Vincent Price reads Tales of Witches, Ghosts and Goblins

In my last post, I tracked down the probable literary sources for A Graveyard of Ghost Tales (Caedmon Records, 1974), an LP of ghost stories and other goodies read by Vincent Price. In this post, I do the same thing for Tales of Witches, Ghosts and Goblins (Caedmon Records, 1972), also read by Vincent Price.

Tales of Witches, Ghosts and Goblins, Vincent Price

As with Graveyard, the stories Price reads here are folktales, not horror. There are a couple of “recipes,” some verses, and a passage from an account of a witch trial. Three stories are again from Carl Carmer, just as lovely and romantic as the pieces on the other LP. “The Smoker” was delightful, and “Gobbleknoll” was fun, too.

In his readings, Price only gives the authorship of one piece, the first verse of “The Broomstick Train” by Oliver Wendell Holmes. So here’s my educated guess at the rest. Thanks again to Jenny Ashford from the Facebook group Alone with the Horrors: Horror Fiction for her research. Again, I haven’t read all of the texts mentioned below, so these attributions aren’t guaranteed. But I’m pretty sure they’re right.

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Christmas Eve

This winter tale offering isn’t a traditional Christmas ghost story — there isn’t a ghost to be found. But it’s just the kind of story I like.

640px Trutovsky Konstantin Kolyadki v Malorossii

“Christmas Eve” is from Nikolai Gogol’s two volume collection of short stories, known in English as Evenings on a Farm Near Dikanka, the collection that helped make his reputation. Gogol was born in the Ukraine, and all the Dikanka stories brim with bits of Ukrainian folklore and details about Ukrainian village life. This particular story is full of supernatural hijinks, witches and the devil. However, this devil is more comical than frightening, and the whole story feels a bit like a Chaucerian farce. “Christmas Eve” also has a rather cinematic feel, in the way it cuts back and forth between multiple simultaneous situations. No wonder Wikipedia lists four film adaptations, as well as three or four (depending on how you count) operatic versions. It’s a bit longer than the pieces I usually share, but if you haven’t read it before, it’s well worth it. Continue reading