W.A.S.P. News 2004:
(Mostly official news received from Chipster Entertainment, Inc.)
22/09/2004:
- W.A.S.P. feature at metal-rules.com
09/09/2004:
- Here's the new album "The Neon God: Part 2 - The Demise" cover:
(click to enlarge)
03/09/2004:
- W.A.S.P. Unveils Climactic Conclusion of THE NEON GOD Saga on Sept. 28
W.A.S.P. Unveils Climactic Conclusion of THE NEON GOD Saga
Part 2 due on Sanctuary/Metal-Is Records September 28th
W.A.S.P. frontman Blackie Lawless is quite possibly the busiest man in hard rock currently. Having just completed a nationwide and European tour in support of the first act of the band's 2004 2-part conceptual opus The Neon God, W.A.S.P. is planning yet another run around the world to support the forthcoming conclusion of said epic entitled The Neon God Part 2: The Demise, which is slated for release through Sanctuary/Metal-Is Records on September 28th.
Produced & mixed during this summer, Blackie was ardent in his mission to make The Neon God Part 2: The Demise as potent and intense as its story dictates, so much so, that he was flying back & forth between venues and his Fort Apache studios in Burbank, CA during the first two weeks of the band?s summer tour! The Neon God addresses a tale of deep emotional quandary and revelation, the intoxication of power and the consequences of corruption. It is a story that everyone has experienced at one time or another - the need to belong, the quest for love, the desire for control, and the futility of vanity. Lawless, forthright and ever evolving as a musician and a human being, drew influence for the album's concept through extensive observation of the world and numerous soul-searching journeys through the deserts of America's Southwest. Part 1: The Rise was met with radiant applause, heralded as "compelling" by Metal Edge Magazine, "peerless" and "bombastic" by the Las Vegas Mercury, and Hit Parader Magazine attested that it "rarely ceased to entertain". LA Weekly embraced the concept with vivid appeal, testifying the album as "a lavalike mountainside flow that pulls you inexorably from track to track."
Deplorably renowned for his lewd behavior coming up through a music community where 'excess' meant 'success', Lawless frequently engages in musical endeavors that strip his soul and offer glimpses of the man beneath. In a way, each progressing W.A.S.P. release is another chapter in the uncompromising life of Lawless. With a catalogue spanning nearly 20 years, early titles, such as the self-titled debut and The Last Command represent youth and the indulgence of freedom. Releases like The Crimson Idol, Unholy Terror, and Dying for the World peel the blinders from society's eyes and reveal humanistic truths and offer foresight into an unwritten future.
Ambitious in design, but no less persuasive than previous work, W.A.S.P. has reached a milestone many years in the making. The powerful, high-emotion story is set to the backdrop of W.A.S.P's trademark nail-biting, theatrical style, from the guitar and soul-searing vocal performance of Blackie Lawless to the intense percussion work of returning drummer Stet Howland, the bludgeoning bass work of Mike Duda, and the rampaging lead guitar styling of Darrell Roberts.
A second leg of The Neon God World Tour is anticipated to commence in early October, bringing yet another inimitable performance to rabid, music hungry fans, for a W.A.S.P. concerts are no average performances. As Orlando Weekly humbly states, "they know that 'rock show' is comprised of two equally important words."
www.waspnation.com
www.sanctuaryrecordsgroup.com
04/08/2004:
- W.A.S.P. - NJ concert review at FoundryMusic.com
- Hairball John Radio Show rebroadcast info Aug 1 - Aug 7 Revised (sorry for posting this a bit late...)
The Hairball John Radio Show
Internet rebroadcast info for week of Aug. 1 - Aug. 7
Guest: Blackie Lawless from WASP
Hairball Test Drive: Z02 - Radio
Hairpick of the Week: Y&T - Lipstick and Leather
Playlist:
(It is YOUR weekly requests that help make up the show. Get them in at www.hairballjohn.com )
Mötley Crüe - Primal Scream
Great White - Desert Moon
Aldo Nova - Fantasy
Kix - Girl Money
W.A.S.P. - Wishing Well
W.A.S.P. - Wild Child
Cinderella - Don't Know What You Got (Till It's Gone)
Scorpions - Alien Nation
W.A.S.P. - The Real Me
Miles Beyond - Miles Beyond
Van Halen - Hot For Teacher
Mama's Boys - Hard N' Loud
Fastway - Say What You Will (Live)
Ratt - Round And Round
Def Leppard - Foolin'
Alice Cooper - No More Mr. Nice Guy
Judas Priest - Devil's Child
Metal Church - Watch The Children Pray
Prong - Prove You Wrong
Dio - Last In Line
Y&T - Lipstick And Leather
Kiss - Heaven's On Fire
ZO2 - Radio
Van Halen - It's About Time
Steelheart - I'll Never Let You Go
Poison - Nothin' But A Good Time
Rebroadcasting Schedule:
Sunday 8pm EST www.myamericanradio.net
Sunday 9pm EST www.stickman-radio.com
Sunday 10pm EST www.kqlz.org
Monday 9pm EST www.savage-radio.com
Tuesday 1pm EST www.stickman-radio.com
Wednesday 7pm EST www.radio306.com
Thursday 11pm EST www.myamericanradio.net
Friday 11am EST www.theloudestrock.com
Friday 3pm EST www.savage-radio.com
Friday 9pm EST www.theloudestrock.com
Friday 10pm EST www.kqlz.org
Saturday 6pm EST www.radio306.com
www.HairballJohn.com
Visit the official Hairball website to get in your request, visit links to your favorite bands, read entries from the Hairball John journal, contact information and listen to interviews from your favorite artists.
Special thanks to Big Al, The Acid Chimp, for his outstanding creativity and maintence with www.hairballjohn.com. "Chimps Rule!"
Thank you for your support.
"The Past is Back to Kick your Ass!" with the Hairball John Radio Show
Hairball Radio Show is trademarked 2003 all rights reserved.
- W.A.S.P. Feature in Delaware Coast Press
- W.A.S.P. concert review at RoughEdge.com
23/07/2004:
- W.A.S.P. performance review in LA WEEKLY
Live in L.A.
The Beast Goes On
by Greg Burk
WASP
at House of Blues, July 17
It's understandable that a lot of jokers (including fans) still don't figure Blackie Lawless for a serious artist - something to do with the bombs and props and shit. Well, now he smears less makeup, and doesn't shoot fireworks from his crotch or saw women or spray ground meat. And still all the mob wants from WASP is "Fuck Like a Beast."
Which he's glad to ram through 'em like a rusty cutlass, along with "Wild Child" and "On Your Knees" and the rest of his jagged rock arsenal, even though his repeated past forays into concept operas and political/social commentary scream that Lawless wants you to know he's a deep motherslasher. WASP's new The Neon God: Part I - The Rise is his most fully realized theme piece yet, and Lawless clearly woulda loved to have staged the whole damned thing instead of just sprinkling a few selections. But the crowd's puzzlement over the unfamiliar stuff showed that emphasizing the hits was the popular choice.
After Neon God's magnificently stirring "Overture" (pre-recorded; why didn't they just play it?), the traditionally black-leather-and-studs-garbed WASP entered and murdered. Draped in a black "81" jersey (the number of both football's Tim Brown and hockey's Miroslav Satan, if you please), Lawless mounted his newly elaborated skeleton microphone perch to do his dark business. About the time the sound man got a decent mix, not coincidentally, the set hit an early pinnacle with a slamming "L.O.V.E. Machine," and then banged further heights: an anguished vocal from a black-lighted Lawless and a noise-drenched guitar solo from an ever more confident Darrell Roberts on "My Tortured Eyes"; Stet Howland's double-kick thrum and manual drumskin slapping on "I Wanna Be Somebody"; Lawless' virtuosic high notes on "Sleeping in the Fire" during a sensitive-solo-balladeer (!) segment. Bassist-singer Mike Duda, by the way, should get some kind of MVP award. Anyway, fans: The recent material rules, so suck it up.
21/07/2004:
- W.A.S.P. feature in Las Vegas Weekly
- W.A.S.P. feature in Boulder Weekly
Man's search for meaning
by Vince Darcangelo
As one of the greatest shock rock bands of all-time, W.A.S.P. was known in the mid-'80s for its excessive appetite for sex, booze and gore. But though the band never enjoyed the mainstream success of its Sunset Strip brethren, W.A.S.P.'s cult status has afforded the band-and its charismatic leader Blackie Lawless-a viable music career 20 years removed from its initial breakthrough. The band is on the road in support of The Neon God, the first offering in a two-disc conceptual piece that offers another dimension to the grand philosophy of the band that once struck fear into the hearts of censorship proponent Tipper Gore and her brothel of bored politician's wives.
"I was looking around for what I thought was the greatest single common denominator we all have as humans. We're all asking, 'Who am I?' 'Where am I going?' 'What's it all about?' 'Is there a God?' 'Is there no God?'" says Lawless. "I was trying to make one decisive statement with it where you get people thinking about it. That's the one thing we think about the most but probably talk about the least. [The Neon God] is quite a complicated story in some respects, but in this particular instance it's about as basic as it gets."
Perhaps a good number of readers last heard from Lawless in the late-'80s, when he was famous for drinking animal blood from a skull onstage and sporting a chainsaw codpiece. If your last interaction with W.A.S.P. was a long-forgotten spin of The Last Command or Inside the Electric Circus, adjusting to the 21st-century incarnation may feel eerily similar to those awkward first moments at a high-school reunion. You may not recognize him at first, but a deeper glance reveals that Blackie is still Blackie. He has remained faithful to his raw, hard-edged roots musically. But lyrically, Lawless has gone from singing about his insatiable sexual prowess to singing about introspection and the search for a deeper meaning in life.
But fans who have stuck with the band will recognize The Neon God as the natural evolution that started with The Headless Children and took concrete form in 1993's The Crimson Idol-Lawless' first stab at a sophisticated concept album. The Neon God marks W.A.S.P.'s second pure conceptual piece. The first part is available now, and the finale will be released in mid-September. For this record, Lawless says he is not measuring its worth in terms of gold and platinum.
"Somebody says to me, 'Well, how do you judge success on something?'" he says. "For this particular record, if it motivates people to think, then it's been a success.
But Lawless cautions that The Neon God is not the end of the quest for meaning, but the point of entry.
"This record will not find these answers for you," he says. "It's up to the individual to try to discern, discover, and hope it reveals itself if you're looking hard enough. These are nagging questions."
Lawless is equally philosophical about his stature as one of metal's elder statesman-a legacy that has landed him regular appearances on VH-1-and how he is able to reconcile his past and present musical creations on stage.
"You're competing against your own back catalogue, which is sometimes hard to overcome," he says. "People have romanced songs in their head for 20 years. In that sense you become your own competition, and you have to take that into consideration when weighing out what do you play, what don't you play."
Lawless says that the band plays new material alongside a healthy dose of W.A.S.P. classics at its shows. And while some bands balk at having to acknowledge their past, Lawless embraces his.
"There are a lot of folks running around out there that don't have the opportunity to play music that goes back 20 years in their history," he says. "You hear some guys moan and complain about that. But at the same time most working musicians would love to have that dilemma. It depends on whether you see the glass as half full or half empty. It?s certainly full for me. To be able to continue to do it and do it on a level where there's genuine appreciation, hardly a day goes by where you don't ask yourself, 'Why me?' I still haven't figured it out."
W.A.S.P. plays at 8 p.m., Tuesday, July 20, at the Bluebird Theater, 3317 E. Colfax Ave., Denver, 303-322-2308.
- W.A.S.P. review from Metal Edge Magazine
- W.A.S.P. concert review at KNAC
- W.A.S.P. preview in LA Weekly
WASP at House of Blues.
Blackie Lawless did it at last: With The Neon God, he got exactly the WASP studio album he wanted. Deadly precision. Crushing dynamics. A lavalike mountainside flow that pulls you inexorably from track to track. And the songwriting - dominated by furious rock but sprinkled with ballads and even Beatles/Byrds psychedelic touches - is ace all the way. Like The Crimson Idol, WASP's previously most ambitious Who/Wagner opera, it's a record he could not have made with Chris Holmes on guitar, since Lawless' control-freak nature strains against the slop of Holmes' tangled insanity. What madness is lost, though, is made up in the Moonsville drum-pummeling of Frankie Banali (replaced live by the capable Stet Howland), the melodic solo sculpting of Darrell Roberts, the invaluable bass zooming and vocal harmonizing of Mike Duda, and the overall level of screaming anguish Lawless generates. And this is only Part I. (Greg Burk)
- W.A.S.P. Feature in Las Vegas Mercury
- W.A.S.P. review in Weekly Alibi (Albuquerque, NM)
W.A.S.P. The Neon God: Part 1--The Rise
(Sanctuary)
Had this record come out prior to the 1988 release of Queensryche's Operation: Mindcrime, W.A.S.P.'s Blackie Lawless would perhaps be enjoying the respect he deserves. Unfortunately it wasn't, and Lawless' formidable voice has thus been squandered for the past decade on marginal, past-their-prime hair metal albums. But better late than never. Neon God kicks ass in all its "dark messiah" conceptual glory. It's bold, heavy and wracked with a passion only a metal purist like Lawless can muster while planted firmly in middle age. Seriously, this one's a keeper!
21/06/2004:
- Stet Howland / COS June 25TH NYC / July West Coast Dates
10/06/2004:
- W.A.S.P. feature at Tastes Like Chicken
27/05/2004:
- W.A.S.P. review in Hit Parader Magazine
- W.A.S.P. feature at Horrorwood BabbleOn
21/05/2004:
- W.A.S.P. review at Blistering.com
- W.A.S.P. feature at AskMen.com
- W.A.S.P. review at Tangerine Magazine
15/05/2004:
- W.A.S.P. review at InDepthZine.com
- W.A.S.P. review at DigitalMetal.com
- W.A.S.P. feature at FoundryMusic.com
- 100 Most Metal Moments Presented by VH1
METAL HEALTH DRIVES THEM MAD
VH1 Counts Down the "100 Most Metal Moments" In A Five-Night Special Premiering Monday May 31 10:00 PM*
NEW YORK, NY, May 10, 2004-The heyday of heavy metal music is full of entertaining (and sometimes shocking) moments. >From wild hair to even wilder groupies, heavy metal's most notorious incidents defined the excess of an era.
"100 Most Metal Moments," premieres on Monday, May 31 at 10:00 pm* with the ultimate countdown of these outrageous hard rock moments in a five-night special. Narrated by the always outrageous Dee Snider, this special reveals who shredded a live chicken onstage, who won a gross out contest with Nikki Sixx and more in each one-hour episode.
The special features all new interviews with legendary metal icons like Motorhead, Blackie Lawless, Bret Michaels, Sebastian Bach, Anthrax, L.A. Guns, KISS, Vince Neil, Ronnie James Dio, Faster Pussycat, and many more.
"100 Most Metal Moments" continues the tradition of VH1's "100 Greatest" series of specials which debuted with "100 Greatest Artists of Rock and Roll" in March of 1998.
Viewers can log on to VH1.com.
"100 Most Metal Moments" is Executive produced by Michelle Mahoney and Meredith Ross for VH1.
*All times ET/PT
07/05/2004:
- W.A.S.P. review at Las Vegas Mercury
06/05/2004 - Multi-Cultural DRAGONFORCE Release 'Sonic Firestorm' Through Noise & Tour w/W.A.S.P.
Multi-Cultural Power Metal Heroes DRAGONFORCE
Release Potent Sophomore Effort Sonic Firestorm May 11th
On European Tour with W.A.S.P.
Hailing from the United Kingdom, DRAGONFORCE is quickly becoming a force with which to be reckoned. The band releases their rampaging sophomore effort Sonic Firestorm through Sanctuary/Noise Records on May 11th. Not only is the band a unique entity in that they perform a brand of music that is nowadays nearly non-existent in their British home, but the band is comprised of such multi-cultural members, such a union would seem impossible. Composed of Herman Li (lead guitar - born in Hong Kong), ZP Theart (vocals - born in South Africa), Vadim Pruzhanov (keyboards - born in the Ukraine), Sam Totman (guitar - born in England), Adrian Lambert (bass - born in England), and David Mackintosh (drums - born in England), the band has evolved very quickly over the course of two albums.
Having released their debut Valley of the Damned in 2003 to much critical acclaim, the release granted them amazing touring opportunities with heroes & legends like Halford, Stratovarius, Virgin Steele, and Helloween, as well as prestigious spots on such festivals as Sweden Rock, Torres Rock (Spain), Young Metal Gods (Germany), and Bloodstock (UK).
Early DRAGONFORCE can best be described as a mix of modern melodic power metal with the fury of speed metal. Since then, the band's style has evolved into an even more distinctive sound. By combining their favorite aspects of different rock and metal styles - ranging from classic/power/thrash/speed/death/progressive/hard rock - played with high-octane energy, DRAGONFORCE's sound may now best be described as Extreme Power Metal. The supremely potent and instantly memorable melodies that stand shoulder-to-shoulder with outrageous speed, power, complex twin-guitar wizardry and extreme metal drumming are just some of the qualities that separate this band from the masses. Truly a Sonic Firestorm!
DRAGONFORCE is currently touring Europe with shock-rock stalwarts W.A.S.P.
An MP3 of the track "My Spirit Will Go On" is currently available at this location:
http://208.203.139.81/downloads/DragonForce@www.noiserecords.com-My_Spirit_Will_Go_On.mp3
For a glimpse of the power of DRAGONFORCE's live fury, be sure to sample the live videos here:
http://www.dragonforce.com/sound_music_videos.html
www.noiserecords.com
www.sanctuaryrecords.com
www.dragonforce.com
06/05/2004 - W.A.S.P. 2004 bio information
W.A.S.P.
Blackie Lawless * Frankie Banali * Mike Duda * Darrell Roberts
Why am I here?
That question of describing the compelling fascination of hearing a new W.A.S.P.
album likewise serves to define the magnitude of contemplative passion, as narrated
by The Neon God. The first of a two-part conceptual album, Part I-The Rise
begins to distinguish what will possibly be regarded as the most ambitious work of a
prolific career that has distanced an abundance of varied creative expression.
Controversy ignited by the reactionary firestorm of "Animal (Fuck Like A Beast)"
prompted Capitol Records to preclude the track from the debut W.A.S.P. album
twenty years ago. But the notorious success of that song as an independent single,
paired with a visually extreme stage show, would constrictively define the band for its
first several years, until the witch hunt of moralist congressional hearings-ultimately
masking distinct political ambition-provoked an affirmation of stylistic diversity. That
impact was demonstrative as a more conscious lyrical commentary, driven by the
intensity of a harder musical edge, resulting in the release of The Headless Children in
1989.
With the curtain of a career defined until then by the salaciousness of songs like
"Wild Child" and "L.O.V.E. Machine" pulled back to reveal a greater depth of
substantively emotive music, the gamut of The Crimson Idol delineated Biblical
arcanum and Shakespearean pageantry to celebrated effect. The introspective aspect
of Still Not Black Enough led to the raging anger of Kill Fuck Die, the uneasy allegorical
performances of that subsequent tour meant to incite debate over the impending
cycle of a Presidential electoral campaign.
The release of Helldorado in 1999 marked a return to the rambunctious spirit of
recklessness that categorized the first albums, a suitable respite to antedate the
seriousness of the following album. Unholy Terror constituted a topical assessment of
misguided supremacy, with certain songs like the title track and "Charisma" proving
to be subtly precursory of the themes of The Neon God.
"My intention was to try to create something for the ages," says vocalist Blackie
Lawless about the ponderous undertaking that was already being formulated during
the creative process of the Dying For The World album two years earlier. "I wanted
something that, twenty years from now, people could still get into."
Transcending the enormous shadow of The Crimson Idol, regarded by many as the
consummate example of a conceptual album, proved to be considerably challenging
to the frontman. "From a story point of view, there's no comparison," he says,
alluding to the inevitable comparisons that will initially be drawn between the two
separate projects. "This is War And Peace, versus somebody just reading the preface
of the first page," is his sweeping metaphor for the complexity of ideas wrapped
within The Neon God.
From a musical aspect, the eleventh W.A.S.P. studio album stands equally as intense
as that of predecessory releases, distinctively interesting as a result of a more
divergent use of the subtle elements of his own formative inspiration. "Red Room Of
The Rising Sun," in particular, is a song eagerly described as "a wonderful opportunity
to do something that I would never otherwise be able to do-go back and musically
visit Haight-Ashbury."
The necessity of freedom to allow one's own imagination to visualize different aspects
of the story was something about which Blackie was completely conscious. "I was
careful not to give it geography," says the New York native, resulting in an individual
interpretation to present a greater impact that words and music alone could achieve.
Other songs display different examples of intensity, such as the emotive wail of "What
I'll Never Find," something the songwriter admits "tore me up when I wrote it."
Comparatively, tracks like "Asylum #9" resonate with an expected forcefulness that is
categorically W.A.S.P. "The song kicks ass," Blackie laughs. But the anguish of "The
Raging Storm" was the song admittedly hardest to write of the fourteen tracks. "I
went to the studio and spent twelve hours a day by myself," he says, explaining a
painstaking process of "just crafting one line, then stopping and looking at it."
Lyrically written on multiple levels as representative of both individual perspective
and societal collectivism, the symbolism of The Neon God is immense, with conflict
between narcissism and conscience being a fundamental statement.
"What does it take to create a monster?" Blackie asks rhetorically, the resolution of
that question being a large focus of the first disc of The Neon God, with regard to
a namesake character derivative of the same perverse charisma as that of David
Koresh or Jim Jones. "Where does somebody have to get tweaked-and how
often-to turn them into something that can potentially be this?" That psychological
elaboration fuels a character to dangerous proportion within his own mind. "What
takes this character further than other cult leaders," he explains, is the messianism
that "he actually believes, at times."
"In my mind," he continues, "I saw something very similar to the Manson family, or
what Hitler had done with the Brown Shirts," he allows, describing those situations of
charismatic power inadvertently developed to a far greater degree than any initial
intention.
eant to be indicative of the commonality of the human psyche that questions its
own necessity of purpose, the instigational intent of The Neon God is a challenge
of introspection within an ambiance of the societal conception of its own false
messiahs. Opening one's mind reveals The Neon God to be the story of a focal
character as a euphemism for individual humanity.
Do you believe?
www.waspnation.com
21/04/2004 - Stet Howland - W.A.S.P. "Neon God" Tour 2004
20/04/2004 - 
W.A.S.P. album released! As said before, its title is "The Neon God: Part One - The Rise"
09/04/2004 - W.A.S.P. Review at Schwegweb
07/04/2004 - W.A.S.P. feature at Metal-Exiles
07/04/2004 - W.A.S.P. The Neon God e-card
01/03/2004 - W.A.S.P. Reveals Part One of 'THE NEON GOD' Saga on April 20th (sorry for posting this a bit late...)
W.A.S.P. Reveals Part One of THE NEON GOD Saga on April 20th
Through Sanctuary/Metal-Is Records
W.A.S.P. The name is legend, having become associated with such controversial and mind numbing releases as The Headless Children, The Crimson Idol, K.F.D., Unholy Terror, and the notorious self-titled debut. April 20, 2004 will see the band evolve further with The Neon God: Part One - The Rise, a conceptual rock opera that explores the tragedy and consequences of one boy's search for acceptance and purpose in his existence.
Opening with the line, "Oh tell me my lord, why am I here?", The Neon God delves into such deeply emotional (and personal) inquiries, such as where does one fit into the great cosmic enigma? How does love fit into the equation? Should I use my gifts and talents for good or for evil? These are the primary thoughts all people have regarding their existence at one time or another. When addressed by a youth and coupled with an extreme dose of fear, a lethal combination develops.
Part One - The Rise tells the story of an abused and orphaned boy who finds that he has the ability to read and manipulate people. By utilizing his gifts, he is able to build a following whose devotion and allegiance create a loyalty so intense that he is poised to become a dark Messiah for the 21st Century. The tracklisting includes:
Overture
Why Am I Here
Wishing Well
Sister Sadie (And the Black Habits)
(Why Am) I Nothing
Underature
Asylum #9
Red Room of the Rising Sun
What I'll Never Find
Someone To Love Me
X.T.C. Riders
Me and the Devil
Running Man
The Raging Storm
Ambitious in design, but no less potent than previous work, W.A.S.P. has reached a milestone many years in the making. The powerful, high-emotion story is set to the backdrop of W.A.S.P's trademark nail-biting, theatrical style, from the guitar and soul-searing vocal performance of frontman Blackie Lawless to the intense percussion work of Frankie Banali, the bludgeoning bass work of Mike Duda, and the raging lead guitar styling of Darrell Roberts. One can only imagine what the live show will yield.
Part 2 of The Neon God story will be released by Sanctuary/Metal-Is Records over the summer and will complete the awe-inspiring and jaw dropping story.
Over the years, W.A.S.P. have created some of the most controversial and thought-provoking records in the history of metal. The Neon God is a labor of love for the band, an album that Blackie Lawless has talked about making for years. The Neon God is the next evolution in the musical beast that is W.A.S.P.
www.waspnation.com
www.sanctuaryrecordsgroup.com
CHAINSAW CHARLIE 2000-2004
