Since our Halloween movie countdown is focusing on Halloween Seqeuls, let’s keep the sequel soundtrack train rolling over here with a tune from an actual Halloween sequel.
If you’re a C.H.U.D. fan, a horror fan or even just a normal person trying to sit down and watch an enjoyable movie, C.H.U.D. II: Bud the C.H.U.D. doesn’t have a whole hell of a lot to offer you.
If you’re Halloween Shindig, a blog centered around a Halloween Playlist which encompasses all types of random nonsensical horror-related music from the movies, suddenly C.H.U.D. II: Bud the C.H.U.D. has something quite fantastic to offer.
And that thing is out next number, by-liner title track Bud The C.H.U.D. from Kipp Lennon.
Who the hell is Kipp Lennon?
That’s a great question. Apparently he’s a founding member of the folk group Venice. Yeah, I’d never heard of them either.
However, it appears he’s also the voice behind mental patient Leon Kompowski who believes he’s Michael Jackson in the Simpsons episode “Stark Raving Dad.” As such, he’s the guy who sings “Happy Birthday Lisa.” That’s pretty weird.
Seems he’s had a handful of gigs impersonating Michael Jackson’s voice. He doesn’t do that here unfortunately, presumably using his natural God-given sound to accentuate all the incredible lyrics Bud the C.H.U.D. has to offer.
Outside of this track, C.H.U.D. II is a rather harmless, if midly entertaining tangent to the original C.H.U.D. It also takes place during Halloween and features a pretty great Halloween party sequence (a staple) and some fun trick or treating.
Compared to some of the junk featured on The Return of the 31 Days of Halloween Horror list, you can do a lot worse this season the C.H.U.D. II.
So, if you’re feeling festive and silly, pop it on and you’ll be treated to this fun 80’s tune from Kipp Lennon.
Since everyone got so pissed off this summer about the Ghostbusters remake, and even more pissed off about the new song by Fall Out Boy ft. Missy Elliot (definitely not featured on the Shindig), I thought we’d take a look at another Ghostbusters Theme reiteration that surely pissed off purists in its day.
I’ve said it before and I’ll probably say it again, but when it comes to Monster Raps, no movie’s got that shit on lock like Ghostbusters 2.
A prime example of this is Run D.M.C.’sGhostbusters, which (as sacrilegious as it may sound) I actually enjoy a little more than Ray Parker Jr.’s seminal theme.
Don’t get me wrong, Ray’s original Title Track is an unrivaled classic, both for Halloween playlists and just generally speaking. It also serves as the basis for Reverend Run and Co.’s sonic sequel. This jam however is way less played-out, awesomely 8o’s in its own distinct way and just plain old fashioned ridiculous in the best way possible.
Sampled up with tons of clips of the boys bustin’ and schillin’.
Fred Krueger the myth or Fred Krueger the man? It doesn’t matter cause they’re still rappin’ bout him, understand?
The lesser heralded of the 2 Freddy rap songs, I feel Are You Ready For Freddy is superior to Nightmare on My Street for several good reasons:
It’s The Fat Boys and they’re cooler than Will Smith any day of the week.
It’s offically from a Freddy movie (Part 4: The Dream Master)
It actually features Robert England rapping as Freddy, as opposed to whoever the hell is rapping on the DJ Jazzy Jeff track.
It’s less generic about it’s Freddydom, as multiple Elm Street films are referenced and sampled.
And if that wasn’t enough, lines like
“With a hat like a vagabond
Standin’ like a flasher
It’s Mr. Big Time, Fred Krueger
make all the difference in the world.
Freddymania is in full swing here in 1988 and the series has finally degraded into pure schillery. Freddy is a tradable commodity now, hitting the talk show circuit, making more music video appearences and hanging out in the windshield of cars.
I actually own this and it’s fucking awesome
A double-edged sword no doubt, as it’s exactly this kind of boardroom buffoonery that gives us such an awesome track as Are You Ready for Freddy (and my equally awesome sunshield.)
But in terms of the movie, well viewers paid the price. Freddy’s crackin’ wise, sportin’ sunglasses and eatin’ pizza like some damned Ninja Turtle. Ceasing to be at all frightening and with the cleanest sweater I think he’s ever worn, Freddy’s less your dirty old dream diddler and more your pal. Hell, he’s brought back from his “grave” by the fiery urine of Kincaid’s dog Jason. Yeah, it sets up its jackassery early and securely.
But I enjoy The Dream Master for much the same reason I enjoy Freddy’s Dead: I love Freddy as a character (either scary or silly) and it’s just a ridiculous piece of horror filmmaking.
Plus it has this song.
Which, interestingly enough, has an alternate version. There was a second, longer version of the track cut for the 12″ single. What? Now that’s the kinda shit The Shindig lives for.
So why isn’t that the featured track? Well, to be honest, I don’t like it as much. It’s a bit slower, the beats a little different and there’s a bunch of extra incidental sounds tossed all over it. It’s kinda weird. Plus, it cuts out Freddy’s original rap at the end! What?! You get an alternate, almost spoken-word outro from The Dream Crasher, which is fun but just isn’t quite the same.
However, it does feature some pretty fantastic extra verses in the middle where The Boys detail the plot from the original Elm Street and talk about Freddy more. And there’s more samples from the original Elm Street thrown in for good measure. Bonus.
If you’ve been following The Shindig for any reasonable amount of time then you may have noticed I hardly ever mention A Nightmare Before Christmas. In fact, aside from that post-Halloween gif I reblogged last year, I’ve never mentioned it before. There’s a couple of good reason for this.
One of them is that there is certainly no shortage of love shown to Tim Burton and Henry Selick’s 1993 stop motion classic around the web, especially within the Halloween circles this blog runs. I’ll wager you could recreate the film pretty handedly from just the gifs on Tumblr alone. Everyone knows it, everyone loves it. No sense in beating a dead horse, the way I see it.
More directly though, it has never been a movie I typically associate with Halloween. Sure, Jack The Pumpkin King, Halloweentown and all of that but for me the film has always had a decidedly Christmas air to it. Fuck, the word Christmas appears in its title. That’s an automatic disqualification from any Halloween movie list as far as The Shindig is concerned.
However, as everyone is well aware, the first 10 minutes or so before Jack happens into Christmastown are about as Halloweeny as as it gets, aided in no small part by this fantastic song from Halloween Hero and Shindig All-Star Danny Elfman.
It’s one of the most Halloweeny songs ever committed to film or record period and any Halloween playlist would be remiss not to include it. And whenever that claim comes down the pipe, The Shindig abides.
That’s it. That’s pretty much all there is to say.
I’m gonna say more, naturally but I thought it was worth noting that that’s all anyone really needs to say.
“Thriller. That’s what’s next.”
“Oh, ok. Sure. Of course it is.”
If anyone at your party has a reaction any less than the one I’ve described above, they don’t deserve to be celebrating Halloween. Take their mask, steal their candy and egg them back to the Stone Age.
The last time I checked (which was yesterday) Thriller was still the biggest selling album of all time. What? That’s crazy. It’s 33 years old, how is that still true? It’s cause it’s Thriller, that’s why.
For no mere mortal can resist…and so on and so forth. Probably some horrible music industry warlock bullshit, you ask me. Stick that into your Google and search it.
But I digress.
Thriller’s reach far extends that of the horror genre, Halloween or even this playlist. It literally extends to just about anyone who’s ever lived on this planet during the last 33 years and has functioning ear drums. That’s how huge it is. It’s the biggest thing on this playlist. It’s the biggest referential track ever recorded. How? How was such a niche song this fucking huge?
Well, I’d say it’s more the album than the song itself. Both Billie Jean and Beat It trump it in the singles department, no question. Thriller itself never hit number 1, staying in the Billboard 100 for 14 weeks but topping out at number 4.
You could make an argument for Ghostbusters being a bigger hit, as it was legitimately a number 1 record. But I’d say that’s about it. Nothing else comes close. Though as much as I love Ray Parker Jr.’s Title Track (definitely the biggest Title Track ever recorded) it’s not quite Thriller. Though both were contemporaries that changed the way music was conceived, created and sold, Thriller still has a little something extra. That extra is no doubt Michael Jackson.
Though that’s to say nothing of the video, revolutionizing the young media form and setting a standard I still think has yet to be matched. From Rick Baker’s werewolf transformation to his zombies, to the choreography, to the eerie quality with which John Landis imbues the whole proceedings. It’s unmatched and a Horror fans dream video.
And it scared the living shit out of me as a kid. Having greater access to the Thriller video than most horror movies, it absolutely haunted me. The werewolf transformation was an initial jolt. Then Michael suddenly becoming a zombie just fucked me up. What!? He was just singing to her, now he’s a zombie?
Though even more terrifying was once the music stopped and the horror movie started. The girl taking refuge in the abandoned house and Michael and his zombie horde busting through ever inch of it to get at her. He was just Michael Jackson! They were friends! Now he’s trying to kill her! That level of broken trust rocked my young mind.
Ah, but it was all a dream! There’s Michael. “What’s the problem?” He asks. A sigh of relief washes over me. It’s all ok.
But then, the absolute kick in the nuts. Finally, once I feel at ease again, there he is, turning around and looking dead at me with those fucking werewolf eyes. Holy shit….it’s not ok. Freeze frame. And a child’s nightmares were born. It still sends a little shiver up my spine every time I see it, all these years later.
The 3D Viewmaster I had as a kid didn’t help either. Remember Viewmasters? They looked like this.You held it up to the light and clicked through a wheel of stereoscopic photos.
We had a giant, Talking Viewmaster that looked like this.
It was cool pretty cool. The wheels were larger, like scan-tron cards and had audio accompaniment. For this Talking Viewmaster, we had this.
A few Christmas’ back, my mother had pulled the old boy out for my nephews to play with. I hadn’t seen it in years. I immediately recalled my youthful terror and scrounged for the Thriller cartridge. I needed to see it; the image that haunted me all my life.
Sure as shit it was there. And sure as shit, it still gave me the creeps. Holding it up to the light, I perched my phone as close to the eyepiece as possible. I needed to capture this.
As an adult, It’s obvious to me that Ola Ray and Michael are clearly having fun and chuckling to themselves while taking these photos. Fright is at a minimum, but damn it if that wasn’t the scariest shit I ever saw when I was 7. I had to flick passed. Nope. Couldn’t handle it. Still trips me out.
But anyway, back to the actual song. Of course you have Vincent Price, adding his singular voice and an air of authentic late night 50’s horror double-feature flair to the entire affair.
That mixed with the lyrical references and allusions all wrapped up it a supremely dance-able 80’s rhythm that no mere mortal can resist.
Each one of these facets gives Thriller its collective undefinable quality. And it’s a quality that all understand, as everyone at your party is about to dance. Seriously. I don’t care who they are or what they’re doing; drunk, high, tired, newly arrived, mid-conversation, about to leave, taking a piss – don’t matter. Just watch your guests, this song comes on and people flip the fuck out. It might take a second for everyone to register what’s happening, but once it does, that’s the ballgame, jack. Maybe it’s all that warlocking.
Leaving this one off your Halloween playlist is absolutely unconscionable. In fact, I’ll go so far as to say that If you asked 10 random people on the street for just 1 song they associate with Halloween, I guarantee every one of them will name Thriller.
Since we all know and have just addressed with whom you’ll contact over telephone wires should it become apparent that you in fact have harmful apparitions approaching, let’s task listeners with a similar question:
Yeah, but who do you call when you have Monsters?
That’s right and at last we come to The Monster Squad. From the very first CD in 2002, The Monster Squad has been a permanent fixture of Halloween Shindig and remains one of my favorite selections on the playlist.
Granted, I may be a bit biased but this song is representing hard. Let’s check the stats:
Is it about a horror movie?
Check, it’s about the goddamn Monster Squad.
Ah, yes, but is it in the movie?
In it? Motherfucker, it’s the Title Track. Triple check that shit.
We talkin’ bout Monsters?
Fuck yeah we are. It’s like a goddamn monster mash up in this motherfucker. Dracula, Frankenstein’s Monster, the Wolfman, the Mummy, the Creature from the Black Lagoon. That’s the big five, son. Throw in some sexy vampire chicks, a grotesque bat transformation and a werewolf exploding out of the sky and you’ve got some real monster shit on lock. Check + to Monster Song.
What more could you ask for? Well, they even mention Halloween too. Sure, it’s to illustrate how this ain’t Halloween (or some phony deal) but we’ll just look that other way on that one. They say Halloween and damn it if that ain’t all that matters sometimes.
Now all of that sounds like a Referentially Inclusive Monster Halloween Title Track to me, gang. That’s Great Pumpkin status right there.
And it’s a Monster Rap to boot? Holy shit, is there anything this song can’t do?
One of the most ridiculous tracks you can imagine, The Monster Squad was suspiciously recorded by some anonymous collective of Hip-Hop Demigods that chose to remain nameless. What?!
Why the hell anyone would elect to do this is so far beyond the scope of my imagination it boarders on madness. If I was responsible for this song I’d put it on every job application I ever filled out.
2 years as an Assistant Hanger Inspector for Sears and Roebuck.
4 months as a Substitute Wigsmith at The Downtown Clownery.
Oh yeah and I wrote the motherfucking Monster Squad Rap. What’s up?
From a time when everyone thought something like this was a really great idea, The Monster Squad (for anyone thinking otherwise) is a really great idea.
It’s is pretty whack? Yeah, I guess so. If you wanna be a jerk about it.
Is it poorly conceived and equally executed? Yeah, I suppose I’d have to concede that fact too, if you really want this to be a frank discussion about musical integrity.
But fuck that discussion and fuck you for wanting it pal, cause this song fucking rules. It’s a rap song about a group of kids fighting The Universal Monsters. Oh, did you not catch that? It’s a rap song about a group of kids fighting The Universal Monsters. Whomever is responsible for this song should be a cultural icon. They should have a fucking Grammy and an Academy Award.
Instead, (I’ve Had) The Time of My Life from Dirty Dancing took the honor that year. All right, fair enough. Maybe that’s a better song, but it lacks the lyric:
“We don’t wanna hang with the walking dead, so we gotta kick some monster butt instead.”
What’s up now, Academy of Arts and Sciences?
Looking into this travesty further, I discovered the competition that year was actually pretty stiff. Check this shit out:
Damn, that’s a solid 80’s line-up right there. Maybe I spoke too soon. Still, it should have been nominated at the absolute least. Who the hell is still talking about Cry Freedom 26 years later?
No one, that’s who.
But I digress.
An interesting side note to this song: the original version I had on the 2002 CD was pulled from my old VHS copy of Monster Squad. Incidentally, this was later signed by Tom Woodruff Jr.
Check it out ——->
This version contained the line:
“First came Dracula, now the Wolfman too, The Mummy and the Gillman swimming in the pool.”
What? Why did that roll call just fall the fuck apart?
Hear that sample below.
I always thought this was a pretty strange and horrendous line, particularly when they could have just as simply said “and the Creature from the Black Lagoon.”
But I guess they couldn’t say “and the Creature from the Black Lagoon,” for the home video release. Damn copyrights.
All things considered, that’s not a bad save. Syllabically sound, it even sort of rhymes, at least no more or less than the original false rhyme. But damn is it silly. Why is he in the pool? Did I miss a scene where he climbs out of a pool? Why did he just say that?
Upon upgrading the tune for better quality many years later when The Monster Squad finally saw a DVD release, I noticed the line was suddenly changed to “and the Creature From The Black Lagoon” and I thought “Shit, that must have been the original lyric. How about that.” Now, I just feel sort of nostalgic for the old, butchered scab.
But I’ve spoken too verbosely about all of this as is, so let’s just make with the goods, huh?
One of my favorite songs on the playlist from one of my favorite movies of all time. Here it is….The Monster Squad.
Is there a more well known or loved Title Track than Ray Parker Jr.’sGhostbusters? Probably not. Which explains why you’re guaranteed to hear it multiple times around Halloween and The Shindig is obviously no exception.
A certified hit, Ghostbusters spent 3 weeks at #1 on the Billboard charts in August of 1984 and it’s no wonder. This catchy number is spooky, danceable and unrelentingly 80’s.
And the video, one of the first cross-media promotional blitzes of its kind, is something to behold. With Ray Parker Jr. creeping it up in a weird, minimalistic neon house, the Ghostbusters themselves dancing down Broadway with him and a collection of the most bizarre cameos ever assembled, it’s pure Reagen-Era cheese.
Seriously, what the fuck is Peter Falk doing in the Ghostbusters video? Chevy Chase, John Candy, Al Franken, hell even Danny Devito all make some sort of sense. But then up pops Columbo and what the fuck? Yeah, it’s pretty 80’s.
The song itself wasn’t something Ray Parker’s people were at all interested in having Ray sing. Keep in mind, the movie wasn’t even released yet, much less a success.
“So wait, you want our smooth, panty droppin’ Ray Parker Jr. to sing about fuckin’ ghosts for,…what is this fuckin’ thing called again? ‘Ghostbusters?’ Yeah, that ain’t happening, pal. You can take a hike with that business.”
It’s an understandable reaction. But Ivan Reitman managed to convinced old Ray it’d be a hit and damn it if the guy wasn’t right on the money. The popularity of the movie and this song are completely unmatched.
Now, indelibly woven into the fabric of American pop culture, I’m not sure anyone can ever utter a phrase even close to “who you gonna call?” without some dickhead shouting “Ghostbusters!”
Yeah, that same phrase everyone probably thought sounded pretty stupid before the film blew up like 2 tons of marshmallow all over 1984.
But when something’s this big, people start to pay attention. Maybe a little too closely.
First and foremost you have Huey Lewis suing Ray Parker because he reckoned Ghostbusters sounded a bit too much like I Want a New Drug for his liking. A settlement was reached that Ray still isn’t at liberty discuss on record.
Then you have The Screen Actors Guild getting all bent outta shape due to these cameos and the non-unionized status of the fledgling music video industry.
There’s also a copyright issue regarding the video which has kept it off every subsequent home release of the film, nearly causing the video to be lost forever. Chalk another one up in the win column of the Internet for that.
And still further, there’s even more nonsense over the title with subsequent animated versions of the Ghosbusters, but we’ll delve into that one a little further down the playlist.
For now, let us and your guests revel in what is perhaps the most popular and crowd pleasing song The Shindig has to offer.