Friday, March 25, 2022

The Rolling Stones Monthly Book (1964 - 1966)


In a post I made a couple of years ago, I detailed the publication history of The Beatles Monthly Book, a a magazine put out by Beat Publications Ltd. which had an original run from 1963 to 1969, with a subsequent revival (consisting of reprints and new material) from 1976 to 2003.  In that post, I mentioned that the publisher, Sean O'Mahony, had also released a similarly group-dedicated Rolling Stones Book during the same period in the mid-60s.

The site Rolling Stones Data provided a brief history of the mag:

"Between 1964 and 1966, the Stones issued THE ROLLING STONES BOOK (also known as “The Rolling Stones Monthly Book”), the equivalent of the Beatles’ ‘The Beatles Monthly Book’, as well produced by British publishing company Beat Publications Ltd. The first issue came out on June 10 1964, and continued to be published monthly until November 1966, with a total of 30 numbers. Each one featured approximately thirty pages (size 8 X 6.25 inches) containing updated information about the group, as well as exclusive photos, interviews, song lyrics, etc. The Beatles Monthly Book closed down temporarily in the early ’70s, but it was revived later, first reprinting the originals, but then as a launching pad for UK Record Collector magazine, and finally shutting up in January 2003, while ‘The Rolling Stones Book’ had only the original edition."

As noted above, unlike The Beatles Book, the Rolling Stones-centered magazine was never republished or revived after its initial run, and as such it has been somewhat difficult for fans of the group to find... until now.

A German Stones fan by the name of Christof made a special effort back in 2020 to create top-quality .pdf copies of every issue, and he kindly but briefly made them available for download. By special request, he recently provided me with copies of the entire print run - which I now happily bestow unto you. Here for your enjoyment are all thirty issues (plus a bonus edition) of The Rolling Stones Book, again formatted for viewing on your computer or printing, if you're so inclined.

Thanks once again to Christof for his diligent, dedicated efforts, which have been greatly appreciated by me and I hope by you all as well!

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Monday, January 3, 2022

2021 In Memorium - #3: Leslie Bricusse (Born 1931)

I'm sure that for many of you visiting this blog, the name of Leslie Bricusse, who died this past October 19th at the ripe old age of 90, won't ring any particular bells. But for a time in the '60s and '70s, the man was a giant in music, particularly in musical theater. His work provided the world with several beloved and memorable tunes which are now regarded as popular standards.

Born in London in 1931 to a wholly nontheatrical family (his father was a newspaper circulation manager), Bricusse gained entrance to the prestigious University of Cambridge, majoring in languages. While there, he quickly found a place in the college's famous amateur theatrical troupe, Footlights, an organization he eventually became president of during his senior year (later, beginning in the 1960s, Footlights alumnae came to dominate British comedy, producing such celebrated performers as David Frost, Douglas Adams (The Hitchhiker's Guide To The Galaxy), National Lampoon's Tony Hendra, Stephen Fry, Hugh Laurie, and several members of the Monty Python troupe).  

As president of the Footlights, he co-wrote and appeared in the 1954 revue Out of the Blue, the first Cambridge revue to reach the West End (London's equivalent to New York's Broadway theater scene). The success of this show caught the attention of longtime West End music hall star Beatrice Lillie, who took Bricusse under her wing as her leading man in her own popular revue, An Evening With Beatrice Lillie. Lillie's show played in both London and New York, and through it Bricusse was established as a "name" in international musical theater. He remained with Lillie's show through the end of the 1950s.

Late in that decade, while on a cruise in the Indian Ocean, Bricusse caught the show of the ocean liner's featured performer, British radio star, screen actor and occasional pop singer Anthony Newley. The two became acquainted while at sea, and began making plans to work together on a musical production. The pair's first collaboration, 1961's Stop The World - I Want To Get Off, was a smash hit in both the West End and on Broadway. The show included Bricusse and Newley's show-stopping song "What Kind Of Fool Am I?", which eventually won a Grammy Award as Song Of The Year and is currently a popular standard. The pair followed this show with another Broadway musical success, 1965's The Roar Of The Greasepaint - The Smell Of The Crowd, a show that was nominated for several Tony Awards that year.

Fresh from their Broadway triumphs, Bricusse and Newley moved into the world of movie music, with their first effort turning out to be a classic; in 1964, they wrote the words to composer John Barry's theme for a James Bond movie coming out later that year - Goldfinger. This tune - sung the HELL out of by Shirley Bassey - is still considered the all-time greatest Bond movie song:

Bricusse scored the title theme to another James Bond movie, You Only Live Twice, in 1967. The song is regarded as another Bond classic and was a huge hit for Nancy Sinatra that year.  From that year onward, Bricusse concentrated his work in film scores and movie musicals rather than with stage productions.  This included 1967's Doctor Doolittle (a notorious box-office bomb for its time, that still produced a hit song, the Oscar-winning "Talk To The Animals") and 1970's Scrooge (featuring another popular hit, "Thank You Very Much").


But in 1971, again collaborating with Newley, the pair produced the work they are most known and revered for. They were commissioned to write all of the songs for a musical fantasy film being directed by Mel Stuart and starring Gene Wilder - Willy Wonka & The Chocolate Factory. This movie is chock-full of Bricusse/Newley classics, including "The Candy Man", a revised version becoming a big hit for Sammy Davis Jr. the following year (in fact, his only #1 song):

But probably the most beloved song from the Willy Wonka soundtrack is the one sung by the title character, the great "Pure Imagination".

In the past fifty years, this song has been covered and remixed hundreds of times by a wide variety of artists, including Lou Rawls, Mariah Carey, The Muppets, Barbra Streisand and Primus.

Willy Wonka the movie was not a huge success when first released, barely making back its production costs, and the original owners and producers (Paramount Pictures and Quaker Oats) sold off the rights to the property to Warner Bros. for a pittance a few years later. The film really didn't become widely seen or popular until the advent of home video in the mid-1980s, gradually growing its status from a cult film into a widely-loved classic. Eventually, Willy Wonka & The Chocolate Factory was selected for preservation in the United States National Film Registry by the Library of Congress in 2014 as being "culturally, historically, or aesthetically significant".

However, the flick's soundtrack was almost immediately recognized and celebrated as something special.  Bricusse and Newley's work received Willy Wonka's only Academy Award nomination that year, for Best Original Score (it lost to Fiddler On The Roof).  The soundtrack album was first released on Paramount Records in 1971; here's the complete track listing, for your edification:

  1. "Main Title (Golden Ticket/Pure Imagination)"
  2. "The Candy Man"
  3. "Charlie's Paper Run"
  4. "Cheer Up, Charlie"
  5. "Lucky Charlie"
  6. "(I've Got A) Golden Ticket"
  7. "Pure Imagination"
  8. "Oompa Loompa"
  9. "The Wondrous Boat Ride"
  10. "Everlasting Gobstoppers/Oompa Loompa"
  11. "The Bubble Machine"
  12. "I Want It Now/Oompa Loompa"
  13. "Wonkamobile, Wonkavision/Oompa Loompa
  14. "Wonkavator/End Title (Pure Imagination)"

In 1996, Hip-O Records (in conjunction with MCA Records, which by then owned the Paramount catalog), released the soundtrack on CD as a "25th Anniversary Edition".  And in 2016, Universal Music Group and Geffen Records released a 45th Anniversary Edition LP.  In all, these multiple releases seemed like overkill/a money grab by the respective labels, since every version had the exact same songs listed above on it.

Leslie Bricusse continued to write music and lyrics for several movie and stage productions throughout the remainder of his life... but Willy Wonka will probably always be the one he'll be most remember for. In honor of his long and productive life, here's Willy Wonka & The Chocolate Factory (Music From The Original Soundtrack), put out by the labels noted above in their respective years.  Enjoy, and as always, let me know what you think.

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Sunday, January 2, 2022

2021 In Memorium - #2: Everett Morton (Born 1950)

RIP to Everett Morton, drummer for the classic '80s ska revival band The Beat (known more familiarly in the States as The English Beat), who died last October 8th at the age of 71.  His innovative, syncopated drumming anchored the band through three studio album releases (1980's Special Beat Service, 1981's Wha'ppen, and 1982's I Just Can't Stop It) and innumerable live appearances up to the group's breakup in 1983.  Afterwards, Morton teamed up with former group member Saxa (on saxophone, obviously) and new vocalist Tony Beet to form The International Beat, releasing a album, The Hitting Line, in 1991, followed by Dance Hall Rockers in 1996.  Even after the demise of his original band, Morton stayed friendly with former Beat frontman Ranking Roger (Roger produced and participated on The International Beat's first album), and in later years the two performed as a version of the original Beat all across the UK, up until Roger's death in 2019.

Back in the day, The English Beat was one of my mainstay ska revival bands (along with The Specials and Madness).  I aurally devoured any and everything they put out, and recall being bitterly disappointed when I heard of the group's demise... so much so that for years afterward, I avidly followed the former members of the old band in their new projects.  For a while in the mid-80s, I was a fan of Fine Young Cannibals (guitarist Andy Cox and bassist David Steele's pop/rock/jazz project with vocalist Roland Gift), whose music was a far cry from the Beat's ska beat.  In 1984, I bought All The Rage, the debut album of General Public, vocalists Ranking Roger and Dave Wakeling's post-breakup band (with Mick Jones from The Clash and Horace Panter from The Specials).  And in the early 90's, I never missed an opportunity to see Special Beat, an amalgamation of members of the two ska revival giants, whenever they played Washington, DC (as I've mentioned long ago...).

But somehow, I missed out on The International Beat's music until long after its release.  I must say I enjoy this album very much.  Its sound is closer to the softer, poppier Wha'ppen-era Beat music, rather than the harder, straight-ahead ska sound of the band's debut album.  But that is not to say that The Hitting Line is without merit.  In my opinion, of all the post-breakup releases, Morton and Saxa's album comes the closest to replicating the old English Beat vibe.

But here - judge for yourself.  In honor of the life and work of Mr. Everett Morton, I proudly offer you all The Hitting Line Crosses The Border, Dojo Records' 1992 rerelease (with bonus tracks) of The International Beat's original debut album, The Hitting Line, from the prior year on Triple X Records.  This will be a welcome addition to your ska revival collection!  

In any event, have a listen, and as always, let me know what you think.

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Saturday, January 1, 2022

2021 In Memorium - #1: Richard H. Kirk (Born 1956)

As I did during this time last year, the following are a series of posts regarding possibly less heralded/recognized musicians and artists who died in 2021 who will be sorely missed.

Richard H. Kirk, a founding member of influential English industrial/electronic band Cabaret Voltaire, died on September 21st at the age of 65.

Cabaret Voltaire came together in the early 1970s, when Sheffield, England resident Chris Watson, an admirer of Brian Eno's early work, began experimenting with his own self-made electronic music gizmos.   His early noodlings caught the attention of fellow Sheffieldite and Eno devotee Kirk, and the two began working together making sound collage tape loops.  Kirk began adding traditional instruments into the mix, and late in 1973 enlisted his friend Stephen Mallinder to add vocals and bass guitar.  The band began appearing live at venues in the central UK in the spring of 1975, but these performances leaned more towards performance art than actual concerts.  Their provocative stage antics led to some highly raucous and violent incidents in those early days (with injuries incurred by both audience and band members), but with the rise of punk rock in the late '70s, audiences became more accepting of what Cabaret Voltaire had to offer.  By the end of that decade, the group was sharing bills with the likes of Joy Division and Gang Of Four.  Their debut album, Mix-Up, was released in 1979, the first of over a dozen LPs put out during the band's initial run (they broke up in 1994, only to reform in 2014. albeit with Kirk as the sole remaining member).

I didn't know anything about Cabaret Voltaire until the mid-80s, during my senior (First Class) year at the U.S. Naval Academy in Annapolis, MD.  That year, an underclassman nicknamed "Rock" moved into my company.  Rock was the antithesis of what the standard template for a military officer was or should be - he was tall, gaunt and geeky, in a young Ric Ocasek-sort of way.  And he had both a biting wit and a semi-rebellious attitude, features that did not serve him well with the Academy leadership and hierarchy.  

But he had superb musical tastes, and he and I began bonding over our shared enjoyment of bands considered to be outside of the popular mainstream.   Rock turned me on to groups like Pere Ubu and Bauhaus with its various offshoots (like Tones On Tail and Love & Rockets).  And he was the one who introduced me to Cabaret Voltaire, playing "Crackdown" from the album of the same name for me one weekend afternoon.  But even with exposures to that album and songs like "James Brown" and "Sensoria" from their next disc Micro-Phonies, I can't say that I was a huge CV fan until after I graduated and moved to Athens, Georgia for a few months.  As I've mentioned before, mid/late-80s Athens was a musical hotbed, and the University of Georgia's student-run radio station, WUOG, was amazing, always playing interesting stuff.  And one day they spun the song "I Want You", off of the group's latest disc The Covenant, The Sword, And The Arm Of The Lord:


That was the tune that hooked me, and I immediately ran out to purchase the album.

The Covenant, The Sword, And The Arm Of The Lord was one of Cabaret Voltaire's most contentious and controversial albums. From Wikipedia:

"Cabaret Voltaire struggled with several censorship issues with Some Bizarre and Virgin Records upon the release of the album. The original title... was forced to be shortened [to The Arm Of The Lord] in the US to avoid reference to a former American white supremacist organization. Musically, the album featured a more abrasive, sample-heavy sound than its predecessor and contained many sexual innuendos in the lyrics, to which Virgin Records took objection. Several speeches by Charles Manson were also mixed in between songs."

Virgin laid down the law to the band, saying that there had to be a charting single released from this album, otherwise they would be dropped from the label.  In response, Cabaret Voltaire cheekily wrote and directed the above video for the brutal "I Want You" (they later admitted the song was about masturbation).  Shockingly, the move worked - the album made the British Top 60, calming the label's fears (the band still left Virgin for EMI for their next album in 1987).

Long before the original band's first dissolution, Kirk had begun releasing solo albums, the first of which being 1980's Disposable Half-Truths.  He released six more solo LPs prior to the breakup, then significantly increased his output in the 1990s, with releases and collaborations under his own name and scores of aliases (including Sandoz, DR Xavier, Biochemical Dread, Electronic Eye Dark Magus and Wicky Wacky) dabbling in not only the industrial, but the techno/dance genre as well.  Not only was he a pioneer, but he was prolific, and will be sorely missed.

In celebration of the life of Richard H. Kirk, here's a copy of my favorite Cabaret Voltaire record, The Covenant, The Sword, And The Arm Of The Lord, put out by Virgin Records in November 1985.  Remember, enjoy, and - as I always say - let me know what you think.

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Friday, December 17, 2021

The Brady Bunch - Merry Christmas From The Brady Bunch

 

Time for some of my annual Christmas postings...  and my first selection for this year is a doozy!

As mentioned in a previous post, the television program The Brady Bunch premiered on ABC in the fall of 1969.  The show was extremely popular with kids in its first couple of seasons, but that popularity wasn't reflected in the overall Nielsen TV ratings, which ranked The Brady Bunch somewhere near the middle (at best) to the back of the pack.  Still, the network and the producers wanted to further capitalize on the program's pre-teen popularity, and early in the second season, someone came up with the inspired idea of releasing an album full of Christmas standards sung by the kids as something that might appeal with their target audience.

It goes without saying that this recording was not exactly a labor of love by anyone involved... The kids (Barry Williams ("Greg"), Maureen McCormick ("Marcia"), Christopher Knight ("Peter"), Eve Plumb ("Jan"), Mike Lookinland ("Bobby") and Susan Olsen ("Cindy")) weren't particularly enthused about doing it - except for perhaps McCormick, who had some limited vocal experience, the rest of them had little if any significant singing talent to exploit.  Facing this fact and the relative brevity of time allotted to cut this disc, the production staff were even less happy to be involved in this project (album producer Tim O’Brien, who was also Paramount’s house producer, was later quoted as lamenting trying to pull something listenable from “six little kids who could not sing”).  And network management could have cared less about the resulting quality of the finished product - they just wanted something related to their semi-hit show out before the holidays.  In that atmosphere, production commenced in mid-October, 1970.

Recorded in less than two weeks, the album mixed group sing-alongs with solo performances on classic holiday standards (“We finished our vocals in one afternoon, and then listened intently as the audio engineers used every gimmick, trick and echo chamber in the book to get us at least up to ‘listenable’ status,” recalled Barry Williams).   None of the tracks are especially memorable; frankly, most of them are jaw-droppingly horrible renditions that soon segue into the realm of "Oh my God!" hilarity.  A prime example of this is their version of "O Holy Night", which I only recently listened to for the first time in years.  The song starts off semi-tolerable, until it reaches the chorus... at which point I burst out in incredulous laughter at its stunning awfulness.  The label had the cojones to actually release a single from this album, Susan Olsen's lisping rendition of "Frosty The Snowman" - there wouldn't be another.

It's not like there weren't any decent Christmas numbers to pull from the show; mother Carol Brady (Florence Henderson) laid down a beautiful performance of “O Come All Ye Faithful,” featured in the series’ only Christmas episode, that for some reason was not among the selections (I guess they just wanted to focus on the kids - bad decision).  

 

All in all, this record, in my opinion, has all the hallmarks of a recording of an amateur holiday pageant from some elementary school in the Midwest - good enough for parents and attendees to have a memory of their child warbling off-key Christmas songs, but nowhere near good enough to actually release for purchase.

One of the other weird things about this album is that the kids recorded it "in character". As shown below, some of the songs say "lead vocal by Bobby Brady, Jan Brady", etc., not by the actors' names. 
 
 
This thing was pushed out the door so fast, they obviously didn't spend a lot of time on spell checking or proper song annotation - "Marcia Brady's" name is spelled "Marsha" here; and some of the lead vocals are credited to the incorrect child.

These are the correct lead vocals for this disc:
1) The First Noel - Mike
2) Away in a Manger - Maureen
3) The Little Drummer Boy - all 6 kids
4) O Come All Ye Faithful - Eve
5) O Holy Night - Maureen & Barry
6) Silent Night - all 6 kids
7) Jingle Bells - all 6 kids
8) Frosty the Snowman - Susan
9) Silver Bells - all 6 kids
10) Rudolph the Red-Nosed Reindeer - all 6 kids
11) Santa Claus is Coming to Town - Barry
12) We Wish You a Merry Christmas - all 6 kids
Not exactly the mark of a quality production.
 
Anyway, for good or ill for you this holiday season, here you are: The Brady Bunch Kids' debut album, Merry Christmas From The Brady Bunch, released by Paramount Records on November 2nd, 1970, and rereleased on CD (and renamed Christmas With The Brady Bunch) by MCA Records in 1995.  Get ready...
 
Whatever your reaction, as always, let me know what you think.

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Thursday, December 2, 2021

Just a small reminder...


For those of you who have been watching and enjoying Peter Jackson's Beatles documentary Get Back on Disney+ over the past week: This site has long had an offering available directly related to this streaming TV program, as one of many "secret posts" I'd hidden throughout this blog over the years (I'm sure that, with a little thought (traveling down the road/running the gamut from A to B...) you can guess what that offering entails...).

Where is that secret post, you may ask?  Well, it could be somewhere in here... or possibly here... or maybe here... (but definitely NOT here - this would be a particularly POOR place to look... 😉).  Either way, I'm not tellin'!

Happy hunting!

Thursday, October 21, 2021

Various Artists - Elvira Presents...

With October 31st just around the corner, and longtime horror hostess Elvira (or more specifically Cassandra Peterson, the actress who plays Elvira) in the news recently due to the revelations in her recently published autobiography Yours Cruelly, Elvira: Memoirs of the Mistress of the Dark, I thought I might post a couple of her Halloween-related compilations.

The first Elvira music compilation came out in 1983, a couple of years after Peterson auditioned for and won the job of presenter for a revival of a popular Los Angeles-area weekend horror show featuring old scary movies called Fright Night. The program (renamed Elvira's Movie Macabre) featured her now-iconic character Elvira, Mistress Of The Dark, a saucy, sarcastic, 'Valley Girl'-type tricked out in heavily-applied horror-film makeup, a huge black beehive wig and a tight-fitting, low-cut black gown which displayed Peterson's ample chest.  Elvira not only introduced the decidedly Grade-B, -C and -Z films, she would often interrupt the flicks during the program to poke fun of their overall crappiness, in addition to making racy double entendres and jokes about her boobs. She quickly gained notoriety and popularity in the region, and parlayed that success to appearances on Johnny Carson's Tonight Show and other programs (like CHiPs and The Fall Guy) which brought her nationwide fame.

Her first release, Elvira Presents Vinyl Macabre - Oldies But Ghoulies (Vol. 1), was a quickie collection of Halloween/horror-related rock and pop hits and standards by the likes of Bobby "Boris" Pickett and Sheb Wooley, slapped together by Rhino Records in the early years of that label's existence. As such, Peterson/Elvira had little to do with or on the album, other than record a couple of intros/outros and appear on the cover in all her glory. Despite its relative generic October music presentation, today this disc commands high prices, probably because the record was never rereleased on cassette or CD.

The follow-up to this initial release was Elvira Presents Haunted Hits, put out in 1988. Actually, in some ways, this album serves as sort-of rerelease of Vinyl Macabre, as it reprises a number of songs that were on the first compilation (like "Monster Mash", "Purple People Eater" and "Haunted House"), while adding a substantial number of other holiday-related tunes, some rather popular and renowned. In case you're interested, here's the lineup:

  1. Monster Mash - Bobby 'Boris' Pickett & The Crypt-Kickers
  2. Haunted House - Jumpin' Gene Simmons
  3. Ghostbusters - Ray Parker Jr.
  4. Out OF Limits - The Marketts
  5. The Blob - The Five Blobs
  6. The Creature From The Black Lagoon - Dave Edmunds
  7. The Purple People Eater - Sheb Wooley
  8. The Addams Family (Main Title) - Victor Mizzy
  9. Twilight Zone - Neil Norman & His Cosmic Orchestra
  10. Welcome To My Nightmare - Alice Cooper
  11. End Of Side One - Elvira
  12. Beginning Of Side Two - Elvira
  13. Halloween Spooks - Lambert, Hendricks & Ross
  14. Dead Man's Party - Oingo Boingo
  15. Little Demon - Screamin' Jay Hawkins
  16. Horror Movie - The Skyhooks
  17. I Put A Spell On You - Screamin' Jay Hawkins
  18. King Kong - Big T. Tyler
  19. Attack OF The 50-Foot Woman - The Tubes
  20. I Was A Teenage Werewolf - The Cramps
  21. Voodoo Voodoo - LaVern Baker
  22. The Creature (From Outer Space) - The Jayhawks
  23. Full Moon - Elvira
  24. Martian Hop - The Ran-Dells
  25. Attack Of The Killer Tomatoes - Lee Lewis
  26. Elvira's Outro - Elvira

Elvira was a little more involved on this album; in addition to her commentary, she's even provided a full song to sing, "Full Moon" - a lightweight, synth-poppy confection that doesn't hold up well next to the other classics included here. But all in all, in my opinion, this is probably the best of the compilations released under her name, due to the breadth, scope and volume of fun Halloween music offered here. It was a bestseller for the label when it was released, and remains a perennially popular disc.

But the success of the ...Haunted Hits album seemed to lead to some unfortunate decisions/choices for the next Elvira compilation, Elvira Presents Monster Hits, released six years later. It appears that someone (either Peterson herself or the producers) believed that the big selling point for the earlier set was the increase in Elvira's voice and presence. So for this new one, the decision was made to ratchet up the "Elvira factor" - more than one-third of this short (28 minute long) album is centered on her. This includes two original songs, "Monsta' Rap" and "Here Comes The Bride (The Bride Of Frankenstein)" - both generally bland, worthless songs that do little more than take up space that could have been better utilized by including more classic and well-known Halloween songs.  The track list for this brief release is as follows:

  1. Introduction - Elvira
  2. Monsta' Rap - Elvira
  3. Little Demon - Screamin' Jay Hawkins
  4. Feed My Frankenstein - Alice Cooper
  5. Monster Mash - Bobby 'Boris' Pickett
  6. Nightmare On My Street - DJ Jazzy Jeff & The Fresh Prince
  7. The Addams Family - Joey Gaynor
  8. Here Comes The Bride (The Bride Of Frankenstein) - Elvira
  9. Outro - Elvira

Also note that this comp includes several repeats from Elvira's previous releases, making the existence of this one somewhat redundant.

In years to come, Rhino would release a couple more Halloween compilations under Elvira's name, all to gradually diminishing returns: Revenge Of The Monster Hits in 1995 and Elvira's Gravest Hits (an 'best of' (*eye roll*) album devoted almost solely to tunes crooned by her) in 2010, along with Heavy Metal Halloween in 2009. But these have done little to decrease the fame of Peterson's signature character; Elvira remains popular and active to this day.

Anyway, here for your spook-tacular pleasure are two discs to make your haunted holiday complete:

  • Elvira Presents Haunted Hits, released in 1988; and
  • Elvira Presents Monster Hits, released in 1994

Both were put out by Rhino Records.

Enjoy, and have a wonderful, safe and happy Halloween! And as always, let me know what you think.

Please use the email link below to contact me, and I will reply with the download link(s) ASAP:

Various Artists - Elvira Presents Haunted Hits: Send Email
Various Artists - Elvira Presents Monster Hits: Send Email