Manson has evoluted since their mainstream debut Portrait Of An American Family, produced by Nine Inch Nails mastermind, Trent Reznor. Since then, we've seen him transforming himself into the american-hated Antichrist Superstar, the beautiful-disgusting alien from Mechanical Animals, and the cynical rock star Omega from that album too. Now, Manson takes his act even further, and blends his two past albums with a new edge that will take 4 or 5 listenings to grow on you and fully expand its petals in your brain. Holy Wood is one depressing and violent take on today's stupid death worshipping through TV and the media in general. Those bozos who picked on the band and on different movies, blaming them for the Columbine massacre, are the same hypocrits that sell you prefabricated Talk Shows, sex driven commercials, and greedy religion; all in one beautiful package that pretendas to pass as morality. Manson shows no mercy to them, speaking about Eric Harris and Dylan Klebold (The Nobodies), Kennedy and John Lenons (In The Shadow Of The Valley Of Death), and seducing controversy and danger with no fear (The Death Song). Holy Wood sounds different from ACS and MA, but at the same time it owes its sound to them very strongly. This is not an album which will pass without notice, this is a hammer-in-the-head statement about our dumbness. We can live happily with our families or whatever, but we can be shot in the street by some idiot who doesn't like our skin color our our ideas, just because the whole media culture has posted standards for race, beauty, wealth and all those unnecesary subjects. Buy Holy Wood, watch Fight Club, and you'll get close to the whole idea.

Manson is one of the few mainstream artists that makes their audiences think and try to understand further things better than Hit Me One More Time or She Bangs or A.D.I.D.A.S., maybe he's ot the better example for a young generation, but if you're concerned about the kind of music or movies or TV that your children are exposed to, start by showing them that those Britney, Ricky Martin and Oprah dweebs are a danger too. There's always variety for everyone of us.

Manson's 4th full length album is misunderstood by some as being the sellout mark. This is not true. He hasn't sold out. If you haven't noticed, every Marilyn Manson album is different. Holy Wood is a hybrid of Antichrist Superstar and Mechanical Animals. The result is different and not a rehash. Manson returns to his dark industrial roots with emotion, creativity, artwork, a story and most importantly it makes a point. It makes several of them as a matter of fact. A large portion revolves around America's obsession with guns, violence, JFK, the Beatles, the Columbine Massacre, God and the media. Some of these things Manson has already gone over but here he goes into more detail. You actually may not understand Holy wood at first if you aren't too knowledgeable about the JFK and John Lennon assassinations. Ex: King Kill 33 (a song name) is actually the name of an essay about the JFK assassination. The story revolves around a person Marilyn Manson created who is simply named Adam Kadmon. I could go into all the very deep meanings of every song, but that would take forever and I'm only allowed 1000 words. So instead, I will cover each event/song in the story. I will also cover some of the larger meanings behind some of the songs. Manson had clearly worked his really hard for this record. It contains 19 songs (not including the B-sides on the singles) and a lot of beautiful artwork. And even though Holy Wood is the final chapter in the trilogy, it is actually the first as it is completed in reverse. Antichrist Superstar had 3 Parts and Mechanical Animals had two different views (Alpha and Omega). Holy Wood however, has 4 parts.

The story goes that Holy Wood is this mystical place which is ruled by the rich, beautiful celebrities, and their money. The Death Valley is a terrible place where anybody who thinks differently or artistically is kept. Adam is a character who finds acceptance in holy Wood but ends up engulfed by violence and consumed by his own fame.
A: In the Shadow
God Eat God: It's a song that serves as an intro in some ways. It revolves around how JFK and Christ are viewed similarly to one another.
The Love Song: It displays America as a place filled with everything Adam wants to change.
The Fight Song: "The death of one is a tragedy, the death of a million is just a statistic" is a quote from Joseph Stalin, the beloved dictator of the Soviet Union who is responsible for over 20 million deaths of those sent to work camps in Siberia. Anyways, Adam becomes a performer and wants people to hear him and his views on Holy Wood.
Disposable Teens: Often referred to as another beautiful people, it's still great though, The keyboardist M.W. Gacy contributes to this with additional drums (the GGG DVD).

D: The Androgyne
Target Audience (Narcissus Narcosis): This song has a LOT of meanings. Adam confronts "all the old deceivers" with a list of their crimes and failures.
"President Dead": After becoming popular in the Valley, President Dead says what he thinks of Adam's performances.
In The Shadow of the Valley of Death: A very personal acoustic song, I feel Adam is making decisions.
Cruci-Fiction in Space: Represents the evolution and de-evolution of mankind as we again resort to violence to enjoy ourselves.
A Place in the Dirt: containing references to things like the Holy Grail and Xianity.

A: Of Red Earth
The Nobodies: Obviously about the Columbine tragedy.
The Death Song: Hopelessness, Heaven is vague and maybe God would like to end it all.
Lamb of God: the second acoustic song is filled with references to John Lennon and how if a celebrity is killed then they are thought of as a hero or "martyr and a lamb of god". How the media praises death.
Born Again: Adam Kadmon is disheartened, castigates those who destroy the irreplaceable, reward mediocrity, and hardly seem able to tell the difference.
Burning Flag: A war of the classes. Holy Wood and the Valley are now completely divided.

M: The Fallen
Coma Black a) Eden eye b) the apple of discord: The opposite of Coma White. This is where Adam Kadmon (being a paradox of humanity and divinity) is broken up into individual humans (like the Mechanical Animals era).
Valentines Day: If you are familiar with the ACSS story then you know that this is the same day as the Irresponsible Hate Anthem. It's also about a girl (Coma Black?) who walked into the Valley seeking him.
The Fall of Adam: Adam gives up on saving mankind and hands out guns as shown in the last half which seems to be one of Manson's infamous "bible speeches". First half is acoustic.
King Kill 33: "I am not sorry, and I am not sorry, this is what you deserve" is a Charles Manson quote from his trial. It is asking do we deserve to be saved? After all, it is the savior who must die.
Count to Six and Die (the vacuum of infinite Space encompassing): Very creepy song. Listen to this record for this first time in the dark and this song WILL freak you out.

The Enhanced portion of this CD leads to a website that no longer works. It showed a bizarre autopsy video that will be placed on the CD/DVD version of Marilyn Manson's Best Of album.

I may be wrong in a few parts in this huge 70 minute album, but it's all up to interpretation due to the story being very elaborate. A few people complain of their being a lot of filler here. I disagree. I can listen to the album the whole way through. The only time I have an urge to press the skip button occasionally is when President Dead pops up. We have 19 tracks of Manson music, intellectuality, knowledge and criticism.

I have the album and I enjoy it very much. Picking a favorite is pretty tricky, but it would be a battle between "Lamb Of God", "The Nobodies", "Born Again", "Burning Flag", "The Fight Song", "In The Shadow Of The Valley Of Death", and "The Fall Of Adam" (that's on my personal note). This album is less tech and more Rock. It has a good rocking beat and stays pretty heavy at the same time. The cover of Manson with the missing jaw is pretty cool for the symbolism of censorship issues Manson has. I have no doubt that lots of people would want to shut him up or worse.

Now I have read a good deal of the reviews here and some love this album. Some love it because its the third part of a trilogy and some hate it because it 'imitates' Antichrist Superstar and/or/mixed-with Mechanical Animals. I can see the different cups of tea that people like here. Some like their taste to stay around the same, such as the music and songs. Some like the same with a little variety now and then. Some want a totally new thing. Then there are some that get bored easily. I love Antichrist Superstar and I enjoy Mechanical Animals and to me Holy Wood really rocks. Artists change and some don't. I like to consider every album its own and I usually don't expect them to be the same or different, if I like what I hear then thats all I need. I like what comes from my stereo when I pop this album in, hopefully you will too.

A band you either love or loathe, Manson never stray far from their blueprint - the deeply cynical lyrics of the band leader Marilyn Manson, the slow dirge type songs and the high energy two-fingered salute rock songs to mainstream America. Combining the metallic edge of Antichrist Superstar with the Glam-inspired Mechanical Animals has resulted in Holywood, the most complete musical statement the band have made in their highly controversial career to date. The killer one-two of The Love Song and The Fight Song are the standout moments on this very long album.

The Fight Song sounds like Blur's Song Two put through the industrial blender to create a Stooges-sounding energy rush. First single Disposable Teens is basically The Beautiful People revisited but still is one of Manson's strongest work. President Dead has an amazing chorus that marks it as one of the most immediate tracks on first listen. Delve deeper and you will find the sequel to 1998s Coma White, titled here funnily enough as Coma Black. If you look at this from a cynic's point of view, a band running out of ideas and from a fan's viewpoint, taking one of Mechanical Animal's finest moments to create a more than worthy follow-up. Burning Flag sounds to similar to Ministry's earlier recordings for comfort but still remains Holywood's most angry track.

The Nobodies written in the aftermath of the Columbine massacres is an intent statement of American youth of the 21st century. Early editions of the CD feature an acoustic version of The Nobodies, which sounds like it was recorded live in the studio. The one track that ruins the flow of the album is Crucifiction In Space but that becomes decent after a while. Every track is worthy of a mention, from A Place In The Dirt anthem qualities to King Kill's industrial weirdness.

Just like the predecessor, Mechanical Animals, Holywood plummeted down the Billboard charts, which is a shame as this would be highly regarded as a classic rock album if the band were not perceived as some devil-worshipping goths instead of talented musicians they are.

Marilyn Manson's sixth release from the studio, 2000's "Holy Wood," is his first of the new millennium. It is also his first album since the 1999 shootings at Columbine High School. So, here, Manson acknowledges that the public blamed him for the shootings, with the songs "The Love Song" (which asserts the blame on the parents for controlling their kids), "Lamb of God" (which deals with death in the media), and "The Nobodies" (which seemingly is directly about the Columbine killers).

Even though tracks seven and twelve are power ballads with soft strumming, "Holy Wood" is usually heavier than (and has more riffs than) its 1998 predecessor, "Mechanical Animals." Some fans liked the direction "Mechanical Animals" was headed, but I, for one, am in favor of the heavier sound.

This C.D. is worth buying just for the singles ("Fight Song" and "Disposable Teens"). My personal favorite tune on here, "Fight Song," which is one of Manson's most infamous songs, is a mosh pit anthem if I've ever heard one. And it's also one of the only songs I've ever listened to that actually made me want to get into a fight. The song is centered around its chorus, which is about as catchy and memorable as choruses come. This big, headbanging chorus ("I'm not a slave/to a god/that doesn't exist!") will also, probably, get stuck in your head whether you want it to or not.

"Disposable Teens" is also very catchy. It's fueled by a nice vocal hook, and a shout along of "Yeah! Yeah! Yeah, yeah, yeah!"

But, even though those two songs are the biggest stand outs on here, the album, as a whole, is also very good. Now, there are some tracks (i.e. "Cruci-Fiction In Space" and "A Place In The Dirt") that aren't memorable, but, fortunately, because it's 19 tracks long, there are plenty of good songs to take up the slack. "The Love Song" has a catchy drum beat in the verses and a loud, shout-along chorus, and "Burning Flag" finds Manson making sexy breathing/panting noises between the stop-start drumming and riffs. Tracks ten and eleven, "The Nobodies" and "The Death Song," have sinister, electronic sound effects and a thumping drum beat, with a melodic, extended chorus, and "Valentine's Day" has reverberating, electronic vocals which make an echoing/vibrating sound effect over chunky, lurching guitars.

Granted, like most Marilyn Manson albums, "Holy Wood" isn't for everybody. Those of the Christian faith are especially advised to stay away. But if you like hard rock/industrial metal, have an anti-establishment or rebellious attitude, or if you just want a C.D. to go ape with, "Holy Wood" will more than suffice.