W.A.S.P. gets a bad rap. Of course, they essentially built that reputation themselves with shock-rock songs like the infamous "Animal" and lame arena anthems, but the fact is that Blackie Lawless is a very talented singer and songwriter when he really wants to be, which was obviously the case when he wrote his magnum opus, The Crimson Idol.

If you were to believe interviews Lawless gave when this album was coming out, you'd think The Crimson Idol was the concept album to end all concept albums, with a deep storyline about a troubled rocker's rise and fall. The truth is that the storyline could have been whipped up by a fifteen year old during algebra class, and that the whole concept-ness of the album is a complete carbon copy of the Who's Tommy and Quadrophenia, with a couple of allusions to Pink Floyd's The Wall, down to the uncannily Keith-Moon-soundalike drumming and the "Comfortably Numb"-ripoff lead guitar solo in "The Idol".

That being said, The Crimson Idol is a fantastic album - the kind you simply can't help but play four times a day. The unifying storyline adds cohesiveness to a set of strong, melodic, catchy, rocking and simply great tunes, with melodic and/or lyrical leitmotive running through most of them. This is sophisticated three-chord anthem rock (rumor has it Alan Greenspan rocks out with his stock out to it on occasion), and Blackie's oddly beautiful and passionate singing voice, together with the possessed, demonic screams dozens of singers have tried and failed to emulate, Bob Kulick's inspired guitar solos and the superb Keith Moon drumming all converge into an exceptionally satisfying album. "Arena of Pleasure" and "Chainsaw Charlie" would make Milo's Venus headbang, and even the ballads manage to remain poignant without being too sappy.

My only complaint about this record, other than its obvious derivativeness, is that it keeps me from playing any other albums for days at a time. It's that addictive.

Review by Rog The Frog Billerey-Mosier

Review date: 08/2004

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Who ever thought that in 2001, well beyond my impressionable teenage metal listening years, that I'd find myself thoroughly enjoying a W.A.S.P. record? Considering they were one of the most over-the-top (read: overblown) 80s metal bands to ever cop a gimmick, it's very hard to believe that they are still going and moreover, going stronger than ever? Certainly not I. I honestly disregarded them as being cartoon characters back in the 80s and their representations both on record and in media didn't help matters. However, growing up can do wonders for a band and at this point in 2001, W.A.S.P. can definitely be regarded as a serious, viable band with something to say worth hearing. Apparently the band spent a good part of the 90s recording more serious projects than, say, Animal (F**k Like a Beast), which was more conceived to shock uptight American adults than necessarily provide quality music.

Unholy Terror is an introspective look into one's personal journey through religion and spirituality. Blackie Lawless offers a fairly lengthy explanation of the album's lyrical motivation in the liner notes, which are fairly informative. It is obvious Blackie still is quite passionate about his music and has learned sometimes subtle approaches are the best way to drive a point home. The music on Unholy Terror is a more adult W.A.S.P., still retaining their sound from yesteryear but with a sense of maturity and growth. The unique, love-it-or-hate-it Lawless vocals are still quite intact. The music throughout ranges from nearly anthemic rockers to a great moody instrumental called "Euphoria". The songs are very well realized, melodic and are no strangers to catchy hooks. You could call this 80s metal that is not embarrassing to hear in 2001. Unholy Terror is by no means the most innovative record you will hear this calendar year, but as far as simple, basic enjoyment goes, you can definitely do much worse. A big cheer to W.A.S.P. for becoming a truly vital and intelligent part of the metal world.

Review by John Chedsey

Review date: 05/2001

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