GOLDEN AGE OF GROTESQUE (2003)
SYNOPSIS
The Golden Age Of Grotesque signalled a true concept album from Manson as he moved very far away from the darkness of Holywood and into the light and arty world of Vaudeville, 1930's Berlin, the Weimar Republic and Burlesque - a possible influence from then girlfriend Dita Von Teese, who is one of the world's foremost modern heralds of the Burlesque movement.
GAOG was the first collaboration between Manson and new bassist Tim Skold, whom Manson had worked with previously on the Resident Evil soundtrack. It also signalled the end of the relationship between Manson and long time friend Twiggy Ramirez who left because of creative differences.
For the first time Manson fully immersed his art with his music. Although this has always been the case, GAOG proved to be the perfect conception between the two as Manson took on the role of Arch Dandy. GAOG was a commercial success but split fans heavily.
ALBUM CREDITS
The Cast:
MARILYN MANSON as himself and also known or referred to as "Herr Doktor". This is the creator of all vocals and OB ART manipulator of various instruments including: a burning piano, synthetic bass, mellotron, the saxophone and the mutilation of audio for personal use. He maintained some rhythm directive including (but not limited to) loops and snare drum rolls. There were also occassions where the one string guitar was implemented for dramatic purposes.
JOHN 5 as the lead guitar demagogue. He is responsible for rhythm, lead and dissonance in the field of guitar (inluding but not limited) to the 5, 6 and 7 string instruments. Piano and various orchestral elements were also choreographed by him using his guitar in a manner often viewed as inappropriate.
M. W. GACY as the chief chemist and philosopher of electronics, specializing in the field of keyboards and responsible for synthesizers, discoloration of words, loops, and political melody.
Introducing TIM SKOLD, who stars as the bassist. He is the shaper of electronics, loops, synth bass, keyboard and accordian. He is also responsible for OB ART constructivism of guitar and beat.
GINGER FISH as the live drummer and primal meter interpreter. Leader of all rhythm divisions of marching and big band korps.
Produced by: Marilyn Manson and Tim Skold Recorded and arranged by Marilyn Manson and Tim Skold CD-Produced and mixed by Ben Grosse All drum programming and editing by Tim Skold
Mastered by: Tom Baker at Precision Mastering Recorded at Doppelherz Studio and The Mix Room/Burbank Mixed at The Mix Room / Burbank Additional Recording at The Mix Room / Burbank and Ocean Way / LA Additional Recording by: Ben Grosse Assistant Engineer: Chuck Bailey Ocean Way Assistant: Jeff Burns Additional Digital Editing: Blumpy, Ben Grosse Drum Technician: Ross Garfield / Drum Doctors
Manson: All tracks, Songs Of Golgotha Music (BMI), Administred Worldwide by EMI Blackwood Music Inc. 2003
John5: All tracks GTR, Hack Music / Chrysalis Music ASAP Except Tracks 1 & 15
Tim Skold: Tracks 1, 2, 4, 7, 8, 11, 13, 14, 15 Administered by 120050 Publishing (BMI)
Gacy: Tracks 1, 11, 13 DCLXVI Music (BMI), Administred Worldwide by EMI Blackwood Music Inc. 2003
Artwork by: Gottfried Helnwein; Inlay Photo: Marilyn Manson; Inlay Band Photo: Perou; Design: Bau Bau Design Lab; Management: Tony Ciulla; Legal: Jeffrey Taylor Light; Business Management: Jay Sendyk; A&R: Mark Williams; Agents: Rick Roskin / Chris Dalston @ CAA / Emma Banks @ Helter Skelter;
Collaborates, fellow artists, lovers and friends we wish to acknowledge: Gottfried Helnwein, Dita Von Tesse, Guest Vocalists: Mindy and Monique, John Ciulla, Glenda Borden, Brittany Bowen, Cyril Helnwein and The Helnwein Family, Barb & Hugh Warner, P.R. Brown, Perou, John Blaine (Hair Stylist), Jennifer Raid (Wardrobe Stylist), Charles Koutris, Steve Macauley, Mimi, The Osbournes, The Biers, Eddie Debarr and everyone at Interscope
www.marilynmanson.com
NOTHING/INTERSCOPE. 2220 COLORADO AVE, SANTA MONICA CA 90404. MANUFACTURED AND DISTRIBUTED IN THE UNITED STATES BY UNIVERSAL MUSIC & VIDEO DISTRIBUTION, INC (P)(C) 2003 NOTHING/INTERSCOPE RECORDS. ALL RIGHTS RESERVED. PRINTED IN U.S.A. WARNING: UNAUTHORIZED REPRODUCTION OF THIS RECORDING IS PROHIBITED BY FEDERAL LAW AND IS SUBJECT TO CRIMINAL PROSECUTION
DVD CREDITS
Doppelherz A film about the Golden Age of Grotesque, created during the making of this album, and birth of a new era for its creator. The audio recording that accompanies this took place on April 1st, 2001, and remains in its entirety.
This is thought by many to be the most rare look into the mind of the person we know as Marilyn Manson. It is also believed (but will not be confirmed or denied by Manson) that these words were intended to be his last, meant only for those who were listening... particularly his beloved feline familiar Lily White.
The film offers no explanation, nor needs one. Many thanks to those who helped make this, the beginning, not an end, to the most amazing era of Marilyn Manson. The artists and friends who were involved enough to be mentioned are as follows, in no particular order: Gottfried Helnwein, Dita Von Tesse, Tim Skold, Nicole, Benjamin Palmer, Marilyn Manson, M.W. Gacy, John 5, Ginger Fish, Charles Koutris, Aria Giovanni, Brittany Bowen, Cyril Helnwein, Amy Coulter, Hugh Warner, Paul L. Chun, J.T. Harding.
Art Director: Nicole, Gottfried Helnwein, Editing and primary director of photography: Benjamin at the Barbarian Group, Seconds Camera: Charles Koutris
©2003 Marilyn Manson
www.marilymanson.com
CD SECRETS
Not a CD secret but The Golden Age Of Grotesque had a limited DVD entitled Dopplehertz (Double Hearts) as part of it's release.
A visual Golden Age of Grotesque, the words are seen as an aural, private step into Manson's mind, albeit with visions that were tied into early noir movies.
Although the film was wrongly connected Dopplehertz saw it's fair share of controversy when it was connected to a Scottish murder case - although it must be noted that the defendant, Luke Mitchell, brought the album with DVD AFTER the murder. The film features artists from 99th Mind.
TRACKLISTING
1 Thaeter 1:14
2 This Is The New Shit 4:19
3 mOBSCENE 3:25
4 Doll-Dagga Buzz-Buzz Ziggety-Zag 4:10
5 Use Your Fist and Not Your Mouth 3:34
6 The Golden Age of Grotesque 4:05
7 (s)AINT 3:42
8 Ka-boom Ka-boom 4:02
9 Slutgarden 4:06
10 Spade 4:34
11 Para-noir 6:01
12 The Bright Young Things 4:19
13 Better of Two Evils 3:48
14 Vodevil 4:39
15 Obsequey (The Death Of Art) 1:35
REVIEWS
getunderground.com review by Bob Freville
The world may end tomorrow, as Manson prophecied on Antichrist Superstar more than six and a half years ago. I mean, we've got SARS, N. Korean contention, airborn illnesses, immune system-crippling biological warfare, suicide bombers, STDs, irate oil purveyors bitter over the fact that they get raped of their resources by the humble superpower, and a whole barrage of shit that I can't even bring my feeble and troubled mind to contemplate right about now. But even if the locusts start whizzing around, the stars fall into the reservoirs and the floodgates are opened along with the bowls of Wrath, we'll at least have the loathsome and sensually misanthropic words and sounds of Marilyn Manson to keep us company on the way through the great Tunnel. So I say, bring it! Kaboom! Kaboom!
rollingstones.com review by Barry Walters
Originality has never been his forte, but this walking sound bite excels at absorbing what's out there and distilling it through his anti-charisma until it's simultaneously fresh and putrid. For "mOBSCENE," he steals nearly the same cheerleader cheer that Faith No More stole for their 1992 track "Be Aggressive," but the dumb, catchy result works nevertheless. "I got an F and a C, and I got a K, too/And the only thing that's missing is a bitch like you," he wails in "(s)AINT," a rhyme so moronic it's inspired. The album loses momentum as the songs slow and dull down, but the first half of Grotesque shines brighter than it should.
allmusic.com review by Stephen Thomas Erlewine
Musically, Manson isn't departing from his basic sound -- he's following through on the return to basics Holy Wood represented -- but his first self-production has resulted in an album that feels light and nimble, even though it's drenched in distortion and screams. It feels as if Manson now feels liberated from not being consistently in the spotlight, and his music has opened up as well. With that new freedom, he gets silly on occasion -- the gibberish on the ridiculously titled "This Is the New Sh*t," the appropriation of Faith No More's "Be Aggressive" for "mOBSCENE," the lyric "You are the church/I am the steeple/When we f*ck we are God's People" -- but instead of knocking the record off track, they are part of the big picture on this oversized album. What matters here, as it always does on a Marilyn Manson album, is the overarching concept, and while The Golden Age of Grotesque has some kind of theme, its particulars aren't discernible, but the overall feeling resonates strongly. This messy, unruly, noisy burlesque may fall on its face, but it puts itself in the position where it can either stand or fall, and, unlike in the past, Manson isn't taking himself so seriously that he sounds stiff. It all adds up to a very good album -- maybe not his best, and certainly not one that will attract the most attention, but it's a hell of a lot grander than what his peers are producing, and holds its own with his previous records. It's also a bit more fun, too, and that counts for a lot.