Stay The Night

TRACK #304:

Stay The Night by Vincenzo Tempera & Lucia Demasi

Attentive Shindiggers will not doubt recognize this album cover, as we’ve long used this image from Luigi Cozzi’s Paganini Horror as a banner here on Halloween Shindig cause c’mon, look at that thing!

However, we have never taken a moment to talk about that film or add any of the songs from its soundtrack. So this year, we’re gonna change all that.

What’s most interesting about that poster image is that it existed before the story for Paganini Horror was even written. It’s almost assuredly why those two actors and that awesome skeleton man never shows up in the picture.

Looking to piggyback on the imminent success of Paganini, a biopic about the legendary Violinist being helmed by actor Klaus Kinski, our producers thought “Hey! We slap the word “horror”on that shit and I think we got a winner.”

Well, they were wrong. On both accounts.

Not only was Kinski’s Paganini not a hit, but the horror iteration became a mish mash of chefs spoiling the pot. The resulting film found little success with audiences.

Horror historian Louis Paul even noted

“Nobody likes Paganini Horror, Cozzi included.”

Well, i kinda like Paganini Horror. I don’t love it, but it looks real nice, there’s a dude with a switchblade violin, Donald Pleasence gets real weird…and then there this song: there’s Stay The Night.

Now, when it comes to blatant, shameless and completely unapologetic rip-offs, I don’t know if you can pull a bigger offender than Stay The Night.

And I mean seriously. Gangster Rock may sound like China Groove, but it’s a different song. Stay The Night, the other hand, is 100% You Give Love a Bad Name.

I have to imagine that neither John Bon Jovi nor Richie Sambora have ever heard this song. That’s conceivable. Paganini Horror wasn’t busting blocks. But I have to assume that someone…anyone…who even knew them remotely, heard this song and was like “Yo, John…you gotta hear this fuckin’ thing.”

One might then assume a lawsuit of some sort would have arisen, but nothing seems to have come from it. So, I’ll just say they’ve never heard it. Or maybe they just shrugged it off like good sports, cause much like the film, I doubt this song was padding anyone’s bank account either.

The fact still remains, that unless you’ve never once heard You Give Love a Bad Name, Stay the Night is one of the most overt rip-off’s of all time.

But maybe that’s part of the joke, as their producer certainly leans into what unoriginal, rehashed bullshit the band is pumping out these days. Boy, I’ll say.

Since Switchblade Violin Man never makes good with an actual Title Track, here’s the best song Paganini Horror…a movie specifically about a band…making a video…for their new song…called Paganini Horror…which is also spray painted on the set…sigh…is cranking out.

To The Devil a Daughter

TRACK #303:

To the Devil a Daughter by Incubus

Bet you never thought you’d see Incubus on The Shindig, huh? Well, I certainly wouldn’t have ever added them, because I don’t like Incubus.

And if you don’t like Incubus either, then you’re in luck, because this isn’t that Incubus.

Nope. Just like any band post-1990, there’s probably 4 other bands that already held that name in the past. And such is the case for, the perhaps inappropriately named, Incubus.

No, this one comes from New Wave of British Heavy Metal outfit Incubus, and their sound is much more aligned with what you might expect from a band named Incubus. Not wholly, but certainly closer.

Now I’ll admit, this isn’t strictly a referential track, I don’t think. But what few lyrics we are given don’t not conjure images of the film.

Should it be added? I dunno. I like the tune, and since To The Devil a Daughter is technically a Halloween movie, we’re pickin’ em up!

I would also like to add that there is no shortage of metal songs called To The Devil a Daughter. In fact, Shindig-adjacent Wytchfynde actually have one as well. I say adjacent because that’s not a typo, as Wytchfynde with two Y’s was an offshoot of Witchfynde (with an I) vocalist Luther Beltz when he left the band in 1999. However, Luther Beltz didn’t join Witchfynde until 1983’s Cloak and Dagger, the album after Stagefright from which the Shindigger Trick or Treat appears.

However, Luther’s era of Witchfynde sounds pretty different from our Witchfynde, which kinda make’s Luther’s Witchfynde a completely different band altogether than our Witchfynde, which would then make Wytchfynde with two Y’s even more different still. So much so that I probably shouldn’t have even mentioned them at all, but here we are.

Are any of those other To the Devil a Daughter songs more aligned to the film? Not sure. I didn’t really like any of them very much, or at least enough to really cross reference the lyrics. Wytchfynde’s didn’t seem particularly referential, and it was a newer cut, so I wasn’t too keen on the sound. So Incubus it is, names be damned.

We kinda blew our To the Daughter a Devil sample load on the Hallo’s Eve track, but we’ll still pepper in some here, cause hey, it seems a bit more appropriate than maybe it was there.

Dr. Phibes

TRACK #302:

Dr. Phibes by Angel Witch

I love the Abominable Dr. Phibes. You should too! It’s a great old horror flick with a neat premise and a sinister performance from Vincent Price. Here he is hookin’ himself into his acoustic contraption which recreates his lost voice:

It’s also quite musical, as Dr. Anton Phibes plays a mean pipe organ and even built a full-on band of automatons that play tunes for him: Dr. Phibes’ Clockwork Wizards. Here they are just shreddin’:

For years I’ve felt bad that I’ve never included any of the music from the film, but it’s brand of old-time Hollywood scoring doesn’t really fit a playlist of this kind.

And sure, there’s plenty of songs out there called Dr. Phibes, but none of them have ever really jumped out at me until I found this one, from another New Wave of British Heavy Metal outfit: Angel Witch.

And this one rips. However, like some other Phibes-based songs, for some reason it’s also an instrumental. No one really wants to sing about the Old Doc it seems.

So, loaded up with some Phibes samples to set the appropriate mood, here comes Dr. Phibes by Angel Witch.

Full Moon / Night of the Demon

TRACK #301:

Full Moon / Night of the Demon by Demon

Well, we’ve passed the 300 mark on Halloween Shindig, so we’re gonna kick off the next phase of the playlist with block of classic heavy metal tracks.

And what better tune to set the mood than this epic instrumental called Full Moon from New Wave of British Heavy Metal outfit, Demon.

“Rise,” they chant, over some synthy goodness and some gurgling belching noises. And we shall do just that.

It’s perfectly Halloweeny and it leads directly into their song, Night of the Demon. Now this song is not explicitly referential to either the classic 1957 film (more commonly known as Curse of the Demon) nor the 1983 Video Nasty Bigfoot freak-out. But hey, so what! It’s great for Halloween as well.

Cause what’s Halloween if not the night of the demon?

And just look at that album cover! It’s awesome. It’s one of the coolest album covers ever.

So sit back, relax, grab some pumpkin boys and the beverage of your choice, cause shit’s about to get heavy.

Cause don’t you know? It’s the Night of the Demon!

Nightmare on Rhyme Street

TRACK #299

Nightmare on Rhyme Street by Krushin MC’s

Though we uncovered 10 and featured 9 different Freddy related rap songs on Monster Raps Pt. 3, none stood out as much as Krushin MC’s Nightmare on Rhyme Street. As such, it’s getting thrown in the mix ahead of the pack.

But why is it that this song (at least as far as I’m concerned anyway) is so much better than all the rest?

Well, I think it’s 3 fold.

First and foremost, I think it sounds the least 80’s of the group. A strange stance for me to take, I know, but hear me out.

This is a track that feels a bit ahead of its time. The flow has a much smoother and rhythmic cadence than it’s brethren. Additionally, it’s packing a lot of lyrics into a tight bar. At a time when the other Freddy rappers were still drawing out sparse lyrics to match slower beats, the Krushin MC’s effortlessly flow with a tempo that feels more like something from the 90’s, and a good deal less silly.

Second is this beat, which also feels ahead of its time. Without aping the actual theme, it captures the vibe of A Nightmare on Elm Street with a downbeat and downright sinister bass line. While none of these songs are what I’d call dark, this one has the darkest tone of the bunch, which makes it feel less at odds with the subject matter.

Now, there’s something to be said and appreciated with these Freddy Raps in the juxtaposition of an upbeat rap songs about a homicidal and, most likely, pedophilic murderer turned dream demon. Freddy’s actual album, Freddy’s Greatest Hits, being perhaps chief among this strange intersection of digestible pop and disturbing subtext. But there’s also something to be said of treating this material, at least in respect to its sound, as what it is – a horrifying concept.

Now, the Krushin MC’s aren’t going that far with it. I mean this is still a song where a guy battle raps a Freddy wearing a glove with 5 microphones on it, but at least is sounds kinda appropriate.

Which bring me to the 3rd reason this song a is superior Freddy rap – it’s lyrical content.

Krushin MC’s pack a lot more, and a lot better, references to the films than their contemporaries. You got the aforementioned golden mic glove, the muddy steps, the tongue coming out an inanimate object, the girls jumping rope, the peeling of Freddy skin to reveal his brain and even Dream Warriors’ method of Freddy disposal.

Among a crew of dude who reference the same damn line from Freddy’s Revenge, lazily rhyme the numbers of the films, and even have Freddy potentially pulling has ass out at the beach, Krushin MC’s feeling like goddamn Nightmare on Elm Street scholars.

Now, those song’s’ll potentially all wind up here eventually, given enough time, but for my money, only the Krushin MC’s Nightmare on Rhyme Street deserves express service.

Creature Feature

TRACK #298:

Creature Feature by Uptown Express

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’s Haunted 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…

Frankenstein 1984 (Monster Rap)

TRACK #297:

Frankenstein 1984 (Monster Rap) by Edgar Winter

Have you ever thought to yourself…

“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’s very 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 Winter for 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.

Legend.

Episode 18: Monster Raps Pt. 3: Freddy’s Revenge

Shindig Radio is back and Freddy Krueger’s coming with us, and he’s bringing 9 more Nightmare on Elm Street rap songs with him.

Join MC Radio D, Busy G and Mic-E (and of course Freddy himself) as Shindig Radio takes a nap on Rhyme Street, with a boiler room full of Freddy Raps all* from 1987 – a full year before the hits A Nightmare on My Street and Are You Ready for Freddy.

It’s time to face the music with Rap Master Freddy on Monster Raps Pt. 3: Freddy’s Revenge!

And be sure to visit Werner Von Wallenrod’s Humble Little Hip-Hop Blog, without which, this episode would not exist!

And don’t forget to check out that swollen meatball, Matt Mastrella, over at YouTube on The Crypto Hunter!

*ones actually from 1988 but nevermind that

Disco Halloween

TRACK #291:

Disco Halloween by Forbidden Fruits

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

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

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

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

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

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

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

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

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

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

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

Body Talk

TRACK #289

Body Talk by Sandy Farina

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

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

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

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

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

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

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

Now, let’s get physical!

The Toxic Avenger Theme

TRACK #288:

The Toxic Avenger Theme by Scott Casey

It had been a long time since I had sat down and watched Toxie’s back-to-back shot sequels, and I had completely forgotten about this tailor made tune sung by Scott Casey.

This one slightly jukes my (admittedly somewhat rigid) definition of a Title Track by being featured in the sequel and having the word “theme” tacked on the end, but I don’t think there’s any other word for this song.

It explicitly describes, in very detailed fashion, the events of the first film. And Scott enthusiastically chants the title over and over again, making for a textbook Title Track under any other circumstances.

So we’ll overlook the fact that it’s from Toxie’s second outing, and that it has the word theme slapped on there, and simply bask in the relentless 80’s power-synth-rock awesomeness of The Toxic Avenger Theme. Just listen to those falsettos! When Lloyd decided to give Toxie his own theme, he definitely didn’t skimp.

Raiders of the Living Dead

TRACK #287:

Raiders of the Living Dead by George Edward Ott

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

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

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

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

Says the title?

Claims it’s a title song?

Good enough for me, internet be damned.

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

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

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

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

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

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

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

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

Once Bitten

TRACK #285:

Once Bitten by 3 Speed

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

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

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

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

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

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

You Bring Out the Werewolf In Me

TRACK #284:

You Bring Out the Werewolf In Me by Simon Stokes

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I’m Hangin’

TRACK #283:

I’m Hangin’ by D.B. Night

Ah, D.B. Night.

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

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

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

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

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

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

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

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

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

And you wouldn’t be wrong.

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

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

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

Secret Loser

TRACK #279:

Secret Loser by Ozzy Osbourne

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

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

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

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

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

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

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

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

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

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

That year was 1986.

That film was The Wraith.

And that song was Secret Loser.

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

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

But let’s check the facts.

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

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

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

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

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

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

On Your Feet

TRACK #278:

On Your Feet by Shok Paris

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

He’s also rude as shit.

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

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

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

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

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

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

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

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

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

Scream Until You Like It

TRACK #277:

Scream Until You Like It by W.A.S.P.

I’m not sure really which way the Ghoulies winds are blowing these days. I’m not out there on the streets catching the general consensus regarding a 30 year old rubber monster franchise no one with real concerns has actual time to give a shit about.

A quick, but not completely unrelated sidenote: this is my cat named Ghoulie. Seen here when she was just a kitten, hangin’ out with some pumpkins back before this website existed. She didn’t come out of a toilet or anything, but we did find her in a bush. And I’m sure someone pissed in that bush at some point, so there’s that.

Anyway, back to the real, but still fake, Ghoulies.

So yeah, I dunno how people feel about this shit, but if you ask me, I’m a Ghoulies 2 guy all day long.

Now, I would never suggest Ghoulies is high drama. It’s plenty silly. But it’s not quite silly enough, given the context. It takes itself just a tad too seriously for a movie with little monsters raising hell.

On the other hand, Ghoulies III is almost too silly. It’s fun and all, and I like seeing the Ghoulies in a cliched College romp, complete with threats of expulsion, panty raids and full scenes of Kevin McCarthy arguing with rubber monsters. But the concept is taken to its goofy extreme.

Ghoulies IV? That one’s just of a mess of a thing, really. It barely even feels like a Ghoulies movie for the most part.

Ah, but Ghoulies 2? Now, that’s silly in the best and most appropriate way.

Additionally, Buechler’s Ghoulie puppets are a definite improvement the 2nd time around. They look good in part 3 also, but I think I like their look best in part 2.

Plus, you get Royal Dano, genre vet Phil Fondacaro, and that guy from Dazed and Confused that never seems to be in enough shit.

Then they throw all of that into a carnival featuring an animatronic monster filled house of horrors called Satan’s Den? C’mon, what better locale for a movie about demonic little puppet monsters? They tie a guy to a pit and pendulum in front of a roomful of excited children that think its a gag. It’s great. What more do you want?

Well, how bout some rockin 80’s hair metal?

No problem.

Compliments of Blackie Lawless and the W.A.S.P. gang again, here’s Scream Until You Like It.

Where are my tunes!?

Interesting side note, Halloween fans: I just noticed while rewatching Shindig favorite Trick Or Treat, that this is the song Nuke fires up on that fine fine Rocktober morning. Now, I don’t know if everyone already knew this, but I’ve seen that movie I don’t even know how many times and that’s the first goddamn time I ever noticed. Granted, I happened to be editing something for the show using a clip from the movie, and had my headphones on. Perhaps that made the difference. But yeah, Scream Until You Like It can boast being featured in both Ghoulies 2 and Trick Or Fuckin’ Treat?

I might just need to update that Super Soundtrack…

Savage

TRACK #276:

Savage by W.A.S.P.

A Nightmare on Elm Street Part 5 has a pretty notorious soundtrack.

2 Golden Raspberry nominations for Worst Song of the Year, including the recipient of that award, Bruce Dickenson’s unfortunately listless solo version of Bring Your Daughter to the Slaughter. In fairness, that was a song even a fully assembled Iron Maiden couldn’t make much better.

The other nominee, Kool Moe D’s Let’s Go, isn’t such a bad song by itself. In the context of A Nightmare on Elm Street though, it does kinda feel like a lazy attempt to rebottle the lightning of Are You Ready for Freddy without any of the referential charm that made that song so great.

2 unspectacular Freddy tracks, to be sure. You won’t be seeing either turning up on the playlist, I can say that. Worst Songs From a Film: 1989? I dunno about all that.

Incidentally, that Kool Moe D song a diss track aim squarely at L.L. Cool J, as apparently the two had been feuding around that time. Way to go, music supervisors Kevin Benson and Neil Portnow. I’ll bet that isn’t the only ball you guys dropped on this production.

Nope, because buried on this soundtrack, almost so’s you wouldn’t even notice, is this pedal-down metaller from Blackie Lawless and the boys of W.A.S.P.

Savage, a preexisting W.A.S.P. song, is totally wasted in the film, playing only briefly as an ambient background track during a graduation pool party at Springwood High.

It’s even more of a waste knowing the following scene finds Dan being attacked in his truck by Freddy while listening to the radio. What a perfect time to utilize this perfect, 4-on-the-floor rocker that was just playing mere seconds earlier.

It’s even more of an inexplicable waste once you consider that immediately after this, Dan jumps on a Yamaha VMax and it turns into Moto-Freddy at top speed. This song is literally about driving the open road on a motorcycle…like a savage. A fully squandered opportunity.

But, that’s probably a microcosm of The Dream Child as a whole, which is easily my least favorite numbered installment. A rushed production, edited deaths and multiple script revisions all coming together to form the sort of under-cooked mess that is Freddy’s 5th outing.

Don’t get me wrong, like any Elm Street, it’s got some great moments. It’s got the aforementioned Moto-Freddy scene, a largely likeable cast, Super Freddy and his AH-HA dream sequence. But, attempting to illuminate Freddy’s origin, it’s seemingly desperate inclusion of a pregnancy, it’s nonsensical ending and it’s lack of any real Elm Street kids just make it definitely feel like Freddy in decline.

So, let’s unearth the goodness of W.A.S.P.’s unfortunately buried Savage. Let’s put it on Halloween Shindig’s open road of sprawling, horror-paved blacktop, so it can finally ride free.

Don’t dream and drive!

I’m No Animal

TRACK #275:

I’m No Animal by Felony

Welcome back Weeners, to the abundant musical bosom of Friday the 13th Part 6: Jason Lives.

When we last saw Court and Vicki, they were being assaulted to the smooth sounds of Alice Cooper‘s Teenage Frankenstein.

But we’re gonna jump back in time here a bit, to just before Court starts bombing down Forest Green Drive in Horrace’s RV. It is here, in that same RV, that couple takes part in a time-honored Friday The 13th tradition – banging at Crystal Lake.

Of course, this is never a good idea when Jason’s on the prowl, which he most certainly is if we’re allowed access, but that has never stopped any of these promiscuous youths before.

Here’s the big guy as he tries to make heads or tails of this RV’s a-rockin’.

Providing the beat for that rockin’ is none other than Graduation Day’s own Felony.

Times have changed a little in intervening years though and they sound just a bit different. A little less Doobie Brothers and a little more Kenny Loggins.

Court just has to make it through the song here, and he’s home free. Vicki tells him it’s only 10 more minutes, which wouldn’t be far off if this was Gangster Rock. Fortunately for Court (and us,) it’s I’m No Animal, and it’s only 3 and a half minutes.

And for Court, it’s even shorter, cause Jason pulls the plug on this ugly-bump inside of a minute. Good call.

Understandably, Vicki’s a little freaked out by this. So, Court hits the gas and gets them speeding away from any trouble. Only Jason’s already stowed himself away on the RV, and now he’s just biding his time.

And we all know how that ends for them.

But Court and Vicki don’t. So, let’s allow them one final, blissfully unaware moment of lust before their Friday fates are sealed. And let’s let Felony set the mood.

Here’s I’m No Animal.

Halloween Shindig

The Horror Fan's Halloween Playlist

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