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.
Green Slimeby 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 Slimemust 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.
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 Blackgoin’ 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.
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 DeadandInvasion 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…
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’sToo 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 sequelAddams 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’sWhoomp! 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’sUnbreak 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 TheQuad City DJ’sC’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’sAddams Family (Whoomp!)
Since we seem to be hearing a lot from Shindig members we haven’t seen in a while this year, let’s welcome back That Gal in Black Who Keeps Coming Back, Elvira.
Yep, it’s been about 4 years since The Shindig’s gotten a hitter from Casandra Peterson’s beloved horror icon. To be fair though, we front-loaded this playlist with a ton of Elvira, so giving ourselves a chance to cool off has been helpful.
By 1988, Elvira had burst from the confines of local Los Angeles late-night Television and into homes across the nation with guest appearances on shows like CHiPS, The Fall Guy and endorsements with companies like Coors Light.
However, that was the year Elvira made the great leap from the small screen to the silver screen with Elvira: Mistress of the Dark, a film she co-wrote herself with disembodied Pee-Wee’s Playhouse head, Jambi!
It’s a fun piece of 80’s horror camp that’s very entertaining, with some great special FX work and Elvira at her double entendre-delivering best.
After being sexually harassed by her station’s new owner, Elvira quits her job. Then, she finds out her Great Aunt Morgana died and left her a giant old house! So, she moves to Massachusetts to receive that inheritance.
Unfortunately, the town’s uppity constituency of conservative buttinskis don’t like the cut of her jib. This doesn’t stop Every Tricker’s Treat from indulging in a montage to fix up the old mansion or host a late-night horror fest at the local movie palace. Eventually she gets accused of Witchcraft and almost gets burned at the stake!
All’s well that ends well for Elvira though, as she ultimately uses her inheritance to finance a life-long dream of starring in a lavish Las Vegas show; an occupation Casandra herself actually held at a rather young age.
I do regret to inform you, dear readers, that our beloved Casandra was nominated by those despicable cretins at the Golden Raspberry Committee, for worst actress 1989! Can you believe such a thing?
The good news is she lost to Liza Minnelli for a double-dose of dreafull performances in Arthur 2: On the Rocksand Rent-A-Cop. Still, I can’t believe Casandra was even nominated. Really? It’s a character, and a singular one at that. God, I really think I hate those Razzie fucks.
At any rate, Here I Am is the song she performs in that lavish Vegas show. And while it’s a tad short of my liking, it eventually evolves into a full on Monster Rap, which more than makes up for it’s brevity, in my opinion.
Since the very end of the song has no lyrics, due to Elvira beginning her famous tassel-swinging dance, I’ve included a gif of said dance, to fill the void.This is a dance, I’m proud to say, that I finally got to see Casandra perform live back in 2017, which was the farewell season of her famous, 21-year running Halloween stage show at Knottsberry Farm.
To kick off October proper, we’re gonna pull the lead-off batter from last year’s Heavy Metal Halloween episode of Shindig Radio, which segues nicely, being that it makes good use of a crude reworking of John Carpenter’s classic Halloween theme.
The oldest Heavy Metal Halloween track thus far on The Shindig, this one comes from Danish rocker’s Wasted, who formed in 1981. After releasing this demo in 1984, they toured extensively across Europe and began putting together a follow-up record.
Unfortunately, their record company at the time didn’t much care for this new material at all. They added insult to injury by suggesting the band would be more successful if they altered their style to sound more like Twisted Sister or Bon Jovi.
Wasted didn’t handle this seemingly constructive, yet mostly damn questionable, criticism all that well and slowly began imploding.
However, they reunited recently and just last year released a new album of brand new material that thankfully sounds nothing like either Bon Jovi or Twisted Sister.
So, despite the record company’s shortsightedness and the toll that not playing that type of ball offered Wasted, I’d like to personally thank them guys for sticking to their guns and providing this solid stand-up double, that wholly secures their place on Halloween Shindig.
Back in 1987, I guess someone over at New Line Cinema thought it might be a profitable idea to shove a bunch of session musicians into a studio, have them record a couple weird 80’s covers of a few classic tunes, whip up a few Freddy-specific originals, overdub Robert England cackling, call it Freddy’s Greatest Hits, then sit back and watch the money train pull into the station.
Whether that train ever arrived, I couldn’t well say. That probably depends largely on just how much they dumped into this endeavor in the first place. Not gonna lie, it doesn’t sound like a lot. So who knows, maybe they actually did turn a profit with this thing.
Either way, we won. And we won big time. Mr. Big Time.
If you’ve never heard this album, you’re in for a real treat. If you have, then you’re probably just shaking your head at your screen right now, questioning either my sanity or sincerity. And fair enough. This isn’t double-platinum shit here, I’ll grant you that. But conceptually? It’s as gold as it gets.
Freddy lazily speak-singing Wilson Pickett’s In The Midnight Hour? The frolicking surrealism of a burn-scarred child-killer having his own dance called The Freddy? The strained melodrama of Don’t Sleep? Wolly Bully? C’mon.
How bout just the fact that something this fucking bizarre, this blatantly commercial, this antithetical to its source material was created at all? This kind of thing is everything I want.
As for my sincerity, I’ll just say that maybe I’ve listened to this thing too many times now, and it’s become familiar. Or maybe I just have shitty taste in music. Or maybe I’m just a psychopath. All of these things are a good possibility, but there are songs on this album that I legitimately enjoy, listen to by choice and rock out to. I love Down in the Boiler Room. I love Don’t Sleep. I love Obsession. I love this album; conceptually, musically, wholeheartedly – and I’m glad it exists.
And while this is certainly an album you can hear in many other places, Halloween Shindig is most definitely a place you should be able to hear it.
Main Titles (A Nightmare on Elm Street) by Charles Bernstein
Well, it would be practically un-Halloween Shindig of us to have a Friday the 13th song, much less 2, and not follow them up with a Nightmare on Elm Street song. It’s a practice we’ve long indulged, though typically in the reverse order, with Freddy usually getting the double shot.
As such, in its 8 years of internet life, Halloween Shindig has been home to 10 different Freddy Krueger songs, no doubt aided by his very own release, Freddy’s Greatest Hits.
However, similar to Friday the 13th (and perhaps then more understandably) we have yet to feature Charles Bernstein‘s classic theme from the original Nightmare on Elm Street.
And a fantastic theme at that.
But not just the theme, because the entire score from Freddy’s rookie outing is a stand-alone marvel of horror composition.
And though it’s intricately threaded into the fabric of the film, and largely responsible for both creating its surreal atmosphere and then using those cues to misdirect the viewer, its an album that’s just as enjoyable to hear apart for the film. If you’re into just listening to that sort of thing, that is.
In a recent interview with Gibson Guitar, Charles admitted he didn’t initially think the picture was going to do well commercially. He thought the thing was just too bizarre and destined for a straight to video release, where no one would hear his music. As such, he felt liberated to just do whatever he wanted, and thank the horror God’s for that, because what he wanted to do was unique, surreal and perfectly suited for this specific film.
And it’s all Charles on this thing, too. With a limited budget to work with, Bernstein told Wes Craven he’d have to do it alone. So with an 8 track TEAC recorder, a guitar, a bass, a few percussion instruments, a handful of synths, his own voice and a stack of Boss pedals, Charles wrote, performed, recorded and mixed everything you hear on this score himself. And that’s pretty nuts.
Various gear forums suggest large helpings of Yamaha’s DX-7 mixed with an Oberheim OB-SX, a Roland Juno-106 and possibly even an ARP 2600 as comprising the electronic palate of Elm Street’s synth ladened soundscape.
However agreed upon the above may be, there doesn’t seem to be a definitive list from Charles himself. Unfortunately, he isn’t exactly sure what all made it onto the final score. He does seem pretty convinced there’s at least an OB in there, whether an SX or something more grand, and the DX is probably a lock regardless of anyone’s memory.
Charles did say though, looking at this old photo from 1984, that he spied a Sequential Circuits’ Pro-One. Indeed! It’s right there on the stand in front of him.
The Pro-One was the monophonic little brother of the infamous Prophet-5 – the old horror composers trusty sidearm of choice. No surprises there, if that’s true, though I personally couldn’t say for sure and apparently neither can Charles.
Whatever he used exactly, it just worked. It was the right score, for the right movie at the right time, and I would certainly credit it as being an important part of what made this first Freddy film so effective and loved, and no doubt a contributor to its continued endurance.
Eerily ethereal, eminently electronic, and unmistakably Freddy, here it is at last, The Main Titles from Wes Craven’s original game changer, A Nightmare on Elm Street.
Overlay of Evil / Main Titles (Friday the 13th) by Harry Manferdini
Well, it’s been 8 years. 8 long years that have passed, rather quickly it sometimes seems, since I began the website form of Halloween Shindig. Yet, despite that speed, it somehow still feels almost like a lifetime ago.
In those 8 years I’ve included numerous horror themes on the playlist, maybe not as many as I should have and certainly not as many as I’d like, but there’s plenty to go around.
Additionally, I’ve added 7 different songs from various Friday the 13th films. However, somehow I have yet to include Harry Manferdini’s iconic theme from the 1980 original.
As any of you that happened to read yesterday’s entry may now be aware, Harry scored not only the original film, but every subsequent installment in the 10 film saga, with the lone exception of Jason Takes Manhattan. Still, no small feat.
But that’s not all, cause Harry scored All 4 House films, The Hills Have Eyes 2, The Children, Slaughter High, Swamp Thing and Iron Eagle III!
I know it’s taken too long to get you here Harry, but that is no reflection on your incredible contributions to not just Friday, but to the whole of horror. Halloween Shindig is honored to have you among its ranks.
Sail Away Tiny Sparrow by Harry Manferdini & Angela Rotella
Hey gang.
If you’re here reading this, I’ll assume you’re familiar with Jason Voorhees. Seems reasonable. I’ll also assume then that you’re at least familiar with the Friday the 13th film series, in some respect.
From there, I’ll make a lateral maneuver and assume that, since you are here, you may also be familiar with The Halloween Shindig podcast called Shindig Radio.
If you are, then you’re no doubt familiar with Shindig Radio personality and professional Monstersmith, Mikey Rotella.
Now, perhaps then, given you’ve listen to enough episodes (or maybe just the right episodes) and you also have a steel trap memory for weird personal trivia, you may know that Mikey comes from a very musical family.
First, you have his Grandfather, Julius Rotella Sr. He was a drummer and big band leader who had a family band way back. First with his brothers, then later with his own children, including his namesake, Jules Jr., tickling the ivories.
Providing lead vocals for that family band? Why, that was Mikey’s dad – the perpetually good-willed, world-renown spiritual singer, Marty Rotella. That’s right.
Johnny Rotella, on the ready with his fellow Woodwinders.
But wait, that’s not all! Cause you also get Johnny Rotella, an accomplished woodwind session player and the author of over 200 songs, including Nothing But the Best, which Frank Sinatra recorded in 1962.
The Chairman of the Board wasn’t the only one who put a little Johnny Rot on wax either. Dean Martin, Rosemary Clooney, Tony Bennett and Doris Day have all recorded songs written by the illustrious Johnny Rotella. Pretty incredible.
As a session player, Johnny himself can be heard on tracks from the likes of Benny Goodman, Neil Diamond, Tommy Dorsey, Ella Fitzgerald, Frank Zappa, and Steely Dan! Snap. That’s a murderer’s row of musicians right there, all with Johnny Rotella right at their side.
But that’s still not all. Because there’s also Johnny’s son, Bill Rotella, who’s band, Urban Shocker, provided the full-throttled action extraction Long After Midnight for the 1989 film Action USA. You can check Bill’s new music right here. Man, does it stop with this family?
Nope, because there’s also Bill’s sister, Geraldine. Who, like her father, is an accomplished flutist. One of the best in the industry, Geraldine can be heard on countless film scores including The Omen, Peter Jackson’s King Kong and Star Trek IV: The Voyage Home.
Mikey’s VG+ looking copy of Tranquil Sun’s …Thinking of You. Hell, with that shrink, I might even go NM on that. And since there isn’t even 1 copy of this on Discogs, I’d hang onto that one pal.
But, back before Action USA,Friday the 13th, and Spock saving the Whales, Marty Rotella and his sister, Angela, had a band called Tranquil Sun. They produced a funky mix of disco pop and soul, with enough driving bass, stabbing brass and smooth synth to satisfy any aficionado. They have a sort of Chicago meets ABBA vibe that’s perfectly a product of it’s era and definitely grooves.
A part time member of this band, rippin’ a Sax himself and sweeping that analog cut-off filter, was a young, local New Jersey musician named Harry Manferdini.
Now, assuming (as I did above) you are familiar with Friday the 13th, then perhaps you are also familiar with Harry Manferdini. He’s the man responsible for scoring every film in the original 10 picture series, with the lone exception of Jason Takes Manhattan.
It was Harry’s “Ki Ki Ki, Ma Ma Ma” which went on to become the stuff of horror legend.
In addition to bustin’ reeds and detuning oscillators on Tranquil Sun’s 1981 release …Thinking of You, Harry also arranged and conducted the enitre album. Not a bad pull for a small New Jersey disco band.
The reverse of the LP, … Thinking of You. Harry on that synth and sax baby. And Jules Jr. hittin’ the organ!
Which brings us to Friday the 13th.
Harry revealed that an early cut of the film featured a fairly well known Dolly Parton tune called Fly Away Little Bluebird. However, Dolly was a bit out of budget for the small production and the track needing replacing. It’s kinda like what happened with Prom Night around the same time.
So, Harry penned the curiously titled, Sail Away Tiny Sparrow, as a replacement. He then tapped the best singer he knew, Angie from Tranquil Sun, to sing the tune.
Yep, that’s Mikey’s Aunt Angie all over the original Friday the 13th soundtrack. You can even hear Marty in the background providing, what Mikey referred to as, “the juice.”
A fan favorite in the Friday message boards, Sail Away Tiny Sparrowis just the kind of nice you’re not expecting from a film like Friday the 13th, and it adds a healthy dose of lived-in realism to environs of Crystal Lake. Lots of fans over the years have wondered about it’s origins and performers, and hopefully this will fill in some of the gaps.
But, is that the end of the Rotella’s musical contributions? Not by a long shot, And not even as it concerns this playlist, as Mikey himself can be heard right here, belting it out with The Kyrpt-Keeper 5 on their cover of The Monster Mash. Sure, it’s no Run-Off, but it’s probably more in-line with our listener’s proclivities.
And hey, don’t knock showing up on The Shindig as a musical accomplishment. The last time I checked, neither Al Jourgensen nor Peter Steele could make that claim. So, check your hater jacket at the door.
And how about Marty? Oh, Marty’s doin’ aces. Don’t worry about that.
He’s been shootin’ 73% from the floor, trailing the Hoboken Bigfoot and recording songs under his very own label, Spirit Power Music, for over 30 years. It’s the banner under which you can find him on Instagram. There you can hear nuggets of sage-like advice and his wonderful singing voice. Follow Marty and show him some love from us over at @spiritpowermusic.
But enough about The Juice, what of this song?
Well, it’s most notably heard in the beginning of the film, when Annie enters the Crystal Lake general store to ask for directions to Camp Blood.
A slightly different version of the song is heard again later, at the Blairsville Diner, when Steve stops in for a quick bite and a coffee during the rainstorm.
Now, a version of this song appears on the Orignal Motion Picture soundtrack, but anyone familiar with the film will immediately hear a discrepancy. It sounds nothing like the prominent version in the film. The tempo has been reduced and Angie’s vocals have been pitched shifted down. Probably just side effect of the tempo change.
There are a few low-bit rate versions floating around the internet which attempt to correct this, and some aren’t bad. But I decided, what the hell, and took a crack at correcting it myself to see if i couldn’t get it a little closer and produce a cleaner, re-timed version for all of the Shindig fans. I tried to match the tempo and pitch as much as I could without being too destructive.
However, such tricks can not be accomplished without introducing some digital artifacts, which the eagle-eared among you may be able to detect. Hopefully, that’s not too distracting.
So, what do you think Friday fans? Did I get it pretty close to matching Angie’s original voice? I guess only She, Harry and The Juice know for sure. But hopefully one day, that original recording will resurface somewhere.
Until then, sail away tiny sparrow, out into the world.
Young horror nerd Mikey Rotella stands next to Harry Manferdini, adorned in a Friday the 13th shirt. Coincidentally though, I’m sure.
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.
(It’s A) Monsters’ Holidayby Buck Owens and The Buckaroos
On Oct. 30th 1973, Hee-Haw co-host and future Country Hall of Fame inductee Buck Owens entered his Bakersfield California studio with his Buckaroos to record this shit-kickin’ country creep-out.
Released the following summer, just ahead of Halloween 1974, (It’s A) Monsters’ Holiday reached #6 on the Billboard Country Charts. Not bad for a silly monster song.
And boy howdy, is this one silly.
Rattling off all kinds of monsters – Frankenstein, The Wolfman, Dracula, The Hunchback, Gremlins, Goblins, Mummies and Zombies – Buck Owens gives shout outs all around in this goofy and upbeat tune.
Now, why all of these Monsters inexplicably appearing in Buck’s bedroom constitutes a “holiday” I couldn’t well say. To me, it just sounds like more work.
Cause for Monsters, scaring people is their job, right? At least, you could say it’s not below their pay-grade. So, if they’re just doing their job, than it sounds like they’re at work. Not much of a holiday, just doing what you do for a living.
Now, if they were hanging out by the pool, hittin’ the slopes, or yuckin it up down at the local Monster VFW, I could see considering this a nice little reprieve from their everyday responsibilities; a true holiday.
As it stands, this doesn’t sound like much of a vacation to me. But it does sound like one down home, country-fried Shindiggin’ Halloween hoedown if I’ve ever heard one.
Night of the Vampireby Roky Erickson and The Aliens
Speaking of folks who haven’t made an appearance at the plate for a couple season, here comes Roky Erickson and The Aliens, who haven’t taken a swing in about 6 years, 7 months and 18 days. About.
Ole Roky will probably end up as an All-Star eventually, but he already should be and I’ve neglected adding another one of his songs for far too long.
So we’re gonna line up and Vampire double-header here with Roky’s cautionary ode about a night of a generic vampire.
Or is it? What clues can we unearth?
Well, its all fairly unspecific. That is until Roky tells us a little bit about this vampire. Why, he’s from Transylvania! So, we could easily conclude he’s just talking about Dracula, of course!
Well, wait a minute. Not so fast, cause apparently this Vamp was also born on St. Swithin’s Day.
What in the Sam Hell is St. Swithin’s Day?
Good question. But don’t worry, I’ve already looked it up for us.
St. Swithin’s Day is a British holiday. It’s July 15th. It’s kinda like Groundhog Day, in that it purports to predict how the weather will shake out in it’s aftermath. Seems if it rains on St. Swithin’s Day, you’re lookin at 40 days of more rain to follow.
Got some sunshine? Well, you got some clears skies coming at you for the rest of July and August.
It even has a little limerick:
St Swithun’s day if thou dost rain
For forty days it will remain
St Swithun’s day if thou be fair
For forty days ’twill rain nae mare
Aces. But, what the fuck does that to do with Vampires?
Search me. Roky Erickson was a weird cat, man. God knows what all that electroshock therapy did to his noodle.
Wait, maybe Dracula was born on St. Swithin’s Day?
Well, since Dracula got his name from real life Romanian Aristocrat and gnarly sunofabitch, Vlad III, lets start there.
Vlad was a Prince, and his father, the king, was known as Vlad Dracul, which meant Dragon. That name is what they call a “sobriquet,” and that’s basically just a formal nickname that becomes more popular than your real name. Like Tricky Dick, or The Sultan of Swat, or the King of Pop. You know exactly who I’m talking about and I never needed to say their names. Unless you don’t, which probably just means your younger than shit.
Well anyway, Vlad III had one of these sobriquets too; Vlad Tepes, or Vlad the Impaler. Cause that’s what happens you you shove a fuck-ton of giant pikes through people – you get named for that shit.
Now, since his dad was Vlad Dracul….Little Vlad came to have another nickname, Dracula, which is like the equivalent of what calling a guy around here Johnson or Peterson used to be.
Ok great, but weren’t we taking about his birthday. Yeah, but the problem is that nobody’s really even sure what year Vlad Tepes, was born, much less the day. General consensus seems to be 1431. That’s as good as we can get on that front.
So, how about fake Dracula?
Same. And the novel was published on May 26th, so no winky references there.
Well, how about the guys who played fake Dracula? Let’s see…
Max Schrek? September 6th.
Bela Lugosi? October 20th
Carlos Villarías? July 7th. Man that’s close.
John Carradine? February 5th.
Christopher Lee? May 27th.
Jack Palance? February 18th.
Klaus Kinski? October 18th.
Frank Langella? January 1st.
Udo Kier? October 14th.
Judd Hirsh, maybe? Naw. March 15th.
Duncan Regehr? October 5th.
Gary Oldman? March 21st.
Gerard Fuckin’ Butler, even? November 13th.
That guy from Argento’s 3D shit show? That was Thomas Kretschmann. And nope, September 8th.
What about that new guy? It’s way too late for Roky at this point, but what the hell, right?
Luke Evans was in Dracula Untold. He was born April, 15th,
William Smith? Wait, really…William “Normad” Smith? Yep, he played ole Drac in The Erotic Rites of Countess Dracula in 2001. But no. March 24th.
Claes Bang most recently play him on Netflix. April 28th.
Fuck, really?
I dunno, Leslie Nielsen maybe? Nope. Februrary 11th.
Jesus, was anyone interesting born on July 15th?
Sure…
Hall of fame Basketball player Frank “Pop” Morgenweck, Country Singer Lloyd “Cowboy” Copas, Airwolf’s Jan-Michael Vincent, Painter and toothpaste spokesman Rembrandt, Linda Ronstadt, Filmmaker DA Pennebaker, Jesse “The Body” Ventura, Johnny Thunders, Terry “The Step Father” O’Qiunn, Lolita “I Have the Coolest Last Name Ever” Davidovich, Forrest “What’s Really Goin On With My Eye?” Whittaker, comedian Eddie Griffin, Brian “The Peach Pit” Austin Green and current Portland Trailblazer Point Guard Damian Lillard.
..were all born St. Swithin’s day.
From my extensive research however, I have found that only Brian Austin Green and Cowboy Copas were actual Vampires. Brian was born in 1973, which probably makes him a bit too young for the honor. So, I can only conclude this song is about legendary Vampire Lloyd “Cowboy” Copas.
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…
By association, Shindig Superhero King Diamond finally becomes the Shindig All-Star he was always meant to be.
From Mercyful Fate’s 1983 debut album, Melissa, comes this Satany as shit foray into Halloween with Mr. Diamond at the helm, falsetto and all.
And, for King Diamond fans, the name Melissa is an important one.
According to the album’s final song (and title track) Melissa was a witch who owned the heart of King. She was (presumably) burned at the stake by a priest, to which King Diamond swore revenge.
Melissa then reappeared the following year, again on the final track, of the album Don’t Break the Oath called Come to the Sabbath. That song details the performance of a ritual that will curse the priest responsible for murdering Melissa.
King with his famous Melissa mic stand, though I doubt that’s the original skull.
Finally, Melissa appears on the 1993 Mercyful Fate reunion album, In the Shadows, on the song Is That You, Melissa? Here, King attempts to convince a Coven to perform a ritual which will allow him to speak with Melissa’s ghost. Though the Coven refuses, King is later visited by her spirit. They share a kiss and Melissa is never spoken of again.
However, Melissa holds even more significance to Mr. Diamond than that. See, sometime in 1981, King procured human remains from a medical school in Copenhagen. He then proceeded to named those bones “Melissa.”
King would go on to form his legendary mic stand from the femur and tibia of “Melissa’s” remains. Additionally, he would carry her skull around with him on stage. That is, he did, until one night at a show in the Netherlands (he reckons) Melissa’s skull was stolen!
King still uses his Melissa mic stand to this very day, but her skull has never…been seen…again.
It’s Halloween Night(The Witches’ Jack-O-Lantern) by Acid Witch
Welcome back Weeners! Thanks for joining us. Here’s to a new season on Halloween Shindig. We hope you all enjoy all the new tunes we have lined up for you this year.
Last year, recording and editing Shindig Radio kept me on my heels once the season for songs rolled around. So this year, I decided to get a little head start.
But then, California decided making fake rubber bullshit for crummy new movies that you’ll never see popping up on this website, wasn’t an “essential” service during a global pandemic. Go fig.
Needless to say, I had a bit of extra time on my hands. So this year, we’re starting things just a little bit early (and on the first day of Fall even!) as we’ve got 40 new Title Tracks, Monster Raps, and Halloween Scats to fill your Autumnal airwaves.
Leading us off this year, as promised, is a group of Shindig All-Stars that dropped a brand new Halloween Song just as I was finishing up last year’s countdown. C’mon, it was a wrap! But along came Acid Witch making me wish I had lagged just a little bit longer.
No matter! They’re here now to start the season off right, with another sludgy ode to the Eve of All Saints. This time around, they’re detailing the necessary steps for a Witch to turn a dude’s head into a Jack-O-Lantern…on Halloween Night, no less.
All right, fella. Sold.
This song is tough as shit and an instant inclusion. We hope you like it too, cause there’s more Acid Witch on the way, as we’ve yet to tap into their 2017 release Evil Sound Screamers, which is practically a Halloween Album unto itself. But until then…
Or they want more Kyle Sullivan. We’re not sure, but we have more Title Tracks and not more Kyle, so Title Tracks it is.
Join Graham C. Schofield and Mikey Rotella as they catch another wave of rockin’ plot-talk, and hear the titles of Teenage Exorcist, The Hidden, Dead Heat and many more repeated incessantly!
So, grab a boogie board, some sun-screen and say goodbye to Summer with your friends at Shindig Radio on…
Ok. So, now that I do have a record player, I can finally spin my previously only decorative copy of Whodini’s 12″ 45 for The Haunted House of Rock.
What does that mean for you, dear readers? Why a mini-playlist, of course!
Here, for your listening pleasure, are the 4 different versions of The Haunted House of Rock on offer from that single, including the exceedingly spooked-out Vocoder version.
For the uninitiated, a Vocoder is something you’re familiar with even if you aren’t familiar with the term.
Developed throughout the ’30s by Homer Dudley for Bell Labs, it was first unleashed to the public at the 1939 World’s Fair in New York.
It’s essentially a device that synthesizes human speech. It analyzes the source (your voice) and assigns different parts of that signal to different frequency bands. On the other side, a a series of band-pass filter reproduces those frequencies and, with the help of an envelope follower, creates a robotic facsimile of your voice.
Initially, it was intended to reduce the bandwidth of vocal information for transmission over long distances. Problem was, it kind of sucked at reproducing the human voice convincingly. Too creepy.
Since that sort of thing never stops the United States Military, they put it to use during WWII to encrypt voice messages. See, without the proper frequency band information on the other end, the enemy could not decode that messages. Pretty neat.
However, thanks to several industrious souls, the vocoder soon found its way into the hands of musicians. Not the least of those souls were legendary synth builder Bob Moog and equally legendary synth user Wendy Carlos.
The musical incarnation works a bit differently, but it uses the same principle. Your voice is analyzed and then reproduced by the band-pass filters, but in this case, a “carrier” is sent through that filter as well, like the notes of a synthesizer. This allows you to alter the pitch of that robotic voice and create something altogether more interesting and musical.
Used abusively throughout the 80’s by all all different genres, its has the unmistakable sound of a decade. Here, in modulated grandeur, Whodini asks…
Is this what you wanted?
Something funky and haunted?
To which I reply…
Yep.
Also of interest on the single is an Acapella version, which is kind of fun to hear and a Haunted Mix, which is mostly an instrumental track. There’s also a version which claims to be extended, but sounds no different to me than the version already present on Halloween Shindig.
Either way, it all adds up to the a spooky good time any fan of this song should definitely enjoy.
If you don’t wanna party, take your dead ass home!
Perhaps you know him as Arklon, Dar’s half-brother from Beastmaster 2? Or maybe you know him better as the pimp Ramrod: scumbag extraordinaire, from Vice Squad? How about Stoney Cooper from Deadly Force? Perhaps the murderous police officer, Strom in Tales from The Hood? Could it be you know him as The Conners’ neighbor Ty Tilden from Rosanne? Or maybe, just maybe, you know him best as Huck Finney from John De Hart’s Road To Revenge.
Whatever name you know him by, Gerald Dwight “Wings” Hauser is an American actor best known for a slew of 80’s and 90’s Action movies like L.A. Bounty and Street Asylum, and the occasional Horror outing like 1984’s Mutant and Watchers 3.
Wings even stepped behind the camera and directed a few pictures like Cold Fire and The Art of Dying, both of which I highly recommend.
But before all of that, Gerald Dwight Hauser was called Wings Livingryte, a 70’s balladeer somewhere between Billy Joel and Elton John. Shades of Michael McDonald, Joe Cocker, Tom Waits and even a Young American-era David Bowie crop up from time to time.
Now, you might think a guy who’s been writing a music blog for the past 9 years might also be a guy with a pretty serious vinyl collection. Surprisingly, the complete opposite is true. Despite my love of music and physical media (particularly of the analog variety) vinyl was just never something I got into.
This is, until I found out Wings Hauser cut an album under Wings Livinryte called Your Love Keeps Me Off The Streets…
…and it was only available on vinyl.
I couldn’t find this album on any streaming service. There were no YouTube uploads of single songs. There wasn’t even a cassette on eBay. Nope, just a lone 33rpm record. Buy the ticket…take the ride.
So I did. Well, that is, after I unsuccessfully ripped the copy I had purchased for Mikey Rotella. See, he was the only guy I knew with a record player, and I needed to hear this album and make a copy. Problem was, I didn’t have the proper cable or a phono-preamp, so it sounded like complete trash.
Incidentally however, and completely unbeknownst to be, he had already purchased the same album for me some months prior and just forgot to actually give me the damn thing. Nice!
So, with a bunk digital recording and and a perfectly good vinyl copy of Your Love Keeps Me Off the Streets in hand, I did what any red-blooded American would do…I purchased the cheapest record player I could find. Well, the cheapest one with a built-in preamp, a full sized platter, a counter weight, anyway.
And surprisingly, the album’s not bad! Wings has a pretty good voice and the songs aren’t nearly as silly you might expect coming from The Carpenter. In fact, there’s some I rather like.
No sir, this was a bonafide album, and you can almost imagine an alternate reality with Wings making a go for it as a serious Songsman. It was not to be, unfortunately, but we do have this scratchy testament to Wings’ musicality.
So I thought, since I was gonna rip this album anyway, I’d make it available here to anyone else just dying to hear Wings do his thing.
It’s not gonna be for everyone, I’ll say that. Most of the tracks have a quiet, ballad-like quality that’s just not gonna do it for some folk. But cuts like Title Track Your Love Keeps Me Off The Streets and album opener Sunshine In The Rain are worth the price of admission alone. Also, Silver Stallion and his cover of the Randy Newman hit You Can Leave Your Hat On ain’t too shabby either.
So, without any further ado, Halloween Shindig Presents Wings Livinryte: Your Love Keeps Me Off The Streets.
Enjoy. And let Wings get ya Livinryte and off the streets. There’s an epidemic goin’ on people.
