The two classic songs John Carpenter listened to when making ‘Halloween’
Horror maestro John Carpenter has penned and directed some of the most iconic films in the genre. One of his most recognised works, Halloween, has transcended the confines of its initial release, becoming a staple of horror and leaving an indelible mark on pop culture.
Its eerie music, composed by Carpenter himself, has sent shivers down the spines of millions, immediately conjuring the terrifying silhouette of the merciless Michael Myers. But while the film’s score is universally recognised, Carpenter’s personal soundtrack while making Halloween is less publicised.
While immersed in the process of constructing the cinematic nightmare that is Halloween, Carpenter had a fascinatingly eccentric playlist ringing in his mind. Two songs, in particular, seemed to resonate with the director, repeatedly playing on an invisible turntable in his head as he brought his chilling serial killer tale to life.
Recounting the experience in a candid interview with Pitchfork, Carpenter recalled the first song: Warren Zevon’s ‘Werewolves of London’. Introduced to the artist and song by none other than Peter Fonda, Carpenter found himself enamoured with the uniqueness of Zevon’s song. He shared an anecdote about his interaction with Zevon, saying: “I said, ‘Where did this song come from?’ He said, ‘I was trying to write a dance record for the Everly Brothers, and I wrote this, and they didn’t do it, so I did it.'”
The humour and unique rhythm pattern of ‘Werewolves of London’ stuck with Carpenter throughout the making of Halloween. He appreciated the levity in its lyricism, stating, “It’s ridiculously funny. I mean, I’ve never heard a line like, ‘And his hair was perfect!’ Why? The rhyme pattern, ‘Little old lady got mutilated late last night.’ Just the tap-a-tap-a-tap-a-tap-pa-pa. It’s really unique.”
The other track spinning in Carpenter’s head was Blue Öyster Cult’s ‘(Don’t Fear) The Reaper’. Listening to it around the time he was crafting Halloween, the song struck a chord with Carpenter. Far from believing the band’s claim that it’s a love song, Carpenter interpreted it differently, saying, “They claim it’s a love song. Shit. It’s not a love song. It’s a suicide song. It’s about: ‘Come on, don’t be afraid.'”
Funnily enough, neither of these songs remotely mirrors the atmospheric terror of Halloween. They do, however, provide a peculiarly apt mental backdrop for Carpenter’s creative process. By finding inspiration in humour, rhythm and intrigue, Carpenter was able to forge what we now recognise as the integral DNA of his 1978 horror masterpiece – and kickstart a franchise that lasted over 40 years.
