Vim Fuego W.A.S.P. were a tricky proposition in the 1980s. Yes, they were rooted fair and square in the glam metal scene, but they had the problem of being too brutal for many of the glam rockers, but too camp for thrash fans. You just have to look at their image — Blackie Lawless looked like he'd stolen his hair off the Bride of Frankenstein and there were those famous saw blades on his arms. And the guy was 6 foot 6! And then there was the tattooed madman, guitar–slinging sidekick in the form of Chris Holmes, a booze fuelled psychopath. W.A.S.P.'s stage show also out–shocked Alice Cooper's.

Yes, the image was strong. But W.A.S.P. always had the music to back it. And what about the music? Well, Blackie Lawless had been writing songs for the likes of Motley Crüe for a period before he put W.A.S.P. together, and had proved to be pretty prolific as a songwriter. "Inside The Electric Circus" was W.A.S.P.'s third album in as many years, and Lawless' inspiration did not seem to have flagged at all. The decadent sex (9.5 –N.A.S.T.Y.), drugs (Douche Bag Blues) and rock n roll (Inside The Electric Circus) ingredients are all there.

Musically, W.A.S.P. rocked a lot harder than a majority of glam rock bands at the time. Blackie's voice is a lot harsher than the glam standard "nuts in a vice" squeal popular at the time. There are some tasty vocal harmonies and melodies to be found too. Riff–wise, it would not take too much beefing up to see some of the guitar work turning up on the likes of an Ozzy Osbourne album.

While it may have seemed like W.A.S.P. was living the rock n roll dream to the casual observer, all was not well. W.A.S.P. became a major target of the PMRC's moral crusade to sanitise music for the youth of America. While this undoubtedly boosted the band's image and career (kids will always want to check out what they're not meant to), it also took away much of the gloss from the band's success. Indeed, Lawless had been fired up by the moral minority, with "I'm Alive" dedicated to "oppressive organisations worldwide".

At the end of the day though, this is still a good fun rock and roll album. A couple of covers ("I Don't Need No Doctor" and "Easy Living") helped lighten the mood, and there are some neglected classics here, like "Restless Gypsy" and "Mantronic".

This is the stuff many a metalhead listened to between Bon Jovi and Iron Maiden

1967/ 1976 "Inside The Electric Circus" is the 3rd album by W.A.S.P. and it is an interesting example of 80's American Heavy Metal, compact, aggressive and magic. So this album is good also today.

The music contained on "Inside The Electric Circus" is a granitic series of riffs with good vocal parts, not distant from another 80's bands but with a great feeling and magic, due to a superior writing. Two are the cover in this album: "I Don't Need No Doctor" (that have another Metal cover versions) and Uriah Heep's "Easy Living". But in my opinion are good also "The Big Welcome/ Inside The Electric Circus", "9.5-N.A.S.T.Y", "Shoot From The Hip", "Sweet Creetah" and "Mantronic", all characterized by granitic immediate riffs, power, medium speed rhythms and good vocal lines, aggressive at the right point.

In definitive "Inside The Electric Circus" is a good album for a moment of pleasure.

metalmillennium On the band's third outing, no significant changes have been made. This is more of the same W.A.S.P. material, as the boys continue to rock out in a (heavier) Kiss/Alice Cooper-type fashion. The maturity level has improved a bit, but the musicianship/songwriting's not quite there yet. Blackie's vocals are still fresh and crisp, as they are the main ingredient in the W.A.S.P. formula. Guitarist Chris Holmes provides a few catchy hooks to make this album interesting: the riffs are a little grittier and pushed further back in the mix, allowing the vocals room to breathe.

"The Big Welcome/Inside the Electric Circus" starts off with a spoken carnival intro (by Lawless) that warns the listener of the strange and unusual things you'll find in the Electric Circus, followed by the swift title track. "9.5. Nasty" is a good cut, with throaty, soaring vocals. "Restless Gypsy" is a top highligh, containing crisp, emotional lyrics.. "I Don't Need No Doctor" and "Easy Living" are competently played covers. "Mantronic" gets my pick for best axe work. Other tracks of note include the sassy "King of Sodom and Gomorrah" and the blistering, riff rolling "The Rock Rolls On."

All in all, a more mature release, as W.A.S.P. continue to get slightly better with time. The next few releases to come are some of the band's best. If you enjoyed W.A.S.P. or The Last Command, chances are you won't be disappointed with this album.