Jon released a biography about him in 2000 called the King of Novelty. Maybe there’s an answer in there somewhere. I’ll keep you posted.
Dickie continued to make Break-In records for the better part of 30 years, covering contemporary events from the moon landing to The Watergate scandal and films like Frankenstein and Jaws. His break-ins even reached into the 80’s with songs like Hey E.T. and The Return of the Jedi Returns.
Unfortunately, at the age of 55, Dickie took his own life in the winter of 1989. Though he did live to see sampling utilized in the most unprecedented of ways (and was himself sued for using unlicensed material) he didn’t quite get to see just how ubiquitous sampling would become or just how much legal controversy it would stir.
What he left behind though was a legacy of innovation, parody and fun and a Monster Song so nice, he went and recorded it twice.
Here’s the man himself, The King of Novelty, lamenting that he can’t compete with those gnarly monsters his girl just goes crazy over in Horror Movies.
Oh yeah? Big Eric, huh? So, what’s this guy’s deal?
Well, let’s start with that name. “Big Eric “ appears to be a one-off pseudonym used by German artist Eric Billinghurst specifically for this track.
But Eric Billinghurst is better know throughout Germany as Bill Hurst, a standard issue AOR style rocker who produced 2 albums including the (apparently quite rare) 1982 release, Ice Cold Calculation. That fucker’s going for over 200 buck right now on Discogs. This is a shame because it contains a track called Horror that I’d love to investigate. Is it a different take on this song? Is it some other referential rock rarity? Who knows? Not us. Well, at least not yet anyway. That’s fuck off dollars from something I ain’t heard before. I’m hesitant to buy the Critters LPs that are goin for half that much, and the playlist needs a cleaner copy of that song pronto. But Ice Cold Calculation is in our sights, so we’ll keep you posted.
Until then, we can satisfy our Bill Hurst fix with Horror Ball, a peculiar Discoish tune that doubles as a fun play on words.
This one’s a bit silly, but that’s never been a problem around here, and it’s got a good groove, which is always a plus.
On top of that, it’s giving you what you need. All the Monsters you want getting shouted out to an infection disco beat.
And look at the cover to this thing! That’s just plain old fashion monster awesome.
So let’s get some horror going with Big Eric, shall we?
Now, there’s a ton of this kinda old timey Monster Rock ‘N Roll, but I don’t add it to the playlist that often. It’s monstery, sure, but something about it always feels a little off, like they could be singing about any old thing. There’s nothing distinctly spooky or festive about it most of the time.
There’s even a similar tune to tonight’s inclusion titled The Mummy’s Ball by The Verdicts that I removed from this block of balls for just that reason.
But Screaming Ball has a few things going for it that help it make the cut.
First and foremost, I dig this tune. It swings.
Secondly, from what I can tell, this is the very first pop song to actually reference Dracula. At least in the title, anyway.
Thirdly, it’s a pretty referential tune. In fact,The Duponts even have a similarly structured reference to Spike Jone’s Ball-Tune, only The Duponts make The Thing from Another World do The Stroll instead of a Mole Person. But both of them do reference the Thing.
And lastly, it’s from The Duponts, whom were also know as Little Anthony and the DuPonts, after the main vocalist, Anthony Gourdine.
But The Duponts weren’t the only crew associated with a Little Anthony, as Anthony Gourdine is also the Little Anthony of Little Anthony and The Imperials fame, best known from their hits like Tears on My Pillow and I Think I’m Going Out of My Head.
In 2009, Little Anthony and his Imperials were all inducted into the Rock ‘N Roll Hall of Fame, and any time you can add a Hall of Famer to the roster, you should probably just do it.
And dammit if I don’t just love idea of a future Hall of Famer his cuttin’ his teeth on some forgotten old novelty monster record. What’s cooler than that?
Well, it’s also a Mysterioso Pizzicato offender. How do you like that? Another one for the fire, boys.
So let’s all having a scream ball over at Dracula hall. C’mon, it’s a horror party!
It’s probably some sort of Halloween Playlist infraction that after 10 years and almost 300 more songs, we’re just now finally talking about Screaming Lord Sutch again. I mean, he appeared early, and rightfully so, but the guy should probably be an All-Star by by now, and that’s my fault. I guess that since he was already represented, I never felt urgency to get back to him.
But right inside this throwback Monster Song block is a perfect place to revisit David Sutch, because his 1976 single, Monster Ball, is the perfect song for such an occasion.
It’s starts as many Monster Party songs do, but The 3rd Earl of Harrow puts his own distinct spin on the tried and true formula by having the monsters join together and attack the band. A bold move.
Now, a curious thing happens in this first verse. Frankenstein, cheekily, is described as being a “dapper vamp” who’s all dressed up. He then flashes his teeth and bites a chick on the neck. This seems odd. Some time later, Dracula is seen to “blow a fuse.” This is a playful juxtaposition from the Lord that I imagine is intentional, but who knows. Maybe he thinks Frankenstein is a vampire and Dracula is some kind of monster or robot.
After all that, Godzilla shows up and fights “the thing from 20,000,” which I assume is the Beast from 20,000 Fathoms. This seems like a fair enough match but ultimately “Zilly” comes out on top. A shame really. In that Bradbury’s Beast is the forerunner to Godzilla (and every other giant nuclear beast of the 50’s and 60’s) it would have been nice to see him win the day, just on the grounds of him being the OG.
Now, perhaps it’s just me (or maybe you’ll agree) but I think this song sounds strangely similar to another 1976 song about balls, AC/DC’sBig Balls. Dunno if there’s any real correlation, or which one came first, or if there’s even any musical evidence to back up that claim, but I just feel it.
Either way, it’s a 70’s take on an age old Novelty tradition done as only Screaming Lord can do.
Now here’s a song that we’ve been putting off since jump.
Yep, this one’s been in the bullpen forever.
So long in fact, it was on pre-internet versions of the playlist that were played and distributed. But it’s high time to kick it on out, if only so I can stop thinking about it anymore.
I don’t imagine any playlist featuring as much novelty music as The Shindig would be complete if it didn’t feature at least one tune from The Godfather of Novelty songs himself, Mr. Spike Jones.
In the days before Rock ‘N Roll ruined everything, Spike and his City Slickers reigned supreme. He was the Weird Al of his era, though I’m not sure if that reference even holds much weight here in 2023. But he was a songsman and comedian in equal order, and having your popular tune get “spiked” was a sign you had made it big.
Though WW2 era songs about Hitler and All I Want for Christmas is My Two Front Teeth are all well and good, they’re certainly not Shindigable. However, like any novelty man worth his weight in buffalo nickels, Spike released a Horror record. 1959’s Spike Jones in Hi-Fi featured a ghastly cover with Spike as a Teenage Brain Surgeon surrounded by monsters. The album had lots of horror goings-one including a reference to Plan 9 featuring Vampira herself, Ms. Malia Nurmi. Even legendary singer and voice actor Thurl Ravenscroft, most notable for being Tony The Tiger and singing You’re a Mean One, Mr. Grinch, makes an appearance.
But for our part, it is track 6 which concerns us, a monster of a referential monster party tune, and one of the older Monster Songs on the playlist.
Spike details the gathering of Monsters big and small at his Monster Movie Ball, and as we’ve said several times around here, a full 3 years before Boris Pickett and his Cryptkickers.
But Spike’s song isn’t simply a Monster Song, featuring generic avatars of the Big 5. Nay! Monster Movie Ball, as its name suggests, is a bonafide referential hitter. In addition to name dropping all the classics, Spike finds time to reference House of Wax and The Mole People and actual creep Peter Lorre.
But he even mentions real-world singing fiends like Vampira, Zacherlee, Dave Savile’s Witch Doctor, and makes Dracula do the Cha Cha Cha à la Bruno Martino. Not too shabby.
So Spike, my apologies. Though you’ve been with us for 20 years and have been passed over, time and time again for 10, today is your day. Welcome aboard, buddy!
Speaking of Jack and Jim, here’s another duo knockin’ out some more old time Monster Roll for ya.
Clifton Nivison and Martin Fulterman (the Clif and Marty here, respectively) were both former members of The New York Rock and Roll Ensemble. As it happens, they’re also former members of Former Members of The New York Rock Ensemble, but that’s a separate and confusing matter involving Opal Records selling a bunch of their music without Clif or Marty’s knowledge.
The Rock Ensemble were a group of Juilliard music students who decided to bust out some Rock ‘N Roll using conventional orchestral instruments. A novel concept at the time, to be sure.
After releasing 5 albums over the course of 6 years, The Rock Ensemble parted ways. Seems Clif and Marty were disillusioned with the Ensemble’s lack of commercial success, and signed with Specter Records/Opal Productions in order to make some career headway.
At Opal, Clif and Marty acted as a kind of utility duo, recording demos, writing music for other acts and releasing tunes under various pseudonyms.
And their single, Monster Movies, appears to have been just that kind of assignment.
Now, why Opal Records would assign these 2 guys some novelty Monster song in 1972 is anyone’s guess. What was the temperature on Monster Songs in ‘72? Hell, I couldn’t tell ya, cause the only other Track on Halloween Shindig from 1972 is Edgar Winter’sFrankenstein, and that’s definitely not a novelty monster song. In fact, ‘66 through ‘73 is a pretty barren wasteland for that kinda stuff, at least as far as this playlist is concerned anyway.
Now, that’s not to say the public wasn’t hungry for Monster Songs in ‘72, it just means there aren’t any that I’ve found or found and enjoyed enough to add to a 300+ rooster of songs which pretty much meet that exact specification. Just saying.
Regardless of how the 45-buying folks of 1972 felt, this is a fun and referential jam which goes so far as to specifically declare its love, not just for Godzilla, but directly to him, as though he might be out there somewhere in the South Pacific listening. Now, I gotta give that kinda thing just a little bit of love myself.
Outside of The Ensemble, and this particular single, I can’t suss out much about our boy Clifton, but Martin Fulterman is a bit of a different story.
See, Martin apparently changed his name to Mark Snow and went on to compose music for an almost absurd amount of Films, TV movies and shows. The most notable of his creations, no doubt, has got to be the famous X-Files Theme.For real? Ole Monster Movie Marty? Pretty snazzy lineage attached to a 40 year old novelty song.
Other Mark Snow projects of note (to me anyway) include Ernest Saves Christmas, Dolly Dearest, Project ALF, Skateboard, TJ Hooker and even Pee-Wee’s Playhouse. And let me tell you, that’s cutting the list real short.
Mark Snow has composed, written songs for or worked on the music department of more shit than you’d believe. Over 350 different credits, including some ridiculous sounding TV movie called Ghosts Can’t Do It, which sounds like some PG-rated Lifetime version of Hellraiser that somehow features our 45th President himself, Mr. Donald Trump.
I’ll just leave you with that as we drop the needle on Clif and Marty’s lone 45, Monster Movies.
For our next monstrous installment, we’re heading back overseas and back to the mid ‘70’s once again, for a little Roaring Jelly.
Now, if you’re unfamiliar with the UK comedy folk trio Roaring Jelly, don’t feel bad, cause you’re definitely not the only one, and that includes the guy writing this thing. On this side of the pound, on this side of the century, I’m sureRoaring Jelly’s name recognition is at an all time low.
But there was a time in the mid ‘70’s when Roaring Jellywas a bit of a sensation on the UK folk scene.
It’s a dance, by the way, the Roaring Jelly. Upon accepting their first paid gig, the band were asked what their name was, and co-founder Derek Pearce just fired that one off from the top of his head. There’s a certain irreverence to this that kinda encapsulates the band’s whole deal.
See, they didn’t bother playing folk standards in a boring folky way. They mixed it up. They pulled from various genres for their sound and even did comedic send-ups of revered folk classics. Now, that didn’t sit too well for many of those stoic folks on that stoic folk scene and some places outright refused to book them.
ButRoaring Jelly could draw a crowd with their lively performances and they left those stuffy folk folks to get stuffed.
And because you know we wouldn’t be talking about em unless they did, Roaring Jellyincluded a little monster ditty on their debut album, Golden Grates.
Not unlike some other songs we’ve heard (and are still liable to hear this year) Monster Movie Nightmare Blues details the tribulations of a poor sap who happened to watch a few too many Monster Movies before hitting’ the hay.
It’s a little bit silly, there’s no doubt about that, but it’s no less silly than a hundred other novelty songs about monsters. But this one’s a rarity. I couldn’t find it anywhere around online. It was definitely a “commit and see.” And my shock, when I finally did drop a copy on my turntable. How was this fun monster jam not more widely known? It deserves to be heard by all monster music lovers the world over!
So, now it has a home on The Shindig, where it belongs, so perhaps it might narrowly escape the jaws of oblivion, if only for you – a small and select few.
We said we’re diggin’ deep and clearing out the bullpen in 2023, so here’s a Halloween compilation staple that’s been kicking around for longer than I can remember.
I’m glad I waited though, since last year’s Halloween Ends turned this Referential Monster dinger into a full blown Inclusive jam.
And much like Pete Antell’s It’s Halloween,Jack and Jim’s classic Midnight Monsters Hop is the best thing going for Halloween Ends and it’s literally the first minute and a half of the film.
Seriously, you can stop watching after this song ends. In fact, you could just listen to this, which features the opening dialogue with the entire tune, and probably have a more satisfying time than wading through that fan-fic grade afterthought jerk-off session they tried to pass off as the ultimate bookend to a legendary 40-year-old Horror saga. Hell, H20 is a more satisfying conclusion to the whole affair than that turd.
But I digress, cause we got this song. A bonafide Halloween jammer from 1959. Yep, you read that right. 3 years before Boris Pickett unveiled his own swinging Monster Party, Jack and Jim were laying the groundwork for monster get-togethers everywhere.
However, Bert Convy still has ‘em all beat, and no doubt provided inspiration to both, with his 1958 cut simply titled The Monsters Hop.
Credit where it’s due though, cause I think Jack and Jim here are serving up probably the swingingest tune of the bunch. It’s used to great effect in Halloween Ends too, actually tricking you into thinking you’re about to watch something cool. No such luck.
We’ve led it in, of course, with hometown hero Willy the Kid on WURG The Urge… Haddonfield’s home for rock!
You gotta love it when a horror movie gives you some solid DJ action, and Willy gets it good to The Cramp’sI Was a Teenage Werewolf. At least, I guess he gets it good. As good as that turkey is giving anyway. Unfortunately, he’s a little underutilized in the story and his death scene feels like it’s ripped from some other movie. Some movie you might rather be watching.
At least compared to the one you’ve been watching. I’m not sure the movie on display at WURG is worth watching either, but at least Michael’s not getting slapped around in a cave by some dildo who been getting bullied by a bunch of high school band dorks. A shame really, what they did to Michael.
And not just in Halloween Ends either (though perhaps the most undignified) but the whole damn lot of it, all the way down the line. From making him Laurie’s brother, to bringing him back from complete incineration, to positing him as some sort of Druid-curse vessel, to making his mask CG, to letting Busta Rhymes karate kick him out a window on a reality show, to making him some generic bullying victim with a white trash stripper mom.
It’s unfortunate that Michael couldn’t have been left to just wander off into the Halloween night, never to be seen again. Now there’s a reconned remakequel I could get behind.
Oh well, at least we got the 1st minute or so of Halloween Ends, featuring this classic monster tune from a duo who, like I so wish I could say for Michael Myers, we never heard from again.
My quest to find more and more Monstery Halloween songs for this playlist has gotten to point where I have to dig a little deeper than usual.
Anymore nowadays, the songs I’m coming across aren’t always readily available. This has lead to me hunting down and purchasing some rarer records without the benefit of hearing them first.
This has been pretty fun though. In an age where virtually any song you can imagine is easily accessible somewhere virtually, it’s added a bit of excitement back into discovering music. Waiting for a video to pop up randomly, or for someone to post a record for sale, or simply waiting for that record to arrive feels akin to something from a bygone era.
Now, that can also be frustrating too, because if a song isn’t streaming on music services, and no one has posted it on YouTube, there’s a good chance it’s also not available for sale either. So now I just got a pile of potential additions and Lord knows if I’ll ever be able to hear ‘em.
But there’s also been plenty of occasions where, despite not being digitized somewhere (or somewhere easily searchable) a physical copy is still available to purchase. As you might imagine though, this has lead to some disappointments. Such is the gamble. It’s much easier when someone has already posted whatever song it is I’m looking for to YouTube so I can easily disregard it or snatch it up at no personal time or monetary expense.
But that’s the fun.
And when it pays off, it’s definitely worth it.
And then, you write all of that, and during a cursory bit of information gathering while finalizing the post, you type the name of that song into a Google search and find out that not only was the song posted to YouTube 8 fucking years ago, but it was posted by the song’s goddamn author and singer.
Such is the case with our 2023 opener, The Night of the Monster’s Party from The Monsters.
What the fuck, YouTube? Not one time did your internal search pull this video. Not once! And across many pages. Trust me, I kept clicking.
But a simple Google search (so simple in fact I can’t believe I hadn’t done it until that moment) pulls that shit up as the first goddamn hit!? You’re owned by goddamn Google, you piece of shit.
So, rather than the line,
“It still seems wild to me that I had to purchase this 45 to be able to hear this tune.“
which I had written,
I now need to type something stupid like;
“It’s wild to me that I went through the entire process of finding this 45 for sale, purchasing it, waiting for it to arrive in the mail and throwing it on my turntable to hear this song, when all I had to do was a fuckin’ Google search.”
Seriously? I have to write that shit? On a blog that gets broadcast to anyone across the planet with an internet connection? Jesus.
Now, I suppose I could have just erased that shit, and went about my business, but where’s the fun in that? All of what I said above is still true for a bunch of other songs we’ve got lined up this year, and I believe it. Plus, it is kinda funny to read it back in retrospect, realizing what a moron I was.
But I severely digress.
In my defense (but just barely) Bill forgot his own song’s party was possessive, which apparently threw the YouTube search engine into some fuckin’ algorithmic tail spin that returned nothing but My Little Pony videos instead of the 70’s monster song that all of my viewing history should’ve alerted YouTube that I was actually looking for. That, and no one had yet linked Bill’s video on Discogs. No excuse, ultimately, but I’ve since corrected that little error too. Twice over now.
Interestingly, Bill provides this bit of insight on the video’s description:
“I recorded this in 1973 and released it on Dart Records. We recorded at Chappells studio and called ourselves The Monsters. I think we released it just prior to Halloween. We did the rounds on Capital Radio etc and I have photographs of me with fangs and a facefull of black and white makeup. Those were the days!!!! We had quite a few sales but not enough to get in the charts I am afraid!”
That’s some solid firsthand info right there. He even tossed in a shout out to Halloween. Double bonus. Let’s go for the hat trick!
The upshot of actually purchasing this 45 was that the seller included an awesome promotional sheet. Check this shit out!
Now that’s what I call a win.
Not sure if I’d call this a “disco beat” though. But hey, Dart’s gotta sell this shit to, I dunno, whoever the hell’s in the market for Monster music in 1974. Disco freaks? Beats me. Was anyone even into Disco in ‘74? Was Disco even Disco in ‘74? Cause this shit don’t sound like Disco to me, so maybe Disco was different then.
Either way, that’s of no concern to us really, cause this song’s great however you classify it.
But we should address the cause of this whole YouTube search fiasco to begin with; that apostrophe S.
Cause this is the night of the Monster’s Party, as we previously discussed. It’s possessive. Now, Bill forgot that part, leading to our search debacle, but even Dart Records here seem to be confused. The 45 says Monster’s, and this promotional sheet says both Monsters and Monster’s. Ok then.
I’m going with that Monsters shit is a typo, and it’s Monster’s. It’s their party.
But wait. These guys singing areThe Monsters. So that’s a extra layer of confusion. Is it their party?
Now, they’re not these Monsters, who are also Monsters from this exact same time period, not to add further confusion or anything. These LARPers in the graveyard here aren’t from Britain. But well get to them, and their own “Disco” monster jam in just bit.
Back to this party.
Now, in the event you’re thinking thus might be some kinda backstage, monster groupie, sex drugs and disco-get-together, fear not. The lyrics set the record straight pretty quick.
In an old castle, Dracula, Frankenstein and the Werewolf are dancing to a song. Not this song of course, cause that wouldn’t make much sense and I’m pretty sure Monsters don’t actually listen to this kinda shit. But they’re dancing to a tune. 74? I’m gonna say it was Dark Lady by Cher. Why not?
But then the Mummy shows up later and gets scared by some other bloodsucking vampire, I guess. Even Dracula’s Daughter joins at one point! She might be the scary vampire. Unclear. But what is clear is that these are the real titular Monsters, and thus the party is their’s.
They say it’s happened all before, which is weird. Perhaps these guys do this a lot. Or maybe they’re just referring to The Monsters Hop (not possessive), or possibly even the Midnight Monsters Hop (also not possessive), or the dozens of other “Hey, let’s have Dracula dance around with Frankenstein while Wolfman plays the bass or some shit” songs, cause why not, right? If they got together, monsters would grab instruments and dance and party and eat plasma pizza, would they not?
The most curious lyric though is the warning, for us the listeners, to lock our doors. Why? These monsters all seem pretty occupied dancing around in this old castle. The one chick’s hungry from some monster pie, what the fuck that is. She tryin to eat one of these dudes? She just tryin to get balled out at this party? What’s her deal?
There’s no indication that they’re heading out afterwards to tear up the countryside. Maybe do a little fuckin, but that’s upstairs. Chances are, if these dudes weren’t singing to us about this soirée, we wouldn’t even know it was happening at all.
I’ll lock my doors all right, don’t worry about that pal. But not because some literary characters are dancing with a creature I’ve never seen before in an old castle I don’t live anywhere near. Pretty sure I’m good, bud. I appreciate the warning and all, but I’m not too concerned about this party spilling out onto the streets of Los Angeles. The pantsless meth-head posted up in a tent on the corner, shouting into a pay phone that hasn’t worked since 2005 is all the motivation I need to keep those fuckers fully bolted.
Unnecessary warnings aside, kicking off our Referential Monster of a year in perfect monster party fashion, with a little help from the Mysterioso Pizzicato no less, it’sThe Monsters with The Night of the Monster’s Party.
Speaking of dudes from our Freddy Raps episode and sampling classic horrors themes for raps beat…oh and recent questionable reboots of aging horror properties…oh and even Halloween, I guess, by way of Rob Zombie…
man, that’s a lot of tenuous connections for 2 songs to randomly have…
here comes an actual Referential Monster Rap in the form of Gregory D and Figgy Balls’ Love letter to The Munsters, Monster Booogie.
Now, why they didn’t just call this tune Munster Booogie is above my pay grade, but honestly that’s the only bone I have to pick with this track, because otherwise, it’s just the goods. Well, there’s is that one verse, but we’ll get to that.
Mannie Fresh twists up The Munster’s Theme into the kinda beat I wish every monster rap had, while Gregory D waxes nostalgic for the days of eating cereal and kickin’ it with the First Family of Fright.
They also spit barbs at The Addams Family, which for a song of this nature, feels right at home.
Then, there is that verse I spoke of earlier. Gregory D goes off on Eddie Munster a bit, and some words get thrown around. Now listen, we’ve laid into Eddie Munster ourselves, more specifically Butch Patrick for his crimes against music, but this is a bit of a different beast. Let’s just say he goes so far as to suggest Eddie Munster might prefer the company of men.
This bar-spanning gag which (in addition to being generally offensive to both Gays and Butch Patrick for a number of reasons) is a really weird joke to make considering the kid’s like 10 years old. But hey, I guess that’s just a little slice of 1987 for ya. Try to ignore it, if you can. If not, I’d understand.
Despite that, this is still a seriously referential tune though, with tons of great samples and a dope ass beat. It’s the kinda diamond in the rough you come across while looking for something else and then all you can do is sit back and bask in great weird wave of the universe.
So, instead of subjecting yourself to Rob’s Day-Glo prequel, just blast Gregory D and Mannie Fresh’s Monster Booogie, and then go enjoy a few episodes of the real thing while scarfing down a bowl of Frankenberry.
So, here’s a slice of bizarro-70’s-monster-weirdness I wish I knew existed back in 2018 when we did our Christmas episode of Shindig Radio. It’s the exact sort of thing I was trying to include.
Thankfully, it’s here now, so let’s talk about it.
Back in 1974, it would appear as though someone just casually listening to Boris Pickett’sMonster’s Holiday and thought it would be a great idea for an entire novelty concept album.
And they were right, cause this thing is awesome.
Now, it’s not exactly the same as Monster’s Holiday because the monsters don’t rob Santa, as they plan to do in Boris’ song. What’s happening here is that Frankenstein’s Monster is sick and dying. Ok, off to a weird start. But then, just going right along with the weirdness, he laments that he’s never been invited to a Christmas party. So, as some kinda Make-A-Wish Foundation move, the Association of Monsters decide to throw him a Christmas Party.
It’s a bizarre concept, no doubt, but it features a couple of fun new monsters tunes, a few classic Christmas carol renditions and some fantastic voice acting.
So, if you’re feeling like your Christmas is lacking a little Monster action, fire this thing up, because it’s one monstrously jolly listen.
If Monster Raps Pt. 3: Freddy’s Revenge has already aired (and you’ve listened to it) then you may be aware of a guy I referenced on that episode named Werner Von Wallenrod.
Werner has a crazy informative website called The Humble Little Hip-Hop Blog. I stumbled across it while researching last night’s Monster Rap entry and what I got in return was so much more.
In addition to the veritable boiler room of previously unknown (to me anyway) Freddy related rap songs, here’s another addition that I have to chalk up to Werner as well.
From 1984, right on the heels of (and perhaps as a result of) Whodini’sHaunted House of Rock, comes Uptown Express’Creature Feature.
Now, like I’ve been saying all season it seems, there isn’t much info floating around on Uptown Express. They only released a few tunes over a couple years, of which Creature Feature is perhaps their most prominent.
A cavalcade of monsterdom, this one uses the title of Screen Gem’s second package of horror movie classics that were released into syndication to local television stations in the early 60’s. This, of course, gave birth to the Horror Hosts of the 60’s, 70’s and 80’s. The original Shock! package featured mostly old Universal Classics, but the Creature Features packaged upped the ante with all manner of cheeseball Sci-Fi, Hammer Classics, Asian Kaiju and 60’s monster freakouts.
Like Shock!, the package was sent all over the country and many markets had their own “Creature Features” labeled programs with the requisite spooky host. Perhaps the most famous, however, was Bob Wilkin’s wry and straight-face take on San Francisco’s KTVU.
If you’ve ever seen this picture floating around Instagram, that’s Bob, cold chillin, classed-out in front of his now ubiquitous sign.
To keep things nice and referential, we’ve led the track in with Bob’s 70’s era theme song performed by Beauregarde and The Poppers.
So let’s all keep America strong, and listen to this upbeat and fun loving tune from the birth of Monster Rap, Creature Feature.
There’s no need to fear, it’s as harmless as your teacher…
“Man, I really love that Edgar Winter’s Frankenstein, but I just wish it had more synths, ya know? Like some newer synths…and maybe even a drum machine, yeah! And hey, what if it had some lyrics too, ya know, instead of being an instrumental? And dude, the lyrics could really be about Frankenstein, so it would actually be a real monster song! And oh shit, what if Edgar himself, weirdo, freaky 70’s looking, literal-ass whitest dude ever was rappin’ all over the motherfucker?”
Well my friend, have I got some good news for you today, courtesy of Edgar Winter’svery own Frankenstein 1984.
Yep.
Now, why Edgar decided to update Frankenstein, I couldn’t say. I wasn’t able to find any interviews with him talking about this particular version. But my guess is, Edgar is a pretty experimental guy. The original Frankenstein was the first ever #1 hit to heavily feature a synthesizer. And Edgar is perhaps the inventor of what we think of today as a keytar, as he was the first one to strap the ARP2600’s keyboard around his neck.
As synthesizer technology and their use in popular music grew over the decade or so following this hit, I’m sure Edgar wanted to take another stab at it and incorporate more electronic instrumentation.
Now, why…in addition to this…Edgar decided to remix a slightly different version of the song and then rap over the top of it…that’s about anyone’s guess. As we’ve reckoned many times here on The Shindig before, Rap was starting to emerge as a legitimate musical force and in those early days, everybody decided to take swing.
So let’s thank Edgar Winterfor deciding to throw his hat in the ring and take a song with dubious connections to both Halloween and Frankenstein himself and turn it into the full-blown epic Monster Rap we always wished it could be.
He even went so far as to call it the Monster Rap version.
Dashiki enthusiast and suspected racial appropriator Johnny Wakelin sang a lot of songs about boxers. Not the dogs mind you, but dudes who put on gloves and punch the shit out of each other.
Over a roughly 30 year span, Johnny released 12 different songs about boxers. Of courseMuhammad Ali, Lennox Lewis, Frank Bruno and Mike Tyson each got 2 a piece, but that’s still no mean feat.
It all seemed to start in 1972, when he wrote a song called Hungarian Superman about Hungarian boxer Joe Bugner.
Apparently no one cared though.
Then Joe Bugner lost to both Muhammad Ali and Ghost Fever star Joe Frazier. 12 rounders to be sure, and by decisions, but still L’s none the less.
So, Johnny figured he’d just rework Joe’s tune to be about Muhammad Ali and call it Black Superman instead. Keen.
This time people seemed to care. Well, at least a little. The song hit number 7 in the UK. It only reached number 21 here in the states, but it stayed in the top 100 for 6 months! Not too shabby for a weird ass tune from some British guy about an American boxer.
Figuring if it ain’t broke it ain’t broke, Johnny whipped up In Zaire, a song about Ali’s famous 1974 bout dubbed “The Rumble in the Jungle” against George Foreman. That one didn’t do as well, but still had some legs.
After a few underperforming singles including Africa Man, Cream Puff and Afro Afrique, he attempt to rebottle the lightning with 1986’s Bruno, about boxer Frank Bruno.
That didn’t do so hot either.
Later down the line Johnny thought, fuck it, I’ll write songs about all kinds of boxers including Sugar Ray Leonard, Prince Nassem Hamed and even my own hometown hero Rocky Marciano.
Now, you may be thinking “Gee, that’s real swell, pal, but what the fuck does that have to do with Halloween, you blithering jackass.”
A fair question.
Well, it seems that in the middle of all this pugilist pop, and for seemingly no good reason at all, ole Johnny decided to jump on the disco train and bring some of that spooky monster party shit with him. What?
So, he grabbed up an instrumental disco tune from Harold Faltermeyer – yep Top Gun, Fletch Theme, Axel F Harold Faltermeyer – and slapped some silly Monster Mash-fashioned lyrics over the whole thing.
The result was Dr. Frankenstein’s Disco Party, a bonafide Monster Disco jammer that’s as grooving as it is bizarre.
Seriously, this song rules. And it hits all the notes you want for a monster party disco hit. You got Dracula, Mummies, Zombies, fuckin Bigfoot and even a nod to Frankenstein’s Monster himself. Hell, all the invitations to this Shindig are delivered by bat for fuck’s sake. It’s incredible! Johnny should have ditched the boxing motif and stuck with the monster parties, you ask us.
So let’s say gold riddance to this disco block with a little underground groove about a bunch of bloodaholics.
Unfortunately for everyone listening, that’s not where the “Disco Dracula” ends.
Cause every once and a while The Shindig stumbles across a song that’s definitely not good, but not totally unlistenable, that practically insists upon itself to make the playlist.
Dracula Disco is just such a song.
Because where else do you put this? Where else does this thing get the nod? When else does this song get its day?
But maybe it shouldn’t get its day, because that place doesn’t exist. Maybe it should just get buried in a hole somewhere where you put uninspired, and dubious cash-in trash like this.
Well, unfortunately for that hole, such a place does exist. And that place is Halloween Shindig. And that day is today.
But holy shit. This is the kind of thing that give disco a bad name.
Say what you want about something like Soul Dracula, or Disco Blood, but those songs cut rugs. This shit…this Dracula Disco shit…this is bland, repetitive, cash grabby garbage. Hell, it barely qualifies as music. You can’t dance to this shit! Isn’t that the soul purpose of disco, to at least get your feet moving? What is this song’s purpose? Who is this song for? It’s definitely for us, right now, in hindsight. But I mean in its day, to whom was this appealing to? To whom was this being sold, I ask!
Not gonna lie though, this guy does a pretty good Dracula, but the song isn’t asking much of him in the way of singing. Also, his party is poorly attended and whack as fuck. What’s he got? 2 guests and some lights? A little music? Well, if it’s shit like Dracula Disco, count me out, Conde.
Where’s the cavalcade of monsterous party goers? Where’s the plasma pizza or the blood ballon race? This party doesn’t even have a spooky DJ. This party is lazy and so is this song.
Unfortunately, lazy though it might be, it’s exactly the kind of thing that needs to be on this playlist. Because, where else do you put a thing like Dracula Disco, if not in a trash can?
Also, that LP cover is pretty fantastic. Dude has a coffin guitar, so what the hell.
Speaking of bizarre skin-flicks disguised as Disco Dracula films, let’s talk about Dracula Blows His Cool, a German sex comedy with a surprisingly interesting soundtrack.
When smut photographer and “Dracula” descendant Stan decides just shooting nudie pictures in his old family castle isn’t quite enough to keep it from being repossessed, he does what any self respecting Bavarian in 1979 would do. He opens a disco!
What ensues is a bevy of silly sex gags, tons of mistaken identity hi-jinx and some funny English dubbing. While certainly not even approaching good, there’s less amusing ways you could spend an hour and 20 minutes, if you like this sort of 70’s sex trash. I mean, check this out:
It’s at least worth a viewing.
Additionally, the film is filled with tons of fun (read: appropriately ludicrous if you have a horror-themed music blog) songs.
Most notable of course, and submitted for your approval this evening, is the 1979 hit Rock Me Dracula, performed by Mokka.
Mokka is an iteration from the brief musical career of Italian twins Nadia and Antonella Cocconcelli. Nadia and Antonella even appear in the film performing the tune. Or at least they appear dancing around with garden hoses and lip syncing to it poorly, anyway. But hey, we’ll take it!
Though played several times throughout the film, it is not included on the official Gerhard Heinz soundtrack for Dracula Blows His Cool, which has several potential Shindig inclusions like Graf Dracula and Disco Strip. Both of those songs are pretty great and may find their way into the playlist in their own right.
For now though, we’ll only indulge in the perfectly appropriate and extra referentialRock Me Dracula, from Mokka.
Shindig Radio personality Graham C. Schofield doesn’t much care for disco music. And as you know, we’re currently knee deep in a Monster Disco Block.
So it may shock you to hear he’s actually responsible for our next tune, another vampire related rug cutter from the 70’s monster comedy, Love At First Bite, starring George Hamilton.
See, last Halloween, Graham bestowed upon The Hole this fresh piece of vinyl soundtrack goodness, and there was much rejoicing.
And if he didn’t think one of these fuckers was gonna find its way onto the playlist this year, he’s out of his mind.
Now, perhaps he did. Perhaps he was even ok with the idea. But what he probably didn’t know was that I already had a few disco-diggers waiting in the dugout, and that this specific gift was the catalyst for me diggin’ up a couple more and making a whole block out of the affair.
So, if you need a scapegoat for any ire you’re experiencing at the hands of a solid week filled with goofball monster disco bullshit, he’s your guy. I’m sure he sympathizes.
As for Love At First Bite, give it a go. It’s a surprisingly measured and effective vampire comedy with a fine and funny Dracula performance from George Hamilton.
It is alleged to have ripped off the plot of 1971’s Guess What Happened to Count Dracula? almost to the T, but as of the time of writing, I have not seen that film and can make no assessment.
What I can say is that it was one of 5 Dracula movies released in 1979. You have, of course, John Badham’s classic starring Frank Langella, Donald Pleaseance and Sir Laurence Oliver. Not to be outdone, you got Werner Herzog’s chilling Nosferatu, starring the unearthly Klaus Kinski. And then, no doubt attempting to a capitalize on the success of Love at First Bite, is Germany’s DiscoDracula film Dracula Blows His Cool, but more on that one in a bit.
Because we can’t talk about Disco Draculas without talking about the other Dracula film from 1979.
Nocturna: Granddaughter of Dracula, is perhaps the Disco Dracula movie, drenched as it is, almost front to back, in so much Disco it actually gets a little hard to watch. It’s practically an hour and 20 minute Disco music video.
It even features the tune Love Is Just a Heartbeat Away (Nocturna’s Theme) from I WillSurvive Disco Superstar, Gloria Gaynor. How they managed to pull her for this weird-ass, low budget monster picture is probably a miracle. She was apparently talked into providing the track by her then manager and future husband. Apparently she’s not too proud of that song in the slightest. We’ll spare you that tune, inclusive and semi-referential though it be, as it’s a fairly standard (albeit pretty decent) Disco tune, with no fun Draculaness.
When it’s not indulging in overly long bouts of dancing to repetitive beats and string synthesizers, Nocturna’s a totally bizarre quasi-skin flick with some weird vampire lore.
See, for Dracula’s granddaughter (played by belly dancer and screenwriter Nia Bonet), the power of disco music slowly changes her into a human or some such nonsense.
It even features a scene with a governing vampire assembly and a new, designer form of blood that the vampires can snort. It was 1979, after all.
Also on tap is actual Dracula John Caradine (even wearing his costume from 1945’s House of Dracula) and Lily Munster herself, Ms. Yvonne DeCarlo. Bonus!
If you’re into bizarre shit and love the idea Disco Draculas, definitely give it a watch. It’s worth it for Nia Bonet’s positively otherworldly performance. Plus, you get to see shit like this:
Outstanding.
But enough about Nocturna, we’re here for Fly By Night from soul singer Pat Hodges, dammit!
Now, out of the box, this fucker is a 12 and a half minute song. Talk about goin’ hard. That’s indulgent, even for Disco.
So, we’ve enlisted the help of our Shindig Audio Magicians to make this one a bit more manageable, with a totally unique Shindig Special Edition version. Not gonna lie though, it hurt a little. Despite the length of Fly By Night, I’m all about how long and epic its Disco is. It pained me to snip out resonant filter sweeps or Simmons drum hits, but it had to be done.
If we’re not gonna use the full length, 12 minute version of Helloween’sHalloween, you better believe Fly By Night ain’t getting no special dispensation.
Without any further ado, though somewhat truncated, here’s Pat Hodges singing Fly By Night!
