Halloween Songs (Part One)

There are lots of songs that relate to the Halloween holiday. In these posts I’ll write about some of my favorites. This will include low hanging fruit as well as some you may have not heard. No matter the situation I hope some of these songs will get you into the Halloween spirit (get it?). Do I even have a ghost of a chance listing some you like…..ok I’ll stop.

The main theme for The Ghost and Mr. Chicken (1966) was composed by Vic Mizzy, who is best known for his iconic theme for The Addams Family and Green Acres. In The Ghost and Mr. Chicken, Mizzy created an eerie yet playful score that perfectly captured the comedic-horror tone of the film, starring Don Knotts. The theme prominently features an organ, enhancing the spooky atmosphere while maintaining a lighthearted feel that matches the film’s humorous approach to the haunted house genre.

“This is Halloween” is a song from Tim Burton’s The Nightmare Before Christmas (1993), composed by Danny Elfman. It is the opening number of the film, introducing the spooky inhabitants of Halloween Town and setting the dark, whimsical tone of the story. The song is sung by various characters, as they celebrate their macabre world and the holiday they live for. Elfman’s score combines eerie, carnival-like music with catchy, energetic rhythms,

capturing both the sinister and playful sides of Halloween. The track has become a beloved anthem of the Halloween season, widely recognized for its iconic melody and vivid lyrics. Elfman’s unique orchestration and his voice, which also performs the character Jack Skellington’s parts, contribute to the song’s lasting popularity.

“(Don’t Fear) The Reaper” is a 1976 hit song by Blue Öyster Cult, written by the band’s lead guitarist, Donald “Buck Dharma” Roeser. Featured on their album Agents of Fortune, the song combines a haunting melody with lyrics that explore themes of love, mortality, and the inevitability of death, which Roeser penned while contemplating the brevity of life.

Known for its iconic guitar riff and atmospheric production, the song also features a memorable mid-section with an instrumental break. It has become one of Blue Öyster Cult’s signature songs, often associated with its philosophical tone and the famous addition of cowbell,

The song “Ghostbusters” was written and performed by Ray Parker Jr. as the theme for the 1984 film Ghostbusters. Its catchy chorus, “Who you gonna call? Ghostbusters!” became instantly iconic, and the song topped the Billboard Hot 100 chart, blending elements of pop, funk, and rock to create a fun, upbeat anthem that perfectly captured the film’s lighthearted supernatural vibe. Over the years, the song has been covered by various artists, with one notable version being by a cappella group Pentatonix.

Released in 2016 as part of their PTX Vol. IV – Classics album, Pentatonix’s cover of “Ghostbusters” reimagines the song with their signature vocal harmonies and beatboxing, replacing instrumental elements with complex vocal arrangements. This fresh take brought the classic theme to new audiences while preserving its playful energy and catchy hooks.

“Dead Man’s Party” is a 1985 song by Oingo Boingo, written by the band’s frontman Danny Elfman. Featured on their album of the same name, the song blends new wave, ska, and rock elements, characterized by its lively horns, danceable rhythm, and darkly humorous lyrics. Thematically, “Dead Man’s Party” plays with the concept of mortality, using a surreal, festive setting where the dead celebrate.

Its upbeat energy contrasts with the macabre imagery, making it a unique fusion of fun and eerie. The song gained significant pop culture recognition after being featured in the 1986 film Back to School, and it remains a staple of Halloween playlists. Elfman’s songwriting and the band’s eclectic sound helped cement the track as one of Oingo Boingo’s most enduring hits, capturing their quirky and theatrical style.

“She Wolf” is a 2009 song by Colombian singer Shakira, featured on her album of the same name. Written by Shakira, John Hill, and Sam Endicott, the song marks a departure from her earlier Latin pop sound, embracing an electro-disco style with heavy synths, funky basslines, and a danceable beat.