Review 1 of 3

No Screen Name writes:

5of 5 Stars

HE PUT HIS FAVORITE SONGS,AND HITS ON THIS.HE DID HIS VERSION OF THE SONG TITLED: PERSONAL JESUS ,AND IT'S ON THIS ALBUM.HE SOUNDS SO MUCH BETTER THAN THE ORIGINAL ARTIST!HE DID AN OUTSTANDING JOB ON IT!HE ALSO INCLUDED A VIDEO DVD IN THIS ALBUM.IT'S ALL OF HIS SONGS THAT HE SINGS IN THIS ALBUM.GET THIS,AND ADD THIS TO YOUR MANSON COLLECTION!

Sep 15, 2007 20:26:17

Review 2 of 3

No Screen Name writes:

3of 5 Stars

The excellent photos in the insert of this disc, whose artistic quality no one can refute, bring us quite close to the rather conspicuous persona of Marilyn Manson, whose music receives a well deserved revival here. The idiom is typical gothic, although there are some touches of industrial and even classical influences, at least in terms of rhythm, balance, and texture, although there is a lot of originality in these striking pieces. Manson is also an intelligent artist, and when he sings about the death of God or alienation and class struggle, his lyrics are influenced by such philosophers as Friedrich Nietzsche and Karl Marx (DISPOSABLE TEENS; THE DOPE SHOW; THIS IS THE NEW SHIT; THE FIGHT SONG).
The most original work here, at least to me, is MOBSCENE, a wonderfully nimble evocation of real castles in the air with Manson’s grave and exasperating voice adding tension to proceedings. I also enjoyed the raucous LOVE SONG, which is also filled with emotion and evocation, especially in its somehow melancholic aura. However, Manson’s covers of Depeche Mode’s PERSONAL JESUS, Eurythmics’ SWEET DREAMS ARE MADE OF THIS, and Soft Cell’s TAINTED LOVE bring a puny mellifluousness to the album.
Nevertheless, there is enough good stuff on this CD, and that is why I highly recommended it – and not only to Manson fans, but also to the discerning lover of intelligent music. No doubt about it, Marilyn Manson deserves to be once again on the MOBSCENE. In fact, THIS IS THE NEW SHIT. DANIEL DELEANU

Feb 1, 2007 20:34:31

Review 3 of 3

No Screen Name writes:

2of 5 Stars

It's very telling of a musician's "abilities" when his or her best songs are exclusively covers, i.e.: Marilyn Manson. Yet again, he proves that the only semi-relevant songs he records are his reworkings of someone else's material (and his version of "Personal Jesus" ain't exactly anything to get worked up over, either). As is usually the case, the originals are still about twenty times more interesting, but I'm willing to give him credit for his effort. Otherwise, LEST WE FORGET is a masturbatory cash-in, like most of Manson's catalog; it's certainly more than enough Manson for anyone, other than (maybe) the most devoted of Manson's black clad, teeny-bopper fanbase. Let's be honest, though: who else is REALLY all that interested in what he records, anyway?

Apr 24, 2006 13:43:04