Rob Zombie is something like a modern day Renaissance man, living in a world gone mad. His music forged rock, funk, and psych into a whole new genre, making soundtracks for a wasted generation raised on Hot Rod, Hustler, and Tales from The Crypt magazines. After his earthshattering work with White Zombie, Rob did what the critics and fans said he could never do....top himself. He blew everyone away with his first solo CD, Hellbilly Deluxe, and then the incredible tour he did with Korn. Rob began to desire the conquering of a new medium, film. After directing a writing a short segment in "Beavis and Butthead Do America," Rob began to work for his first film, nearly capturing the right to direct a film in the Crow franchise. Disenchanted with the 'red tape' in the film industry, and disgusted with the recent 'bubblegum' type horror movies, Rob set out to create his own horrors....a completely new and original horror film, while still showing his respect to the gritty, bloodspattered films of the seventies. House of 1,000 Corpses brought back memories of The Texas Chainsaw Massacre, Night of the Living Dead....while giving us new faces to fear. Watching this film was like living it. You felt emotionally drained when you came out on the other side.
The soundtrack for House came out a few weeks before the movie, and I'm sure there was a lot of confusion about the choice of tracks, from cuts by Buck Owens, Helen Kane, and Slim Whitman. But I don't think anyone can deny the power those songs had in the final work. I know I'll never listen to "I Remember You" in the same way again, after watching Otis, in painful, deliberate pause, delay the shooting of the cowardly police officer.
Rob's use of music is brilliant and visceral. It hearkens to Tarantino's Reservoir Dogs. I'm sure nobody will forget the sinister tone "Stuck In the Middle With You" by Stealers Wheel took during the torture of the police officer.
And now, we have the soundtrack for The Devil's Rejects, and it's deja vu all over again. The only review for this CD so far is by a person who dislikes cuts from the 70's, and wonders why Rob Zombie didn't cut any new tracks for this CD.
Rob has explained this himself, in many interviews. The reason is simple- Rejects is going to be more serious, more driven, more dark. It's a different movie than House. Rob says that he is driving for the more 'documentary' feel of 70's horror, and since Rejects is set in the 70's.....well, you figure it out.
I have thoroughly enjoyed this CD. The audio cuts from the movie only tantalize me with thoughts about what Captain Spaulding, Otis, and the rest of the Firefly Clan will be doing in this movie. And....listening to these great songs makes me wonder what I'll be thinking AFTER I watch this movie.
MIDNIGHT RIDER- The Allman Brothers Band
SHAMBALA- Three Dog Night
BRAVE AWAKENING- Terry Reid
IT WASN'T GOD WHO MADE HONKY TONK ANGELS- Kitty Wells
SATAN'S GOT TO GET ALONG WITHOUT ME- Buck Owens
FOOLED AROUND AND FELL IN LOVE- Elvin Bishop
I CAN'T QUIT YOU BABY- Otis Rush
FUNK #49- The James Gang
ROCK ON- David Essex
ROCKY MOUNTAIN WAY- Joe Walsh
TO BE TREATED- Terry Reid
FREE BIRD- Lynyrd Skynyrd
SEED OF MEMORY- Terry Reid
I'M AT HOME GETTING HAMMERED- Banjo & Sullivan.
The use of these songs is fitting and correct. They will only add to the style of the movie. If you still don't get it, go rent The Texas Chainsaw Massacre and Dawn of the Dead....