In 1941, a group of folks assembled to put a “hex” on Hitler. Life Magazine – the internet of those times – was on hand to record the event with some snappy photojournalism. Godwin’s Law be damned: this is a hoot, that is, using the “forces of Darkness” to combat “Evil incarnate.”
http://www.life.com/image/ugc1017252/in-gallery/36172/putting-a-hex-on-hitler-1941
Your position on the utility of hexes or the authenticity of these particular would-be pagans is not the point. We humans need to feel as if we are doing something that is meaningful, that our actions have an effect especially during times of distress. During WWII, we had collections for scrap metal. We grew “victory gardens.” Contemporary reflection somewhat pessimistically notes that these activities didn’t really help the war effort as much as they bolstered the moral of those on the home front. So why not “hexes?”
There was great recent controversy when someone planned to burn multiple copies of the Qu’ran. It prompted folks across the Muslim world to burn effigies of just about everyone they didn’t like… even though, as I read it, it’s a cultural proscription, if not cardinal no-no to make graven images of humans. This emphasis on non-representative art is a contributing factor to the splendor of Islamic geometric mosaics, I’m told. Would there have been such an outrage if the American protest only burned – or put a hex – on representations of Bin Laden?
If you’re getting hung up on the whole black magic thing, perhaps because of christian baggage, then call it an “imprecatory prayer.” Lord knows there are enough bible-belters using such language as veiled threats against the president. You’ve maybe seen the bumper stickers that say “Pray for Obama – Psalm 108 8 & 9” Look those lines up, will ya? They’re not the cuddly Loving Shepherd. They say “May the days of his reign be few; let his children be fatherless and his wife a widow.” Ah, explain to me how that’s NOT outright sedition?
by Ray Parker Jr (or should I say Huey Lewis… a lawsuit alleged that the melody is highly reminiscent of “I Need a New Drug” but frankly the bass line of BOTH songs sounds like “Pop Muzik” by M) If you can get the video to “I’m in Love with the Other Woman” see if you can project that somewhere because it features a haunted house. This track is so obvious that is has to go somewhere. Succumb.
by, heck hasn’t EVERY authentic country western group recorded a version of this classic? – If I had to pick one, I think The Highwaymen did a serviceable rendition. Consider using several different versions of this track on the playlist, as a refrain. The Cowboy Cultural Society, an internet radio station, often plays a half hour of “G.R.I.T.S.” with different versions.
” by Robyn Hitchcock off Fegmania. This is a subtle alternative/folks ballad about domestic troubles caused when a husband is torn between his current wife and his dead ex. Told with Hitchcock’s typical irony yet with heart of genuine emotion. A nicely sing-able chorus too.
by Concrete Blonde. A little more raucous alternative rock tune by the band that brought you “Joey.”
– Dwight Yoakam. Straight ahead country. Mournful tale of a love that lasts longer than life. 
— Bessie Smith. Do you really need a reason to put Bessie Smith on a playlist? She carved out a gutsy place for the female voice within blues of the early 20th century. A fun surprise from 1924.
– The Psychadelic Furs. Moody, haunting love song that makes you want to mousse up your hair and wear tight 80’s style pants. Does she love you? Is she dead? Who knows, but it’s all sadness and doom. The Counting Crows do a just-as-sad acoustic cover version of 
— My Chemical Romance. A sad song to be sure, especially with the repeated line “Never coming home.” Since music and music videos have become fused in our culture and in our minds, it’s hard to hear the song without thinking of scenes of soldiers getting one last dance at the USO before they head off to the trenches of WWII. 
— Kate Bush. Like a bit of literature mixed in with your art pop music? Kate Bush delivers a lovely concoction in this emotional song which went on to become her biggest selling single. Sung from the point of view of Catherine, who pleads outside Heathcliff’s room “I’m so cold. Let me into your window.” The lyrics take on a sinister twist if one considers the events of the novel; she may well be a ghost, inviting Heathcliff to join her in death.
–Tegan and Sara. A good song to dance to while trying to exorcise the ghost of a ex-boyfriend or the nightmare you had last evening. Covered by the White Stripes too.
— Norman Greenbaum. The tune combines psychedelic rock and gospel music with its distorted electric guitars, loud drums, tambourines and hand-clapping background singers to produce a feel-good song about meeting up with the Spirit in the afterlife. 
— Tanya Donelly. A sweet and sad song from the ghost’s point of view. She’s happy as she follows him around but seemingly has no impact on him. 
— Marc Cohn. Anthematic 1991 hit from singer-songwriter Marc Cohn. The guy in the lyrics follows the ghost of Elvis to the gates of Graceland and later rock outs with a gospel band.
by Warren Zevon off “Excitable Boy” or “Genius.” It’s the obvious track because everyone knows it and it’s clearly related to the theme. It’s got the same name at least as a classic werewolf movie, though as with all of Zevon’s tunes, he was likely referring to something else entirely. Give in. It’s got to go on the mix somewhere. At least the live version linked here has enough novelty and verve to remind us what made the song a classic in the first place.
by Creedence Clearwater Revival. This tune was linked forever to the werewolf mythos through “American Werewolf in London.” If you don’t want to be SO obvious about it, use the very servicable cover version of 
by Raspuntina. 
. Classic X, driving beat, tight harmonies that made it almost as much as folk as punk. Personified wolves.
by Los Lobos (get it? “the wolves”) A band from the other side of L.A. uses wolves as a metaphor for the difficulties of human life. Relatively profound lyrics and a catchy tune.
by Shakira off the album of the same name. A bouncy latino-pop track from that lady who, I swear, has an extra vertebra in her spine.
by the Grateful Dead. The studio version is on “Working Man’s Dead” and that rendition at least has relatively clear lyrics for those unfamiliar with the tune. A gabillion live recordings as well, most of them with a bit more verve and life. A jaunty rhythm and an odd, singable chorus “Don’t murder me.” the song tells tale of a card game with a 600 pound wolf.
by Steppenwolf. This has no explicit werewolf references, other than the “wolf” in the band’s name which is actually an artsy reference to a German novel. Blue Oyster Cult does a version and live they used to ride a motorcycle onstage. The idea of a biker gang of werewolves actually has been turned into a movie “Werewolves on Wheels (1971)”
by The Tragically Hip from their first EP Tragically Hip – The Hip are a solid act. Their lyrics are literate, their music is blues-y and raucous rock and their fan base is rabid– that is, if you’re from Canada. North of the border they’re more popular than the Beatles but in the U.S. hardly anyone has heard them. This track isn’t their best tune by far but heck, it fits on the list.
by Sam the Sham and the Pharoahs – I knew this song primarily through a version my brother in law would croon. Research it unearthed some fun details: http://en.wikipedia.org/wiki/Lil’_Red_Riding_Hood
by the Five Man Electric Band. Obscure track from the mid 1970’s that I think I can bet no one at the party will have heard. Tells the tale of a boy gone feral and his family’s attempts to cope. Using a gun.
by the Cramps. Heck, if you’re pressed for time, you could drop on a whole album of the Cramps. There’s a movie link of course to Michael Landon (Bonanza, Little House on the Prairie) in the title role.
