Music for Haunted Mansions
“I want to be haunted by the ghost.” – THE POGUES
is at his best when knocking out straight-up stompers about evil, though, and the heavy hitters on Say Goodnight to the World are the in- tensely creepy cover of “Heartbreak Hotel” (perfect for a David Lynch soundtrack) and the amped-up sort-of murder ballad “Gravedirt on My Blue Suede Shoes.” That song title alone earns this wicked ’n’ creepy disc an extra big, black skull. DA 0000
THE OTHER New Blood
PUNK Spiders don’t scare me. Neither snakes, nor even the threat of serial killers
in the night. No, what terrifies me are roller coasters. Never have I strapped myself in for the thrill of high-speed twists and turns and loop-de-loops. Which means when I visit an amusement park, I spend most of my time scoping out the haunted houses. And there is no greater spookhouse than Disney’s Haunted Mansion. It even has its own theme music. Opened in 1969 at Disneyland in California and since spread to parks in
Florida, Paris and Tokyo, the Haunted Mansion is a high-tech walk (and ride, in its customized “DoomBuggies”) through a Gothic mansion filled with special ef- fects spectres and ghastly gags. To complete the experience, Disney commis- sioned original music. Staffers Buddy Baker and X Atencio knew they needed something eerie, but still family-friendly. No Psycho stings here. They concocted the upbeat theme song “Grim Grinning Ghosts (The Screaming Song),” which could be interpreted in a variety of musical styles, for use throughout the ride. Step into the Mansion and a simple organ dirge sets the tone. Later, you may hear the melody whispered through a flute, played by a phantom pianist or tapped out on chimes. Eventually, it breaks out into a rollicking jamboree, with xylophone and banjo supporting a cast of spectres singing about what happens when happy ghosts come out of their graveyards to play. (Hint: They party.) It’s fair to say that “Grim Grinning Ghosts” has played as much a role in the
success of the Haunted Mansion as its beautiful set design and kooky script, even if it’s not as ingrained in our consciousness as Disney’s film and TV themes. It’s been released on plenty of recordings over the years, beginning with 1969’s The Story and Song from the Haunted Mansion, a long beloved vinyl collectible re-released last year on CD. There have even been a few pop covers, by bands such as Los Lobos and The Barenaked Ladies. But the original, featuring vocals by Thurl Ravenscroft (who also sang “You’re a Mean One, Mr. Grinch”), is worth seeking out for the most authentic listening experience. (For a detailed discography visit the comprehensive fansite
doombuggies.com.) A new version of the song may be coming soon: news that Guillermo del Toro
is developing a film based on the ride has me wondering about the music. Danny Elfman is, of course, the obvious choice for the score but who will sing the theme? Maybe some high-tech trickery could bring a vocalist back from the dead? Now, that would really be a scream.
LIISA LADOUCEUR
THE BLOOD SPATTERED GUIDE CAN BE HEARD WEEKLY ON RUEMORGUERADIO.COM A U D I O D R O M E
RM120
SPV/STEAMHAMMER German Misfits cover band turned horror punk heroes, The Other, are back with a fourth album, New Blood. Since 2002, the four ghoulish punks have been spoofing on horror films in their lyrics and stage shows, while gaining international popularity touring with The Meteors and The Damned. Despite the title, there is nothing new or fresh here. While the disc definitely has some catchy entries, including “Back to the Cemetery” and “Howling at the Moon,” too many tracks channel a Danzig- esque howl, which quickly turns the proceedings stale. This is even more of a disappointment when you realize that these guys are actually very talented. Fans of previous psychobilly-laced al- bums might find themselves turned off by the updated, heavily polished sound and shinier production style, not to mention the equally fiendish and fancy packaging. Despite the requisite blood- banging lyrics, New Blood boasts a softer edge. While all this still keeps them in the running for party band, The Other will have a tough time standing out in a crowd of ghouls. JS 00½
fight. This third outing from the Toronto quartet finds the band sound- ing full of piss and vinegar (likely a re- sult of the incessant touring chronicled in the road ragin’ “Hell- bound”) as they pound through 30 minutes of tightly arranged, hyperac- tive and accessible punk rock. Some fans may lament the waning psy- chobilly elements, but with production as slick as their gelled hair and cock- sure bouts of backing organ and “woah ohs,” They All Fall Down is clearly aimed at taking the group to the next level: commercial success. Songs such as “Get What’s Coming” and “Dusk Til Dawn” leave plenty of holes for singer Sarah Sin’s candied pipes to take centre stage, as does the lone doo-wop ballad “Sleep Tight,” in which the chorus warns “she’ll be watching with undead eyes.” The hooks may be more con- ventional but it’s only ’cause The Creepshow’s ready for the main event. TT 000½
PSYCHO CHARGER Mark of the Psycho
ROCK
THE CREEPSHOW They All Fall Down
PUNK
STOMP From the title and cover art alone, it seems The Creepshow is ready for a
ROT ’N’ ROLL ARMY RECORDS Neil Young once said of his rudimen- tary band Crazy Horse, “It’s all one song!” – an ethos clearly shared by “NYC’s bloodiest band,” Psycho Charger. This fourth album rarely di- verges from the mid-tempo blues riffs, distorto vocals and horror movie samples that are the trio’s trademark. Like a grindhouse version of AC/DC, they seem comfortable not straying from what’s worked before, meaning it rocks on a base level, but mostly sounds as if they’ve just shuffled the chords and hit record again. Jimmy Psycho’s lyrics are grungy, horror- centric fun (“Hot off the grill or maybe deep fried/A thyroid salad and an eye- ball pie/Don’t mind the taste of formaldehyde” – “I Eat the Dead”) but his limited growl gets monotonous as the music’s linearity never changes the backdrop. Tunes such as “Turn Blue” and an inspired cover of Bob Dylan’s “Wanted Man” are proof the band can change it up, but for now, it’s business as usual. TT 00
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