Now that the 10th offering from the God of Fuck himself is amongst us, it’s about time we paid our respects to everything that came before it. Ten albums is a lot by anyone's standards, and that's not even including the EPs, demos and live albums. 

Below are 13 tracks you may have missed, forgotten or just straight-up haven’t heard. Let us remind you of their sheer genius that's hidden away amongst those 10 albums. 

“Everlasting C***sucker” (Smells Like Children, 1995)

It’s apt to start at the beginning-ish, so here’s a remix of Portrait Of An American Family cut “Cake & Sodomy” finding itself even more menacing—with the tribal drums paired with the lyrics that bore Manson’s beloved moniker. The urgency of the original might be missing, but the elongated approach draws into the idea that the American Dream is an endless nightmare Manson constantly feeds on.   

“You’re So Vain” feat. Johnny Depp (Born Villain, 2009)

Of all the Manson covers, this might be the one that’s skipped your attention. Released as a bonus track, his approach is, as always, to find the darker, more cynical side to the song—which, admittedly, is there anyway, but with the Manson touch, it’s a whole new ball game. 

“Snake Eyes and Sissies” (Portrait Of An American Family, 1994)

Where would the shock value be if you couldn't get into the mind of an apparent serial killer (not Manson)? Listen to how he delivers the psyche building blocks to paint a picture of a real psychopath who does what he needs to to serve his own needs. 

“Vodevil” (The Golden Age Of Grotesque, 2003)

Leave it to Manson to create a song that perfectly encapsulates not only an aesthetic but also give it an autobiographical take—while referencing David Bowie, hard. The depth that can be found on this track is impeccable, but standout moments include the pre-chorus, which takes from Bowie's “Cracked Actor,” and the chorus that references the power and might of the Manson band as more than music or band members, but rather a hand ready to slap some sense into their audience. 

“Mechanical Animals” (Mechanical Animals, 1998)

One of the more David Bowie-feeling tracks Manson recorded, it’s completely epic in all the right ways. Plus, creating a portmanteau of “phenobarbidoll” is just inspired. If ever you needed evidence that he’s a wordsmith of epic, gothic proportions, here it is. 

“Unkillable Monster” (The High End Of Low, 2009)

This is one of those moments where Manson gets (dare we say it) vulnerable. It feels as if he’s talking about how far he’s come—further than he ever believed he could. Matching that with the rest of the record, “Unkillable Monster” both cements his acceptance of his own untouchable level and actual acknowledgment of the expected shock value he brings to the world. 

“Evidence” (Eat Me, Drink Me, 2007)

That menacing, high-note riff that plays off the pounding drums, leading into a chorus of pure magical guitars is the essence of what makes Manson, Manson. Singing of a romantic tryst filled with raw passion, the kind that overtakes everything you’ve ever known, and replacing it with uncontrollable, almost horrific desire is what makes this an unrecognized Manson classic.