Edited by Dave Maxwell
With the announcement of Marilyn Manson’s upcoming album Say10, a question arises as to who is contributing to the record. While little is known about Say10 aside from its February 14th release date, Manson has confirmed on reddit that his intent is to go back to collaborating with longtime bassist/guitarist Twiggy Ramirez, aka Jeordie White. Oddly absent from Manson’s last release The Pale Emperor, Ramirez has been behind Manson’s biggest hits and many of the group’s best deep cuts. Aside from his duties in Marilyn Manson, Twiggy has been involved in a number of other bands – including Nine Inch Nails, A Perfect Circle and Goon Moon – and currently co-hosts two podcasts, Hour of Goon and Force Cult.
In celebration of this news, we present to you the 10 best Marilyn Manson songs co-written by Twiggy Ramirez.
A sonic blast of cyber post-punk, “Posthuman” is neither a single nor popular live favorite – it lives as a deep cut on Marilyn Manson’s Mechanical Animals. Nearly two decades later, this track still sounds ahead of the times. It is a style of electronica-tinged glam metal that the band has yet to return to on later albums, and a great example of Twiggy’s songwriting.
9. “Four Rusted Horses”
This song has its origins as a Goon Moon demo and bears more resemblance to Johnny Cash than anything else in the Manson canon. Its acoustic underpinning provides a perfect landscape for Manson’s vivid lyrics.
In a decade where pop stars imitate the look and depravity heralded by Manson throughout the ’90s, this track still manages to put a little shock into rock. It stands as a unique attempt to pack as much profanity into a hyphenated word. Try and not sing along!
This classic from the breakthrough Antichrist Superstar – with its rumbling, hypnotic bass lines – still remains a staple in Manson’s live set today. The backbone of this song stems from Twiggy’s bass riff that sets the stage for a powerful anthem of self-loathing.
6. “Running to the Edge of the World”
A true ballad, Twiggy’s acoustic strumming gives this song a very natural and naked sound among assorted electronics and Manson’s crooning vocals. The strings in the chorus highlight the melody as the guitar remains hauntingly restrained throughout the song. This is undoubtedly the best song on The High End Of Low.
5. “I Don’t Like the Drugs (But the Drugs Like Me)”
The tongue-in-cheek nature of the lyrics are perfectly accompanied by some funky bass work and a chorus as catchy as any stadium anthem by Def Leppard. This song could have been a more popular single had it not been overshadowed by the controversy that surrounded the band following a mass shooting at Columbine High School. Really though, it is the gospel singers that make this song so outrageously good, and absolutely one of the best Manson tracks.
4. “Lamb of God”
Sharing more than a little resemblance to Radiohead’s “Climbing Up the Walls,” this song is arguably the most underrated and well-written song in the band’s catalog. Like “Running to the Edge of the World,” this song’s chord progression – played on acoustic guitar – lays the groundwork for the various melodies and counter-melodies heard throughout. The lyrics are perhaps Manson’s best, wherein they directly address the nature of media glorification of murder and making martyrs of their victims.
3. “The Dope Show”
Arguably one of two songs the band is best known for, “The Dope Show” is centered on Twiggy’s bass lines that structure the chord progression of the song. The propulsive riff makes it an instant headbanger and live favorite.
2. “Coma White”
Following a similar sonic template as “The Dope Show,” this song is once again centered on Twiggy’s bass lines that allow the guitars and vocals to punctuate the track with memorable riffs and melodies. This is the song that closes Mechanical Animals, the group’s glam phase and the most melodic era of the band’s history.
1. “The Beautiful People”
The most popular Manson song, featuring arguably one of the most recognizable drum and guitar riffs in the history of rock. This song is a testament to Twiggy’s knack for writing memorable riffs to match the band’s big, sing-along choruses. If the band will be remembered for one song – this is it.