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!

Indian Woman

TRACK #269:

Indian Woman by Billy Vera

Haunted is one of those weird, toothless horror flicks that didn’t seem to get the memo about what the hell was going down with the rest of the genre in the late 70’s.

Mostly, it just feels like an overlong episode of some 70’s TV show you never liked that somehow managed to escaped to the big screen, doubled-billed with something people might have actually wanted to see.

Consensus seems to be that it’s a Horror film. I guess you could call it that, as there is the ghost of an Indian woman talking out of some weird payphone we see installed at the edge of a cemetery for no particular reason. Oh, and a guy attempts murder at one point.

Though only a refreshing 80 minutes in length, it takes about 50 for anything even close to horrific to take place. And then, it takes another 25 for something else resembling horror to come to pass. And even then, you’ll likely be pretty unimpressed.

It isn’t a complete loss however, depending on how much you enjoy strange overdubbed dialogue, nudity for nudity’s sake, weird cigar-store Indians that look like regular-ass dudes and Aldo Ray drunkenly shouting all his lines in that awesome raspy voice of his. Those things go some distance for guy like me. It’s enough to make it mildly watchable in the moment, but not much beyond that. I doubt I’ll be firing up Haunted anytime soon to get a fix of anything. Well, except maybe Aldo Ray. He is pretty great here.

What does set Haunted apart however, as you might have already guessed, is a pretty fantastic opening credit song called Indian Woman.

Sung by Billy Vera, who’s hit single, At This Moment, initially fell on deaf ears when it was released in 1981. But then, it found its way onto an episode of Family Ties in 1985, where a little bit of that Michael J. magic rubbed off and sent the track to #1.

Michael and fellow Family Ties actress, Tracy Pollan, shared their first kiss to that tune while shooting the scene. Shortly after sharing the screen again in Bright Lights, Big City, the two got married. Michael J. later said the couple couldn’t get on a dance floor anywhere in the world for almost 10 years without hearing At This Moment come flying out of the speakers.

If you’re not one of those big Family Ties enthusiasts, or particularly up on your 80’s ballads, you may still be familiar withVera , albeit through another avenue.

As a struggling musician, Billy started taking acting gigs to make ends meet. He then landed himself a role as Pinky Carruthers in a little Peter Weller movie called The Adventures of Buckaroo Banzai Across the 8th Dimension. That’s weird.

Check him out here with his green fedora and John Parker. Yep. This guy, from this other weird-ass movie, sings this weird-ass song from this weirder-ass movie.

Hey, maybe you’re a 90210 fan! Maybe you even remember him as Brandon Walsh’s bookie, Duke Weatherhill?

Maybe not. I know I don’t. I just read that 5 minutes ago while researching Billy Vera. But, hey, maybe you do.

Either way, it seems Billy isn’t too proud of his work here on Haunted, as neither his Wikipedia entry nor his own website (containing his entire discography) makes any mention of Indian Woman. Can’t imagine why.

Perhaps it’s not the same Billy Vera? I dunno. Were there 2 different Billy Veras that were famous singers around this time? I guess it’s possible. I was wrong about Paul Williams. And there is that whole Cat’s Eye/Ray Stephens spelled Ray Stevens business. So conflating 2 different Billy Vera’s here is a distinct possibility.

All I know for sure is that if I was the guy responsible for this bizarro 70’s horror crooning, you better believe I’d be pullin’ up a table at the HorrorHound straight bumpin’ this shit, signin’ 8×10 glossies of Pinky Carruthers and Haunted one-sheets. Given, of course, I was in fact that same guy who did both.

Since I can’t actually do most of that, I’ll just do the one thing I can and bump this shit.

Here’s the sleeper hit of 2020. The probably retroactively offensive, and thus perhaps under-celebrated winner, Indian Woman.

Why do you keep playing that song!?

Bargain with the Devil

TRACK #267:

Bargain with the Devil by Franco Micalizzi

In 1973, William Friedkin tapped straight into some ancient Catholic corner of the world’s collective unconsciousness with his masterpiece The Exorcist. People went berserk.

As in the wake of anything that hugely successful, the imitators quickly emerged.

From India’s Seytan, to Canada’s The Manitou, to Spain’s Excorsimo, to Germany’s Magdalena, to our own home grown Abby… there’s definitely no shortage of Exorcist knock-offs.

But nobody pumped em out like the Italians, Pope John Paul II be damned.

There’s The Antichrist, ya know, that one where a paraplegic Rosemary-look-alike totally licks a goat’s asshole. And I mean totally. That one’s pretty awesome.

Or there’s L’Ossessa, also known as Enter the Devil, The Eerie Midnight Horror Show, The Sexorcist, The Devil Obsession, The Obsessed, The Tormented, or The Movie with the Most Alternate Titles Trying to Capitalize Whatever Film Was Most Popular at a Given Time.

That one finds a wooden crucifix Jesus coming to life Morty-style and having his way with our young protagonist. He’s actually the Devil, and later he climbs off a different cross during a weird ritual and totally crucifies this poor girl to it instead. Yikes.

Or how bout poor Bava’s previously titled Lisa and The Devil? It wasn’t faring too well, so the producers re-cut that fucker to improve marketability. They infused it with new scenes deliberately ripping off The Exorcist and released it as The House of Exorcism. Some of those scenes were even shot by Bava’s son (and Demons director) Lamberto Bava, but Mario claims that version is no longer his film at all really.

While all these have their place and finer points, none of them are quite as head scratching or entertaining as Italy’s original Exorcist knock-off, Chi Sei?, which was released to American audiences as Beyond the Door.

More importantly, none of them feature a funked-up ode to the Devil himself like Bargain with The Devil.

From the weird voice dubbing, to the strange children, to Dimitri being a general skeezer, it’s all pretty bizarre. For me though, it’s weirdness culminates when an aggressive pack of street musicians accosts Robert, one of whom appears to be playing a recorder through his nose. That’s creepy.

Here’s the soulful tune about soullessness, Bargain with the Devil. You know, it sounds like a jerk-off session in the bathroom.

The Beast Within

TRACK #259:

The Beast Within by Perry Monroe, Mike Pasqualini and Asbestos Felt

Next up is The Beast Within, another solid Title Track from 1982…

..,is what I would be saying if this song was actually from the film The Beast Within and not confusingly from Tim Ritter’s 1986 fever dream Killing Spree.

If you’ve ever seen Killing Spree, than you might recall that most of the music is practically note for note homages to John Harrison’s Creepshow score. And they sound good, too. I wonder if composer Perry Monroe had an actual Prophet 5 on hand.

No matter though, because wrapping up this bawdy and almost Shakespearean tale of paranoia and deadly misunderstandings, is the aforementioned Beast Within.

It may not be a Title Track, but someone must have hipped Tim to the next best move, cause this Rock ‘N Roll Sweet Song 180’s into a full on Monster rap, complete with a highly detailed plot summary. Yeah, you bet.

It’s also predictably spit in that hard, racially appropriative fashion of the late 80’s, by none other than the films lead, the curiously named Asbestos Felt! Check him out.

But don’t judge this book by its title alone. Judge it by its cover. Then, go ahead judge it by its contents, and then come back and rejudge it by its a title, cause all 3 are working perfectly in tandem to deliver exactly what you’d imagine.

Felt is all-in here and his maniacal expressions and glorious performance are much of what make Killing Spree such a joy to behold. I love this guy, and wish he had more films to his credit.

So, let’s enjoy some low-budget 16mm 80’s backyard madness with the boys from Killing Spree. Here’s The Beast Within.

A Critical Madness

TRACK #258:

A Critical Madness by Kay Reed with The Church of Our Savior Choir

Tim Ritter is pretty awesome. If you’re a fan of 80’s shot-on-video, backyard horror, than you’re definitely familiar with old Tim.

The auteur behind such insane fare as Twisted Illusions, Creep and Day of the Reaper, Tim was a to-the-bone horror fan armed with a camera who just said “Hey! I can do that.”

And did it he did, creating some of the most entertaining and charming additions to this bizarre, homespun sub-genre. If you like that sort of thing.

And I do, so I’m gonna give you all a double shot of Tim Ritter tunes. First up, the by-line Title Track to his 1986 bonkers opus Truth or Dare: A Critical Madness.

Like most of Tim’s output, it’s a film that really must be seen to be believed and even then I’m sure it’ll be a little tricky to fully wrap your mind around.

After happening upon his wife fuckin his best friend, Mike Strauber begins spiraling into a critical madness, first by playing increasingly masochistic games of truth or dare with people that aren’t really there, sending him straight to the nuthouse.

Eventually, he disfigures his own face and then fashions himself a weird-ass cooper mask. Then the dickhead orderlies give him a picture of his wife, ya know, to warm up his cold, padded cell. Yeah, that’ll probably lead to increased mental stability.

Predictably (and thankfully for us) it does no such thing, propelling Mike to escape and embark on a Silent Night, Deadly Night 2-style daytime killing spree complete with nunchucks, a full-on mace and maybe even a grenade, I dunno.

Shot when Tim was only 18, it belies his age and at times appears to be the work of more mature folks. Not all the time of course, but it’s still pretty impressive for someone who couldn’t even legally get drunk.

Which leads us to this song, this gloriously bizarre and out of place song. Some kinda Dion Warwick sounding left field commission, A Critical Madness appears to be sung from perspective of Mike’s wife, by crooning woman Kay Reed, complete with an accompanying children’s choir.

I dunno why Tim thought a movie like his should end with a song like this, but thank God he did.

Halloween Shindig gives you, A Critical Madness.

Dr. Hackenstein

TRACK #257:

Dr. Hackenstein by Claude LeHanaff and Hard Roaders

Sometime after Stuart Gordon made Re-Animator but before Henenlotter made Frankenhooker, writer/director Richard Clark released his lone feature, Dr. Hackenstein, which combines elements of both in a more traditional Frankenstein setting.

It’s a quaint little horror comedy that, while not especially noteworthy, is perfectly watchable and even somewhat charming. I’d have a hard time imagining anyone who likes either of the aforementioned films not finding at least something about this one they enjoy. Particularly considering the FX, which were provided by none other than Kurtzman, Nicotero and Berger EFX Group. Ya know, B.C. KNB EFX

It stars David Murr from Neon Maniacs as the titular physician, a guy who you’d almost mistake for Roddy McDowell. Playing along side him, as the main damsel in bodily distress, is the lovely Stacey Travis, whom some of you may recognize from Phantasm 2, Hardware or even Earth Girls Are Easy.

Additionally, you get some fun guest appearances from both Ramseys Anne and Logan, Phyllis Diller, and that cheapskate Hotel Manager from Ghostbusters! Not a bad showing.

What’s more? You guessed it. With only one feature to his credit, Richard Clark had the wherewithal to include an honest to God Title Track.

That egghead Stanley Kubrick never had a Title Track. Some auteur he was. No wonder he never got an Oscar. And don’t give me any of that “Well, Dr. Strangelove’s We’ll Meet Again was technically a Title Track from the musical We’ll Meet Again” baloney, cause I ain’t having it! If we all just start throwing other people’s Title Tracks into our movies with different titles and no Title Tracks and and then calling them Title Tracks, what does that make us? No better than the terrorists, that’s what.

100% anachronistic and totally 80’s, this goofy as all get-out Title Track gets the extra special treatment of being a Sweet Song too boot. Double bonus!

So, sit back and relax, the doctor will see you now.

He calls himself an Obstetrician! He’s Dr. Hackenstein.

Cat’s Eye

TRACK #256:

Cat’s Eye by Ray Stevens

Call me an idealists. Call me old fashion. Hell, call me an 80’s fetishist, but I wish every movie ended like 1986’s portmanteau horror, Cat’s Eye.

The 3-pronged anthology from Stephen King and Lewis Teague isn’t even particularly fantastic. It’s all right, I enjoy it, but I wouldn’t put it at the top of any anthology list.

The James Woods story about an invasive smoking cessation program has some fun moments, despite being a little under cooked.

The second story has an intriguing premise, is well acted and provides a fair amount of tension, given a predisposition to acrophobia.

And the final story, the one which everyone remembers, with a cat named General protecting a young Drew Barrymore from a horrible, little, breath-stealing troll. That troll, designed by FX maestro Carlo Rambaldi, is fantastic. And all that set dec making the him look tiny is 80’s practical FX gold.

But that’s not what I mean. No, what I want is for every movie to end with this same kind of weirdly referential, ridiculously popped-out, Title Track bullshit. Say that Title over and over! Gimme that hot synth bass! Talk about the movie in indirect ways! Make it feel like an event. Make me feel like I just watched a movie. Leave a mark.

And boy howdy does Ray Steven’s Cat’s Eye do just that. He Billy Oceans the fuck outta this thing and produces a shinning example of a Title Track. It’s doing everything right.

I wish every movie had it’s own Cat’s Eye.

Green Slime

TRACK #255:

Green Slime by Sherry Gaden, Richard Delvecchio & Rick Lancelot

Now, we’re gonna kick things all the way back to ‘68 with a brand new contender for Oldest Title Track on the Shindig. And what a doozy of a contender it is.

You’d be forgiven for thinking the Title Track to The Green Slime must be a joke. It sounds almost like an anachronism. It sounds like it doesn’t belong in this movie. It sounds awesome.

Produced by Surf Rock pioneer Richard Delvecchio and sung by Frank Zappa vocalist Rick Lancelot, Green Slime is a rollicking garage-rock romper that feels a little ahead of its time, and a bit out of place.

This Japanese produced space-standoff proceeds like Sid and Marty Croft directed a Toho remake of This Island Earth. It’s a movie with a weird vibe.

What’s weirder? The fact that this song kicks off the whole damn thing. It honestly gets you pumped. Almost too pumped. This song is probably the coolest thing about the movie. Not that there’s anything specifically terrible about the movie, it’s just that cool of a song.

I mean, I won’t lie, you really gotta be into 60’s sci-fi monster movies. And being frank here, that’s not gonna be everyone’s bag, particularly these days. The miniatures look like the model train sets your Dad built in the basement, the acting in stagey and the aliens looks like 33rd degree Sigmund the Sea Monsters. But all of that is the charm. If you’re in the right mood, anyway.

Also, the pacing is pretty crisp for its day, though nothing close to what audiences have become accustomed to over the intervening 40 odd years.

So, you know yourself. Would you like that? Eh, then maybe give The Green Slime a go. If not, at least kick back and enjoy this trailblazing tune. One of the great Title Tracks of all time.

Hidden

TRACK #254:

Hidden by The Truth

After 3 Monster Raps, 2 of which I can fully understand struggling with, we have to break out the plastic pumpkin and make with some treats, right?

And around here, nothing spells “treat” like Title Tracks.

So here comes a rockin’ block of plot-talk with some of the finest Title Tracks xx yet featured on the playlist. And it you listened to last months Fistful of Title Tracks episode of Shindig Radio, you got an idea of what’s comin’

First up? Hidden.

Ever seen The Hidden? It’s kinda like The Thing meets Dead Heat, just with less Piscapo and no snow. There’s also little bit of Men In Black goin’ on too.

Plus, if you’re a Twin Peaks fan, it can serve as a quick Dale Cooper fix, with Kyle Maclachlan playing another FBI agent amidst high strangeness. Additionally, Hank Jennings shows up, just for good measure.

But that’s not all, as you get Clu Gulager, Jermone from Summer School, a young Danny Trejo, Lin Shaye and even Kincaid’s dog Jason, who took a piss on Freddy’s grave in The Dream Master. Weird.

What’s also weird, is that just like Men in Black, it also has a Title Track. It actually has a pretty kickin soundtrack altogether, as the body jumping alien imposter seems to have an affinity for loud, ruckus music.

Before we get into any of that though, we’re gonna highlight the soundtrack’s crowning achievement, from The Truth.

It’s Hidden.

Lost In Time

TRACK #253:

Lost In Time by LA Posse

If you told me you thought Waxwork 2: Lost In Time was a bunch of foolishness, I’d have to concede that yes, it is quite silly. At times even annoyingly so.

However, I would then have to counter with “Ok, yeah, but it’s also pretty awesome.”

If, as a horror fan, you are not enamored (at least somewhat) but it’s loving horror parodies, I might have to revoke your nerd card.

From the awesome Aliens send-up with its fantastic creature FX from Bob Keen’s Image Animation, to the Bruce Campbell-anchored William Castle-meets-Evil Dead Haunted House spoof, it’s a treat for any horror fan.

Yeah, maybe the Mideavel segment overstays it’s welcome a little, but even that has some awesome imagery spread throughout. And director Anthony Hickock still manages to find time to spoof Frankenstein, Dr. Jekyll and Mr. Hyde, Nosferatu, Dawn of the Dead and Invasion of the Body Snatchers. C’mon now. It’s just fun.

They even nick the end of Back to the Future 2 for some reason. Kinda weird really, but no less fun.

And what’s more? Oh yeah, they wrap it all up with a Monster Rap Sweet Song. Bonus.

This By-Line Title Track from Muffla and Big Dad of the L.A. Posse might not be the finest example of the sub-genre (admittedly, it’s a little on the dull side of hype) but it’s better than some of the other turkeys on this list and it definitely comes correct with an extremely detailed plot synopsis.

Mark ain’t a mark

Cause Mark got heart

But Mark won’t stop

Cause Mark is a part

Of the mystery

Back and forth through history

Gold plated.

So hang out with Billy from Gremlins, Bruce Campbell, that one dude from Die Hard, Rex Manning, Deanna Troi, perpetual on-screen bum Buck Flowers (for a second anyway) and all your favorite monsters, and get Lost In Time…

Ya know, like a bug in a jar.

Addams Family (Whoomp!)

TRACK #252:

Addams Family (Whoomp!) by Tag Team

We’re gonna keep the Golden Raspberry theme goin here for a sec with a song I’ve actively avoided adding to the playlist since 2013, when we had a whole block of Addams Family tunes.

Much like Hammer’s Too Legit with A Little Bit of Peppa (For My Chicken), Miami-Bass duo Tag Team repackage their preexisting hit Whoomp! (There It Is) for the 1993 sequel Addams Family Values.

Despite the general consensus that this song is a complete pile of auditory bullshit, I rather like Addams Family (Whoomp!), as can be cross referenced on Shindig Radio Ep. 4: Monster Raps Pt. 2.

I think the verses are clever, well spit and highly referential. It even refers to itself as the movie’s theme song. That’s a solid play for a song of this nature. And quite frankly, it should have come loaded with a full-on fucking spoiler alert, cause it details the entire plot of this film. It’s a movie theme to the max.

And I get it, maybe it seems lazy just taking your own song and moving some words around and calling it a day. But honestly, its just a sound maneuver to keep the money train on the tracks from a pair of “alleged” rip-off artists who didn’t have a hell of a lot going on outside of Whoomp!

Yeah, you read that right. I referred to them rip-off artists, come at me. Since no one actually seems to have Tag Team’s back except me, I shouldn’t experience any sort of backlash from such a bold assertion. However, I will indulge a small detour here to clarify my statement for those unfamiliar with the sordid backstory concerning Tag Team‘s original #2 peaking hit, Whoomp (There It Is.)

The year was 1993. The month? March. Jacksonville’s Miami Bass trio 95 South just released their hit, Whoot! There It Is! Things are looking good for 95 South. The world is their oyster.

That is until May of 1993, when a curious tune titled, Whoomp! There It Is!, from the Atlanta Georgia duo Tag Team hit the charts like an overhand right from Riddick Bowe.

95 South, goes “Da fuck? What is this bullshit? This song sounds exactly our song. I mean, exactly. Listen to that chorus!”

Tag Team’s DC Brain Supreme claims the phrase was popular in Atlanta strip clubs and they just grabbed it up and put on in wax, suggesting any similarity in the cadence of the chorus being dictated by the phrase itself.

Carlos Spencer of 95 South, however, tells the story just a little bit differently.

He says they recorded their track at Atlanta’s Digital Edge Studio. Shortly after that, they gave the track to a local DJ to see if he would spin it at the club. That DJ? You guessed it. DC Brain Supreme.

And the plot thickens. Seems DC Brain Supreme knew the cats over at Digital Edge, where they were using a newfangled computer program to make records. It was called Pro Tools, maybe you’ve heard of it.

It’s Spencer’s assertion that DC and Steve Roll’n just went in there and laid their own vocals over the track 95 South had already produced.

Snap.

Either way, it seems Tag Team changed the song just enough. They used some different samples and eschewed the raunchier, sex-based lyrics for a more commercial, party-like tone.

And just like that, 95 South’s track is buried under the rubble of a more intelligible, less sexualized and altogether more mainstream-friendly crossover hit.

Despite Spencer’s claims however, there was never much outward animosity between the 2 groups. They even appeared together in July of that year on The Arsenio Hall Show, where they battled it out for “There It is” supremacy.

For 95 cents a pop, viewers at home could call-in and vote on which group they liked more. That night, it was 95 South that walked away with the crown. Very judicial.

The Billboard Hot 100 Chart tells a different tale however, with Tag Team’s Whoomp! reaching number #2 and staying in the top 10 for an unprecedented 24 non-consecutive weeks. It would become the longest running Top 10 song of all time, a place it held until 1997, when Toni Braxton’s Unbreak My Heart went to 25. Snap again. To date, Whoomp! has sold over 3.5 million copies.

Whoot! There It Is? Well, it never got passed #11. That’s still pretty pretty good, but one can’t help but wonder what that number might look like if Whoomp! didn’t come in hot, stealing all it’s thunder, and potentially confusing consumers, who may have even preferred Whoot! and unwitting purchased Whoomp!

It’s not all sour grapes for the “Bass Mechanics” CC Lemonhead and Jay Ski though, the duo responsible from producing Whoot!. They had 2 other hits with separate groups, hits that you may even be familiar with . One was with the 69 Boyz track called the Tootsie Roll. The other was The Quad City DJ’s C’Mon N Ride It (The Train.) And that’s not to mention their crowning achievement, the 1996 Title Track Space Jam. Eat that shit, Tag Team.

But of course, Tag Team edges out 95 South here in one small, but very important way; they segued pop dominance into Monster Rap gold. No small potatoes around these parts.

So with that being said, Halloween Shindig presents The Golden Raspberry’s Worst Song from a Film 1993 and Mikey Rotella’s pick for worst Monster Rap of all time, it’s Tag Team’s Addams Family (Whoomp!)

This song’s for the movie and the dance floor!

Carry on Screaming!

TRACK #246:

Carry On Screaming! by Ray Pilgrim

There isn’t a more surefire way to get your film webbed-up in The Shindig than to indulge in the time honored tradition of the Title Track.

Carry on Screaming! then, naturally, comes from the 1966 British spoof of the same name.

But what the hell is it?

Well, it’s the 12th installment in the expansive 31 film catalogue of the “Carry On” franchise, an ensemble comedy series which lampooned many popular British film genres.

Carry On Screaming! is a somewhat entertaining Hammer Horror send-up that features a couple of goofy monsters, a lot of yelling in British accents, copious amounts of innuendo and some hilarious mannequin tossing. Check that shit out.

Credited in the film to “Anon,” the identity of this singer remained a mystery for 40 years. In 2006 however, famous British big bander, radio broadcaster and Embassy session singer, Ray Pilgrim, at long last revealed his involvement

Also a member of bands like The Typoons, The Jaybirds and The Earthquakers!, Ray didn’t particularly think singing was a real career and apparently only did it to finance an economics degree. Pretty crazy for a guy with over 200 BBC broadcasts and 150 songs under his belt.

Once Ray achieved this goal, he promptly quit singing and took a “proper” job in senior management of an unnamed multinational company.

Ray came out of retirement to sing this track at producer Eric Roger’s request.

Here’s an interview from Ray’s website where he describes the whole situation:

“By April 1966 I’d been “retired” from singing for nearly a year and was deeply immersed in my ‘proper’ career. Then one evening, completely out of the blue, I got a phone call from Eric Rogers.

He told me that he needed to set up a very urgent session to record the opening title song for the new Carry On film and needed an ‘experienced, professional session singer who can cut it with the minimum fuss in the minimum time’ and wanted me to do it.

I explained that I hadn’t even sung in the bath for months and was really not in the business anymore. He said that they were on an extremely tight schedule, fast approaching the release deadline for the film and would appreciate it if I could come over to his house next day. I was really rather flattered, so I agreed.

Next day I took some time off work and drove up to his house and we ran through the music. I thought the words were a bit odd and he explained that it was a spoof horror film.

We settled on the overall treatment: The chorus (the Carry On Screaming lines) were to be sung reasonably straight in the style of a band ballad singer, with parts of the verse sung with a bit of emotional quivering vibrato. I can’t really remember, but I don’t think that the falsetto bit at the end came until we were actually on the set when we slipped it in because it felt a more natural lead into Odbodd coming through the mist and Doris’s scream.

What I do remember, was that there was no time for any practice or rehearsal because the actual recording session was set up for either the next day or at most a couple of days later.

Although the film was made at Pinewood, according to my 1966 diary, the title song was recorded on the nearby Denham Studios sound set. Probably that was because the actual film itself had wound up at Pinewood a couple of months earlier which, by then, was no doubt the home of a new, completely different film.

Eric had arranged for quite a large orchestra and the set was full of musicians … plus of course the lady who provided the very important screams during the song. I regret that I don’t remember her name. But I recall she was blonde and very attractive and did a brilliant scream.

At one end of the set was a huge screen onto which a silent version of the finished film was projected. I don’t think we had the titles and credits to play and sing to but in my mind’s eye I clearly remember a big clock on or above the screen that rapidly flicked through the fractions of seconds that lead up to the opening scene of the movie.

I was used to doing the recording sessions for Embassy in a just couple of takes so I was very surprised that we needed such a large number of takes to do the Screaming film soundtrack, which was really quite a simple song.

It wasn’t because we kept on making mistakes or bum notes but because the timing had to be absolutely meticulous with everything exactly to the split second. In fact I found it a bit boring doing the same thing over and over again. But when I eventually saw the finished film I realised why it had to be so exact, with each of the lines of the song and the punctuating screams fitting exactly with the quivering credits on the screen.

So that was it. I got paid the princely sum of 27 guineas (excluding any subsequent mechanical use of the recording) … which in those days was not to be sneezed at for a couple of hours work. In today’s money, after 40 years of inflation, I guess it would be worth something approaching £1,000.

I picked up the cheque and hurried back to my day job before I was missed! That was my very last professional session, after which I made a complete, clean break from singing so I was more than happy that my contribution to the film was credited as “Sung by Anon”.

Over the years I have always been amused that the question “Who was Anon?” crops up so frequently and the inevitable wrong answers it leads to. But now I’m coming up to my 70th birthday, it’s probably time to set the record straight. So here goes:

So, here it goes indeed, a silly and short little tune that may just burrow itself under your skull and rest there for a few hours, occasionally popping out ever so often as you find yourself humming its chorus.

Thanks Ray!

Nosferatu

TRACK #243:

Nosferatu by Blue Öyster Cult

It’s been roughly 7 years, 6 months and 16 days since Blue Öyster Cult has made an appearance on The Shindig. Roughly.

Back then, it was their contribution to John Carpenter’s 1978 classic Halloween, (Don’t Fear) The Reaper, which afforded them an early nod on The Playlist.

Well now they’re back, all these years later, with the less inclusive, though infinitely more referential, Nosferatu.

This one was the final track on their 1977 release Spectres, an album which opens with the much more celebrated (though no less referential) Godzilla. As it happens, Nosferatu was actually the B-Side to Godzilla, making for one very referential 45.

Being horror fans, Nosferatu is a word I’m quite sure you are all fairly familiar with. But what hell is Nosferatu?

Well, it’s a word that for sure appears in Bram Stoker’s 1897 novel Dracula, though Ole Bram claimed he got it from Emily Gerard’s Transylvania Travelogue The Land Beyond the Forest. However, Emily seems to merely claim it’s a Romainian word which means “Vampire,” although no such word really seems to exist in Romanian.

Some claim the word came from the Greek “nosphoros” which meant “disease-carrying.” Others say it takes root in the old Romanian term “necurat,” meaning “unclean.” It was the kinda thing you’d say so you didn’t have to say “vampire,” lest speaking it’s name called the creature to you.

Lotta ideas. No concrete answers.

At any rate, occultist producer Albin Grau and screenwriter Henrik Galeen liked the word so much, they used it to evade securing any rights for their unauthorized 1922 adaptation of Bram Stoker’s Dracula.

They were unsuccessful however, as Bram Stoker’s widow, Florence, sued the shit out of them, bankrupted their fledgling occultist studio Prana-Film, and almost had every copy of the FW Murnau’s film Nosferatu burned into oblivion.

So, for almost 100 years now, “Nosferatu” has directly related to not just vampires, but specifically, Dracula.

And Blue Öyster Cult, like Grau, Galeen and Murnau, are clearly referencing Bram Stoker’s classic novel. So much so that some of the lyrics directly reference passages from the book.

But, since the 1922 Nosferatu is a silent picture, I’ve added some samples from Werner Herzog’s awesomely unsettling 1979 remake, just for a little ambiance.

So get unclean with Klaus Kinski and the disease carrying cultists of the Blue Öyster with…

Nos-fer-a-tu!

Dead Heat

TRACK #238:

Dead Heat by Philip J. Settle

My personal pick for Favorite Addition to the Playlist: 2019 has got to go to Philip J. Settle’s rockin’ 80’s, four-to-the-floor Title Track, Dead Heat.

Shindig Radio personality and Showdown Shogun himself Graham C. Schofield brought this glaring omission to my attention just before the season started. And I couldn’t believe I had totally forgotten about this track.

How had this track, this Title Track of all things – particularly one as awesome as this – to a movie I thoroughly enjoy – eluded The Shindig for so long? I love Dead Heat, but I must admit, it’s been some years since I’ve just sat down and watched in it’s entirety…

And this track isn’t just a Title Track, it’s also a Sweet Song, so you gotta stick it through to the end credits to be treated to this dozy, which I definitely would have loved to have taken a go at on any one of our Title Tracks episodes of the Podcast.

All good things eventually reveal themselves to The Shindig and we can thank a dutiful rewatch from Graham for bringing this champion of Title Tracks home, where it belongs.

Playlist fans can now rock out to this tune, which is kind of an Indirect Title Track; one of those song where they definitely say the name of the movie incessantly, but aren’t quite talking about the movie at all really.

Playing off the films double-entendre, Philip J. Settle settles for steering this hot rod of the track toward the racing side of a dead heat, and it works out just fine.

If you’ve never seen this Treat Williams/Joe Piscapo/Kolchak The Night Stalker/Vincent Price zombie-gore bonanza, I say correct that as soon as possible.

With out of control FX from Steve Johnson’s XFX team and additional work from the likes of Todd Masters and Rick Lazzarini, Dead Heat is an 80’s gore/make-up/creature tour de force.

I first saw Dead Heat after my first day of work at an old video store called “Mike’s Movies” in Boston. I had just been introduced to a co-worker (and eventual good friend) named Malachi (I know, right?) and was tasked with assisting him in creating a small shelf of Halloween recommendations to be placed near the entrance for October. What a first day, huh?

We each split up grabbed a handful of titles from the impressive selection that store had to offer. He came back with some selections you might imagine, probably along with some foreign shit (he loved weird old foreign shit.) But it was one cover in particular (and the only one I 100% remember) that caught my attention.

“Piscopo? An Uzi? What the fuck is this?” I asked “This is a horror movie?”

“No.” He replied. “It’s so much more. You gotta see this.”

So we proceeded to get higher than shit that night, and became fast friends while watching his hero, Treat Williams, become the Dead Heat. And Malachi was right. Cause you gotta see this.

So, it seems only fitting then, that 2 days before Halloween, from a small Halloween shelf on the other side of the country, Dead Heat joins the ranks of Halloween Shindig. This one’s for you Malachi!

Lady…I’m fuckin’ dead.

Sorority Sister Succubus

TRACK #228:

Sorority Sister Succubus by Haunted Garage

Right on the heels of Sorority Babes in the Slimeball Bowl-O-Rama, David DeCoteau grabbed up Linnea, Brinke, Michelle and most of the crew, then ran across town to began shooting this sister film. 4 days later they had Nightmare Sisters in the can.

Another silly and scandalous horror/nudie/sex comedy from DeCoteau and company, Nightmare Sisters is a fun flick that would make a great double-feature with Bowl-O-Rama.

We mentioned Dukey Flyswatter in our last post, as he provides the voice of old Uncle Impy. Dukey also appears here, in his human form, as the opportunistic mystic Omar.

Dukey Flyswatter, however, is just the stage name of actor/singer/writer Michael Sonye, who also happens to be the lead singer of L.A. splatterpunk outfit Haunted Garage.

As such, Haunted Garage provides 4 different tracks for Nightmare Sisters and our selection this evening, Sorority Sister Succubus acts as an introductory track, running over the film’s opening credits.

What better way to follow up a David DeCoteau sorority flick without a title track, than with another David DeCoteau sorority flick with an almost title track about sorority sisters from a movie called something else?

Yeah, we couldn’t think of one either. Enjoy!

He’s Coming Back

TRACK #225:

He’s Coming Back by Chris LeVrar

While attempting to pull some samples from Repossessed for its Title Track, I naturally stumbled across this end credit oddity, which can only be called a gem when you host a playlist like the one I’ve constructed here.

A highly referential Monster Rap Sweet Song? Oh, this is going on the playlist for sure, I don’t care how bad it is.

That this is my knee jerk reaction is a bit of a shame, because this song is bad. And I mean it’s bad, so I apologize for that.

So bad in fact, that you happen to be looking at the proud recipient of 1990’s Golden Raspberry Award for Worst Song from a Motion Picture.

I hope you all can understand and appreciate it’s inclusion. My compulsive need to include inclusive (and referential) Monster Raps Sweet Songs prevents me from treating this thing objectively, or considering your overall enjoyment of this playlist. But my hope is you can at least see why, when stumbling upon something of this nature, it has to be included.

Well, either way I apologize.

In fairness, the verses aren’t so bad. It’s really the chorus here that’s dragging this whole track down. But lyrically, you’re getting a heaping helping of allusions to the film, plenty of bizarro lines and a rhyme structure that is off-center, to say the least.

Not helping matters is it’s length. It’s crazy to me to think Repossessed had enough credits to sustain a 4 minute song. For real? That many heads on Repossessed? They must roll at an unnaturally slow pace, cause I don’t know what the hell all those people were doing.

I will say, I wish I had rediscovered this thing earlier so we could have had the chance to really dig into this one on our Monster Raps episodes. Oh well. Perhaps we’ll amass enough new Monster Raps to warrant a Part 3. Fingers crossed.

In closing, I do hope that somewhere, someone listening to this playlist actually likes this song. Or at the very least, appreciates the necessity of it’s inclusion, because I’m fairly sure they’ll be the only one.

Repossessed

TRACK #224:

Repossessed by Cindy Valentine

While certainly not what I’d call a good movie or even all that funny, you can do a lot worse than 1990’s Horror Spoof Repossessed. Namely Transylvania 6-5000. But I digress.

The best thing going for this silly slice of parody is Linda Blair. Landing the star of the original film you’re spoofing is a big play in this racket, and here she does a fine job lampooning herself, tongue firmly in cheek. It’s neat just to see her there in the blue dress taking a poke at herself and it goes some distance to endearing this movie to a certain audience.

I’m also a sucker for Leslie Nielsen, though I have to admit, his accent takes me out of this one a little. This is not one of his crowning comedic works, but it certainly beats Spy Hard or 2001: A Space Travesty.

A lot of the jokes here don’t land well, but there are a number of smaller gags that I think work and produce some genuine laughs. This, however, is not the gold standard of horror parodies, by any means. Hell, it ain’t even a copper standard.

Making all of this a little easier to ingest though is its upbeat Title Track from Teen Witch’s own Cindy Valentine. A second (hell, maybe even 3rd or 4th) tier 80’s pop singer you may or may not be familiar with. I vaguely recognized a couple of her bigger hits (from where exactly, I could not say) but if you had no recollection of ever hearing any of her assembly line genri-pop, that would be perfectly understandishable.

I’ve yet to hear a Cindy Valentine song I didn’t like and that very much includes Never Gonna Be The Same Again from Teen Witch. But in fairness, I haven’t listened to the breadth of her catalog. I’m sure there’s some turkeys in there, even by my admittedly dubious standards.

But here it is, my personal pick from the crop of Bad and Ugly Title Tracks of Episode 8, it’s Cindy Valentine with Reposssessed!

Transylvania 6-5000

TRACK #223:

Transylvania 6-5000 by Paul Chiten

Since I basically read the write up for this song on Episode 10 of Shindig Radio, I’ll spare you all the tedium of posting a direct transcript.

The short version is that Transylvania 6-5000 gives you 2 different Title Tracks and hey, isn’t that swell.

The other Title Track, which plays as a Sweet Song during the end credits, is a direct spoof of Glenn Miller’s Pennsylvania 6-5000 and its serves a nice coda to the film.

And despite how I may feel about that film, which is not terribly positive, I love this Title Track which plays right at the beginning of our ill-fated adventure.

Paul Chiten delivers the goods here with a very referential and appropriately 80’s pop theme the fits the movie quite nicely.

One thing I failed to mention during the show, is that the film actually apes it’s title from a 1963 Bugs Bunny short. This may make the allusion to Glenn Miller’s 1940 big band hit a little bit more understandable; 23 years on verses 45.

Another thing I’d like to address here is, on the show Kyle and myself answer Mikey’s question about the nature of the 6-5000 incorrectly. We both quickly state it is the hotel’s address, when in fact it is the hotel’s telephone number, PEnnsylvania 6-5000, in accordance with the old telephone exchange system. What can I say? Research is not our strong suit and confident misinformation flows freely. C’est la vie, it would seem. Je suis désolé, mon Mikey!

And with all that said, we’ll just follow the best thing about Transylvania 6-5000, with the 2nd best thing about Transylvania 6-5000.

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!

Prom Night

TRACK #218:

Prom Night by Paul Zaza & Carl Zittrer

And now, we have our first track to make its debut on Shindig Radio before being added to the playlist, and what a perfect song for that honor.

An 80’s disco Title Track for the slasher classic Prom Night, composer Paul Zaza cranked out a doozy with this one. Perfectly capturing the mood of the film and the vibe of its era, Prom Night is, at least sonically anyway, a fantastic Title Track.

Featured during the film’s climactic Prom sequence, it’s catchy, danceable and more importantly (like any good Title Track) it repeats the title ad nauseam.

Though, as noted by The Shindig Radio crew, that’s about where any references to either this movie or even an actual Prom, end. Which is a shame, as just a little bit could have gone a long way to taking this from just a passing Title Track to something really great.

No matter, because despite how Graham Schofield may feel about this cut, it’s unused sister Title Track or dancing disco bullshit in general, I think this song boogies.

Allegedly, this sequence was shot with a bunch of popular disco tunes playing in the background. Once the producers realized it might cost them a small fortune to secure the rights to such recognizable hits, they tasked Paul Zaza with recreating reasonable facsimiles as replacements.

Unfortunately, he only had about a week to do it.

Given the tight timeline, I think Paul knocked this one out of the park, creating a disco slasher Title Track for the ages.

Just remember, it’s not who you go with, it’s who takes you home.

Everything is all right!