Tag: Blackie Lawless

W.A.S.P. and Armored Saint at The Plaza Live in Orlando, FL on 11/24/24 By Jesse Striewski/Photos By Brooke Striewski

If ever there were a band that I could (or perhaps more accurately, should) personally thank for my love and obsession of ’80s heavy metal, it’d be W.A.S.P., who are easily up there alongside the likes of such other personal favorites as Iron Maiden and Megadeth (among others).

Earlier on at the start of my initial trek into rock journalism, W.A.S.P. founder/leader Blackie Lawless was one of the very first interviews I ever conducted back in 2010. Shortly afterwards, I was able to cover their Orlando show at then-Club Firestone in March of that same year for one of my first (and personal favorite) concert reviews.

So when I learned Blackie and co. were heading back to O-Town with fellow metal legends Armored Saint in tow on Sunday, November 24, I knew it was a show not to be missed. Significantly different for me this time around though was having my wife/Photographer Brooke by my side to shoot this one, as well as my teenaged son Jacob, who was far too young that first time around to see them (the only noticeable difference as far as the band itself goes is of course the drummer position since going from Mike Dupke to former Di’Anno/DragonForce member Aquiles Priester).

Openers Armored Saint have been on my list of bands to see longer than I can even remember now, with frontman and former Anthrax (another personal favorite) singer John Bush being another reason for this (over the years I’ve actually managed to catch Anthrax live a solid four times, though never with Bush at the helm). And despite having been some time since I last really sat down and took notice of their music, I was instantly propelled back in love with their material.

Armored Saint (and former Anthrax) frontman John Bush performing at The Plaza Live in Orlando, FL on Sunday, November 24 (Photo by Brooke Striewski).

After a backing track of Judas Priest’s “Delivering the Goods” introduced the band to the stage, they quickly gained the attention of the sold-out crowd, ironically with “End of the Attention Span.” “Raising Fear,” “The Pillar,” and “Pay Dirt” all lead up to the title track of their 1984 debut album, “March of the Saint.”

“Left Hook From Right Field,” “Aftermath,” and “Win Hands Down” all kept the momentum going before Bush took to the balcony (complete with security in tow) to deliver their timeless hit, “Can U Deliver.” The band dropped one more heavy-hitter in the form of “Reign of Fire” prior to taking their final bows and handing the stage over to W.A.S.P.

Armored Saint drummer Gonzo Sandoval raises his sticks high in appreciation to the sold-out crowd at The Plaza Live in Orlando, FL on Sunday, November 24 (Photo by Brooke Striewski).

In their entire four-decade plus of existence, W.A.S.P. have apparently never opened a show with their fist-pumping 1984 anthem “I Wanna Be Somebody.” But being that this tour (dubbed “Album One Alive”) is a celebration of the foretith anniversary of their self-titled debut, that has all changed with the band performing all ten tracks from it in chronological order.

Of course if you already know that album, you’re already aware this was followed by “L.O.V.E. Machine,” “The Flame,” “B.A.D.,” and “School Daze” rounding out the first side. But I’ve personally always been partial to side two tracks such as “Hellion,” “Sleeping (In the Fire),” “On Your Knees” (the band’s usual show-opener, and first track they played way back at that 2010 show), “Tormentor” (complete with footage from the band’s appearance in the 1984 film The Dungeonmaster rolling behind them), and album closer “The Torture Never Stops” (which featured some of the oddest footage in recent memory playing for it).

After a brief reprieve, the band re-emerged with a circus-themed stage setup and a recording of “The Big Welcome” prior to launching into a medley of “Inside the Electric Circus/I Don’t Need No Doctor/Scream Until You Like It” before belting out their cover of The Who’s “The Real Me.” The 1989 power ballad “Forever Free” then preceded the darker epic “The Headless Children” before the band closed out the night with the one-two punch of 1985’s “Wild Child” and “Blind in Texas.”

W.A.S.P. frontman/leader Blackie Lawless in command of the stage at The Plaza Live in Orlando, FL on 11/24/24 (Photo by Brooke Striewski).

While I understand the demand for the band’s earlier, most well-known material, and that this tour is a total celebration of just that as stated earlier. But if I’m being totally honest, there’s so much more underrated material from them that I’d rather love to hear live. No doubt the chances of hearing something along the lines of “Take Me Up” or “Asylum #9” (for example) live is highly unlikely, that doesn’t change the fact that I’d still personally love to hear them performed (even something from The Idol – which I was lucky enough to hear them play tracks from, as well as the Dominator and Babylon albums that first time all those years ago – would’ve been nice to have heard something from).

But personal preferences aside, there’s no denying that Lawless and company completely dominated that stage last Sunday night, and I’d have a hard time believing any one in attendance that night would actually argue otherwise. These days I’m typically more reserved and focusing on critiquing the shows I’m at, but every once in awhile a band will get me raising a fist in the air and screaming every lyric out from start to finish; that band to get that type of reaction out of me again was without a doubt W.A.S.P.

Book Review: The First 21: How I Became Nikki Sixx By Nikki Sixx (Hachette Books)

By: Jesse Striewski

I had no idea I needed even more knowledge regarding the life of Motley Crue bassist Nikki Sixx, until I started reading his latest book, The First 21: How I Became Nikki Sixx. But while much has already been written/published on the pioneering musician’s life, there was still a lot to uncover.

From his early childhood bouncing around from place to place after his father left, to discovering music and eventually seeking stardom via the west coast, there’s surprisingly no shortage of new stories to behold here. Perhaps the most fascinating are the lesser known ones; Sixx finally dives deep into the history of pre-Crue acts such as Sister and London, and working with the likes of W.A.S.P. frontman Blackie Lawless (among others).

It’s unfortunate Sixx often doesn’t get the due respect he deserves. Sure, as a bassist his playing may be simple. But as a songwriter and as an overall musician, his talent is nothing short of impressive. Do yourself the favor of getting to know him a little better by reading this book, and you might just be glad you do.

Rating: 3.5/5 Stars

Film Review: Mean Man: The Story of Chris Holmes (Cleopatra Entertainment)

By: Jesse Striewski

Those who know me well, know what a huge fan of ’80s metal veterans W.A.S.P. I’ve been since day one (frontman Blackie Lawless was even the first major interview I ever conducted as a professional journalist more than a decade ago). Guitarist Chris Holmes no doubt played an enormous role in their early sound, yet never really got his just due…until now.

Following heavily in the footsteps of Anvil! The Story of Anvil, Mean Man is the ultimate underdog story that finally answers the question (one that I’ve even been asked a time or two over the years) “Whatever happened to Chris Holmes?” perfectly (for those who don’t know, he now resides in France these days with his wife, still making music albeit on a smaller scale).

Current and archive footage, as well as interviews with numerous musicians including Scott Ian of Anthrax, Dizzy Reed of Guns N’ Roses, and Holmes’ own former bandmates Johnny Rod and Stet Howland, help tell the tale of this once revered guitarist, who no doubt got the raw end of the deal from his former band mate Lawless.

I only wish more of Holmes’ former bandmates might have been included, especially early (and somewhat elusive) members like Randy Piper or Tony Richards, or even Lawless himself for the sake of transparency (although I knew going in the likelihood of that wasn’t very promising). Still, this quite possibly might be the closest the world is ever getting to a straight forward W.A.S.P. documentary, and I can live with that.

Rating: 4/5 Stars