For those of us who grew up captivated by the chilling tales of Nightmare on Elm Street, the internet has been a revelation. Before online communities thrived, geeking out about Freddy Krueger and the films’ music, especially deeper cuts beyond Dokken, felt like a solitary passion. Finding out there was a whole world vibing to Dramarama’s “Anything, Anything” alongside me? Absolutely awesome. It’s this shared appreciation that truly elevates the experience of enjoying cult horror.
Image alt text: Freddy Krueger’s iconic razor glove menacingly close-up, symbolizing the terror and musical legacy of Nightmare on Elm Street.
In my younger days, movie scores often played second fiddle to the actual songs featured in films. Sure, iconic themes stood out, like John Carpenter’s masterful scores, but generally, it was the songs that grabbed my attention. However, around a decade ago, that perspective shifted. Watching Dario Argento’s Deep Red, Goblin’s score hit me with full force. That moment sparked a deeper appreciation for movie scoring, prompting a revisit to the soundtracks of films I’d watched countless times, including the Nightmare on Elm Street series.
Reflecting on the original 1984 Nightmare on Elm Street, the score, while present, wasn’t at the forefront of my mind. The 213 track during the credits was a cool touch, but that was about it. Part 2 had some catchy tunes, but the music didn’t forge a strong connection. Of course, there’s that iconic nursery rhyme, the Freddy’s song, during the jump rope scene, but outside the film’s context, it wasn’t something I’d instinctively put on repeat. On a related note, who knew that the full version of “Touch Me (All Night Long)” stretched to almost ten minutes?
Moving onto Dream Warriors (Part 3), the lack of more songs is a genuine frustration. This film screamed for a full-blown Dokken soundtrack album. However, we were gifted the ultimate heavy metal horror anthem, “Dream Warriors,” and its unforgettable music video. Seeing Dokken live in 2007, opening for Pretty Boy Floyd, was a mixed experience. While Pretty Boy Floyd was fantastic, Don Dokken’s vocals were noticeably weak. Despite this, the anticipation for “Dream Warriors” kept us there. After a few songs, Don announced they were about to play a song they rarely perform live, “Dream Warriors” filled the venue. Hearing it live was incredible, and it’s hard to imagine a Dokken show without it!
The Dream Master (Part 4) soundtrack album presents its own set of frustrations. The most memorable songs from the film are conspicuously absent from the official release. Dramarama’s “Anything, Anything,” which perfectly underscores the kickboxing scenes, is nowhere to be found. Those scenes are pivotal to the film’s energy!
Sinead O’Connor’s track, used during Deb’s workout scene, is also missing from the album. The film version, featuring MC Lyte – a crucial element – is apparently available on the CD single for the regular version of the song. It exists, but its exclusion from the soundtrack album is baffling. Furthermore, where is Tuesday Knight’s “Nightmare”? The actual theme song of the movie is missing from its own soundtrack album? It’s illogical. Despite these omissions, Dream Master boasts the highest rock-per-capita ratio in the franchise. Numerous scenes, particularly the inventive kill sequences, are inextricably linked to their accompanying songs. And then there’s the iconic “Are You Ready for Freddy?” by the Fat Boys. Why isn’t that on the official soundtrack either?
The Dream Child (Part 5) soundtrack is less frustrating in terms of song inclusion, containing most of the tracks from the movie. However, the songs themselves are generally less impactful and memorable compared to Part 4. The hip-hop tracks are largely forgettable, except for Schoolly D’s contribution. Even Kool Moe Dee sounds uninspired here. While none of the songs are inherently bad, they feel like generic 1989 rap/hip-hop. The inclusion of artists like Bruce Dickinson and WASP, who I appreciate outside the film context, doesn’t add much to the soundtrack’s overall impact, although their individual songs are solid as always.
In contrast to Dream Child, where the songs are enjoyable independently but unremarkable within the movie, Freddy’s Dead: The Final Nightmare (Part 6) offers the opposite experience. With a few exceptions, most of the songs on The Final Nightmare soundtrack aren’t tracks I’d seek out on their own, yet they work brilliantly within the film. You could argue that NOES 3 through 5, both films and soundtracks, formed the heavy metal trilogy of the series, while Freddy’s Dead, especially its soundtrack, leaned into a more “grunge” vibe (for lack of a better term). It was surprising to discover that the Goo Goo Dolls, known for their City of Angels hit “Iris,” contributed some key tracks. While these songs aren’t necessarily record-hunting material, their placement in the movie is perfect, far surpassing the ubiquitous “Iris.” Ironically, thanks to parenthood, the main Goo Goo Dolls association now is this. Chubb Rock’s classic “Treat ‘Em Right” is a standout. Iggy Pop’s track serves as a fitting closer to the franchise – back when they were attempting to convince us that Freddy was truly dead. While effective in the film, it’s not among Iggy’s best songs.
Freddy vs. Jason (2003). There’s no nostalgic connection to this movie’s soundtrack for me. It’s peak 2003. For this article, I sampled the soundtrack on Spotify, and despite knowing most of the bands weren’t my taste, I gave it a fair shot. It didn’t resonate, but I’m sure there’s an audience out there that loves this soundtrack’s nu-metal energy.
On that note, I’m signing off.
Image alt text: A GIF of Freddy Krueger playfully beckoning with his finger, a darkly humorous invitation into the sonic world of Nightmare on Elm Street soundtracks.
