TRACK #60:
Happy Halloween by Zacherley
Perhaps the granddaddy of all Horror Hosts, John Zacherle donned the guise of Roland (later Zarcherley in New York) as Philadelphia’s host of Shock Theater in 1957.
In addition to being one of the most iconic personalities of the genre and one of its earliest originators, Zarcherley also released tons of spooky music during his career as a Horror Host.
Just in time for #60, here’s the Cool Ghoul himself wishing us all a very Happy Halloween.
TRACK #59:
8 More Days Till Halloween (Commercial Bumper)
Ok, well, that was a little intense. Unfortunately, this blog rolls backwards if you aren’t following along, so you have no idea what I’m talking about.
Either way, we’re gonna lighten the mood up a bit with some novelty frivolity, in the form of a quick commercial break to feed our Frankenstein with some delicious Halloween treats.
But we’ll be right back with more Halloweeniness and audio atrocities soon.
Samples Featured in this Bumper from:
and of course
TRACK #58:
Feed My Frankenstein by Alice Cooper
Inclusive, though not to any movie relevant to the Shindig (1992’s Wayne’s World) this hit from shock-rocker Alice Cooper needs no introduction to anyone reading this right now, I’ll wager.
One of 2 songs on the Shindig featuring a monster allusion to sexuality, Feed My Frankenstein uses the dubious imagery of Frankenstein to replace the word “cock.”
Why Frankenstein, though? Is it sewn together from several different cocks? Does it just want to be loved, only to meet disdain from all who gaze upon it? Or is it simply that it’s just a monster of a cock?
If that’s the case, why not Mummy? Feed A-MY…..mummy.
Hmm, guess that lacks a little something syllabically.
That probably cancels The Wolfman, too. And the Creature from the Black Lagoon is definitely out.
Hey, Dracula could work! He’s already a monster of a sexual nature. Plus, he’s associated with hunger (or more appropriately, thirst), something I can’t really say for Frankenstein. I guess he’s just not big enough, and I suppose that’s really the underlying, if perhaps juvenile, point.
Recently, for his stage show, Alice Cooper commissioned haunt specialists Distortions Unlimited to create a giant Alice Cooper Frankenstein puppet. Here’s a video of it if you no idea what I’m talking about. He…uh….pops out…at that 3:45 mark, if you just wanna scan to it.
As mentioned previously, this puppet was sculpted by my buddy and horror/music/Shindig enthusiast Mikey Rotella.
Oh, and I almost forgot. This track is led-in with almost unnatural appropriateness by a sample from George Romero’s Day of the Dead. Too perfect for words.
Enjoy!
TRACK #57:
Hellraiser by Motörhead
In 1993 they decided to take the previously British franchise of Hellraiser across the pond, because, Lord knows America always takes something cool and makes it cooler.
That being said, it’s certainly not the worst Cenobite installment, however it’s hardly the best, as I feel both 2 and 5 are better films. Though I have met some static for my championing of Inferno, which I still feel is one of the more interesting sequels, despite being largely devoid of Cenobites and Pinhead.
Which is the worst? God only knows. They’re up to what, 9 now? I stopped after Hellseeker to be perfectly honest, and from the shots I’ve seen of…whoever the hell that is replacing Doug Bradley, Revelations isn’t providing any….well….revelations.
But enough of my (rather unqualified) opinions of the franchise in its totality. Let’s join Lemmy and Motörhead as they rock out with that secret song at the center of the world.
Pinhead is here,…to turn up the volume.
TRACK #56:
The Monsters Hop by Bert Convy
Several years before he became the host of Super Password, Tattletales and Win, Lose or Draw, and 4 years before Boris Pickett would soar to #1 on the wings of The Monster Mash, Bert Convy recorded this tune about a bunch of monsters dancing around inside a spooky house.
Though lacking the character and humor that ultimately made The Monster Mash such a smash, I rather enjoy The Monsters Hop, maybe even a bit more than Pickett’s seminal Halloween hit. I think it’s catchier, certainly more up-tempo, and nowhere near as played out as The Monster Mash. Those are some pretty big checks in the plus column, you ask me.
Now don’t get me wrong, I’m not saying it’s a better song, not by any stretch of the imagination, but when listening to the Shindig leisurely (as is my wont) I will usually skip The Monster Mash, yet I always have 2 minutes to spare for The Monsters Hop.
TRACK #55:
Freaked by Henry Rollins & Blind Idiot God
From the extra-90’s, ultra-FX-ladened, creature-feature-comedy Freaked, comes this Title Track from Henry Rollins & Blind Idiot God.
I love Freaked. What’s not to love?
Not to mention…
Plus, it has a pretty kick-ass soundtrack. A soundtrack, I might add, that was never officially released. These puppies come stolen clean from the DVD.
If you’ve never seen Freaked, and you’re at all about creature FX, foolish 90’s comedies, or bizarre movies in general – find someone who has a copy of this, mug them, and watch it immediately.
More music and gifs from Freaked to follow this initial blast, later in the playlist. For now, enjoy these humble Shindig offerings.
TRACK #54:
Attack Of The Killer Tomatoes by Lee Lewis
The 1978 B-Movie horror-musical-comedy-spoof turned B-movie itself, Attack of the Killer Tomatoes, was probably the first movie I was able to truly appreciate for its camp value.
I saw the light, so to speak, and it began the long love affair I still have today with horribly bad films. A love affair which was nurtured to its maturity on the early days of Comedy Central through Mystery Science Theater 3000.
Here’s the silly title track for the film. A film which, if you’ve never seen, I highly recommend…you know,…if you’re into that sort of thing.
Here’s a link to the full film on youtube.
Enjoy!
and remember…
TRACK #53:
Monster Rap by Bobby “Boris” Pickett
Over the years, as the musical climate shifted, Boris Pickett attempted to recapture his Monster Mash lightning into all manner of bottle. The results were, well, not quite as successful.
In the early 80’s he tried rap, much to the delight of The Shindig.
Easily my favorite Boris Pickett tune, this goofy number is, I think, the funniest of his career. The ridiculous chorus of “Shock the body. Shock the body, body” in that Karloff voice is unmatched. Plus a rapping Frankenstein in the form of “Monster Mouth” is pretty fantastic too.
Though, I think the funniest aspect of the track is Boris’ initial excitement to hear the monster rap, and how quickly that turns to complete annoyance once the creature “won’t stop rapping.”
Even in the form of a silly rap, some remnant of Mary Shelley’s themes still persist,…kind of.
Either way, Boris Pickett’s Monster Rap is Shindig gold, all the way around.
TRACK #52:
Love Is A Lie by Lion
We’ve already gotten a sampling of Freddy Krueger’s sonically iconic offerings, but surely his contemporary and adversary Jason Voorhees has a thing or two to say on the matter awesome 80’s soundtracks, no?
Yes. Yes he does.
From 1984’s prematurely subtitled The Final Chapter (a title made all the more ridiculous considering there are fewer Friday the 13ths proceeding it than following it), comes this tune from LA butt-rockers Lion.
Man, that’s pretty emphatic. They even blow up the mask for God’s sake.
This is the song to which Crispin Glover (aka George McFly, or Jimbo here) famously does he’s strange and erratic gyrations.
I’ve heard from unconfirmed sources (read: my buddy Matt Mastrella, AC/DC fan and possible rumorist) that during filming, the actual song playing was Back In Black, which they could not ultimately use after failing to secure the rights. If that’s true, it would certainly go a long way to explaining Jimbo’s arrhythmic seizing.
However, Crispin Glover is a pretty bizarre bastard himself and maybe that’s all the explanation needed. Click here for some support of this assertion.
Led in with the archetypal campfire tale of Jason, originally featured in Part 2 and rehashed in pieces during the pre-title sequence from Part 4. Its a favorite moment of mine from the series, and goes great with the song, if a tad lengthy.
I think it’s worth the wait though, and makes for a spooky interlude where your party guest can kick back and take in a little histrionic Voorhees history before Lion commence to rock.
Enjoy!
TRACK #51:
The Mummy’s Bracelet by Lee Ross
Here’s a bizarre Shindig entry from singer Lee Ross.
Never heard of him? Well, don’t let it bum you out, cause neither has the Internet apparently. Digging up information on Lee seems to lead to a lot of cold trails.
What we can be sure of however, is that Lee definitely performed this catchy little number about the Mummy. Which Mummy, we’re less sure of, as Lee’s story doesn’t seem to match up to any Mummy film that I can cross reference.
This matters little however, because Mummy songs aren’t exactly falling out of the pockets of novelty-rockdom. In a genre choked with Vampires, Ghosts and Frankensteins, a song about a Mummy is a breath of stale and musty air.
So lets sit back and enjoy this strange little ditty about the Mummy, and his bracelet.
TRACK #50:
Ernest Scared Stupid Theme by Bruce Arntson & Kirby Shelstad
If there’s one thing I liked as much as Halloween growing up, it was Ernest. So naturally, Ernest Scared Stupid is by far my favorite example of comedic genius an all-around swell guy Jim Varney’s extended career as Ernest P. Worrell.
The theme from Ernest Scared Stupid, along with it’s awesome opening credit sequence, set the tone for this wonderful holiday treat.
Complete with kick-ass trolls courtesy of The Chiodo Brothers (see: Killer Klowns From Outer Space) Ernest Scared Stupid should be watched at least every Halloween by everyone who isn’t dreadfully repulsed by the character of Ernest.
And even then, you should watch it anyway, and be ashamed of yourself for hating Ernest.
TRACK #49:
Candyman by Blitzkid
For fans of the Shindig favorite Blitzkid, it probably seems fitting to have this song come straight in at #49 following Helen’s Theme. I always thought so anyway.
Pretty straight forward Blitzkid offering here, as they detail the plot of the 1992 Tony Todd creep-fest Candyman, a film which still manages to give me the willies at times just thinking about it.
That shit-smeared bathroom reading “Sweets to the Sweet.” That graffiti style Candyman face Virginia Madsen climbs through. Her waking up in a pool of dog-blood next to a severed head having no idea what has happened while a woman screams bloody murder from the other room. Candyman flying backwards through a window. Creepy stuff. Effective.
I hear you’re looking for Candyman, bitch.
TRACK #48:
Helen’s Theme by Phillip Glass
No horror theme is quite a beautiful sounding as Phillip Glass’ recurring theme from Candyman. It’s haunting, particularly in the context of the film, but on its own, it’s a rather sweet and quiet piano melody.
Spliced over the rain effect here which closes out Raining Blood, it’s a nice interlude for your guests to enjoy as they grab more Re-Agent Punch, piss on your fence, or blast some lines in your bathroom without you.
Here’s to hoping Candyman busts through that goddamn mirror and guts them for their selfishness.
TRACK #47:
Raining Blood by Slayer
Perhaps the only track on the playlist that doesn’t fall into one of my fairly open-ended categories, Raining Blood is an old hold-over from the days when the Shindig wasn’t a dense as it is today.
I’ve always used it as a lead-in to Helen’s Theme (from Candyman) by Phillip Glass, as the rain effect at the end was too perfect.
I’ve never removed it for that very reason, despite the small annoyance it’s always posed me knowing it isn’t about, featured in, or even remotely related to any horror movie or Halloween.
Maybe you could call it a Devilish Track, and perhaps I will, because well, the guy is busting out of purgatory on his way to heaven to “fuck that place up,” as Jeff Hanneman worded it.
Besides, this song fuckin’ owns. How much more justification do you need?
Led in by Father Urbain Grandier’s sentencing from Ken Russell’s 1971 nusto-mastepiece The Devils.
TRACK #46:
House of 1000 Corpses by Rob Zombie
Well, Lords of Salem was released this past weekend, much to chagrin of critics and the Internet as a whole, it seems. Tumblr especially appears to be awash was some pretty negative reactions.
So, now seemed as good a time as any to drop in this previously unfeatured addition to the Shindig.
Why previously unfeatured? Well, at the risk of posting negative ideas, and alienating some followers, my love for Rob Zombie extends from about White Zombie to well,…White Zombie. Of Rob’s solo and film career, I can not say I am a huge fan.
So why add it at all? Well, its a Title Track and that’s a little hard to just straight-up ignore. Plus, of all his movie this is probably the one I enjoyed the most. And this song is cool enough and certainly Halloweeny enough to enjoy a position on the playlist.
And hell, I like Rob Zombie. He taught me how awesome samples are in metal songs and pointed me toward a lot of really great movies. What I think of his ability to remake them, or steal ideas from them, is neither here nor there.
So go support Lords of Salem. It may be derivative but at least it’s not another goddamn remake.
TRACK #45:
Hands Off by Maria Vidal
So, we’re just over 2 hours into the playlist, and you’re party should be starting to pick up a little.
But you’re guests are pissed, “What’s with this music? We can’t dance to this shit!”
Well, problem solved, thanks to Maria Vidal and Once Bitten.
If Jim Carrey, Lauren Hutton and Karen Kopins can all dance to this, and as well as they do, than anyone can.
TRACK #44:
Dracula’s Daughter by Screaming Lord Sutch and The Savages
British rocker Screaming Lord Sutch is a pretty spooky cat.
Check him out.
That’s pretty spooky.
He also made some spooky music, too.
Like this tune that I’m filing under the Monster Song category, as he isn’t explicitly detailing the plot of the 1936 sequel to Universal’s classic Dracula.
He pretty much just uses the title as a jump-off point for some crazy story about a girl named Mary that bites him in a graveyard. A girl who’s pops just happens to be Dracula.
In addition to this music, he also founded a totally legitimate British political party called The Official Monster Raving Loony Party.
Here’s their totally legitimate logo.
He also hung himself in 1999 following his mother’s death, and years of clinical depression. Now that’s pretty spooky.
But what the 3rd Earl of Harrow left behind was a lot of a fun garage tunes and some perfect Shindiggin’ material.
Bookended with clips from Dracula’s Daughter just for good measure.
The Shindig hopes you’re resting in peace David Sutch, you spooky sonofabitch.
TRACK #43:
Spirit by Doug E. Fresh and The Get Fresh Crew
When it comes to Monster Raps, no movie’s got that category on lock down like Ghostbusters 2.
Whatever your take on the movie itself (I happen to enjoy it, though not nearly as much as the superior original) its soundtrack is pretty serious, and as such has a lot of representation on The Shindig.
The year was 1989 and this soundtrack certainly feels that way, bridging the gap between 80’s pop and paving the way for what would be the mainstream explosion of rap the following year. Hats off the the music supervisor’s foresight on that one.
Like any good soundtrack it also consistently reminds one of the movie, as the music is featured so predominately within the film.
The first Shindig cut from that album is Doug E. Fresh’s Spirit. Some people hear it, some people fear it. Some people just won’t go near it.
Dig it.
TRACK #42:
Full Moon by Elvira
Segueing nicely from that last sample is this gem from everyone’s favorite wet nightmare Elvira.
Of all the Elvira originals on The Shindig (and there’s a few), this is perhaps my favorite. It’s got a fun 80’s synth-pop sound, and it features the Mistress of the Dark singing seductively about how essentially a full moon makes her crazy horny. Um, ok. ‘Nuff said. I’m in.
Here’s Elvira with Full Moon.
Thanks for the boner.
TRACK #41:
Bad Moon Rising by Creedence Clearwater Revival
This annual addition to most Halloween playlists and radio stations is made all the more relevant to The Shindig for its inclusion in John Landis’ lunar based soundtrack for An American Werewolf In London.
One of my first experiences with the wonders of special makeup FX, Rick Baker and his team won the category’s first Academy Award for the groundbreaking and amazing work on display here. If anyone tells you the effects in this film appear “dated” or “cheesy,” discontinue conversing with that person post-haste.
Cinematic werewolf transformations, until this point, had mostly been the stuff of cutaways 
and time-lapse photography. Baker (along with Rob Botin over on The Howling) reinvented the wheel with a combination of animatronics, change-o-heads, reverse photography and skillful editing, to show a man literally transforming into a creature of the night right before your eyes. And that’s to say nothing of the intense murder and slow decay of Jack Goodman, played to perfection by Griffin Dunne.
Speaking on the film itself, I feel American Werewolf is hanging out near the top of the horror/comedy heap for its ability to separate the 2 so effectively. When it’s joking, it’s hilarious; when it’s deathly serious, it’s fucking horrifying. Nazi werewolves.
Oh, the music, yeah. I love Creedence, and this is a great song, used to great effect here with all the other moon tracks in the film.
Keep off the moors…stick to the roads…
