Marilyn Manson Last Tour On Earth CD - Import

Limited edition pressing (20,000 copies only) of the group's hit alternative shock rock group's 1999 live album with a four track bonus CD featuring 'Coma White' (LP Version), 'Get My Rocks Off', 'Coma White' (Acoustic Version) and 'A Rose And A Baby Ruth'. A combined total of 18 tracks. Double slimline jewelcase. 1999 release.

Also available with GOD IS IN THE TV video as THE ULTIMATE MARILYN MANSON GIFT SET.
Marilyn Manson: Marilyn Manson (vocals); John (guitar); M.W. Gacy (keyboards, synthesizer); Twiggy Ramirez (bass); Ginger Fish (drums).
"Astonishing Panorama Of The Endtimes" was nominated for the 2001 Grammy Award for Best Metal Performance.
Australian limited edition comes with a four track bonus disc that includes "Coma White" (LP Version), "Get My Rocks Off," "Coma White" (Acoustic Version), and "A Rose And A Baby Ruth."
The Last Tour on Earth, the live souvenir from the ill-fated Mechanical Animals tour, is an aural document of a primarily visual experience. Marilyn Manson's records are extremely well crafted, filled with revealing sonic details, but in concert he concentrates on spectacle, preferring dazzling visuals to new arrangements. That's not a bad thing -- Manson is an agent provocateur and his shows should be an overwhelming visual experience. There's no need for reinvented versions of "The Beautiful People" or "Irresponsible Hate Anthem," since they serve as the soundtrack for the sights. It's a good selection of Manson favorites performed by a tight band, although apart from rougher vocals and slightly more immediate sound, there are no true differences between the stage and studio versions of these songs. Based on the music, it's hard to tell that this is a live album, except for stray crowd noises and Manson's on-stage ramblings. It's fascinating to hear him act like a sober Jim Morrison, trying to get his audience to yell "motherf*cker" and winding up with an incoherent "maoohahfuer," or relating his spellbinding vision of a dreamworld, where the land is made of drugs, cops give Manson head, and God is spelled "D-R-U-G-S," especially since these rants are delivered, by name, to the Midwestern off-markets of Grand Rapids, MI, and Cedar Rapids, IA. ~ Stephen Thomas Erlewine
Back when Mechanical Animals entered the charts at number one, it seemed like the world belonged to Marilyn Manson. Not only did he have the most popular album in the country, but he was everywhere -- magazine covers, op-ed pieces, TV shows, gossip columns, award ceremonies, film cameos, even the radio. There was also talk of a feature film, starring none other than himself. All gave the impression that Mechanical Animals was a colossus, which wasn't necessarily accurate. Yes, it was a number one album that went platinum, but after "The Dope Show," it didn't generate any big alt-rock hits, and more importantly, it didn't play all that well with Manson's core audience, who were more interested in goth angst than a glossy glam fantasia. Perhaps Manson would have been able to kick up some support if he didn't court controversy throughout the album's supporting tour. While it earned him endless headlines, particularly when his feud with touring partner Courtney Love went up in smoke, it didn't quite translate into sales. Instead, it resulted in Marilyn fatigue. It didn't matter what Manson did, even if he was (ridiculously) blamed for something as horrific as the April 1999 school massacre at Columbine; people just didn't care anymore -- they were sick of having him to kick around. Perhaps that's why The Last Tour on Earth, the live souvenir from the ill-fated Mechanical Animals, was released to little fanfare in November 1999: Nobody was interested anymore. If The Last Tour on Earth was supposed to recapture their interest, it's hard to see how. Live albums rarely play to a mass audience, and this one appeals to a particularly specialized audience, capturing not only an artist adrift, but also documenting aurally a primarRolling Stone (12/9/99, pp.81-2) - 3 stars out of 5 - "...it captures Manson's inimitible talent for spectacle. His evangelist-meets-carny-barker spiels about Gawd, rawk and...cops are hilarious, and the sound quality is appropriately huge....good, dirty fun."
Q (1/00, p.118) - 3 stars out of 5 - "...confirms [Manson] as one of rock's biggest personalities and smartest social commentators. Amid generic industrial metal are some of modern rock's defining anthems..."
CMJ (2/00, p.62) - "...does a bang-up job of documenting the controlled sound and fury of Manson's dope show. You get solidly played versions of all the hits...some amusingly transgressive stage banter...and the mechanized thrash of one new studio track..."