Klown Punk Princes: The Bozo Brilliance of The Dickies’ ‘Killer Klowns from Outer Space’ Theme Song
Rachel Reeves
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On May 27th, 1988, Killer Klowns from Outer Space first beamed onto screens around North America. Directed, written, and produced by the talented Chiodo Brothers, the film follows a pair of young lovebirds who discover that alien creatures resembling clowns have descended upon their town to kill and harvest its residents. Though initially receiving a somewhat lukewarm reception, the film’s blend of sci-fi, comedy, and horror has since grown a dedicated and passionate cult following. It also boasts one of the greatest original horror theme songs of all time performed by the American punk band, The Dickies.
Over the years, horror has been truly blessed by some fantastic songs written by established performers and bands. When October hits, any good DJ worth their salt pulls out hits like Dokken’s “Dream Warriors” from A Nightmare on Elm Street 3: Dream Warriors, Gerard McMahon’s “Cry Little Sister” from The Lost Boys, or The Ramone’s aptly named “Pet Sematary” and J.Geils Band’s “Fright Night.” However, while all the aforementioned tracks deservedly reside in the music wing of the Horror Hall of Fame, “Killer Klowns” by The Dickies has been underappreciated for far too long. A pitch-perfect pairing of artist and cinematic vision, the time has come to officially elevate this banger of a track into the upper echelon of horror theme songs.
The Clown Princes of L.A. Punk
First and foremost, the choice to tap The Dickies to craft an original song for Killer Klowns from Outer Space was brilliant. Spawning out of Los Angeles in 1977, The Dickies (still) exist in the realm where Devo, new wave, punk, pop, and film/tv intersect. With the late 70s being a turbulent time for punk music, The Dickies set themselves apart through their heavily pop-influenced vocals, humor, penchant for clever cover songs and heavy TV, B-movie, and sci-fi movie references. A more digestible punk product for mainstream audiences, the group became further strengthened by their signature California sound combined with the energy of New York punk acts like The Ramones.
Directly countering the controversy and chaos of The Sex Pistols as well as the heavily political leanings of The Clash, The Dickies came as a breath of fresh air to labels like A&M Records. Although, it is important to note that The Dickies have not escaped controversy entirely in their nearly 50-year run and are by no means, pop-punk angels. However, at the time, they may have looked that way. After A&M dropped The Sex Pistols, they signed The Dickies and released their first two albums, The Incredible Shrinking Dickies and Dawn of The Dickies, in 1979. Along with the movie-nod titles, these albums featured songs like “Attack of the Mole Men,” “Banana Splits,” and “Infidel Zombie,” which makes the line to Killer Klowns from Outer Space an easy one to trace.
Once The Dickies signed on to be a part of the Killer Klowns project, frontman Leonard Graves Phillips got to writing the lyrics for the track based on the title alone. Not able to see the film before its release, the lyrics and music were written without any actual knowledge of what the film entailed. Lucky for the band and Chiodo Brothers alike, the band’s early pop-punk sound and affinity for classic sci-fi fare and silliness aligned with the film’s B-movie mentality, intentional camp, and vibrant aesthetic.
Let the Show Begin!
Part of what makes “Killer Klowns” such a compelling and integral horror theme song is how it sets the tone for the entire film. First heard over the film’s opening credits, the track fades in with ominous synths, creepy laughs, and echoes of circus-like calliope music. Then, the curtains become metaphorically thrown open as an electric guitar backed by drums and bass delivers a rapid riff on “Entry of the Gladiators” by Czech composer Julius Fučík. A bit obvious? Maybe, but effective nonetheless. Slightly altered to give the well-known circus tune a more sinister sound, the song sets the stage beautifully for everything that is about to unfold on screen.
Further amplifying the film’s playful attitude are the actual lyrics of the song. As grumpy police officer Mooney (John Vernon) sulks about downtown Crescent Cove on an otherwise pleasant Friday night, Phillips sings, “P.T. Barnum said it so long ago/There’s one born every minute, don’t you know? (Killer klowns)/Some make us laugh, some make us cry/These klowns only gonna make you die.” Catchy and quirky, Phillips was somehow able to nail the ratio of horror and humor despite never even seeing the film itself.
For any other film, this bubblegum pop-infused blend of intentionally obnoxious melodies, quivering vocals, and outright punk absurdity could easily feel offputting or excessive. Yet, it fits in perfectly with the rampant clown cliches, goofy humor, and wonderfully wicked practical effects that make Killer Klowns from Outer Space such a fun watch. And, it’s not just the narrative that it works well with.
On top of embodying the visuals and narrative tone of Killer Klowns from Outer Space, “Killer Klowns” seamlessly gels with composer John Massari’s score. Employing just enough synth and groove, the track makes a beautiful opening act for Massari’s artistic and tonally diverse utilization of various electronic components, instruments, and rock band energy. More than an intentionally placed, commissioned needle drop, “Killer Klowns” is a collaborative component of the overall Killer Klowns from Outer Space soundscape.
This is No Funhouse! No Circus, Either!
The Dickies relationship with Killer Klowns from Outer Space didn’t end with their theme song contribution. Like many other treasured horror theme songs from the time, The Dickies also produced an accompanying music video for the track. Filmed in a jail cell block to mimic the Crescent Cove Police Station, another horror icon, Chuck Cirino, directed the video. Though his career initially revolved around visual graphics and directing commercials and music videos, Cirino later became a composer, scoring films like Chopping Mall, Not of this Earth, The Return of Swamp Thing, and many more.
Along with the band performing “live” in the video dressed in appropriately silly attire, the video features select scenes from the film and delightfully 80s visual graphics. It also integrates key Killer Klowns elements like the cotton candy cocoon and the actual physical klowns eventually replacing The Dickies band members. Though unarguably ridiculous, the video took the band’s relationship with the film one step further, delivering a delightful relic (that should be brought back, in my humble opinion) in the process. They even named their 1988 EP after the film, releasing “Killer Klowns” alongside four other non-Klown related tracks.
Just like the Klowns themselves, The Dickies infiltrated the punk scene under the guise of playful innocence. By pushing their bubbly, bizarre energy to the forefront, their more transgressive punk attitudes simmered beneath the surface of catchy melodies and danceable rhythms. Equally as dangerous to mainstream society as a cotton candy squiggle shooter, The Dickies not only understood the assignment the Chiodo Brothers gave them, they embodied it. They also created an iconic horror theme song in the process. Now, if that doesn’t warrant a spin next October or a place on your next movie-themed playlist, well then, cotton candy cocoon me.
Categorized:Editorials Retrospectives
