#Hellbilly deluxe 2 full
Hellbilly Deluxe 2 is also the first release where Rob Zombie worked with his full touring band. Though originally intended to be released through Geffen Records, Zombie's record label of 18 years starting with White Zombie, the album was released through Roadrunner Records/Loud & Proud Records. According to Rob Zombie, there was not enough time to release advance copies to the press or create a music video for the first single, "What?," before their tour. Rob Zombie had finished recording the album before the end of 2008, but the release had been delayed until November 2009 due to his commitments with Halloween II, and again until February 2010 due to a lack of promotion. 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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