I suppose there was always something vaguely theatrical about the voice of Blackie Lawless, so I wouldn't say it was a ridiculous notion for W.A.S.P. to compose an album in a heavy metal stage musical style.

The story of The Neon God could be interpreted in a number of ways. In brief, it is the story of a boy who is left to the horrific abuse of "The Sisters of Mercy Boys’ Home" at the age of eight and, after escaping six years later, learns of his own particular mental and spiritual powers, being elevated to the status of god by his cult following.

It could be argued that this is all centred around the vanity of rock stars, reflecting how they began in the gutter and were finally worshiped by the masses. Then again, as the story progresses, it begins to draw parallels with the last days of Jesus (the boy named Jesse and his first "disciple," named Judah). Then there is the question of the composer's motives behind it all. Is it a case of "I've turned to God" or "Dammit, just call me God"? I myself remain undecided.

The one thing about this album that is carved in stone is the potent influence of The Who's Tommy. Right from the opening of "Overture," I could hear "Pinball Wizard" buzzing in my head. This continues in "Underture" with the "Take me, change me" chorus. The Hammond organs also give it a very 70's feel.

But let's look at this as an album on its own. Although musically, W.A.S.P. have taken to an old school rock approach, the basic sound from their most excellent last album, Dying for the World, has been maintained, and the guitars sound fucking tremendous. As for those rasping Blackie Lawless vocals, they've served the band so well since their 1984 debut, so why change a winning formula? In fact, to take it a step further, it's hard to imagine that this album was recorded now instead of 20 odd years ago.

The Neon God most definitely has its golden moments. "Asylum #9" just conjours up an image of a sea of metallers headbanging in unison, which is doubtless what will happen when this album hits the road. "Red Room of the Rising Sun" creates just the right psychedelic effect for the corresponding part of the story (the inside of an exotic hippy den). The death of Jesse's friend Billy is well portrayed in "What I'll Never Find," and final track "The Raging Storm" is testimony that W.A.S.P. have done their homework on rock musicals, with the re-occurring themes and hooks.

All in all, seasoned W.A.S.P. fan or curious youngster, I'd recommend this as some quality listening. I'm just hoping that an over-zealous Lawless doesn't end a show with "That deaf, dumb and blind god sure plays a mean pinball..." (7.9/10)