W.A.S.P.

W.A.S.P. came right from the vivid heavy metal scene of the 1980s and almost immediately became one of the most scandalous and influential bands then. W.A.S.P. was able to solve some kind of special position in the world of rock music with their outrageous stage performances, disturbing lyrics, and powerful sound. Despite an even polarizing image, the band's music was able to span so many divides, and they became integral within the metal landscape at one time, perhaps especially in the United States and Europe.

Formation and Early Years: The Rise of a Shock Rock Phenomenon

W.A.S.P. formed in Los Angeles, California, back in 1982 by lead vocalist and primary songwriter Blackie Lawless. With guitarist Randy Piper, drummer Tony Richards, and bassist Rik Fox on board, Lawless wanted to form a band that would go far beyond anyone's imagination, musically and visually. The group's name was an acronym that, during the years, has been repeatedly speculated around and is said to stand for "We Are Sexual Perverts" or "We Are Satan's Preachers", even if Lawless has never confirmed a single interpretation as valid.
W.A.S.P. soon became notorious on the local Los Angeles metal scene due to their explosive live performances that were liberally borrowed from shock rock acts such as Alice Cooper and Kiss. Indeed, their shows would become a true blood-and-raw-meat pyrotechnic extravaganza with chainsaws that generally intrigued audiences and incensed conservative critics. All this outrageous stage demeanor, combined with Lawless's distinctive vocal delivery and their heavy yet melodically inclined musical style, separated them from their other contemporaries.

The Breakthrough: "W.A.S.P." (1984)

Self-titled W.A.S.P., their 1984 debut became an instant explosive in the heavy metal world. Released via Capitol Records, the album introduced some future anthems of the band's early years, like "I Wanna Be Somebody", "L.O.V.E. Machine", and "School Daze". Mixing the power of heavy metal riffs with pop choruses and a good dose of rebellious lyrics, here one finds something for every fan of hard rock and a little something for those in search of trouble.
"I Wanna Be Somebody" was the first big single to let fly from the band, encapsulating perfectly that sense of rebellion in the air. Raw energy in the song combined with a catchy chorus to capture a generation lost between the need for identity and the desire for independence; meanwhile, the band's darkly theatrical music videos earned them regular rotation on MTV, further fueling notoriety.
Despite their controversial image, the album received much critical acclaim and commercial success, reaching No. 74 in the Billboard 200. "W.A.S.P." set a seal on the group's status as one of the most exciting, unpredictable acts that were leading the metal scene, and they went on tour across the United States and Europe.

Consolidation and Controversy: "The Last Command" (1985) and "Inside the Electric Circus" (1986)

After the hype of their debut, W.A.S.P. released their second album, "The Last Command" in 1985. The album refined the sound of the band with a much more polished production by producer Spencer Proffer, who had previously produced Quiet Riot. This contained the fan-favorite tracks of "Wild Child" and "Blind in Texas", both examples of the band continuing to synch hard rock with real hooky choruses.
Commercially, "The Last Command" did well, which reached No. 49 on Billboard 200, really placing W.A.S.P. in the metal pecking order. The success of this album enabled the band to tour even more extensively, reaching a wider audience.
With greater visibility came also greater scrutiny. WASP's more salacious lyrics and antics onstage drew the ire of conservative groups, most prominently the Parents Music Resource Center, with Tipper Gore at its helm. The PMRC included WASP in their infamous "Filthy Fifteen" list of songs that were inappropriate; all that did was give WASP more of a renegade appeal.
W.A.S.P. released their third studio album, titled "Inside the Electric Circus", in 1986. It is considered one of the turning points in the heavier and more experimental sound of W.A.S.P.; however, it saw a rather indifferent critical reaction and received mixed reviews among critics and fans. Despite that fact, there was a couple of outstanding songs, such as "I Don't Need No Doctor" and "9.5.-N.A.S.T.Y.", which continued their reputation as shock rockers.

Thematic Depth and Musical Evolution: "The Headless Children" (1989)

By the end of the 1980s, W.A.S.P. was ready to evolve beyond the shock rock of their roots. Having issued a new release such as "The Headless Children" in 1989, the band was able to do more mature and insightful work both musically and lyrically. Significantly, this album reflected their movement away from themes of rebellion and debauchery to a much darker realm-one more cognizant of social issues such as war, religion, and corruption.
"The Headless Children" is sometimes claimed to be W.A.S.P.'s most mature and ambitious work. Indeed, the album's lead single, "The Real Me", was a cover of the song by The Who, for which W.A.S.P. showed their capabilities in remaking classic rock songs with a metal emphasis. The title track, "The Headless Children", and other songs like "Mean Man" showed a more mature sound and thematic depth that earned them critical praise and also secured them a place in the metal community.

Concept Album Masterpiece: "The Crimson Idol" (1992)

In 1992, W.A.S.P. unleashed what many fans and critics described as their magnum opus: "The Crimson Idol". This concept album is the tragic storybook of Jonathan Steel, a young man who attains fame as a rock star but then has nothing but despair and self-destruction. The narrative pulls out themes of isolation, addiction, and the price of fame in ways that rarely appear in heavy metal.
Actually, "The Crimson Idol" was first conceptualized as a solo album by Blackie Lawless. Eventually, it became a W.A.S.P. album. The critical appreciation it received was due to the fact that the nature of the album was conceptual, and the complexity of the storytelling, along with the compositional intricacy and emotional depth, was immense. Songs such as "Chainsaw Charlie (Murders in the New Morgue)" and "The Idol" are the high spots, attesting to the ability of the group to amalgamate violent lyrics with dynamic musical arrangements.
Contrary to its critical success, "The Crimson Idol" failed to create the same magic as other commercially successful albums of this band because the musical world scenario changed in the early 1990s with the advent of grunge and alternative rock. This album went on to be a cult classic and one of the staples among W.A.S.P.'s hard-core fan base.

Challenges and Comebacks: "Still Not Black Enough" (1995) and "K.F.D." (1997)

The mid-1990s marked a period of change and trying new things for W.A.S.P. "Still Not Black Enough" (1995) followed "The Crimson Idol", continuing the trend of the latter's themes that were increasingly reflective and personal. Containing a number of good songs, such as "Black Forever" and "Scared to Death", this album would not enjoy the same level of notice and commercial success.
By 1997, W.A.S.P. released "K.F.D."-an abbreviation for Kill, Fuck, Die-an album that would present a band turning toward the darker and heavier elements of metal music. With industrial influences in production and graphic elements, "K.F.D." epitomized the band's urge to break with tradition in favor of fitting into the ever-changing landscape of heavy metal in the late 1990s. "K.F.D." was embraced by some for its audaciousness, while others found it too harsh to be listened to.

Resurgence and Legacy: "Babylon" (2009) and "Golgotha" (2015)

W.A.S.P. continued to issue albums throughout the 2000s, with an audience intact, and representative of their standing in the metal world. Indeed, "Babylon" from 2009 did return the band to more classic heavy metal and drew deeply from biblical themes and apocalyptic imagery. The album received generally good reviews and only served to further strengthen W.A.S.P.'s position as one of the mainstays of the genre.
In 2015 W.A.S.P. released "Golgotha", a conceptual album wherein the heavy metal vibes of the band were combined with an element of reflectiveness and even spirituality. "Golgotha" was well-received both by the audience and the critics, displaying well-written and well-produced songs. Thus, it all showed a peak moment in the career of a band that was successful in making quality and meaningful records more than three decades after their formation.
W.A.S.P. is a legacy born out of defiance, innovation, and resilience-from shock rock provocateurs to growing up and maturing as musicians with one voice distinctly their own within heavy metal music. Their adaptability to an ever-changing musical landscape, while remaining true to their roots, begot them an internationally faithful following.
A career spanning over four decades, W.A.S.P. remain an important and influential force in the world of rock music. But their story ultimately serves only as a testament to changing creativity, will, and refusal to bend. Continuing to tour and issue new music, W.A.S.P. prove to be far from through-their story still being written.

The band has released 16 studio albums​​​:

• W.A.S.P. (1984)
• The Last Command (1985)
• Inside the Electric Circus (1986)
• The Headless Children (1989)
• The Crimson Idol (1992)
• Still Not Black Enough (1995)
• K.F.D. (1997)
• Helldorado (1999)
• Unholy Terror (2001)
• Dying for the World (2002)
• The Neon God: Part One - The Rise (2004)
• The Neon God: Part Two - The Demise (2004)
• Dominator (2007)
• Babylon (2009)
• Golgotha (2015)
• ReIdolized: The Soundtrack to the Crimson Idol (2018)