Halloween 2026, Pt. 1: Twenty-six "leftover" horrors! Break-ins, space novelties, more!

 

To the best of my knowledge, none of these tracks has seen the light of blog for ten years or more--thus, they are "leftover" Halloween numbers, pulled out of the cracks of the crypt and returned to the sunlight, in which they hopefully won't dissolve (what did I just type??).  These are not lesser selections, by any means--just material I haven't touched in a decade or so.  Lots of good stuff in the mix...

Things start with Dickie Goodman's Suspense, as featured on the flip side of 1966's Batman and His Grandmother, but originally issued in 1957 as the flip of The Banana Boat Story, and originally titled The Mystery (In Slow Motion).  Its music is cribbed from Prokofiev's Romeo and Juliet.  Then, two Halloween-style titles (Revenge and Beware) which turn out to be contrived but clever enough love songs.  These are followed by Sharkey Todd's The Horror Show and The Cool Ghoul, both 1959.  Great titles, great productions, but darned if (even after 20 or 30 years) I can make out all the lyrics.  These, in turn, are followed by the 1958 jazz instrumental Ghostin' (Strollin' Spooks).

Then, the all-time great (and sublimely silly) Halloween space-themed novelty, Jeff Barry's The Face From Outer Space (1960).  Later in the slaylist, Barry is answered by Floyd Robinson's The Man in the Moon Is a Lady, which is quite a feat, given that the latter appeared earlier, in 1959.  Next, early Joe South (1958, sounding like Carl Perkins) with a mega-campy title mashup, complete with a sped-up monster voice which must have been a hoary cliche even when fresh.  Danny Hutton follows things up with 1965's Monster Shindig, on the Hanna-Barbera Records label, a side in the style of bubble-gum music to come.  Then, Rolf Harris with his take on The Thing, a side which Google's search engine insists was never made.

Possibly the most gloriously (and artfully) dumb selection in the list: Buchanan and Goodman's The Flying Saucer Goes West, which ends with "General Elvis Presley" saving the day.  The West being the Old West, you see.  (Back when Elvis was a star...)  Then, a 1969 Buddah Records break-in with snippets from tracks released on Buddah Records (to sidestep licensing issues).  And, from 1956, the Baker Sisters with the cute Little Monster, followed by the Moonbillies crooning Fall of the Planet Earth, our first of two selections dealing with the nuclear destruction of our home world.  Durwood Haddock reasons that he's losing his reason in Funny Farm, one of our two men-in-white selections, and Harry King and His Orch. do an expert job on the 1956 instrumental, Rocket Ride.  Then, Julius Rosa with our second men-in-white adventure: Torero, from 1958.  Annette Funicello croons That Crazy Place From (sic) Outer Space, whose lyrics describe a "crazy place IN outer space," and Eddie Hill "and Group" sing Billy Sherrill's saga of two monkeys and the end of the world.  

(Jumpin') Gene Simmons' 1964 Haunted House is a single which has sat in my collection for a couple of decades prior to my lowering a needle into its grooves--I believe that, unlike the other novelties in this list, it's a famous number.  The aforementioned The Man in the Moon Is a Lady isn't quite as inane as it sounds, though it's memorably foolish in the manner of the best Halloween novelties, and Flyin' Saucers Rock 'N Roll is a standard aliens-come-to-our-planet-to-rock-and-roll Sun Records classic from 1957.  Space Race to the Moon describes the pointlessness of landing on our moon, with a plea that the satellite remain free from any ownership claims, only to assert that the United States deserves to get there first.  The Girl Around the Corner is a 1957 voodoo classic by Lee Andrews and the Hearts, and Bill Buchanan gives us two spoken Halloween numbers in The Night Before Halloween and Beware (no relation to the earlier Beware).  

DOWNLOAD: Halloween 2026--Pt. 1.zip

SLAYLIST:

Suspense--Dickie Goodman, 1966

Revenge--Gary Mann With Joe Leahy Orch., 1956

Beware--Toni Arden With Hugo Winterhalter and His Orch., 1955

The Horror Show--Sharkey Todd and His Monsters, 1959

The Cool Ghoul--Same

Ghostin' (Strollin' Spooks)--Bobby Gimby, 1958

The Face From Outer Space--Jeff Barry, 1960

The Purple People Eater Meets the Witch Doctor--Joe South, 1958

Monster Shindig--Danny Hutton, 1965

The Thing--Rolf Harris, 1965

The Flying Saucer Goes West--Buchanan and Goodman, 1958

Moonflight--Vic Venus, 1969

Little Monster--The Baker Sisters, Orch. by Hugo Peretti, 1956

Fall of the Planet Earth--The Moonbillies, 1960

Funny Farm--Durwood Haddock, 1962

Rocket Ride--Harry King and His Orch., 1956

Torero--Julius LaRosa With Nick Perito and His Orch. and Chorus, 1958

That Crazy Place From Outer Space--Annette Funicello, 1958

Monkey Business--Eddie Hill and Group, 1959

Haunted House--Gene Simmons, 1964

The Man in the Moon Is a Lady--Floyd Robinson, 1959

Flyin' Saucers Rock 'N Roll--Billy Riley, 1957

Space Race to the Moon--Alva Starr, 1967

The Girl Around the Corner--Lee Andrews and the Hearts, 1957

The Night Before Halloween--Bill Buchanan, 1962

Beware--Same

Lee

The return of Halloween 2024, Part 2!! The H Man, The Mummy, Spellbound, Saturday Evening Ghost, more!

 

Today/this evening/tonight, we go back two years to my second Halloween 2024 collection (which is why I call it "Halloween 2024, Pt. 2"--seems logical enough). Almost ready: Twenty-plus "leftover" Halloween tracks, including break-ins, instrumentals, and other crazy novelty numbers.  Stay tombed...

We start this repeat post with a marvelous 1945 recording of Miklos Rozsa's Spellbound theme, which Camden credits to Harold Coates, though it's really conducted by the Ukrainian-born Alfred Goodman.  The theme was famous for its use of the Theremin, and I think I hear a brief appearance of same on this recording, though my ears may be mistaken.  

Until I figured out that "Harold Coates" was Al Goodman, my Google searches kept taking me back to Memorable Music From The Movies (shown above, with Jim Flora art).  There was, in fact, a real Harold Coates, so I don't know if RCA's Camden label goofed, or if RCA was mad at Al, or what.  The correct ID appears at a Miklos Rozsa page.  However, no mystery in regard to Harry Lubin's One Step Beyond track, Weird, which is definitely by Lubin and very recognizably from that very show (One Step Beyond), where it was constantly used.

In fact, both Weird and the OSB title music were reworked into the second-season Outer Limits title music--unfortunately.  Lubin's OL music hardly compared to Dominic Frontiere's amazing first-season offerings, but he did an uncharacteristically terrific job on the famous Demon With a Glass Hand ep, plus the score for my favorite second-year OL, The Duplicate Man. I wish Harry had worked at that level more often.  At any rate, Lubin will always be known for the rather lame 1959-1961 OSB, a show hosted and directed by John Newland, allegedly featuring true (yeah, right) tales of the paranormal.  Because I only knew Newland for OSB, I always figured the man was something less than a masterful horror director, and so I was stunned to discover he'd directed what might be the scariest episode of the Boris Karloff-hosted Thriller series, "Pigeons From Hell," along with some other genuinely excellent entries.  He also directed the famous 1962 Bus Stop episode, "I Kiss Your Shadow," which Stephen King calls "the single most frightening story ever done on TV."  At the moment, that ep is still up on YouTube, and it is quite creepy (hence, perfect for Halloween).  But not quite the equal of Thriller eps like "Pigeons," "The Hungry Glass," or "The Cheaters."

And, courtesy of SPC's (Synthetic Plastics Co.) Promenade label, two budget knockoffs by John Logan: 1958's Dinner With Drac and The Witch Doctor.  From SPC, also, is 1965's Saturday Evening Ghost, performed by Frankie Stein and His Ghouls.  I can't believe I didn't hang on to my copy of the original LP version (which preceded this 1977 {?} Peter Pan EP release).

Rod McKuen's 1959 The Mummy features Bob McFadden and Dor (Rod), and is derived from a folk tale I know from childhood, which was featured in the same year's The Thing at the Foot of the Bed.  My book copy is packed away at the moment, so I can't quote from the text, though it employs the same story formula, only minus any mummies.

More instrumentals: Theme from "The Man With a Thousand Faces"--from Chopin's Prelude in E minor (Op. 28 No. 5); Morton Gould's Deserted Ballroom, performed by Morton at the piano; Chopin, again, with his famous Funeral March, performed my Mark Andrews; Josette's Music Box, familiar to any Dark Shadows fan; Graveyard Blues; John Barry's The Black Hole--End Title;  Lawrence Welk and George Cates' terrific adaptation of a famous Grieg number; Frank De Vol with The Addams Family theme; and Ferrante and Teicher with a prepared-piano rendition of Man From Mars, which I suspect they wrote (though I'm not sure).  Not sure where the LP is at this moment.  And there are Three Hauntovani Waltzes, composed and played by some guy named Lee Hartsfeld.

And, one of all-time favorite finds: The two-band, 78 rpm Theatre Lobby Spot for The H Man (the title for the 1959 release of this 1958 Inoshiro Honda classic).  "One of the most unusual and exciting films of its kind!" "Faceless, formless horror of destruction!" "Terrifyingly real, as the world in which it lives!" "See an exotic dancer trapped and destroyed!" "See.. The H Man."

And... three sides shared with me years back by my dear e-friend, the late Pete Grendysa, one of the leading R&B-history experts: Steve Gibson and the Red Caps doing their version of Charles Grean's The Thing (note that Grean recorded our version of Josette's Music Box); The Four Tunes' Ballad of James Dean; and Mr. Ghost Goes to Town, sung by the 5 Jones Boys.  The Four Preps' The Sphinx Won't Tell and the Liverpool Five's The Snake are maybe titles you're not likely to hear elsewhere, but with all the recordings available on YouTube these days, who knows?

DOWNLOAD: Halloween 2024, Pt. 2

SLAYLIST

Spellbound (Rozsa)--Harold Coates (Al Goodman) and His Orch.; 1945

Weird (Harry Lubin, From "One Step Beyond")--Harry Lubin; 1960

Dinner With Drac--John Logan (Promenade; 1958)

Theme From "Man of a Thousand Faces"--Wayne King Orch.; 1958

Deserted Ballroom (Gould)--Morton Gould, piano; 1940

Funeral March (Chopin)--Mark Andrews, Pipe organ solo; 1928

Josette's Music Box (From "Dark Shadows")--The Charles Randolph Grean Sounde; 1970

Saturday Evening Ghost--Frankie Stein and His Ghouls; 1965

My Friend the Ghost--Jill Whitney; 1954

The H Man--Theatre Lobby Spot (Columbia Pictures; 1959)

Graveyard Blues--Earl Fuller's Rector Novelty Orch., 1918

Witch Doctor--John Logan (Promenade; 1958)

Hush... Hush, Sweet Charlotte--Al Martino, Orch. c. by Pete King; 1964

The Thing (Grean)--Steve Gibson and the Red Caps; 1950

The Quest for Bridey Hammerschlaugen--Steven Freberg, with June Foray; 1956

Ballad of James Dean--The Four Tunes; 1956

Mr. Ghost Goes to Town--The 5 Jones Boys; 1936

The Sphinx Won't Tell--The Four Preps; 1962

The Snake--The Liverpool Five; 1965

The Black Hole--End Title (Barry)--Andre Kostelanetz; 1980

Mountain King--Lawrence Welk and His Orchestral; 1961

The Addams Family--Frank De Vol; 1965

The Mummy (Rod McKuen)--Bob McFadden and Dor (Rod McKuen), 1959

Man From Mars--Ferrante and Teicher, 1956

Three Hauntovani Waltzes (Lee Hartsfeld)--Your blogger;  2010

Lee

Memorable Mono Media, Part 4: Riverieras, Joe Turner, Bill Haley, Johnny Preston, The Originals, more!

 

Another helping of memorable mono media, starting with Johnny (Running Bear) Preston's 1960 cover of Leave My Kitten Alone--according to their own testimony, the model for the Beatles' recording of the song, though the Fab Four version didn't surface until the first Anthology release.  Next, the Southerners (whoever they were) with 1957's Say Yeah, which sounds for all the world like an early soul release, though Google identifies the group as a rockabilly band.  Could be.  Then, from Bill Haley, a novelty originally written and recorded by R&B singer Daniel Dorsey "Danny" Overbea, and further covered nicely by Les Brown and His Band of Renown--Forty Cups of Coffee.  Dick Hyman, who is loved by UK collectors, next gives us a nice bit of Ferrante and Teicher-style Exotica with the 1956 Junglero on MGM.  Lowkey but highly effective.

Continuing, we have a Band of Gold-style shuffle ballad scored by Ray Conniff for Eileen Rodgers, 1957.  Rudolph Toomb's Gum Drop was originally done by Otis Williams and the Charms, and the Mills Brothers do quite well with their R&B-inspired rendition of the same year (1955).  Your True Love, which follows, is a terrific rocker by Carl Perkins, slightly sped up so that Carl sounds younger (that was the intention, anyway).  Can't Wait is a superior 1958 rock and roll ballad by The Del Vikings, and Yea Yea (In the Mood) is a blatant steal from/of I'm in the Mood for Love, sung by a very young-sounding group of kids.  Meanwhile, The Four Voices' 1957 Bon Bon, written by Bob Merrill, is a somewhat silly but effective R&B-style I-vi-ii-V ballad, beautifully sung.  Then, 1956's Over and Over by the all-time great Moonglows, featured in the film Rock, Rock, Rock! but not a chart success.  The elaborately-arranged Seven Come Eleven has an overworked background chorus giving a solid and heavy beat to the proceedings, and True Love Is Hard to Find is one of the Rivieras' (not to be confused with the California Sun group) less elaborate numbers for Coed (here in a Lost Nite reissue).

Next, the Shirelles on Decca in 1958 with I Want You to Be My Boyfriend, a side on which the harmony falters a bit in the bridge but is otherwise up to the group's later recordings.  I'll Be Around features Don Cherry duplicating the sound of his own Band of Gold, and 1960's Little Lonely Girl features a familiar minor-mode descending bassline.  This single, to my surprise, is quite collectable (at least, at Discogs).

Tarrantela Rock is a terrible but fun rock and roll instrumental (its flip, Somebody Loves Me, is even more fun and terrible), and Steve Lawrence's cover of Joe Turner's The Chicken and the Hawk (Leiber and Stoller) is surprisingly effective.  Great 1961 doo-wop by The Devotions with I Love You for Sentimental Reasons, preceded by Hugo Winterhalter's very R&B-style cover of Ollie Jones and Luther Dixon's Midnight.  A bit odd to hear such an effective treatment by Winterhalter, who famously didn't think much of teen pop.  He certainly did well with it here.

DOWNLOAD: Memorable Mono Media, Pt. 4.zip

Leave My Kitten Alone--Johnny Preston, 1960

Say Yeah--The Southerners, 1957

Forty Cups of Coffee--Bill Haley and His Comets, 1957

Junglero--Dick Hyman Trio, 1956

I Wish I Didn't Have to Dream So Far--Eileen Rodgers w. Ray Conniff and His Orch., 1957

Gum Drop--Mills Brothers w. Sy Oliver, 1955

Your True Love--Carl Perkins, 1957

Can't Wait--The Del Vikings, Orch. c. by Carl Stevens, 1958

Yea Yea (I'm in the Mood)--The Rockin' Kids, 1958

Bon Bon--The Four Voices w. Ray Conniff and His Orch., 1957

Over and Over Again--The Moonglows, 1956

Seven Come Eleven--Tony Rand (Anthony D. Ranucci), 1957

True Love Is Hard to Find--The Rivieras, 1960

Midnight Cannonball--Joe Turner and His Blues Kings, 1955

I Want You to Be My Boyfriend--The Shirelles, 1958

I'll Be Around--Don Cherry w. Ray Conniff and His Orch., 1957

Little Lonely Girl--The Originals, Featuring Tony Allen, 1960

Tarrentela Rock--Frank Sandy and the King's Men, 1958

The Chicken and the Hawk--Steve Lawrence w. Chorus and Orch. dir. by Dick Jacobs, 1955

Midnight--Hugo Winterhalter's Orch. and Chorus, V: Johnny Oaks, 1958

(I Love You) For Sentimental Reasons--The Devotions, 1961

Lee

Ping Pong Percussion--in mono! (Is that possible?)

 

From Google's AI Overview:  "(The Stradivari Strings) recordings were actually made by uncredited, anonymous studio orchestras. While the musicians were competent professionals, they were churning out cheap, easy-listening covers of show tunes, waltzes, and movie themes rather than premium classical performances."  This is true, but I think the performances here are exceptional, considering.  Or, at least, much better than we might expect.  It helps to not expect the utmost, though the liner notes are no help in that regard:  "For you who dine by candlelight and toast your conversation with champagne...here are unforgettable moments...hauntingly beautiful melodies played with the romantic fervor captured only by superb strings in the hands of marvelous performers."  

Yes, nothing complements dining by candlelight like 99-cent vinyl.  That is, if we've already blown the budget on lighting and beverage...

And ping pong percussion in monaural?  Is that even possible?  Well, yes, obviously, since the Spinorama label did so here, but it's not logically possible, since ping pong percussion is, by definition, a two-channel effect.  It consists of the audio engineer panning between the right and left channels, which of course requires at least a pair of audible groove sides.  Monaural ping pong percussion is simply... percussion, I guess.

Of course, the clever cover design--courtesy of Harry and Marion Zelenco, Inc.--is just as fine in stereo or mono.  Meanwhile, savor the typical rack-jobber carelessness: "M-32" on the cover, but the longer matrix numbers on the label.  Also, the mismatched titles: The Sound of Leroy Anderson (jacket) versus The Music of Leroy Anderson (label).  At least the artist credit stayed the same, though "The Magic Strings" were credited on the first edition (on Promenade) of this work.

Suppose someone spent years performing in The Stradivari Strings, but since there was (technically) no such group in real life, that person's career would be unqualifiable, since there were no specific "Stradivari Strings" ensemble or ensembles.  Just whomever was available for a given gig.  ("I was a member of the Stradivari Strings."  "Who were they?"  "Um... Well, they never actually existed.  On the other hand, we were also known as The Magic Strings, Al Goodman and His Orchestra, and The Limelight Strings.  I played in all of those.")  It could be a thing for bragging... or not.

"Ask for 'Stradvari Strings' when you want the best in recorded enjoyment!" the liner notes invite us to do.  I'll have to remember that the next time I visit Giant Eagle.  I suppose I should take this album along.

DOWNLOAD: The Music of Leroy Anderson.zip FLAC

Blue Tango

Summer Skies

China Doll

Saraband

Fiddle Faddle

A Trumpeter's Lullaby

The Girl in Satin

The First Day of Spring

Syncopated Clock

The Blue Bells of Scotland

The Sound of Leroy Anderson (Aka, The Music of...)--The Stradivari Strings (Spinorama M-32)


Lee

Memorable Mono Media, Part 3: Dell-Vikings, June Valli, The Buckinghams, Carl Perkins, Big Jay McNeely, Sunny Gale!

 

So, ragweed pollen has arrived, and so I feel like I'm blogging in my sleep.  In fact, I might be asleep--can't be sure.  But, trusting that I am in fact awake, here are 22 memorable mono tracks, starting with some 78-rpm thrift finds of the past two weeks: The Dell-Vikings on Fee Bee (with the ballad side sounding terrible, but the hit side--Come Go With Me--sounding terrific), The Heartbeats with Oh Baby Don't, and LaVerne Baker on Atlantic with the rocking Jim Dandy.  Note the distortion and tape-glitch in How Can I Find True Love--flaws which also appeared in the 45 rpm release, if not as blatantly.

Then, back to 45 rpm singles, with a terrific, more-or-less-r-&-r ballad by Fred Weismantel, sung beautifully by the Four Voices: Darling, Thanks to You.  This 1955 performance, much like the same songwriter and group's Lovely One (also in this playlist), is the perfect marriage of 50s-quartet pop and doo-wop--the Four Lads meet the Dell-Vikings, sort of.  

Then, the incomparable June Valli with 1957's Street of Memories, probably my favorite of this bunch (and with enough reverb for two sides).  Next, Magic Star--Tel-Star with lyrics--beautifully arranged by Bill Justis for Margie Singleton on Mercury.  And we have ? and the Mysterians with the two-chord romp, Got To, a 1967 effort which--as the B-side of Girl (You Captivate Me)--charted, though just barely.  Meanwhile, Carl Perkins' Hollywood City (1962, Columbia), cowritten by Otis Blackwell, completely failed to chart, though it probably should have.

Very tight musicianship distinguishes Boyd Bennett's Right Around the Corner, while tight doo-wop harmonizing graces the Turbans' Sister Sookey of the same year (1956). 

Then, Clyde Battin and Gary Paxton's (Skip and Flip) 1959 Lunch Hour, which is not to be confused with June Valli's 1958 single of the same name (farther down in this list).  Jerry Lee Lewis' 1961 Money, not surprisingly, went nowhere (Lewis having committed bigamy in 1957 with a 13-year-old bride--not the kind of thing that helps a pop career), whereas Ray Conniff's Strollin' and Boppin' hit the Top 20 as one of the numbers on the LP Dance the Bop!  And Conniff was, at the time and by contrast, legally married to his second wife.

Conniff leads the orchestra on the Four Voices' Top 20 hit, Lovely One, an unusually elegant doo-wop effort, and he provides a reasonably rocking background for Guy Mitchell's Take Me Back Baby, penned by Claude Demetrius (cited as "Demetuis" on the label), and a minor hit for Guy.  This is followed by Dealer of Dreams, a Buck Ram number which failed to chart for the Penguins.  Then, the frenetic, solo-filled, honking-sax classic, The Goof (1952).  

Which brings us to our playlist's most out of place track, the 1968 Where Did You Come From by the Buckinghams.  Afterwards, a subdued June Valli demonstrates that teen rock was no challenge for her (Lunch Hour, 1958), Sunny Gale provides a country-fied Come Go With Me, and the Mint Juleps give us a highly effective12-bar-blues rocker, Vip-a-Dip (another non-charter).

DOWNLOAD: Memorable Mono Media, Pt. 3.zip

How Can I Find True Love--The Dell-Vikings, 1957 (Fee Bee 205, 78 rpm)

Come Go With Me--Same

Oh Baby Don't--The Heartbeats, 1956 (Hull Records 720, 78 rpm)

Jim Dandy--LaVerne Baker and the Gliders w. Orch., 1956 (Atlantic 116, 78 rpm)

Darling, Thanks to You (Weismantel)--The Four Voices, 1955

Street of Memories--June Valli w. Joe Reisman's Orch. and Chorus, 1957

Magic Star (Tel-Star)--Margie Singleton, Merry Melody Singers, Arr. Bill Justis, 1963

Got To--? (Question Mark) and the Mysterians, 1967

Hollywood City (O. Blackwell-W. Scott)--Carl Perkins, 1962

Right Around the Corner--Boyd Bennett and His Rockets, 1956

Sister Sookey--Tubans, 1956

Lunch Hour--Skip and Flip (Clyde Battin--Gary Paxton), 1959

Money--Jerry Lee Lewis and His Pumping Piano, 1961 (Sun 371)

Strollin' and Boppin' (Conniff)--Jimmy Richards (Ray Conniff), 1958

Lovely One (Weismantel)--The Four Voices, 1956

Take Me Baby Baby (Claude Demetrius)--Guy Mitchell w. Ray Conniff, 1956

Dealer of Dreams (Buck Ram)--The Penguins, 1956

The Goof--Big Jay McNeely and His Orch., 1952

Where Did You Come From--The Buckinghams, 1968

Lunch Hour--June Valli, 1958

Come Go With Me--Sunny Gale, Orch. and Chorus Dir. by Sid Bass, 1957

Vip-a-Dip--Mint Juleps, 1956

Lee