Christopher Lee

Audio

Dr. Terror’s House of Horrors

TRACK #373:

Dr. Terror’s House of Horrors by Roy Castle

If you’ve been hangin around here for any amount of time, then you know we talk a lot about Title Tracks. This is especially true what with Shindig Radio’s Title Tracks Pt. 6 dropping. Oh wait, that hasn’t happened yet. Shit. My predictive drafting has failed me yet again.

Well, in that episode, I kinda break down all the different types of Title Tracks, everything from Parenthetical jammers to Title Track After the Facts.

But there’s another sort of Title Track that I didn’t mention on the show, and that’s because they’re technically not really Title Tracks at all. But these are Tie-In Title Tracks.

These are songs that, for all intents and purposes, are true blue Title Tracks, meeting the same criteria and serving the same or (in some cases) an even more overtly, promotional purpose.

There’s just one problem; they’re not actually in the goddamn movie. Nope. They just exist, outside of the film, in a purely musical space operating as a full fledged audio commercials for the films they’re named after.

Now, we already have one of these on the playlist at #319 in The Devil Rides Out, but I’ve dug up a few more.

I wonder if they weren’t sort of a precursor to full-on Title Tracks, from a time when producers were starting to realize the potential effect a popular song could have in generating interest, but didn’t want to sully their film with something as coarse as a rock and roll song tonally incongruous to the film being marketed.

It’s possible. The oldest Title Track featured on the playlist is still  The Blob from 1958. Not for nothing either, but it’s one of the oldest Title Track period. 1955’s Love is a Many-Splendored Thing has it beat by 3 years, but I’m not really seeing much else earlier than that, but I am always on the lookout.

However, The Blob was released the year before 3 out of the 4 Promotional Title Tracks I’ve found, so a True Title Track certainly wasn’t unprecedented. But The Blob, at present, appears to be a bit of an outlier, as Title Tracks didn’t seem to gain real prominence until the mid 1960’s. James Bond films, long known specifically for their Title Tracks, didn’t start that ritual  until 1963’s From Russia with Love.

The next closest thing is Hush Hush Sweet Charlotte from 6 years later in 1964. That one’s interesting as it wasn’t technically a Title Track originally, because the movie was shooting under the name What Ever Happened to Cousin Charlotte. Bette Davis reportedly disliked the name as it made the film sound far too much like a sequel to What Ever Happened to Baby Jane. This song had already been written and recorded though and Bette recommended changing the films title to match. Wild! The movie naming itself after the original song to instantly turn that song into a Title Track is baller as fuck. That’s a powerful ass Title Track.

But I digress. Back to Dr. Terror, cause it’s interesting in its own right.

See, this track is sung by Dr. Terror actor Roy Castle, star of the Voodoo segment. Roy was an accomplished singer and trumpet player in his own right, which probably led to him being tapped for the task. Though Roy plays trumpet player Bailey in the film, the trumpet parts were apparently recorded by legendary Jazz player Tubby Hayes and not Roy himself. He does do a bang on job miming those parts though, as one might expect.

Another curious aspect of the song is that, despite it being sung by someone from the film itself, it completely misrepresents the nature of Dr. Terror’s house of horrors. Its treats it as though it were an actual brick and mortar location filled with horrifying surprises. If you’ve ever seen the film, you’ll know that the house or horrors is simply a metaphor Dr. Terror (or, more appropriately, Dr. Schrek) uses to describe his tarot deck. The fact that Roy enters a spooky old house and keeps meeting strange characters is so wildly out of sync with the film it seems almost laughable, particularly considering this is suppose to be the audio equivalent of a trailer or print ad. You’re selling the wrong film here fellas.

Either way, it’s a fun song with silly interludes that reminds me quite a bit of Carry On Screaming! also British and from the following year, 1966. I wonder if Ray Pilgrim and the crew were taking a bit of a piss on Amicus and Roy here. I certainly wouldn’t put it past them.

At any rate here’s the first of 2 Tie-In Title Tracks we got on tap for you this season. It’s Dr. Terror’s House of Horrors!

 

Audio

The Devil Rides Out

TRACK #319:

The Devil Rides Out by Icarus

So here’s a curious situation that I’m not sure we’ve encounter thus far on The Shindig.

On the surface, this song (the debut release from British rocker’s Icarus) is a full blown Title Track. Now, that’s what I like to hear!

But wait a sec, this song doesn’t appear anywhere in 1968’s The Devil Rides Out.

That can probably be attributed to the fact this song wasn’t written for the film at all, but rather after the film was made. Turns out Icarus was inspired by the pre-release marketing for The Devil Rides Out to write this song. That’s a little weird.

However, it was totally released in tandem with the premiere of the film and the band themselves were even invited to the shindig. What’s goin on here?

So, written because of and about, and is named after the movie? So, is this a Title Track or not?

I say no. If anything it’s a Title Track After the Fact, but even that’s a stretch. It appears in no film that I’m aware of, sequel or otherwise, relegating it the land of Referential, I’d say. But it’s so close, so very damn close to being a Title Track.

But enough about that business, let’s talk The Devil Rides Out, Hammer’s straight-faced, Christopher Lee anchored, Christianity-conquers-all, Satan-banger.

Just check out this French Grande:

I have this thing, and it rules. Unfortunately, it’s goddamn giant and I don’t have any more wall space in The Hole for shit this big. Sorry also to my giant-ass Videodrome and Dracula AD posters.

Hey, check out this sweet Baphomet, which Christoper Lee calls The Goat of Mendes, which is what artist Éliphas Lévi was known to refer to his famous Sabbatic Goat image. He rules too.In fact, just check out The Devil Rides Out, cause it rules.

Shindig, ridin’ out!

 

Audio

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.

 

Audio

Horror Hotel

TRACK #185:

Horror Hotel by The Misfits

Here’s another classic example of referencing a horror classic without actually talking about the movie at all, from Shindig All-Stars and referential magicians, The Misfits.

Sure, it might be called a Horror Hotel, but God knows what Danzig’s actually talking about here, because it’s not the 1963 Christopher Lee film.

What we do know is that it’s definitely about a hotel and some bad shit’s going down there, maybe even some horror. Particularly in Room 21, where all the underworld scum seem to congregate. Can’t say I know of any specific Room 21s from horror lore, but I’d be open to suggestions about what other references Glenn might be bandying about. Though I’ll wager it’s probably used simply because “Room 36” doesn’t rhyme with “scum.”

But that was sort of Glenn’s deal. Name a song after a classic movie and then whip up some lyrics that sort of jive with the mood that title conjured. Unless of course you’re talking about Return of the Fly, which basically reads like a Videohound entry of the film of the same name, right down to listing of its actors and characters.

None of that really matters though, does it? I mean, at least not where The Misfits are concerned. Personally, I rather like that these songs are less overt in their referential nature. Something like Blitzkid’s Candyman lacks any of that artistic (?) subtlety, opting to bludgeon you with lyrics so simple and childlike, it sort of takes something away.

You get none of that from Danzig and Co., and as such are gifted that wonderful space of ambiguity and interpretation.

Plus, it give us the opportunity to cram that space with plenty of samples from the song’s namesakes. Couldn’t do that if they just named the song Room 21, now could we?

You wanna start somethin’ with me…?

 

Audio

The Wicker Man

TRACK #102:

The Wicker Man by Iron Maiden

One of my favorite horror movies of all time is The Wicker Man. It’s awesome. If you’ve never seen The Wicker Man, it comes highly recommended from Halloween Shindig.

Being part of what was referred to in the 70’s as Folk Horror, The Wicker Man follows Police Sargent Neil Howie as he investigates an anonymous tip of a missing girl on Summerilse, a secluded island off the coast of Scotland.

There, a small but jovial group of Celtic pagans are free to practice their religion unfettered by the prying eyes of a judgmental society. That is until devout Christian Sargent Howie starts poking his disapproving nose around.

It is slow burn horror at its finest with an unsettling sense of dread which mounts to one of the great reveals in horror history.

With effective turns from horror vet Christopher Lee as Lord Summerisle, Edward Woodward as Sargent Howie, plus a cast of creepsters as wide as the island, The Wicker Man isn’t your typical horror movie. Lacking gore, trite frights or largely any of the overt trapping of the genre, The Wicker Man‘s true horror is a psychological and social one that is both subtle and unnerving, and lingers long after the embers of its titular effigy fade.

It would double feature nicely with Dead and Buried, another creepfest about a small town of weirdos doing weird shit.

All that said, one of my favorite bands of all time is Iron Maiden. With Steve Harris’ unstoppable bass, the dueling harmonies of Adrian Smith and Dave Murray, Niko McBain’s thunderous percussion and Bruce Dickenson’s stainless steel vocals, they’re a heavy metal force for the ages.

So when these guys decided to cut a track about The Wicker Man, you know it’s a guaranteed Shindigger.

And though I like the studio version, it can’t hold a candle to the intensity of this opener from their Rock In Rio live album. Plus, it’s got that epic instrumental introduction, just perfect for overlaying this equally perfect sample.

So, come Weeners, it is time to keep your appointment with The Wicker Man.

 

Oct. 19th: To The Devil…A Daughter (1976)

Hammer’s last horror film may quite honestly be the least Halloweeny film on this list, but it takes place around and on Halloween, so dammit, that’s enough. Plus it’s all awesome and Satany. What more do you need on Halloween?

Christopher Lee stars as excommunicated priest Michael Rayner. Seems the Holy Roman Church didn’t cotton to all his Astaroth worship and told him to pack his shit. No matter, Rayner just sets up his own heretic order, The Children of The Lord (ambiguous) in the middle of some lake in Bavaria.

Prized amongst these children is one Catherine Beddows, played be a very young (perhaps too young, given the nudity) Natasha Kinski. Catherine is given the special privilege of traveling home once a year on her birthday to see her father Henry. Her birthday, as it happens, is All Hallo’s Eve, which we’re told is the most important date in the Satanist’s calendar.

This year, however, is her 18th birthday, and that’s got her pops all spooked. So, he contacts occult author John Verney to whisk her away for this particular visit. Seems strange, even to Verney, whom has only recently meet Beddows, and only for this specific reason.

See Beddows is a member of Rayner’s satanic order, and is anticipating a rather sinister 18th birthday for Catherine, should Rayner get his hands on her. So it’s up to Verney to deduce the plot and protect Rayner’s special child, before his evil designs can be fulfilled.

As I mentioned, the movie itself is not terribly Halloweeny, but it is jammed packed instead with tons of crazy Satanic rites and ritual, with Christopher Lee creepin’ up the whole damn screen any time he’s there.

It may flounder a bit in it’s 3rd act, but this critically maligned Hammer offering is an awesome addition to the Satanic 70’s catalog, and one of my favorites of the sub-genre.

If you’re into crazy Satan movies, enjoy weird scenes of strange rituals, love hearing blasphemous heretical dialogue and are looking to add a whole lot of that to your Halloween this year, than To The Devil…A Daughter is the one to do it with.

Audio

Howling

TRACK #68:

Howling by Babel

Round 3 of The 80’s Oddball Sequel Dance Party goes to The Howling, a franchise that seems to have produced nothing but oddball sequels.

I’m not exactly sure what to make of Howling 2, another gem from 1985. For that matter, I’m not sure anyone involved is sure either.

Christopher Lee personally apologized to Joe Dante on Gremlins 2 for appearing in it, if that gives you any idea of what we’re dealing with here.

However, despite all the uncertainty, there are a few things you can be sure of:

  1. It’s definitely not the worst Howling entry. In fact, it may just be the most enjoyable, and that includes its predecessor.
  2. It’s ridiculous. It’s awesome. It’s ridiculously awesome.
  3. You’ll see Sybil Danning in (and out!) of some bizarre outfits that’ll make you believe Lady Gaga jacked her entire steez from Stirba: Werewolf Bitch.
  4. Ditto for the bewildered Christopher Lee (except the nudity and Lady Gaganess)
  5. You’re gonna hear this song, performed by fake band Babel, at least a dozen or so times throughout.

And anytime a song is this permeable, it’s definitely on the Shindig.

I highly recommend it’s viewing to anyone who wants to see:

  • Werewolves
  • Werewolves fucking
  • Awesome werewolf-cult orgy-parties
  • Sybil Danning’s tits
  • Christopher Lee lookin like a Jedi
  • Christopher Lee straight stabbing werewolves
  • Bizarre werewolf logic and mythos
  • A weird munchkin thing running around in a scary mask
  • Crazy 80’s laser FX
  • Whack-ass shape wipes
  • Some of the worst werewolf acting around
  • Some of the worst acting around (save for Christopher Lee)
  • Seriously some of the worst editing ever

Ridiculous Howling 2 gig blast commencing forthwith. Get your reblog button ready. It’s at the bottom now. Thanks Yahoo!

 

Audio

Scream and Scream Again

TRACK #9:

Scream and Scream Again by Amen Corner

Chances are your party’s not gonna have a 22 day gap between songs 8 and 9, so since everyone will still be busy screaming to ward off The Tingler, let’s scream again with the help of Amen Corner.

If you’ve never heard of Amen Corner don’t feel bad, I don’t think anyone has. Hell, I wouldn’t have either had I not been watching Scream and Scream Again a few years ago. They’re performing this tune (a Title Track,…more on that later) in a weird British nightclub. I said, “Hey this song kind of grooves. It would go great right after Homer tells Bart to take out the garbage.”

So that’s where I put it and there it’s stayed. Plus, it’s also a Vincent price flick, so that’ll make a nice two-fer.

If you’ve never seen Scream and Scream Again, I wouldn’t sweat it. Mostly you’re missing a largely incomprehensible mishmash of ideas and images, dumb cops, weird murders and a bizarre subplot of puesdo-nazi that never really pays off.

It has some good moments though, plus it’s one of 2 films featuring both Vincent Price and Christopher Lee (Peter Cushing is in there too, but not for long.) However, there’s a lot of other stuff I’d put ahead of it on a gotta see list.

Despite all that, this song still makes a nice retro addition to any Halloween playlist. Enjoy.