Marilyn Manson and his band of cohorts amped up everything you thought you knew about Shock Rock to a whole new level. No one can deny that his antics have been the bane of many parents and religious groups, but did this really overshadow the music? And could he reproduce the raw energy and power of recordings live in front of an audience? Well all these questions have been answered on the live disc, The Last Tour On Earth, as the God of F*#k propels everything to a new, thrilling new level. With an almost greatest hits approach to the live set (pre Holywood and Golden Age Of Grotesque) this live set is definitely not one to be missed.
Inauguration Of The Mechanical Christ (2:44): with the cheering of the crowd, the album begins. To begin the track, a synthesiser rings out several notes, and the bass enters with a thud and applause. “This isn’t me, I’m not mechanical” is repeated by Manson, and leaves the crowd thirsting for the next track to begin. Great opening (4/5)
The Reflecting God (5:31): With the beginning of the classic bass riff, The Reflecting God crashes through to the listener. The guitar is heavily effected during the verse, leaving the listener wondering just when it will have an impact. The pre-chorus to this song launches the whole band straight into a frenzy, and although with minor lyric changes from the original recording, the chorus is still as hectic and chaotic as the original. To break things down the bridge features a quickly picked bass riff, and tightly played drum beat, as well as some heavily effected guitar yet again. After this a semi-acoustic bridge is played, that once again sets the scene for the chorus. Once all is said and done, a great mood is created for the next track. (5/5)
Great Big White World (5:21): Just like the opening of Mechanical Animals, the listener is welcomed to the beginning of Great Big White World, with the airy guitar riff, and chunky bass, that is accompanied by a great drum beat. The chorus of this song is massive, and the guitar climbs to a high point that really creates a real sense of urgency. The chorus of this song really thrusts all who listen into an almost paranoid state (It’s hard to describe, it’s just how I feel). After the second chorus, the song is broken down to drums and voice, and then it is set up for the brilliant keyboard solo, as the guitar and bass hold down the fort and set up for the mind blowing last chorus, awesome track. (5/5)
Get Your Gunn (3:36): One of the two Portrait Of An American Family tracks featured on this live disc. This version definitely brings new life to the original, and really creates an aggressive, overbearing atmosphere. The chorus is still as potent and frantic as before, and the guitar and bass are once working in great unison with the drums and keys, to really bring out the best in the track. Just like every other track on this album, Manson puts in a tremendous vocal performance, and really feels exactly what he is trying to say. After the last chorus, an all out destruction session begins, and all band members slam their instruments with conviction, as if they owed them money. Great reproduction (4.5/5)
Sweet Dreams/Hell Outro (5:36): Keyboard generated voices begin perhaps Mansons most known song, well cover song. The classic riff to being this song is accompanied by an awesome vocal performance by Manson, and when the drums build up to the chorus, all the energy restrained is let go, and the chorus explodes, but is still kept in control, with Manson screaming all the while. After another verse and chorus, a strange bridge begins, and leads to a rare Marilyn Manson guitar solo, played to perfection by John 5. After this Manson constructs the song again by building up the song by screaming the pre chorus lyrics is once again helped by the drums. The last chorus is haunting, and provides a great ramp for the highlight of the whole album, the incredible Hell Outro, where once again, mayhem ensues to end the track. Terrific stuff (5/5)
Rock Is Dead (3:20): With a few spoken words by Manson, we enter into yet another of Manson’s better known tracks. A high energy, and well performed version is reproduced here, and all instruments work well together. With classic La La’s, a sing along is waiting to happen, and your head will never stop bopping. Not as much change or progression during this track as the others, but it is still a great rocker. The ending of this track is very intense and will leaving the listener craving for more. (4.5/5)
The Dope Show (3:56): Sounding like a broken record, yet another Manson classic from Mechanical Animals begins with synthesisers and the awesomely groovy bass riff. The chorus of this song ups the anti, and brings the listener to a great bridge. This bridge contains some great funky guitar parts, and again begins another chorus, however the last chorus contains much more energy. Not one of my personal favourites, but the song is performed well here. (4/5)
Lunchbox (8:35): This song is my only gripe with the album. I love this song and it is performed, but much of the mid section should not have been played, but I do appreciate the little lead riff played around 7 minutes into the song. However long the interlude in the song may be, this song is performed well for the most part, although some of Manson’s vocal delivery isn’t really great, but is still passable. However I feel the bad out weighs the good. Not a highlight (3/5)
I Don’ Like The Drugs, But The Drugs Like Me (7:31): After the long introduction by Manson, this track begins. Some of Manson’s little speech is quite funny, but some may say unnecessary, but I say it fits what the era of Manson’s career was trying to create, the excess of glam rock. The song itself is performed very well, and the guitar and bass riffs really make the song very funky and enjoyable. The chorus is really think, and heavy, and really sets up for the great bridge that has a very creepy and weird vibe to it. All the instruments in this track combined with Manson’s vocals and the excellent use of the background vocalist really create a song full of over the top hooks, and killer sing along parts. Awesomely funky and glam (4.5/5)
Antichrist Superstar (5:16): Again the synthesised vocals appear, along with the pounding of the drums. The thick, chugging bass and guitar riffs really bring out the metal in Manson, and I personally feel that this is when he is at his best. The vocals in this song a great and as always fill the listeners head with a ring, that swirls around with the guitar riffs and drum beats. This song has a very anthem type feel to it and is usually a call to arms for all Manson fans at one of his shows. The chorus has a great riff, that really builds the song up well, and the bridge allows the song to slow down and be rebuilt for one last frantic chorus, and bash on the drums. Great reproduction of one of Marilyn Manson’s greatest songs to date, and I love the ending with mish mashing of voices to really continue the very creepy, disconnected feel. (5/5)
The Beautiful People (4:30): “How does it feel to be one of the beautiful people?” marks the beginning of this track, and then the trademark drum riff enters with a crash and a roll. The guitar riff is one of the most memorable riffs from the 90’s in my opinion, and stays inside the listeners head for a long, long time. The vocals in this track are once again stellar, as well as the great chorus that everyone is sure to know. This track is perfomed very well, and the section where the guitar and bass play along with the continued Hey! is one of the best moments from the album. This track is completed by a great outro, and really sets up the next track nicely. (5/5)
Irresponsible Hate Anthem (4:40): The chanting that opens this song up is quickly followed by one of my all time favourite guitar riffs, and the pre chorus is sung with a lot of urgency and feel. The chorus is also great, and really is broken down well by the post chorus, that once again launches the listener back in the direction in which they had just came from. The ending of the song is furious and Manson’s final scream really brings out the aggression in the track wants to be released, although it has previously been shown, the aggression has not been released on this scale since the beginning of the album. Also a great song, that really contrasts to the next song. (5/5)
The Last Day On Earth (4:26): The only acoustic song on this live album opens up with a lovely little guitar riff, and paves the way for Manson’s heartfelt entrance on the vocals. I feel that this is the best song on the album, and I find myself enjoying it very much after some of the earlier aggression shown on this album. The chorus has me singing along each time, and doesn’t let me loose from its grasp until the end. This song is one of Manson’s more personal and deeper songs. The piano piece is great and works very well with the guitar, and during the later parts of the song, a bass guitar enters for a short period, and thickens up the song. There are no drums on this track, but the rhythm is still kept very well, and I feel that drums would have not really worked with this track. This song builds to an emotional end, and is a great closure to the live component of the album. I find myself listening to this more often than some of the other songs. Great track, great ending piece. (5/5)
Astonishing Panorama Of The End Times (3:59): Children singing, and a quickly palm muted guitar riff welcome the listener to the only studio recorded song of the album. An almost disco like quality is created by the drumming, and works extremely well with the keyboard. The vocals in this song are very similar to some of Manson’s other work, but change during the bridge to a weird high pitched screaming type of thing (they are difficult to explain). The song builds to a very big ending, and is a great ending to the album. I feel that the album should not have ended after this song, and that the Last Day On Earth Should have been the last track, but I welcome this song, as it is a great one. (4/5)
Marilyn Manson proves to the listener and critic that he is just as crazy and psychotic live as he is in the confines of a studio. I feel that the live atmosphere brings out the best in the tracks present on this disc, and really shows that Manson was one of the premier live acts at the time of the release of this live album. With so many of his better known songs, and many of his other cult favourites, it’s hard to bypass this album, simply because of the energy and great performances presented with each and every song. All in all this is a must have for Manson fans, as well as live music enthusiasts.
Final Rating 4/5
