A Merry, Shh, Creepy Hallowe’en

TRACK #220:

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?

Enjoy!

Skullduggery

TRACK #219:

Skullduggery by Anonymous

Are you into D&D, community college theater or weird masquerade sex-parties that feature no sex?

Yeah, I didn’t thi…

Wait, what? You are? Oh…all right then.

I still don’t think I should recommend 1983’s Skullduggery though, even if you have the added perquisite love for low-rent, bizarro horror movies produced by alien-people making lots of real confusing decisions.

I’m pleased to report it does feature a surprise reference to Halloween though, as you will hear attached to our next sonf, which is a totally out of left center Title Track that caught me right off guard. Skullduggery coming hard right out of the gate, huh? If only the film followed through on such a promise.

On the 1st part of Shindig Radio’s Title Tracks retrospective, we did a fair amount of clowning on this Scooby-Doo theme of a song which sounds dated even for its time. Mikey likened it to a 70’s television drama, ala Fantasy Island, and we think you’ll agree.

Despite a couple laughs had at its expense, I rather enjoy this Title Track. It’s got a good beat and is suitably mysterious, much like the plot of its namesake, Skullduggery.

Speaking of the film, you can soft pass on Skullduggery, unless you’re feeling hard pressed for something you haven’t seen before and aren’t too protective of your free time.

I will say, if you do decide to watch the film, you’ll hear this song featured prominently over its “we couldn’t really figure out how to not make this just a plain blue screen” credit sequence, which perfectly informs the next 90 minutes or so you’ll be spending with Skullduggery.

Personally, I recommend spending at least 2 minutes with it, which is just enough time to enjoy this weirdo Title Track.

Can you see,…what’s in my eyes?

Skullduggery!

The Monster Club

TRACK #211:

The Monster Club by The Pretty Things

On the surface it might seem like The Monster Club and Halloween Shindig would go hand in hand; a horror anthology starring such genre vets as Vincent Price, John Carradine, Donald Pleasence and Britt Ekland, that has tons of fun monsters and masks plus numerous monster related musical numbers? It’s a no brainer, right?

And it’s true, we love The Monster Club. It’s kinda like Night Train to Terror, only it’s coherent and cuts back to different and actual songs. It has a fun premise, with 3 solid monster vignettes and a spooky, synthy score.

So what’s the problem? Where’s the “but” that has kept this blog for talking about it for 7 years now?

That, dear readers, is my own prejudice against those same monster related songs. I kinda hate them. I don’t want to, but I kinda do. I want to love them. I want to include them all and have wanted to since the beginning. But I’m just not a huge fan.

I’ve tried, over the years, to warm up to them but the love just never seems to flows out of me. They have this late 70’s/early 80’s British new wave, pseudo-reggae, Clash meets The Police vibe that neither suits the movie, the songs or me, despite their monstrous leanings.

Because I think it needs to be represented and because I do quite enjoy the film, Halloween Shindig has decided to include the tune I’ve warmed up to the most. Performed on camera by The Pretty Things, it also happens to be (perhaps not so incidentally) the film’s Title Track.

After discussing over 30 different Title Tracks across 6 or so hours on the podcast, how did we not mention this one? Well, as we noted, there’s a mountain of Title Tracks and we had to keep some in our pocket, no? Leave a few surprises for the blog still, right? And we may even have a few more up our sleeve this year.

Additionally, this seemed like an appropriate way to kick off the season and usher in a monster block of Monster Songs, which have been sorely under represented as of late.

Lead in here with Vincent Price’s overly long (and overly awesome) laundry list of solid reasons the Human Race deserves to be represented in a club full of horrible monsters.

So, fellow Shindiggers and Humans…

Welcome to The Monster Club.

Lep In The Hood

TRACK #203:

Lep In The Hood by Warwick Davis

When it comes to Monster Raps, I’m a huge fan. A legitimate fan. I legitimately like these songs.

That’s not to say I don’t see why they’re ridiculous. But I like them. I bump them in my car. In a lot of cases, they’re actually good songs.

I can not say the same for this particular Monster Rap.

Don’t get me wrong, I love The Leprechaun. I love Warwick Davis. I have the box set. Vegas is awesome. Space is fun as well. Leprechaun in the Hood is a particular joy, and even Back 2 the Hood has its moments. But Lep In The Hood is not a good song.

I enjoy it. I love that it exists. It’s hands-down playlist material, but it’s a bad song, to be sure.

It could have been good too; with a better beat, some more inspired lyrics and a little more commitment than the halfassery on display here, this could have been a great Monster Rap.

But I’m not one to stare a gift horse in the mouth, and any Warwick Davis rapping as the Leprechaun is better than no Warwick Davis rapping as the Leprechaun, so hats off to the producers on that account.

Thank you for giving this to the World, even if the World doesn’t really appreciate it.

Rapula

TRACK #202:

Rapula by Dean Cameron

We’re gonna gonna keep the Monster Rap train rolling here for a bit with a Monster Rap performed by an actual Monster, Rockula.

This (essentially) 80’s Monster Comedy gets a little extra love from The Shindig for:

A.) Starring Francis “Chainsaw” Gremp, Dean Cameron.
B.) Taking place on Halloween and
C.) Featuring lots of music for use on the playlist.

Our next selection, perhaps the most sweaty of Rockula’s catalog, is his attempt to do what everyone was doing in at the in 1989…bust a rhyme.

It’s not as bad as you might think. It’s certainly not great, but it’s all in jest and there’s some funny lyrics, which is more than I can say for,…well it’s coming up at #203.

So, before you curse us for posting perhaps the worst Monster Rap in existence, give it a track or two before making any snap decisions.

Kick it!

On Our Own

TRACK #201:

On Our Own by Bobby Brown

Yeah, I think it’s gonna be another one of those funky ones…

Ghostbusters 2, the definitive statement on Monster Raps, continues its genre dominance here with perhaps its most popular track, Bobby Brown’s On Our Own.

Featured during a montage of the GBs kicking it into gear and revving up for a final showdown with Vigo the Carpathian.

Total side note here, but if you’ve never heard the skinny on Vigo’s painting, definitely check this out.

This track’s especially relevant in that Bobby Brown actually has a cameo in the film! His excitement at seeing the Ghostbusters emerge from ECTO-1a is a great moment. He asks Egon and Ray if he can get a proton pack for his little brother. Naturally, Egon flat out rejects this ludicrous proposal, while Ray halfheartedly agrees.

“I guess he’s right.” Ray responds.

You guess? Really Ray?

Am I to believe that if Egon hadn’t been there, then Ray would have seriously considered giving Bobby fucking Brown a proton pack? For his kid brother, no less?

I’m not sure if Ray should be allowed to handle such dangerous equipment if he doesn’t know well enough not to just hand it over to random citizens, or fucking children. Maybe dickless Peck was right all along.

Bobby Brown gets in on the action all the same, proton pack or not, serving up a Ghostbusters jam to beat all. Yeah, yeah, you know it.

Tryin to battle my boys? That’s not legal!

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.

Prince of Darkness

TRACK #168:

Prince of Darkness by Alice Cooper

In 1987, after struggling to work within the studio system and the unfortunate box-office performance of Big Trouble in Little China, John Carpenter decided to go rogue once again.

And rogue indeed, producing a straight-faced and strange (maybe even ahead of it’s time) film that I can’t imagine any major studio green-lighting. What emerged was an atmospheric, dread-drenched affair of Science converging with Religion to prove the existence of God.

Or perhaps more appropriately, the existence of Satan.

Sub-atomic. Moving within the atoms of things, where logic need not apply. Liquid evil. A green, putrid substance filled with all the abominations of the earth.

It was captured and sealed up long ago. A race of Humanoid Aliens, of which Jesus was a member, kept watch. But the truth was hidden. Wrapped in metaphor and buried under ritual.

Now, in light of our faithlessness, it has awoken, and it wants control.

I like Prince of Darkness. It’s a little talkie, sure, and maybe a tad slow, but I don’t mind. I could listen to Egg Shen spout off about theoretical physics all night. Donald Pleasence is solid, even if he feels like he’s just plugged in from The Devil’s Men, and A.J. Simon is only distracting if you actually used to watch Simon and Simon, which you probably didn’t. The supporting players do a fine in their respective roles, including Carpenter regulars like Victor Wong, Peter Jason and Dennis Dun.

And, once the scientists start being slowly absorbed by the evil and the hobos begin to gather, John turns on the gas a bit.

Speaking of the street people, Alice Cooper jumps in to play the pale-faced, beanie-rockin, head-hobo. He even kills a dude with a rusty, old bike. A dude who happens to be listening to this very song on his Walkman….meta.

Seems this bike was Alice’s own personal prop too, as he used to do this gag live during his stage show. Now thats pretty bitchin’.

Here’s reigning All-Star Alice Cooper rockin’ again with the patented Title Track Prince of Darkness.

Get Dead

TRACK #157:

Get Dead by Shari Belafonte

From 1985’s made-for-TV Halloween bonanza The Midnight Hour comes this creepy curio with so much mid-80’s budget-pop pizazz it even features a Soundwave-styled vocorder performance. Radical!

Harry Belafonte’s daughter Shari (pops wasn’t big on creativity, I guess) stars in the film and sings this tune, perhaps fashioned after the recent mega-hit Thriller.

In fact, the whole project seems to be an attempt to cash-in on Michael’s occult success; semi-spooky, family friendly, monster-mash madness with a throwback, 50’s drive-in flare. And this tune, an ensemble dance number staged at a Halloween party, appears to be the piece de resistance.

Though clearly made for TV and a little toothless, The Midnight Hour is a pretty enjoyable and festive addition to anyone’s October line-up. It’s even a fair bit more creepy than something you’d imagine was just made for TV.

You’ll get some fun guest appearances too, from the likes of Spaceball’s King Roland, Clarence Boddicker, that one guy from 21 Jumpstreet, UHF’s R.J. Fletcher, Yori from Tron and The Reading Rainbow Dude who wore that bitchin’ visor on Star Trek. Studded.

Plus there’s tons of Halloween ambiance, creepy Thriller-Lite graveyard scenes, a lot of cool make-ups and FX, a bunch of fun Halloween costumes, more monsters than you can shake a stick at and this kickin’ ‘digger. What more could you want from an October evening’s Televison adventure?

I’m dead, you’re dying. Everybody should try it…

Get Dead!

Nightmare

TRACK #155:

Nightmare by 213

Freddy Krueger: What can be said about the quintessential 80’s man-specter that hasn’t been said a thousands different times by a thousand different nerds? Who am I to pretend like I’ve got some groundbreaking shit to drop on you? I’m no one, and I don’t, so I won’t. I’m simply another nerd with a foolishly myopic blog, so I’ll just stick to the script.

Freddy (whether I’ve said this before or not I can’t recall) is the reigning champ of horror tunes. He owns the 80’s pop-music-via-monster-icon scene. The guy even cut his own album. He’s all over it.

Jason comes close, but the Friday people didn’t fully climb aboard this particular train until part 6, and they never really bought a ticket. Freddy was shoveling coal in it’s boiler room.

And from the jump too, as even his first outing got its own little referentially inclusive tune in the form of 213’s Nightmare.

Well, who the fuck is 213? Apparently they’re no ones, as no one seems to have any information on these guys. Well, aside from the painfully obviously “they were some local LA band that provided this track” or the goofier and obviously nonsensical “they were Johnny Deep’s band” theory.

Whoever they were, they’ll go down in the Shindig’s book as they guys who churned out that thoroughly apropos end credit song from the original Nightmare On Elm Street, and baby, that’s enough.

So, up yours with a twirling lawnmower,…whatever the hell that even means.

Halloween Shindig

The Horror Fans Halloween Playlist

Referentially Inclusive Tracks