Released:  1999

Recorded:  ? (likely 1998/1999)

Genre:  Horror Punk

Record Label:  Uncle God Damn

Duration:  50:58

Producer:  Wednesday 13

[expand title=”Personnel” trigpos=”above” tag=”h22″](Regular band members in bold.)

• Wednesday 13 – guitar, vocals
• Sicko Zero – drums
• Seaweed – bass [/expand]

[expand title=”Track Listing” trigpos=”above” tag=”h22″](Original 1999 Release)

1. Ghouls Just Wanna Have Fun
2. Hooray for Horrorwood
3. Creature from the Black Lagoon
4. Oogie Boogie Baby Baby
5. Monster Monster 13, Oh Yeah
6. The Rocketship Oddity 13
7. Bride of Frankenstein
8. The Witch is Dead
9. Back in Blacula
10. The Last Halloween: The Story of Trick or Treat Pete
11. I Was a Teenage Ghoulscout
12. Welcome to the Strange
13. They Only Wanna Eat Your Brains
14. Plan 9 from Outa Space
15. Neon Black
16. La La for Lon Chaney, Jr. [/expand]

[expand title=”Singles” trigpos=”above” tag=”h22″]

None! [/expand]

Why Songs from the Recently Deceased is One of My Favorites

I’ve previously touched on the preceding 2 albums from the Frankenstein Drag Queens from Planet 13 (FDQ, for short), and after giving Songs from the Recently Deceased a listen recently, I just had to tack it on as well.  It would be the band’s last release of the 90s (as well as the last one that I’m familiar with), combining aspects of their first 2 records and ironing out some of the flaws as well.  I’d call this a great record, but it’s not; I just happen to like it.  I give a pretty general description of the band’s music in Issue #89, so that might be worth a read for those that haven’t heard my previous takes on FDQ.

Songs from the Recently Deceased is the most accomplished of FDQ’s first three albums.  The previous album, Night of the Living Drag Queens, saw an increase in musician ship and songwriting but also a move away from the overt horror themes (specifically B-movies) of The Late, Late, Late Show into more generally offensive territory.  One needs only look at the song titles for Deceased to see that B-movie horror is at the forefront of the subject matter.  Musical diversity is at an all time high on this record, and the guys play around with a few deviations from their Misfits-esque formula of past material.

Unfortunately, FDQ lost their second guitarist between Night and Deceased, so the lead parts aren’t nearly as prominent.  (Though they are included; I assume through the use of overdubs or an additional unnamed musician.)  The variety of styles softens the blow a bit though, so I wouldn’t consider this a huge fault.  I’d hoped for higher production values this time around, though I’d say this is roughly the same quality as Night.  I don’t mind the lo-fi aspect – in fact it kind of works considering the subject matter – but the drums are flat flat flat and the lower frequencies don’t seem to be present at all.  Try as I might, I can’t find a bass drum anywhere in the mix, and amid all the cymbal crashing and tom fills, beats seem curiously missing when it comes to more complex fills and transitions.  At first I thought this was the result of shoddy drumming (not that the drumming is excellent) but after really paying attention, I think that the bassier drums and lighter taps weren’t picked up at all.  More active percussion would kick this album up a notch and the fact that it’s so muted is a disservice to the increase in musical quality of Deceased.

About half of the songs here retain the trashy/sloppy/fun Misfits-esque sound that I’ve so often compared them to.  Though these may be similar to their previous work, they do show progress when it comes to these guys carving out a sound of their own.  “Hooray for Horrorwood” falls into this group, though it’s got some great lyrics in reference to old horror movies; “Hey Norman Bates / How are your rates? / Hey Leatherface / Remove my … face.”  “Oogie Boogie Baby Baby,” “Monster Monster 13, Oh Yeah,” “Back in Blacula,” and “The Last Halloween” are all “classic FDQ,” as is “Plan 9 from Outa Space” which sounds a lot like an improved upon “Scary Song.”

Next up are the batch of songs that borrow from from the melodies and structures of rock ‘n’ roll from the 50s and 60s.  They’re similar to FDQ’s “regular” style, though I feel that they represent an improvement in making songs that stand out from one another while still having that same-ness that links them together.  Anyone who’s ever tried to make music knows that it’s difficult to write and compose songs that are distinguishable on their own but that are also identifiable as being within the same style.

“Creature from the Black Lagoon” is the first of such tracks.  I’m glad that the ol’ Creature from the Black Lagoon has gotten some attention.  His visage is well known from among Universal’s classic horror movies, but aside from being plastered up next to Lugosi’s Dracula and Karloff’s Frankenstein, most people don’t know much about him.  Of course, the fact that this film came along during the 50s and reflected the public’s “fear of the atom” probably didn’t help (and it wasn’t a very good film, nor were its 2 sequels), but he was a damn cool looking monster for the days of black and white.  Anyway, it moves along at a mid-tempo rate and features an ascending, melodic chorus that stretches back to the simpler days of rock and roll that a lot of original punk musicians were aiming for.

“Bride of Frankenstein” sounds like a cover of 50s song from a highschool movie.  Like, it’s prom time, and they’ve been playing slow songs all night, and then suddenly the “hip band” bursts onto stage with a guitar driven cover of one of those simple 50s love songs.  “I Was a Teenage Ghoul Scout” is next in this group.  The verses are standard FDQ but the chorus harks directly back to a bygone era…only with grinding guitars and crashing cymbals.  When Wednesday sings “…of troop 13…” is where I hear the likeness the most.  “They Only Wanna Eat Your Brains” yet again sounds something like an old 50s chorus, especially if it was sped up.  There’s actually a hint of blues and rockability hanging out in here as well, most evident in the lead guitar work.

So with all of the punky stuff out of the way, what’s left?  Well, that would be the oddballs, the ones that are difficult to classify, the ones that probably fall into the gray area of alternative metal.  First up is “The Rocketship Oddity 13.”  Here, FDQ attempts to live up to their spooky name with an eerie lead guitar lick and long, slow riffs that resonate throughout the chorus.  A wailing solo finishes things off.  It’s an interesting departure for the guys, and while perhaps a little repetitive, it sounds a lot like something from Manson’s Holy Wood. 

“The Witch is Dead” comes next.  The intro riff and beat sound a bit like a slowed down version of Metallica’s “Wherever I May Roam.”  It plods along with sustained guitar chords and quieter sections relying on bass.  Another metal-styled song, my favorite bit is the goofy but fitting “screams.”

“Welcome to the Strange” is a partial cover of the Doors’ “Riders on the Storm.”  Yet again the guys slow things down and go for a moody piece with more emphasis on the bass than usual.

The last of the maybe-almost-alt-metal tracks is also the most successful and most interesting – “Neon Black.”  Previously I’ve compared the music of FDQ to Manson’s Portrait–era work, but never has the description been more apt.  “Neon Black” actually dares to dip its toes into the weird brand of punky industrial metal found on Manson’s debut.  Dirty, sleazy bass starts the track off slowly, sort of like “Cake and Sodomy” or more specifically “Minute of Decay” from Antichrist Superstar.  As Wednesday begins shouting the chorus, a few squeals from the guitar jump in, much like Manson’s “Lunchbox.”  The lead that accompanies the main riff could be taken straight out of “Dogma” or “Misery Machine.”  The riffs themselves are sludgy and bassy with that heavy, crushing sound.  Of course this song isn’t as musically accomplished as any of these many references, but it’s coming close, and there’s definitely magic peeking around the corner.

The other two tracks I haven’t mentioned, “Ghouls Just Wanna Have Fun” and “La La for Lon Chaney, Jr.” are simple filler bookends for the album.  “Ghouls Just Wanna Have Fun” loosely follows the tune on “Girls Just Wanna Have Fun” with a bit of an industrial slant; I actually think this could’ve turned into something interesting had the band expanded on it.

For whatever reason, the album was reissued only a year later with two additional tracks, the first of which is called “I Love to Say Fuck.”  It’s an alright rocker, but the lyrics move into the realm of absolutely juvenile rather than campy and it feels more like an outtake from Night of the Living Drag Queens than the sort of progression on Songs from the Recently Deceased.  The following track is a radio edit of the same song, with each instance of “fuck” replaced with a horn sound.  Needless to say, this gets annoying very fucking quickly.  I say stick with the 1999 original, though if you’re out searching for this album digitally, you’re probably end up with the aforementioned cuts.

I haven’t listened to any of FDQ’s work after Songs from the Recently Deceased, but maybe I should.  The first two albums were trashy fun, but there are actual sparks of talent on their third release.  Wednesday 13 would go on to front the Murderdolls (which I haven’t heard anything from either) and apparently a handful of old FDQ tracks were reworked for the Murderdolls, who recorded similarly themed material.

This kind of album isn’t for everyone, but I’m fond of it not only for its subject matter but also the musical progress that these guys were making.  I enjoy seeing the crossover into metal with more technical and diverse instrumentation.  While I have a soft spot for Late Show above all other FDQ albums (that I’ve heard at least), Deceased is easily their objectively “best” body of work (again, from what I’ve heard).

Written by The Cubist

Other albums from The Frankenstein Drag Queens from Planet 13 in this series:

• 1996 – The Late, Late, Late Show – Issue #89
• 1998 – Night of the Living Drag Queens – Issue #90

Back to The Cubist’s 90’s Albums