52 recipes from the kitchens of Vincent Price’s Co*Stars paired with 52 recipes selected from his iconic cookbooks
52 films from Vincent Price’s extensive big-screen career
52 insightful biographies and film reviews, with fun facts and trivia
Full-colour galleries featuring poster art and rare stills
Extra Helpings chapter featuring hints, tips and more recipes
Introduction from Victoria Price
RECIPES FOR COOKS OF ALL ABILITIES
Great for both novices and the kitchen-adventurous alike
Breakfast, lunch, dinner and party ideas
Helpful culinary conversion chart
Kitchen tested by Vincent Price fans & foodies from around the world
A VINCENT PRICE CULINARY JOURNEY
Host a Vincent Price movie night and dinner
Over 100 recipes tested, reviewed and updated for the modern palate
Each Co*Star dish expertly paired with one of Vincent Price’s recipes
PLUS Vincent Price movie-themed cocktails, drinks and more
COME INTO THE KITCHEN
Hollywood Icons: Bette Davis, Henry Fonda, Lillian Gish, Robert Mitchum, Ronald Colman Hollywood Beauties: Anne Francis, Ava Gardner, Gene Tierney, Jane Russell, Lana Turner Horror Legends: Basil Rathbone, Boris Karloff, John Carradine, Lon Chaney Jr, Peter Cushing, Peter Lorre Hollywood Heavyweights: Charlton Heston, Charles Bronson, Dana Andrews, Victor Mature British Greats: Diana Rigg, Ian Ogilvy, Jane Asher Comedy Greats: Groucho Marx, Terry-Thomas Plus The King — Elvis Presley …and many more
FUN FACTS AND TRIVIA
52 extensive biographies of Hollywood and British cinema legends
52 comprehensive film reviews
A selection of classics ranging from Service de Luxe (1938) to Edward Scissorhands (1990)
Includes film noir, comedy, thriller and drama favourites such as Laura (1944), Champagne for Caesar (1950), Shock (1946), Dragonwyck (1946) and The Whales of August (1987)
PLUS 20 years of chills and thrills: From House of Wax (1953) to Theatre of Blood (1973)
BE THE FIRST TO KNOW ABOUT OUR UPCOMING PUBLICATION PLANS FOR SUPPER WITH THE STARS!
As there’s no chance of getting out to the shops for the usual January sales, how about checking out these fantastic Vincent Price themed goodies in our Vincent Price store
There are two gorgeous posters illustrated by Graham Humphreys, a glow-in-the-dark tee, Vincent’s wonderful musings about the great women in his life, and a knock-out EP featuring Vincent reading Poe’s The Conqueror Worm to a mind-tripping electronic beat.
Call out for test cooks! Absolutely everyone welcome, whatever your cooking prowess – there is even a GREEN SALAD recipe up for grabs folks! Choose a recipe and spread the word….
I’m excited to announce that I am working with Jenny Hammerton of Silver Screen Suppers on a new book featuring 100 movie star recipes. I will be writing about 50 of Vincent’s films and co stars and Jenny has chosen two dishes to accompany each movie. There will be a Vincent Price recipe for each, with a Co*Star accompaniment.
We are allocating one test cook per recipe for the book, but if you’d like to try more than one, Jenny will be happy to send them out to you.
We totally understand that during the Covid-19 epidemic certain ingredients might be difficult to obtain but we can discuss suitable substitutions. Take the plunge and pick something, it will be fun, we guarantee it!
All test cooks will be thanked in our acknowledgements, and we may use some of your feedback about the recipe to add some FLAVOUR to the book!
Produced on the back of the expected success of 1953’s House of Wax, The Mad Magician returned Vincent Price to the world of three-dimensional horror for a third time (Dangerous Mission was released in March 1954, with The Mad Magician following in May).
Here he plays Don Gallico, a creator of illusions for stage magicians, including the Great Rinaldi (John Emery). But his opening night is thwarted by his boss, Ormond (Donald Randolph), who has already stolen Gallico’s wife (Eva Gabor) and now wants his latest invention – the buzz saw. In a moment of madness, Gallico decapitates his employer.
To cover up the crime and the ones that follow, Gallico dons a series of elaborate disguises, but he hasn’t counted on his assistant Karen (Mary Murphy), her detective boyfriend Alan (Patrick O’Neal) and mystery writer Alice (Lenita Lane) from getting in his way…
Originally released on Blu-ray in the US by Twilight, The Mad Magician gets its UK premiere Blu-ray from Indicator with a Limited Edition (3,000) release featuring the following special features…
• 2K restoration • 3D and 2D presentations • Original mono audio • New audio commentary with film historians Jonathan Rigby and Kevin Lyons • Three-Dimensional Magic (2020): and appreciation of The Mad Magician and the 3D filmmaking boom of the 1950s by cinematographer Frank Passingham and archivist Tom Vincent, presented in 3D and 2D • Super 8 version: cut-down home cinema presentation in anaglyphic 3D • Pardon My Backfire (1953), Three Stooges short presented in 3D and 2D • Spooks! (1953), Three Stooges short presented in 3D and 2D • Image gallery • Original theatrical trailer • New and improved English subtitles • Limited edition exclusive booklet with a new essay by Kat Ellinger on Merv Taylor, a look at the career of producer Bryan Foy, an archival interview with director John Brahm by David Del Valle, the promotional campaign of The Mad Magician, contemporary critical responses, Jeff Billington on the Three Stooges’ 3D shorts, and film credits
It was back in 1928 that a 17-year-old Vincent Price first stepped foot on European soil as part of his Grand Tour, where he finally got to see the great works of art that he was so passionate about. His tour took in seven art capitals, beginning in the UK on 14 July and ending in France on 26 August.
Recently, ESC Tours – which is run by his daughter Victoria Price and Vincent Price Legacy UK curator Peter Fuller – put together a series of bespoke tours in Belgium, the Netherlands and France, that not only followed in Vincent’s footsteps, but also paid homage to his life philosophy – to be forever curious about the world around you. Here’s what happened…
On Tuesday 21 May, our first port of call was the historic Huis ter Duin in Noordwijk, where Vincent Price stayed with his tour group in 1928. It was here that, according to his personal diary, he had a transcendental connection with his mother back home in his home town in St Louis, Missouri. We took a bracing walk along the beach, attempted a little ESP connection to those who had gone or lived apart from us – just as Vincent did – then toured the hotel where Vincent’s group stayed 91 years ago. Much has changed of course — lots of renovation and extensions have taken place on the historic hotel (where the Dutch royals once resided alongside the upper classes here) — but it was a great start to our journey.
We then headed off to Delft, famous, of course, for the Dutch Baroque Period painter Johannes Vermeer and its iconic blue and white tiles. Our tour of the city mainly centred on the town square, which was featured in an iconic sequence in Werner Herzog’s Nosferatu the Vampyre.
On Wednesday 22 May, we headed into Wallonia, famous for its ancient castles, fortresses and beautiful scenery, where we visited a museum dedicated to the Belgian cartoonist Hergé (of Tintin fame), took lunch at Maredsous Abbey, where they produce their own beer and cheese, and toured some castle ruins in Montaigle. We also happened to chance upon a film shoot taking place at remote property that looked ever so spooky — we think it may have been for a horror film.
Thursday 23 May and it was time to board our Mystery Machine again for the drive to Ghent where we strolled through the famous ancient city, visited St Bavo’s Cathedral to see the famed Ghent Altarpiece, Het Lam Gods, and took a self-guided tour Gravensteen Castle (where we were rather disappointed to find that its dungeon was no more).
After some retail therapy and a rest-up at a local cafe, we headed to the coast, to Oostende, where we checked into the glorious Thermae Palace hotel — a real gem and reminder of the past — where Harry Küme’s classic Belgium vampire horror, Daughters of Darkness (aka Les Lèvres Rouges), was filmed (check out my now and then shots below). During our walk on the beach at sunset we couldn’t resist recreating our own version of the Ghent Altarpiece when we chanced upon a steel sculpture inspired by it.
Our road trip concluded on Friday 24 May with us heading back to Schipol via the abandoned city of Doel. Now this is not on any normal tour, but is a must. It’s a ghost town that’s turned into living art – and the total antithesis of the other attraction we visited – Kinderdijk, a picture postcard Dutch village filled with windmills and coachloads of tourists (which the locals hate BTW).
Saying goodbye to our Mystery Machine, and to some of our group, we took the train into Amsterdam, where we met up with a new group of campers for a welcome dinner at De Kas, a fab farm-to-table restaurant located in a set of greenhouses that date back to the 1920s. This would be the first of three elaborate meals that we would have during our stay. The Dutch love their taster menus — and boy do they know how to do them.
Our Amsterdam adventure kicked off properly on Saturday 25 May with a visit to the Rijksmuseum, home to Rembrandt’s The Night Watch (one of the key works of art that Vincent saw for the first time – up, close and personal – in 1928).
We also visited the All the Rembrandts Exhibition, which presented 22 paintings, 60 drawings and more than 300 best examples of Rembrandt’s prints. Interestingly, Vincent’s first piece of art that he bought was a Rembrandt etching. Unfortunately, it was never recorded as to which piece it was — so we shall never know what became of it.
One of the activities we do on our tours is pick our favourite piece from each art collection that we visit and then discuss it later. This piece, Saul and the Witch of Endor, attracted the attention of three of us in the group — probably on account of its occult themes and its fantastical creatures.
We were also treated to a mammoth three-hour five-course lunch at the Michelin-starred Rijks restaurant, which had ‘traded spaces’ with a farm-to-table restaurant in Bali called Locavore. The quality was excellent, and the quanity bountiful — but no room for dinner this evening.
The Museum Quarter in Amsterdam was a great place to start our city break, and some of our group took the opportunity to visit the new Moco Contemporary Art Museum, which was dedicated to the works of the street artist Banksy, as well as Andy Warhol, Roy Lichtenstein, and Daniel Arsham. I think I loved the setting, the historic Villa Alsberg, as much as the artwork.
Sunday 26 May found our group splitting up to visit Rembrandt’s House and the Amsterdam Dungeon (which was whole lot of fun), then we all met up to tour the Anne Frank House, where Anne, her family and four other people who hid from the Nazis in rooms in the secret annex during World War Two. This was truly a sobering, educational visit, and is a must-do when in the city.
The evening was all about Vincent Price as we headed to Lab 111 for a presentation by Victoria about her dad’s legacy, followed by a screening of House of the Long Shadows starring Vincent alongside Christopher Lee and Peter Cushing — which was perfect as it was Peter’s birthday today, while Vincent and Chris’ birthday is May 27.
And speaking of birthday’s, on Monday 27 May, we celebrated what would have been Vincent’s 108th birthday by doing the things he would have done – we headed to an art museum, of course. In this case, it was the Van Gogh Museum, which was a true delight and a place I could happily return to time and again.
You can’t not head to Amsterdam without doing a canal cruise, which took in the well-known districts of the Pijp, the Jordaan and the Red Light District, as we sailed past iconic bridges and the picturesque merchant houses — including ones that featured in the Bondclassic, Diamonds Are Forever, starring Sean Connery.
We ended the day with a meal at the Restaurant La Rive in the Amstel Hotel, where Vincent and Mary Price also visited and included in their acclaimed culinary tome, A Treasury of Great Recipes. This was another gastromonic affair where we got a true taste of haute cuisine.
On Tuesday 28 May, we had planned on a day trip to of Haarlem before taking the train to Paris — but misfortune struck in the form of a public transport strike. So we ended up on a Eurolines coach — which took many hours. Not a great start to the final part of our European adventure, but we are all laughing about it now.
Vincent Price ended his Grand Tour of 1928 in Paris, where he visited so many of Paris’s justly famous cultural sites. We planned to do the same — and added in a few more that have since become part of the pantheon of the City of Lights.
So, on Wednesday 29 May, we began with a morning tour of the Musee d’Orsay art gallery set in a stunning converted Beaux Arts railway station, followed by lunch at 1.30pm at the Eiffel Tower’s 58 Tour restaurant (which has the best views of Paris in my book). In the afternoon, we cruised the Seine, and concluded with dinner at Café de l’Empire, where confit duck was the speciality. A big day indeed… and much needed after that long journey the day before.
For horror fans, visiting Notre Dame and the Palais Opera Garnier is a must when in Paris — especially regarding their links to those classics of the horror genre, The Phantom of the Opera and The Hunchback of Notre Dame. While Notre Dame was closed due to the recent devastating fire, when we visited on Thursday 30 May, some of the group took a tour of the Opera House while others explored the nearby Galleries Lafayette, for a bit of retail therapy.
Then it was off to the Louvre – unquestionably one of the finest art galleries in the world with some 380,000 objects from pre-history to the 21st century with 35,000 works of art over 8 departments on display. After a good few hours there, we finished the day with dinner at La Grande Mosquée de Paris — which was so relaxing after the hussle and bustle of the Louvre and its many tourists.
On Friday, 31 May, we had a couple of different options. Some went off to explore some obscure sites of Paris, others wanted to rest, and another group headed to Fontainebleau to visit the historic town and take in an equestrian fair.
On Saturday 1 June, Victoria lead an EverWalk excursion through the Marais, while I took a group to visit the Catacombs — but a yellow vests demonstration resulted in the police closing it for most of the day.
But all was not lost as we headed to Père Lachaise Cemetery for the rest of the afternoon and ended the day with one of the most touristy things ever — dinner and a show at the Moulin Rouge.
Our adventures ended on a real high on Sunday 2 June with a trip to Disneyland Paris. Yes, I know its for kids and families — but we were guests of Disney because they have reintroduced Vincent’s original narration into the Phantom Manor attraction.
This was a fantastic opportunity to accompany Victoria as she listened to her dad’s voice again after so many years. We also got a personal guided tour of the park and were first in line for all the classic rides. It was, without doubt, a day to remember — and the perfect end to such an adventurous tour. Until next time, that is!
Did you know a play has been created celebrating the life of Coral Browne (aka Mrs Vincent Price No.3)?
Making its London debut recently at the King’s Head Theatre in Islington, London, This F***ing Lady! stars Amanda Muggleton as the Melbourne-born actress who lit up the London stage from the late-1930s to the 1960s (her Lady Macbeth is legendary) and became pals with the likes of Alec Guinness and Robert Morley, as well as Joe Orton, Barry Humphries and Cecil Beaton (one of her many lovers before Vincent came along).
But her crowning achievement was the 1983 BBC TV drama An Englishman Abroad – about her real-life encounter with Cambridge spy Guy Burgess – which was written for her by Alan Bennett, and scored her a BAFTA in 1984.
A great wit and supremely stylish, Coral fell head over heels in love with Vincent Price after he electrocuted her in the cult horror classic Theatre of Blood. But what she didn’t know was that their affair ended his 24-year marriage to his second wife Mary.
I attended the opening night of the play with Vincent and Mary’s daughter, Victoria and while she admitted it was slightly surreal to be sitting in a theatre watching someone playing her ‘wicked stepmother (as she affectionately called her), Victoria felt Amanda really captured Coral’s charisma and expletive-laden wit – and there were a couple of moments when she thought it was actually Coral telling one of her own anecdotes.
Although the show only had a short run (over three weekends), I just had to return for the final performance. And I must say that Amanda (who played one of my favourite characters – Chrissie Latham – in the Oz TV drama Prisoner Cell Block H back in the 1980s) shone even better than her first night (which she admitted was a little under-rehearsed). But the good news is that the show is set to return (but nothing is confirmed as yet). And when it does, I do encourage you to go see it.
In the meantime, our guest reviewer, Ali Pye (who lives for the London stage), gives her take on this vivid portrait of the unapologetically lusty woman that Barry Humphries described as ‘magnificently Melbourne’…
ALI PYE REVIEWS CORAL BROWNE: THE F***ING LADY!
1984 – The BAFTA TV Best Actress Award looks like a photo finish between stage Dames Maggie and Judi. The surprise winner on the night, pipping them at the post in an Alan Bennett Cold War spy two hander in which the dramatic highlight is the measuring of an inside leg, and actually portraying herself twenty years previously with little more than light foundation and a series of startling hats, the name in the golden envelope elicits a playful chorus of “Who the **** is Coral Browne…?!”. If asterisks trouble you, this may not be the show you’re looking for.
An overnight sensation for her victory turn in “An
Englishman Abroad”, Coral had in fact been sensational on stage and screen for
over 50 years.
Amanda Muggleton’s one-woman tour de force of nature
performance launches in this moment. Rising from the audience like Aphrodite
from the waves, if Aphrodite wore a white satin pant suit and low-strung double
pearls, to accept the accolade, turn to the audience and start the regale.
Flamboyant, fabulous, formidable, feisty, flirtatious, other
words starting with “F” fly across the intimate little set in the snug back-bar
Kings Head Theatre.
Coral by the mid 1980’s resides in Santa Monica as the
adored Mrs Vincent Price, an inseparable Hollywood couple since “The Theatre of
Blood” film some decade earlier in which he murdered her.
If the BAFTA award acceptance speech was the pinnacle, then
the first clamber up the theatrical foothills was coming second in the Ballarat
Eisteddfod, reciting Longfellow’s Hiawatha, as a 12-year-old Australian
schoolgirl. Coral was bitten early by the performance bug.
Up ‘em, at ‘em and frequently among ‘em, Muggleton sashays across
the stage and through at least four rows of audience, fearless, forthright, her
platinum mane a frosted crest, She slouches shyly into the girl from the
genteel Melbourne suburb of (Far) Kew, just some days off the London-bound boat
in 1934 knocking tentatively on the door of a magnificently indifferent Dame
Sybil Thorndyke. Through three decades of theatrical star turns and finally to
stride triumphant across the West End blasted heath storming all the great
Shakespeare heroines against Gielgud, Redgrave, Richardson and Guinness.
Coral’s command of Lady Macbeth became so authoritative that
younger actress regarded her as a go-to-guide (“Keep your eyes open during the
sleepwalking scene, dear…”). An early foray on screen saw her cast as a sassy
spy attempting the unlikely seduction of George Formby. The position of his
little ukulele is not recorded in the annals of film history. But Coral’s career
trajectory was sealed as the flirty friend and slinky adulteress and dipsy
devil-may-care girl about town.
Maureen Sherlock’s punchy little seventy five minute drama
‘This F***ing Lady’ promotes some nuanced playing. The jump from Lady Macbeth
famously “giving suck” to a lost infant segues nicely into the reflective dip
of the head as Coral confesses to her maternal failings, an admitted “wicked
stepmother” to her real-life step-children. Her relationship with her own needy
parent, comfortably contained in a domestic arrangement that veers towards the
“high security twilight home” of Coral’s fellow exile from Melbourne, Dame Edna
Everage, seeps sadly through later scenes.
Pre – #Me Too, the young actress abroad embraces the
theatrical bed-hopping, post-matinee trysts and torrid marital affairs with a
“Why not?” pragmatism. The quality of the writing shines through the fog of
wartime bunk-ups. Coral’s delicious self-depreciation never sharper than in
defining herself, involved in an extensive dalliance with theatre impresario Firth
Shephard four storeys up in the bombed out Savoy Hotel, as “Shephard’s Bush”.
Beneath the glitter and the glam, and the name-dropping of
top end labels when it comes to undies gifted by the studios (Balmain a
favourite), shines the flinty business woman.
Spotting the potential of, and securing the rights to, ‘The Man Who Came
to Dinner’ in 1940 brought in steady royalty cheques for the rest of her life.
The throwaway line and accompanying wink that she improbably borrowed £3000
from her dentist to do so is practically a play in itself.
Muggleton’s ferocity never falters, mimicking the bravery of
Coral, never less than a trooper. Lead actress in the 1969 production of Orton’s
‘What the Butler Saw’, set in a madhouse and requiring at least two of the cast
to entirely remove their clothes, cautiously opening in Brighton she was
deserving of a medal at the very least. Her great friend’s Alan Bennett’s
assessment of the south coast harridans never truer than when presented with an
innuendo-laden smutfest climaxing (in every sense) with an over-sized model of Winston
Churchill’s phallus raised heavenwards.”The sleek Sussex matrons
sit poised in the stalls like greyhounds in the slips. The first ‘f***’ and they’re a mile down the sea front,
streaking for Hove….” recites Muggleton, perched giggling on the very edge of Row B,
conspiratorially certain that theatre punters in 2019 Islington are
considerably less fragile.
It is a glorious life lived onstage, backstage and with
gleeful outrage and this work serves the subject well. Quibbles with the
staging amount to the comparative unlikeliness of regal Coral Browne packing
her own suitcases, although the notion frames the reminiscences, allows the flicking
through of photo scrapbooks and reading aloud of boxed love letters. As likely
frankly as abandoning the London stage while the Blitz rained down to tinker
with an ambulance, plant turnips or tap out semaphore at Bletchley.
She is part of a lost generation, here celebrated with
vibrancy and enthusiasm. It is fitting that the last scene of An Englishman
Abroad shows a debonair Alan Bates as Guy Burgess striding through wintery
Moscow, a prisoner in all but name, resplendent in the Saville Row threads that
Coral Browne has facilitated for him. The show is going on.
They have left the stage now, the roaring crowd filed out.
Coral died in 1991. The eulogy famously delivered at her funeral service by
Barry Humphries encapsulated not only this f***king lady but the times through
which she passed.
To paraphrase, they leave behind emptiness, a gap, a void, and
a trough… The World is indeed a good deal less.
This cracking little one-woman show f***ing rocks.
The distinctive, iconic voice of Vincent Price can be heard once again on a new 12″ EP featuring a never-before-released recitation of Edgar Allan Poe’s The Conqueror Worm fused with a pulsating electronica score from London-based electronica outfit The Core.
Pressed on coloured vinyl with artwork designed by celebrated illustrator Graham Humphreys, this Limited Edition EP (300 units) is now available to order directly from our VP shop on this site for only £14.99 (excluding postage). One copy per customer.
Back in October 2012, Little Shoppe of Horrors editor Richard Klemensen dedicated Issue 29 to tell the ‘definitive history’ of director Robert Fuest’s cult classic The Abominable Dr Phibes, starring Vincent Price in one of his most iconic movie roles. It was a revelation, featuring Phibesologist Justin Humphreys’ phan-tastic feature, The Kind of Fiend Who Wins, which was packed with detailed information about the making of the film, from its story genesis to its hugely successful cinema release.
This beautifully-designed issue also included Humphreys’ essay on the film’s art director Brian Eatwell, alongside David Taylor and Sam Irvin’s well-researched feature The Unphilmed Phibes, which exhumed all the lost Phibes movies, and Bruce Hallenbeck’s informative article on the making of the sequel, Dr Phibes Rises Again, and contributions from cult film writers Denis Meikle, David Del Valle, Derek Botello, and many more. Plus, it had special introductions from Tim Burton and Frank Darabont.
I so love this issue and have returned to it countless times – especially for the many behind-the-scenes photos and artwork, as well as the interesting sidebar features that included the hunt for Phibes’ Rolls Royce, a review of the original LP Soundtrack, as well as tributes to the two actresses who played Vulnavia, Virginia North and Valli Kemp.
Fast-forward to 2018 and Humphreys, who works as a film historian at the Academy Museum of Motion Pictures, has revived his original essay for this new paperback book from Bear Manor Media. Now the big question for anyone who already has the LSoH celebration issue is – ‘Is it worth getting?’
On the plus side, and it’s a big plus, you get expanded versions of Humphreys’ The Kind of Fiend Who Wins and the Taylor/Irvin contribution, The Unphilmed Phibes, both of which include extra bits added from interviews with screenwriters William Goldstein and James Whiton, sound designer Peter Lennard, actress Fiona Lewis, and many others.
There’s a Foreward from Dr. Phibes’ creator, William Goldstein, and also new conversations with organist Nicholas Kynaston (who played the War March of the Priests title track), Dr Phibes Rises Again composer John Gale, and screenwriter Lem Dobbs. Plus, longer versions of Humphreys’ previously published articles on Brian Eatwell and his wonderful tribute to Bob Fuest, which originally appeared in Video Watchdog, Issue 168.
Humphreys has also written an informative essay on the making of Dr Phibes Rises Again, using interviews from a variety of sources, which can be found in the extensive bibliography in the front of the book. Plus, there’s two short pieces by Phibes enthusiast Mark Ferelli, including one about his amazing magic lantern show which I was lucky to have seen at London’s Horse Hospital back in 2005.
On the negative side, the book lacks the stunning design of LSoH, with a number of blank pages that could have easily been filled with more photos or some of the previously published sidebar features, as well as a couple of typo errors. A big selling point for me was the opportunity to see never-before-seen production artwork by Fuest from his personal shooting script as well as previously unpublished behind-the-scenes photographs. Well, there are only three scans of the shooting script (I would have like to have seen more), but there are some rare images not published before on offer, including James Whiton’s photos from the world premiere.
But aside from those couple of niggles what shines through is Humphreys’ incredible passion for the Phibes films and his admiration for Bob Fuest, whom he befriended while conducting his research. It’s what makes this book a phan-tastic companion to the LSoH celebration issue. Oh, and its thanks to reading this book that I have now tracked down a copy of the Great Organ Works LP, which not only contains Nicolas Kynaston’s rendition of War March of the Priests, but also his Toccata and Fugue in D Minor, which opened Amicus’ 1972 anthology Tales from the Crypt. Win win! I say!