The Bottom Line: This album isn't for everybody. It is full of sex, violence, and various other taboo subject. Despite that, it's a decent musical attempt.
lambchops's Full Review: Smells Like Children [PA] by Marilyn Manson
Marilyn Manson would like nothing better than to offend every parent and religious zealot in the world. The band’s shock-rock formula infused with industrial rhythms isn’t particularly innovative or usually even entertaining. But, what the band does do is push buttons and artificial limits.
Despite usually being seen as a one-man-band, Marilyn Manson is actually an amalgamation serial killers and sexual/fashion icons. Sure, these aren’t real names but if you stop for a moment to consider this overt blending of sex and violence it’s simple to see the direction that Marilyn Manson leans. At the time of the release of 1995’s Smells Like Children EP, the band was made up of four members: Reverend Marilyn Manson (vocals), Daisy Berkowitz (guitar), Twiggy Ramirez (bass), and Ginger Fish (drums).
Marilyn Manson first was formed in 1989. The southern-Florida band was spotted by Trent Reznor (of nine inch nails fame) who offered the band a record contract and subsequently an opening slot on his tour in 1993. Portrait of an American Family was released in 1994 by Nothing Records thus solidifying the strange band as a part of the American psyche. The foursome (especially Manson a.k.a. Brian Warner) got great joy out of shocking the parents of their white suburban fans. Parents in turn were awarded great joy in the vain attempts at pursuing and censoring the band.
The first time I specifically recall hearing Marilyn Manson was in 1995. I wasn’t particularly impressed by the band’s forced edginess, but found that I had a soft spot for their kind of rock music. The first song I heard was a cover, no not the recent and strange butchering of Tainted Love. Rather, it was a cover of the Eurythmics classic Sweet Dreams. I enjoyed the song so much that I decided to check out 1995’s Smells Like Children.
Smells Like Children certainly isn’t the best from Marilyn Manson. I personally would have to say that 1996’s Antichrist Superstar is by far the band’s most important musical statement. Smells Like Children really isn’t anything more than an EP chock-full of grinding covers and remixed tracks. Some are rather entertaining while others are boring and mediocre.
The bulk of this album relies on covers (Sweet Dream, I Put A Spell on You, and Rock ‘n’ Roll N*gger) and Portrait of an American Family remixes (Kiddie Grinder, Dance of the Dope Hats, Everlasting C*cksucker, and White Trash). Besides those few songs, there are plenty of spoken sound bites and strange interludes. Each of the offerings is meant to shock, disgust, and freak out inappropriate audiences. But, like I already said pseudo-rebellious suburbanite kids everywhere identified most with Marilyn Manson.
Of the seven actual songs, I get the most joy out of Sweet Dream. I suppose it’s also the most overtly mainstream as a direct result of the song’s 1980’s new wave roots. The twisted rhythms and vocals make it an unnerving and unexpected remake. Listening to Manson croon the lines that Annie Lennox first uttered like “I travel the world
And the seven seas--everybody's looking for something” disturbs me every time. I suppose that’s what the intended effect was. For that, I congratulate Marilyn Manson on a job well done. Mission accomplished.
The remakes for I Put A Spell on You from Screamin’ Jay Hawkins and Rock ‘n’ Roll N*gger from Patti Smith don’t appeal to be quite as much. Both are equally disturbing and equally (un)inspired, yet neither strikes a chord. I Put A Spell on You is spooky while Rock ‘n’ Roll N*gger is impassioned and even more obnoxious than average Marilyn Manson tracks.
Of the four remixed tracks, I find that Kiddie Grinder has the best beat. It’s very industrial and mechanical with completely inaudible lyrics. I can’t pick out one word from the next. Everlasting C*cksucker sounds a bit like a demented carnival and times with strange mechanical rhythms. What I do enjoy about the track are the drums and guitars. They are both well-played and ultimately entertaining. Dance of the Dope Hats actually reminds me of White Zombie. With the use of sound bites and programming, the song is moderately interesting. Finally, White Trash begins by sounding like a bluesy, acoustic track. Of course when done by Marilyn Manson be prepared for some strange sexual references. This last track is quite definitely a departure from the band’s usually abrasive sound.
The other tracks listed on the album are all samples and sound bites. They are meant to be quirky, funny, and at times thought provoking. In fact, it seems that at times these snippets say more than the songs themselves.
Overall, I don’t see much right or wrong about Smells Like Children. The music is relatively sparse with just seven actual tracks and nine short, spoken tracks. The EP serves it place well as a stopgap between Marilyn Manson’s 1994 and 1996 releases. The band’s sound isn’t for most music listeners. It’s very abrasive and full of sexual, violent, and religious references. I personally don’t have any problems with any of those three things, but many people do. I give this average album an average rating of 3/5 stars. I also recommend it to fans of Marilyn Manson or even industrial music.
Track Listing:
1. The Hands of Small Children
2. Diary of a Dope Fiend
3. S****y Chicken G*ng Bang
4. Kiddie Grinder [remix]
5. Sympathy for the Parents
6. Sweet Dreams {Are Made of This}
7. Everlasting C***sucker [remix]
8. F*ck Frankie
9. I Put A Spell on You
10. May Cause Discoloration of the Urine or Feces
11. Scabs, Guns, and Peanut Butter
12. Dance of the Dope Hats [remix]
13. White Trash [remix]
14. Dancing With the One Legged…
15. Rock ‘n’ Roll N*gger
16. [untitled]
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Since the release of this album, Marilyn Manson has grown in fame and faded into the shadows. The band peaked with 1996’s Antichrist Superstar and remained on top until 1998’s Mechanical Animals when fans rejected the band for selling out. 2000’s Holy Wood (in the Shadow of the Valley of Death) barely left a mark on the music scene despite the fact it was one of the band’s best attempts.
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