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’.
So it’s 1987 and you’re Kevin Tenney and you just made a crazy Halloween movie about kids getting possessed in an old abandoned funeral home.
It’s all edited; its fun, it’s funny, the gore looks great, Linnea looks great, Amelia looks great, the pacing is down, everything us shaping up to be a fine horror romp.
But something’s missing. Where’s the music?
What you need is an end credit tune that says everything you want to say in a decidedly late 80’s hard rock fashion. What are you to do?
You hire your fucking brother Dennis Michael Tenney, that’s what you do. Then you tell him “knock it outta the park bro,” because “everything’s riding on you.”
And then he gives you The Beast Inside...
…and it clears the fucking bases.
Composer of the main theme and the rest of the music from Night of the Demons that isn’t Bauhaus’ Stigmata Martyr, Dennis Michael Tenney knows his way around a hard rocking 80’s power ballad, and The Beast Inside is no exception.
It’s got the slow melodic verse followed by the chugging chorus. It’s got a weird demon voice saying “The Beast!” just before the solo tears in from nowhere. And it’s got the strangely vague yet vaguely epic lyrics.
What the hell is Dennis talking about here?
It plays more toward the figurative side of it’s double entendre that’s for sure, making a metaphor out of it’s title for the beast inside of all mankind. Then it throws in a bunch of vague cold-war anxiety just to let you know it’s being written in the mid-80’s. But if we don’t analyze it too much (which honestly, we shouldn’t even be doing) it makes for a pretty rocking coda to a movie about demon possession.
And it’s all lead in by a Halloween prick getting his comeuppance via a slice of ironic justice served up by his dear, doting wife. That’ll teach ya to shove razor blades in apples, ya old blowhole.
At #133 here’s Shindig All-Star Dennis Michael Tenney with….The Beast Inside!
If you’re an Elvira fan like me, than you’re no doubt at least tangentially aware of her Halloween albums.
There are a number of them, the bulk of which feature the mistress herself singing on her own original tracks. They’re pretty great.
What you may notice however, is that while these Halloween albums feature lots of allusions to the holiday, Elvira herself only participates in songs tangentially related to Halloween itself. What gives?
If you’re like me and you administer a Halloween themed music blog, you may have even dug deep enough to find the many references to an actual Halloween song she sings called Trick or Treat. There’s even a couple of clips on YouTube of her performing the track. So where’s the damn song?
Who knows exactly, as it seems it was never officially released on any of her albums. However, The Shindig dug deeper still and purchased an episode of The Dr. Demento Show from October of 1983 that featured Cassandra Peterson as co-host.
As you’ll hear in the clip, The Doc mentions Elvira’s forthcoming album will be including original tunes, one of which they preview on the show, our white buffalo Trick or Treat. Why this never came to fruition is a Halloween legend of limited and miopic interest.
Let’s just 80’s metal it right into Halloween. Whaddya say, Weeners?
Much like Track 110 (Halloween by Halloween) here’s another titular band-anthem from a different band named after our haunted holiday.
That fact that 2 bands like that exist is a little bizarre. What’s next, Samhain by Samhain?
Well it’s not the next song, does that count? But yeah, that exists too and is represented on The Shindig. Maybe we should make room for another category “bands just named after this fucking holiday.”
You only get this type of shit with Halloween. Don’t see too many bands running around named “Christmas” or “Yom Kippur” (both of which actually exist, for those of you playing at home.)
But I digress.
Atlanta-based thrash-metal pioneers Hallows Eve even have a similar tale to the aforementioned Halloween. Releasing some hard hitting early albums but never really gaining much notoriety, they dismantled due to heavy lineup changes only to reemerged after years of inactivity.
I became familiar with them (perhaps like many horror fans) through the inclusion of their song D.I.E. on the Black Roses soundtrack. Thankfully these guys produced a Band-Anthem and sealed their Shindig fate.
Can we take a moment here to talk about this album cover for a sec? Look at that fucking thing. It’s incredible. It looks like you just started a metal band with those 2 burnouts from Mr. Finn’s Chemistry class then asked that hesher kid with the peach fuzz mustache to draw you this shit in a notebook at lunch. And then he turned around handed you the coolest fucking drawing you’d ever seen in your life.
“Hallows Eve bro. Look at that shit.”
In an apparently unrelated aside, I’ll say that Brits don’t care much for Halloween. It’s not really a big deal over there – don’t really give shit, don’t see the fuss.
However, they due refer to it as “All Hallo’s.” So what better samples to integrate than these from Hammer’s Horror swan song To the Devil a Daughter.
Since it takes place around All Hallo’s, we get some nice satany Hallows Eve banter.
Coming off their debut album Tales of Terror, here’s Hallows Eve with Hallows Eve.
And just remember, 98% of so-called Satanists are nothing but pathetic freaks who get their kicks out of dancing naked in freezing church yards and use The Devil as an excuse for getting some sex.
I wanted to keep the Demons train rolling and mash-up Boddy Rhodes’ Hank from Demons 2but that soundtrack kinda sucks. Save for Rainby the Cult and some fun score music, it’s a pretty lame horror soundtrack and is almost completely useless to The Shindig.
“Take this! I’ll hang onto this!”
They opted to go all new wave gothy with the sequel and while I love The Cult (perhaps the only rock outfit on there), I tried it out and Rain just isn’t ballsy enough for all of Bobby’s shouting.
You know what is?
They got their balls to the wall, as it happens. So I decided to cheat a little.
Bobby Rhodes is just too good to leave in the lurch because of an inferior soundtrack and the original Demons has too good of a soundtrack not to double dip.
So we’re gonna bust out a Demons double shot for ya. Here’s Accept’sFast As a Shark from Demons 1 sampled out with tons of from shit from Hank in Demons 2.
Horseshoes and hand-grenades as far as The Shindig is concerned.
Perhaps better suited to a giallo than a supernatural tale of possession, Fast As a Shark is still a pretty awesome track for any horror movie, full stop. Delivering its somewhat moot warning while letting you know just how royally fucked you are. Holy shit.
And to cap it all off they’re just putting you on blast:
“Now it’s your time.
A loser will die.”
Gee, thanks for the vote of confidence Accept.
As for Demons 2, it’s pretty much the same damn movie, only everyone’s stuck in an apartment complex and the creatures emerge from a TV broadcast instead of a film.
There’s more characters, spreading around the action a little more but dragging the pace down a bit. Obviously, Bobby Rhodes is back, this time in the form of physical trainer Hank. He’s a more stand-up cat and a much better leader, otherwise he might as well just be Tony The Pimp in sweatpants.
There’s even another group of time-sensitive teens driving around trying to get to the main location. Yeah, it’s pretty much the same movie. Except, ya know, for its shittier, non-metal soundtrack.
It’s also little sillier around the edges with a few children, including a very young Asia Argento. One of these little fuckers actually turns into a demon, which itself is pretty cool. That is until this winged gremlin-like ghoulie-thing tears out of his stomach. Again, kinda cool when it happens, but then it starts chasing the pregnant woman all around. That gets a bit clowny.
The additional characters make the chaos a bit little less focused. There’s the couple stuck in the elevator, the lady with her demon dog, Sally and her birthday partiers all dealing with different levels of demonoid phenomenon.
Meanwhile, Hank and some of his gym-short meat-heads are holding it down in the parking garage, flipping cars, tossin’ molotovs, busting up demons with axes and gunning down possessed fools left and right.
As horror sequels go, it’s not bad. It sticks to the formula pretty stringently, offering up the same basic premise while upping the ante just enough. And like most sequels, it fails to outdo its predecessor. But honestly, if they keep calling forth demons and letting Bobby Rhodes miraculous return to battle ’em back, The Shindig it’d be all over it. Unfortunately the Demons saga gets all fuckered after part 2.
Lamberto directed The Ogre in 1988, which was widely released as Dèmoni 3. It is not. Similarly, Umberto Lenzi directed Dèmoni 3 (aka Black Demons) in ’91. This is also not Demons 3.
Officially, Demons 3 is Michele Soavi’s 1989 movie The Church(aka Cathedral of Demons or Demon Cathedral) which, while pretty badass, doesn’t necessarily feel like a Demons movie either. Though after a sinister crypt it opened, the titular church does seal itself shut much like in the earlier Demons outings.
But, we fans still get all the Bobby Rhodes-Demon-action we can from the original double-header. So come on Weeners, MOVE IT! MOVE IT!
Ah Demons, how I love thee. Let me count the ways.
This awesome Italian gore-fest from Mario Bava’s son Lamberto might not live up to his father’s catalog in the masterful film making department, but what it lacks in finesse it more than makes up for in kick ass gore effects, hilarious dubbing and general balls-to-the-wallsery.
The setup is simple. Unsuspecting movie-goers attending the premier screening of a new horror film become possessed by the same evil unfolding on the screen. Cue crazy demon madness.
What I love most about Demons (is not, bizarrely enough, it’s soundtrack) but Bobby Rhodes’ pimp-hero Tony. Or rather, I should say whoever dubbed him in English. They’re both awesome and the two form together like the Wonder Twins to create something even more awesome.
My pal Mikey, who met Bobby Rhodes at Fangoria’s Weekend of Horrors some years ago, said he has this really thick Italian accent and it was bizarre to hear that voice coming out of his face. Here’s a picture. Mikey is appropriately pumped.
Cause Tony is the fucking man and he provides us with some of the greatest get-it-done, no-nonsense tough-guy horror movie bullshit ever committed to the screen. He’s seriously one of my favorite horror heroes of all time and though he dies about halfway into the proceedings, he (or rather Bobby and the awesome guy who dubs him) return in a more noble fashion for Demons 2. Double bonus.
What I love second about Demons is its unrelenting gore-soaked effects from maestro Sergio Stivalleti. The movie is caked in oozing liquids, green foam and nasty teeth. The demons look mean and scary as hell while they mercilessly rip the unsuspecting movie-goers to shred.
Coming in third is the soundtrack. It’s a serious 80’s metal bash and exactly what you want from a horror soundtrack: Accept, Saxon, Motely Crue, Billy Idol, hell there’s even a random Rick Springfield song in there for good measure.
So, with all those heavy hitters then, why choose Pretty Maids? Well, first thing is Night Danger fucking rules and is exactly the kinda rocking 80’s metal storm the Shindig needs to follow up the King.
Secondly, it’s all Satany and badass.
Thirdly, it’s front and center in the film, right as all the demon shit hits the fan.
Spliced with tons of samples from Tony the Pimp cause fuck yeah.
It’s time once again Weeners for the King of Halloween himself, Mr. King Diamond.
Sure, this song isn’t really about Halloween or even Trick or Treating for that matter, but the King is playing a game called Trick or Treat and damn it if that’s not good enough for the Ole Shindig.
The ever theatrical Diamond’s catalog consists mostly of concept albums, as the majority tell very detailed and horrific stories. Why no one has turned one of these into a movie yet is beyond me. There’s a couple of real good ones.
In particular, the gem from which our next tracks hails, 1996’s The Graveyard.
The Graveyard tells the story of an unnamed King Diamond character who is wrongfully committed to a sanitarium by Mayor McKenzie. Seems King used to work for the him and one night happened upon the The Mayor molesting his own daughter. Yikes.
So the Mayor cooked up a story and tossed King Diamond into the meat grinder.
After years in Blackhill Sanitarium losing his mind, King kills S nurse, escapes and takes refuge in The Graveyard, where he begins to plots his revenge. He also murders some other people and becomes obsessed with the idea of a person’s soul living inside its decapitated head forever, but mostly it’s the revenge he’s interested in.
And that’s where we join our story…
King has kidnapped the Mayor’s daughter Lucy and buried her alive in one of seven graves. Mayor McKenzie has 3 tries to discover which grave is holding Lucy or he will murder them both…
::my best John Kassir impression::
…in a little game the King is calling…Treat Or Treat…yeeehahahahaaaaa.