Staff Top 10
Last Caress: Top Ten Songs About Necrophilia



from the touching mix of a sensuality and death inside "The Killing Moon," Tom Petty's doubly suggestive "Mary Jane," to the Geto Boys' "Mind of a Lunatic" which sent Geffen to the sink and back over its graphic contents, corpse-fucking, taken either as the fondling of mere tissue or the desecration of a divinely shaped vessel, is no stranger to popular imagination. Presenting the best of the morbid chafe:

10. GG Allin – I Fuck the Dead [Dirty Love Songs]

At the same time he was fucking the dead, outlaw rocker and scat-munching showoff G.G. (Jesus Christ) Allin also fucked himself, fucked authority, fucked the dog, drank fought and fucked, fucked up, fucked women he'd never had, fucked your brains out, fucked-a-ten-year-old, and killed everything he fucked. Dead himself at age 36, with a bottle of jack and his flaccid blue prick hanging out inside the casket, the man was nothing if not consistent. This little ditty, recorded with The Scumfucs in 1985 is standard v-c-v punk with a slow and sinister opening that's just about the only truly interesting thing about it musically, though it does have a certain lyrical charm: "I love them when they're cold…I slide my cock through their mold." Every shock-rocking pud that's followed afterwards is still eating your sloppy seconds, G.G.

09. Christian Death – Dream for Mother [Only Theatre of Pain]

I can't honestly conclude that this track is really about what I think it is, but the innuendo is there and so it qualifies (with incest as a special bonus). This is actually pretty weak compared to "Deathwish," "Spiritual Cramp," and "Romeo's Distress" but I do enjoy the mixing of the lively guitar scratching against the bass's disinterested tone. And, of course, Rozz Williams creepiness is off the scale. There’s just something about the way he, with claws almost visibly dangling beside the jaw, threatens to "introduce realism."

08. T.S.O.L - Code Blue [Dance With Me]

Vocalist Jack Grisham eschews the prologue in this hardcore confessional, pound for pound the most upbeat dehumanization you'll ever hear. "Code Blue" is definitely another one for the boys, turning on the nags and rags for perfectly ready (if not willing) cadavers. Old Jack hardly care how she died: "...dadadadada...Formaldehyde!" It’s better this way: no one complains and you can even "shoot it in her hair."

07. Mayhem – Necrolust [Deathcrush]

Although the lyrics are just barely intelligible, this track off the Norwegian group's legendary first EP earns its spot by being perhaps the one song that literally sounds as if it crawled up from the grave, throwing off mud and earth as it drills in modified speed-metal riffs for the most horrid offense. Admittedly, what's heard is a reversal of the topic: Here, Death fucks you.

06. Alice Cooper – I Love the Dead [Billion Dollar Babies]

This track, written by Cooper and producer Bob Ezrin, closes Billion Dollar Babies with exactly the sort of mad manor dramatics his reputation is widely predicated on. Alternatively, the rest of the album treads lightly upon popular taste (it also contains the well-known "No More Mr. Nice Guy”). Fluctuating between dual modes of horror (Rocky and Hammer) and gushing gross-out lines like "I never even knew your now rotting face!" Cooper steps between orchestrations of guitar, strings, and trumpet, along with dizzy back-up vocals that help develop a sensational coda. As it must, kitsch inevitably makes the whole thing comforting. Sort of.

05. The New York Rock Ensemble – Gravedigger [Roll Over]

As much as Cooper would like to believe that he introduced our subject (among other things) into Rock n' Roll, he's still a year behind the late Michael Kamen's New York Rock Ensemble. Audacious from the moment he quivers to "Ah-open up" the lid, this track betrays its stationary riffing with an infectious verve, flipping the campy subject matter into inspired grind-house strutting, a vibrant montage with a backup chorus seemingly lifted from the Four Top's "Bernadette." The highlight, however, is the revelation of Kamen's own Christ-like virility that actually empowers the dead to speak. And what does the poor girl say? "Go slow." Glory Glory Hallelujah!

04. The Misfits – Last Caress [Static Age]

Never was there a more joyous yearning for extinction. Lodi 's finest crossed legs with the grim shade of death in a perfectly brief and funny tune that's likely to remain their monument. It has a kind of magical simplicity, shared almost too closely with The Ramones' “Blitzkrieg Bop”; No question about it, if I were punched in the face for every time I heard a version of these same three chords, I'd drop as hard as Danzig did in the video. But from the man's mojo risin' croon to Bobby Steele's perpetually down-stroking fuzz, no one can duplicate The Misfits and it’s a wonder that people even try. This goes double for the horrendous cover version that Metallica has been pimping for the last two decades.

03. Slayer – Necrophiliac [Hell Awaits]

Cut from the most thoroughly nihilistic record of the 1980's, Slayer's first (but not last) illustration of the titular theme is notorious not only for the graphic detail of the song itself but for the legendary introduction given by front-man Tom Araya during their concerts. It begins, often in his brilliant faux-aristocratic drawl: "How many of you out there love older woman?" A simple and entrancing dual guitar rhythm, ornamented by harmolodic trade-offs tour through these sins, voiced by Araya as his clunky bass syncopates Dave Lombardo's tumbling fills. Besides the gore, "Necrophiliac" is one of the few songs here to incorporate a distinct supernatural element into the lyrics, somewhat mocking the prevailing sentiment: A rape, thereupon reaping the infernal consequences. I

02. Siouxsie and the Banshees – Night Shift [Juju]

If the hair on your arms fails to register when the opening guitar chord trickles in on top of bassist Steve Severin's predatory entrance, there could potentially be a song about you here in the near future. Generally taken to be a biographical sketch of Peter Sutcliffe, the Yorkshire Ripper, "Night Shift" brings us from the most evil to the most sympathetic. The song turns into a black avenue between the hypnotic swagger of "Monitor" and the equally dreary "Sin in My Heart" that nearly conceals Siousxie Sue’s smirk as she conveys the id through her teeth. It romanticizes the crime without giving too much away, carried by the poetry and ambience of its pathetically felt desire. With a vertiginous delirium of six-string flooding the scene, this traumatically sensual track remains inescapable, essential.

01. Comus – Drip Drip [First Utterance]

According to Karen Greenlee, the infamous "morgue rat" of Sacramento, one of the more erotic sensations while lying atop a dead body, is being able to view the subsequent purging from the corpse's mouth. Twenty years prior to Ms. Greenlee's lurid confession, Britain's Comus had already delved into the subject via this plasmatic ode to cold coitus. "Drip, Drip" is the necrophilia song par excellence: an orgy of humor, horror, passion, and the grotesque made all the more incredible by its release in 1971. Slide guitars sorrowfully exude the melodrama that unfolds: Soft white limbs blow within an autumnal forest, a lovely body departed. "My arms," emotes Roger Wootton, "you hearse," fluctuating pitch in hysterics. Comus' acid-folk quickly transforms into something like "Carmina Burana" on the Highlands. As the tempo settles, cat-calls scramble for their piece. Fiddle meets palm-to-palm percussion, the rhythm of sacrament. Nasally reassurances follow: "I'll be gentle, I'll be gentle," wavering, spooky sinuses. Over and over the vibrations invade, crawling up close like some ancestral germ of Jello Biafra.

...Disgusting.


By: Todd DePalma
Published on: 2006-11-03
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