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Supported by Kiss’ legendary Gene Simmons, Wendy O’ Williams released her debut solo album without her partners in crime from The Plasmatics around. After the band scored certain underground success every punk band wished to achieve to not languish in obscurity miserably, Wendy wisely decided to pursue a solo career, that would soon go off, with the valuable help of Simmons and his wallet, and a profesional band too, featuring musicians like the future Ritchie Blackmore ‘s Rainbow’s bassist Greg Smith or the deluxe guests of also Kiss’ ever-elusive Ace Frehley, Paul Stanley or Eric Carr, among others.
The sound here moves definitively away from the early punk roots from The Plasmatics’ earliest stuff and embraces an explicitly commercial style instead, also eluding the heavy rock manners on the appealing Coup D’Etat. Sure nobody expected such a significative musical direction change, specially those who were familiar with anything the band did on the early-80's...but it happened folks, she sold out in the end - deal with it. Standing between hard rock and pop (let's face it), the similar to shitty Kiss sound is defined. The album has however, a few good moments, with Wendy pretty inspired. Even though some moderate aggression on “I Love Sex (And Rock’N’Roll)” and “Ain’t None Of Your Bussiness” can be found, the record in general takes an undeniably radio-friendly approach. “It’s My Life” (maybe the most succesful track on Wendy O’Williams entire career, the cheesy video-clip has become iconic) or “Priestess” are plenty of energy and erotic glamour, besides however stubborn, overused choruses and stereotypical poppy arrangements. “Bump And Grind”, “Ready To Rock” or the obvious Kiss cover “Thief In The Night” are perpetrated decently, played with certain fire and balls, but it’s not the passion of “The Damned”or “Fast Food Service”. This is more obviously focused on hitting hit-lists and appealing MTV producers than rockin' hard, unleashing punkish transgression or blowing up cars and showing tits on stage - that's strange from a band which didn't focus that much on commercial success and bucks, originally. It's a crime and Wendy later seemed to realize she took it too far, on the Kommander Of Kaos less-polished affair.
In conclusion, if you love Kiss pop dumbness you'll also enjoy these tracks but those with a good ear will soon realize when they'll listen to this that Wow is excessively away from the genuine attitude that made Wendy and her Plasmatics so uncompromising, honest and singular in the good old days. Too bad she sold out, too bad she put her natural charm and sensual presence at the service of Leppard-like bullshit pop standards.