{"id":36014,"date":"1998-10-27T00:00:00","date_gmt":"1998-10-27T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/the-last-command\/"},"modified":"1998-10-27T00:00:00","modified_gmt":"1998-10-27T00:00:00","slug":"the-last-command","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/the-last-command\/","title":{"rendered":"The Last Command"},"content":{"rendered":"<p>Our look at the recently remastered catalog of W.A.S.P. takes a<br \/>\nfamiliar turn for me today &#8212; their 1985 release<br \/>\n<i>The Last Command<\/i>, the album that caused Tipper Gore to have<br \/>\nconvulsions and the religious zealots to preach fire and brimstone<br \/>\nagainst the band.<\/p>\n<p>It&#8217;s also the album that got me hooked on Blackie Lawless and<br \/>\ncrew, courtesy of such songs as &#8220;Blind In Texas&#8221; and &#8220;Wild Child&#8221;.<br \/>\nIn a time where one radio station in Chicago had the guts to play<br \/>\nsuch music (normally a foreign-language station, the evening was<br \/>\n&#8220;brokered&#8221; for metal), it was a haven from such pabulum as Chicago<br \/>\n(if I heard &#8220;You&#8217;re The Inspiration one more time, I was gonna kill<br \/>\nsomeone) for a 14-year-old like me. I quickly snagged a copy from<br \/>\nmy local record store, and nearly wore it out.<\/p>\n<p>Thirteen years after its initial release,<br \/>\n<i>The Last Command<\/i> still remains a high-water mark for<br \/>\nW.A.S.P. in my book. With the change behind the drum kit from Tony<br \/>\nRichards to Steve Riley, to my ears, Lawless had his killer lineup.<br \/>\nPowerful performances backed with some of Lawless&#8217;s best<br \/>\nsongwriting equalled an album that I don&#8217;t think they&#8217;ve topped<br \/>\nyet.<\/p>\n<p>&#8220;Wild Child&#8221; might be seen as a strange way for W.A.S.P. to open<\/p>\n<p><i>The Last Command<\/i>. It&#8217;s not as heavy of a song as they had<br \/>\nbecome known for; it was even &#8211; dare I say it? &#8211; melodic. If its<br \/>\ngoal was to get MTV&#8217;s attention, it worked; I saw the video for<br \/>\nthis one&#8230; once. It still is a great track, and in retrospect,<br \/>\nit&#8217;s almost the perfect way to open the album &#8211; sort of a &#8220;calm<br \/>\nbefore the storm&#8221;.<\/p>\n<p>\n<i>The Last Command<\/i> was one of the first albums to feature a<br \/>\n&#8220;parental warning&#8221; label of some sort, though if it was for songs<br \/>\nlike &#8220;Ballcrusher&#8221; and &#8220;Sex Drive,&#8221; then they were really grasping<br \/>\nat straws. True, they do allow Lawless to explore the more raunchy<br \/>\nside of his songwriting, but they&#8217;re both written and performed<br \/>\nwell. And, compared to some of the other stuff that the PMRC had<br \/>\ntheir nipples in a twist about, these two songs were rather tame.<br \/>\n(For the record, the worst word on this whole album is &#8220;bitch,&#8221;<br \/>\nused once. Strange&#8230; R.E.M. can say &#8220;fuck&#8221; and not get any type of<br \/>\nlabel&#8230;)<\/p>\n<p>But the material that seals this album as a true classic for me<br \/>\nare the six songs from &#8220;Widowmaker&#8221; to &#8220;Sex Drive&#8221;. &#8220;Blind In<br \/>\nTexas&#8221; was the first song of W.A.S.P.&#8217;s that caught my ear, and<br \/>\nit&#8217;s still a fun song to listen to. &#8220;Cries In The Night&#8221; is a song<br \/>\nthat Lawless says in the liner notes that he wishes he had left in<br \/>\nits original version. Now, with all reverence to Mr. Lawless and<br \/>\nadmitting the fact that I&#8217;ve never heard the original, I have to<br \/>\nsay that he&#8217;s crazy. &#8220;Cries In The Night&#8221; is a beautiful song (if<br \/>\nthat term can be used with heavy metal) that is stellar from the<br \/>\nfaded in guitar work of Randy Piper and Chris Holmes to the ending<br \/>\nbellow of Lawless. The title track and &#8220;Running Wild In The<br \/>\nStreets&#8221; both could have been teenage anthems when I was in high<br \/>\nschool.<\/p>\n<p>With all this great material, I almost feel that the bonus<br \/>\ntracks included on the recent remaster ruin the mood ever so<br \/>\nslightly. &#8220;Mississippi Queen&#8221; tries to stay somewhat faithful to<br \/>\nthe original version by Mountain, but it&#8217;s not a song that lends<br \/>\nitself well to cover versions, and this version falters. Likewise,<br \/>\nthe b-side &#8220;Savage&#8221; was not a strong enough track to have been<br \/>\nincluded on<br \/>\n<i>The Last Command<\/i>, and it shows. However, the inclusion of<br \/>\nfive live tracks from a 1984 London concert are interesting, and it<br \/>\nmakes me wonder if there was enough material like this to even<br \/>\njustify releasing a live album from the vaults. (How about it,<br \/>\nBlackie? I&#8217;d gladly be the first in line to buy it.)<\/p>\n<p>Of course, you could say that I went into listening to this<br \/>\nalbum with a pre-set notion of it. You&#8217;d be right&#8230; but I&#8217;ve<br \/>\nlistened to this album some 100 times over the past 13 years, so<br \/>\nit&#8217;s not like I wasn&#8217;t familiar with the work. Fact is, whether you<br \/>\nlisten to something once or a hundred times, you know a classic<br \/>\nwhen you hear it, and<br \/>\n<i>The Last Command<\/i> easily qualifies as that.<\/p>\n<p>This lineup, as great as it was, almost was doomed to splinter,<br \/>\nfor such greatness is hard to repeat. By the time the third album,<br \/>\n<i>Inside The Electric Circus<\/i> came out, Piper was gone, Lawless<br \/>\nhad hung up his bass to return to the guitar, and Johnny Rod<br \/>\nstepped in to be the bassist. But that&#8217;s a story for another day&#8230;<br \/>\nsay, in two months.<\/p>\n","protected":false},"author":2,"featured_media":24810,"comment_status":"open","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"tags":[],"artist":[5899],"rating":[5613],"class_list":["post-36014","review","type-review","status-publish","has-post-thumbnail","artist-w-a-s-p","rating-rating-a-minus"],"acf":[],"_links":{"self":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/36014","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review"}],"about":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/types\/review"}],"author":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/comments?post=36014"}],"version-history":[{"count":0,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/36014\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media\/24810"}],"wp:attachment":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media?parent=36014"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/tags?post=36014"},{"taxonomy":"artist","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/artist?post=36014"},{"taxonomy":"rating","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/rating?post=36014"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}