{"id":39175,"date":"1999-07-20T00:00:00","date_gmt":"1999-07-20T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/the-headless-children\/"},"modified":"1999-07-20T00:00:00","modified_gmt":"1999-07-20T00:00:00","slug":"the-headless-children","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/the-headless-children\/","title":{"rendered":"The Headless Children"},"content":{"rendered":"<p>By the time 1989 rolled around, Blackie Lawless was fed up. He<br \/>\nwas tired of the toll his war with the PMRC had taken on him, and<br \/>\nhe was tired of the commercial direction that people were trying to<br \/>\npush his band, W.A.S.P. (You could hear in the music that fatigue<br \/>\nwas setting in;<br \/>\n<i>Inside The Electric Circus<\/i> was a disappointment, and<br \/>\n<i>Live&#8230; In The Raw<\/i>, while a good album, was admittedly a<br \/>\nstop-gap measure.)<\/p>\n<p>Lawless, lead guitarist Chris Holmes and bassist Johnny Rod<br \/>\nturned their attentions toward the one thing that had to remain a<br \/>\nconstant: the music. The end result was<br \/>\n<i>The Headless Children<\/i>, an album that was a major step back<br \/>\nin the right direction for W.A.S.P. &#8211; and, surprisingly, the album<br \/>\nthat gave the band their highest charting single. Even now at 10<br \/>\nyears old, the album has lost none of its power, and is a joy to<br \/>\nbehold &#8211; made even better by the inclusion of bonus material.<\/p>\n<p>Following the departure of drummer Steve Riley, W.A.S.P. looked<br \/>\nto regroup after some well-deserved time off. Recruiting Quiet Riot<br \/>\ndrummer Frankie Banali and keyboardist Ken Hensley, Lawless went<br \/>\nout to do something that he hadn&#8217;t done since<br \/>\n<i>The Last Command<\/i> &#8211; write songs that focused on the music and<br \/>\nits quality.<\/p>\n<p>With the temporary adjustment of W.A.S.P.&#8217;s lineup, they gained<br \/>\ntwo things they might not have achieved had the band stayed a<br \/>\nquartet. First, Banali&#8217;s drum work seemed to give the material an<br \/>\nextra kick into overdrive at the right times. (I don&#8217;t want to say<br \/>\n&#8220;when the material needed it,&#8221; &#8217;cause that would imply the<br \/>\nsongwriting was weak &#8211; something it definitely wasn&#8217;t on<br \/>\n<i>The Headless Children<\/i>.) Second, W.A.S.P. almost seems to toy<br \/>\nwith some progressive riffs, especially at the end of the title<br \/>\ntrack. It&#8217;s an interesting experiment for the band to try &#8211; and is<br \/>\none I kind of wish they had continued doing.<\/p>\n<p>\n<i>The Headless Children<\/i> is best noted for two songs. First,<br \/>\n&#8220;Mean Man,&#8221; an almost autobiographical look at the stage personas<br \/>\nthe band had. (Having had the privilege of interviewing Lawless, I<br \/>\ncan honestly say he&#8217;s anything but what this song describes.) The<br \/>\nother track, &#8220;Forever Free,&#8221; is a surprising dip into a &#8211; egads! &#8211;<br \/>\nsofter side of W.A.S.P., one that dares to embrace the melody of<br \/>\nthe music without turning up the distortion pedals to 11. It&#8217;s a<br \/>\ngutsy move &#8211; and one that works well.<\/p>\n<p>The 10 basic tracks that made up the original release of<br \/>\n<i>The Headless Children<\/i> are incredible enough on their own.<br \/>\nSongs like &#8220;The Heretic (The Lost Child)&#8221;, &#8220;Thunderhead,&#8221; &#8220;The<br \/>\nNeutron Bomber&#8221; and their cover of The Who&#8217;s &#8220;The Real Me&#8221; all<br \/>\nreflect some of the band&#8217;s best work, erasing any doubt one might<br \/>\nhave had after<br \/>\n<i>Inside The Electric Circus<\/i>. It&#8217;s almost &#8211; but not quite &#8211; as<br \/>\ngood as<br \/>\n<i>The Last Command<\/i> &#8211; but I admit I&#8217;m a bit biased, since<br \/>\n<i>The Last Command<\/i> remains one of my all-time favorite<br \/>\nrecords.<\/p>\n<p>But if the basic album isn&#8217;t enough for you, the re-issue piles<br \/>\non an additional six songs, all of which were b-sides. Lawless&#8217;s<br \/>\ntake on Jethro Tull&#8217;s &#8220;Locomotive Breath&#8221; is interesting, and is<br \/>\nnot bad at all (though I&#8217;ll always be partial to the original).<br \/>\nAfter hearing tracks like &#8220;For Whom The Bell Tolls&#8221; (not the<br \/>\nMetallica version) and &#8220;Lake Of Fools,&#8221; I had to wonder why these<br \/>\nsongs didn&#8217;t make the original cut for the album.<\/p>\n<p>The two live tracks, though, are a bit hit-or-miss. &#8220;L.O.V.E.<br \/>\nMachine&#8221; is great, though it sounds like Lawless&#8217;s voice was<br \/>\nbeginning to weaken during this song. The other one, &#8220;Blind In<br \/>\nTexas,&#8221; makes mistake number one by coming into the song on the<br \/>\nthird verse. The other mistake is bringing an audience member up<br \/>\nand having him attempt to sing &#8220;I&#8217;m blind in Texas.&#8221; Lawless hit it<br \/>\non the head when he said the kid&#8217;s first effort was &#8220;terrible&#8221;;<br \/>\nsorry, but there are some moments in a band&#8217;s career that can<br \/>\nremain locked in the vaults, and this was one of them.<\/p>\n<p>The re-issue of<br \/>\n<i>The Headless Children<\/i> has enough toys on it to make everyone<br \/>\nwho has a battered copy run out and pick up a shiny new one. If<br \/>\nyou&#8217;re one of the uninitiated who haven&#8217;t experienced this album,<br \/>\nthen pick it up, strap on the headphones, and don&#8217;t make any plans<br \/>\nfor about 75 minutes. It all leads in to what would become<br \/>\nLawless&#8217;s major project,<br \/>\n<i>The Crimson Idol<\/i> &#8211; but we&#8217;ll talk about that one soon<br \/>\nenough.<\/p>\n","protected":false},"author":2,"featured_media":27792,"comment_status":"open","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"tags":[],"artist":[5899],"rating":[5613],"class_list":["post-39175","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\/39175","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=39175"}],"version-history":[{"count":0,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/review\/39175\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media\/27792"}],"wp:attachment":[{"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/media?parent=39175"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/tags?post=39175"},{"taxonomy":"artist","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/artist?post=39175"},{"taxonomy":"rating","embeddable":true,"href":"https:\/\/dailyvault.adishjain.in\/index.php\/wp-json\/wp\/v2\/rating?post=39175"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}