“Boys and girls of every age/Wouldn't you like to see something strange?”
Well yes, creepy man hiding under my bed, now you mention it, I would…

I think I can safely assume that one of the creepiest things in the world would be Marilyn Manson reading you a bedtime story. Yet here, on Nightmare Revisited, Marilyn Manson not only creeps you out in his normal, loveable way, but is like the usher bringing you into an eerie theatre for the class act covers album of tracks from the wonderfully lurid Tim Burton film The Nightmare Before Christmas.

This album is packed full to the eye balls with the who’s who of rock, punk and hardcore music (oh, and the Plain White T’s), making me wonder whether they are just hard up for things to do, or if mastermind Danny Elfman just has something they want (like 3 Oscars, 10 Grammys, claim to the ‘Simpsons’ theme tune…).

Nightmare Revisited begins with a DeVotchKa ‘Overture’ and an opening narration from the brains behind the music and lyrics himself, Danny Elfman. Elfman sets out the premise of the movie, and therefore the album, of what happens when two holiday worlds, Halloween and Christmas, accidentally meet.

This is followed by Manson’s version of the 1993 Elfman original ‘This Is Halloween’, welcoming all to the town of Halloween with his trademark drawling vocals and manic tone. This track was off-putting enough when sung by the clown with the tearaway face in the film, and yet Manson takes it to a new level of sadistic sarcasm.

The Pumpkin King’s ‘Jack’s Lament’ is performed by The All-American Rejects. Lead singer Tyson Ritter rises to the occasion, taking on the role of the Master of Fright, nailing Jack’s despondent moan when growing tired of Halloween (while managing to rhyme ‘pants’ with ‘France’).

Icelandic musical quartet, Amiina bring in instrumental thriller ‘Doctor Finkelstein/In The Forest’ in a beautiful mix of strings and contempt. I don’t recommend listening to this track on your own late at night as it’s surprising how un-nerving a paced cello and high-pitched shaking violin can be, along with what sounds like a door being slowly pryed open…

American rockers Flyleaf tackle the lyrically up tempo ‘What’s This?’. I personally enjoy the much needed estrogen lead singer Lacey Mosley brings vocally to this mainly male dominated album thus far. The theatrical feel to this song is only heightened by Mosley’s manic vocals and some melodic keys.

The Polyphonic Spree is next in the line up of impressive artists featuring on Nightmare Revisited, covering ‘Town Meeting Song’. In a wall of sound from the 20-odd members, they completely distract from the fact that they are indeed singing about a sock for nigh on 9 minutes.

‘Jack and Sally Montage’ from instrumental proficients The Vitamin String Quartet is a wonderful interlude with an impossibly high violin solo and sneaking cello movements.
‘Jack’s Obsession’ is performed by Sparklehorse, aka Mark Linkous…although before looking at the track listing, I thought the song was performed by a woman (and I’m going to need an explaination for the ‘Sparklehorse’ thing too…)

The amusing ‘Kidnap the Sandy Claws’ by Korn is straight back into the hard rock feel we had in the first third of the album. Jonathan Davis’s voice is just as demented as Manson’s and fits suprising well in planning the kidnap of Sandy Claws.

Rise Against somehow turn ‘Making Christmas’ into a punk anthem, with giant guitar riffs, speed drumming and spitting lyrics.
The next two tracks, ‘Nabbed’ and ‘Oogie Boogie’s Song’ are taken by duos Yoshida Brothers and Rodrigo y Gabriela, respectively. Both tracks bring in distinct hints of the artists culture, with the use of a shamisen from the Brothers, and the very Mexican rhythm guitar from Rodrigo y Gabriela.

Jack’s lady friend Sally is personified in Evanesence’s lead singer Amy Lee. ‘Sally’s Song’ is a tragic look into Sally’s relationship with the Master of Fright. Although I personally find Amy Lee’s voice like nails on a blackboard, she does fit in well on the album, with her emotive version of Sally’s story of unrequited love.

The ‘Christmas Eve Montage’ is performed by producer, singer and musician Rjd2. There is a lot going on with this track, from the piercing syth, to the drum n bass and climaxing with a string crescendo.
Brooding ballad ‘Poor Jack’ by Plain White T’s sounds very unlike the PWT’s we’re all used to, and they are suprisingly worthy of their spot next to the heavyweights of rock and metal.

Norwegian dance rockers Datarock are next up with ‘To The Rescue’. The track fades in with a dance beat and 70’s guitar, which sounds right out of place in the flow of the album. This is my least favourite cover on Nightmare Revisited, sounding like it would be more at home on a Fabric album.

Shiny Toy Guns get the ‘Finale/Reprise’, coming in with a haunting, Chucky-like “La la la”, building into quite a new age yet commercial track alternating with shrill screams and harmonic verses from vocalists Chad Petree and Sisely Treasure. Shiny Toy Guns score one of the best songs on Nightmare Revisited, with lines like, “And sit together, now and forever/For it is plain as anyone can see/We're simply meant to be”.

After Danny Elfman’s second spoken track ‘Closing’ updates us with how the story ends, the album officially closes with Jimmy LaValle’s solo project The Album Leaf performing the ‘End Title’.

I like the theory behind this album, paying homage to masterminds Tim Burton and Danny Elfman, and the final product is solid, although I don’t see why anyone would actually go out and purchase it. It’s not an album you put on at a party, or after a hard day of work, or any other time I can think of. But most tracks are definitely worth a listen, and if you do think of a perfect moment for this album to be played, do let me know…

Nightmare Revisited, I think to myself
Not a bad effort I can put on the shelf
Even if there may be,
A little too much rhyming for me…