W.A.S.P. Wasp/Switzerland 1997

In 1997, W.A.S.P. regained their original violent sound with the ultra-radical album “KILL FUCK DIE” after the return of their ally Chris Holmes. This live album allows you to experience the scorching hot scene at its finest. This work is recorded from the “May 21, 1997 Zurich performance”. This is a powerful audience recording. The other day, we introduced the live album “BONN 1992” from “THE CRIMSON IDOL Tour”, but after the tour ended, Blackie Lawless released “STILL NOT BLACK ENOUGH”, the second solo album. However, the tour was not held and the activities were silent, and Chris returned in August 1995. And a year and a half later. In 1997, they resumed full-scale activities with full confidence. The signal for this was the release of “KILL FUCK DIE” and their first tour in five years. First, let’s look back on that “one year of restart” and check the show’s position. ・January 27-February 7: Europe #1 (7 performances) ・April 24-27: Europe #2a (4 performances) {“KILL FUCK DIE” released on April 29th} ・April 30-May 30: Europe #2b (23 performances) ←★Here★ ・June 8-July 11: North America (20 performances) ・September 17-21: Japan (4 performances) This is W.A.S.P. in 1997. The first step in a full-scale comeback was a European tour around the time of the album release, and this Zurich performance was the 20th performance of “Europe #2”. The performance in Japan is also a memorable part of this tour, but this work was four months before that. This work recorded at such a show has a clear sound that wakes you up. Although the sound of the snare gives a sense of space, the core that reaches straight is as vivid and sharp as a laser beam, and the details are extremely delicate. Of course, if the sound is too vivid and painful to the ears, it is meaningless, but there is no need to worry about that with this work. It is extremely natural and has a freshness that does not distort even at the peak, and even when Blackie sings like a whisper, or when the whole band approaches the powerful force, it is extremely beautiful even in subtleties. If I were to liken this feeling to a Japanese recording, I would call it “like the prestigious Kinney”. A sound that prioritizes clarity over the sound board-like closeness, and pursues “beauty unique to the audience”. Of course, this is just an analogy and this work is not a Kinney recording, but it is a crystal clear masterpiece that brings back the world of that beautiful sound. The sound of such brilliance depicts a violent show that is the exact opposite of the beauty of sound. In “THE HEADLESS CHILDREN” and “THE CRIMSON IDOL”, Blackie had perfected the dramatics of orthodox heavy metal, but when they came back, they returned to the violent route. They called themselves “Snuff Rock” and put on an aggressive stage that surpassed the shock rock of their debut. At the same time, the set was also a greatest hits lineup with a lineup of their signature songs. Let’s summarize the contents here. Opening Medley Majinden: On Your Knees/Hellion Electric Circus: I Don’t Need No Doctor Crimson Idol: Chainsaw Charlie (Murders In The New Morgue) Others Majinden: Animal (Fuck Like A Beast)/L.O.V.E. Machine/I Wanna Be Somebody Last Command: Wild Child/Blind In Texas Headless Children: The Real Me Kill Fuck Die: Killahead/U/Kill Your Pretty Face/The Horror … and so on. To be honest, this is the style of DISC 1 of the official live album “DOUBLE LIVE ASSASSINS” from the same tour, with the encore “Blind In Texas” added. The opening starts with a 10-minute medley that creates a sudden highlight-like excitement, and then the show shifts between the two main tracks “W.A.S.P.” and “KILL FUCK DIE” while mixing in representative songs from each era. It’s a show that gradually becomes more aggressive. In the midst of all this, the new songs from “KILL FUCK DIE,” which seemed to be all about violence, also show an unexpected expression. On the album, it was a cold, industrial sound, but on stage, it had a fleshy feel that is reminiscent of a live performance, and it blends surprisingly well with the classics. Of course, that flavor was also felt in “DOUBLE LIVE ASSASSINS,” but it feels even more vivid in this audience recording. After that, Blackie and Chris parted ways again with “UNHOLY TERROR” in 2001. However, these two were still special. A powerful audience recording of the newly excavated live album “May 21, 1997 Zurich performance” where you can witness the revival of such a famous duo with super clear and superb sound. It is a clear and famous recording that wakes you up, and the core that reaches you straight is vivid and sharp like a laser beam, and the details are extremely delicate. Of course, there is no point in a sound that hurts your ears, but this work is extremely natural and has a great freshness that does not distort even at the peak. It is a sound that pursues “beauty unique to the audience”. It is a newly excavated live album that allows you to experience the full show of ally Chris Holmes, who has just returned. Volkshaus, Zurich, Switzerland 21st May 1997 ULTIMATE SOUND (77:07) 1. The End (Intro) 2. On Your Knees 3. I Don’t Need No Doctor 4. Hellion 5. Chainsaw Charlie (Murders In The New Morgue) 6. Wild Child 7. Animal (Fuck Like A Beast) 8. L.O.V.E. Machine 9. Killahead 10. I Wanna Be Some body 11. U 12. The Real Me 13. Kill Your Pretty Face 14. The Horror Encore: 15. Blind In Texas Blackie Lawless – lead vocals, rhythm guitar Chris Holmes – lead guitar Mike Duda – bass, backing vocals Stet Howland – drums, backing vocals