I’m going to have to give this point to Sean Yseult. Especially with songs like ‘Super-Charger Heaven’.Īs much as I love Blasko’s work, especially on this album. So, you could make the argument that the drumming in ‘Astro-Creep’ is much more hard-hitting and aggressive.
So, the real question is, which album was Tempesta better in? In ‘Astro-Creep’, we see a little bit of experimentation with the music, but the album is still more of a Metal album than anything that came after. Both albums feature the amazing talents of John Tempesta. Okay, so this first round is going to be a little weird because there’s no other person to compare to. Ladies & Gentlemen…White Zombie or Rob Zombie? It’s ‘Astro-Creep’ versus ‘Hellbilly’! What better time than now, right? Could I possibly be committing career suicide? Who knows? Can’t delay the inevitable any longer, it’s time to finally decide which is the better album. Guys, it’s been a VERY long time since I’ve done a Dash Versus. Both of these periods of Zombie’s career have one thing in common, however…both have what is widely considered two of the most popular, successful, and important Zombie albums ever made White Zombie’s final album, ‘Astro-Creep 2000’ and Rob Zombie’s first solo album, ‘Hellbilly Deluxe’. Not only has Zombie’s popularity and recognition grew to even further heights at this point of his career, but is still finding success to this day. But then, there’s Rob Zombie’s solo career. While the Noise/Industrial/Heavy Metal hybrid band itself may have had a rocky departure once Rob went solo, that doesn’t change the fact that this band created some of the catchiest in Rock & Roll history. Now, what to listen to? On one hand, you have Rob’s original band, White Zombie. Today, I’d figure we’d take a break from film and go into what the man does best. I’ve talked a lot about his filmography up until now. The Season of The Witch is upon us, I can’t think of a more appropriate time than now to bring back the Creeper himself! Mr. Dash Jordan here, and I think it’s time for a little pick-me-up after that last review. Robert VerBruggen is an associate editor at National Review. But anyone who doesn't mind losing a few IQ points to the man's pointless-but-catchy music will feel right at home in the grisly grooves on offer here. If you haven't been in the Zombie camp since the first Hellbilly, Hellbilly 2 probably won't draw you in. "Burn" features guttural nu-metal vocals that went out of style years ago. And while there's nothing wrong with "Virgin Witch" or "Dream Factory," per se, they're not great songs and bring absolutely nothing to the table stylistically. The acoustic intro to "Mars Needs Women" is promising, but the mind-numbingly stupid chorus sinks the whole track. Zombie still hasn't completely shaken his tendency toward filler, however. "The Man Who Laughs" is ten minutes of synthesized strings, guitar, and even a lengthy drum solo, but it works surprisingly well. "Werewolf Women of the SS" is a lot of fun in that classic Rob Zombie kind of way. The vocal effects on "Cease to Exist" are a bit much, but the song adds a psychedelic feel to the record. "Werewolf, Baby" is a pleasant surprise with its slide-guitar riffs and almost classic-rock feel. "What?" has a creepy circus feel, and it could almost fit on Marilyn Manson's Portrait of an American Family. Then comes "Sick Bubblegum," which is equally catchy but feels too much like a rehash of countless other songs. The record starts out with "Jesus Frankenstein," a slow, catchy metal track with some killer guitar riffs. This isn't an album-of-the-year contender by any means-too many of the songs are just paint-by-numbers Zombie tracks, with throbbing power chords, audio clips from old horror movies, and growled vocals-but for those who've been along for the ride so far, it's not a bad buy at all. The industrial touches of the first Hellbilly are still dead and gone, and he's still exploring some new musical territory once in a while. Contrary to what the title would suggest, this is not a return to Zombie's older days.
Over the course of his next two releases, The Sinister Urge and Educated Horses, Zombie became more consistent and ambitious, but his best songs never again quite equaled the megahits on Hellbilly Deluxe. His first record, Hellbilly Deluxe, featured simplistic musicianship and a lot of filler, but it had a few tracks-"Dragula," "Superbeast," and especially "Living Dead Girl"-that were so infectious they more than made up for the album's flaws. Since departing the inimitable White Zombie, Rob Zombie has had a spotty music career.
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