Animal (Fuck like a Beast)

The idea of a hit song may seem anathema to the very concept of heavy metal, yet it is the very taboo nature of the art form that lends itself to occasional and usually erratic fixation by the mainstream. Among the more forbidding and highly controversial metallic shots heard round the world was the first single out of L.A. sleaze pioneers of the more aggressive and shock-driven persuasion W.A.S.P in Animal (Fuck Like A Beast), a fairly orthodox hard rock anthem by both structural and melodic standards that leaned a bit heavier on said band's AC/DC influences, with a Judas Priest gloss that might well be mistaken for a lost b-side of Accept's Balls To The Wall in retrospect. Nevertheless, music itself is a secondary concern wherein the accidental fame through infamy in the eyes of the unwashed masses are concerned, and in this song's case it took the backseat to not only the song's title and lyrical content, but the cynical schemes of busybody politicians realizing their career ambitions by playing weekend outrage mob organizers.

Putting aside the dog and pony show that was the PMRC and the double-edged sword of reputation acquired through being disreputable for a moment, the title song of this arguably legendary piece of 80s metal history is a likely candidate for rock radio, save its profane refrain when the instruments drop out. Originally penned to be the opening song on this band's eponymous debut, and later becoming that starting with the late 90s reissues of said album, it is about as concise and streamlined as it gets for rock radio. The riff work is fairly reminiscent of the safer, mid-paced rocker template that was often featured on British Steel and Point Of Entry that often dovetails with earlier 70s rock influences, not to mention a very minimalist beat heavily reminiscent of Phil Rudd save for the prototypical reverb-drenched bombast of 80s metal. The only real outlier in the instrumental department proves to be Blackie Lawless' bass work, and in the same spirit of other guitarists turned bassists like Geezer Butler, manages to noodle around and even battle the same front man's Brian Johnson-infused shrieks for prominence.

In a very curious point of contrast, this single's tag-along b-side "Show No Mercy" proves to be the superior of the two and plows through with the fury of classic Judas Priest speed metal. Perhaps the best analogous illustration of just how hard this beast of a song slays would be merging the infectious hooks of a Dokken song with a far more raunchy vocal approach and a driving riff set and beat right out of the Screaming For Vengeance playbook. This is also the point of things where highly competent and generally underrated ax man Chris Holmes lights things up with an impressive stylistic nod to K.K. Downing during the guitar solo, with the only thing more impressive than his flashy fret work being the speaker-melting tone that cuts through the bombast of the rhythm section like a hot knife through butter made from Tipper Gore's breast milk. If the a-side and cover art were the chief culprits in establishing this outfit's fame/infamy, this impact-based cruiser definitely established their credibility as metal musicians capable of trading blows with most of the early 80s crowd.

As with all past accomplishments, hindsight tends to be the ultimate judge of the lasting relevance it carries. In the case of this single, most would dub it as obsolete given that every reissue of W.A.S.P. has both songs, and arguably restored the title song to its rightful place at the beginning of said LP. However, more discerning inspection of these songs reveal a clashing character of sound that argues for them being in closer company with the material heard on The Last Command, which makes sense given that many of the songs that did make the original debut were floating around the band's repertoire two years prior to this album's recording, whereas both found here were freshly written and more in line with the characteristic metal sound of the mid-80s rather than early 80s. It's a subtle distinction to be sure, but along with the original 1984 track list of the first LP flowing a bit more smoothly without the extras, this single just works better as its own beast and underscores the historic trials and tribulations of a band that came to define both the musical credibility and hedonistic pitfalls of the L.A. metal scene.

A nasty lead, twisted lyrics, saw blade codpieces, and a catchy chorus = PMRC all over your ass. Back then, this song was one of the most controversial slabs of heavy metal around. Funny, because if something like this was popular today it really would look tame. To me, gangstas talking about bitches ‘n shit still look like child’s in comparison to W.A.S.P..

The version is just about as thrilling as the debut, and considering that this song is one of the highlight tracks, it sounds much less dull than the others. Bass thankfully isn’t a sideshow and acts as a second groove along with the flamboyant lead. Drumming rips hysterically behind Lawless’ wails of lust and temptation, giving us a track of broken hearts and renewal – also in no small part thanks to the classy solo.

Since W.A.S.P. was grouped with the glam scene, it was easy to assume that this song would be their only hit track. Not only would the debut shatter that hypothesis, but also pretty much every other album would destroy our expectations. The other tracks aren’t too bad either, but they’re less stellar and silly. “Show No Mercy” plays out like a typical track on the debut and only stands out from a somber chorus and depressive bass; not lead, but bass. It sounds sloppy, though, so it’s harder to get into than the other songs.

The live tracks, “Hellion” and “Mississippi Queen,” have tons of energy – you can hear it quite well and the crowd never quiets down. However, the production could have been a bit better, since it sounds extremely thin and faded. Bass is nonexistent on both tracks, drumming kind of clunky, and the guitars don’t really have any lasting power. Blackie himself never tires out, thankfully, so the energy is never lost. “Mississippi Queen” to my recollection sounds nowhere near as good as the studio version (as a bonus) on The Last Command, but it’s a nice attempt at a cover before they pulled it off for real.

Overall, this single is respectable. It stirred up a ton of trouble that only fueled the fires for W.A.S.P. and helped establish them in the glam scene. Eventually they started to mature and progress further into heavy metal, but their early days no doubt were a lot more fun.

“…pain and hunger all across, then thunder…”

Sometimes you know exactly where you were when you heard a certain song or particular band. There I am waiting on the bus that takes me home from school. Most of the kids are on it already, but we’re still waiting for the stragglers who’re toking it up in the bathroom, and in the meantime our driver is yakking with her bus buddies on the sidewalk. Someone’s playing something on a boom box near the front of the bus; it’s this kid Elliot who’s a year older and plays on the Jr. Varsity football team. All I know about him is that over the year he’s worn a lot of The Police shirts. What he’s playing sounds cool. Real cool, and even heavy. The other kids are listening intently, smiling, getting a kick out of whatever it is. In a blurb of chatter silence I hear something sounding like “I fuck like a beast!” gnarled by a guy with the pipes of a condor. Whoa, who the hell is this? Seconds later, the driver gets on and makes him shut it off. Thankfully I get off before him, so before I escape school’s claws for the day, I drum up the gumption to ask him about the song, and there you have my introduction to W.A.S.P. and their most prolific song.

Now that you’re bored to death, I ask you if its depressing when the damn Jr. Varsity tight end, who wouldn’t know a heavy band if it drove through his living room, knows about a band like W.A.S.P. and you don’t? Blackie and the gang are now so established they’re barely noticed as ever being an underground band (and with their debut on Capitol/EMI, they technically weren’t, but hey), so if the incident occurred five years ago, yeah probably. In ’84, nah. My money’s on he tripped over the disk’s cover somewhere on his way to getting the latest Eddie Money record, saw the intellectual codpiece cover, song title and low price, and suckered his ‘ol lady into giving him money for ‘some other’ album he wanted.

Enough rambling. The chest-pounding “Animal” has many moments hallmark to an anthem – a central issue most can empathize with, a streaming sing-a-long chorus, some attitude, and deviant catchiness that sticks in your head like an ice pick – but isn’t really perceived as one unless you’re as lucky in love as people like Paul Stanley and David Lee Roth. Any enraged demeanor the song builds is a direct descendant of Blackie’s harsh, stentorian lungs that should’ve easily distanced the band from anything lurking in the glam realm, yet still some clueless writers back then (and even today) managed to lump the two together. With a major label leering, there’s no way this song would’ve made it onto the same year debut. Didn’t matter, ‘cos the song fairly quickly gained favor with the kids and eventually made its rounds. It also had 'one-hit wonder' written all over it, but of course their future stellar debut would wipe away that graffiti.

“Show No Mercy” is a great b-side – raucous, belligerent, lyrics of free-firing rebellion and posturing, and with an ending that’s just slightly epic in its fading grandeur. It’s a song that can’t usurp the timelessness of the main tune, but is stronger in its straightforward dozer appeal, and personally is the side I listen to more.

There are few songs that kickstarted a rock/metal band’s career better than “Animal”, one that fired up eagerness in those it reached even if they hadn’t known the band’s name, its members or seen the album cover. I’m not saying the song’s beloved by everyone, but it certainly caused a stir.

The moral of the story is never begin writing what should be a relatively short review right after a friend gives you some of her prescription amphetamines.

"I'm the outlaw that rides..."