The Visitation was a nice record and all but, for real, this is where the Chrome story begins. This was where wacky guitarist Helios Creed entered the group, and was the impetus for a quantum leap forward in all phases. What was once a laidback, California-flavored take on the Hawkwind groove had morphed into a defiant, Stooges-derived snark fest lent further credibility by Creed's lurking presence. His slashing, monolithic passages are not as prominent as they would be on the next record, but certainly, he's a great counterpart for Damon Edge and his wall of drums, samples, and other odd machines. Together they create a sound world that's not for everyone but undoubtedly, stakes a claim apart from everything else going on at that time…or any other time, for that matter.

Don't believe the critics dismissing this one. Mescalero is an hour-plus of unabashed ZZ fun, effortlessly blending local flavor, traditional band hijinks, and other hip sounds you wouldn't believe made it onto a record of theirs in 2003. But Gibbons' guitar is as thick and fuzzy as ever, pulsating through a forest of irreverent material capped off by a cover of "As Time Goes By".

The chaotic but undeniably dynamic figure who led The Deviants through the thick of the 60's had already seen better days by the late 70's. This scenester-backed record both reflects and revels Farren's ever-deteroirating condition, even though the cover smacks of hokey novelties.

I'm not saying the other WASP records leading up to this one aren't good, but I'm not enamored of them as much as others seem to be. However, The Crimson Idol is a different story. Essentially, it's a Blackie Lawless solo album, and it's a rock opera about a reluctant rock star kid. In 1972 this would have been a big deal, but in 1992, it got relegated to Europe. And guess what? Despite all of the potential trappings, it's a fine record - certainly a fresh change from the sex shock material which the group was normally known for. Check it out.

As with Spectrum VII and Compass Point, this album and 1981's Invictus (Means) Unconquered share similar themes, as traditional country music became vogue again, embraced by a new, younger crowd (sound familiar?). Coe attempted to capitalize on the opportunity through guest contributions (mostly on I've Got Something To Say, where he even duets with George Jones) or covering other artists. His versatility shines through, but I miss the sweeping and often strangely authentic epics which were all over previous records. The artist sacrifices that aspect to make two very decent commercial albums.