Rob Zombie Albums (5)
What The Critics Say
Why now, Rob Zombie? Why a live album in 2007, just when it seemed like you were gracefully transitioning from music to movies, with your remake of Halloween turning into a hit despite decidedly mixed reviews? Clearly, the answer is that Rob Zombie never intended to leave music behind; he's a cross-platform juggernaut who delivers variations of trashy yet clever schlock-horror to all manners of media, from film to record...to the stage, as captured on Live, his first live album ever. Recorded on various stops on his Educated Horses tour in 2006, Zombie Live does lack some might when stripped of its visuals, but the interesting thing about this set is that it feels live. Which doesn't necessarily mean that it sounds raw: Zombie does a giant production designed for arenas, and the music does sound appropriately big, polished, and punchy. But for as professional as this group is -- it includes Johnny 5 on guitar, drummer Tommy Clufetos and bassist Piggy D -- they still play with vigor, and Zombie's vocals sound live, sometimes swallowed by the mix but never playing like mere replicas of the record. This element of performance energy gives Live its kick -- there are no reimagined songs here, only enthusiastic readings, which should be enough for fans. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
When he's not directing feature films like House of 1000 Corpses and Devil's Rejects, Rob Zombie likes to make music. Educated Horses, the prolific director, writer/animator/horror aficionado's return to the world of hedonistic, sexed-up monster rock doesn't stray too far from the formula that garnered him such a rabid fan base, but there's less theater and more backwoods creepiness at hand this time around. Horses crawls on all fours for the first three tracks, relying on too many tried-and-true White Zombie dance beats and turgid guitar riffs to hint at anything outside of sheer puppetry, but when the mid-tempo crunch of "17 Year Locust" begins to echo Sabotage-era Black Sabbath, it's clear that Zombie himself is having the time of his life pulling the strings. "Scorpion Sleeps," with its boot-stomping intro plays like Gary Glitter's "Rock & Roll, Pt.1" blaring from angel's trumpets at the apocalypse, "Ride," with its Tubular Bells-inspired piano riff, evolves into a storm of sonic debauchery, and the purely psychedelic singalong "Death of It All" sounds like the end credits to the last film ever. Schlock it may be, but it's infinitely more listenable -- and enjoyable -- than most schlock thinks it is. ~ James Christopher Monger, All Music Guide
'The Sinister Urge'
Release Date 11/13/2001
Tracks 11
Label Universal
See Album Tracklist and Review
What The Critics Say
Hard rock's brightest shock rocker avoids the sophomore slump on the fun and energetic The Sinister Urge. Zombie's trademark growl is still in fine form, roaring over the 11 tracks with his unique blend of acid-throated venom. But most interesting are the directions he tries to bring to his familiar sound, which he has been cultivating since the hardcore punk days of White Zombie. "Never Gonna Stop (The Red, Red Kroovy)" is the most apparent example of this, a song that borders on pop with its groovy handclaps and acoustic guitars. But not to be worried, the chorus kicks back into classic Zombie, complete with sampled crowd chants and his trademark "yeah." "Going to California" has a similar vibe, albeit darker and with a Welcome to My Nightmare-era Alice Cooper showbiz quality to it. But when it comes time to rock out, Zombie is more than ready. "Dead Girl Superstar" is probably the best of the bunch, raging along at lightning speed and featuring an awesome guest appearance by Slayer guitarist Kerry King. "Iron Head" is also quite good, matching Zombie's bark with guest singer Ozzy Osbourne's trademark banshee wail over a swaggering beat and chugging riff. And finally there is "House of 1000 Corpses," the theme from the film Zombie directed that apparently offended Universal Studios so much that they refused to release it. The song is a nice departure for him, like a Leonard Cohen song filtered through Violator-era Depeche Mode. It is the slow burn of this last track that shows the most promise; after years of making good heavy metal, he finally expands the boundaries of his own sound. Few metal musicians kept their sound fresh for as long as Zombie, and this album is no exception. This may not win any new fans, but anyone who enjoyed his old material will probably find this to be a welcome addition to their collection. Listen for the bonus track, "Unholy Three," about a minute after the last track ends. ~ Bradley Torreano, All Music Guide
'American Made Music to Strip By'
Release Date 10/26/1999
Tracks 12
Label Interscope
See Album Tracklist and Review
What The Critics Say
Rob Zombie's American Made Music to Strip By features remixes of songs from Hellbilly Deluxe by like-minded producers and artists such as former Nine Inch Nails members Charlie Clouser and Chris Vrenna, Rammstein, God Lives Underwater, and Philip Steir, formerly of Consolidated. The sexy, sleazy, horror-movie vibe of Hellbilly Deluxe is amplified on a remix of "What Lurks on Channel X?" by the Spacetruckers, Rammstein's reworking of "Spookshow Baby," and the "Poly 915" remix of "Demonoid Phenomenon." Clouser turns in revamped versions of "Superbeast," "Dragula," and "Living Dead Girl" that expand on the songs' creepy yet hard-hitting feel. American Made Music to Strip By also includes a 28-page booklet of artwork and photos from the Hellbilly Deluxe tour. ~ Heather Phares, All Music Guide
What The Critics Say
Just as White Zombie was on the verge of becoming the most popular metal band in the land, Rob Zombie decided he was an auteur. Stopping short of breaking up the band, Zombie set out to make sure everyone know that he was the main force in the band, as if there were any doubt in the first place. He did extracurricular animation, managed a band, started a record label, drew a sequence in Beavis & Butt-Head Do America, appeared in films, wrote the script for The Crow 3 (which he planned to direct), and most tellingly of all, he recorded a solo album, Hellbilly Deluxe. Since White Zombie was always his baby, it seems a little strange that he had the need to break away from the group, especially since the album sounds exactly like a White Zombie record, complete with thunderous industrial rhythms, drilling metal guitars, and B-movie obsessions. For most listeners, it doesn't matter if Hellbilly Deluxe is technically a White Zombie or Rob Zombie album, since it delivers the goods, arguably even better than Astro-Creep: 2000. To outsiders, the entire schlock enterprise may seem ridiculous or sound monotonous, but even the weak cuts here hit hard and give fans exactly what they want. ~ Stephen Thomas Erlewine, All Music Guide
