Classic spooky tale covered by many popular artists

By Nicole Bartley
The Rocket (Issue date: 10/24/08)
“The Nightmare Before Christmas” had its 15th anniversary this year. To celebrate, Disney released “Nightmare Revisited,” a cover album on Sept. 30 by various artists. The bands range from Korn to Danny Elfman, the original composer of the soundtrack.
The album aims to be different. Hardcore Elfman fans may not appreciate the new tracks simply because of how far they deviate from the versions we know so well. Those who thrive on remixes and covers, however, should like it.
To start, “Overture” by DeVotchKa, has quick, frantic strings, deceitfully making us think the song will stay true to the original. But after a mere 18 seconds, it becomes pure polka. It’s really very strange, indeed, especially when ghostly voices “yaw” with the melody. When Elfman cameos as Santa Claus on the next track, entitled “Opening,” it sets the stage for the rest of the album. Its slow brass is yet again reminiscent of the initial version, showing us that despite the first song being a far cry from the original, others will hold our loyal attention.
Marilyn Manson’s version of “This is Halloween” tests that loyalty. He was on “The Nightmare Before Christmas 3-D” cover album, which was released two years ago. Manson worked closely with Elfman to create this perfect frightening version, a project that renewed Manson’s faith in the music industry and returned him to the recording studio. Manson’s version is twisted. His voice changes personalities and octaves to fit the characters and the band follows the score faithfully where the only difference is the instruments used.
Following that performance requires a work of genius, and All-American Rejects failed. “Jack’s Lament” is one of my favorite songs. Elfman’s voice as Jack, the main character of the story, is brilliant, and All-American Rejects butchers it. The lead singer’s voice is whiny and nasal, not anything like Elfman’s sweeping elegance that is Jack Skellington. All-American Rejects turns Jack’s lamenting into theatrical emo bitching that just fails epically.
Along with All-American Rejects, Flyleaf just doesn’t cut it either with their performance of “What’s This?” The band’s lead singer has such a morose voice that the song’s intent is reversed. Jack is supposed to be fascinated by a new world, and instead Flyleaf’s singer makes me think that she hardly cares what she finds, like she is rifling through a rummage sale and tossing away the junk.
Two other songs that hit the mark perfectly are “Sally’s Song” and “Kidnap the Sandy Claws” by Amy Lee from Evanescence and Korn, respectively. Lee matches Sally’s concern with a mournful tone that any Evanescence fan will recognize. The band follows the score perfectly and then puts a special Evanescence touch at the end, bringing the song to new heights.
Korn’s performance is very similar. They follow the original score closely and seem to have had a field day with “Kidnap the Sandy Claws.” They create a disturbing and dangerous version where words that were merely mischievous and glossed over in the original song now take a menacing tone. The lead singer, like Manson, alters his voice to fit the three characters of the trick-or-treaters Lock, Shock and Barrel. The song even seems to bounce, and I couldn’t help but blast it to and from school as much as I could.
Like every good soundtrack, some songs are instrumental, and if I were to place a disclaimer sticker on the CD, it would read: “No schizophrenic person should ever listen to this soundtrack because of the images it will put in their head.”
As a prime example, “Doctor Finkelstein/In the Forest” by Amiina makes me imagine windup dolls and marionettes staggering through the forest. “Jack’s Obsession” by Sparklehorse has me guessing my sanity when I picture teddy bears on acid with knives sticking out of their fur while they sing on a children’s show with creepy psychedelic effects in the background.
And “Finale,” though not instrumental, is by far the most disturbing track just because of how it begins. Even against Korn and Manson, Shiny Toy Guns somehow manages to make me actually fear the song with their sinister whispered words in the beginning. To their credit, they balance it perfectly with a cathedral-sounding tribute during the second half.
To end it all, Elfman comes full circle as he once again voices Santa Claus to tell the epilogue of visiting Jack in the future. And while there are other songs on the soundtrack, they don’t stick out as much. Despite the failed attempts, “Nightmare Revisited” stays true to the creepiness and eccentricity that is “The Nightmare Before Christmas.” Every loyal fan should listen to this cover album at least once just so they, too, can question their sanity.