"I Don't Like the Drugs (But the Drugs Like Me)" | ||||
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Single by Marilyn Manson | ||||
from the album Mechanical Animals | ||||
Released | February 17, 1999 | |||
Genre | ||||
Length | 5:03 | |||
Label | ||||
Songwriter(s) | ||||
Producer(s) |
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Marilyn Manson singles chronology | ||||
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"I Don't Like the Drugs (But the Drugs Like Me)" is a song by American rock band Marilyn Manson. It was released as the second single from their third studio album, Mechanical Animals (1998). It was written by the band's eponymous frontman, along with bassist Twiggy Ramirez and then-guitarist Zim Zum, and was produced by Manson and Michael Beinhorn. A glam rock song inspired by drugs, television, and religion, the track features a gospel choir and a guitar solo by Dave Navarro of Jane's Addiction.
The song garnered a mostly positive response from music critics, who complimented its catchiness and memorability. Critics noted similarities between "I Don't Like the Drugs (But the Drugs Like Me)" and the music of David Bowie, particularly his song "Fame" (1975), as well as the work of Manson's contemporaries. The song's stance on drugs garnered differing interpretations; some critics felt it glamorized drug use, while others saw it as anti-drug. Its music video was directed by Paul Hunter, and features an androgynous Manson attached to a cross made of television sets and a series of vignettes. Critics praised the video's imagery and found it critical of both capitalism and the pharmaceutical industry. Commercially, the single peaked within the top 40 of Billboard 's Alternative Songs and Mainstream Rock charts, as well as the national charts of New Zealand and Spain.
After the release of Antichrist Superstar (1996), an album which sparked controversy among Christian fundamentalists, Marilyn Manson didn't want to resume playing the role of a bogeyman. He feared that this would cause him to be "consigned to the one-note rock theatricality" of Kiss and Alice Cooper. [1] He desired to convince casual rock and pop fans who had previously dismissed him that he was "more than a cartoon". For his next album, Mechanical Animals (1998), he took inspiration from the glam rock music that David Bowie made in the 1970s, and adopted a wardrobe and hairstyle similar to Bowie's. [2]
The album featured numerous references to drugs, some of them positive. Manson told the Los Angeles Times in 1998 that "I advocate the use of drugs, but have always looked down on the abuse of drugs. The people who misuse them give the rest of us a bad name, and I'm not only talking about street drugs. There are a lot of references in the album to the prescripted lifestyle that a lot people have followed and numbed out their emotions and become mechanical." [2] According to Manson, "I Don't Like the Drugs (But the Drugs Like Me)" was inspired by literal drugs as well as television and religion, both of which Manson deemed "metaphorical" drugs. Manson described it as "the most hollow anthem on the record". [3]
He recruited Dave Navarro of the Red Hot Chili Peppers and Jane's Addiction to play the guitar solo at the end of the track, and a trio of black gospel singers to sing the song's refrain. Navarro was rumored to be struggling with drug addiction at the time; Manson refused to confirm whether this was true or not. [3] When Navarro recorded the guitar solo, he was shirtless. During a session with Manson, Navarro and the gospel singers, 1970s teen idol Leif Garrett unexpectedly entered the room. Manson deemed this session "one of the more memorable moments in rock'n'roll history" and compared it to a work of pop art. Manson said "What took place after [Garrett arrived] can't be said; the music can only make you feel it." [3]
"I Don't Like the Drugs (But the Drugs Like Me)" is a glam rock song [4] with a length of five minutes and three seconds. [5] The song was written by Manson with the band's bassist Twiggy Ramirez, and its then-guitarist Zim Zum, and produced by Manson with Michael Beinhorn; [6] it also features elements of electronic rock, [7] funk, [8] and soul music. [9] Lorraine Ali of Rolling Stone contrasted the song with some of the band's earlier work, saying that on the track, "Manson sings his lines rather than hissing or shrieking them". [10]
Manson repeats the song's title during its chorus, [11] while the verses find him imagining "a life where not all the sex has to be missionary." [12] The verses recall the music of Stevie Wonder, and feature Hammond organ flourishes and muted, wah-wah guitar. The bridge of the song features guitar playing characteristic of Europop. The track's final chorus showcases the gospel choir, [11] who sing the song's refrain. [3] Team Rock, Billboard , and NME each noted similarities between "I Don't Like the Drugs (But the Drugs Like Me)" and "Fame" (1975) by David Bowie, [13] [12] [7] while Exclaim! 's Liisa Ladouceur felt that the song sounds like Rob Zombie covering Bowie's "Fashion" (1980). [14] NME found the track's electronic rock elements reminiscent of both Garbage and the late 1990s recordings of The Smashing Pumpkins. [7] Paul Carr of PopMatters felt that "Kill4Me", a song recorded later by the band for their 2017 album Heaven Upside Down , had a "vibe" identical to that of "I Don't Like the Drugs (But the Drugs Like Me)". [15]
In "I Don't Like the Drugs (But the Drugs Like Me)", Manson sings "There's a hole in our soul that we fill with dope", [12] which found several commentators offering conflicting interpretations of the song's stance on drugs. PluggedIn 's Bob Waliszewski viewed "I Don't Like the Drugs (But the Drugs Like Me)" as one of several tracks on Mechanical Animals that glamorizes drug use, contrasting it with the anti-drug sentiments present in another song on the album, "Coma White". [16] According to Kenneth Partridge of Billboard, "I Don't Like the Drugs (But the Drugs Like Me)" portrays "Illicit substances...[as] the antidote to living the white-bread life available to most Americans." [12] Conversely, The New York Times ' Jon Pareles viewed the song as anti-drug. [17]
Kenneth Partridge of Billboard included "I Don't Like the Drugs (But the Drugs Like Me)" on his list of the "15 Best Songs About Drugs", alongside tracks like Bob Dylan's "Rainy Day Women ♯12 & 35" (1966), Jefferson Airplane's "White Rabbit" (1967), and The Weeknd's "Can't Feel My Face" (2015). Partridge described the track's message as "a conservative parent’s worst nightmare." [12] Stereogum 's Joseph Shafer rated the track fourth on his list of the ten best Marilyn Manson songs, calling it "the most humorous and infectious" of Mechanical Animals' "choice cuts". [11] Exclaim!'s Liisa Ladouceur praised the song's "shiny production and sleazy swagger," saying that it remained memorable years after its release. [14] Robert Christgau deemed "I Don't Like the Drugs (But the Drugs Like Me)" and "The Dope Show" the catchiest songs on Mechanical Animals. [18]
Sputnikmusic's Simon K. described "I Don't Like the Drugs (But the Drugs Like Me)" and "Rock Is Dead" as album highlights that "you’ll find yourself humming...for days." [8] Chad Childers of Loudwire praised Navarro's "slick" guitar solo and wrote "the song has remained a favorite among Manson fans over the years." [19] Similarly, Brad Miska of Bloody Disgusting said that "I Don't Like the Drugs (But the Drugs Like Me)" is one of the songs from Mechanical Animals that Manson's fans find the most memorable. [20] MTV's Gil Kaufman saw the song as part of a revival of glam rock that took place in the 1990s. According to Kaufman, other examples of this revival included Spacehog's "In the Meantime" (1995), the title track of Hole's Celebrity Skin (1998), and Todd Haynes' Velvet Goldmine (1998), a film about an Iggy Pop-esque rock singer. [21]
Writing for the Houston Press , Kristy Loye deemed "I Don't Like the Drugs (But the Drugs Like Me)" one of Manson's greatest hit songs. [22] Lorainne Ali of Rolling Stone called it a "cacophony of voices chanting the title on top of guitar work by Dave Navarro". Ali went on to praise Manson's vocal performance, saying "surprisingly, he sounds pretty good." [10] Entertainment Weekly 's David Browne panned the title of the song for attempting to be shocking. [23] Annalee Newitz of Salon said that the track was one of the album's "bad judgment blips", writing that "'I Don't Like the Drugs (But the Drugs Like Me),' with its misplaced soul backing vocals and Billy Squire-esque [ sic ] sound, made it onto the album for entirely mysterious reasons." [9]
The music video for "I Don't Like the Drugs (But the Drugs Like Me)" was directed by Paul Hunter, [24] who had previously directed the video for "The Dope Show". [25] Like Mechanical Animals, the video was inspired by the work of David Bowie. [26] Discussing the video's concept in 1999, Manson said "In the video I suggest TV and religion together as being the drug I'm talking about the most." [3] The video features constant contrasts between a saturated light color palette and a saturated dark color palette. [27] In the clip, Manson is shown attached to a cross made out of television sets. He wears white, androgynous clothing similar to Bowie's fashion, and appears to lack melanin. [27] [26] [28] His hair is fair and reminiscent of Marilyn Monroe's; alongside Charles Manson, Monroe served as the band's namesake. [26] Vignettes in the video depict a family with abnormally large eyes who are implied to be abusing drugs, Manson being chased by headless policemen, and a reality television program similar to The Jerry Springer Show . On the program, a woman is shown pregnant with a television set. [26]
In Against and Beyond: Subversion and Transgression in Mass Media, Popular Culture and Performance, Emilia Borowska writes that "In [the video's] nightmarish vision, the individuals fall prey to the homogenized, banalised and stupefying culture of contemporary capitalism." [26] Borowska also said that the clip depicts "the media and Christianity as sources of repression, control, and imprisonment." [26] Chris Ford of Noisecreep ranked the video for "I Don't Like the Drugs (But the Drugs Like Me)" fourth on his list of the ten best Marilyn Manson videos, saying that it's "full to the brim with strange, sometimes confusing visuals". Ford said that the video's aesthetic was suitable for a glam rock song. [24] AXS TV's Nicole Cormier felt that the video was critical of the pharmaceutical industry, and praised the video for making "morbidity look beautiful", adding: "Although [it's] less dark than previous [Marilyn Manson] videos, the deep message and interpretive expression makes this one just as captivating." [28] Writing for Bloody Disgusting, Jonathan Barkan commended the clip's "rather fascinating" visuals but said that its use of color makes it "difficult...to watch without getting a headache." [27]
Credits adapted from the liner notes of Mechanical Animals. [6]
Marilyn Manson
Additional musicians and technical personnel
Chart (1999) | Peak position |
---|---|
Australia (ARIA) [29] | 45 |
Netherlands (Single Top 100) [30] | 83 |
New Zealand (Recorded Music NZ) [31] | 35 |
Spain (AFYVE) [32] | 9 |
US Alternative Airplay ( Billboard ) [33] | 36 |
US Mainstream Rock ( Billboard ) [34] | 25 |
Marilyn Manson is an American rock band formed by namesake lead singer Marilyn Manson and guitarist Daisy Berkowitz in Fort Lauderdale, Florida, in 1989. Originally named Marilyn Manson & the Spooky Kids, they gained a local cult following in South Florida in the early 1990s with their theatrical live performances. In 1993, they were the first act signed to Trent Reznor's Nothing Records label. Until 1996, the name of each member was created by combining the first name of a female sex symbol and the last name of a male serial killer—for example, Marilyn Monroe and Charles Manson. Their lineup has changed between many of their album releases; the eponymous lead singer is the only remaining original member.
Holy Wood (In the Shadow of the Valley of Death) is the fourth studio album by American rock band Marilyn Manson. It was released on November 11, 2000, by Nothing and Interscope Records. A rock opera concept album, it is the final installment of a triptych that also included Antichrist Superstar (1996), and marked a return to the industrial metal style of the band's earlier work, after the glam rock-influenced production of Mechanical Animals (1998). After its release, the band's eponymous vocalist said that the overarching story within the trilogy is presented in reverse chronological order: Holy Wood, therefore, begins the narrative.
Portrait of an American Family is the debut studio album by American rock band Marilyn Manson. It was released on July 19, 1994, by Nothing and Interscope Records. The group was formed in 1989 by vocalist Marilyn Manson and guitarist Daisy Berkowitz, whose names were created by combining the given name of a pop culture icon with the surname of a serial killer: a naming convention which all other band members would conform to for the next seven years. The most prominent lineup of musicians during their formative years included keyboardist Madonna Wayne Gacy, bassist Gidget Gein and drummer Sara Lee Lucas.
Antichrist Superstar is the second studio album by American rock band Marilyn Manson. It was released on October 8, 1996, by Nothing and Interscope Records. It was recorded at Nothing Studios in New Orleans and produced by the band's eponymous vocalist along with Sean Beavan, former Skinny Puppy producer Dave Ogilvie and Trent Reznor of Nine Inch Nails. The recording of the album was marred by excessive drug use, which provoked a high level of antagonism between band members. Consequently, it was their last release to feature contributions from founding guitarist Daisy Berkowitz, who was acrimoniously fired partway through recording.
Mechanical Animals is the third studio album by American rock band Marilyn Manson. It was released on September 15, 1998, by Interscope Records. The album marked a major shift from the industrial metal and alternative metal styles of the band's earlier efforts, into an experimentation with 1970s glam rock with industrial rock and electronic rock styles. As their first release following the success of their breakthrough album, 1996's Antichrist Superstar, Mechanical Animals' themes primarily deals with the trappings of fame and drug abuse.
Jeordie Osbourne White, better known Twiggy Ramirez or simply Twiggy, is an American musician, mostly known as the former bassist and guitarist of the rock band Marilyn Manson. Previously, he was the bassist for A Perfect Circle and a touring member of Nine Inch Nails, and is currently the vocalist for Goon Moon. He left Marilyn Manson in 2002, later rejoined the band in 2008, and was dismissed in 2017. He has been a principal songwriter for the band and has also contributed to some of the Desert Sessions recordings. He also hosted the Hour of Goon podcast with fellow musician Fred Sablan, on the Starburns Audio network.
The Last Tour on Earth is a live album comprising recordings from Marilyn Manson's Mechanical Animals Tour, Beautiful Monsters Tour and Rock is Dead Tour, released on November 12, 1999. On the studio version of "The Dope Show", Manson says that drugs "are made in California", but in the live version, he says that "drugs, they say, are made right here in Cleveland", to a roar of crowd approval, suggesting that the song was recorded in Cleveland, Ohio. "Lunchbox" was recorded in Grand Rapids, Michigan, and "I Don't Like the Drugs " was recorded in Cedar Rapids, Iowa. "The Last Day on Earth" was recorded in Las Vegas on the Mechanical Animals Tour, and "Get Your Gunn" was recorded some time during the Rock is Dead Tour.
"The Dope Show" is a song by American rock band Marilyn Manson. It was released in September 1998 as the lead single from their third studio album Mechanical Animals. The lyrics were written by Marilyn Manson and the music composed by Twiggy Ramirez.
"Coma White" is a song by American rock band Marilyn Manson and the last track from the album Mechanical Animals. It is a hard rock ballad written by Manson, Twiggy Ramirez, Madonna Wayne Gacy, Zim Zum and produced by Manson and Michael Beinhorn. It was inspired by Manson's relationship with Rose McGowan and the numbness that his drug use caused him to feel. The track features a snare drum, cymbals, guitar, piano and keyboard bass in its instrumentation. Critics offered varied interpretations of its meaning, ranging from a song about a drug-addicted woman to a critique of celebrity culture. The song garnered a mostly positive response from music critics, with some critics deeming it one of the greatest songs of the band's career.
God Is in the T.V. is the second live video album by American rock band Marilyn Manson, released on November 2, 1999, on VHS, documenting the Mechanical Animals Tour, Beautiful Monsters Tour and Rock Is Dead Tour. It features all 13 music videos the band spawned between July 1994 and November 1999 in reverse chronology, including uncensored bonus footage from the production of "The Dope Show" music video, as well as footage culled from various concerts around the world alongside backstage and behind-the-scenes clips.
"Rock Is Dead" is a song by American rock band Marilyn Manson. It was released as the third single from their third studio album, Mechanical Animals (1998). It was written by the band's eponymous frontman, along with bassist Twiggy Ramirez and keyboardist Madonna Wayne Gacy, and was produced by Manson, Michael Beinhorn and Sean Beavan. A glam rock and heavy metal track with elements of electronic music and grunge, the song features electric and bass guitars, keyboards, and live drums in its instrumentation. The song was featured on the soundtrack of the Wachowskis' film The Matrix (1999).
"Long Hard Road Out of Hell" is a song by American rock band Marilyn Manson and British trip hop band Sneaker Pimps. It was released as a single from the soundtrack to the 1997 motion picture Spawn. An arena rock and gothic rock song, "Long Hard Road Out of Hell" was written by Marilyn Manson and Twiggy Ramirez and produced by Manson and Sean Beavan. Its lyrics are about self-loathing and its title is derived from John Milton's Paradise Lost (1667). After the track was written, the Sneaker Pimps' Kelli Ali was recruited to perform background vocals on it, as the Spawn soundtrack featured collaborations between hard rock artists and electronic music artists. The Sneaker Pimps were dissatisfied with the final track and wanted a remix of it to be released as a single instead; conversely, Manson deemed it a personal favorite.
The High End of Low is the seventh studio album by American rock band Marilyn Manson. It was released on May 20, 2009 by Interscope Records. Multiple editions of the record were released by the label, each containing unique bonus tracks. The album's lyrics were largely inspired by the personal troubles experienced by the band's eponymous vocalist relating to his divorce from burlesque performer Dita Von Teese, as well as his later relationship with actress Evan Rachel Wood.
"Running to the Edge of the World" is a song by American rock band Marilyn Manson. The track is from their seventh studio album The High End of Low (2009). The song is a soft rock power ballad with elements of blues, electronic music and 1980s heavy metal music that was written and produced by the band's eponymous frontman, Twiggy Ramirez and Chris Vrenna and co-produced by Sean Beavan. The track is about sex, death and destruction and features guitar and strings in its instrumentation and falsetto vocals from Manson. Music critics deemed the song a musical departure from the band's previous work and compared it to the music of other rock acts, particularly David Bowie.
The Beautiful Monsters Tour was a North American concert tour co-headlined by American rock bands Hole and Marilyn Manson. Launched in support of each band's respective third full-length studio LPs, 1998's Celebrity Skin and Mechanical Animals, the tour was planned to run from February 28, 1999, until April 27, with 37 shows confirmed. However, due to a highly publicized altercation between the bands' respective lead vocalists, the tour only visited arenas until March 14, for a total of 9 shows before Hole withdrew from the bill. The tour garnered a large amount of media attention and was billed by MTV as a "potentially volatile mix" due to the public feud between each band's outspoken vocalist.
"Bad Girl" is a song by Canadian singer Avril Lavigne for her fifth studio album, Avril Lavigne (2013). It was written by Lavigne, Chad Kroeger and David Hodges, while the song was produced by Kroeger and Hodges and features guest vocals by American singer Marilyn Manson. After hearing "Bad Girl", Lavigne thought Manson would complement the track. Manson added his vocals to the song early one morning, and Lavigne was honored to be able to collaborate with him.
The End Times Tour was a double bill North American concert tour, co-headlined by American rock bands Marilyn Manson and The Smashing Pumpkins, with Cage opening. It was launched as a supporting 'tour within a tour' for Marilyn Manson's The Hell Not Hallelujah Tour. The End Times Tour supported both Manson's ninth studio album The Pale Emperor (2015) and the Smashing Pumpkins' tenth studio release, Monuments to an Elegy (2014).
Heaven Upside Down is the tenth studio album by American rock band Marilyn Manson. It was released on October 6, 2017, by Loma Vista Recordings and Caroline International. The record had the working title Say10 and was initially due to be issued on Valentine's Day. However, the release was delayed by numerous events, most notably the death of Marilyn Manson's father, Hugh Warner, who died during production and to whom the album was later dedicated. The record has many of the musicians who performed on the band's previous album, The Pale Emperor (2015), including the producer Tyler Bates and the drummer Gil Sharone. Despite Manson's early implications, long-time bass guitarist Twiggy Ramirez did not participate on the album. He left the group following a sexual assault allegation by a former girlfriend.
We Are Chaos is the eleventh studio album by American rock band Marilyn Manson. It was produced by Marilyn Manson and Shooter Jennings, and was released on September 11, 2020, by Loma Vista Recordings and Concord Music. The title track and "Don't Chase the Dead" were both issued as singles. The album was a critical and commercial success upon release, garnering mostly positive reviews and becoming their first number one album in Portugal, and their first number one record in Australia since 1998's Mechanical Animals.
"Don't Chase the Dead" is a song by American rock band Marilyn Manson, released on September 10, 2020 by Loma Vista Recordings as the second single from the band's eleventh studio album We Are Chaos. The single was issued as a one-track digital download a day ahead of the album's release. A music video for the song was directed by Travis Shinn, and featured actor Norman Reedus and Manson's wife Lindsay Usich. The track peaked at number 29 on Billboard's Mainstream Rock, making We Are Chaos the band's first studio album since 1998's Mechanical Animals to contain more than one top thirty single on that chart. It was the final single released by the band through Loma Vista before they were dropped by the label in February 2021 following accusations of abuse made against the band's vocalist, allegations he has denied.
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