Sheitan (“devil” in Arabic) is a 2006 French horror film. It was directed by Kim Chapiron, and written by Kim and Christian Chapiron. It stars and was co-produced by Vincent Cassel. His wife Monica Bellucci also makes a cameo appearance in the film.

It’s Christmas Eve in Paris and in the awful-looking Styxx Club, a group of young hedonists are drinking, sleazing and listening to the worst DJ you can possibly imagine. One of the group, Thaï (Nicolas Le Phat Tan) bumps into stunning vamp, Eve (played by actress/model Roxane Mesquida, also seen in Rubber) and quickly becomes enamoured. Meanwhile, one of his friends, Bart (Olivier Barthelemy), gets into some bottle-related scrapes; the other two members of the group, Yasmine (Leïla Bekhti) and Ladj (Ladj Ly) are marginally less annoying. With blood pouring from Bart’s head wound, they elect to accept Eve’s offer of an early night back at her place in the country (I assume that’s what she suggests).

On the long journey back (she’s stunning but really, all of them abandoning Christmas for her?!), they steal some gas and sweets from a petrol station and with Thaï asleep, Bart indulges in some mild foreplay with a willing Eve in the car. Come daylight, the gang are in the remote countryside and run into Eve’s housekeeper, Joseph (Vincent Cassel from Irreversible and Mesrine, sporting an enormous set of dentures). Joseph is an extremely jolly chap and joshes with his new pals, taking a particular shine to the hapless Bart, who he constantly mis-names, most humourously as ‘Bork’. Delighted to see Eve, he feeds her some milk, direct from one of his goats. When I say he’s delighted, due to his teeth, he looks permanently ecstatic.

Joseph introduces Bart to his niece, Jeanne (Julie-Marie Parmentier), though the idea is less ‘how do you do?’ more ‘would you like to do?’. To add to the odd introductions, the farm seems to be populated with inbred yokels. To break the ice, Joseph invites the group down to the local hot spring.

Though the chaps are still very much after Eve, Jeanne tries to show her appreciation for Bart by masturbating his dog; Bart is appalled, the dog’s opinion isn’t recorded. The boisterousness advances to water-based jousting, the arrival of the locals leading the some of Bart’s hair being stripped from his head.  It’s around now the film goes rather strange (assuming you thought everything up until now was par for the course).

Back at the house, as night falls, conversation, naturally, turns to sex, Satan and the small matter of a very odd room in the house full of creepy-looking dolls. It becomes apparent the whole family is nuts, although with libidos unsatiated, Eve is still the centre of attraction. After a bit of sexy dancing, a rather unlikely threesome takes place but is interrupted by a scream elsewhere in the house. Don’t you just hate it when that happens?

Aside from the seriously weird family, it transpires Joseph is taking bodyparts to build a proto-doll which will, at midnight, turn into something demonic. The only remaining parts are two eyes, the donor, sadly not informed in advance of his requirements. The startling imagery and hallucinatory sequences lead to a dizzying climax that continues even as the credits roll.

The film is a showcase for the never disappointing Cassel, who clearly revels in the role of the chest-thumping mentalist. Though dislikeable as characters, the rest of the cast perform their roles well enough to inspire deep loathing, Mesquida certainly believable as the film-long lust attraction. The set-up is a lengthy one, perhaps unnecessarily so, considering the overly speedy denouement which though disturbing, lacks cohesion and throws a dream sequence in for the sake of it, ruining the flow of the film.

It’s perfectly reasonable to mention the film in the same breath as the likes of Frontière(s) and Haute Tension but it lacks the unremitting punch of either. Nihilistic, rude, sexy and concerning, if it lacks one surprising element, it’s gore, the foreboding figure of Cassel being the threat without any need to clarify what he could do to you. An acquired taste but well worth a watch, if only to gaze in awe at the largest set of teeth since Spielberg’s fish.

Daz Lawrence

Jacula was the eponymous vampire in an Italian fumetti comic book that was also published in France as an adult bande dessinée. In common with Zora and Sukia, the fumetti series contained sexual imagery: together with her vampire husband Carlo Verdier, the predatory Jacula seduced the unwary and corrupted the innocent. She was also married to a human called Torlin Novak, and the relationship resulted in a child whose soul was promptly pledged to Satan.

A total of 327 issues were produced between 1969 and 1982.

Other Italian figures from the same era, and with similarly violent or erotic preoccupations, include Zora la Vampira, Lucifera, Biancaneve, Vartan, Jolanda de Almaviva, Sukia, and Yra.

Wikipedia | Related: Terror Blu | Vampirella 

Artwork clearly ‘inspired’ by Hammer’s The Plague of the Zombies

Molto grazie to Fumetti Online for many of these images.

The Devil Rides Out, released as The Devil’s Bride in the United States, is a 1968 British Hammer horror film, based on the 1934 novel of the same name by Dennis Wheatley. It was written by American writer Richard Matheson and directed by Terence Fisher. The film stars Christopher Lee, Leon Greene, Charles Gray (The Rocky Horror Picture Show), Patrick Mower (Incense for the Damned) and Nike Arrighi.

The powers of good are pitted against the forces of evil as the aristocratic Duc de Richelieu (Lee) wrestles with the charming but deadly Satanist, Mocata (Grey), for the soul of his friend, Simon Aron (Mower), who has been associating with Mocata and his coven. Set in 1920′s England, the Duc and his friend, Rex van Rijn (Greene), soon find more and more evidence of ritual sacrifice, black magic and the Dark Arts, with not only Mower but respectable members of society and a young girl called Tanith (Arrighi) having been lured into Mocata’s inner circle. The film develops as the Duc, van Rijn and their far more sceptical friends, Richard and Peggy Eaton (Paul Eddington and Rosalyn Landor), realise the gravity of the situation, interrupting a forest-based Satantic mass, attended by Satan himself. Mocata manoeuvres to bring Peggy under his spell, finally unleashing the full force of the Left Hand Path upon the group, who rely on all the Duc’s knowledge and white magic to save them.

Lee had been stamping his feet for a long time for Hammer to bring flesh to Wheatley’s words but there was understandable reticence on the part of the hallowed British production house. Eleven of Wheatley’s novels are steeped in Satanism, the practices and the history, which though lending itself to Hammer’s already rich history of storytelling, brought with it very real threat of Britain’s head censor, John Trevelyan cutting it to ribbons, if indeed he allowed it to exist at all. Hammer had already brought the first of Wheatley’s novels to the screen earlier in 1968, the Devil-less fantasy film The Lost Continent.

The rights to filming Wheatley’s book had belonged to Michael Staiver-Hutchins (who was also responsible for the film’s special effects) and an early attempt to make the book acceptable for the screen was made in 1963 with American writer John Hunter (Never Take Sweets From a Stranger) penning a treatment. though the producer, Anthony Hinds, declared it ‘too English’ for mass appeal. As such, the celebrated American, Richard Matheson (I Am Legend, many episodes of Twilight Zone) was approached at the end of the decade, charged with thinning out the lengthy descriptions of Satanic lore and picking up the pace somewhat.

There was also the need to change the plot slightly; in the book, Mocata’s diabolical plan is to start a World War by seizing the Talisman of Set (a mummified phallus, always check before you seize anything). This involved budget-worrying plane chases and even more special effects, so this was jettisoned. In the novel, Aron’s character is Jewish, lending the book an entirely different tone, which again is omitted in the film. The dialogue is very snappy, brevity lending an urgency and mystery to the proceedings.

Lee’s passion for the source material, as well as his close association with Wheatley meant he was always going to bag a lead role, here playing the hero to magnificent effect. Well versed in the ways and history of Black Magic himself, Lee throws himself into the role and clearly relishes every minute, delivery one of his greatest screen roles. Mower (later seen in Incense for the Damned and Cry of the Banshee) is also very believable as the naive young man in well over his head. Matching Lee’s performance is Charles Grey (best remembered as Bond villain, Blofeld but also playing key roles in Theatre of Blood, Rocky Horror Picture Show and The Beast Must Die, amongst many others), magnificent as Mocata, quietly oozing evil and seduction, without resorting to histrionics or cliches, as much Matheson’s triumph as the actor’s. His eyes stare through the screen offering mere suggestions at the carnage he can make possible.

Paul Eddington, later known for his comedy roles in the The Good Life and Yes, Prime Minister, is an effective ‘everyman’, understandably doubtful as to the accusation of sorcery and witchcraft going on. Less effective is Arrighi, slightly alluring but distant even considering her dazed and hypnotised state in character. Worse still is Greene, not only looking like he’s wearing a stuffed suit but bumbling through, getting in the way and doing that dreadful thing horror films often lapse into, giving the impression he’s never heard of the devil/vampires/zombies etc as if that’s the norm. The icing on the cake is that his voice is dubbed by Patrick Allen, which would be just about ok, if only Allen didn’t have one of the most recognisable voices in British television.

Production designer,  Bernard Robinson, does an amazing job with the sumptuous, grand set-pieces in the stately home settings and the film’s climax, working to a tight budget yet delivering sets of great style. The relocation of the filming from Hammer’s traditional home of Bray to Elstree studios gave him much more space to explore the Satanic sabbath and indoor scenes. Fisher, entering the twilight of his career (only Frankenstein Must be Destroyed and Frankenstein and the Monster From Hell followed), allows the actors to work with Matheson’s script without distraction, with plenty of close-ups and tightly-framed shots showing the fear and concern on the actors’ faces.

The Satanic Mass itself is a rather staid affair, a bit of dancing in frocks being about as shocking as Fisher dare venture without risk of Trevelyan involving himself unnecessarily. It does however give us the chance to see a rarely-glimpsed sight of the Devil himself in a horror film, referred to here as Baphomet or most famously, ‘The Goat of Mendes’. Easy to make ridiculous, the depiction is actually extremely startling, a slight smile on his goaty lips and an element of fear even on Mocata’s face. The Dark Lord was played by the famous stunt performer, Eddie Powell, who also served as Lee’s double in 1958′s Dracula.

Less impressive, effects-wise are the scenes towards the climax of the film where our heroes entrench themselves in a holy circle to fend off attacks from a giant spider an the Angel of Death himself. Both suffer from a lack of budget, the spider clearly clawing at a glass pane and the Angel’s horse rearing up again and again on a crudely edited loop. The horse was no actor, wings or no wings, possessing only one lung and wheezing after the slightest exertion (incredibly, not a joke). Digital intervention for the recent Blu-ray release attempted to fix some of these flaws and achieved this to some extent, removing many of the matting issues. There is, however, charm to the creakiness and overall detracts little if at all from the tone and action.

James Bernard’s score is of the highest calibre, delivering instant dread and threat whilst remaining hauntingly beautiful, one of the greatest ever scores for a horror film. Costing a mere £285,00, the film did reasonable business, though despite pleasing Wheatley himself immensely,  did not lead to further excursions for the Duc. Renamed The Devil’s Bride in the USA, so as not to confuse cinema-goers into thinking it was a Western, the film stands up extremely well, the 1920′s setting lending the film a timelessness and one of an almost historical document for the ages.

One of Lee’s favourite films, he is an advocate for the film being remade to redress the special effects issues, though, sadly his wish to play the Duc once more seems more than slightly unlikely. To quote Mocata’s most famous line: “I shall not be back… but something will”.

Daz Lawrence, Horrorpedia

1968 was an epochal year around the world in horror films and for Hammer it was no different. After covering Mummies, vampires, yetis and reptilian women, there was one  evil being that had yet to be filmed. The Devil Rides Out is a terrific film it it’s own right but the score is something else. There are no holds barred in the film, no twists in the tail, if you pardon the pun – it really is the Horned Beast being dealt with, and composer James Bernard wrote accordingly. It is, perhaps, the definitive horror score up to that point in history. Everything about it screams…well, it just screams. The opening credits are enough – a five-note refrain builds to a particularly satisfying crescendo – except the crescendo just keeps going and going. Five times this is repeated getting ever higher until the orchestra simply run out of notes and the strings spiral downwards. It’s exhausting and the film has barely begun.

As, most famously with 1958′s Dracula, the five notes spell out the film’s title in musical syllables. There is an almost constant rumble of drums, particularly timpani, in the background of the score, sometimes keeping their distance, sometimes thrashing their way to the front, either indicating a threat or imminent ritual. It’s the string section that really get a workout though, regularly trilling like nails down a blackboard, one imagines they were on footballer-like bonuses to keep up. The tension does not relent for the whole score, nearly thirty cues, even the love theme suggesting a whispering threat. On ‘The Baptism Begins’, gongs, cymbals, xylophones and a braying horn combine to almost sickening effect, the main theme again signalling ultimate evil.

Filming had already begun by the time Barnard became involved, Hammer executives concerned that the early rushes were leaning rather too much towards the comedic. Riddled with disconcerting tritones and minor seconds, the score is hugely influential and is perhaps the most effective suite of music written for any horror film. Tritones are a common technique for creating unease in music, employed to disturbing effect in the likes of Blood on Satan’s Claw.

Bernard’s use of clashing chords was a common trick used and would utilised far more often from this point forth; unfamiliar notes and sounds adding to the tension on-screen. An ethereal-sounding vibraphone is used in combination with a piano to add to the undercurrent of strangeness.

There is slight redemption in the finale, the final cue reflective, more controlled but without the soar away happily-ever-after satisfaction given to most films and, inevitably, a variation on the main theme used throughout the film to represent the devil, here ending in a major key for the first time, with bells added to the mix.  Both author Dennis Wheatley and Bernard more than suggesting that messing with things you don’t understand can never end with redemption, both good and evil being very much two sides of the same coin.

Daz Lawrence

You can join the Horrorpedia Community on Tumblr (1,000s more images!) | Facebook | Twitter | Pinterest

Satan’s School for Girls (2000) is a made-for-television occult horror film, starring Shannen Doherty (Witchslayer Gtetl), Julie Benz (Saw V), Daniel Cosgrove (They Crawl), Victoria Sanchez (Eternal; Dorian) and Kate Jackson. It is producer Aaron Spelling’s remake of his 1973 ABC Movie of the Week. It was directed by Christopher Leitch from a screenplay by Jennifer Maisel.

A young woman – Beth Hammersmith (Shannon Doherty), who attends Fallbridge College for Girls under the name Karen Oxford, to find out why her sister, who attended the college, is believed to have committed suicide. Once she’s enrolled she soon discovers a Satanic cult of witches who call themselves “The Five”, who want Beth to join the cult. The Dean is played by Kate Jackson, who was a student in the original 1973 version.

Wikipedia | IMDb | Rotten Tomatoes

“Director Christopher Leitch (who also brought us Teen Wolf Too, bless him) keeps things moving along as well as he can, but this thing bogs down at the script level. The cultural references have been updated, with jokes about Bill Clinton and Judge Judy, but it allows for no suspense, no intelligence on the part of Beth (sure, the guy you just slept with accidentally says “You’re stronger than they think,” but do you really suspect him of being in on the plot? Do you even suspect that there IS a plot?), no more depth than your average puddle after a spring shower.” Adore Sixty Four

Knife of Ice - original titles: Il coltello di ghiaccio (Italy)/Detras del Silencio (Spain) – is a 1972 Italian/Spanish giallo film directed by Umberto Lenzi from a screenplay by himself and Luis G. de Blain. The film stars Carroll Baker, Evelyn Stewart and George Rigaud.

A famous singer, Jenny Ascot (Evelyn Stewart), visits her cousin Martha Caldwell (Carroll Baker) at her home in the Pyrenees. Caldwell has long been rendered mute after witnessing both her parents being killed in a train crash. While Ascot and Caldwell are travelling to Caldwell’s home, they notice a strange man who seems to be following them. That night, at Caldwell’s villa, Ascot hears noises, and when she investigates, is killed by an unseen figure.

The police believe the killing is connected to the murder of a teenage girl hours before, and their prime suspect is a local hippy they are convinced is a drug-addicted Satanist. However, two more murders occur while this suspect is in custody. Several other locals are placed under suspicion, including a doctor (Franco Fantasia), a chauffeur (Eduardo Fajardo) and an occultist (George Rigaud). Eventually the man who Caldwell and Ascot saw following them is arrested, and the police discover that his girlfriend had been found murdered several days earlier. However, after this man is taken into custody, Caldwell’s friend Christina (Rosa María Rodríguez) is also murdered, prompting police to reopen the investigation…

Wikipedia | IMDb | Rotten Tomatoes

Somebody is stalking mute heroine Carroll Baker and murdering those close to her. Is it the Manson-esque Satanist? The sinister chauffeur? The handsome doctor? The mild-manned janitor?

This is one of director Umberto Lenzi’s more pedestrian thrillers, routinely plotted and adequately shot, with some welcome allusions to the gothic tradition in a few nocturnal scenes. Aside from the revelation of the killer’s identity and motivation – which seems astonishingly trite – the only real shock in this tame giallo is that Baker remains fully clothed throughout.

Kevin Grant

Bubba the Redneck Werewolf is a 2013 American horror comedy film adapted from Mitch Hyman’s comic book of the same name. The film is being directed by Stephen Biro and produced by Unearthed Films, And You Films and Two Rubbing Nickels Ltd.

Plot synposis: “In the town of Broken Taint, a vicious evil is unleashed, offering the dreams of humanity if you just sign on the dotted line. One lovesick dog catcher makes a deal with the Devil and not only is his life turned upside down, but so is Broken Taint. Bubba The Redneck Werewolf is born and the town goes to Hell while his local bar is filled with the Damned, Bubba figures out how to beat the Devil—but first, he needs another beer and maybe some hot wings.”

Official Facebook Page

Nothing Left to Fear is a 2013 American horror film directed by Anthony Leonardi III and “presented by” Slash of Guns N’ Roses fame who also provides the score. It stars Anne Heche, Clancy Brown and Jennifer Stone.

Wendy, her husband Dan and their kids have just moved to the small town of Stull, Kansas, where Dan is the new pastor. But in this sleepy community of friendly neighbours, a horrific series of occurrences awaits them: Their teenage daughter is being tormented by grisly visions. Her younger sister has been marked for a depraved ritual. And deep within the heartland darkness, one of The Seven Gates Of Hell demands the blood of the innocent to unleash the creatures of the damned…

“Not as scary as it had the potential to be, Nothing Left to Fear relays too much on the look and not on the display to invoke scares, so you are left with a creepy, slightly tense horror that despite its lack of hype doesn’t live up to what it could have been.” Horror Focus

“A great mood, some impressive visuals, and good performances, make this a solid entry for the genre. It’s not perfect, but as a first outing for Slasher Films, as well as director Anthony Leonardi III, this should have fans waiting impatiently for what the future holds.” The Film Reel

Buy Nothing Left to Fear on Blu-ray | DVD | Amazon Instant from Amazon.com

WH

Hell Baby is an American independent horror-comedy film written and directed by Robert Ben Garant and Thomas Lennon. The film stars Rob Corddry, Leslie Bibb, Keegan Michael Key, Riki Lindhome, Paul Scheer, and Rob Huebel. Writer-directors Garant and Lennon also co-star as a pair of priests.

An expectant couple move into a haunted fixer-upper in New Orleans. There, they encounter a neighbour named F’Resnal who tells them about the bloody history of their house. Vanessa (Ms. Bibb) and her husband, Jack (Rob Corddry), exhibiting a certain carelessness in their house hunting, buy a foreboding wreck of a place in New Orleans that the local residents have given demonic nicknames like “House of Blood”. Vanessa is already extremely pregnant when they move in, and soon she is talking like the kid in “The Exorcist.” The Vatican sends some ghostbusters (Mr. Lennon and Mr. Garant)…

“Hell Baby is a horror comedy, although it errs largely on the side of comedy. It’s loose and silly and often hilariously funny; the jokes that hit hard make up for the ones that don’t quite connect. It could be argued that Hell Baby is nothing more than a sketch dragged out to feature length, but I’d say that’s unfair. It’s probably three or four sketches dragged out to feature length, and it totally works.” Badass Digest

“Tedious and tasteless in equal measure, the lazy horror parody Hell Baby gives grossout comedy a bad name. The latest collaboration from Reno 911! creators Thomas Lennon and Robert Ben Garant will play only to the duo’s most faithful fans, providing anyone can tolerate a pileup of poorly improvised scenes and repetitive gags demonstrating zero flair for either satire or straightforward comedy. Variety

Wikipedia | IMDb

WH

Relatos de Presidio (‘Prison Tales’) is a popular “sensacionales” Mexican comic with horror and crime themes aimed at adults. Published by Editorial Toukan (and running to over 800 issues), the far from politically correct artwork and stories in Relatos de Presidio feature gory scenes of death and torture involving victims from both sexes.

‘Sensacionales’ or ‘La revisit vaquero’ are very low quality black and white comics printed in tones of sepia featuring about four panels per page in a four square diagram. The pocket size books generally have approximately one hundred pages and are famous for portraying voluptuous women on their covers. Most are sold cheaply at newsstands, either new or second-hand (similar to Italian fumetti).

Adult comics have a unique place in Mexican culture. Sensacionales are trashy and exploitative, but they also represent a genuinely popular indigenous medium. The dominant role of adult comics in Mexico is relatively new. From the 1930s through the 1970s, Mexico had a thriving comic-book industry with many genres. Titles such as Pepín, Fantomas, and Memín Penguín sold millions of copies during this era. But in the 1980s, American superhero comics poured into Mexico. That, combined with the perception that comics were only for kids, nearly wiped out indigenous comic books in Mexico. The only genre to survive, and even thrive, was a unique form of adult pulp comics.

Wikipedia | Comic Vine | Related: Jacula | Secrets of Haunted House | Vampirella

Enter the Devil (re-issued as Disciples of Death) is a 1972 low budget American horror film co-written and directed by Frank Q. Dobbs. It stars Joshua Bryant (Black Noon, Salem’s Lot), Irene Kelly, David S. Cass Sr. (who also co-wrote it, The Boy Who Cried Werewolf, The Island of Dr. Moreau), John Martin (Mesa of Lost Women), Robert John Allen, Norris Domingue, Linda Rascoe, Happy Shahan, Wanda Wilson and Byron Quisenberry (who later directed Scream in 1981). It was filmed in Texas.

‘Anthropologist Irene Kelly and sheriff’s deputy Josh Bryant  discover that a robed, knfe-wielding Penitente cult called the Disciples of Death have been sacrificing people in the desert. The film also features an abandoned mercury mine, racist rednecks at a hunting lodge, death-by-rattlesnake, and a woman being burned alive. The heroine (Kelly) doesn’t show up until halfway through the movie. This played theatres as late as 1977, us usually on double-bills with imported horror films like Beyond the Door (1974).’ Brian Albright, Regional Horror Films 1958-1990

‘Minor classic and unjustly forgotten horror film seems to have disappeared into the mists of time. I don’t ever remember seeing or hearing of this film until I ran across it in the Sinister Cinema catalog. I’m guessing that the film disappeared into the void since it probably had small distribution and was made about the same time as other western set horror films like Race with the Devil, The Devil’s Rain and others of that type. It’s a shame since the film is actually quite creepy and even scary.’ Steve Kopian, Unseen Films

‘Playing out quietly, stylishly, and just a little bit skewed, it’s the very definition of “regional rarity.” The film feels like S.F. Brownrigg (Don’t Open The Door) rubbing off on Leonard Kirtman (Carnival Of Blood) in an isolated patch of no-man’s land in Texas. But nothing much happens. However, for the first time in a long time, blank happenings carry little baggage.’ Joseph A. Ziemba, Bleeding Skull!

‘There are some surprises and one pretty good shock at the end that I did not expect. So the payoff is rather good in this one, especially if you like cult films, but the movie moves so slowly that you have to be patient.’ Geno McGahee, Scared Stiff Reviews

Buy Enter the Devil on Instant Video | DVD from Amazon.com

‘The death scenes are actually pretty tame, with the camera panning toward burning torches, while the grotesque killings are going on. However, with the pseudo-western “charm”, the scenery of the desert, the weird latin chanting, the red robes and torches, and the carrying of human sacrifice subjects out into the sunset and down into caves; you simply cannot deny that this moviedoes have some amount of atmosphere and suspense. This is a bit more than you’d expect from your typical, early 70s drive-in fare.’ Jorge’s Film Reviews

‘Enter the Devil should be watched into infinity. It’s truly a fantastic film, and although I’m sure the pampered elite of gore-hounds (don’t worry, I’m still with you, mark my words) would find it “boring”, I can recommend it to almost anybody. I will have no regrets doing so.’ Adam Bezecny, The Liberal Dead

Buy Regional Horror Films, 1958-1990 from Amazon.com | Amazon.co.uk

IMDb | We are grateful to Basement of Ghoulish Decadence,  eMoviePoster.com, CultMovieForums.com and Critical Condition for some images.

Night Train to Terror is a 1985 independent American horror film directed by John Carr, Phillip Marshak, Tom McGowan, Jay Schlossberg-Cohen, Gregg C. Tallas, and written by Phillip Yordan and has since become an infamous cult classic of grade-Z movie fare. It stars Cameron Mitchell, Richard Moll, Marc Lawrence and John Phillip Law.

God and Satan are on board a train and discuss the fate of three individuals. In the first story, “The Case of Harry Billings”, a man is kidnapped and taken to an insane asylum where he is put under hypnosis and lures victims to be tortured and murdered as part of an organ-harvesting operation. The second story, “The Case of Gretta Connors”, entails two young lovers who become involved in a sinister cult of people fascinated with death. The final story “The Case of Claire Hansen” involves an apprentice to the Devil who is out to destroy mankind and a group of immortals who are out to stop him.

Night Train to Terror is actually pieced together from three other films:

Cataclysm (1980)

Death Wish Club (1983)

Scream Your Head Off (unfinished)

Footage from this film was also later edited into Marilyn Alive and Behind Bars (1992). In the end credits, Satan is credited as being played by “Lu Sifer” and God by “Himself”.

Buy Night Train to Terror on Blu-ray + DVD combo from Amazon.com or Amazon.co.uk

“Bad karate that can only be stopped by a bearded guy with a net. Flubutu’s amazing electrocution. Boobies. Richard Moll fondling boobies. Decapiation. Giant wasp makes guy’s head explode. Head’s in jars. Closet full of body parts. Giant demons. Crazy spider monster. Breakdancers. Bad eighties fashion. Repetitive music. God and Satan looking out a window and enjoying story time together. All of this sounds completely random and unrelated, and it is, this really just a series of bizarre set pieces strung together but damn it, it’s a lot of fun.” Rock! Shock! Pop!

“Night Train to Terror is a delectably wild, out of control piece of obscure horror cinema…a piece-meal juggernaut of a loco-motive, barreling recklessly down the tracks, with seemingly no one in the driver’s seat. For that reason, this clearly one of those films which you’re gonna indisputably despise, or you’re gonna absolutely relish with maniacal glee.” Cinema Head Cheese

Horror films involving trains: Creep | Death Line (Raw Meat) | Horror Express | The Midnight Meat Train | Night Train Murders | Terror Train | Train

Wikipedia | IMDb

WH

Look What’s Happened to Rosemary’s Baby is a 1976 TV movie directed by Sam O’Steen, and a sequel to the 1968 film Rosemary’s Baby (which O’Steen edited). It has little connection to the novel by Ira Levin, on which the first film was based. It stars Stephen McHattie, Patty Duke Austin, George Maharis, Broderick Crawford, Ruth Gordon, Ray Milland and Tina Louise.

A coven are preparing for a ritual, only to discover that Adrian (Rosemary’s baby), who is now eight years old, is missing from his room. Knowing Rosemary must be responsible for this, the coven members use her personal possessions to enable the forces of evil to locate her. Rosemary and Adrian are hiding in a synagogue for shelter. While hiding there, supernatural events begin to affect the rabbis. However, as they are seeking sanctuary in a house of God, the coven is unable to affect them.

The next morning, Guy (George Maharis), who is now a famous movie star, gets a call from Roman Castevet. Roman informs Guy that both Rosemary and Adrian are missing and that Rosemary may attempt to contact him. Later that night, Rosemary and Adrian are sheltering in a bus stop. Rosemary makes a phone call to Guy, while Adrian plays with his toy car nearby. As soon as Guy answers the phone, Rosemary immediately issues instructions on how to send her money. Outside, some local children start teasing Adrian and bullying him by stealing his toy car. Suddenly, in a fit of rage, Adrian knocks the children unconscious to the ground. Attempting to flee, the pair are accosted by Marjean, a prostitute who was witness to the incident. Marjean offers them to hide the pair in her trailer…

“Everything involving Duke and her young child on the run from evil Satanists is cheaply done but automatically fun. Flash-forwarding the “action” years into the future is a mistake that the film should never have attempted in the first place. Lizard-faced Stephen McHattie is well cast as the adult demon seed Andrew/Adrien, but has little to do but act confused. Ray Milland is a great pick to take over for the deceased Sidney Blackmer as cult leader Roman Castevet, but it doesn’t make up for the sinful waste of a downgraded returning Ruth Gordon as wife Minnie, who rarely does more than echo her husband.” Kindertrauma

“Suffering from such maladies as a psychotic script, some stilted acting, and sub-par special effects (whenever such things are attempted) you may correctly assume that this sequel to Roman Polanski’s 1968 suspense film does not live up to its heritage. What a pleasant surprise, then, to find that this ultra-obscure sequel to a horror classic is a wacky 70s Doom film full of hallucinogenic images and a constantly downbeat tone.” Groovy Doom

“The acting, directing, writing, pacing, and climax where all horrendously bad. There is not one redeeming thing going for the film (and for a laugh, it tries to recreate the famous rape scene from the first film). It’s just sad to watch. Stick with the original, and count your blessings if you haven’t seen this.” Karmic Cop

Wikipedia | IMDb | We are grateful to VHS Collector for the video sleeve image

From the earliest times, mythical demons have inhabited all faiths and religions but Christianity really grasped the nettle whole-heartedly, with various writers recording ever-more elaborate inhabitants of Hell and going to great lengths to explain their roles and where specifically they resided. The Spanish Franciscan Catholic Bishop, Alphonso de Spina, recorded in 1467 that demons could be classified in the following ways:

• Demons of fate
• Goblins
• Incubi and succubi
• Wandering groups or armies of demons
• Familiars
• Drudes
• Cambions and other demons that are born from the union of a demon with a human being.
• Liar and mischievous demons
• Demons that attack the saints
• Demons that try to induce old women to attend Witches’ Sabbaths

A hundred years later, Peter Binsfield, a German bishop, honed these vague categories and aligned them to the seven deadly sins, hence, the seven princes of Hell looked like this:

• Lucifer: pride
• Mammon: greed
• Asmodeus: lust
• Leviathan: envy
• Beelzebub: gluttony
• Amon or Satan: wrath
• Belphegor: sloth
  

Another theologist, Johannes Wierus, recounted the evidence as he saw it and proclaimed that when Lucifer fell from Heaven, he took 2400 evil angels with him; when they arrived at Hell, there were eleven princes of Hell, each commanding 6,660,000 demons each. Hell was essentially the mirror image of Heaven, so whilst Cherubim and Arch Angels featured for the good, ‘downstairs’, Lucifer (most often agreed to be the head of all the demons) appointed many of the most evil angels to preside of different areas of the Underworld.

Abaddon (the destroyer)

His early career as the angel sent to collect the earth which was used to create Adam, he later took up the role of angel of the bottomless pit. Chief of the human-faced, scorpion-tailed, horse-bodies demon locusts

Adramelech (king of fire)

Great minister of Beelzebub’s Order of the Fly. Adramelech became the President of the Senate of the demons. He is also the Chancellor of Hell and supervisor of Satan’s wardrobe. Being generally depicted with a human torso and head, and the rest of the body of a mule (or sometimes as a peacock).

Asmodeus 

Asmodeus takes charge of the casinos of Hell, specialising in all things related to greed and illicit pleasure. Sporting three heads (bull, ram and human), he leads mortals to squander their wealth of frippery and tempt them into wildly inappropriate relationships.

Astaroth (Treasurer of Hell)

Riding around on a dragon and carrying a serpent like a staff, Astaroth is a mentor to newer demons joining the ranks

Azazel

Referenced in Christianity, Judaism and Islam, Azazel was one of the first angels to fall from Heaven and lists amongst his achievements, leading men to create and take-up weapons and women to apply make-up. Bit sexist.

Baal

Baal is the demon most heavily related to idleness. Situated in Eastern Hell, he has the arms of a spider and three heads – human, cat and toad.

Beelzebub

Chief of staff and second only to Lucifer in the rankings, even attempting coups in Hell. Presiding over the Order of the Fly, Beelzebub often takes the form of a fly and is notorious for inspiring heresy and tempting humans with sin, envy and pride. Witch trials often attempted to coerce those under suspicion to confess to worshipping Beelzebub.

Behemoth (devil’s cupbearer)

Appearing, variously, as a crocodile, elephant, whale or a hippo, this demon, obviously, lent his name to describing anything huge. Employed as night watchman of Hell, he also serves as the Devil’s cook.

Beleth

Responsible for eighty-five legions of demons, he announces his appearance with great fanfares of trumpets upon a pale horse.

Belial (prince of arrogance and deceit)

Dervied from the Hebrew for ‘worthless’, Known to be a great speaker, he is depicted as being particularly vicious and vocal against the work of God. Belial is said to already have been in Hell when Lucifer fell and tempts mortals into acts of rebellion and disloyalty. Also the name of the little chap in the film Basket Case.

Belphegor

One of the seven princes of Hell, who helps people make discoveries. He seduces people by suggesting to them ingenious inventions that will make them rich. According to some 16th-century demonologists, his power is stronger in April. Often appearing as an attractive young woman, he spends his time outside of Hell in Paris.

Carnivean

Invoked during Witches’ rituals, he is the patron devil of lewdness, lasciviousness and obscenity.

Crocell

Speaking in dark and mysterious way, Crocell leads 48 legions of demons and when summoned by humans can teach mathematics and geometry. Can control the sound and temperature of water at will.

Dagon

Often depicted as a fish or fish/human hybrid, Dagon in the pantry chef of Hell and is the God of Philistines. Adopted by H.P. Lovecraft in his tales.

Dommiel

Gatekeeper of Hell and responsible for terror and trembling

Forcas

Teacher of maths and logic in the realms of eternal fire. In charge of Lucifer’s stables.

Furculor

Appears as a winged human.

Gaap

Governor of Southern Hell, in charge of 66 legions. Human-like, apart from massive bat wings.

Gressil

The mirror of Saint Bernard, Gressil tempts mortals into acts of impurity and sloth.

Hornblas

Demon of musical discord, his tuneless blasts summon the denizens of Hell together.

Leviathan

As his name suggests, responsible for the infernal navy and on stand-by to devour all the unsaved on Judgement Day. Created on the same day as Behemoth.

Mammon (demon of averice and greed)

Mammon is heavily associated with England and is ranked amongst the most influential of all the princes of Hell. Bent double from the speed of his fall from grace, he spends his days staring at the ground, tempting men into acts of jealousy for material goods.

Mephistopheles (the destroyer/prince of deceit)

Now used to describe any act of pretence or falsehood, he has been known to try to lead even God astray and leads humans to selling their souls

Misroch (Lucifer’s cook)

With the head of an eagle, Misroch now serves the Devil fruit he has cursed from the Tree of Immortality.

Moloch (Chief of Hell’s army)

“And thou shalt not let any of thy seed pass through the fire to Moloch”. Moloch is a frightful sight, covered in the blood of murdered children and drenched in the tears of their grieving mothers. Anxious to start immediate warfare against God

Paimon

Depicted as a camel-riding young woman, Paimon is utterly loyal to Lucifer and as a reward controls over 200 legions. Regularly invoked in rites and ceremonies, Paimon knows all Earthly secrets…for a price.

Rimmon

Although his name derives from the Hebrew for the innocent pomegranate, he is associated with Russia and is the only doctor in Hell. Largely involved in the creation of storms and thunder.

Rosier (demon of seduction)

Although considered a lesser-demon, Rosier still leads humans into being seduced against their will and is linked with tainted love, putting frothy, foolish words on the lips of smitten lovers.

Sammael (devil of death)

Accused by some of being the serpent in the Garden of Eden, Sammael crosses over into the same character as Lucifer in some texts. Demon of the arts.

Satan (Vice president of Hell, demon of anger)

Perhaps a slightly low rank for such a familiar name, Satan is a demon of destruction, appearing throughout the Old Testament, from the Garden of Eden to annoying Jesus in the desert. Assuming such a high rank in Heaven that he sported twelve wings, he finally met his match in a battle against the angel, Uriel.

Xaphan

Known for causing chaos, Xaphan attempted to raise troops into setting Heaven on fire, a plot that was rumbled leading to eternal damnation, fuelling the fires of Hell with a set of bellows.

During the 16th century, it was believed that each demon had more strength to accomplish his mission during a special month of the year. In this way, he and his assistants’ powers would work better during that month.

• Belial in January
• Leviathan in February
• Satan in March
• Belphegor in April
• Lucifer in May
• Berith in June
• Beelzebub in July
• Astaroth in August
• Thammuz in September
• Baal in October
• Asmodai in November
• Moloch in December

For more demonic fun, pick up The Devil by Tom and Genevieve Morgan

Daz Lawrence, Horrorpedia

Ghost (known as Ghost B.C. in the United States) is a Swedish heavy metal band, formed in Linköping in 2008. In 2010 they released a 3-track demo, followed by a 7″ vinyl titled “Elizabeth”, and eventually their debut full-length album Opus Eponymous. The album was widely praised and increased their popularity significantly. Their second album and major label debut Infestissumam was released in 2013, debuted at number one in their home country.

Ghost are easily recognizable due to their eccentric on-stage presence: five of the group’s six members wear hooded robes, while the vocalist appears in skull make-up, dressed as a Roman Catholic Cardinal. The nature of their identities is highly secretive and their names have not been publicly disclosed; the vocalist calls himself Papa Emeritus and the musicians are referred to only as Nameless Ghouls.

Allegedly formed around 2006, Ghost B.C. have succeeded in establishing a large and committed fan base, despite their songs, artwork and stage shows being bathed in all things dark and Satanic. Taking their influences from horror films and the Swedish metal explosion of the 80′s and 90′s, they honed their act supporting the likes of Paradise Lost, styling their songs very much in the metal tradition but melding the melodies and vocals much keenly than many of their contemporaries, with elements of psychedelia and progressive rock frequently indentifiable. By the release of their second album in 2012, their lead singer, Papa Emeritus had been apparently usurped by a new Pope, Papa Emeritus II – it is quietly understood that this is actually the same person taking the opportunity to update the make-up and costume and perpetuate the band’s mythology.

What the band excelled with in terms of image, they lacked in a name – Ghost was the name of at least two other existing bands with record deals in the United States, leading to a legally acceptable ‘B.C.’ being added. Touring almost constantly, their third album, 2013′s Infestissumam met with record company resistance, the band’s 16th Century orgy on the cover being a little too far beyond the pale. Though a compromise was reached, the album sold well by word-of-mouth, despite an inevitable lack of radio play.

Though the band itself are unknown musicians, they are allowed symbols – those similar to the sigil of Baphomet -  lead guitarist , bassist , keyboardist , drummer , rhythm guitarist actually representing fire, water, wind, air and ether. These five of the band’s members, called “Nameless Ghouls”, wear hooded monk-like robes and masks that cover their faces. The original version of the character, referred to as Papa Emeritus (later Papa Emeritus I), had a costume was a vinyl mask of an older man with skull features painted on it and white or black Cardinal chasuble and mitre. His eyes are also different colours, the right one being a dark brown and the left one being a drastically lighter colour. Upon Papa Emeritus’s stage entry, he would swing a smoking thurible, a prop that was used to make his entrance to the stage known.

The second version, referred to as Papa Emeritus II, has a noticeably different appearance than the first; with the vinyl mask for him being fitted more tightly than the first and a much sharper jawline and distinguishable brow ridge, giving him a younger and more vigorous appearance. Unlike the first Emeritus, Papa Emeritus II wears an exclusively black chasuble with emerald green or royal purple lining, and a white mitre. Papa Emeritus II has the same mismatched eye colour as the first; a darker right eye and a lighter left eye. In addition to this, Papa Emeritus II is seen to use a sceptre which adorns a metallic-looking Grucifix for his stage entry.

Daz Lawrence

Witchcraft – Magic: An Adventure in Demonology is a 1969 spoken word album, featuring the florid tones of horror legend Vincent Price as he discusses the world of witchcraft and the occult in all forms across four sides of vinyl, clocking in at an impressive (and exhaustive) 105 minutes.

While Price would crop up as narrator on albums by Alice Cooper and Michael Jackson (Thriller) in later years, this is his magnum opus – a book length study of witchcraft, produced by Roger Karshner and released by Capitol Records. Terry d’Oberoff is credited as both composer and director, while the impressive stereo sound effects were supplied by Douglas Leedy, a pioneer of late Sixties electronic experimentalism. There is no credit for the text, though it seems likely that this too is d’Oberoff.

The LP consists of Price telling tales of witchcraft and devil worship – not fictional horror stories, but factual (well, factual-ish) accounts of historical events and aspects of the occult, helpfully split into various chapters on the sleeve – ‘Hitler and Witchcraft’, ‘Women as Witches’, ‘The World of Spirits and Demons’ and so on. Price seems to have fun with the more lurid descriptions, his voice and (most likely) tongue in cheek attitude giving a gleefully macabre and somewhat leering tone to lines like “fornication with the Devil, child sacrifice, feasts of rotting human flesh” and “the tearing of her flesh with pincers, her body broken on the wheel, her fingernails ripped off, her feet thrust into a fire, whatever horrors the twisted mind of the hangman could devise” in the two part section entitled ‘Witch Tortures’.

A surprising amount of the album actually seems to be a ‘how to’ guide to witchcraft, with handy chapters on ‘How to invoke spirits, demons, unseen forces’, ‘how to make a pact with the Devil’ and ”Curses, Spells, Charms’. “Of course you should never resort to this… except in the case of the most dire necessity” says Price of selling your soul to Satan, giving a little chuckle as he does so, before going on to give full and frank instructions nevertheless. Oh those Satanic Sixties!

Price’s narration is occasionally interspersed with Macbeth-like witches cackling away in heavily treated manner. These are possibly the most over the top moments of the album, but they work as dramatic interludes.

The music by d’Oberoff is impressively creepy and discordant, as are the sound effects, which float from speaker to speaker in the way that only records from the early days of stereo did – even Price’s voice moves from left to right and back, adding a sense of displacement to the narration.

This is not easy listening, and neither is it the most approachable of audio books. But fans of Price and anyone interested in the occult will probably enjoy it. If nothing else, it’s a curious artefact from a time when public fascination with witchcraft, Satanism and black magic was at its peak.

Originally released as a double album with accompanying booklet, the album has been issued on a CD of dubious legality and can also be found online if you look hard enough.

Review by David Flint

The Devil’s Tramping Ground is a camping spot located in a forest near the Harper’s Crossroads area near Bennett, North Carolina. It has been the subject of persistent local legends and lore, which frequently allege that the Devil ”tramps” and haunts a barren circle of ground in which nothing is supposed to grow.

Stories about the ring are well known in the local community. These include the disappearance of objects left within the ring overnight, dogs yipping and howling not wanting to go near it, and strange events occurring to those brave enough to spend the night within its boundaries. It has been alleged that nothing has grown within the 40 foot ring for a hundred years. Legend says that this is the very place the devil himself can rise from the depths of fiery hell, and come to earth. It’s at this place that the devil is supposed to walk in circles on certain nights and bring his evil into this world.

John William Harden (1903–1985) of Greensboro, N.C., journalist, newspaper editor, author, and advisor to North Carolina governors and textile executives, had this to say of the Devil’s Tramping Ground:

Chatham natives say… that the Devil goes there to walk in circles as he thinks up new means of causing trouble for humanity. There, sometimes during the dark of night, the Majesty of the Underworld of Evil silently tramps around that bare circle– thinking, plotting, and planning against good, and in behalf of wrong. So far as is known, no person has ever spent the night there to disprove this is what happens… (Harden, 1949)

The camping spot is in fact mostly bare, but does include some vegetation (visible in photo above also). Objects as well as campers have repeatedly stayed within the circle overnight. The site is often littered with broken glass and beer cans, as well as “spooky” spray-painting on nearby trees, suggesting that local youth are more likely the nighttime “trampers”.

The Devils’s Tramping Ground is mentioned in two horror novels by Poppy Z. Brite: Lost Souls and Drawing Blood. Both these novels take place, at least in part, in the fictional North Carolina city of Missing Mile.

Wikipedia

Orror (Italian: ‘horror’) was an Italian ‘adults only’ fumetti comic book published in two different series in the late 1970s. For the first series, publishers Edifumetto issued 21 issues from June 1977 to May /1978; for the second series, 6 issues were issued in 1979.

As was the case with most horror-themed fumetti, the comics and covers often depicted scantily-clad or half-naked young women being terrorised by all manner of predatory ghouls, killers and monsters. Artwork was sometimes based upon images from horror films, such as the first edition’s no.20 which shows a vampire modelled on actor Jon Pertwee from the Amicus movie The House That Dripped Blood (1970) but shows him as Afro-Caribbean, Blacula-style! The cover for number 10 seems to be derived from an image used to promote Blood and Lace (1970), although in this case the hammer murder weapon is replaced with an axe. Second edition, no.6 shows a vampire with a striking resemblance to Jack Palance, who played Dracula for TV director Dan Curtis in 1973.

We are grateful to Comic Vine for the cover images shown here. Visit their site to see more…

The Exorcist is a 2014 British BBC radio 4 drama based upon William Peter Blatty’s bestselling novel (previously adapted as a film by the author and William Friedkin in 1973) about the possession of a young girl, Regan, by a demon. The two-part radio version has been produced and directed by Gaynor Macfarlane and adapted by Robert Forrest. Alexandra Mathie plays the demon, Robert Glenister plays Karras and Ian McDiarmid is Merrin.

Macfarlane told The Guardian: ”In the book there is some doubt about whether Regan’s head turns around or not. Our version may not have these filmic tricks, but it has a gradual, creeping, perhaps more toxic horror. You feel tainted by hearing it. Robert Forrest, who adapted the story for us, was fascinated by the psychological story and he has put Father Karras, the priest figure, at the centre of the story. It takes him to the point of a possible breakdown. It does feel like a departure for Radio 4, but it is a classic of the horror genre. On the BBC iPlayer it will carry a warning, because we think it is frightening. In the film the demon is very foul-mouthed, but we have changed that so it is not just a ranting presence, but something really frightening, witty and knowing instead. It gets right inside Karras’s head.”

The Exorcist will be broadcast on Thursday 20 and Friday 21 February at 11pm.

BBC blog

WH

Sphere horror paperbacks were published in the UK during the 1970s and 1980s. They were hugely popular and many – such as Lust for a Vampire, Blind Terror, The Ghoul, Squirm and Dawn of the Dead – were movie tie-ins and novelisations. The initial novels chosen for publication focused on the occult. Sphere published pulp fiction novels by famous authors, such as Richard Matheson, Ray Russell, Colin Wilson, Graham Masterson, Clive Barker and Robert Bloch whilst also providing a vehicle for British career writers such as Guy N. Smith and Peter Tremayne, plus many lesser known writers whose work received a boost by being part of the Sphere publishing machine. Occasionally, they also published compilations of short stories and “non-fiction” titles such as What Witches Do. In the early years, like many other opportunistic publishers, they reprinted the vintage work of writers – such as Sheridan Le Fanu – with lurid cover art.

The listing below provides a celebration of the photography and artwork used to sell horror books by one particular British publishing company. For more information about each book visit the excellent Sordid Spheres web blog.

1970

John Blackburn – Bury Him Darkly

Robert Bloch and Ray Bradbury – Fever Dream

Robert Bloch – The Living Demons

Robert Bloch – Tales in a Jugular Vein

Angus Hall – Madhouse

Sheridan Le Fanu – The Best Horror Stories

Michel Parry - Countess Dracula
Sarban – The Sound of his Horn

Ray Russell – The Case Against Satan
William Seabrook – Witchcraft (non-fiction)
Kurt Singer (ed.) – The Oblong Box

Kurt Singer (ed.) – Plague of the Living Dead

Kurt Singer – (ed.) The House in the Valley
Robert Somerlott – The Inquisitor’s House

1971

Richard Davis (ed.) – The Year’s Best Horror Stories 1
Peter Haining (ed.) – The Wild Night Company
Angus Hall – The Scars of Dracula

Angus Hall – To Play the Devil – Buy on Amazon.co.uk
William Hughes – Blind Terror (Blind Terror film on Horrorpedia)

William Hughes – Lust for a Vampire (Lust for a Vampire film on Horrorpedia)
Ray Russell – Unholy Trinity
E. Spencer Shew – Hands Of The Ripper

Kurt Singer (ed) – The Day of the Dragon

David Sutton (ed.) – New Writings in the Horror and Supernatural 1

Alan Scott – Project Dracula

1972

Richard Davis (ed.) – The Year’s Best Horror Stories 2

Peter Haining (ed.) – The Clans of Darkness

Laurence Moody – What Became Of Jack And Jill?
Ronald Pearsall – The Exorcism

David Sutton (ed.) – New Writings in the Horror and Supernatural 2
Richard Tate – The Dead Travel Fast

Sam Moskowitz (ed.) – A Man Called Poe

1973

Richard Davis (ed.) – The Year’s Best Horror Stories 3
Stewart Farrar – What Witches Do: The Modern Coven Revealed (Non-Fiction)

Brian J. Frost (ed.) – Book of the Werewolf

Melissa Napier – The Haunted Woman
Daniel Farson – Jack The Ripper [non-fiction]
Raymond Rurdoff – The Dracula Archives

1974

Theodore Sturgeon – Caviar

1976

C L Moore – Shambleau
Guy N. Smith – The Ghoul

Robert Black – Legend of the Werewolf

Richard Curtis – Squirm

Ron Goulart – Vampirella 1:Bloodstalk

1977

August Derleth (ed.) – When Evil Wakes
Ron Goulart – Vampirella 2: On Alien Wings

Ron Goulart – Vampirella 3: Deadwalk

Vampirella on Horrorpedia

Ken Johnson – Blue Sunshine

Fritz Leiber - Night’s Black Agents
Robert J Myers – The Slave of Frankenstein

Robert J Myers – The Cross of Frankenstein
Jack Ramsey – The Rage

Ray Russell – Incubus
Andrew Sinclair – Cat

Colin Wilson – Black Room

1978

Ethel Blackledge – The Fire
John Christopher – The Possessors
John Christopher – The Little People
Basil Copper – Here Be Daemons

Basil Copper – The Great White Space
Giles Gordon (ed.) – A Book of Contemporary Nightmares

Peter Haining – Terror! A History Of Horror Illustrations From The Pulp Magazines

Peter Haining (ed) – Weird Tales

Peter Haining (ed) – More Weird Tales
Peter Haining (ed) – Ancient Mysteries Reader 1
Peter Haining (ed) – Ancient Mysteries Reader 2
Richard Matheson – Shock!

Richard Matheson – Shock 2

Richard Matheson – Shock 3

Stephen Marlowe – Translation
Michael Robson – Holocaust 2000
Peter Tremayne – The Ants

Peter Tremayne – The Vengeance Of She

1979

John Clark and Robin Evans – The Experiment
William Hope Hodgson – The Night Land
Robert R. McCammon – Baal

Kirby McCauley – Frights

Kirby McCauley – Frights 2
Jack Finney – Invasion Of The Body Snatchers
Graham Masterton – Charnel House

Graham Masterton – Devils of D-Day
Susan Sparrow – Dawn of the Dead

Gerald Suster – The Devil’s Maze
Peter Tremayne – The Curse of Loch Ness

1980

Les Daniels – The Black Castle
Gerald Suster – The Elect
Jere Cunningham – The Legacy
William Hope Hodgson – The House On The Borderland
Robin Squire – A Portrait Of Barbara

John Cameron – The Astrologer
Robert McCammon – Bethany’s Sin
William H. Hallahan – Keeper Of The Children

Ray Russell – The Devil’s Mirror

Roy Russell – Prince Of Darkness

1981

Basil Copper – Necropolis

M. Jay Livingstone – The Prodigy
Andrew Coburn – The Babysitter
Peter Tremayne – Zombie!

Graham Masterton – The Heirloom
Owen West [Dean R. Koontz] – The Funhouse
William Hope Hodgson – The Ghost Pirates

Graham Masterton - The Wells Of Hell
Graham Masterton – Famine
Marc Alexander – The Devil Hunter [non-fiction]
Guy Lyon Playfair – This House Is Haunted [non-fiction]
Robert R. McCammon – They Thirst

1982

Ronald Patrick – Beyond The Threshold

Peter Tremayne – The Morgow Rises

William Hope Hodgson – The Boats Of The Glen Carrig

Stephen Gallagher – Chimera
Marc Alexander – Haunted Houses You May Visit [non-fiction]
Michelle Smith & Lawrence Pazder – Michelle Remembers [non-fiction]
Dillibe Onyearma – Night Demon
Robert R. McCammon – The Night Boat

Ray Russell – Incubus

1983

James Darke – The Witches 1. The Prisoner

James Darke – The Witches 2. The Trial
James Darke – The Witches 3. The Torture

Basil Copper – Into The Silence
Les Daniels – The Silver Skull

1984

Peter Tremayne – Kiss Of The Cobra

Clive Barker – Books Of Blood 1
Clive Barker - Books Of Blood 2

Clive Barker – Books Of Blood 3
Graham Masterton – Tengu

George R. R. Martin – Fevre Dream
James Darke – Witches 4. The Escape

1985

Peter Tremayne – Swamp!

Peter Tremayne – Angelus!
Stephen Laws – The Ghost Train

Clive Barker – Books Of Blood 4
Clive Barker – Books Of Blood 5
Clive Barker – Books Of Blood 6
Rosalind Ashe – Dark Runner
James Darke – Witches 5. The Meeting
James Darke – Witches 6. The Killing

1986

Christopher Fowler - City Jitters

James Darke – Witches 7. The Feud
James Darke – Witches 8. The Plague

Clive Barker – The Damnation Game
Graham Masterton – Night Warriors
Lisa Tuttle – A Nest Of Nightmares

1987

Peter Tremayne – Nicor!
Peter Tremayne – Trollnight

Lisa Tuttle – Gabriel

1988

Alan Ryan (ed.) – Halloween Horrors

Guy N. Smith – Fiend

Stephen Laws – Spectre
Graham Masterton – Mirror
Eric Sauter – Predators
Robert McCammon – Swan Song

1989

Stephen Laws – Wyrm
Guy N. Smith – The Camp
Guy N. Smith – Mania

Graham Masterton – The Walkers
Graham Masterton – Ritual
Bernard King – Witch Beast

The listing above and many of the cover images are reproduced from the Sordid Spheres web blog. Bar the odd addition and amendment, the list first appeared in Paperback Fanatic 3 (August 2007). For more information about each title, its author and links to reviews, visit Sordid Spheres

Horrorpedia is a non-profit website. Please help us cover our web-hosting costs by buying from our affiliate links. Thank you.

Join the Horrorpedia online community on Tumblr (8,000 more images!) | Facebook | Twitter | Pinterest