The Plasmatics were the ultimate shock-rock band, taking the antics of Kiss, Alice and Ozzy to new heights, and adding their own punk rock spin to the proceedings. Fronted by the incomparable Wendy O. Williams—the boobbastic blonde who made duct tape the ultimate fashion accessory. She was also one of the great rock’n’roll front women, her signature growl up there with Janis Joplin in the originality sweepstakes. But on top of all the shock and awe of the band’s legendary exploits, they were crack musicians with a knack for writing dreadfully good rock songs. The band also featured the ballerina-skirt and blue-mohawk-sportin’ Richie Stotts on slick guitar action and future Kiss producer and multi-instrumentalist Jean Beauvoir on bass. The band’s back catalog has recently been re-released by various labels, but two in particular stand above.

Cherry Red’s reissue of the band’s first album NEW HOPE FOR THE WRETCHED is top-notch. Originally released in 1980 on Stiff Records, the album was highly derided by “musicians” and some critics, but praised by many for its originality and over-the-top sonic attack. Taking the raw sounds of the Stooges and upping the ante with Williams’ snarls and breathy bravado, this album is a punk classic, even if it is a little uneven in spots. Jimmy Miller, who had previously worked with the likes of the Stones and Motorhead among others, supposedly produced the album. But legend has it that Plasmatics svengali Rod Swenson, who was more interested in creating style over substance, overtook the proceedings. It’s a shame that Miller didn’t get to fully exploit the Plasmatics’ talents, as this album has the makings of an all-time great, but ultimately falls short in its inconsistencies, those being about one in every three songs. Standout cuts include the raucous “Butcher Baby,” the bouncy, jungle-esque “Monkey Suit,” and a revved-up cover of Bobby Darin’s “Dream Lover,” with a bizarre, noise-laden jazz-fusion breakdown in the middle. This crack reissue features several live bonus tracks, plus a nifty foldout cover with info on the album.

COUP D’ETAT, released in 1982, was the band’s third album. By now, Jean Beauvoir was no longer in the band and had gone on to pursue a heavily pop-oriented AOR career. Produced by Dieter Dierks (who’d also worked with the Scorpions), the album marked a distinct change in direction. While the punk edge was ever-present, the album was imbued with a slick, metal sheen that wasn’t present on the band’s earlier outings. Now the band was hanging out with the likes of Kiss and probably figured the blossoming metal scene of the early ’80s was their ticket to commercial success. All conjecture aside, COUP D’ETAT is a hard-rockin’ masterpiece. Opening with a power-chord blast embellished by an earth-shattering scream courtesy of Williams, “Put Your Love In Me” is reminiscent of early AC/DC in its angrier days. “Stop” is a politically charged burner with a cut-time verse that showcases Williams’ incendiary account of the world’s ills. The haunting melodies are brilliant up until the rather trite chorus kicks in, but luckily this secondary to the main part. “Rock’n’Roll” is a straight-up hard rock anthem with a vintage-Scorpions feel, with blazing guitar work by Stotts, and great breathy vocals by Williams. "Lightning Breaks" is an Ozzy-era Sabbath-style dirge with an ultra-fat bassline, while the Motorhead cover "No Class" is akin to a speed-addled ZZ Top. The sexed-up, "Mistress of Taboo" is the one of the punkier pieces, with a faux-rap verse that marks one of the early links of the styles. And the epic “The Damned” is dark and brooding with infectious hooks throughout. This stellar reissue features exquisite remastered sound, bonus tracks including a rare radio ad, and an extensive booklet with an exhaustive essay on the band and the album.