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More Atlanta artists and writers weigh in on their Halloween favorites

Since posting yesterday's Halloween hit list, more folks started weighing in on their spooky favorites — enough to warrant a sequel

In case you missed it, check out "Atlanta artists, DJs, and music scribes conjure up 19 of their favorite Halloween jams." After the list went up yesterday, more folks started weighing in their spooky favorites — enough to warrant a sequel.

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While not necessarily "Halloween" themed, for my money, this is one of the most frightening records ever made. Basically an exorcism into a microphone. I interviewed Henry Rollins for a fanzine in November of 1984. He told me that he recorded his vocals in the studio's lounge area (complete with couch and Coke machine) holding a Shure 58 mic in his hand, just like he would onstage. This allowed him more freedom of movement. The creaking sound you hear at the end of this song is Henry crumpled into the fetal position on the floor with his head banging against the leg of the couch. You then hear the Coke machine come on just before the tape cuts. — William DuVall (Alice In Chains)

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Stereolab — “Come And Play In The Milky Night”: This one is more personal to me and literally transports me to October 31, 1999 every time I hear the opening atmospheric filtered synths. This is the closer of the ultimate Halloween album in my opinion (the cover is even orange and brown.) Laetitia urges all the children to come and play on the blasted heath of weird fog. Easy to picture cauldrons and bats and things. Orange and brown. — Bradford Cox (Deerhunter, Atlas Sound)




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