Named after the 1932 Bela Lugosi film, White Zombie's musical style was sample-heavy, based around groovy riffs and Rob Zombie's snarling vocals. The samples that filled their records were mostly from obscure horror films, but used creatively to create a kind of carnival freak-show vibe.
Rob Zombie, still known at this time as Rob Cummings, supported himself through multiple jobs, including working as a cycle courier. Most famously, he was a production assistant on Pee-Wee's Playhouse, but he also worked as a designer on pornographic magazines. At this time, he became involved with Shauna Reynolds, another up-and-coming designer. Together they shared a love of classic horror and sci-fi, heavy music, and the weirder corners of American underground culture. They decided to form a band that would draw upon all these influences and White Zombie was formed. Rob took vocals and the name Rob Straker (later changed to Rob Zombie), while Reynolds became the bassist and assumed the name of Sean Yseult. They became the only constants in the often-fluctuating band line-up.
White Zombie best showed their signature style on their final two studio albums. La Sexorcisto: Devil Music, Vol. 1 and Astro-Creep: 2000 Songs of Love, Destruction and Other Synthetic Delusions of the Electric Head were impressive displays of their sample/riff style, thanks to higher production values.
In 1998, Rob Zombie founded his own label, Zombie-A-Go-Go, signing surf and horror acts like The Bomboras and The Ghastly Ones, as well as compiling the mix album Halloween Hootenany. He was managing the new band of his brother Michael, now known as Spider One, the punk-tinged Powerman 5000, but also looked to his own solo career.
After huge opening week sales of his first solo album, Hellbilly Deluxe that dwarfed those of any White Zombie release, it was announced that the band had split up. Bassist Sean Yseult left to form female horror-rockers Famous Monsters and, later, Rock City Morgue. Rob Zombie went on to continued success with his solo music project, and new acclaim as a successful film director.
Magdalene
White Zombie Lyrics
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Power off, yeah grant a flesh show meek inherit nothing but death song queen sex go-go moving like a bad dream promised so long ago blessed art thou among women is this easy come is this easy go mingled with fear you get what you wish, wish, wish, wish, wish Gabriel get out this is my Nazareth wicked joy trembling town wicked joy be a raging machine chosen worthy to explode a king a king, king, king, king, king, king, king, king drilling down deep inside heartache tests the pain girls on the bar swing around danger does the same Magdalene, Magdalene, Magdalene, Magdalene peace grants suspicious crashing like some animals southern terror claws scream "How can this be?" Mary, Mary sex machine Mary. Mary raging on beat, beat, beat girl this is what you need this is what you need now, now, now
The lyrics to "Magdalene" by White Zombie speak of a figure known as Miss Magdalene. The song seems to reference Mary Magdalene, a biblical figure who was initially a follower of Jesus. She is often depicted as a reformed prostitute, and some scholars believe she may have even been one of Jesus' disciples. In this song, however, she is portrayed as a powerful force, both sympathetic and full of raw energy. The lyrics also reference death, sex, and a wicked joy that feels both dangerous and thrilling.
The lines "promised so long ago blessed art thou among women" are a direct reference to a prayer known as the "Hail Mary," which is often used in Catholicism. The song also touches on themes of fear and desire, with lines like "mingled with fear you get what you wish" and "heartache tests the pain." Essentially, the song seems to be exploring the idea of power - who has it, how it can be wielded, and what the consequences might be.
Overall, "Magdalene" is a complex and intriguing song that delves into both religious and sexual themes. It paints a vivid picture of a powerful, dangerous woman who is not to be underestimated.
Line by Line Meaning
Hey, Miss Magdalene girl sympathy mind hey, Miss Magdalene girl power.
Addressing Magdalene, the singer acknowledges her compassionate nature and power.
Power off, yeah grant a flesh show meek inherit nothing but death song queen sex go-go moving like a bad dream promised so long ago
Turning off the power, the singer requests Magdalene to give him a performance that reflects the bleak reality of the meek inheriting nothing but death. He describes her movement as go-go, and connects it to a promise made long ago in a dream-like state.
blessed art thou among women is this easy come is this easy go mingled with fear you get what you wish, wish, wish, wish, wish
Referencing a biblical phrase, the singer questions whether this ease of getting everything one wishes for is fraught with fear. He repeats the word 'wish' to emphasize the superficiality of it all.
Gabriel get out this is my Nazareth wicked joy trembling town wicked joy be a raging machine chosen worthy to explode a king a king, king, king, king, king, king, king, king
Addressing Archangel Gabriel, the artist proclaims his ownership of Nazareth, describing it as a wicked town that induces joy and fear at the same time. He likens himself to a king, worthy of exploding with power and authority.
drilling down deep inside heartache tests the pain girls on the bar swing around danger does the same
Describing a deeper emotional state, the artist talks of drilling inside oneself to uncover heartache and pain, while observing the girls and danger in the artificial environment around him.
Magdalene, Magdalene, Magdalene, Magdalene peace grants suspicious crashing like some animals southern terror claws scream "How can this be?"
Calling out to Magdalene again, the singer describes how peace and suspicion can coexist, much like animals with claws and hunters in southern parts. He questions how such a reality can be possible.
Mary, Mary sex machine Mary. Mary raging on beat, beat, beat girl this is what you need this is what you need now, now, now
Switching to Mary, the singer addresses her as a sex machine, encouraging her to rage on to the beat. He uses repetition to emphasize that this is what she needs now.
Lyrics © Warner Chappell Music, Inc.
Written by: ROB ZOMBIE, SHAUNA YSEULT REYNOLDS
Lyrics Licensed & Provided by LyricFind