Post-war America saw the horror and sci-fi genres reach their apex the age of Cold War hysteria and nuclear paranoia inspiring tales of invading aliens, gigantic mutations and technological terror. Raised on B-movies and comic books?a world inhabited by Martians and vampires?teenagers soon became the main market for a multitude of novelty rock'n'roll records released to exploit the trend. The selections included here go from the essential (Round Robin's Bo Diddleyesque "I'm The Wolfman" and The Swanks' electrifying "Ghost Train") to the absurd (Bert Convy's "Monster Hop") and the ridiculous (Tony Monstrosities' "Igor's Party"?too monstrous for words).
Post-war America saw the horror and sci-fi genres reach their apex the age of Cold War hysteria and nuclear paranoia inspiring tales of invading aliens, gigantic mutations and technological terror. Raised on B-movies and comic books?a world inhabited by Martians and vampires?teenagers soon became the main market for a multitude of novelty rock’n’roll records released to exploit the trend. The selections included here go from the essential (Round Robin’s Bo Diddleyesque “I’m The Wolfman” and The Swanks’ electrifying “Ghost Train”) to the absurd (Bert Convy’s “Monster Hop”) and the ridiculous (Tony Monstrosities’ “Igor’s Party”?too monstrous for words).
