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Personally, I consider myself a fan of Inside The Electric Circus. It certainly isn’t the worst because most of the album comprises of loud, proud, ballsy anthems that surge with that distinct 80s concert atmosphere. “95-Nasty” (or spelled “9.5.-N.A.S.T.Y.” on the album) is one of the more freakish tracks, showcasing very catchy leadwork on Holmes’ part while Blackie’s frantic voice lures you into the circus. His voice is very grainy here, as Holmes’ accompanying riff sounds incredibly cool between relaxing verses and charging choruses. The drums also have a powerful punch to them, particularly with the double bass.
“Easy Living” is one of the tracks that I don’t really care for since it lacks a driving passion like some of the original songs. Blackie’s in the positive light when considering his covers, and here he doesn’t really disappoint, especially the vocals which just sound spot on. It’s a pretty straightforward track like the album, but aside from the rising solo, it isn’t very interesting. All three tracks don’t have particularly strong bass support, which is a damn shame since it could have been that much heavier with them. Not that its incredibly necessary, but if that was the case then why include a bass player?
The last track, “Flesh And Fire,” is one that should have been written and recorded for the debut. It’s a boring track that’s even less interesting than the last, even though it showcases what W.A.S.P. is best at (catchy songs). Drumming is very stable but dull, the riff isn’t too wild, and Blackie’s voice is the only thing keeping it alive like most of his worst songs.
Skip this like you would the burnt chick on the cover (tanning much?). Go for the full album because it sports a whole ton of better tracks than the last track found here. Nowadays, you can easily pick up the reissued version that includes all three of these tracks anyway, so you’re stuck with it.