W.A.S.P.

"Golgotha" (Napalm; 2015)

Reviewed by R. Scott Bolton

It's been six long years since the last W.A.S.P. album, "Babylon," and, honestly, I wasn't sure we were ever going to see another one. But suddenly, seemingly out of the blue, here comes "Golgotha."

Golgotha is the the hill Jesus Christ was crucified upon and there has been a lot of discussion, mostly on Christian websites, about the band's Blackie Lawless and his newly discovered faith. Initially, that concerned me a little. Was "Golgotha" going to be a new Blackie Lawless and a new W.A.S.P.? I mean, I don't care if a band sings about Jesus anymore than I care if a band sings about Satan, but W.A.S.P. is W.A.S.P.  and I have come to expect a certain menacing sound from the band.

The first time I listened through to "Golgotha," all of those concerns were washed away. "Golgotha," very much like "Babylon" before it, is pure W.A.S.P., highlighted by Blackie's haunting vocals and driving rock'n'roll. See, the thing about W.A.S.P. is that it's never been about excess. I realize the band's biggest single ever was called "Fuck Like a Beast" and my favorite songs are fun rockers like "Blind in Texas" or "Jack Action" but, to me at least, it wasn't all about drinking and fucking, it was about intensity. When you listened to a W.A.S.P. album, you could feel every bit of energy as it burst forth from Blackie's guitar and throat, and from the loud-assed band behind him. You knew they were giving their all because it sounded and felt like it.

"Golgotha" is just like that. Starting with the first track, "Scream," and running through the entire disc, "Golgotha" sounds like W.A.S.P. And, if you've ever been a W.A.S.P. fan, you're going to like this album as much as the others. This is not a new W.A.S.P. As I read through the lyrics for "Golgotha," I realized that, although perhaps Blackie's religious beliefs have deepened in recent years, his lyrics have always been spiritual. For the most part, you could interchange the lyrics on "Golgotha" with any other W.A.S.P. album and they would fit. Again, this is not a new W.A.S.P.

Bottom line, it's great to hear from Blackie and crew again after all these years. Here's to hoping it won't be another six years until we hear from W.A.S.P. again.

For more information, check out http://www.waspnation.com.  

"Babylon" (Demolition; 2009)

Reviewed by R. Scott Bolton

I've been a W.A.S.P. fan since the controversial "Fuck Like a Beast" import single. That was a long time ago and I'm thrilled that the band is still out there pumping out music. And, of course, by "band" I mean Blackie Lawless, who's been the driving force behind W.A.S.P. since Day One.

As you can see from the reviews below, I've never met a W.A.S.P. album I didn't like (although there were some that I liked better than others). "Babylon" isn't going to break that streak. It's got everything I like in a W.A.S.P. album: intelligent lyrics, dynamic melodies and choruses, driving guitars and, perhaps most importantly, Blackie Lawless' trademark vocal stylings. You either like them or you hate them but it can't be denied that Blackie has a unique singing voice. When you hear a W.A.S.P. song, you know it's a W.A.S.P. song. That's got as much to do with Blackie's banshee wails as it does with anything else.

There are a lot of great tracks on this CD, including "Live to Die to Die Another Day" and the irresistible "Babylon's Burning." The band's respectful cover of Deep Purple's classic "Burn" also kicks some serious ass, with Blackie's voice delivering just the right amount of triumphant emotional pain. The slower songs rock, too, with "Into the Fire" faring better than "Godless Ruin." And the Elvis Presley tribute closer, "Promised Land," has just the right mix of heavy metal and cheesy pop.

If you've been a fan of the W.A.S.P. sound in the past, I can't imagine your not enjoying "Babylon" (unless, of course, your favorite W.A.S.P. album is 1997's industrial-tinged "K.F.D." which -- while a great album -- is probably the band's most different sounding CD). Blackie Lawless and W.A.S.P. have been delivering solid hard rock for 25 years and "Babylon" is evidence that they're not finished yet.

For more information, check out http://www.waspnation.com.  

"The Best of the Best" (Snapper; 2007)

Reviewed by R. Scott Bolton

I'm assuming that this double-CD version of "The Best of the Best" includes the next volume of this single-CD version. This edition contains the 14 tracks included in the prior edition and adds another 18, for a grand total of 32 bombastic tunes by Blackie Lawless and crew. Although there's plenty more to love here, this set is subject to the same praise and the same gripes that any other Greatest Hits package has to endure: Which songs were included that shouldn't have been and which songs should have been included that weren't.

There's really no reason to go through the individual tracks again (complete tracklisting below), although it is nice to see W.A.S.P.'s covers of "When the Levee Breaks" and "Locomotive Breath" here. But the bottom line here is simple: If you're a W.A.S.P. fan, and you don't have all of these tunes already in your collection, this is something you'll want to add to it. Casual fans can take comfort in that ... although some will argue about the tracklisiting (where the hell's "Jack Action" from "The Last Command" for example?), this is an impressive collection of tunes from a legendary band.

For more information, check out http://www.waspnation.com

Tracklisting:
Disc: 1 
1. Animal (Fuck Like a Beast) 
2. I Wanna Be Somebody 
3. Show No Mercy 
4. L.O.V.E. Machine 
5. Hellion 
6. Sleeping (In the Fire) 
7. Wild Child 
8. Ballcrusher 
9. Blind In Texas 
10. Sex Drive 
11. I Don't Need No Doctor 
12. 9.5. - N.A.S.T.Y. 
13. Restless Gypsy 
14. King Of Sodom And Gomorrah 
15. Scream Until You Like It 
16. Harder, Faster 
17. Mean Man 
18. The Real Me 

Disc: 2
1. The Headless Children 
2. Forever Free 
3. Locomotive Breath 
4. Titanic Overture 
5. The Invisible Boy 
6. Chainsaw Charlie (Murders In the New Morgue) 
7. Hold On To My Heart 
8. The Great Misconception Of Me 
9. When the Levee Breaks 
10. Helldorado 
11. Damnation Angels 
12. Dirty Balls 
13. Cocaine Cowboys 
14. Saturday Night's Alright For Fighting 

For more information, check out http://www.waspnation.com.  

"Dominator" (Demolition; 2007)

Reviewed by R. Scott Bolton

Simply put, "Dominator" is probably the best WASP studio album since their classic "Last Command." Finally, the legendary and infamous Blackie Lawless has combined the brilliant lyrical seriousness of his more challenging albums with the fiery and irresistible riffs and songwriting of his "lighter" fare. This combination makes "Dominator" delightfully listenable the first time through, with each subsequent listen simply digging the CD's hooks deeper into you.

On the official WASP website, Blackie Lawless explains the concept behind "Dominator":  "I watched the way the US was talking down to other countries. That is to say, addressing smaller, less powerful countries with little to no respect ... The more I thought about it, I realized that bigger countries abuse smaller countries similar to the way men do to women. Men abuse women, disrespect them and treat them like shit. Why? … because they can. In effect, a smaller country is treated by a more powerful country just like an abusive man-woman relationship, making them 'their bitch.'"

So, obviously, "Dominator" is a return to the politically-charged records that Blackie has been famous for making throughout the career of WASP. And, like those earlier albums ("Dying for the World, "Unholy Terror," "The Headless Children"), "Dominator" is best enjoyed with headphones on and lyric sheet in front of you. Unlike those other albums, however, "Dominator" flows much more freely and with more of the classic WASP metal style. This is an album you can also listen to in your car.

The CD's first two tracks are a one/two punch. "Mercy" starts things off with a bang and a great riff that is simply addictive. "Long, Long Way to Go," is just as impressive. While none of the remaining tracks rise to the level that these first two set, there's not a dud in the bunch; even the token "ballads" are haunting and heavy, rather than saccharine and tailored for radio. 

If there's any misstep anywhere on the CD, it's the final track, "Deal with the Devil," whose tone and style seem completely out of place with the rest of the CD. It's a jaunty rocker that seems too frivolous compared to the other songs and, as the final track, it sets the wrong tone to end the album. Perhaps I'm missing something here; if somebody thinks otherwise, please let me know.

Still, "Dominator" is amazing in not only its ambition but its creation and execution. Blackie Lawless's unique voice is put to perfect use here and Doug Blair's lead work is exceptional. Mike Dupke's driving drums grab you by the throat and don't let go.

I have a feeling this one will find a place on my Top Ten this year.

W.A.S.P. - Blackie Lawless - lead vocals, guitar and keyboards; Mike Duda - bass, vocals; Mike Dupke - drums; Doug Blair - lead guitar (except "Deal with the Devil," guitar by Darrell Roberts).

For more information, check out http://www.waspnation.com.  

"The Neon God Part 2: The Demise" (Sanctuary; 2004)

Reviewed by R. Scott Bolton

There's not really much I can say about "The Neon God Part 2" that I didn't say about "Part One." The reason is simple: This CD is literally an extension of the other. As such, it completes the story that began with "The Rise" with the same style and intelligence as that CD. 

"The Demise" is a little different. The nine songs on this CD seem more varied and individual than the first CD and the guitar work - both rhythm and lead - seems more vibrant. Lyrically, the CD is just as strong as "The Rise" but that's to be expected. Both CDs are very much part of the same story.

I can't recommend either "The Rise" or "The Demise" individually. Both albums belong together; they are one. They should have been released together at the same time. The story would have been much clearer and the experience much fuller. With the short few months between releases, the story has faded and "The Demise," like "The Rise," seems incomplete on its own. Do yourself a favor and pick up both CDs and listen to them as they were meant to be listened to: As a single, masterful project.

Once again, Blackie Lawless has proven himself to be one of metal's best storytellers. Now, that he's got another epic out of his system, here's to hoping the next WASP album will be one of the fun ones. I could really use another "Blind in Texas" or "Harder Faster" right about now. How about you?

W.A.S.P.: Blackie Lawless (vocals), Frankie Banali (drums), Mike Dud (bass), and Darrell Roberts (guitar).

For more information, check out http://www.waspnation.com.  

"The Neon God Part One: The Rise" (Sanctuary; 2004)

Reviewed by R. Scott Bolton

W.A.S.P. always gets extra credit from me because I think that Blackie Lawless, the driving force behind the band, is one of the few heavy metal musicians who sees the genre as an art form. I love the band's "just for fun" songs, too (I mean, how can you not love "Blind in Texas" and, of course, "Fuck Like A Beast") but W.A.S.P.'s sprawling concept albums are heavy metal for the thinking man. Sure, you can just pop the disc in and bang your head to it if you want to, but - if you put a little effort into your listening - you'll be further rewarded for it.

Such is the case with "The Neon God Part One," Blackie and crew's latest foray into the world of concept albums. As on previous W.A.S.P. albums of this type, Blackie takes the whole thing beyond just a simple concept. Basically, he has created a heavy metal novel. "The Neon God" is the story of Jesse Sloan, an abused orphan who discovers an almost supernatural ability to understand and, hence, manipulate people. Putting this talent to nefarious use, Jesse builds a huge and devoted fan base who so worship him, he becomes more than just a superstar - he is practically the Second Coming.

And who knows what that kind of power will do to somebody and what temptations it will bring?

Fans of W.A.S.P. know what to expect from a new W.A.S.P. album: Blackie's gloriously menacing voice, blistering guitar riffs and songs that stand outside of the heavy metal norm. And, of course, lyrics that go beyond intelligent and come damn close to poetry. Epic poetry, that is.

As I've suggested in many previous W.A.S.P. reviews, the best favor you can do yourself is to sit down with this CD, pull out the lyric sheet (or download it from the W.A.S.P. website, listed below), and listen to the entire disc in one sitting, reading along with the lyrics. Do this at least once so you know what the basic story is and then keep in mind on each subsequent listening. You'll be surprised how the story unfolds even more each time you listen.

The cerebral heavy metal of W.A.S.P. isn't for everybody. There are those who like their metal big, dumb and loud (hey, I like it that way, too). "The Neon God" gives you plenty of that big loudness, but the lyrics make you work a little. For lack of a better word, they're somewhat "challenging." But, again, if you put in the extra effort, you'll find it worth your time.

Unfortunately, "The Neon God Part 2" won't be released until this summer and that's perhaps the biggest problem with this CD. "The Neon God Part 1" doesn't feel complete ... because it isn't. It gives you the same feeling you had when "Kill Bill Volume 1" finished and you had to wait five months to see how the thing finished. I would very much have liked to listen to the entire CD at once, rather than in segments. But that's a minor annoyance, at best, at "Part 2" is really just around the corner.

W.A.S.P.: Blackie Lawless (vocals), Frankie Banali (drums), Mike Dud (bass), and Darrell Roberts (guitar).

For more information, check out http://www.waspnation.com.  

"Dying for the World" (Sanctuary; 2002)

Reviewed by R. Scott Bolton

Blackie Lawless has said of "Dying for the World": "Our motivation for this record was prefaced by  letters sent to us from the tank divisions during the Gulf War, where the troops would actually go into battle blaring 'Fuck Like A Beast' and 'Wild Child.' After the events on 9/11, we felt we would give them a fresh batch; in essence, we've literally made an album to go kill people by." 

And some of the songs on this CD seem to be just that. Take "Hell For Eternity," for example, wherein Lawless sings "Where ya gonna run; Ya never should have come; But welcome to the ball. My hand's on the trigger; My gun's getting bigger; I'll introduce you all." No mincing words there. 

But, as you listen closely, the real emotion behind "Dying for the World," is pain and sadness. Lawless, a proud and avowed New Yorker, was seriously and personally affected by the horrors of September 11th. His anger boils through the various songs of rage throughout "Dying for the World," but it's the pain he feels, the numb horror, the shock, that makes this CD different from previous W.A.S.P. albums.

W.A.S.P. gets a lot of flack for their over-the-top theatrics, the saw-blade codpieces and lyrics from such songs as "Fuck Like a Beast" and "Blind in Texas." But - like "The Crimson Idol" and "Unholy Terror" before it, "Dying for the World" is a much bigger and more thoughtful CD than critics would have you believe. 

I'll make the same recommendation here as I did with "Unholy Terror." Buy "Dying for the World," and - at least for the first time you listen to it - sit down and carefully follow the lyrics as you listen. You'll find a depth there that's amazing and, more importantly, poignantly affecting.

W.A.S.P.: Blackie Lawless - lead vocals, guitars, keyboards; Mike Duda - bass guitar, vocals; Frankie Banali - drums.

"Unholy Terror" (Metal-Is; 2001)

Reviewed by R. Scott Bolton

Do yourself a favor and, at least the first time you sit down and listen to "Unholy Terror," open the CD insert and read along with the lyrics. Blackie Lawless and gang have ventured back into "serious" territory here (after the balls-out fun of "Helldorado," their last studio album) and the final product is an intelligent heavy metal record that rocks like a demon but thinks like a philosopher. The real beauty here is that - if you don't feel like using your head but rather banging your head - "Unholy Terror" works perfectly for that as well.

The opening track, "Let It Roar," is an all-out anthem to the rock'n'roll gods. It'll be great to open live W.A.S.P. shows with. But "Let It Roar" is as much about partying as "Unholy Terror" ever gets. From this point on, things get serious. Rather than go on and on here about what follows, check out our interview with Blackie by clicking here and you'll get a much better picture of "Unholy Terror."

As for the music, it's pure W.A.S.P. through and through. Blackie's distinctive, banshee-like voice is unlike any other in rock'n'roll, both in tone and in phrasing. It's one of those things that's been a W.A.S.P. trademark since the very beginning and continues only to get better as the band goes on. The guitars, as always, are sharp and crunchy and powered along with fast tempos. And the songwriting, like the vocals, is again instantly identifiable as W.A.S.P. In addition to all of his other duties, Lawless also produced the CD, which further explains its unique sound.

Fans of this band will find "Unholy Terror" another great record to add to their CD collection. Looking back at the band's history, "Unholy Terror" fits like a glove - W.A.S.P. seems to fluctuate between the pure fun of rock'n'roll and its power to inform and inspire. Those unfamiliar with W.A.S.P. will also find this CD entertaining and thought-provoking. "Unholy Terror" has a lot to say and, as always, the band makes their statements with strength and undeniable style.

W.A.S.P. is: Blackie Lawless - lead vocals, guitars, keyboards; Chris Holmes - lead guitar; Mike Duda - bass guitar and vocals; Frankie Banali - drums; Stet Howland - drums; Roy Z. - lead guitar; Valentina - background vocals.

For more information, please visit http://www.waspnation.com or http://www.sanctuaryrecords.com

"Unholy Terror" (Metal-Is; 2001)

Reviewed by Keith Guillotine

To describe what genre this CD is, I'll have to say: "W.A.S.P." For those of you who have never heard of this band, I'll have to say, "Heavy Metal." 

Either you know these guys or you don't. If you like W.A.S.P., you'll love the new CD. If you've never heard of them they are a group which I highly recommend checking out. 

These guys fought against Tipper Gore and the PMRC back in the 80's, survived, and came back to continue to kick ass in the rock'n'roll community. 

The only reason I didn't give "Unholy Terror" a "four chainsaw" review (the highest honor at Rough Edge) is because track number 7 ("Euphoria") was too slow for me. Ballads, or songs that move like ballads, don't do this band justice. Other than that there's almost one full hour of hard driving metal music to listen to that will not let you down. 

W.A.S.P. is: Blackie Lawless - vocals; Chris Holmes - Lead guitar; Mike Duda - Bass; and Stet Howland - drums. 

Further information about W.A.S.P. and "Unholy Terror" can be found at:  www.sanctuaryrecordsgroup.com

"The Sting" (Snapper Music; 2000)

Reviewed by R. Scott Bolton

This recording of WASP live at the Key Club in Los Angeles, California on April 22, 2000 (which originally aired as a live netcast) isn't a bad CD by any means, but fans of the band will probably already have 1998's "Double Live Assassins" in their collection and do we really need two live WASP releases within two years of each other? 

Of course, both CDs contain the big WASP hits: "L.O.V.E. Machine," "Animal," "Chainsaw Charlie," and our personal favorite, "Wild Child." This new CD contains songs from the band's most recent outing, "Helldorado," but absent are any tunes from the band's unique "K.F.D." release ("Double Live" features a couple songs from that CD). In addition, for my money, the production on "The Sting" isn't as good as on "Double Live" which had a wild rawness that personified a live WASP show. And, hey, you get two CDs with "Double Live" and only one CD here (106 minutes versus 66 minutes).

Performance wise, "The Sting" isn't bad but "Double Live" beats it again. "The Sting" is pretty tight and lively but "Double Live" had that WASP insanity packed snugly into the bytes of the CD. The band sounded hungry and uncaged. With "The Sting" they sound like a professional heavy metal band.

"The Sting" does have its perks: The liner notes by metal journalist Dante Bonutto are brief but well written and Blackie Lawless's dedication of "Animal" to Sam Kinison is a plus. (According to Lawless, Kinison opened for him one night and his feral comedy act gave Lawless the title for "Animal.")

But the bottom line is this: WASP fans will want both "The Sting" and "Double Live Assassins." But if you're looking for the best of the two, I'd suggest you stick with "Double Live." 

For more information, please visit http://www.waspnation.com or http://www.snappermusic.com/wasp

"The Best of the Best Volume One: 1984 - 2000" (Apocalypse; 2000)

Reviewed by R. Scott Bolton

Say what you will about W.A.S.P. (and what hasn't been said about W.A.S.P.?), the band and its music are surprisingly enduring. Fifteen years ago, who would have thought that the guy with the saw blade protruding from his crotch, drinking blood from a skull and singing "Fuck Like A Beast" would still be around making music and selling out concert halls today?

No matter what one thought, W.A.S.P. is still around and going on strong today. This CD, which contains 14 W.A.S.P. classics and a new cover of Elton John's "Saturday Night's Alright for Fighting" is a true testament to the band's enduring career. 

The CD begins with the Elton John cover and W.A.S.P., in typical fashion, make the song their own. That's one thing I've always liked about W.A.S.P. CDs - the cover songs. They're like old radio favorites that have suddenly grown balls. "Saturday Night's" another fine example.

Wasting no time, the cover song is followed up by the infamous "Animal" and then the classic anthem, "I Wanna Be Somebody." "L.O.V.E. Machine" is up next with "On Your Knees" following. "Show No Mercy" is offered next with the one-two-three punch of "Blind In Texas," "Wild Child" and "Sex Drive" up next. The big U.K. hit, "9-5 N.A.S.T.Y." is followed by "Mean Man" with "Chainsaw Charlie (Murders in the Rue Morgue). "Unreal," a new cut that's not great but not bad precedes two songs from the band's last studio recording "Helldorado": the title song and "Dirty Balls."

Nearly every W.A.S.P. album is covered in this collection (where's KFD? one of my favorites?) which - for my money - outshines the earlier Capitol "greatest hits" package "First Blood ... Last Cuts" even though it features many of the same songs. My only complaint? I would have included "Jack Action" from "The Last Command." I haven't been able to get that song out of my head since I first heard that album.

Despite all the lousy press and scathing reviews, fifteen years and a lot of great music prove that W.A.S.P. is a band worth celebrating. As evidence I offer "The Best of the Best" a terrific collection of powerful hard rock songs that sound as good today as they did when they were first recorded.

W.A.S.P. is and/or has been: Blackie Lawless - lead vocals, guitar, bass guitar; Chris Holmes- lead guitar; Stet Howland - drums, vocals; Mike Duda - bass guitar, vocals; Randy Piper - lead guitar, vocals; Tony Richards - drums, vocals;  Steve Riley - drums; Johnny Rod - bass guitar, vocals; Frankie Banali - drums; Bob Kulick - guitars.

For more information, visit the band's websites at http://www.waspnation.com or http://www.snappermusic/wasp

"Helldorado" (CMC International; 1999)wasphell.jpg (12289 bytes)

Reviewed by R. Scott Bolton

W.A.S.P. has always been at their best when they're having fun. "Animal," "Blind In Texas," "Harder, Faster" - these are the songs that define W.A.S.P. at their best - they're vulgar, they're loud and they're freaking hilarious.

That isn't to say that Blackie Lawless and crew haven't done some respectable work. "The Crimson Idol" was perhaps the darkest concept album of all time. "The Headless Children" took heavy metal into a social arena that it perhaps had never been before. And their last studio outing, "Kill Fuck Die" was such a departure for the band that it was hard not to be impressed. But regardless of how "important" those recordings may have been, they weren't nearly as much fun and, hence, as listenable.

"Helldorado" takes W.A.S.P. back to their rock'n'roll party roots. It's a raw guitar and drums album with song titles that will make you smile ("Don't Cry (Just Suck)," "Dirty Balls," "Saturday Night Cockfight"), shameless rock guitar clichés, and Blackie's trademark lascivious vocals.

Perhaps Blackie himself describes "Helldorado" best in the CD's liner notes. Sez he, "No studio tricks, no big productions, no flavor of the month noises; just pure in-your-fucking-face, two guitar, bass and drums three chord rock. Love it or hate it."

Oh, yeah. We can't wait to see the stage show that goes with this release!

W.A.S.P. is: Blackie Lawless, lead vocals, guitar; Chris Holmes, lead guitar; Stet Howland, drums, vocals, Mike Duda, bass, vocals.

Visit W.A.S.P. on the net at http://www.waspnation.com.

"W.A.S.P." (Capitol; 1984)

Reviewed by R. Scott Bolton

W.A.S.P.'s first album got a big sales punch from their huge hit single, "Animal (Fuck Like a Beast)." The funny thing was ... that track wasn't even on the CD! It was available as a separate single only. That error has been corrected with this 1997 Sanctuary re-release, which also includes the bonus tracks "Show No Mercy" and a cover of the Rolling Stones' "Paint It Black."

As far as debut CDs go, W.A.S.P.'s was pretty good. Featuring Blackie Lawless's banshee-like vocals, plus raw, driving guitar courtesy of wild man Chris Holmes, the self-titled disc did what it set out to do: rock hard with total abandon. Featuring one of that era's great metal anthems, "I Wanna Be Somebody," as well as a collection of cheesy, kick ass fist-pumpers (i.e., L.O.V.E. Machine," "On Your Knees" "The Torture Never Stops") and a decent hard rock ballad ("The Flame"), W.A.S.P. proved they weren't all about drinking blood from skulls and other onstage antics designed to gross out the older folk and sent shivers of horrific delight through the band's fans.

The mixing on this album was never great and the re-mastering here really does little to improve it. Plus, the decision to place "Fuck Like a Beast" as a bonus track at the CD's beginning rather than at the end with the other bonus tracks was a truly bad one. Still, "W.A.S.P." was a strong CD, followed by the even stronger "The Last Command," and gave W.A.S.P. enough oomph to continue recording and touring even today.

W.A.S.P.: Blackie Lawless - lead vocals and bass guitar; Chris Holmes - lead and rhythm guitar; Randy Piper - lead and rhythm guitars, vocals; Tony Richards - drums, vocals.

For more information, check out http://www.waspnation.com

Rating Guide:

A classic. This record will kick your ass.

Killer. Not a classic but it will rock your world.

So-so. You've heard better.

Pretty bad. Might make a nice coaster.

Self explanatory. Just the sight of the cover makes you wanna hurl.

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Revised: 08 Oct 2017 14:52:21 -0400.