W.A.S.P. - The Headless Children (1989) Reviews
Seven years of recorded output into their shocking and graphic career, W.A.S.P. started to show some signs of mellowing. The energy levels would be the same on their fourth album but here for the first time was evidence of the band coming of age. Songs had a little more structure and the offering overall felt a little less "in your face" this time around. Thankfully none of this was at the expense of the unadulterated entertainment value that tracks from the group always brought; the band seeking to maintain the memorability factor despite the advances in song writing so obviously apparent.
By the end of 1989 Blackie Lawless would disband W.A.S.P. for the first time (the other occurrence being some four years later) and had they gone out on this record then it would certainly have been a high note for the time. Here was the upward swing in terms of improvement of Lawless' penchant for characterisation in his song writing. Credited for writing seven of the tracks here, Blackie introduced fans to the likes of Neutron Ronnie and Maneater as well as the stereotypical Mean "Motherfucking" Man. As with earlier outings these were all nefarious and vivacious characters that exuded a nonchalant and frisky lifestyle that most fans longed for. The difference this time around was that things just felt a little more focused in terms of social awareness; a tad more grown up, missing some of the "ha, take that Grandma!" attitude of the first three albums.
The randomness of The Who cover at track two is perplexing though as is the pointless "Mephisto Waltz" that precedes the EP release "Forever Free" . This instrumental piece really grates and just feels like filler from the first listen. Like wise the aforementioned ballad is highly overrated despite being well placed in the album to maintain interest late on in the track listing. That having been said the big tracks more than make up for these slack moments with "Mean Man", "Rebel in the FDG" and the title track all making loud and positive noises over the course of the ten tracks.
A definite step up from the first three albums and the start of a more mature and reflective style of song writing, The Headless Children smelled of a band going places and showing some real promise. A promise realised in full three years later with The Crimson Idol. Although this album doesn't stand up well in comparison with the follow up in terms of pound for pound stature, it still remains an important release in the progression of band who had already left a virulent and obtuse mark on the world of metal and were now looking for a different spin to progress with.