Soundtracks

All posts in the Soundtracks category

Music to Make Horror Movies By: Lorna Luft

Published December 22, 2019 by biggayhorrorfan

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Best known for her enthusiastic portrayal of Pink Lady Paulette in Grease 2 and for her famous lineage, Lorna Luft also joined the ranks of horror goddesses with her role in the Tales of the Darkside episode The Shrine.

The veteran of countless musical theater productions, Luft also knows her way around a torch song as evidenced by her take on The Music That Makes Me Dance:

Of course, New Wave enthusiasts are aware that she also backed up the likes of Debbie Harry, most notably on the popular Eat to the Beat track Slow Motion, and Hilly Michaels in the early ‘80s, making this performing dynamo a true delight in almost every entertainment medium imaginable.

https://www.facebook.com/LornaLuftOfficial/

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Music to Make Horror Movies By: Atanas Ilitch

Published December 15, 2019 by biggayhorrorfan

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As the Driller Killer in Slumber Party Massacre 2, Atanas Ilitch made a definitive impression on slasher movie lovers worldwide. Radiating with hip James Dean swerve and a sense of New Wave cool, Ilitch made killing seem as quick and easy as a cheesy pop song here.

But Ilitch’s personal history is even more colorful than his best known onscreen role. The scion of a powerful Detroit based business dynasty, he was also reportedly considered for the role of James Bond in the ‘80s. His musicality was a prime consideration to the producers and, in preparation for playing the iconic spy, he recorded a number of songs with espionage style theatrics. Upon losing the role to Timothy Dalton, he took such imaginings as Dark Night, Crazy in the Dark and Shoot the Gun and put them on an album called Shadows. Let’s Live Together was one of the more romantic offerings on display there.

Surviving a battle with cancer in his early 40s, Ilitch is, assumedly, still providing the citizens of Michigan with interesting musical avenues via his various corporate undertakings.

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Music to Make Horror Movies By: Dusty Springfield

Published December 8, 2019 by biggayhorrorfan

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She is the essence of smooth British soul, making her the perfect soundtrack vocalist. Indeed, Dusty Springfield, one of the essential goddesses of sixties pop, has decorated the background of many a celluloid landscape. Nicely, her smoky version of Spooky highlights the first kiss between childhood sweethearts in 2017’s fun horror comedy The Babysitter. Countered by exploding bodies and cranial blood bursts, this tender moment could not have a more perfect aural illustration.

Springfield is also of special interest to the LGBTQIA community. Romantically linked with a number of women, including Rough Trade’s magnetic Carole Pope, she is one of the many exceptionally talented performers that we can claim as family. Her immaculate voice and silvery presence grandly live on despite her death in 1999 due to cancer, at the far too young age of 59.Emily-Alyn-Lind-and-Judah-Lewis-in-The-Babysitter-2017

http://www.dustyspringfield.co.uk/

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Music to Make Horror Movies By: Chaka Khan

Published December 1, 2019 by biggayhorrorfan

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There is probably one scene in 1981’s The Fan that queer horror freaks remember even more than all those glorious Lauren Bacall production numbers. Of course, that is the moment when Michael Biehn’s twisted Douglas Breen picks up a similar looking man (Terrence Marinan) in a gay bar. While problematic, showing another instance of society’s perception of the homosexual male as a victim, it also truly resonated with a generation who wasn’t used to representation of any sort on the silver screen.

Playing, perhaps ironically, in the background as this deadly seduction occurs is the Junior Walker & the All Stars’ version of How Sweet It Is (To Be Loved By You). H-m-m…maybe not, Michael! But there is one thing we can all probably agree on. Chaka Khan’s version of the song, famously performed by everyone from Marvin Gaye to James Taylor, is truly killer – in the best possible way!

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The Fan - Gay

Music to Make Horror Movies By: Dead and Buried

Published November 3, 2019 by biggayhorrorfan

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Director Gary Sherman has always displayed a sense of social urgency and class in his work. In 1981’s Dead and Buried, he examined the destructiveness of totalitarianism amid the face melting special effects and bloodshed. He also showed true style by using big band tunes to underscore some of the more realistic mayhem. Of special interest to songbird aficionados, he chose Doris Day’s beloved rendition of Sentimental Journey to compliment a joyful moment with Jack Albertson’s magnetic William Dobbs.

Day, who died in 2019, and Albertson, who finished out his long film career with Dead and Buried, definitely are a smart team-up. Both appeared together in 1961’s Lover Come Back to Me, making this fun, macabre mash-up all the more meaningful.

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Music to Make Horror Movies By: Freda Payne and Belinda Carlisle

Published October 20, 2019 by biggayhorrorfan

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When you’re a possessed killer doll there is only one thing that you need, besides an innocent soul or two to take over (of course), and that is — a band of gold. Thankfully, for the over ominous Annabelle that’s exactly what she receives in the first few minutes of her latest offering, Annabelle Comes Home. As the Warrens, the central couple of this film series, drive our deadly inanimate lass off to her final resting place, Freda Payne’s classic song of heartbreak pops up on the radio.

Of course, Annabelle being Annabelle, she might prefer a still sweet yet harder edged cover version like the one provided by Belinda Carlisle, the sassily magnetic leader of the Go-Go’s.

But whatever version she ultimately chooses, there is one thing for certain -this mistress of mayhem definitely has good taste!

Belinda

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Music to Make Horror Movies By: Helen Morgan and Lillian Roth

Published October 8, 2019 by biggayhorrorfan

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Helen Morgan’s lovely take on Can’t Help Lovin’ Dat Man from Show Boat is used to grand effect in Alfred Sole’s unusually powerful horror effort Alice, Sweet Alice. Introducing the pivotal presence of Mr. Alphonso, a creepy landlord who antagonistically preys upon the title character, Sole uses this number in the background to illustrate the strange emotional landscape of this sometimes pitiful, always unsavory character.

Morgan (above left), who died of alcoholism at an early age, had two biographies filmed of her life and troubled times. In an interesting coincidence, Sole cast Lillian Roth (above right), a singer and actress in the tradition of Morgan, in a small but pivotal role of a pathologist in the film. In reality, Roth’s path echoed Morgan’s on many levels, adding a nice layer of show business coincidence to this well loved film, which was recently given the deluxe Blu-ray treatment from Arrow Video. As with Morgan, Roth’s life was given a cinematic appraisal by Susan Hayward, who was nominated for an Oscar for her work, in I’ll Cry Tomorrow.

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