Notre Dame's Rich Tapestry

Dear Muse,

About a month ago, Band3 sent me a surprising music-related e-mail. 

Granted, he's sent me music-related e-mails before, so that part wasn't surprising. The part that was surprising was that instead of pop music, Band3 was recommending a stage musical. Normally, Band3 tells me that he's not a big fan of musicals. But what else can you call Notre Dame de Paris?

Source: last.fm via Ariel on Pinterest

A bit of background: Notre Dame de Paris is a sung-through French/French-Canadian musical that debuted in 1998 in Paris. Based on the novel by Victor Hugo, the musical was incredibly successful when it came out, and has since been performed in various countries around the world. And yet, I had never even heard of the show before Band3 sent me that e-mail. 

(By the way, the reason I didn't tell you about this musical before now is that I didn't actually listen to it until a week ago. I could say it's because I wasn't eager to sit through the 2-hour-long video recording Band3 included, but that would just be an excuse for blatant procrastination. And seeing as it was much better than I expected, I really don't have a good excuse at all. No offense, Band3 - sometimes I'm just lazy.)

Anyway, when I finally did watch Notre Dame de Paris.... IT. WAS. SENSATIONAL. The best way to describe it is that it's like a mix of Cirque du Soleil and Les Misérables. The dancers are phenomenal, the staging is breathtaking and grandiose, and the scope is just... huge. I was particularly impressed with how the songs made the story more engrossing, considering that the musical follows the depressing plot of Victor Hugo's novel more closely than that of the happier Disney movie. 

Most of all, I loved the performers. Lesser known characters like the poet Gringoire, Clopin, and Fleur-de-Lys stand out just as much with their songs as Quasimodo, Esmeralda, Phoebus and Frollo do. Every character has a great solo to sing, and some (like Esmeralda) have more than one. Every singer's voice is powerful, and every person adds a different color to the rich tapestry of Notre Dame. 

Major characters clockwise from top left: Esmeralda; Quasimodo; Phoebus; the poet/narrator Gringoire (center); Fleur-de-Lys; Clopin; Frollo. 

While Band3 and I agree on the vibrancy of the performers' voices, our personal song preferences slightly differ. He appears to prefer more ostentatious show-stoppers like Gringoire's "Le Temps des Cathédrales." Although I concur that anything with Bruno Pelletier (Gringoire) in it is awesome, I prefer Esmeralda's "Bohémienne" and "Vivre" and Phoebus' "Déchiré." In particular, I love large-scale songs with lots of Cirque du Soleil-esque choreography, such as "La Fete des Fous" and "La Cour des Miracles." Not to mention that Luck Mervil (Clopin) makes any big number he's in a joy to watch. 

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With so many good qualities to think about, I suppose the only nitpicks I have to make about Notre Dame involve its second act and the characters of Phoebus and Fleur-de-Lys. 

Unfortunately, Notre Dame falls into the category of "shows where all the major sing-along numbers are in Act I." You know how in certain shows Act I has all the big musical numbers, whereas Act II has maybe one or two good numbers but mostly reprises the songs you heard in Act I? Notre Dame doesn't exactly reprise songs in its second act, but it is similar to the aforementioned types of shows because the songs in Act II aren't as memorable or as catchy as those in Act I. I can think of only one I actually liked from Act II, and that's Esmeralda's "Vivre." The rest were kind of forgettable.

My second nitpick involves Phoebus and Fleur-de-Lys being thoroughly unlikeable characters. OK, they had a pretty duet in "Ces Diamants-La", but other than that they are two of the biggest jerks in the show. I guess I get angrier at them than I do at Frollo because I expected Frollo to be the bad guy from the beginning. However, I didn't expect for Phoebus to be so backstabbing as to sentence Esmeralda to death after he has an affair with her, or Fleur-de-Lys to be so petty and hateful that she wants Esmeralda dead so she can have Phoebus all to herself. In fact, when they walked offstage hand-in-hand at the end, all I could think was, "Good. You two deserve each other, because you're both horrible people." 

All things considered, if you want to form your own opinion of Notre Dame de Paris, watch the Youtube video of the complete musical below. You'll probably be pleasantly surprised, or enhance your French comprehension. Or both. Either way, I hope you like the show as much as I now do.

                                                                                          'Till next time,

                                                                                                     Ariel 

Swingin' with the Andrews Sisters (part 3)

Dear Muse,

By the time WWII was over, the Andrews Sisters had left a remarkable impact on the American public. Rallying America's positive national spirit had given them a great boost in popularity, making them one of the most beloved girl groups in history.

At war's end and beyond, the Andrews Sisters expanded their outreach, collaborating with other singers and other big names to spread cheer across the nation. While Americans knew them well enough to distinguish them individually (Patty, the youngest and most fun-loving; Maxene, the prettiest; and LaVerne, the eldest and most serious), they were unanimously loved as a group. And, despite personal clashes, the three sisters continued to delight audiences as a group well into the 1950s and '60s.

Swingin' with the Andrews Sisters (part 3)

Source: en.wikipedia.org via Ariel on Pinterest

Beyond the war

While Patty, Maxene and LaVerne scored their biggest hits during the Depression and war years, the end of the war demonstrated that their success was far from over. The Girls had already established their positive identity in the music world and positive ability to leave people feeling good. Now all they needed to do was continue their chain of success.

So they did. They kept on making hits like "Pennsylvania Polka" and "Ac-Cent-Tchu-Ate the Positive," joining their name with entertainers like Bing Crosby and Tommy Dorsey. They kept singing with an energy that was so empowering that Disc highlighted it in 1946: 

The Andrews Sisters have managed to pick up a potent style of delivery that wows the listeners – sends every tune they warble sliding right into the groove. What makes these three jukebox royalty is fundamentally their own. They have a zest, a kind of earthy gusto that gets under the skin of John Doe or GI Joe, makes him relax and feel good. The girls like to sing, like the people they’re singing to, and that genuineness gets across. (qtd. in Sforza, Swing It! The Andrews Sisters Story 71. Lexington: The University Press of Kentucky, 2000. Print.)

But their fame didn't stop there. By the end of their career, they had starred in more Hollywood films than any other singing group in motion picture history; made 113 charted Billboard hits; and sold between 75-100 million records. (See Wikipedia for further details.)

Heck, they even worked with Disney, providing the musical narrative for the shorts "Johnny Fedora and Alice Bluebonnet" (Make Mine Music) and "Little Toot" (Melody Time). Say what you want: being affiliated with Disney is HUGE for musical pop stars. (And speaking of "Johnny Fedora," check out this article comparing it to Pixar's pre-Monsters University short, "The Blue Umbrella." Personally, I think "The Blue Umbrella" is a total ripoff of "Johnny Fedora." Besides, "Johnny Fedora" is so much better with the Andrews Sisters narrating. 'Nuff said.) You can check out the first short in the Youtube video below and the second short here.





But while I can argue that the Andrews Sisters' career was very successful, I cannot claim that their lives were perfect. Although picture-perfect to their fans, Patty, Maxene and LaVerne had a turbulent relationship behind the scenes. During the 1950s and '60s, they went through several break-ups and reunions. Personally, I feel that the break-ups were mainly Patty's fault. Being the lead singer, she felt she deserved more money than either of her sisters, and broke off in 1951 to pursue a solo career (without telling them, might I add). In short, she effectively caused an estrangement between her, Maxene and LaVerne.

Nevertheless, in spite of Patty's selfishness, the Girls realized how important it was to keep the group together. The Andrews Sisters continued as a duo through the 1950s, with the members changing when Patty rejoined the group in 1956 and LaVerne died in 1967. Despite how petty the sisters could be at times, I respect them for being able to set their personal problems aside out of respect for their fans. They knew fans needed cheerful inspiration from their beloved girl group. So, being professionals, they put their listeners first and gave them the cheeriness they were hoping to hear.



All in all, the Andrews Sisters' perseverance and giving spirit was like nothing any other celebrity has demonstrated in history. Sure, there have been philanthropists in the celebrity lineup - but none that made so much effort to be there for so many people. Patty, Maxene and LaVerne were there for those who needed them in the roughest times of the '30s and '40s, and they continued to be there for people who relied on their optimism to help them get through the post-war years.

Essentially, the Andrews Sisters were a group America needed to progress. They were important factors in America's ultimate victory against the Axis Powers, and they were important cultural icons in the years following. For that reason - for the lasting impact they made on American culture - it is crucial for people to remember them today. I hope that this fascinating trio will never be truly forgotten. And, as long as there are people like me who keep humming "Ac-Cent-Tchu-Ate the Positive" from time to time, there is a good chance that the Andrews Sisters' shining name will never completely fade.


To conclude, here are the last few of their songs I'd like to share with you.



1. "Pennsylvania Polka" (Hits of '42)

When I hear this song, I always think of one of those big-band dance halls from the '40s, like the ones you see in Radio Days. You can practically hear the Andrews Sisters dancing as they sing to the big-band swing. At least Patty sounds like she's having fun.







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2. "Ac-Cent-Tchu-Ate the Positive" (The Song Is...Harold Arlen)


This popular song from 1945 peaked at No. 2 on the Billboard charts. Although it's considered a prominent Bing Crosby song (since he's leading), the Girls provide a really rollicking backup. It's one of the most enjoyable songs they ever did, so it's definitely worth concluding their story with.

Source: last.fm via Ariel on Pinterest



P.S.  By the way, something coincidentally wonderful and related to the Andrews Sisters happened over Thanksgiving Break! While I was flying to California and mulling over revisions for my blog posts, I happened to sit next to one of the Directors at the History Theatre in Minneapolis. He informed me that the Theatre is showing an Andrews Sisters musical this next month, based on their life - which is just what I happened to be writing about!! He even gave me a 2-for-1 coupon so that I could bring a friend to the show at a discount!! It's the most amazing stroke of luck ever!!

Unfortunately, I won't be able to bring Siena or DivaStar (who I know would especially appreciate the music). But I'll find someone. I can't to wait to watch the show and then write a review about it!



Until next time,
Ariel

Swingin' with the Andrews Sisters (part 2)

Dear Muse,

The Andrews Sisters had gotten off to a great start with "Bei Mir Bist Du Schön" and their following hits. But as WWII broke out, the Girls really came into their own. If Americans had needed the Girls during the Depression, they needed them even more now. With anxious audiences hanging on their every note, Patty, Maxene and LaVerne knew exactly what they had to do.

Swingin' with the Andrews Sisters (part 2)

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Send them off with a smile and a song

As Americans at home went into overdrive to support their fighting troops abroad, so did the Andrews Sisters. If "we're all in this together" had to be the dominant mantra, Patty, Maxene and LaVerne did their best to boost enthusiasm for that mantra anywhere and everywhere. They broadened their venues to army camps, naval bases, USO centers, munitions factories and hospitals, often performing as many as 6 shows a day. At the height of WWII, they knew that GI Joes needed relief just as much as the average American civilian. 

Maxene recalled of the war years: 

If there was a dark side to those trying years, there was a bright side, too – a sense of national unity, real togetherness, a feeling so strong, so exhilarating and so unifying that it did more than help the country to survive. It helped us to win the war. The Andrews Sisters were right in the thick of all this, for the same reasons that millions of other entertainers were – because we wanted to be. We wanted to visit every USO club and military base and GI hospital we could find, both in the states and overseas. If we were on tour doing four and five shows a day, seven days a week, fifty weeks each year in cities all across the United States, we still found time to visit the service-men and –women. And when Patty, LaVerne and I went overseas for the USO, we often added four or five impromptu shows to our schedule every day, for any two or three soldiers who might ask us. (qtd. in Sforza, Swing It! The Andrews Sisters Story 13. Lexington: The University Press of Kentucky, 2000. Print.)

The enthusiasm the Andrews Sisters shared with their audiences made them (unsurprisingly) even bigger stars than before. GIs liked their songs so much that they started naming fighter planes and bombers after the titles. Officials demanded their presence at military departures. Even Hollywood took a keen interest in them, signing them on to perform in propaganda films like Buck Privates (1941) and Private Buckaroo (1942). Fans clamored for a spot in theaters to watch them. With a place on the stage, radio and big screen, the Girls were at the peak of their popularity. 

In time, the Girls came to represent more than a cheery girl group: they represented America's positive national spirit during WWII. As writer William Ruhlmann observed:

If, after half a century, we still cannot think of the Andrews Sisters without remembering World War II, it may be because they continue to embody the positive national spirit called forth during that time. […] Just as a common enemy forced Americans to think of themselves as a unified whole, their pop music brought them together. It served to relieve them for a moment and renew them for the continuing struggle. (qtd. in Sforza 13-14)

That said, here are some of the songs that rallied American troops in those troubled times. 

1. "The Woodpecker Song" (Hits of '40)

This is a fun song for kids; as bird-themed songs go, I personally find it catchier than "Rockin' Robin." Originally Italian.

2. "Boogie Woogie Bugle Boy" (Songs That Got Us Through WWII)

Even though I previously included this in my WWII Week! (part 2) post, it's worth mentioning here, since it's one of the iconic hits of WWII. It was first introduced in the 1941 Abbott and Costello film Buck Privates, and is usually the first song that comes to mind when anyone thinks of the Andrews Sisters. Also, if you listen closely, you'll find that it sounds very similar to "Beat Me Daddy, Eight to the Bar" (see previous post). 

3. "Don't Sit Under the Apple Tree (With Anyone Else But Me)" (Hits of '42)

And NOW, the song you've all been waiting for!! "Don't Sit Under the Apple Tree" was a key song for the Andrews Sisters. On one hand, it showed what entertaining performers they were - as the video clip from Private Buckaroo demonstrates.

On the other hand, while the song brought people together, it also brought bittersweet feelings with it. Maxene described one of the most memorable scenes associated with this song:

We went down to the docks during an appearance in Seattle and sang for the boys as their ship pulled away into the Pacific, headed for combat. At the request of military officials supervising the departure, we sang, " 'Don’t Sit under the Apple Tree.' The scene is still vivid in my memory. We stood down on the pier, looking up at all those young men leaning over the ship’s rails, waving and yelling and screaming. Any time that scene was reenacted, and it was happening countless times every day in groups large and small all over the country in 1942, one thought nagged at you: How many of the young men shipping out wouldn’t come back? I can still see the mothers and sweethearts standing on that dock and singing along with us as the ship sailed away to war. (qtd. in Sforza 85-86)  

Next time: the end of war.

                                                            -Ariel 

P.S. Although I included a video of "Don't Sit Under the Apple Tree," I'm including an MP3 attachment as well if you just want to listen to the song.

*Photos courtesy of John Sforza, unless otherwise cited.

Swingin' with the Andrews Sisters (part 1)

Dear Muse,

Some time ago, my cousin Siena expressed an interest in the Andrews Sisters.

Since this comes from a girl whose interests range from k.d. lang to Gregorian bell chants, I responded thus:

Still, I'm glad she brought it up, because the Andrews Sisters are well worth remembering. (And seeing how almost nobody I know today does remember them, it's even more critical that I pay homage to them here.) This upcoming trio of posts will be focused on the time the musical trio made their BIGGEST hits: the late '30s through mid-'40s. (Of course they kept performing for decades after, but their most beloved songs came from this particular era.) And, although the posts are for everyone to read, I will begin with this statement:

"Dedicated (with deepest affection) to Siena, whose tastes are sometimes even more eclectic than mine." 

Swingin' with the Andrews Sisters (part 1)

Source: last.fm via Ariel on Pinterest

A bright beginning

You can't think of the Andrews Sisters today without remembering hits like "Ac-Cent-Tchu-Ate the Positive," "Boogie Woogie Bugle Boy," and "Don't Sit Under the Apple Tree (With Anyone Else But Me)." Nor can you think of them without remembering WWII. In those dark and desperate years, "the Girls" - Patty, Maxene, and LaVerne - became symbols of hope. Their mellifluous melodies and infectious enthusiasm buoyed GIs and radio-listeners alike, encouraging them to continue their struggle against the Axis Powers. Thanks to their music, the Andrews Sisters became one of the best-loved "girl groups" in history.

But what made the Andrews Sisters so unique? After all, it's not like they were the only girl group of the swingin' thirties and forties - the Boswell Sisters, Pickens Sisters, Barry Sisters, King Sisters and Dinning Sisters were also competing for fame. What did Patty, Maxene and LaVerne have to make them stand out from the rest?

One theory is their versatility. According to John Sforza, author of Swing It! The Andrews Sisters Story, the Andrews Sisters' success could easily be explained by how masterfully they managed different tunes:

...the trio had major hits with nearly all types of music, and they handled different rhythms with ease. They sang swing, boogie-woogie, eight-to-the-bar, country-western, folk, calypso, ragtime, blues, ballads, inspirational, gospel, seasonal favorites, and a host of songs derived from or based upon Yiddish, Italian, Irish, French, Czechoslovakian, Russian, Swedish, Spanish, Brazilian, and Mexican melodies. (Swing It! 11. Lexington: The University Press of Kentucky, 2000. Print.)

Another theory is their "cohesive harmony and perfectly timed vocal syncopations" (29-30), as well as their "more modern and conventional style" (30). Still, I personally think that what set the Andrews Sisters apart was their cheeriness. 

Source: artinbase.com via Ariel on Pinterest

No matter what song they were singing, the Girls radiated cheeriness to the utmost. Every song they touched turned happy. As Sforza put it, "there was an innate desire instilled in all three sisters to please their audiences, to be happy and to inspire happiness through their music" (13). Not only did they try to sound optimistic all the time, they also did their best to make others feel optimistic too. Under the Andrews Sisters' magic touch, the saddest ballads became bright melodies. Under their influence, tragedy was resolved and hope restored. 

While humorist James Thurber mocked "Andrews' Ready Relief" for spreading unnecessary sunshine in intentionally tragic songs (see his chapter "Take Her Up Tenderly" from Thurber Country), the rest of the country didn't mind. With a Great Depression going on, Americans liked a girl group that could cheer them up. As it turned out, the new sound of "Andrews' Ready Relief" was just what America needed at the time. That cheeriness was what cast the trio into the spotlight and kept them there until America's entry into WWII. 

And now for the songs themselves! To begin with, here are several of the Andrews Sisters' first great hits, including the song that started it all: "Bei Mir Bist Du Schön."

(Although the songs in this set of posts are mostly from the Andrews Sisters' Top 30 Hits, I may not include all the hits that you might associate with the Girls. The following songs are just the ones I like best.)

1. "Bei Mir Bist Du Schön" (Hits of '37)

Until 1937, the Girls had tried their talents in vaudeville shows with little success. Their former lack of success made the surprise even greater when "Bei Mir Bist Du Schön" became an overnight smash hit. As Sforza observed, the song "took the girls from vaudeville obscurity and rocketed them to stardom" (29). The song is a translated Yiddish tune, meaning "To Me, You Are Beautiful." It's a great example of how versatile Patty, Maxene and LaVerne were.

     

2. "Oh Ma-Ma" (Hits of '38)

This is a fun little ditty - a bit catty, very like gossipy sisters (which is kind of fitting for this trio). Italian this time. 

      

3. "Beat Me Daddy, Eight to the Bar" (Hits of '40)

By 1940, the Andrews Sisters had tried many different music forms, from swing to boogie-woogie. Now, they introduced a new form to the public: eight-to-the-bar. Leonard Maltin described their landmark recording in these terms:

‘Beat Me Daddy, Eight to the Bar’ was a reflection of the growing popularity in jazz circles of boogie-woogie music. But no one had yet turned this piano phenomenon […] into a vehicle for a popular song, or even thought about adding lyrics to the rolling rhythm of boogie. ‘Beat Me Daddy’ was such a hit that it launched a tidal wave of boogie songs, many of which the girls recorded. (qtd. in Sforza, 12)

More to come tomorrow! Next we'll get into the trio's wartime hits.

                                                                 -Ariel




*Photos courtesy of John Sforza, unless otherwise cited.

3 Creepy Selections of Halloween Music

Dear Muse,

Every year around Halloween, you can expect to hear these familiar favorites: Danse Macabre, Night on Bald Mountain, Nightmare Before Christmas songs, Michael Jackson's Thriller, etc. They're all fitting choices for the holiday, and anything with a Vincent Price monologue is good for a few shivers here and there.

Source: bbhc.com via Ariel on Pinterest

But, these pieces have become pretty routine. There are three others that I don't hear often enough at this time of year, even though I think they're just as good - or better - at making people jittery after dark. (At least, that's how they affect me.) Thus, here are my three ideas for additional Halloween music to listen to. (And if it turns out that these are actually quite common Halloween tunes, or are nothing new and exciting for your ears, I still would highlight them because they creep me out the most.... or make me want to creep under the bed.)

3 Creepy Selections of Halloween Music 

1. "Puss-in-Boots and the White Cat" (Tchaikovsky)

Yeah, I know what you're probably thinking: "Classical cat music?!? I mean, if it was about black cats, that would be one thing - but what's scary about Puss-in-Boots?!?"

Well... do you remember the scene in Walt Disney's Sleeping Beauty when Maleficent bewitches Princess Aurora to touch the spinning wheel? The animation was creepy enough, but as a kid I was far more freaked out by the music accompanying it. That music was "Puss-in-Boots and the White Cat," from Act III of Tchaikovsky's 1889 ballet The Sleeping Beauty.  

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Coincidentally, this piece was not part of any scary scene in Tchaikovsky's ballet; it actually was part of the happy ending. At the wedding of Princess Aurora and Prince Désiré, fairytale characters perform dances - Pas de caractère/Pas de quatre - to celebrate the royal union. While the dance of Puss-in-Boots and the White Cat was not intended to be frightening in Tchaikovsky's Sleeping Beauty adaptation, Disney used it to great effect in the Scary Spindle scene. Its haunting strains still echo in my memory today. 

2.  Any of the Harry Potter soundtracks (from the first two movies) involving Voldemort, the Forbidden Forest, the Chamber of Secrets, wandering the halls at night, or anything else ominous (Williams). 

                                                                Source: harrypotter.wikia.com via Ariel on Pinterest

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OK, I know this is kind of cheating, since it isn't one specific piece of music. But these soundtracks combined represent "Eerie Harry Potter music." They're all hair-raising in different ways, mainly because they all serve as buildup to the reveal of something scary. 

What do I mean by this? Think of the library scene in the first movie: the buildup of ghostly chamber music enhances the ominous atmosphere and creepy imagery (like Harry's disembodied hand carrying a lantern through the dark) and adds to viewers' unease before the actual shock of the screaming book happens. It is scenes like this one where Williams' music excels in stimulating deep-seated fear.  

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Sorceror's Stone and Chamber of Secrets have many more scary scenes than the other movies in the series do, simply because the music adds to their overall suspense and mystery. Scenes with Voldemort/Quirrel in the Forbidden Forest, Knockturn Alley, bloody messages etched on the walls, spiders scuttling through the passages, or Harry's journey to the Chamber of Secrets are frightening mainly because the music creates such good suspense. It makes the viewer that much more receptive - and the payoff much more striking - when the scary whatever-it-is materializes on screen. It's why I could be more afraid of Voldemort in Sorceror's Stone and Chamber of Secrets than of the later Voldemort or even the dementors; more than any other Harry Potter soundtrack, the first two movies' soundtracks foreshadowed Voldemort as a terrifying and ghastly figure before I even saw his face. For that reason, when he finally revealed himself to Harry, he was just as awful as the music suggested.  

Thus, I say kudos to Williams: more than any other composer, he knew how to make Harry Potter legitimately unnerving.  

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3.  Fifth Movement of Symphonie Fantastique, Op. 14: "Songe d'une nuit de sabbat"/ "Dreams of a Witches' Sabbath" (Berlioz)

This piece I saved for last, because it is the closing movement of Berlioz' dramatic Symphonie Fantastique. According to Michael Austin's translation, the 1855 version of the symphony can be summarized as follows: 

 A young musician of morbid sensitivity and ardent imagination poisons himself with opium in a moment of despair caused by frustrated love. The dose of narcotic, while too weak to cause his death, plunges him into a heavy sleep accompanied by the strangest of visions, in which his experiences, feelings and memories are translated in his feverish brain into musical thoughts and images. His beloved becomes for him a melody and like an idée fixe which he meets and hears everywhere. (see Programme of the symphony)

Over the course of the symphony's five movements, the young musician has five different dreams (see translation for further detail). After being beheaded in the Fourth Movement, he awakens in the Fifth Movement at a witches' sabbath - or in the underworld - to behold a score of demons who have amassed for his funeral. As the music builds to its climax, his beloved is revealed to be at the head of the procession.... and then he awakens from his nightmare.  

"Songe d'une nuit de sabbat" is truly unique in its eeriness. Its sweeping crescendoes and crashing notes make me jump with their suddenness, its bell dirges pierce the movement with gloom, and its skittering strings and sonorous brass animate every ghoulish and batlike beast that can be conjured by the imagination. Berlioz' Fifth Movement masters the art of interchanging grand with grotesque; funereal with demonic; lugubrious with gleeful. It sums up all the best musical elements of the supernatural, leaving a deeper impact on my memory than any other piece of Halloween music ever composed. In my personal opinion, this makes it the creepiest selection of Halloween music I have ever heard.