Candlebox – Love Stories & Other Musings (2012)

Love Stories & Other Musings is the fifth studio album by the alternative rock band Candlebox. It was released in 2012 on Audionest.
Presumably, the “other musings” mentioned in the title of Candlebox‘s fifth album allude to the five covers of their big ’90s hits tacked onto the end of Love Stories & Other Musings.
These new versions of “Far Behind” and “You” and a handful of others are faithful retreads of the original recordings but the band sounds a little bored trying to color within the lines, although the rest of Love Stories is a true surprise: Candlebox sound loose, limber, lively for the first time on record, breaking free from the brooding grind that’s been their stock in trade since the start. Guitars sparkle, rhythms are elastic, the hooks aren’t pushed; they breathe and Love Stories benefits tremendously from this open air. Candlebox still sound like veterans of the ’90s but they’re not beholden to grunge: they now favor the melodicism of post-grunge and bear the lightness and nimble chops that come with middle age, a combination that unexpectedly produces their best, richest album to date.


  1. “Youth in Revolt” – 3:19
  2. “Sweet Summertime” – 3:50
  3. “Believe in It” – 3:49
  4. “She Come Over Me” – 4:54
  5. “Turn Your Heart Around” – 4:04
  6. “Lifelike Song ” – 4:37
  7. “Come Home” – 3:58
  8. “Baby Love Me” – 3:34
  9. “Them Eyes” – 4:32
  10. “Far Behind” – 4:52
  11. “You” – 5:01
  12. “Cover Me” – 4:44
  13. “Change” – 6:18
  14. “Simple Lessons” – 3:08
Amazon Exclusive

15. “Out Here All Night”  (Damone cover) – 3:23

iTunes Exclusive

16. “No Lights” – 3:42

Tracks 10–14 are rerecordings of band’s previous hits.


Additional musicians

Released: April 3, 2012
Genre: Rock
Style: Alternative Rock, Grunge
Length: 1:08:09

Label – Audioness Records

Jimmy Vaughan – Strange Pleasure (1994)

Jimmie Lawrence Vaughan (born March 20, 1951, Dallas County, Texas, United States) is an American blues rock guitarist and singer based in Austin, Texas. He is the older brother of the late Texas blues guitar legend Stevie Ray Vaughan.
Several notable blues guitarists have had a significant influence on Vaughan’s playing style including the “Three Kings” (Albert, Freddie, and B.B. King) and Johnny “Guitar” Watson.
Jimmie Vaughan’s first solo album includes a subdued country-gospel-blues eulogy for his late brother Stevie Ray in the form of “Six Strings Down,” written by Art and Cyril Neville. The bulk of the recording, though, comes in the form of the relentless, Texas-blues rave-ups that made Jimmie the solid rock at the base of the Fabulous Thunderbirds. Dr. John gives a New Orleans shuffle to two songs he cowrote with Jimmie, but more typical is the first single, “Boom-Bapa-Boom,” which boasts a hypnotic rhythm perfectly described by its title. Jimmie’s refusal to play an unnecessary note makes his grooves irresistible.
‘Strange Pleasure’ featured lots of new ideas with a retro twist, and then he penned three quarters of a cross section of blues styles on his second album, before turning his attention to the bluesier aspects of jazz. The net result is plenty of cool grooves, effortless shuffles, occasional spirited duets, and plenty of laid back but incisive guitar playing, over three albums within his chosen trio format.
‘Six Strings Down’, the moving ode to his brother Stevie Ray on ‘Strange Pleasure’ compasses several of those strands in a country, blues, gospel mélange and a role call of fallen guitar giants.
Released 4 years after Stevie’s death, it was an album born of reticence and it took Clapton no less, to encourage Jimmie to step out in his own right. And if the result wasn’t quite the fired up album some might have expected, there’s still good rocking on the opening ‘Boom-Baya Boom’, economical playing on the ‘Flamenco Dancer’ – which is actually a hefty shuffle – and a lovely after hours feel to ‘Tilt-A Whirl’. It’s an impeccably played debut album with gospel tinged bv’s .


1.  Boom-Bapa-Boom – 3:56
2.  Don’t Cha Know – 4:21
3.  Hey-Yeah – 3:44
4.  Flamenco Dancer – 4:18
5.  (Everybody’s Got) Sweet Soul Vibe – 4:33
6.  Tilt A Whirl – 4:57
7.  Six Strings Down – 4:25
8.  Just Like Putty – 4:07
9.  Two Wings – 4:25
10.  Love The World – 4:15
11.  Strange Pleasure (Modern Backporch Duende) – 2:30

Jimmie Vaughan (vocals, guitar)
Rene Martinez (Flamenco guitar)
Nile Rodgers (guitar)
Joe Sublett (saxophone)
Bill Willis (piano, Hammond B-3 organ)
Junior Brantley, Denny Freeman (piano)
Richard Hilton (keyboards)
George Rains (drums)
Lou Ann Barton, Oren Waters, Terry Young, Kevin Dorsey, Fonzi Thornton, Ken Williams, Curtis King, Jr. (background vocals)
Dr. John (vocals, piano, tambourine)
Denny Freeman, Junior Brantley (piano)

Audio Mixers: Gary Tole, John Hampton, Richard Mullen.
Recorded at: O’Henry Sound Studios, Burbank, California and The Hit Factory, New York.
Recording information: Ardent Studios, Memphis, TN; Hit Factory Studios, New York, NY; O’Henry Studios, Burbank, CA.
Photographer: Keith Carter.
Producer: Jimmie Vaughan; Nile Rodgers
Engineer: Gary Tole; John Hampton

Release Date: Apr 12, 1994
Genre: Rock, Blues
Length: 45:31

Label – Epic Records 

Lon & Derek Van Eaton – Who Do You Out Do (1975)

Lon & Derrek Van Eaton were an American vocal and multi-instrumentalist duo from Trenton, New Jersey, consisting of brothers Lon and Derrek Van Eaton. They are best known for their association with the Beatles through the brothers’ brief stint on Apple Records, and for their subsequent session work in Los Angeles for producer Richard Perry. As well as recording their own albums, during the 1970s they appeared on releases by artists including George Harrison, Ringo Starr, Harry Nilsson, Carly Simon, Martha Reeves and Art Garfunkel.
By the start of 1973, Apple Records was in the process of being wound down and it was clear that the label would never be able to honour the Van Eatons’ original five-year deal. Having recently worked with producer Richard Perry on a Harry Nilsson session in London, Harrison recommended that the brothers relocate to LA and record with Perry’s engineer, Bill Schnee.
The move ensured that the Van Eaton name remained in the spotlight, with both brothers being credited for percussion on Ringo Starr’s US number 1 “Photograph” For the next two years, Richard Perry’s projects kept the Van Eatons – Lon in particular – busy and making music with a number of top recording artists (though distinctly MOR in style compared to Apple’s less glitzy roster). This session work included appearances on four more gold-selling albums of the early-to-mid 1970s, all produced by Perry: Andy WilliamsSolitaire, Starr’s Goodnight Vienna, Carly Simon’s Playing Possum and Art Garfunkel’s Breakaway. In addition, the brothers assisted Harrison on his Dark Horse album by providing the title track with backing vocals (Harrison’s own singing voice having become ravaged by laryngitis, mid-sessions and pre-tour).
Having paid their dues in Hollywood for the previous two years, Lon and Derrek were finally given a chance to record their own album, for A&M Records. Who Do You Out Do was produced by Perry and Schnee, and contained contributions from a number of musicians who likewise had connections with ex-Beatles Harrison and Starr: Gary Wright, Chuck Findley, Jim Keltner, plus return appearances from Voormann and Jim Gordon. When released in early 1975 – and despite Perry’s supposed Midas touch, the stellar cast, and a supporting tour with Voormann and Keltner – the Van Eatons’ second album went the way of Brother and failed to chart at all. Two decades later, they would recall this period with A&M as “tough”, citing, “Richard and Bill both ended up producing but the ‘feel’ was with Bill and the ‘biz’ was Richard. We couldn’t choose one or the other so we compromised. Big mistake.”
There was no second album with A&M Records, nor any other label in Los Angeles willing to bankroll the Van Eatons. Having developed considerably as a lead guitarist, Lon saw out the remaining years of the decade guesting on albums by Starr (Ringo’s Rotogravure, Ringo the 4th and Bad Boy) and Harry Nilsson (…That’s the Way It Is, Knnillssonn). He also appeared in Starr’s TV special Ringo, which aired in April 1978. These projects found ever-dwindling audiences, however, as the fortunes of both Starr and Nilsson had spiralled dramatically since the Van Eaton brothers first met them in 1971.

Track Listing:

  1. “Who Do You Out Do” – 3:18
  2. “You Lose” – 2:25
  3. “Do You Remember” – 3:41
  4. “Music Lover” – 3:12
  5. “Let It Grow” – 2:56
  6. “Wildfire” – 3:38
  7. “Dancing in the Dark” – 2:38
  8. “All You’re Hungry for is Love” – 2:51
  9. “Baby It’s You” – 3:38
  10. “The Harder You Pull … The Tighter It Gets” – 3:52



Released: 1975
Genre: Rock
Style: Folk Rock
Length: 32:54

Label – A&M Records

Black Joe Lewis & The Honeybears – Scandalous (2011)

Black Joe Lewis (born Tucson, Arizona, United States is an American blues, funk and soul artist influenced by Howlin’ Wolf and James Brown. He formed Black Joe Lewis and The Honeybears in Austin, Texas in 2007.
On their Lost Highway debut, Tell ‘Em What Your Name Is!, Black Joe Lewis & the Honeybears did everything right. A standard rock quartet with an eight-piece horn section, they offered a high-energy meld of retro-soul, funk, and R&B that recalled variously the early J. Geils Band, James Brown, Wilson Pickett, and Otis Redding with a Stax/Volt-influenced rhythm section. On Scandalous, Lewis and producer Jim Eno scraped the band’s sound even further; right into the grain of rhythm & blues-based music. There are only four horns this time, bringing the groove as close to live as you can get. There is also more focus on Lewis‘ and Zach Ernest’s nasty, gritty guitars and the absolutely throbbing basslines of Bill Stevenson. Check their sweaty workout amid the horns and chants in “Booty City,” and the homage to real life Nevada brothel, “Mustang Ranch.” Both are dance tunes, and both rely on a double dirty-ass guitar attack to do battle with the horns for dominance. Matthew Strimska’s drums shuffle and shake, cracking with taut rimshot breaks to accent the rowdy, orgiastic grooves. “Living in the Jungle” is tough, naked, horn-blasting, primitive funk with great axe fills by Lewis, who is shouting his best James Brown tempered by the soulful eros of Joe Tex. Further, the band relies more on electric Delta blues this time out. The pedal-to-the-medal funk-blues of “You Been Lyin’ has Lewis and band backed by progressive gospel group the Relatives. It’s 12 bars, but the I-IV-V is stretched to the breaking point with tight arpeggio horn charts and multi-part vocal harmonies as the guitars rattle venomously. “Ballad of Jimmy Tanks” begins as a Stax-styled soul workout, then crashes directly into sweaty R.L. Burnside-esque grind-it-out blues. Ivory Joe Hunter‘s “Since I Met You Baby” is utterly raw, its guitars knife-edge tinny, with bass and B-3 bleeding over them. But a quirky, mariachi-cum-soul horn arrangement sends it into the stratosphere. Lewis is pleading at the limit of his range; his voice cracking in all the right spots. It’s one of the band’s finest recorded moments. The closer pays tribute to Burnside‘s lusty running mate, Junior Kimbrough, with its darkly sexual hypnotic groove. Its title? “Jesus Took My Hand.” In a word, Scandalous most certainly is; it’s a party record that bleeds Saturday night into Sunday morning and beyond.


1.  Livin’ In The Jungle – 3:22
2.  I’m Gonna Leave You – 3:51
3.  Booty City – 2:41
4.  Black Snake – 3:03
5.  She’s So Scandalous – 4:35
6.  Messin’ – 2:26
7.  Mustang Ranch – 3:41
8.  You Been Lyin’  (Featuring – The Relatives) – 3:31
9.  Ballad Of Jimmy Tanks – 3:24
10.  Since I Met You Baby  (Written-By – Ivory Joe Hunter) – 4:15
11.  Jesus Take My Hand – 3:54

all songs written by Black Joe Lewis & The Honeybears, except were noted.

Companies, etc.


Release Date:  March 15, 2011
Genre: Blues Rock, Pop/Rock
Styles: Retro-Soul, Retro-Rock
Duration: 38:39

Label – Lost Highway Records

Visage – The Anvil (1982)

The Anvil is the second studio album by the British rock/pop band Visage, released in March 1982 by Polydor Records. The album reached No. 6 in the UK and was certified “Silver” by the British Phonographic Industry in April 1982. The Anvil was a legendary Gay after hours club where famous Danceteria DJ Bill Bahlman created the extremely popular “New Wave Nights at the Anvil” One night Bahlman invited Visage lead singer Steve Strange. So impressed with the power and fun of the energy charged, steamy atmosphere, he named his second album “The Anvil” Several of the tracks are his attempt to capture that energy on vinyl.
When they recorded the follow-up to their surprisingly successful debut, the members of Visage appeared to be dealing from a position of strength. But the dance club-fueled, style-obsessed new romantic movement that had propelled the group to success in England was already crumbling, and frontman Steve Strange had begun to take his role as the movement’s figurehead a little too seriously. The Anvil, rumored to be the subject of a multi-million dollar feature film (a project that never materialized), emphasizes Strange‘s penchant for melancholy and melodrama. Where the band’s debut undercut such pretensions with humorous tracks like the twangy “Malpaso Man,” only one tune here — “Night Train,” with a rubbery bassline and blasts of brass backing a tongue-in-cheek tale of intrigue — dares to take liberties with Visage‘s moody image. Still, with backing from the same core of post-punk all-stars (Ultravox‘s Midge Ure — who co-produced the album — and violinist Billy Currie, as well as Magazine keyboardist Dave Formula), Strange and drummer Rusty Egan sound just as good as before, and despite once again closing an album with a forgettable instrumental (“Whispers”), almost all the band’s efforts on The Anvil are extremely well-crafted synth pop. Two, in fact, are essential new wave artifacts. The title track takes a despairing look around clubland, setting Strange‘s best-ever lyric to a grim parody of a hit in the meatmarket disco it describes; it suggests he’d become disillusioned with the scene that had spawned Visage. “The Damned Don’t Cry,” meanwhile, is even better, a ghostly groove that comes closer than anyone would have thought possible to recapturing the haunted magnificence of “Fade to Grey,” the band’s signature hit.


1.  “The Damned Don’t Cry” – 4:43
2.  “Anvil (Night Club School)” – 4:39
3.  “Move Up” – 4:25
4.  “Night Train” – 4:29
5.  “The Horseman” – 4:41
6.  “Look What They’ve Done” – 4:49
7.  “Again We Love” – 4:44
8.  “Wild Life” – 4:24
9.  “Whispers” – 5:39

All tracks written by Visage (Billy Currie, Rusty Egan, Dave Formula, Steve Strange and Midge Ure).


Additional personnel

Released: March 1982
Recorded: 1981 at Mayfair Studios in Primrose Hill, London
Genre: Synthpop, new wave
Length: 40:33

Label – Polydor Records

Wadsworth Mansion – Wadsworth Mansion (1971)

Wadsworth Mansion (also known as Wadsworth Family Mansion) was an early-1970s American rock band from Providence, Rhode Island. Its members were Steve Jablecki (guitar, keyboards, vocals), Wayne Gagnon (guitar, vocals), Russ Sevigny (a/k/a Russ Dana, original drummer) Mike Jablecki (drums] and John Poole (bass guitar). The group took its name from Wadsworth Mansion at Long Hill in Connecticut.
In November 1970, Wadsworth Mansion released their first single, a non-album version of “Sweet Mary”, backed by another non-album track, “What’s On Tonight” “Sweet Mary” would prove to be the band’s only hit song peaking at #7 on the US Billboard Hot 100 singles chart for the week ending 27 February 1971.
In April 1971, Wadsworth Mansion issued their first and only album on the heels of their first single’s success, the self-titled Wadsworth Mansion. In support of the album, the group released their second single in April 1971 with the tracks, “Michigan Harry Slaughter” and “Havin’ Such A Good Time”, but the single failed to make Billboard’s Hot 100 singles chart.
In July 1971, Wadsworth Mansion issued their third and final single with the non-album track, “Nine On The Line”, backed by “Queenie Dew”. The release would also fail to enter Billboard’s Hot 100 singles chart sealing Wadsworth Mansion’s fate as a one-hit wonder.


1.  Long Haired Brown Eyed Girl – 3:34
2.  Queenie Dew – 2:54
3.  City Gardner – 3:13
4.  She Said She Would – 3:00
5.  Sweet Mary – 3:07
6.  I Like It – 4:43
7.  Michigan Harry Slaughter – 3:05
8.  Let It Shine – 4:00
9.  Goodbye – 3:03
10.  Havin’ Such A Good Time – 2:57

Companies, etc.


Released: 1971
Genre: Rock, Pop
Length: 37:02

Label – Suxxex Records

Roy Ayers presents Ubiquity – Starbooty (1978)

This was one of Roy Ayer’s finest projects during the 70’s decade. Ubiquity was quite funky and melodic with their tunes. I have this title on vinyl already and I’m so glad that it is now available on disc. All I have to say is, “thank God for Wounded Bird Records”. These guys have done a great job in re-releasing some fine jazz works, especially where Roy Ayer’s material is concerned.
Produced by Roy Ayers (his name is on the cover), this is the sole album that features Roy Ayers backing band, Ubiquity, without Roy Ayers signing or playing vibes on it. The songs switch between disco and jazz funk and are well executed by seasoned musicians and singers. Starbooty is definitely a good album but a bit too mechanical and certainly not as good as what Roy Ayers did under his own moniker. The best tracks are not necessarily the ones written by Roy Ayers himself. My personnal preference goes to the midtempo Simple And Sweet and its killing head nobbing bassline.
This is really a Roy Ayers Ubiquity album, and up their with ‘Vibrations, ‘he’s coming’ for me, and better than some Roy Ayers Ubiquity albums I could mention, but naturally I do not want to offend other Roy Ayers fans-different strokes for different folks. But please do not be misled by the title or the band name, this is a true Roy Ayers Ubiquity album, with great breaks, and that soulful funk jazz groove we all know, but with a 1978 kick to it-enough said, you will not be disappointed.


1.  “Starbooty”  (Roy Ayers) – 6:04
2.  “Simple & Sweet”  (Philip Woo) – 5:46
3.  “Spread It”  (Justo Almario) – 5:20
4.  “The Five Flies”  (Roy Ayers) – 3:50
5.  “Midnight After Dark”  (Roy Ayers) – 5:13
6.  “Love Is Love”   (Chano R. Offeral) – 3:38
7.  “Can You Be Yourself”   (Ricky Lawson) – 4:13
8.  “If You Wanna See The Sunshine”  (Roy Ayers) – 5:47

Companies, etc.


Released:  1978
Ro—Ayer Production Co. Inc.
Engineering Credits
Electric Lady
Sigma Sound Recorders New York
Kendun Recorders
Record Plant Los Angeles
Genre: Jazz, Funk / Soul
Style: Jazz-Funk, Disco
Length: 39:49

Very Special Thanks: Edwin Birdsong, Merry Clayton, Jimmie Simpson, George Schiffer, Don Mizell, Truman Talley, Willie Michael, Chuggy Carter

Label – Elektra Redcords

The Untouchables – Agent Double O Soul (1988)

The Untouchables are a soul/mod revival band from the Silver Lake, Los Angeles, California area. Described by original lead singer Kevin Long as “mods who played ska music,” The Untouchables are credited with being America’s first ska band.
They formed in 1981 as part of the embryonic L.A. mod revival, after being inspired by the ska revival/punk rock band The Boxboys. Since some couldn’t play instruments, they either hastily learned, or became vocalists. The original lineup included: Kevin Long (vocals), Chuck Askerneese (vocals), Terry Ellsworth (rhythm guitar), Clyde Grimes (guitar), Rob Lampron (drums), Herman Askerneese (bass) and Jerry Miller (vocals, timbales).
The slum starts with the corny album title. The better songs are the title track, “Let’s Get Together”, “Shama Lama”, “Sudden Attack” and “World Gone Crazy”. The UTs this time dabble in pop and funk and jazz oppossed to the ska reggae soul of WILD CHILD. Some louder guitar solos on selected tracks too.
What ruined this sophmore set for The UTs was that instead of throwing in a couple more hardcore ska tunes, they end this cd with remixes of “Stripped To The Bone” and the title track which both are awful, they switch lead singers on selected tracks like “Under The Boardwalk” which is a sad cover to say the least. The comic strip storyline in the cd sleeve tops off this album to not to be taken seriously.


1.  Agent Double 0 Soul – 4:28
2.  Let’s Get Together – 4:10
3.  Stripped To The Bone – 3:39
4.  Airplay – 4:20
5.  World Gone Crazy – 4:03
6.  Under The Boardwalk – 3:48
7.  Cold City – 3:52
8.  Shama Lama – 3:36
9.  Sudden Attack – 4:18
10.  Education – 5:42
11.  Cool Boy – 3:37
12.  Agent Double 0 Soul (House Mix) – 6:19
13.  Stripped To The Bone (Bare Bones Mix) – 5:12


Released: 1988
Release Date: Jul 19, 1991, Studio/Live Studio
Genre: Reggae, Funk / Soul
Style: Soul, Reggae-Pop
Recording Time: 56 minutes

Label – Restless Records

Umphrey´s McGee – Safety In Numbers (2006)

Umphrey’s McGee is an American jam band originally from South Bend, Indiana. Although the band is part of the jam band scene, like Phish and the Grateful Dead (with ever-changing setlists, improvisation, two sets per night, open taping policy, etc.), they are much more influenced musically by progressive rock artists such as King Crimson, Yes, Pink Floyd, Frank Zappa, The Mahavishnu Orchestra, and early Genesis, as well as heavy metal bands such as Iron Maiden and Van Halen. The band also identifies The Police, The Beatles, and Led Zeppelin as primary influences.[1] UM experiments with many musical styles, including rock, metal, funk, jazz, blues, electronic, bluegrass, and folk.
Safety In Numbers is Umphrey’s McGee‘s fourth studio album, released on April 4, 2006. Huey Lewis and Joshua Redman both make appearances. The album contains many slower, acoustic songs and a simpler, stripped down approach with little jamming or progressive rock elements. The artwork for the album was done by Storm Thorgerson.
When “jam bands” began to infiltrate the music scene in the ’90s, it seemed like fans were content to hear bands jamming away for hours on end — à la a Grateful Dead show. But later in the decade, these Dead offspring began to branch out into other musical styles — even going so far as to streamline their compositions to start resembling actual songs. A good example of this is the third studio album overall by Umphrey’s McGee, Safety in Numbers. With more than half of the album’s compositions not exceeding the five-minute mark (something that was virtually unheard of “back in the good old days” of jam bands), Safety in Numbers covers an impressive amount of musical ground. And you’ve got to love a band that invites Huey Lewis to lend his harmonica skills to the tracks “End of the Road” and “Women, Wine and Song” (the latter of which sees Lewis lend a hand in the vocal department, as well). Additional standouts abound — including the speedy album opener “Believe the Lie” and the tough riff rocker “Nemo.” There is a new dawn for jam bands in the early 21st century, and Umphrey’s McGee is definitely helping to usher it in.


  1. “Believe the Lie”  (Jake Cinninger, Brendan Bayliss, Ryan Stasik, Joel Cummins, Kris Myers, Andy Farag) – 6:56
  2. “Rocker”  (Bayliss, Cinninger) – 5:29
  3. “Liquid” (Cinninger) – 3:32
  4. “Words”  (Cinninger, Cummins, Bayliss) – 7:08
  5. “Nemo”  (Bayliss) – 4:25
  6. “Women Wine and Song”  (Cinninger) – 3:53
  7. “Intentions Clear”  (Bayliss, Cinninger) – 4:43
  8. “End of the Road”  (Cinninger) – 3:16
  9. “Passing”  (Bayliss, Cinninger) – 4:15
  10. “Ocean Billy”  (Bayliss, Cinninger, Cummins, Farag, Myers, Stasik) – 6:37
  11. “The Weight Around”  (Bayliss) – 3:33
Limited Edition Vinyl Bonus Acoustic Tracks
  1. “Memories Of Home”  (Cinninger, Cummins) – 4:22
  2. “Divisions”  (Bayliss) – 9:54




Artwork [Original Safety In Numbers Sketches By]Storm Thorgerson, StormStudios

Released: April 4, 2006
Recorded: 2005 – 2006 in Chicago, IL
Genre: Progressive rock, Jam band
Length: 54:54

Label – SCI Fidelity Records

Rob Zombie – Educated Horses (2006)

Rob Zombie (born Robert Bartleh Cummings; January 12, 1965) is an American musician, filmmaker, and screenwriter. Zombie rose to fame as a founding member of the heavy metal band White Zombie, releasing four studio albums with the band. Educated Horses is the third album by Rob Zombie, released on March 28, 2006.
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.


1.  “Sawdust in the Blood”  – 1:22
2.  “American Witch”  – 3:47
3.  “Foxy Foxy”  (Zombie, Humphrey) – 3:28
4.  “17 Year Locust”  – 4:06
5.  “The Scorpion Sleeps”  – 3:38
6.  “100 Ways”  – 1:53
7.  “Let It All Bleed Out”  (Zombie, Humphrey) – 4:09
8.  “Death of It All”  – 4:22
9.  “Ride”  – 3:32
10.  “The Devil’s Rejects”  – 3:54
11.  “The Lords of Salem” –  4:13

All songs written by Rob Zombie, John 5 and Scott Humphrey unless otherwise noted.


Recording & Other

  • Scott Humphrey – producer, mixing
  • Rob Zombie – producer
  • Tom Baker – mastering
  • Chris Baseford – engineer
  • Todd Harapiak – assistant engineer
  • Will Thompson – assistant engineer

Art & Design

  • Rob Zombie – art direction, package design, additional photos
  • Kristin Burns – photos
  • Drew Fitgerald – art direction

Released:  March 28, 2006
Recorded: 2005 at The Chop Shop in Hollywood, CA
Genre: Heavy metal, hard rock
Length: 38:25

Label – Geffen Records