W.A.S.P.
Biography and full discography of W.A.S.P., with a page for every album, on METAL BOOST.
English Discography Overview
This English discography hub highlights W.A.S.P. albums such as Reidolized (The Soundtrack to the Crimson Idol), Golgotha, Babylon. The album notes emphasize these records' riffs, vocals, production character, songwriting flow and listening context: Reidolized (The Soundtrack to the Crimson Idol) is an album to place in W.A.S.P.’s 2018 discography through theatrical storytelling, dangerous rock and roll and a da Golgotha layers W.A.S.P.’s heavy guitar riffs, dramatic vocals and dark storytelling into theatrical heavy metal. Babylon channels W.A.S.P.’s apocalyptic and religious imagery into heavy riffs and theatrical vocals.
Biography
W.A.S.P.
1. Overview
2. History
1982–1985: Formation and Shock Rock Era
1986–1989: Musical Evolution and Maturation
1992: The Conceptual Masterpiece "The Crimson Idol"
1990s–2000s: Industrial Phase and Return to Roots
2010s–Present: Spiritual Awakening and 40th Anniversary
3. Member Profiles
4. Studio Discography
| Year | Album Title (Original English) |
|---|---|
| 1984 | W.A.S.P. |
| 1985 | The Last Command |
| 1986 | Inside the Electric Circus |
| 1989 | The Headless Children |
| 1992 | The Crimson Idol |
| 1995 | Still Not Black Enough |
| 1997 | K.F.D. (Kill Fuck Die) |
| 1999 | Helldorado |
| 2001 | Unholy Terror |
| 2002 | Dying for the World |
| 2004 | The Neon God: Part 1 – The Rise |
| 2004 | The Neon God: Part 2 – The Demise |
| 2007 | Dominator |
| 2009 | Babylon |
| 2015 | Golgotha |
News
W.A.S.P.’s BLACKIE LAWLESS On His Upcoming Book: “It’s Not Your Typical Sex, Drugs And Rock And Roll”
Speaking to IndiePower TV, Lawless said the working title “Tales From The Square Mile” refers to the square mile he lived in nearly five decades ago; six years in, the book is still unfinished.
Ex-W.A.S.P. Guitarist CHRIS HOLMES On His Prostate Cancer Radiation Treatment: “One Of The Sickest Times I've Ever Been In My Life”
He is in week three of an eight-week course of radiation therapy and is also on hormone therapy. A GoFundMe covering the medical costs his emergency-only insurance does not pay has raised about €45,000 of its €50,000 goal.
W.A.S.P.’s Blackie Lawless Hopes To Release His Autobiography In 2027: “I’m About Halfway Finished”
Speaking to Loaded Radio, Lawless said the book carries the working title “Tales From The Square Mile”.
BLACKIE LAWLESS: W.A.S.P. Has Been Working On New Music 'For About Three Years Now'
The frontman responded when asked about the band's new material in an interview with This Day In Metal.
Former W.A.S.P. Guitarist CHRIS HOLMES Is Battling Prostate Cancer
The 68-year-old, who successfully battled throat and neck cancer in 2022, has begun radiotherapy.
Albums
Reidolized (The Soundtrack to the Crimson Idol) is an album to place in W.A.S.P.’s 2018 discography through theatrical storytelling, dangerous rock and roll and a da
Golgotha layers W.A.S.P.’s heavy guitar riffs, dramatic vocals and dark storytelling into theatrical heavy metal.
Babylon channels W.A.S.P.’s apocalyptic and religious imagery into heavy riffs and theatrical vocals.
Dominator uses W.A.S.P.’s dramatic heavy-metal language to emphasize pressure and anger.
The Neon God: Part 2 – The Demise takes the story begun in the first volume into darker, heavier territory.
The Neon God: Part 1 – The Rise uses heavy guitar, shadowed vocals and dramatic movement to tell the story of a central character.
Dying for the World uses heavy guitars and Blackie Lawless’s urgent voice to draw anger, grief and prayer into sharp relief.
Unholy Terror emphasizes W.A.S.P.’s darker sense of drama through Blackie Lawless’s theatrical voice and heavily chiseled riffs.
Helldorado drives forward with thick guitar riffs, heavy beats and Blackie Lawless’s theatrical vocal presence.
Kill Fuck Die breaks away from W.A.S.P.’s expected glam and traditional-metal contours with mechanical beats, distorted guitar and abrasive language.
Still Not Black Enough frames Blackie Lawless’ anger and isolation through the large riffs and theatrical vocal character associated with W.A.S.P.
The Crimson Idol is Blackie Lawless’s concept story of fictional rock star Jonathan Steel.
The Headless Children keeps W.A.S.P.’s rough hard-rock momentum while moving into heavier themes and more deliberate construction.
Inside the Electric Circus connects W.A.S.P.’s raw heavy-metal force and dangerous-showmanship image to large, direct choruses.
The Last Command keeps W.A.S.P.’s provocative momentum while bringing larger melody and drama into the songs.
W.A.S.P. turns Blackie Lawless’s rough vocal attack and thick riffs into a debut that makes the band’s extreme stage image work as music, too.