Marilyn Manson Portrait Of An American Family CD

Marilyn Manson: Mr. Manson (vocals, samples); Daisy Berkowitz (guitar); Madonna Wayne Gacy (Hammond organ, saxophone, samples); Twiggy Ramirez, Gidget Gein (bass); Sara Lee Lucas (drums).
Addtional personnel: Robert Pierce (vocals); Trent Reznor (guitar, horns); Hope Nichols (saxophone); Charlie Clouser (drums, programming), Chris Vrenna (percussion); Sean Beaven (programming).
Recorded at The Record Plant and The Village Recorder, Los Angeles, California; Pig, Beverly Hills, California; Criteria, Miami, Florida.
Adapter: Marilyn Manson.
Personnel: Marilyn Manson (vocals, brass, loops); Daisy Berkowitz (guitar, acoustic guitar); Trent Reznor (guitar, pandora, brass, programming); Madonna Wayne Gacy (saxophone, brass, calliope, loops, sound effects, Theremin); Hope Nichols (saxophone, background vocals); Beavan (brass, programming); Charles Clouser (drums, programming); Sara Lee Lucas (drums, sound effects); Chris Vrenna (percussion, programming); Sean Beavan (programming).
Audio Mixers: Alan Moulder; Sean Beavan; Trent Reznor.
Recording information: Criteria, Miami, FL; Le Pig, Beverly Hills, CA; REcord Plant, L.A., CA; Record Plant, Los Angeles, CA; The Record Plant, LA, CA; The Village Recorder, LA, CA; Village Recorder, L.A., CA.
Editors: Beavan; Sean Beavan; Trent Reznor; Charles Clouser.
Photographers: Robin Perine; Jeffrey Weiss.
Unknown Contributor Roles: Hope Nichols; Trent Reznor; Twiggy Ramirez.
Coming up screaming from the depths of Florida -- there being no scarier state in the union -- Marilyn Manson cannily positioned themselves as a goth-industrial hybrid on their debut album, Portrait of an American Family. At this stage in their evolution, Marilyn Manson was clearly a band, not just the project of Brian Warner, aka Mr. Manson, who would later simply adopt his band's name as his own. Also, horror-show schlock was a bigger factor than it would be later on, when he wanted to be the Antichrist Superstar for the world at large. In other words, it's Manson at his silliest, singing about "My Monkey" and "Snake Eyes and Sissies." Beneath all the camp shock, there are signs of Warner's unerring eye for genuine outrage and musical talent, particularly on the trio of "Cake and Sodomy," "Lunchbox," and "Dope Hat." But even a few years on from its 1994 release, Portrait of an American Family began to sound a little dated, especially since its Nine Inch Nails-meets-W.A.S.P.-meets-Alice Cooper formula was fully realized on Manson's follow-up album, Antichrist Superstar. Here, it's in sketch form, and by the end of the album it's clear that Warner, Manson, whatever you want to call him, needs a full canvas to truly wreak havoc. ~ Stephen Thomas Erlewine
Coming up screaming from the depths of Florida -- there being no scarier state in the union -- Marilyn Manson cannily positioned themselves as a goth-industrial hybrid on their debut album, Portrait of an American Family. At this stage in their evolution, Marilyn Manson was clearly a band, not just the project of Brian Warner, aka Mr. Manson, who would later simply adopt his band's name as his own. Also, horror-show schlock was a bigger factor than it would be later on, when he wanted to be the Antichrist Superstar for the world at large. In other words, it's Manson at his silliest, singing about "My Monkey" and "Snake Eyes and Sissies." Nevertheless, beneath all the camp shock there are signs of Warner's unerring eye for genuine outrage and musical talent, particularly on the trio of "Cake and Sodomy," "Lunchbox," and "Dope Hat." ~ Stephen Thomas Erlewine
While Marilyn Manson's approach was hardly original (in fact, many of the band's gimmicks could be directly linked to bands past), few rock groups on a major label had been so unashamedly confrontational and unapologetic. In fact, all the members went by aliases that combined a movie star's name with a serial killer's. While such future releases as 1995's SMELLS LIKE CHILDREN and 1996's AN