5 Hair Metal Albums You Should Own

Last call fellow Otaku & Metalheads!

I got one last bit of nostalgia for all of you! As usual with my music festivals, it’s time to talk about some albums you should go out and buy, or at the very least listen to at least once. We obviously finished up looking at some Hair Metal legends, so it’s obvious that I’d be talking about some records from that genre. This list was perhaps one of the easiest to make for the most part, since I got a personal connection with most of the choices here. So, without further delay, here are 5 Hair Metal albums you should own. Enjoy!

1) Van Halen - 1984 (Sample Song)

1984 is a significant album in the history of Van Halen. It would be the last time that iconic frontman David Lee Roth would sing with them (Until A Different Kind Of Truth in 2012), and because of that the band seemed to go all out with this release. Instrumentation is a perfect mix between rock & metal, the vocal work from David was up to his usual standard, and the keyboard was a nice complement to everything else. 1984 goes by a little faster when compared to everything else on this list (Along with their own albums as well), but it’s an example of a faster band worth listening to a few times!

2) Steel Panther - Feel The Steel (Sample Song)

Steel Panther are such a conflicting band for me. On the one hand, they’ve essentially made the same album over & over. Kinda like the Gothic Power Metal stylings of Powerwolf, every record sounds almost like everything else they put out. On the other hand, it’s obvious that they sincerely love what they do, and are genuine Hair Metal fans. Feel The Steel is perhaps the best thing they put out, and it shows! They’re turning the knob to 11 with the instrumentation, vocal work, and sleaze. This album will make you laugh, and you’ll also be impressed by just how much they don’t give a crap about what anyone politically correct might say about them. That alone should make it a record to seek out!

3) W.A.S.P. - Still Not Black Enough (Sample Song)

I was torn between picking either their starting record and this one. Both are fantastic, but I decided to pick Still Not Black Enough for the list. It’s an example of a Hair Metal band simultaneously trying new things, yet not completely losing sight of their past. Yes, the record is perhaps one of the most obscure releases of the 1990s. Yes, W.A.S.P. fans might not pick it out in comparison to the rest of their discography, but it’s perhaps the most powerful record emotionally wise. I’ve already done a review for it, and took a look at it again earlier this month in part 2 of the overview, so all I can say is to give it a try. Whether you somehow manage to find a physical copy or listen to it on youtube and/or itunes, it’s definitely worth your time!

4) Dokken - Under Lock And Key (Sample Song) & Back For The Attack (Sample Song)

I will fully admit that I only knew about Dokken through their music video for Dream Warriors, and by extension the song. It’s only been in recent years that I’ve really delved into their discography, so I find it appropriate that I put the first 2 albums I ever listened to from these icons here. Both are absolutely fantastic records, and despite the commercial nature of Hair Metal, the band always tried something at least a little different on each release. Under Lock And Key comes across like the lost soundtrack to a spy movie, while Back For The Attack (More specifically the opening track) deals with AIDS.....in 1987! Even if Heavy Metal has never interested you, I say at least give these two albums a try. It’ll certainly be an experience, regardless of the end result.

5) Whitesnake - Flesh & Blood (Sample Song)

I was genuinely shocked that Whitesnake had put out a brand new album in 2019. While they have more of a cult-like following here in the states, over in Europe (Especially in their home country of England) they’re still pretty big. Flesh & Blood is the 4th album in their return since 2008, and the 13th in their just over 40 years of existence. I absolutely dig this record: David Coverdale’s voice still sounds incredible after all this time, the band is great on guitar, bass, and drums, and the music straddles the line between Hair/Heavy Metal & Blues/Hard Rock perfectly without falling into one side. If for whatever reason you’re not a fan of older Whitesnake, maybe this modern release is what you’re looking for.

And with those last words typed out, Hair Metal Hysteria has come to an end. It was fun to talk a walk down metal’s memory lane, and examine a style that many oldschoolers still hold to their hearts to this day. I was born late to enjoy it when I was young, but when I got into it when I was older, I can’t say I was anything short of happy when I did. With that said, see you all in September for a very special birthday, as this blog.....turns 5 years old.

Metal Overview: W.A.S.P. (Part 3)

Let’s get stung one last time fellow Otaku & Metalheads!

Last week was my take on the band’s time in the 90s. Some of their most iconic & unique albums were born in the most creative decade when it came to music (Heavy Metal or otherwise), Blackie Lawless seemed to have come back to his wilder days by the end of the decade thanks to Helldorado. However, once it became 2000, he would change once again, and said change would be permanent. To some, this change led to perhaps the best music he’s ever made. To others, this sealed his fate as in a way that didn’t match up with his prior works. Let’s not build up any more suspense, and take a look at part 3 of my examination of W.A.S.P.!

Unholy Terror (2001)

Helldorado was a welcome sight by the end of the 90s. With 3 serious & emotionally heavy records beforehand, it was great to see W.A.S.P. back in their comfort zone. It was also great to see Blackie Lawless & Chris Holmes reunite, as the two were perhaps the wildest members of the band back in the 80s. However, around the turn of the new millennium the band would transform once again, as Blackie Lawless would become a Born-Again Christian, and the band would adopt a socio-political stance that would stay with them all the way to today. Whether that’s a good thing or not depends on what period of the band you like, but regardless this transformation gave Blackie a new source of inspiration to make music. Given that he embraced faith, a light went off in his head, and he furiously went to work at the 1st W.A.S.P. album of the 2000s. Then, on April the 3rd, 2001, Unholy Terror was released onto the world.

Despite the name of the record, it actually wasn’t a memorial to 9/11 (More on that a little later), but instead was a take on why so many young Christians (And maybe some older ones) are driven away from the church due to it’s many acts of hypocrisy. And while I’m not religious in any manner....at the same time I’m under the belief that maybe potshots should be taken at the Church in this country. Unholy Terror definitely does the potshotting quite well, but it never loses that classic W.A.S.P. sound & feel. Sadly, this record would be the last time that the team of Lawless & Holmes would ever be together, but more on that later. Suffice it to say, the album surprised me upon my first listening of it, and it’s become one of my favorites of the 3rd form of W.A.S.P.........but it’s not my favorite (Hint Hint).
                                               
Best Track? Locomotive Man has to be the catchiest track on the album. From the opening guitar notes, you know immediately that you’re in for a wild ride! The whole song feels like you’re actually on a train thanks once again to the guitar, and at the head is a religious zealot of a conductor who’s taking everybody on board to their supposed maker. Complete with fantastic drums & Blackie’s signature voice, Locomotive Man easily takes the spot for best track of Unholy Terror.

Locomotive Man

Worst Track? The subject matter is about the only bad thing I can call out Unholy Terror on.....but not in the way you think. For a guy that converted to Christianity beforehand, Blackie Lawless has a lot of guts criticizing the faith that just recently brought him in with open arms. I will say that if this was planned out ahead of time, then this is one of the greatest ambushes in the history of Heavy Metal! Again, I’m not against religion in any manner, but I’m under the firm belief that Christianity need to get called out on once in a while, and this release does a damn good job at what it’s supposed to do!

Unholy Terror is.....good! Shockingly good, in fact. I admit I was dreading listening to this record when I did my research, but by the time I was done, I was glad I did. It might not be the W.A.S.P. of old (As far as subject matter is concerned), but it still has the energy of the glory days of the 80s, and it is most certainly recommended. Next album!

Dying For The World (2002)

September 11, 2001. The day that the Twin Towers were the target of a terrorist attack, and the day that America’s bubble burst. It was also the day that the home of Blackie Lawless would forever gain an awful scar that thankfully has healed for the most part. Sadly, the scar that would be inflicted upon Blackie would be a deep one.....yet the pain he was feeling would put him in the most furious & creative period of his life, as in just 9 months he & the band would make music like they’ve never done before, and on the 11th of June 2002, Dying For The World was released.

Dedicated to the victims of 9/11, the album might actually eclipse the majority of their 90s output in terms of seriousness, but by 2002 it would be the last time that Chris Holmes would ever been with the band. His more “Rock ‘n’ Roll” attitude didn’t match up with the new socio-political/religious outlook that his former bandmate, and he’s been spitting venomous comments at Blackie ever since. Ironically, we’ve only ever heard Chris say anything, as Lawless only alluded to it at a press conference in 2017, and even then he didn’t really address it. Suffice it to say, but we may never know the full story.

Best Track? Even before listening to this release, looking at the track-listing & spotting Hallowed Ground was a sure sign that it might make it here. Upon listening to it for the 1st time, it’s position as the best track of Dying For The World was assured! Though virtually everything on this record is emotional & serious, it’s on this song where everything that Blackie is feeling as he crafted this release is concentrated. Forgoing a faster pace, Hallowed Ground is more of a tragic ballad. The guitars are slow but powerful, the drums are steady & to the point, and Lawless is just belting his heart out when he sings. Easily the biggest tearjerker of the record.

Hallowed Ground

Worst Track? Rushed is the only issue with this album. Normally, Blackie likes to take his time in crafting a record. Taking time in the atmosphere, instrumentation, vocals, and lyrics. In his defense, New York City is his home, and I couldn’t even begin to imagine what Lawless was feeling seeing the Twin Towers in ruins, so getting an album out as soon as possible to convey his feelings is understandable. If I’m being perfectly honest, the rushed aspect of the album doesn’t hurt the music in any way, and in fact it might actually help add some atmosphere.

Dying For The World. It comes across as rushed, but at the same time is a very heartfelt & serious tribute to the city that Blackie Lawless loves. New Yorkers will get a kick out of this, and W.A.S.P./metalheads will enjoy it in general. Next album!

The Neon God (2004)

Part 1 (The Rise)

Part 2 (The Demise)

What The Crimson Idol was to the early 90s, The Neon God was to the mid 2000s. Released on April 6, 2004, this release was originally supposed to be a double-record: Part 1 was known as The Rise, and part 2 was called The Demise. Record stores stated that it would have taken up too much rack space.....which is code for “Would have taken up space from crap bands we’re trying to shill”. As such, Part 1 came out in April, and Part 2 was released on September the 28th later on in the same year.

Regardless, The Neon God might very well be the most ambitious concept album in W.A.S.P.’s discography: while The Crimson Idol was more of a commentary on the record industry & what drives potential mixed with elements of fantasy, The Neon God is more of a religious horror story that has sci-fi & fantasy aspects attached to it. The story centers around a boy named Jesse, who was abandoned by his Mother at the age of 8 at an orphanage that doubles as a mental hospital. During his time there, he discovers that he’s got the ability to read & manipulate the minds of people, and after escaping & joining up with a circus ringleader, he harness his power for greed & lust, and the two eventually create a cult around Jesse’s powers. I can’t reveal anything else, as it would ruin some interesting reveals. Suffice it to say, this album ranks among one of my favorites out of W.A.S.P.’s discography. Though I have some gripes, The Neon God is simultaneously vintage yet taps into some (then) modern means of recording & production. Definitely a release not to miss!

Best Track? On Part 1, I’m rather impartial to The Running Man. Similar to Still Not Black Enough (The song) in terms of pacing & vibes, it’s an incredibly catchy song that’s more than worthy of being one of the final two songs on The Rise.

The Running Man

On Part 2, I definitely like Come Back To Black. By this point we’re near the end of the story, and it shows. Jesse’s had enough thanks to recent revelations, but the bishops of the cult try to bring him back one last time before their attempt to martyr him. The instrumentation is intense, Blackie is singing his heart out, and the overall atmosphere is incredible oppressive & tragic. As with The Running Man, Come Back To Black earns the rights to be one of the concluding tracks of the album.

Come Back To Black

Worst Track? Unfortunately, The Neon God has something of an ego issue. Like The Crimson Idol from a decade prior, this album does think highly of itself, and might be a bit too grandiose for it’s own good. At the same time......I’m not quite as mad about here as opposed to it’s 90s counterpart. Make no mistake: there’s still plenty of that modern day Blackie Lawless ego throughout both albums. However, intentionally or not, he seems to pull his sense of self back a little bit, and it makes sense. As he said in interviews, the idea behind The Neon God was a story about why we are all here, is there god or no god, how are we connected, etc. That’s a pretty noble goal, and can definitely make for some interesting music.

Sadly, I gotta complain about the story again. As with The Crimson Idol, everything is written well for the most. However, the part where Jesse suddenly realizes he’s gone too far down the rabbit hole of debauchery just bugs me. Why the hell do you suddenly care when your mother shows up? She ditched your ass for booze & drug money, and never looked back! I think it would have been far more interesting to see you go even further into the dark when she showed up, and you realized your mistakes on the verge of death.

The Neon God. Still a bit of an ego fest, but considerably more accessible that The Crimson Idol from a decade prior. If you weren’t fond of the bleak rockstar storytelling, you might like this descent into darkness/redemption story. Well Blackie, it looks like I might have been wrong about you. Maybe, just maybe....I might have been a bit too judgemental about material from this time. Well then, let’s see what comes after this!

Dominator (2007)

And perhaps I spoke to soon!

Released on April the 16th, 2007, it’s incredibly obvious by this point Blackie is going more undercover in bed with his conservative views (Politically & Religiously). From the album cover alone, there’s a burning American flag, graves of soldiers, a stealth bomber, I believe a map of the world, and to top it off we get the sight of a skull with a nuclear explosion in one of the sockets. Unholy Terror, Dying For The World, and The Neon God grazed Blackie’s religious & political beliefs, but it’s this album that finally grabs it firmly. This marks the first album of W.A.S.P.’s that I’m not exactly fond it, and it’s because of the politics & faith. I’ve got nothing against the craftsmanship, as it’s really good on here, but people don’t listen to W.A.S.P. for politics, religion, and societal issues (Except for The Headless Children). People listen to the band for fun shock, dirtiness, and just how wild Blackie Lawless used to be. This to me is why I think the band isn’t as popular in the states nowadays. There’s other issues to be sure, but I think this is the chief issue.

Best Track? The Burning Man definitely hits home on Dominator. Not only was Blackie commenting on this country’s policies during the late 2000s, but he was talking about what soldiers from Iraq could be going through when they returned home. PTSD, drug addiction, being looked at oddly by certain members of the community (Including family members), etc. There’s a lot of emotion put into the song, not to mention some fantastic instrumentation & vocal work. Certainly the best thing on this album.

The Burning Man

Worst Track? Like I said above, Blackie Lawless never lost his talent. He’s still fantastic on the guitar, and despite his voice getting slightly crackly, he can still sing his ass off. What really sucks about this album is that Blackie is beginning to no longer hide his faith & politics. On the prior 3 albums you didn’t necessarily know which way he was going, but on here? You’re now beginning to see the frontman become the bitter religious conservative he’s never seen to go back on. Luckily, as bad as it is on here, it’s not necessarily unbearable as opposed to later works.

Dominator. Still some fantastic music, but Blackie is getting far more Jesus-ey & political with his work. If you can get past those caveats, you’ll find Dominator to be worth your time. Again, maybe I was a bit judgmental, but surely this is just a speed bump right......right?

Babylon (2009)

Before I talk about what’s good about Babylon, I gotta talk about something bad. In 2008 & 2009 before the album came out, Blackie Lawless stated that he is never going to play "Animal (Fuck Like A Beast)" live again, due to his religious beliefs. These beliefs are allegedly the reason behind Blackie Lawless' self-censorship of his own lyrics during the 'Babylon World Tour,' most notably during the performance of 'Chainsaw Charlie. Mr. Lawless, let me just say......

Mini Food For Thought/Thought For Food: Sellout
- You can piss right off. I’ve got nothing against anybody finding faith in their life, and I’ve got nothing against people changing their politics. Individuals change all throughout their life, so it’s nothing out of the ordinary. However Mr Lawless, every single change you’ve had in your life completely buries & hides your shock rock past. You speak out against your own musical history, and you censor yourself all in an effort to appear clean. It makes me weep, as I love everything you made before this period of your life. Hell, I even love your early 2000s material, but from 2007 to now? You have effectively turn into the exact kind of person that once criticized you & the rest of W.A.S.P. back in the 80s. I hope it was all worth it.

Now that I got that mini-rant out of the way, let’s me just say that I think Babylon is far better than the album before it. Make no mistake: Blackie politics & faith are still front & center, not to mention his ego. However, kinda like The Neon God from earlier, it’s not quite as bad on Babylon. Whether intentionally or coincidentally, the ego is pulled back a little bit, allowing for more thoughtful meaning within the music. He doesn’t pull back from the faith & politics, but I admit it’s not shoved into your face as hard as Dominator or the album that’s to come. As such, this is the album from this time in the band’s life that I’m most likely to enjoy.

Best Track? Godless Run to me is the best thing Babylon provides to the listener, and for 2 reasons. The 1st is that it comes across like an old power ballad from the 80s, and it could definitely fit on just about any of W.A.S.P.’s old releases. It’s slow paced, yet still incredibly heavy & intense. Secondly, the song is basically about how Blackie Lawless eventually found his faith after decades of being wild & godless. Despite me complaining about his life changes, this track is quite touching, and not at all condescending. If there’s one track to not avoid, it’s definitely this one.

Godless Run

Worst Track? Much like Dominator, Babylon has Blackie’s faith & politics front and center, and there’s no real way to avoid it. That said, it’s not quite as overwhelming as what’s on the band’s 2007 output. It’s still highly apparent, and the ego can get bad, but I found this to be a much more pleasant listen to. It’s still not one of my favorites, but far more likable that the album before it and afterwards.

Babylon. Not quite as holier than thou than the previous record, but it’s still very much up it’s own ass. If Dominator turned you off due to it’s politics, then give this release a try. Next album!

Golgotha (2015)

Dominator frustrated me. Babylon took a step back, but still has it’s politics & faith front and center. Golgotha? Leaves me rather confused. Released on October the 9th, 2015, the record shows off Blackie Lawless new viewpoint of the world more than anything since 2001, however......I’m not sure how to feel about it here. It’s still highly egotistical, but.......I don’t know what to say. I found myself liking Golgotha way more than Dominator and Babylon, as I didn’t have the religion & politics shoved into my face as hard as prior albums, but at the same time this record seals the door of any chance for Blackie to go back to his old self. All of these issues come together to create an album that’s equal parts awesome yet dumbfounded......and I recommend it to anyone the most.

Best Track? Miss You is basically Golgotha’s equivalent to Godless Run, and that’s not a bad thing. It feels like an 80s W.A.S.P. power ballad, what with the instrumentation, vocal work, vibe, etc. I can’t say much more, as I’d pretty much just be repeating myself.

Miss You

Worst Track? Much like Dominator & Babylon, the overall quality of Golgotha is great. From the production & recording, to the instrumentation & vocals.....there’s not a bad thing on here. My only gripe I had is that it’s way too religious. Even more so that Dominator and Babylon, Blackie’s faith is front and center, and more often than not it’s a little too in-your-face for my own liking. Ironically, I thought that this was a lost modern-day Stryper album with just how obvious the Christian overtones were. Hell, I even expected Michael Sweet to show up as a guest vocalist at one point......maybe even Guy Ritter from Tourniquet!

Golgotha. Way to Jesusey for it’s own good, but I very much respect the craftsmanship that went into this, and despite what I said earlier......I’m probably inclined to listen to this album the most. Definitely a curious release if there ever was one.

And that was my final look at W.A.S.P.. Half of it was surprisingly fantastic, while the other half just makes me weep, as the Blackie Lawless from the 80s & 90s turned into the very thing that once persecuted him so long ago. Easily the most conflicting time of the band for me, but I respect it all the same. So, with all of the hairspray & sex still wafting in the air, I got one last post to conclude this festival, so join me next week as I’ll talk about what I consider to be some Hair Metal albums that are perfect for one’s collection. In the meantime, never forget where you once came from.

Metal Overview: W.A.S.P. (Part 2)

Welcome back to the swarm of W.A.S.P. fellow Otaku & Metalheads!

Last week we examined their origins in the 1980s. The time where they were their most hairiest, their bloodiest, and their most shocking. Now it was the 1990s: it’s a brand new musical landscape, and Hair Metal was no longer one of the big metallic forces that held the torch up high. However, Blackie Lawless was not a man that sat down in his chair, defeated that his way of music was no longer. He was a guy that pushed on in his own unique way, and because of that the 90s might be the band’s most unique output. Let’s not waste anymore time, and see what they made!

The Crimson Idol (1992)

After The Headless Children, it wasn’t exactly a good time for W.A.S.P.. After Chris Holmes left the band, the group was effectively broken up, and Blackie went on a short lived solo run. Blackie was originally going to be the T-1000 in Terminator 2, but was later replaced by Robert Patrick after Arnold Schwarzenegger deemed Lawless "too tall". After being rejected for the roll, he got to work on his solo album, but due to pressure from promoters and the fans, he released it as a W.A.S.P. album. Thus, in 1992 in Europe & Japan (June 27th & August 1st respectively), and in 1993 (May the 24th) in the states, The Crimson Idol was released. A concept album, The Crimson Idol tells the tale of the rise and fall of a fictional rock star named Jonathan Steel. The reasoning for this rather bleak theme was due to Blackie desire to “Warn” potential bands of the system that is the record industry, and while I think that’s a good idea in theory.....in reality it’s a bit of a crapshoot, but more on that a little later.

Reviews for The Crimson Idol are generally pretty positive. Over on MetalArchives scores are in the 90s to 100, which is incredibly impressive. Metal elitest & Trump fellator Razorfist calls this one of the most essential concept albums in metal period, and Greg Prato at AllMusic gave The Crimson Idol three stars out of five, calling it "essentially a Blackie Lawless solo album" and noting "The Invisible Boy", "Chainsaw Charlie (Murders in the New Morgue)" and "I Am One" as highlights. Ironically, many critics felt at the time (and some still today) that The Crimson Idol is W.A.S.P.’s best output, and while I don’t agree with that mentality, it’s sure as hell one of the best!

Best Track? Gotta give it to good ole Chainsaw Charlie as the best track of the album! Just hearing the saw rev up at the start just send chills up my spine, and is a sign that this guy is not to be messed with. Then once the instrumentation starts, you’re in for quite the ride, as Blackie goes through the motions of this crooked music president doing everything he can to get young Jonathon to sign to his record label. Even with that said, the pacing & rhythm are oddly hypnotic, and it somehow draws you into the dark world that Blackie has created.....for a moment at least.

Chainsaw Charlie (Murders in the New Morgue)

Worst Track? While an undeniably awesome album, filled with some of the best Heavy Metal the 90s can provide......The Crimson Idol tries waaaaaay to hard to be shocking & in your face. With the prior 4 albums, the shock factor came in naturally. With this? As well meaning as Blackie was with the message, he wound up unintentionally crafting what is quite possibly one of the single most pretentious albums in all of 90s Heavy Metal. The vibes of this release are so artificially dark, they almost come across like the kind of art-house bleakness you can only find in artsy movies from the 70s & 80s (Won’t name which ones). It’s incredibly frustrating, as there’s not a single awful song on here, and the overall experience is fantastic!

My only other gripe has to do with the story. Like I said above, Blackie crafted a pretty damn good tale of the rise & fall of a tragic character. The only part that infuriates me is when Jonathon decides to call his parents, only to be almost immediately rejected by his folks. I hate to break it to you Jonathan, but when parents play favorites, they almost never change their minds. I had this happen on my Dad’s side of the family, so I know what that’s like a little. Not only that, but does Blackie assume that so many young musicians go out into the world because they didn’t get enough love at home? Cause if that’s the case, they perhaps he was going for something more in the pretentious direction.....or maybe not.

The Crimson Idol. Egotistical? Sure! Up it’s own ass? Definitely! A 90s metal masterpiece that deserves all the praise it gets? Indeed! If you can get past the waves of pretentiousness that come off of this record, then you’re in for a real treat. However, as great as this release is......it’s not as impressive as the album that’s coming next.

Still Not Black Enough (1995)

What Dark Side Of The Spoon was to Ministry, and World Coming Down was to Type-O Negative, Still Not Black Enough is to W.A.S.P.. Released in June of 1995 in Japan & August of 1996 in the United States, Still Not Black Enough is perhaps the most personal album to date in the band’s career. Foregoing a story format like their previous record, this one is more of a collection of tracks about Blackie Lawless’s personal life, with tracks about the death of his mother and issues he was going through after the world tour for The Crimson Idol. Like their 1992 classic, this was originally going to be a solo album, but because of how heavy the subject matter was, that idea was scrapped. As to what I think? I love it! Still Not Black Enough to me is the W.A.S.P. equivalent of Tapping The Vein: Not just the best representative of the band’s time in the 90s, but might very well be the best material they’ve ever made. It does have one big issue hampering it’s greatness (More on that below), but suffice it to say it’s in regular rotation on my CD player.

Best Track? Like I said in my review last year, the title track is the best damn thing on this album! It pulls you into the pain & torment of what Blackie was feeling at the time. He might be a jackass nowadays, and his ego is through the roof more so than prior decades, but back in the 80s and 90s, he was perhaps a more humble & vulnerable man. Just listening to even the first few lyrics, you can tell that the pain he was feeling back then was excruciating. The guitar work plays like thunder, the drumwork comes down hard like a rainstorm, and Blackie’s singing is just heartbreaking (In a good way). Again, it’s the best representative of the album, and it’ll get you interested in everything else.

Still Not Black Enough

Worst Track? Again, the only bad thing going for Still Not Black Enough would be it’s obscurity. In comparison to The Crimson Idol and the next 2 records, you ask a W.A.S.P. to name a release from the 90s, rarely will any of them say this one. It’s a crying shame, as this one deserves just as much time in the spotlight as every other release the band has ever done. I’ll say it right here and now: Still Not Black Enough deserves an anniversary remaster & world tour just as much as The Crimson Idol. Hell, I’d even be happy with just a remaster, as the world needs to hear how good this record is.

Still Not Black Enough. Obscure to the 10th degree, but at the same time is perhaps the strongest album they’ve ever made. If you can actually find a physical copy or a video on youtube, give it a go. Hell, if you find a download link, try that also. Next album!

Kill Fuck Die (1997)

Nasty. Awful. Uncomfortable. Gory. Those are just some of the words to describe W.A.S.P. 1997 release, Kill Fuck Die. Released on April the 29th of that year, Kill Fuck Die is a personal record like their obscure 1995 classic, but this one delves into relationships.....and not in a good way. Around the mid 90s, Blackie Lawless was going through a pretty awful breakup, and this left him incredibly bitter & resentful. He was not alone in this state of mind, as former guitarist Chris Holmes rejoined the band, and he went through a nasty divorce with his 2nd wife Lita Ford a few years prior, & was pretty bitter as well. With such a maelstrom of pain & rage, you know that the two of them would crankout what is perhaps W.A.S.P.’s most over-the-top, shocking, and possibly offensive album to date. It’s also the first and only time that the band ever incorporated any Industrial element into their music, and the end result is an intriguing release. I’m not fond of this record because of how mean-spirited it is, but at the same time I respect it for trying something outside of their comfort zone. It’s not perfect, but it’s interesting at times.
    
Best Track? Pretty much like Still Not Black Enough, the title track is the best thing on here. There’s a really dare allure to the who song, as the instrumentation plays at a fast yet highly rhythmic pace that never falls onto the pavement in anyway. Blackie’s voice is raspy but pretty easy to understand, and while the industrial aspect isn’t used to it’s fullest potential (More on that in a sec), when it kicks in......it kicks in hard!

Kill Fuck Die

Worst Track? Despite the album going in a more industrial direction, Kill Fuck Die seems to just play with the industrial aspects rather than fully implement it. Maybe it was too bizarre for Blackie Lawless & company, or perhaps it conflicted with the traditional metal style, but it’s agonizing at the potential W.A.S.P. squanders. Still, when it actually does work, it’s damn good!

Kill Fuck Die. Incredibly uncomfortable to listen to, but if you’ve put on the right body armor, it’s definitely a dark & interesting experience. Recommended to those who’ve gone through an awful breakup without hesitation. Next album!

Helldorado (1999)

For those who’re drained by the darker nature of W.A.S.P.’s output in the 90s, then Helldorado is a massive breath of fresh air! Released on May the 18th, 1999, the band’s final release of the decade saw them return to the wild & crazy roots of their 80s repute. Gone are the dark themes of the past 3 albums, and instead the music is about drugs, booze, women, sex......the works! Also like their 80s output, Helldorado isn’t ashamed in the least about what’s in the music. Not only that, but if word of mouth is to be believed, then the tour for this record was considerably more foul & politically incorrect than the one for Kill Fuck Die, which is a pretty impressive feat if anyone ever saw any footage from that tour. Though Helldorado isn’t one of my big favorites from the 90s, I still give it credit for being a more than necessary palate cleanser for anyone tired of the darkness from prior releases.

Best Track? Don’t Cry (Just Suck) is foul, nasty, dirty, offensive......and I love it! You can tell that Blackie is having a blast singing like his 80s self, what with the lyrical content and all. Even with that factor taken out, the song is just that good. The guitarwork is fantastic, the drumming is thunderous, and the beats & rhythms withing the track are just infectious. Also, if you don’t giggle at least once during this tune.....then something is wrong with you.

Don’t Cry (Just Suck)

Worst Track? Apart from some repetition in regards to the instrumentation, there’s not a single bad song on here. Blackie & the rest of the band feel absolutely refreshed on Helldorado, and they’re having a blast at the same time. Whether physical or downloaded, this fiery beast is certainly worthy of your attention!

And that was part 2 on my look at W.A.S.P.. Quite possibly the most chaotic time for the band, it was also perhaps their most creative as well. However, this decade was perhaps the last time that we would ever see & hear Blackie Lawless at his most wildest, as when the 2000s began, he would go to shock rock badass.....to conservative sellout lameass. So join me next week for part 3, when I’ll be taking a look at what W.A.S.P. would ultimately became. Suffice it to say, I’m not looking forward to it.......well, not looking forward to some of what’s to come at least.



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If you’re curious about my review for Still Not Black Enough, click on the link below to read it:

Still Not Black Enough (Review)

Metal Overview: W.A.S.P. (Part 1)

Welcome back to the awesome conclusion of Hair Metal Hysteria fellow Otaku & Metalheads!

When I started this festival, I had a pretty good idea of what I wanted to do. June would cover some of the founders of the genre, while July would take a look at a band that brought back the music alongside a healthy dose of humor. August was a little bit tricky, as I knew I wanted to do an overview this month, but I didn’t know who I wanted to cover. There were definitely plenty of groups that I could talk about in August, but after looking through my music collection, I spotted a band that immediately threw out all of the other choices I was thinking about out the window with the bathwater. The band in question......is W.A.S.P.

That’s right, W.A.S.P.! Simultaneously a band that was devoted to the ways of Hair Metal yet also implemented a massive dose of shock rock, the group ruffled feathers with their stage show & sexy/bloody theatrics. The targets of the PMRC in the early 80s, they never once backed down from any Bullshit Justice Warrior that got in their face, and instead continued to be one of the hottest groups of the decade. Give how long they’ve been around and their distinct discography, I’ll be splitting things up into 3 posts to look at each time separately. So without further adieu, here’s part one of my look.....at W.A.S.P.!

W.A.S.P. (1984)

Our story begins sometime in 1982, with a tiny LA band by the name of Circus Circus, who were the predecessor of W.A.S.P.. It featured guitarist Randy Piper, and perhaps one of the most iconic leads in the history of Heavy Metal. A little gentlemen by the name.....of Blackie Lawless!

Blackie Lawless (Interview)

Regardless of what you think of the man now, one cannot deny how talented and surprisingly eloquent his way with words was even back in the early 80s. After discovering that the demos he recorded with his older group were actually really good, he decided that the time was right to get a full-fledged band going, and thus the band known as W.A.S.P. was born! Composed of Blackie on Vocals & Bass, Randy Piper on Lead Guitar & Backing Vocals, Tony Richards on Drums & Backing Vocals, and Rik Fox on Bass. However, Rik didn’t last long in the band, as he left shortly afterwards to join Steeler. His replacement came in the form of Don Costa, but he also left shortly after his arrival, and the real full time replacement was Chris Holmes. Upon finally getting a solid group going, they signed a deal with Capital Records, and on August the 17th in 1984, their debut album was released......alongside some issues (More on that below).

W.A.S.P. has some pretty nice accolades attached to it’s name. It managed to reach no. 74 on the Billboard 200, the 1st single & music video (I Wanna Be Somebody) eventually ranked No. 84 on VH1's list of the "Top 100 Hard Rock Songs" of all time, several songs have been covered by other bands, and the track Tormentor has been featured on the soundtrack of at least 2 movies (The Dungeonmaster in 84 & Terror-Vision in 1986). Pretty neat & impressive if you ask me!

Best Track? There are practically a wealth of hair infused shock on this record, but give the reputation of one track in particular, I think you know what’s the best thing on here!

Animal (Fuck Like A Beast)

Despite being a classic tune, it was never put on the original release. Thanks in part to the actions taken by the PMRC (More on that in a moment), the record company decided to leave it off. It would instead appear on the 1998 re-release, along with every other re-release since then. Regardless of this fact, Animal is a fun & energetic song, lathered in a heavy coat of sleaze. Blackie is definitely on top of his game here, and despite the F bomb featured prominently in the title, it’s actually only ever sung twice. That fact alone is one of the weirdest things I ever learned about Heavy Metal.

Worst Track? The only bad thing about W.A.S.P. doesn’t have to do with the music, but rather the PMRC’s action around the time of this album’s release. Headed by Tipper Gore, the PMRC claimed that they were looking out for my country’s children, but in reality were bored & wanted to appear as if they were doing something important (Spoiler alert.....they weren’t!). Because of their actions, W.A.S.P. was placed on the “Filthy 15” list......although, the band did manage to get a little bit of revenge.

Harder Faster

W.A.S.P.. An incredible way to start off a storied career, and an album that’s still phenomenal after nearly 35 years of existence. If you want your Hair Metal more on the wild side, then W.A.S.P. is for you! Speaking of wild side.....

The Last Command (1985)

What do you do when you release a classic record like W.A.S.P.? You create another classic in the form of The Last Command! Released on November the 9th in 1985, the band’s 2nd release was also the first to showcase their newest drummer, Steve Riley. Formerly of Keel, he replaced Tony Richards at the beginning of the 84/85 tour, and while the sound didn’t change, his addition to the band added a subtle kick to the wildness of the group. The Last Command was also significant in that it was one of the highest charting album of their career. By 1986, it would reach no. 47 on the Billboard 200 & sell over one million copies, the 1st of W.A.S.P.’s to do so. Sadly, it would be the last time that Randy Piper would be heard....but that’s for a little later.

Best Track? Bit of a tie between the fantastic Wild Child, and the more slower paced but still great Cries In The Night. The former song opens up this album, and rightly so! This is the anthem for those who live life more dangerously, or at the very least more chaotically. Strangely enough, for a song that feels so wild, the band never sounds like they’re going to slip up into a jumbled mess, and instead go for a more steady/even pace. Cries In The Night, on the other hand, is slower pace, but compensates by being a more serious & emotional tune. This definitely is the ballad of the album, but it’s not a bad one by any means. This is W.A.S.P., after all.

Wild Child

Cries In The Night

Worst Track? Absolutely nothing! Unlike their self-titled release the year before, W.A.S.P. didn’t have any mud flung at them by the Bullshit Justice Warriors within the PMRC. Maybe it’s because there weren’t any easy targets to pick, or maybe it’s because they fundamentally succeeded in getting what they want with their original “Moral” crusade, but they didn’t bat an eye at The Last Command.

The Last Command. Fantastic from beginning to end, it served as a step to further advance themselves in the world of 80s Heavy Metal. Most definitely recommended. Next album!

Inside The Electric Circus (1986)

For every fantastic masterpiece, there’s always the album that seems to slip up....if only a little bit, and Inside The Electric Circus is that record. Released in October of 1986, the album came out at a time where the band was having some issues. For starters, the PMRC of course, but also there was the fact that Randy Piper was leaving the band. On the one hand, this let Blackie Lawless return to rhythm guitar, and he more than certainly kick ass with it! On the other hand, critics weren’t exactly fond of this album (Though fans were definitely liking this), as it was often called “7th Grader Rock” by some. Ironically, the biggest critic of Inside The Electric Circus was Blackie himself, who called it “A tired record by a tired band”. Personally, this release is just as good as what came before & after it....but it isn’t quite as strong as those albums. At the same time, it reached no. 60 on the billboard 200, and would stay there for 19 weeks.

Best Track? 9.5.-N.A.S.T.Y. was a track that got me to smile. As per usual, when W.A.S.P. gets dirty/nasty......they get dirty/nasty! Equating a gorgeous woman to a brutal earthquake, Blackie & the boys don’t let up with the instrumentation & vocal work. In particular is Lawless’s work on the guitar, as it sounds like he not uncomfortable with the “New” instrument he took up. If anything, he seems to be at home even more so on rhythm guitar, and he would stay there for pretty much the rest of his career. Aside from that, 9.5-N.A.S.T.Y. is a lot of fun, and one you shouldn’t skip.

(Ironically, it was a bad review of 9.5.-N.A.S.T.Y. that convinced Blackie to take some time off and reconsider the direction the band was going in.)

9.5. N.A.S.T.Y.

Worst Track? Despite Blackie being comfortable in his “New” role, something just seems off on this release. I can’t actually put my finger on it, but something is.....off somehow. It’s incredibly difficult to pin down what, and because of this, Inside The Electric Circus lapses, but it’s so insignificant it seems silly to talk about it. Ironically, it was a bad review of 9.5.-N.A.S.T.Y.

Inside The Electric Circus. A step backward, but despite what Blackie said about this release, it’s a babystep backward. I don’t recommend this one as much as everything else in their 80s output, but that doesn’t mean I never recommend it. Next album!

The Headless Children (1989)

By the end of the 80s, W.A.S.P. was going through some issues. Drummers were changed, but the biggest issue of all was the falling out between Blackie Lawless & Chris Holmes. By 1989, Chris wasn’t fond of Blackie taking W.A.S.P. in a more socially conscious direction, and left in August of that year, citing that he wanted to “have fun, you know”. Lawless was particularly caustic with his response to this, saying “some guys want to stay at home and wear aprons”, hinting at Holmes’s relationship with his 2nd wife Lita Ford (Keep this in mind for part 2 in the middle of this month). However, before the band was ablaze, in April of 1989 (The 15th of that month, to be exact), The Headless Children was released. In comparison to their last three albums, this one didn’t have anything sexual on it. Instead, Blackie Lawless took the music in a more socio-political direction, singing about things like Nuclear Warfare, Systemic Oppression , and all other sorts of things that were popular at the time.

Ironically enough, The Headless Children sold poorly upon it’s initial release. Adding onto the irony, it charted on the Billboard 200 at the no. 48, but it would fall off after just 13 weeks. In a recent interview, Blackie stated that The Headless Children eventually became the band’s highest selling album to date, perhaps because of it’s popularity over the decades.

Best Track? Even before I got into the band, I was always a fan of their cover of the iconic The Who song, The Real Me. Keeping the spirit of the original fully in tact, Blackie & the gang put their own spin on things, and gave it a nice Hair Metal/Shock Rock make over. All throughout the song the band is playing at a frenzied pace, and it almost feels like they’ll go off the rails at any moment. Luckily, there’s always some pull from the guitar or drums that keeps things on track, and thus things never collapse into an unpleasant cacophony of noise. Easily a song I play on repeat!

The Real Me

Worst Track? There’s absolutely nothing bad on The Headless Children! Every single song is fantastic, and none of them are skippable. Even the shorter tracks (Of which there are only 1 on the original release, and 3 on the remaster) have punch to them, so it’s silly to skip them as well. My only gripe comes with the nature of this release. Now, I’ve got nothing against a band wanting to make an album that’s more socio-political, and W.A.S.P. are no exception. However, it seems like Blackie went in that direction to get away from the raunchier material off of their first 3 records, and tries to wipe his hands clean of that stuff. This would become especially apparent in his work in the 2000s (More on that later this month), but in 1989 it merely seems like a pitstop more than anything else.

The Headless Children. Maybe a bit different in terms of subject matter, but not different in terms of style. If you weren’t fond of the band more risque material from the 80s, this definitely scratches that itch!

And that was part 1 of my look at W.A.S.P.. An absolute terror among more politically correct/conservative in the 1980s, their unique take on Hair Metal would become legend. However, would the band still continue to be their shocking selves in the 1990s? Would they still be a forced to be reckoned amid a new musical landscape? Tune in next week for part 2 to find out, and until then......stay wild!