Download =LINK= Monster Mash Song

Pickett and Capizzi composed "Monster Mash" and recorded it with Gary S. Paxton, pianist Leon Russell, Johnny MacRae, Rickie Page, and Terry Berg, credited as "The Crypt-Kickers". (Mel Taylor, drummer for the Ventures, is sometimes credited playing on the record as well,[3][4] while Russell, who arrived late for the session, appears on the single's B-side, "Monster Mash Party".[5]) The song was partially inspired by Paxton's earlier novelty hit "Alley Oop", as well as by the Mashed Potato dance craze of the era. A variation on the Mashed Potato was danced to "Monster Mash", in which the footwork was the same but Frankenstein-style monster gestures were made with the arms and hands.

The song is narrated by a mad scientist whose monster, late one evening, rises from his slab to perform a new dance, with a name implying it is inspired by the Mashed Potato, a popular dance of the early 1960s.[8] The dance becomes "the hit of the land" when the scientist throws a party for other monsters, among them classic 1940s horror film icons such as the Wolfman, Igor, Count Dracula, and his son. In addition to narrating the song in the Karloff voice, Pickett also impersonated fellow horror film actor Bela Lugosi as Count Dracula with the line, "Whatever happened to my Transylvania Twist?", and character actor Peter Lorre as Igor (a role Lorre never played, though he did play numerous deformed eccentrics). The mad scientist explains that the twist has been replaced by the Monster Mash, which Dracula embraces by joining the house band, the Crypt-Kicker Five. The story closes with the mad scientist inviting "you, the living" to the party at his castle.[9]

Download Monster Mash Song

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The song was re-released several times and appeared on the U.S. Billboard charts on two occasions after the original release: August 1970 and May 1973.[10] The BBC had banned the record from airplay in 1962 on the grounds that the song was "too morbid",[11] but it was later performed on the network's television program, Juke Box Jury, by "The Children of the Night", a novelty group. The record was re-released in the United Kingdom in 1973, where it peaked at number three in early October. In Canada, it reached number one on August 4, 1973.[12] In the U.S., the record re-entered the Billboard Hot 100 on May 5, 1973, peaking at number ten on August 11.[13] On the September 15, 1973, edition of American Top 40, Casey Kasem mistakenly said that the record had accumulated 40 weeks on the Hot 100, which then would have been the all-time record, only for a listener to inform Kasem later that the record's three weeks on the Hot 100 in 1970 had been included in the 1973 run, thus reducing the total to 37 weeks. The record re-entered the Hot 100 for a 38th week on the November 13, 2021, chart. The 1970 reissue on the Parrot label (Parrot 348) was certified as a Gold record (for sales of over one million copies) on August 28, 1973.

"Monsters' Holiday", a Christmas-themed follow-up, was recorded by Pickett and released in December 1962, peaking at number 30 on the Billboard chart. The tune was penned by the renowned novelty song composer Paul Harrison.

In 1974, Buck Owens re-invented "Monsters' Holiday", giving it the title "It's a Monsters' Holiday". That song peaked at number six on Billboard's Country chart in mid-September of the same year,[16] and number nine in Canada.[17]

In 1985, with American culture experiencing a growing awareness of rap music, Pickett released "Monster Rap", which describes the mad scientist's frustration at being unable to teach the dancing monster from "Monster Mash" how to talk. The problem is solved when he teaches the monster to rap. A movie musical based on the song starring Pickett was released in 1995. During the 2004 presidential election, Pickett turned the song into a campaign video and re-titled it "Monster Slash", with lyrics by environmental campaigner Peter Altman, in which he critiqued President George W. Bush's environmental policies.

The song is featured in the fifteenth episode of The Simpsons' fourth season, when radio presenter Marty accidentally plays it for Valentine's Day (and again later in the episode for President's Day), trying to cover up his mistake by pretending that it is kind of a love song ("all the monsters enjoying each other's company").

In 1989, Stuart Hersh began managing Pickett, and upon learning Pickett did not own the master recording to "Monster Mash", the pair in 1993 recorded a perfect copy of the original "Monster Mash" that they then used to undercut the owners of the track, Universal.[clarification needed] According to Hersh, the company was unconcerned with the song's legacy and was instead "preoccupied with how much money they could get off (the song)". Pickett was missing out on thousands of dollars in licensing fees, but Hersh and Pickett's goal was not just to make money. They sought instead to help keep "Monster Mash" relevant: by making "Monster Mash" affordable to independent production houses, they ensured it would always have a place in culture.[18]

Comedian Nick Wiger appeared annually on the Comedy Bang! Bang! Halloween podcast as a character named Leo Karpatze who originally wrote Monster Mash but was forced to change the lyrics due to profanity. Wiger would appear on the show and pretend to have a new song to sing but would sing only the same profanity-laced version of Monster Mash.

The Misfits recorded their version of "Monster Mash" in 1997 in a recording studio in Newark, New Jersey.[38] Bassist Jerry Only later stated that "The 'Monster Mash' was a no-brainer for the Misfits to cover as a timeless Halloween release. The song was always a childhood favorite of mine."[38] The recording was the first time that Only had performed lead vocals for the band, while then-Misfits lead singer Michale Graves provided backing vocals.[38] On October 18, 1997, a live performance of the song was recorded and broadcast from the studio of the New Jersey-based cable television music show Power Play, the same studio in which the song was recorded.[38]

The Misfits' studio recording of "Monster Mash" was included on their 2001 compilation album Cuts from the Crypt. At the insistence of the band's label Roadrunner Records, the live recording was omitted from the album and only the studio version was used.[38] The Misfits recorded a new version of the song, featuring Cafiero on backing vocals, for their 2003 album Project 1950. By this time the band had a new lineup consisting of Jerry Only (bass guitar and lead vocals), Dez Cadena (guitar and backing vocals), and Marky Ramone (drums). Only called this version of the song "probably the best version we've ever done. I'm really happy with it. We've recorded it several times in the past and this is the hardest hitting version of them all."[40] Ramone commented: "'Monster Mash' always reminded me of Boris Karloff. Our version's a lot faster than the original, which was a slower 4/4 beat. I always liked the way the drums seemed to come in out of nowhere after Igor walked across the room."[40] Cadena, meanwhile, remarked that "If I didn't know any better ['Monster Mash'] could have been written for the Misfits."[40]

Bobby Pickett wrote and narrated it, with the Crypt-Kickers singing background. A mad scientist, played by Pickett, tells the story about how he brings back to life a monster who when he wakes starts doing a new dance. The mad scientist invites famous movie monsters of the 1940s to a dance, and they fall in love with it, thus the Monster Mash.

Looking for some Halloween fun at the office tomorrow? I decided to have some fun with powershell synthesized voices and have them sing the monster mash. There's probably a way to make this better with beep tones like the happy birthday script that's out there, but this works for a quick laugh.

Here's a birthday one for your amusement. I built off of that one for the Halloween script. I take no credit for the birthday script as I found it elsewhere via google. Just fun to share :) This one actually sings the song via beeps

Some band called the ventures, who recorded the music to Hawaii Five-O. It would seem their drummer was the man on monster mash.

"Drummer Mel Taylor believed that he was the first drummer ever to play bluegrass music. He also played the Hollywood Bowl the first time Country music was played there. He did session work with Gary Paxton(Alley Oop, Cherry Pie, Monster Mash, etc.), Herb Alpert, Buck Owens and others before joining the Ventures."

Songs of a sexual nature, such as Relax by Frankie Goes to Hollywood, have benefitted in no uncertain measure to their censure, shooting up to No.1, but what about the times where a song has been cast aside and the reason is just plain weird? Here are eight songs that didn't pass muster for what now seems like the most arbitrary of reasons.

Longtime David Bowie producer and "principled hippy" Tony Visconti passed over the chance to produce Space Oddity because at the time he said it was a "cheap shot", recorded in order to get some publicity when the Apollo 11 mission was in the news in 1969 (future Elton John producer Gus Dudgeon took the job instead). The fact it was so topical actually worked against the song that would became the singer's first big hit - for a few weeks anyway - when the BBC refused to play it until Neil Armstrong, Buzz Aldrin and Michael Collins had landed safely back down to earth. The lifting of the embargo then saw the record drift as high as No.5, and it went to No.1 in the UK six years later when RCA re-released it at the height of Bowie mania. According to Paul Trynka's book Starman, Visconti admits he has "grown to like it a bit".

Just three years after the Sexual Offences Act was passed in 1967 in the UK, The Kinks' Ray Davies took on what might have been considered a taboo subject in the song Lola - where he dances and drinks champagne with either a cross-dressing male or perhaps a trans woman (the first sex change operations requiring surgery and hormone therapy began in the early 1950s). Despite the subject matter, Lola passed the censors but fell foul of a reference to a soft drink company. As Ultimate Classic Rock reported, Davies had to dash across the Atlantic to overdub the words "cherry" and "cola", which appeased the committee and no doubt gave the Atlantan drinks giant ideas for a future product line. A good many songs were banned because of inadvertent product placement, from Chuck Berry's Maybellene (a cosmetics company, albeit with a different spelling) to Pink Floyd's passing reference to a London newspaper in the 1968 song It Would Be So Nice. e24fc04721