Picking up from last week, Adam Clarke suggest five more songs for your Halloween party playlist.
6) “Spider Baby” – Lon Chaney
Also reviewed for Blogoween. It’s a monster mash type song ghouls, werewolves and ghosts. Lon Chaney Jr makes for a surprisingly good singer in the mold of Boris Karloff’s vocals on “You’re a Mean One, Mr Grinch.” I’ll only add this: the cover of this song by Fantomas is incredible, so either version is mandatory for your Halloween party.
7) “Dream Warriors” – Dokken
Given their thorough inability to rock, “Rockin’ like Dokken” may be the most misleading catchphrase in human history. Dokken weren’t really one of the greats of 80’s hair metal, but “Dream Warriors” is a gem. The song loosely chronicles the fight between young teens and everyone’s favourite sweater-wearing child murderer, Freddy Krueger, as per A Nightmare On Elm Street 3. I may not be a Dokken fan, but it’s hard not to rock out to the wailing cry of “ain’t gonna dream no mooooore!”
8) “House of 1000 Corpses” – Rob Zombie
True confession: I loathe nearly everything Rob Zombie has created. Zombie is so affable and intelligent in interviews, he’s demonstrated that he knows everything about horror movies, save how to make one. Yet, this song with its off-kilter piano, slamming drums, country-ish twanging guitars and falsetto wailing makes for Zombie’s best song.
9) “The Ballad of Harry Warden” – My Bloody Valentine
The original My Bloody Valentine is an Atlantic Canadian charmer. With its Moosehead beers, small town malaise and petty jealousies, it’s an above-average, likable slasher with an iconic villain in the form of its pickaxe-wielding miner. The charm doesn’t end with a young Cynthia Dale and assorted Canadiana, as the film ends with a memorable story-song in the form of “The Ballad of Harry Warden.” As a song, “Warden” is a breath of fresh air over the usual hair metal or John Carpenter clone scores that’d usually play over a slasher’s end credits
10) Evil Dead – Credits Jazz
And speaking of fresh air, I can’t imagine what it’d be like for random audiences in 1984 who saw The Evil Dead for the first time. While not the “splat-stick” comedy the series is known for, The Evil Dead can’t be forgotten for just how inventive it was. Sam Raimi’s obsession with askew camera angles, fast motion and spectacular gore were unlike anything else the genre had produced at that point. The Evil Dead also deserves a lot of credit for its memorable sound design and an effective score by Joseph LoDuca (who’d return to score the film’s two sequels, as well as Raimi’s Xena: Warrior Princess and Hercules). Rather than ominous music for the film’s bleak ending, LoDuca re-used a jazz piece from an earlier sequence with Ash in the basement, which perfectly captures the film’s youthful, manic craziness. Makes the perfect palette cleanser for a gory horror film or your Halloween playlist.