A few years ago, I was just about to give up on Blackie Lawless and his W.A.S.P. For many years Blackie did nothing but repeat himself and the music just got worse and worse and I started to believe that with Blackie as the sole song writer and producer, no one would get the chance to even try to convince Blackie that he was running on empty and by the sound of the music, he wasn’t aware of it himself. See, I was a teenager back in 1984 when W.A.S.P. conquered Sweden with a bang. With a strong look and a stage show that included a rotating saw blade between the legs, throwing raw meat on the crowd, drinking fake blood from a skull and cutting the throat of a chained topless woman, the Swedish press went berserk and did exactly what Blackie wanted them to do – covered them in every magazine and TV show to the point that even my grand mother knew who W.A.S.P. were, with the result of every rock kid in the country found themselves a new favorite band. Add to the fact that their self-titled debut album was full of killer melodic hard rock songs and the deal was done. I have been a W.A.S.P. fan ever since. I do love the follow-ups as well, the heavy and darker The Last Command (1985), the back to the roots and rawer (not to mention underrated!) Inside The Electric Circus (1986) – why Blackie hate that record so much is beyond me – and the fabulous milestone The Headless Children (1989) where they went both more metal and back to a more 70’s sound. Up until then, W.A.S.P. still felt like a band even though there was changes in the line-up with every record. All that stopped when Blackie’s side kick and only remaining original member beside Blackie, Chris Holmes left the band. The masterpiece The Crimson Idol (1992) was originally planned as Blackie’s solo album, but was released as a W.A.S.P. album, but just like its follower, the great and very underrated Still Not Black Enough (1995), it is a Blackie Lawless solo album, no matter what the cover says.