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Blackie Lawless and crew are about half way through the US leg of the Album One Alive trek, where the eponymous debut is performed in its entirety, sequentially, followed by medleys and hits from the founder/singer's early years (read: pre-Crimson Idol material). As with previous tour stops, the band's most (in)famous tune, "Animal (F*ck Like A Beast)" was not aired, despite being from the same era as the initial release. No matter, there's plenty to L.O.V.E. in the old school set! 

A fire, hunger and aggression permeate that platter, a swagger & energy that can rarely be duplicated by fledgling acts. Forty years later, there's still a potent vibrancy, right from the opening "I Wanna Be Somebody", an affirmation salvo that rarely comes to fruition as extremely as it did for Lawless. Despite recent back surgery, the frontman, in knee high, white fringed leather boots, and a buzz saw blade attached to each wrist, agilely climbed around his chrome skeletal jungle-gym/mic stand, throughout the night.

Red/blue/green illuminated "L.O.V.E. Machine" is practically a duet with bassist Mike Duda. Despite recent back issues that severely hampered his movement (played while seated at Tons Of Rock, last June) Lawless spryly skip/shuffles around the stage, when not positioned on the centrally located of the three risers, at the edge of the stage. For someone with such a megalomaniac personality, Blackie spends a lot of time sequestered behind that obstructive mic stand (ironically shaped like a human spine) or with his back to the crowd. 

Had the band not reveled in the negative publicity generated by Tipper Gore and the PMRC, given the right push, "The Flame" could have been an ‘80s radio staple. It's that good a song. Prior to "B.A.D.", Lawless speaks to the crowd, explaining the genesis of this tour. 

Been decades since most in the crowd had to worry about high school. Green hued "School Daze" (complete with pre-recorded intro, of children reciting the Pledge Of Allegiance), was originally written for the "kids" who are now in their fifties and sixties, yet (comical) still had to show ID to purchase a beverage tonight. "Hellion" shows the ‘80s promotional video (ass-less chaps and Chris Holmes) on the screen, behind the band. Initially just Blackie's voice (backed by guitarist Doug Blair), red lit (with yellow accents) "Sleeping (In The Fire)" flashes more vintage live footage onscreen. It ends with Lawless facing the drum kit. Simple, repetitive and pummeling, "On Your Knees" was never a PC topic. 

Purple lit "Tormentor" begins with a quick cranking of the chains (as it does on record) and then scenes from The Dungeonmaster are shown live (the '84 sci-fi flick that W.A.S.P. had a small part in, playing the same song, back when Blackie was the bassist), as Blair churns out the hypnotic circular guitar riff (the tone is akin to a buzzsaw blade, like the paint job adorning his instrument). The proper set, dedicated to the aforementioned album, concludes with "The Torture Never Stops", as an old silent era black & white movie, about the Devil and possession, is acted out onscreen.

There's a short intermission, as the band leaves an empty, blue hued stage, reemerging for a short encore. "Inside The Electric Circus" revs hotter and more ferocious than in its ‘80s party anthem heyday. After a verse or two, it's into "I Don't Need No Doctor". Never understood the need to do cover tunes in an encore and tonight we got two: this and in short order, The Who's "The Real Me". Certainly would have preferred the absent "Chainsaw Charlie (Murders In The Rue Morgue)" in its place. It seamlessly segues into the ode to motorcycle riding, "Forever Free", which shows a tender side of the band Ms. Gore could never have imagined existed. 

World War II era news reel footage of Hitler and Mussolini play throughout "The Headless Children". Blue lit and fog shrouded, Lawless plucks out some introductory notes on his guitar, a nearly a cappella version, leading to full-blown, "Wild Child" as the promotional video plays on the screen overhead. The crowd sings along, as eight headlights backlit the band. As usual, the night ends with a rousing "Blind In Texas", one final chance for the gathering to air out their lungs, on the titular chorus. As he mentioned in-show, probably not going to revisit this album, ever again, so thanks for the memories, Blackie.

After juggling a number of line-ups, the tour opener was decided upon: Armored Saint, who played with W.A.S.P. last go round, as well as the legendary '85 trip, when both were alongside Metallica. John Bush (vocals) recalled the first time they played Philly (Dec 18, 1984 at the Tower Theater, with Quiet Riot), where they opened with "March Of The Saint". Forty years later, the song is still in the set and doubtful it was as ever as frenetic as tonight. "Last Train Home" sees Bush atop his fortress of wedge monitors, encircling the center stage mic stand he never uses. 

Adding backing vocals, bassist Joey Vera's head is on a swivel, headbanging throughout (as many a blurry photo can attest). Left Hook From Right Field" is cascaded by a multi-colored display of lights, from above. A chugging "Book Of Blood" is not one I'd expect in an opening slot, but it gives the two guitars, and center stage commandeering Vera, a chance to showcase their chops. The twin axemen (Phil Sandoval and Jeff Duncan) would meet again, atop the central riser, for "Can U Deliver". 

That's because Bush was singing from up in the balcony, aided by plenty of audience voices. Bush and Vera are center stage, exhorting the crowd, prior to the pumping, blue/red tinged "Reign Of Fire" finale, which sees the singer visit each guitarist, on opposite sides of the stage. Always good when the Saints go marching in!