Attack of the Killer Soundtrack: Spinning Records with Pinhead

Guess who? It's 10 o'clock. Do you care where your parents are? The following feature has been rated R by the Motion Picture Association of America. It is intended for mature audiences and parental discretion is advised.

This is not a drill. Repeat, this is not the drill. At this time, we are requesting the immediate and orderly evacuation of the vicinity. The Coast Guard and the Navy have been alerted and are standing by on the eastern seaboard. And it continues to burn out of control.

It has been regular. Every five to ten minutes, there has been another convoy of units, fire companies, paramedics. A citywide emergency has been declared. Police officers are still on tactical full alert. 2,000 National Guardsmen are standing by.

Air defense warning read. It's time for Movie Meltdown's Attack of the Killers soundtrack. The live transmission has begun, and we're into the final hour of hell. What's up and welcome to Movie Meltdown's Attack of the Killers soundtrack. I'm Brian and this week we'll be sitting down with a very special guest.

And in the process we'll be talking a little bit about movies, a lot about music, and as always we'll be building our own Frankenstein-like soundtrack that is all over the map. And to me, that's a good thing. So in this episode, I'm going to be joined by one of my semi-regular co-hosts, Sterling, as we head back to our most recent visit to Fright Night Film Fest here in Louisville. And while we had fun and talked with a lot of interesting people that weekend, I have to say possibly the most impressive moment was our conversation with Doug Bradley. Now, most of you out there probably know Doug from his role as Pinhead in the series of Hellraiser films, but he's certainly more than that anyway.

He's an actor that struck out on his own after high school and was working in fringe theater and and has gone on to a long and varied career on both stage and screen. But I've noticed over the years, every time you see an interview with him, they're always talking to him about horror. They're always asking him about playing Pinhead. So when I saw he was going to be there that weekend, I thought, number one, how sick he must be of talking about that same role. I mean, I know it comes with the territory when you have a successful character or property, but still, it's gotta get old.

And then secondly, I thought... how interesting would it be to talk with him about something completely different? I mean, in general on this show, I usually try to get past the standard Q & A kind of questions and hopefully get to a point of somewhat normal conversation to sort of get a glimpse of people as they really are. But specifically as I approached this, I was like, what if we went an entirely different direction with Doug Bradley? Now, I thought I'd heard that he was kind of a music fan, so I was like, What if we sit down with this iconic horror actor and forego the usual talk about slasher movies and hours spent in the makeup chair and just took a 180 degree turn and just talk about music?

So I threw the idea out there to him and he seemed somewhat willing, but I don't think even he knew how far we would delve into this other part of his personal interest. And I definitely didn't know beforehand just how passionate he was about music and more impressive, just how knowledgeable he is in that area as well. So with that, we've got a lot to cover with Doug, so let's just get into it. We'll start things off here with His Killer Five, and some people may have just stopped there, but we don't get that with Doug. At that point, we spiral off into a personal history of his experiences with music, and then just a general sampling of his current musical taste.

And as Doug is building the soundtrack for us, I'm going to go through and sort of lay out the tracks as we go along. So let's go there now, as Sterling and I sit down and talk with Doug Bradley. It's time for the kill of five. Well, again, you've gone on about Hellraiser more than you needed to. So I was going to give you a chance to talk about something else.

I've heard you're a pretty big music fan, and we do sort of a subsection where we will let people pick songs from films that they really like. So I didn't know if there were, like, We usually have them pick five, and it doesn't have to be your favorite. It's just songs that work really well in films over the years. So pretty much any genre, however you want to do it. But if you can just think of a few that.

Embedded into films? Or in the soundtrack, or just kind of made use of in the film itself. Or as title songs? It can be, yeah. Okay.

Wow. Bond springs to mind very quickly. Definitely. I think Diamonds Are Forever is my favorite. Diamonds are forever.

They are all I need to please me. They can stimulate and tease me. They won't leave in the night. I've no fear that they might desert me. Diamonds are forever Hold one up.

And then caress it Touch it, stroke it and undress it I can see every part Nothing hides. In the heart to hurt me I don't need love. For what good will love do me? Diamonds never lie to me. For when love's gone.

They'll last a while. Diamonds are forever Sparkling. Brown my little finger Unlike men, the diamonds linger Men are mere mortals Who are not worth going to your grave for. I don't need love. But what good will love do me?

Diamonds never lie to me. But when love's gone, they last forever. Diamonds are forever, forever, forever. Diamonds are forever, forever, forever, forever. And ever.

There's obviously, there are so many moments that you'll never forget of Kubrick was a master at it. Putting We'll Meet Again over the guy riding the nuclear bomb at the end of Dr. Strangelove is a great moment. We'll meet again. Don't know where, don't.

Know when, but I know we'll meet again some sunny day. Keep smiling through, just like you. Always do till the blue skies drive the dark clouds far away so will you please say hello to the folks that i know tell them. I won't be long. They'll be happy to know That as you saw me go I was singing this song.

We'll meet again. Don't know when Don't know when But I know we'll meet again Some sunny. Day We'll meet again Don't know where, don't know when. But I know we'll meet again Some sunny. Day Keep smiling.

Through Just like you always do till the blue skies find the dark clouds far away. So will you please say hello To the folks. That I know Tell them I won't be long. They'll be happy to know That as you slowly grow I will sing in this song We'll meet. Again Don't know.

Where But he was brilliant at that, putting the Blue Danube Waltz over the space stations in 2001. singing in the rain in Clockwork Orange you're not going to forget that in a hurry do not forsake me oh my darling in High Noon. Oh yeah go wrong. You hear that and you just see those empty streets with Gary Cooper walking down in the middle of it. Do not forsake me oh my darling On this our wedding day Do not forsake me. Oh my darling.

Wait Wait long. The noonday train will bring Frank Miller. If I'm a man, I must be brave. And I must face a man. Who hates me.

All I'll count. A craven cow or a little coward. In my grave. Oh, to be torn twixt love and duty. Supposing I lose my fair-haired beauty.

Look at that big hand move along. Yeah, when I knew. He made a vow while in state's prison, vowed it would be my life or his. I'm not afraid of death. But oh, what will.

I do if you leave me? Do not forsake me, oh my darling You made that promise when we. Wed Do not forsake me, oh my darling Although you're grieving I won't be leaving Until I shoot Frank Miller dead. Wait a long, wait a long Wait a long, wait. A long.

Now me, I wouldn't leave this town at noon for all the tea in China. No, sir, it's going to be quite a sight to see. Apocalypse Now, the doors, the beginning, the end, with the helicopter blades turning into the fan. over Martin Sheen lying on the bed. This is the end. Beautiful friend.

This is the end. My only friend The end Of our elaborate plans The end Of everything that stands the end. No safety or surprise the end. I'll never look into your eyes. again Can you picture what we'll be so limitless and free Desperately in need of some strangers hand in a hug Desperate. Love Desperate love Lost in a Roman wilderness of pain.

Thank you. Thank you. Come on baby, come on baby Come on. Baby, come on baby Come on. All right. . .

The Ride of the Valkyries in Apocalypse Now. © transcript Emily Beynon. Thank you. Thank you. You understand, Captain, that this mission does not exist, nor will it ever exist. We can spiral off.

That's a good number. Just in general, how about just music that you like as far as outside of that? Well, I mean, I've now been listening to music for 50 years, you know. I grew up in Liverpool. Right in the middle of that.

I was, what, turning nine in the year that Love Me Do hit the charts so discovering pop music just as my city was about to become the epicenter of the whole thing so the Beatles were my first love and it's a pretty damn good place to start I was having a conversation with a member of one of the bands playing here outside and and he you know he's he's what he's in his 20s crazy about the Beatles and and this is true down to my my girlfriend's kids who are it holds. Up amazingly yeah because we do a festival here that's just Beatle related for like two days and I was amazed by how many kids there were how many teenagers it's still universal. Bands right across the field yeah From electronica through hip-hop, obviously to indie rock and pop and country and folk, they will be constantly citing the Beatles.

It is quite staggering. Love, love me do You know I love you I'll always be true So. Please Love me do Love me. Do Love, love me do You know I love you I'll always be true So please. Love me do.

Love me do. Someone to love. Somebody new. Someone to love. Someone like you.

Love, love me do. You know I love you, I'll always be true So please. Love me do Oh, love me do. Love, love me do. You know I love you.

I'll always be true. So please, love me do. Love me do. Yeah, love me do. Yes, straight from Doug's childhood.

That was Love Me Do from Robert Zemeckis' I Want to Hold Your Hand. There will never be a band who will be able to achieve what they did because they kept moving the goalposts. and we all moved with them. They kind of invented everything as they went along. That's an exaggeration. There's lots of other bands who were doing the same thing.

But because they were absolutely the vanguard, they went from being the Fab Four, the mop tops, to being these weird crazy drug adult guys to you know and we traveled with them yeah we said oh that's what you want to be now okay we'll be crazy drug adult guys with you. That's yeah they redefine themselves every couple. Of years they all the cliches apply they wrote they wrote the soundtrack of my childhood yeah and lennon in particular i'm not so much a fan of mccartney's solo work but lennon in particular um I really like Harrison's solo stuff dude continue to write the soundtrack of my 20s in a lot of ways and December 1980 was a dark dark cold cold horrible horrible day um Harrison's solo work I'm a huge fan of love his his work um I mean, I'll talk about them all day.

You don't want to get me started. A large area of my bookshelf is given over to Beatles songs. Everything else was coming in at the same time. I was very fortunate, I think, to grow up in the greatest ever decade. And abiding passions out of that, the animals and the kinks and The Searchers and the Hollies and there were so many bands.

And what was great about the charts then was everything was in it. Yeah. It was very diverse. As opposed to now, it's a very small window of what makes it great. Sinatra was in the charts.

And Engelbert Humperdinck was in the charts. And Simon and Garfunkel were in the charts. Donovan was in the charts. Dylan was in the charts. Yeah.

And bad pop bands were in the charts. Novelty Records got to number one. The One Hit Wonders, yeah. Dusty Springfield was around. And then there was the huge impact of black music on me in the 60s, which would have started, I guess, with Tamla Motown, and then discovering Atlantic and Stax.

And then when... still in the 60s, as Cream arrived, who I was a huge fan of, and being aware that the Stones were doing blues covers, and looking at, what's this song by Cream? Spoonful? By who? By Willie Dixon? Who the hell is Willie Dixon? ¶ ¶ Light bulb, spools full of diamonds.

Light bulb, spools. Full of gold. Just a little fruit of your. Precious love Satisfied my soul So. You're a liar.

Gonna rather cry, yeah Everybody's lying. Everybody's fighting about it. Hello, hello, hello Hello, hello. Might feel booze. Full of coffee.

And velvet booze full of tea Got. A little booze of yours Precious love Good enough for me People. You're a liar. Everybody's a Everybody's a fighter That little old, that little old That little old fool That little old, that little old That little old fool That. Little old fool That little old fool Move that, move.

That, move that little load, that little load, that little load. Thank you. Thank you. Thank you. Thank you.

Thank you. Thank you. And that was Cream's interpretation of Willie Dixon's Spoonful from the 1970 film Homer. A whole new avenue. It was much harder because now you go to Spotify.

Willie Dixon? Oh, thank you. Okay. I can listen to all of Willie Dixon's songs. Then, not so easy.

So now I'm, you know, having come to terms with, or starting to come to terms with Stevie Wonder and Marvin Gaye and Otis Redding and Aretha Franklin, et cetera, et cetera, et cetera. Now I'm being thrown back to Willie Dixon and Muddy Waters and Howling Wolf. And from there, it's never ending. There's Blind Boy Everybody and Sonny Everybody and all the way back to Lead Belly and Robert Jackson. I'm from his town, you know.

I'm from the Mississippi Delta. Oh, really? Okay. Oh, yeah. Robert Johnson was actually buried not too far from my house.

Right. I'm the first member of the 27 Club, right? Yeah. Yeah. So blues is really big there, and you find signs everywhere that say, like, blind boy, whoever was born, lived and died here, unknown in the 30s.

But he recorded that one album that became huge in England. Yes. You know, and influenced Eric Clapton, say, you know, or somebody like that. So I'm actually curious, are you much of a jazz fan at all? No.

No? No. Okay. Early jazz, yes. I mean, the closer jazz is to blues, the happier I am with it.

I know we're all supposed to love John Coltrane, and I've tried, and no. And modern jazz, which to me sounds like an explosion in a pet shop. I agree. I'm not big on modern jazz. I can't get near it.

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Tweaked Audio. Sounds better. This is. Zach and Shane from Howlmouth and you're listening to Movie Meltdown. Movie Meltdown.

Shane's got a really good movie announcer voice. Welcome to Movie Meltdown in a world of total darkness. The next major band to impact me in the 60s was Pink Floyd. Oh, yeah. Somewhere around 1968, I kept hearing this song.

It was just constantly haunting me, and it was See Emily Play. Emily tries, but misunderstands. She's often inclined to. Borrow somebody's dreams till tomorrow. There is no other day.

Let's try it another way. You'll lose your mind at play. See Emily play. Soon after dark, Emily. Cries Gazing through trees in sorrow Hardly a sound till tomorrow.

There is no other day Let's try it another way You'll lose your mind and. Play Put on a gown that touches the ground. Oh, put on a. River forever and ever. Emily, there is no other day.

Let's try it another way. You'll lose your mind and play three games per day. Yes, that was relatively early Pink Floyd with See Emily Play. From Julian Temple's documentary about Joe Strummer, the future is unwritten. Then I discovered more of the Floyd, and I bought the Amagama album.

To me, the live disc of Amagama is the first and last. It's the high peak of progressive psychedelic rock. It was never that good before, and it was never that good again. There's one other album that stands alongside it, and that's King Crimson's first album. Almost everything else King Crimson did, I don't like.

And I have this weird thing with the Floyd. My cutoff point with the Floyd is Dark Side of the Moon, which I think is one of the dullest albums ever made. Well, I'm a huge Sid Barrett fan, so I'm not going to completely disagree with you on that. Armagumma is that turning point. They're still doing Sid Barrett songs, but without Sid, and they're starting to write their own stuff.

But the Floyd singing song about the evils of money, that's not what I wanted from them. I wanted interstellar overdrive, if you don't mind. No, yeah, absolutely. And I actually never... When I was a teenager, I got to... be in Cambridge for a summer.

And you went to Grantchester Meadows. I've never forgiven myself. I never did. You didn't, okay. I wanted to go and creep around Sid Barrett's house and see if I could catch a glimpse of him burning a painting in his backyard or something.

Whatever it is they say he does out there, you know, but he did out there. There's that weird story that they tell on, you know, the VHS series of classic albums. And they cover Dark Side of the Moon. And they talk about being in the studio during the recording of Shine On You Crazy Diamond, which is the song written about Sid, obviously. And at some point, either Gilmore or Waters turns around in the studios, Sid's in the studio.

Nobody invited him, and nobody knew why the fuck he was there or how the fuck he got in. But he's suddenly in the studio in the middle of recording his song, and then he disappeared, and nobody saw him go. Yep. Crazy diamond that he was. And they say they didn't even recognize him when they first saw him because he had just shaved his head, you know, and apparently also his eyebrows off.

Probably. I think the last interview, was it someone at the New Musical Express in the UK did with him, was done through his letterbox. Yeah. Because he wouldn't actually open the door. That sounds about right.

He was happy to do the interview, but only through the letterbox of his door. So with all this talk about the mysterious Sid Barrett, I thought we had to work one in from the Mysterious Skin soundtrack. And this is Golden Hair. Lean out your window, golden hair. I heard you.

Singing in the midnight air. My book is closed. I read no more. Watching the fire dance. On the floor.

I've left my. Book, I've left my room. For I heard you. Singing Through the gloom Singing and singing A merry. Air Lean out of the.

Window I was always a big fan of underground psychedelic stuff from like the 70s and 80s, you know, and those guys were always name-checking Sid Barrett, so I had to go back and listen to some of his solo records, you know, his weird bluesy pop music. The madcap laughs yeah yeah no no no it's a great album someone described it once like he wrote pop songs on silly putty and then just sort of stretched them out or condensed them and you know that's. Cool yeah now somewhere somewhere in the middle of the 60s as well this song suddenly appeared out of nowhere and i couldn't put a label on it and i couldn't i couldn't work out what it was and where it came from which was called a song called a boy named sue.

Well, my daddy left home when I was three and he didn't leave much to maw on me, just this old guitar and an empty bottle of booze. Now, I don't blame him because he run and hid, but the meanest thing that he ever did was before he left, he went and maimed me, Sue. Well, he must have thought that it was quite a joke and it got a lot of laughs from lots of folks. Seems I had to fight my whole life through. Some gal would giggle and I'd get red and some guy'd laugh and I'd bust his head.

I tell you, life ain't easy for a boy named Sue. Well, I grew up quick and I grew up mean. My fists got hard and my wits got keen. Roamed from town to town to hide my shame. But I made me a vow to the moon and stars.

I'd search the honky-tonks and bars and kill that man that gave me that awful name. Well, it was Gatlinburg in mid-July And I'd just hit town and my throat was dry I thought I'd stop and have myself a groove At an old saloon on a street of mud There at a table dealing stud Such a dirty mangy dog could name me Sue Well, I knew that snake was my own sweet dad From a worn-out picture that my mother'd had And I knew that scar on his cheek and his evil eye He was big and bent and gray and old And I looked at him and my blood ran cold And I said, my name is Sue, how do you do? Now you're gonna die Yeah, that's what I. Told him. Well, I hit him hard right between the eyes And he went down, but to my surprise Come up with a knife and cut off a piece of.

My ear. But I busted a chair right across his teeth, and we crashed through the wall and into the street, kicking and a-gouging in the mud and the blood and the beard. I tell you, I fought. Tougher men, but I really can't remember when. He kicked like a mule and he bit like a crocodile.

I heard him laugh, and then I heard him cuss, and he went for his gun. I pulled mine first. He stood there looking at me, and I saw him smile. He said, son. This world is rough, and if a man's gonna make it, he's gotta be tough.

And I know I wouldn't. Be there to help you along. So I give you that name, and I said goodbye. I knew you'd have to get tough or die. And it's that name that helped to make you strong.

Yeah. He said, now you just fought one hell of a fight. And I know you hate me, and you've got the right to kill me now. And I wouldn't blame you if you do. But you oughta thank me before I die For the gravel in your guts and the spit in the eye Cause I'm the son of a bitch that named you Sue.

Yeah, but what could I do? What could I do? I got all choked up and I threw down my gun Called him a pawn, he called me a son And I come away with a different. Point of view. And I think about.

Him now and then Every time I try and every time I win And if I ever have a son I think I'm going to name him Bill or George, any damn thing but Sue. Yes, that was Johnny's classic, A Boy Named Sue, oddly enough from the Are We Done Yet soundtrack. A whole new world. That was the first time I heard Johnny Cash, and of course that opened up a trap door called country music. And I'm still lost in the maze down in there.

I'm a big country fan. So then I'll ask you that same question. Modern country? The modern corporate Nashville big hat stuff, no. I can't stand that.

I call it truck rock. I call it pop with a violin. I can't do it. But there's a lot of really good country artists still around. And it's that. country-folk-americana crossover that is kind of indefinable.

I've become a huge fan of Lucinda Williams. Ryan Adams is just a godlike genius. Those are kind of their own state at this point. I don't even know that they've fallen to old country or modern. They have found their own, like, that whole middle area.

And lastly, a band that... become a big fan of. I saw them in Pittsburgh opening for Doors, Shovels and Rope. They've played here a few times recently, yeah. They are a stupendous, magnificent band. And a band called Houndmouth.

They're from across the river here. Oh, cool. We actually had two of the guys on the show talking about their songs. Right. Yeah, they're really good.

So, I mean, I'm still listening to new stuff now and finding new bands and getting excited by new stuff now I mean I kind of fell out of love with rock in the 70s and I've kind of stayed out of love with hard rock so I don't do heavy metal Zeppelin did it for me initially I realize I sort of like Zeppelin a lot but I don't like Robert Plant's voice And he ruined so many perfectly good Zeppelin songs by caterwauling through them. He hasn't gotten any better. Year before last, I saw him when he played here live. He was terrible. And he was just walking through them.

He brought out huge plaudits for it. The album he did with Alison Krauss, who I love. Yeah, great. I thought it was a mess. That's his influence.

And he has a new album out, which I just heard some new stuff from, which sounds great. Awful um and jimmy page is still a brilliant guitar player though. Without question yes uh well the the other three members of the band all were brilliant amazing band i'm not i'm sorry robert uh it's Of course, if I ever meet him, I'll tell him what a big fan I am. I loved your band. But I did kind of, and prog rock had left me completely cold.

Emerson, Lake and Palmer, one of the crimes against music as far as I'm concerned. Thank you. It makes me more happy than you know for you. To say that. Then something changed.

I missed the Ramones early on. I've got the Ramones, love the Ramones. Never a fan of the Sex Pistols, who seemed to me like a cartoon band. But suddenly I heard this band called The Clash. And suddenly I was excited about rock music again.

They're probably my second favourite band of all time. We met when we were at school Never took no shit from no one We weren't fools A teacher says we're done We're only having fun You know it's. Just not everyone In the classroom When we got thrown out and left without much fun. On the weekends we. Go dancing, dance 12 on the bus.

You always made me. Laugh, got me in bad thoughts. Played me pool all night. Smoking meth. I practice daily in my room.

Down the crown planet Your next move Go on a nicking spree It's the wrong. Guy Each of you get. Free Here's a big story. When you look it out, we're gonna rip the town We're burning. Fucking down, to a sin Cause years have passed and things have changed.

I've moved any way I want to. Show And I'll never forget the feeling I got When I heard that. You got hurt. Have a drink on me Go insane Step lightly Stay free. Stay free.

I was in fact the very influential The Clash with Stay Free from the School of Rock soundtrack. But that period then was another golden age of music for me. The Clash, The Jammed, The Stranglers, The Damned, Elvis Costello. A ton of other bands as well. All awesome stuff.

It just seemed to come again rolling off a never-ending treadmill, and all of it was great. And nobody ever realizes it at that time. It takes a little hindsight. They were just the popular music of the day, but now you look back at how solid all of those bands were. You know the thing that depresses me now is I can't listen to popular music.

I have no idea what's going on in the charts or what passes for the charts now. I am not a fan of rap at all. Some of the stuff that Steph's kids are hearing on Top 40 Radio at their age, 11, they frankly should not be hearing. It seems to me to be hopeless, pointless, soulless, tuneless. The lyrics have no value.

There's a lot of lesses. There's nothing in there. There's nothing in there. And it's very depressing to me because I. I listened to pop music in the 60s and the 70s and the 80s and the 90s and even a bit into the noughties.

Now, there's a lot of stuff I think I'm listening to that 40 years ago would have gone into the charts. Now it's not because broadcasting has died and everything is narrowcasting. And the stuff that top 40 radio is playing, which to me is, you know, there's, It's not just rap. It's all this Iggy Azalea, Katy Perry, Ariana Grande. It's pap.

It's just bad. They can't sing, or if they can, they're not demonstrating. I think Lady Gaga is probably interesting. I don't know, but I think she's better than her material. She's just done this album of duets with Tony Bennett that's gone into Billboard at number one, I think. which I haven't heard yet, but I certainly will listen to.

My girlfriend, Steph, is the world's biggest Tony Bennett fan, so I will be getting to hear it for sure. But it's depressing to me that that's happened. As I say, I still listen to new stuff all the time. I got into listening to a lot of African music, which there is one thing I do share with Robert Plant. but again, from really, really a lot through two DJs at home, the legendary John Peel, now no longer with us, unfortunately, and probably lesser known over here, a DJ called Andy Kershaw, who was playing the Bundy Boys, and then Ali Farka Toure. So I kind of discovered this whole new window opens up of African music.

I'm still kind of trying to keep track of what's going on there. And African rap is interesting. Yeah, and there's a whole different culture of it going on too. It's not obsessed with the size of my cock and the size of my gun and the size of my car and how expensive my bling is and how badly I treat my women. They have other issues at work.

Going on. In African rap, which makes it immediately much more interesting. And there's this weird underground. I've just heard of all these artists that put together and they're still working off of cassette tapes. And they're like, that is because that's the technology they have at hand sometimes.

And they're passing tapes around still. The Bundy Boys, that was it. You couldn't get them. They only existed on cassette tape for the longest time. But it's amazing that they're still out there and they're so dedicated to it and passionate about it.

And you didn't have access to this stuff. No, I tried... I tried to get this through to my kids. In the 60s, if you didn't hear it on radio, you didn't hear it. That was it.

There was nowhere else you could go. You either listened to the radio obsessively or you bought records. And I couldn't afford to buy everything I was hearing. So trying to find the stuff that was in the dirty, dusty, cobwebby corners where the interesting stuff was. Hard work now access is everywhere and it's great don't get me wrong but you know I think we can take I use Spotify constantly and if there's anything I hear I think oh what's that I go to Spotify and sometimes it's not there and you know there's maybe Groove Shark if Spotify isn't working but 9.9 times out of 10 Spotify is has it?

And then I discovered that this band has been around for 20 years. Why have I never heard them? I remember even in the early 2000s when downloading was a risky affair. You could hope that you got the things that you wanted. More often you'd just download something to make your computer explode.

But I remember hearing bands from Louisville... you know, and this really crazy stuff coming out of this town and being like, wow, like, I don't know where I could go. I actually was in England before I could find copies of albums of bands from Louisville and. Things like that. So, yeah, that record hunting, there is something lost there, I think, and that's kind of a shame, you know. Yes.

Well, and it's an interesting thing that you say that as well because, of course, black music was a huge influence on the Beatles. Oh, yeah. And they assumed... that everybody in America was listening to that music as well. It was partly because of Liverpool being a major port, particularly in terms of access to ships from the States. So there were albums coming in to Liverpool all the time that were going into the record shops that people were hearing and sharing and playing and listening to.

The Miracles particularly were a big influence on the Beatles. When they first come to the States... They're talking to people about the black music they're listening to in Liverpool and getting blank expressions. Oh, yeah. Because they have no concept that white radio would not play black music.

Yeah, no. Actually, folks in my hometown in sort of the middle of the Mississippi Delta, if they wanted to hear good blues music, they would do this little trick where they'd have to rig up a radio to have an extra powerful antenna to get to Memphis, which is like two hours away by car. Yeah, just so they could hear black music in the heart of black music in America. Because the radio stations just didn't play it. It was that narrow.

Yeah, it was incredibly difficult to find. So in the rural areas outside of Memphis, there was no black music being played? Well, either that. I mean, most of the radio stations out in the middle of nowhere were white-controlled. But every now and again, though... you'd get a radio station that was a gospel radio station.

Yes. Yeah, and then you could tune in on Sundays. And you can still do this now. You can tune in on Sundays and hear a six-hour church service. You know, nothing but music and people jamming and singing and praising and all that stuff.

Wasn't it Rita Franklin who said that if you take a gospel song and cross out my Lord and write in baby? Uh-huh. You have a blues song. It's all the same. Or you have a soul song.

Oh, yeah. Oh, yeah. No, no, no. And it's absolutely true. And, man, like, there's still a strong tradition of that, too, in the Deep South.

Yeah. Of, like, really powerful gospel music. Sure. Yeah. Which isn't my thing.

But every now and again, like I say, when I'm back home, I. Catch it on the radio. I have to say, I mean, I'm not, you know, I'm an atheist, but I have a lot of the Swan Silvertones and the Four Interns. mahalia jackson i mean it's just the the quality of the singing is just gorgeous yeah. The music was amazing regardless of what you feel behind it. No sure and you can't even like i said if you're like me it's not your thing you can't deny the impact or the significance of any other stuff so so i'd love to hear a little bit more about some of your some some modern bands that you really like that you really dig.

Uh over the last few years yeah um well uh arcade fire uh are, I mean, I was, I was, because of my son, I was kind of in on the ground floor with Arcade Fire, because he had, I think not entirely legally, downloaded Funeral, and he kept playing it, kept playing it, and I kept hearing it, and I wasn't sure initially, and the more I heard, the more I thought, oh. So I asked him about it, and so, um, and I just, just, uh, we just saw Arcade Fire in Pittsburgh, um, this year on the back of Reflektor. I think they're just a monstrous band. Brilliant, brilliant, wonderful. A strange discovery for me, I'd rather have fallen in love with an album from last year and we saw them in Dallas.

I was aware of them and I'd kind of seen the way they looked with these masks on and I thought, well you're a you're a heavy metal band, and I know what you sound like. You sound like. And all of that, but I can't abide. I agree, by the way. And they're not at all.

It's Ghost. Oh, yeah. Or Ghost BC, as they get called. I'm not quite sure why. And I think that album, whatever it's called, something infinitesimum something, is brilliant.

Wonderful. And they were great in concert and got to go, um, uh, backstage and meet them out of makeup and masks, but we're not allowed to talk about that because they don't exist. Um, but they're great guys, really, really nice guys. And, uh, the album is huge. I think I mentioned doors, not to be confused with the doors, um, uh, D A W E S.

Um, Again, that was Happy Accident. We went to see Conor Oberst and Bright Eyes in Pittsburgh. Doors were opening for them, and two songs in, I was kind of, wait, whoa, whoa, who are you, who are you? I think they're a great band. I've seen them like four or five times now, a couple of times in London and over here.

And Shovels and Rope were opening for them last time, I saw them live, which was in Pittsburgh. Delta Spirit is an album that I've really got to love. And I can't see them touring anywhere. I'm desperate to see them live. They came to Louisville, you know, for our Four Castle Festival, I think it was.

So if you had been here then, then you might have had a chance. So you're just going to have to come back next year. Okay. Are they good live? I thought they were pretty damn fine.

Yeah, sure. I mean.... I was kind of blown away that day. I got to see Jack White for the first time play. You listen to The White Stripes or any of that stuff?

Yes. I have a problem with Jack White. I don't quite know what it is. I think he's a genius. And I never really quite enjoy listening to him.

I have no idea why. But his talent is astonishing without question. After we saw him this last time, that's, that was kind of what we were talking about. We were like, no matter what he does, cause he did several covers that night too. And it was like, they all just sound like Jack White.

Like he has such a weird distinctive sound that maybe it works against him on some cases. I don't know. Maybe. Yes. I just remember a story.

Someone told me that he, uh, in his home in new Orleans, he bought like some sort of manor house in new Orleans that he lives in. He had these radios installed in his bedroom so that he could listen to the rain outside without having to open the windows. So that pretty much sums up everything I think about Jack White, you know? When do I get to that level of money and crazy balancing act? Because I'm crazy enough.

I just don't have enough money to put that stuff in. Yeah. So whenever I hear one of his records and I'm like you, I'm like, wow, this is brilliant. And there's something about it I can't quite put my finger on. I think of the radios that broadcast the rain from outside.

Right, right. I think you've definitely got a good handle on stuff I'd say more than most people I know there's a lot of kids I know out there that have no imagination and don't seek anything out so it's the fact that you've got such a wide taste in music and are still seeking stuff out is amazing really I don't. Know I think it's just it's kind of a habit I've developed in the 60s I suppose and I've never got away from it I can't bear the thought that something's got past me and I the delight in the 60s was always finding new stuff. And I've never got over that. That's what it is for me, is finding new stuff.

And that'll always be there. I think usually we get to that point, we grow up, as they say, and then a lot of people just stop doing that and they don't seek anything out and they don't look for anything new. They just listen to the same stuff they listened to when they were 19. But yeah, it is interesting watching the few people that are always happy to find new stuff. So that's awesome.

Well, I think that is it. Thank you for sitting in. They're packing the place up. So I guess we better wrap up here. Yes.

But thank you for sitting in that. Yeah. I figure that's definitely a different. Take care. Thank you, man.

Okay. So a big thank you once again to Doug for sitting in with us this episode. and for not only giving us his Killer 5 soundtrack songs, but along the way also putting together an entire episode of interesting and eclectic music. Did you have an awesome time? Did you drink awesome shooters and listen to awesome music and then just sit around and soak up each other's awesomeness? He's provided us with a great episode, and again, I'm amazed at just how knowledgeable he is in this area.

There are few people I know outside of nerdy music bloggers or people in bands that spend every free moment trying to get a random bar gig. Short of those characters, there are very few people I come across that are as passionate and as knowledgeable about. Music as Doug. So I hope you were equally as impressed and happy with our conversation with Doug as I was. If so, next time you see him in a convention, instead of saying, dude, how long did it take you to get in that makeup?

Instead say, hey, I heard your episode on music on Attack of the Killer soundtrack and you were great. And maybe then you'll end up trading some new favorite bands to check out. It's conversations like these that go to show you You can never pin people down as to just what you think or expect them to be. Sometimes they will pleasantly surprise you. And speaking of running into horror actors at conventions, as I was a moment ago, we do want to thank everyone at Fright Night Film Fest for letting us be part of the show.

We've been working with them since both we and they got started, so we appreciate all that they've put together over the years and look forward to being part of the show in the future. Good night, future boy! And you can go to FrightNightFilmFest.com to see what they have coming up in regards to the next show. Alright, well that about rounds out this installment of Attack of the Killer Soundtrack. And so I thought as we go out here, we'd send off this episode with one of the more current bands that Doug is a fan of.

And Arcade Fire has been showing up on a lot of movie soundtracks in the last few years. So we'll go out with their contribution to one of my favorite films of the last year. This is in fact Arcade Fire with Suburban War from Richard Linklater's Boyhood. Thank you once again for listening and with that I will remind you, get a life, we'll provide the soundtracks. Let's go for a drive, see the town tonight There's nothing to do but I don't mind when I'm with you This town's so strange, they built it to.

Change And while we sleep we know the streets get released And my. Old friends, they were so different. Then Before your war against the suburbs began Before. It began We need a. Musical vice Yes, in the tribes.

You grew your hair so out of. Mind You said the past won't rest Until you jump the fence and leave it behind My old friends, I can't remember when You cut your. Hair and never saw you. Again Now the cities. We live in could be distant stars in a search.

Field in every passing car. The night's around. Yeah, the night's around. And we're living in the shadows. In the suburbs.

I, I learned to drive. And you told me that we would never survive. So grab your mother's keys, we leave tonight. We just started a war, and we can't win. They'll keep erasing all the streets we grew up in.

Now the music divides us into tribes. Choose your side, I'll choose my side. You know what? I don't mind at all. This episode is a production of Movie Meltdown, produced and edited by The Oddity Studios.

For more on how to sponsor or support the show, email producer at moviemeltdown.com. Aloha! Aloha! Talk hard!