Oh October, here you are again. You know, over the last few years I’ve tried to help broaden the musical landscapes of readers around this spooky season by writing some articles about Halloween songs. But these lists haven’t been about your “Thriller” or “Monster Mash” fare, I’ve been digging deeper to bring you some tracks you may not know about or may not think of as Halloween songs despite how eerie they may be lyrically, musically, or thematically. If you want to check out the previous lists you can do so here and here before moving on to the selections below. Let’s explore more spooky soundscapes!
Frida – “I Know There’s Something Going On” – 1982
In 1982, ABBA was done and one of their vocalists, Anni-Frid Lyngstad aka Frida, was looking to start a solo career. A year prior, she had enjoyed a record called “Face Value” by a man named Phil Collins. Intent to work with him, Phil was recruited to be the producer for her first solo record which scored a sizeable hit with the track, “I Know There’s Something Going On.” Phil brings his full “In the Air Tonight” atmosphere here along with his drumming and backing vocals. The song, written by Russ Ballard is clearly about a relationship falling apart but the dark keyboards, gated reverb drums effects, and synthesized vocals give the track a very ominous feeling. I keep waiting for this track to have a kind of Kate Bush “Running Up That Hill (Deal With God)” comeback, and with any justice in the world, it will.
Chris de Burgh – “Don’t Pay the Ferryman” – 1982
Also from 1982 is this mythological inspired tale from Chris de Burgh. What opens with an ethereal sound of keyboards builds into a warning about crossing the river Styx. De Burgh has always had a strong voice and range, but when he tells you, “don’t pay the ferryman, until he gets you to the other side,” you damn well better listen. The dude means business. There’s even a spoken verse from Shakespeare’s “The Tempest” in there for good measure. The whole thing is poppy and punchy but very few things are more fitting for Halloween than the ferrying of dead souls by Charon.
Warren Zevon – “Roland the Headless Thompson Gunner” – 1978
When the late, great, Warren Zevon is brought up around this time of year it’s mostly because of his one big hit, “Werewolves of London.” But this is why we’re going outside the box and to an even more Halloween-ish track. “Roland the Headless Thompson Gunner” is from the same album as “Werewolves” but is infinitely more interesting from a storytelling standpoint. Zevon sings about highly skilled Thompson gunner, Roland from Norway. Roland was betrayed when one of his mercenary comrades, Van Owen, was paid off by the CIA because they viewed Roland as a threat. Now, the headless body of Roland wanders the world, seeking vengeance against Van Owen and haunting other battlefields. The best part of the song though, is arguably when the chorus changes from singing, “Roland the Thompson gunner” to “Roland the headless Thompson gunner” after his head is blown off.
Propaganda – “Dr. Mabuse” – 1984
Dr. Mabuse is a literary villain from a series of books by Norbert Jacques who was later turned into a character in a series of films by Fritz Lang. Unless you were in Germany around the 1920’s though, you may have missed out on this pop culture phenomenon. Maybe that’s a bit of hyperbole but either way; the character was the subject of a song by German synth-pop band, Propaganda from their 1984 record, “A Secret Wish.” The only reason I know the song is because I’m a massive fan of record producer Trevor Horn who basically produced like, everything in the ‘80s. This song is insanely dense with synthesizers and a veritable wall of sound that fits with the chaotic evil of the song’s titular villain. The opening lyric, “Why does it hurt, when my heart misses the beat” brings you right in and it doesn’t let go until the end.
Donald Fagen – “Tomorrow’s Girls” – 1993
In 1993, the band Steely Dan had been finished for well over a decade but lead vocalist and keyboardist, Donald Fagen was ready to record something again. He reunited with band mate Walter Becker to release his second solo album, “Kamakiriad.” One of the tracks off it tells the tale of an alien invasion in the form of beautiful women that could almost fool you into thinking they’re human. Fagan describes a world where these aliens are “mixing with the population, a virus wearing pumps and pearls.” The song is actually a clever metaphor for aging and feeling out of touch with younger people who might as well be aliens. It’s about as jazzy as you would expect from Fagen but is heavily drenched in “Body Snatchers” inspired sci-fi horror.
The Police – “Shadows in the Rain” – 1980
Sting and the gang were not averse to engaging in some dark topics. “Every Breath you Take” is a real-life horror story of stalking and “Wrapped Around Your Finger” name checks Mephistopheles and Scylla and Charybdis. “Shadows in the Rain” is a different beast from either of those. The vocals are intentionally muddy and distant with Sting’s bass and Stewart Copeland’s drums brought up to the front of the mix. The lyric is total psychological horror though as the narrator seems to be suffering from some kind of psychosis. He sees a doctor who tells him he’s experiencing delusions but the man is convinced he’s being stalked and followed by shadowy figures. And because it’s The Police, all this is set to a reggae beat. However, if you’d prefer a jazzier version, Sting re-recorded and re-arranged the song on his first solo album, “The Dream of the Blue Turtles.”
Tom Waits – “Army Ants” – 2006
To be fair, you could put a staggering amount of Tom Waits songs onto a list like this considering the man’s peculiar sense of songwriting and his voice. But those two things come together in a uniquely odd way on this previously unreleased track that was included on his “Orphans: Brawlers, Bawlers, and Bastards” collection. It is just Tom Waits reading off creepy insect facts to a backing track of plucked bass and guitar. One of the few unsettling songs that is also educational. Or as Waits puts it himself, “And as we discussed last semester, the Army Ants will leave nothing but your bones…”
John Fogerty – “Eye of the Zombie” – 1986
The scariest thing about this song is how quickly it killed Fogerty’s revitalized solo career. The former Creedence Clearwater Revival frontman and guitarist had been in an extended career slump and protracted legal battles until he finally returned to chart success in 1985 with the album “Centerfield.” And then it all went to hell with this clunker of a record. That being said, the title track, “Eye of the Zombie,” is good Halloween fare. Fogerty is in strong vocal form and whatever he’s singing about sounds like it would be a strong companion piece to “Bad Moon Rising.” Kind of a weird idea to release this as a single but at least it works to keep your spooky season playlist fresh.
Captain Beefheart – “Making Love to a Vampire With a Monkey on My Knee” – 1980
Ever wanted to hear what the musical arrangement of an anxiety attack sounds like? Here you go. Old Captain Beefheart was one-of-a-kind, to the point that he was one of the major influences on Tom Waits moving from piano driven stories to musical insanity. Beefheart beat him to it and it’s evident here from this poem set to what could loosely be described as a “melody.” And the title is not some kind of eccentric name that’s used for no reason except to be artsy and clever; it is indeed part of the lyric. Note of caution though, the song is pretty explicit so, save this one for a Halloween party for adults. Preferably ones you want to annoy or have them question why they have you as a friend.
Kraftwerk – “Trans Europe Express” – 1977
This is a song about a train. The only way you would know this is because of the repeated lyric, “Trans, Europe, Express” that gets repeated over and over with an emotionless delivery devoid of inflection, joy, and hope. Combine this with the minimalist soundscape of some layered synths and a simple rhythm track and you’d be forgiven if you just assumed whatever this train was is going to transport you to Hell. It’s the kind of arrangement you’d hear in an early 1980’s horror movie. Or, change the synths to an old church organ and it’s the music you’d hear Count Orlok rising out of his coffin to. But, you know, it’s Kraftwerk. Oh those wacky loveable Germans.
