DAVID LEE ROTH – A Little Ain’t Enough (1991, Warner, digipack promo CD version)
First Billy Sheehan was gone β fired by the βnote policeβ.Β Then Steve Vai was out, to join David Coverdale in his merry international band of Whitesnake, replacing Vivian Campbell.Β David Lee Roth lost his two biggest guns in the space of a year. Β What next? Β Replacing Billy was Matt Bissonette, brother of drummer Gregg.Β Matt is a fantastic bassist, but there is only one Billy Sheehan, so naturally the band was bound to sound different.Β Replacing Steve Vai was much harder.
Filling the guitar slot, but not the shoes, was new young guitar prodigy Jason Becker (from Cacophony, with Marty Friedman), and veteran axeman Steve Hunter (ex-Alice Cooper).Β Becker was beginning to feel the effects of amyotrophic lateral sclerosis (ALS).Β Fans must have known something was wrong when Becker was not seen on tour.Β Becker kept his diagnosis private for the time being. Roth tapped Joe Holmes (future Ozzy guitarist) and stated that he needed musicians who could βflyβ on stage.Β It was hard for fans to become attached to his new band, even wieldingΒ the firepower of two guitarists, with all these changes.
Rothβs first post-VaiΒ album, A Little Ainβt Enough, failed to ascend the commercial heights of Eat βEm and Smile or Skyscraper.Β βGoodβ, but not βgreatβ. Β Not enough of that Dave “charasma”. Β Just a collection of songs, not a fierce sexed up power-packed rideΒ through.Β Roth hooked up with producer-du-jour Bob Rock at Little Mountain studios. Β Rock endowedΒ Roth with a generic sound, contrasting the high-tech Skyscraper. Β Dave seemed to be trying to take a step back towards his Van Halen roots. Β Roth insisted that he and his band stay in the shittiest Vancouver hotel they could find. Β Prostitutes, dealers, criminals, the works. Β He wanted a dirty rock album and you canβt make one of those with a $20 room service hamburger in your stomach, as per the method ofΒ Diamond Dave.
A Little Ainβt Enough wasnβt the return to dirty raw rock Roth that had hyped.
Lead single βA Lilβ Ainβt Enoughβ was plenty of fun, a top notch Roth party song.Β βWas vaccinated with a phonograph needle one summer break, then I kissed her on her daddyβs boat and shot across the lake.βΒ Perfect for summer.Β Second track βShoot Itβ was just as fun, a big horn section delivering all the big hooks.
The one-two punch of those openers wasΒ slowed by following them with βLady Luckβ, a rock blues track written by Dioβs Craig Goldy.Β Good song, but the firepower and excitement of the previous two was missing.Β βHammerhead Sharkβ, the fourth track, had more energy but not the killer hooks.Β What it does have is some killer shredding by the guitar duo of Hunter and Becker, with Hunter on the slide and Becker on the quick pickinβ.Β βTell the Truthβ is another blues, slower this time, and was also released as an instrumental remix with dialogue (from a movie?) dubbed over.Β Side one closed with a real Van Halen-like corker called βBabyβs On Fireβ. Β As the title suggests, it’s red-hot and loaded with smoking playing.
Side two is a mixed bag.Β β40 Belowβ is a fun track, with shades of Halen but more focused on bluesy guitars.Β βSensible Shoesβ was a single, a slinky blues that appealed to some that normally wouldnβt buy a David Lee Roth album.Β The slide guitar is the main feature.Β βLast Callβ is another one reminiscent of classic Van Halen, and βDogtown Shuffleβ dips back into noctural blues rock. Good songs β not great, but good.
Jason Becker only contributed two of his own songs to the album:Β the final two, βItβs Showtime!β and βDrop in the Bucketβ.Β These happen to be two of the best tracks.Β βItβs Showtime!β is 100% pure Van Halen, smoking down the highway, so try to keep up.Β Itβs the kind of high speed rock shuffle that theyΒ invented and mastered.Β Meanwhile βDrop in the Bucketβ serves as a cool, smooth ending to the album.Β Its impressive guitar work is only a glimpse at what Becker was capable of.
ALS be damned, Jason Becker refused to go down without a fight.Β As the disease took his voice and his hands, he began composing music on a computer.Β He uses a system that tracks his eye movements, much like Steven Hawking.Β This way, Becker has managed to stay active musically and has inspired thousands with his efforts.
Itβs a shame that Beckerβs only album with David Lee Roth was a bit middle of the road.Β It wasnβt the full shred of early Roth, nor as diverse as Dave can get.Β In his efforts to make a straight ahead rock album, Dave shed some of what makes his music special.Β The musical thrills are lessened on what is probably the most βordinaryβ album in his catalog.
Ever had a nickname that you acquired accidentally that you didn’t care for? Β Who hasn’t?
What about a loofah, have you ever heard of those? Itβs a spongey thing that some people use to clean themselves in the shower.
On June 5 2014, the subject of loofahs came up during the Tedious Tiresome Trivia segment on The Craig Fee Show on 107.5 DaveRocks. Craig didnβt know what a βloofah mittβ was. Having seen one in my own shower (not my loofah I assure you), I tried to be helpful and sent him an email. I probably should have clarified that it wasn’t mine, because what did I get for my kind gesture? Mockery!
His response, which was live on air, was that I needed to renew my βMan Cardβ.
I let him know that the loofah mitt βis not mine, sillypantsβ (exact words). It was too late, the damage had been done. Thousands heard his mockery of my Man Card status. I made the mistake of speaking up, and Craig wasnβt about to let it go. On June 10 he re-ignited the loofah issue, again stating that I needed to get my Man Card updated. The nickname βLaLoofahβ began to take off. If we hashtagged it, it would have been trending. Β On June 25, DaveRocks listener Duncan dubbed me with his own modified version of the nickname: βOptimus LoofaBrainβ. Β That one’s not bad.
The LaLoofah nickname only died recently. Thatβs why Iβm bringing it back. I hated the name but now miss the attention. Canβt stand my reviews or opinions? Then go ahead β call me βLaLoofahβ, the derogatory nickname of choice for your friendly neighborhood LeBrain!
Β – Love Gun (1977 Casablanca, 2014 Universal reissue)
By the late 1970s, Kiss had achieved more than most bands do in an entire career. Β In 1977, Marvel comics released the first ever Kiss comic. Β Famously, as a publicity stunt, each Kiss member had a vial of blood drawn, and poured into the red ink. Β “Printed in real KISS blood” Β proclaimed the front cover. Β Can you imagine such a thing in 2017? Β In 1978, the toy company Mego marketedΒ the first set of Kiss action figures. Β The phenomenon of Kiss was almost eclipsing the music. Β Perhaps it would have completely, if Kiss didn’t continue to release excellent albums on aΒ biannual basis. Β Their first album of 1977 was the legendary Love Gun. Β Even the Ken Kelly cover art depicts Kiss as demi-gods of some kind. Β Inside, the merchandising spilled over to the album. Β Kiss were determined to give their fans a little extra, and so the album was packed with little cardboard “love guns” that you could assemble yourself…accompanied by a Kiss merch mail-away form.
The music brightly outshone all the flash and trimmings. Β Again with Eddie Kramer in the producer’s chair, Kiss sought to make a focused heavy rock record. Β Their material had rarely been stronger. Β Paul Stanley was becoming handy at writing opening tracks that defined what an album was going to sound like. Β “I Stole Your Love” cranked it fastΒ with one of Paul’s most thunderous riffs. Β The tribal sounding drums by Peter Criss are an apt example of what made him great at the time. Β Criss was not a technical drummer, but he had the rightΒ feel and a knack for the perfect fill. Β Ace Frehley soars in and dive bombs with an unforgettable lightning solo. Β Gene Simmons is there in the back, adding the thump. Β “I Stole Your Love” in a mere three minutes encapsulates everything about Love Gun that makes it great.
Gene Simmons’ demon character had another side; that of the “creepy old man”. Β “I don’t usually say things like this to girls your age, but when I saw you coming out of school that day, that day I knew…I knew!…I’ve got to have you, I’ve got to have you!” Β Probably from the perspective of aΒ highschool senior, but still, it came from Gene’s mouth. Β The less said about the words the better, for “Christine Sixteen” is one of Gene’s most perfect musical moments. Β Eddie Kramer provides the piano for a vintage rock and roll sound. Β A Kiss classic it is, and Peter once again has the perfect fills for the song.
Moving on to “Got Love For Sale”, the lecherous Simmons now “has love, will travel”. Β Uptempo sleeze is perfect for Kiss’ friendly demon, but Frehley is the real star here. Β Speaking of whom, the Space Ace finally worked up the courage to sing his first lead vocal on his trademark Kiss song “Shock Me”. Β On the prior tour, Ace nearly electrocuted himself on stage when he touched a railing that wasn’t grounded properly. Β “Shock Me” is a humorous reference to this. Β Any Frehley track has a unique flavour. Β He attacks his Gibson and assembles chords and riffs in a style all his own. Β “Shock Me” showed he could sing too, finally adding a fourth voice to a Kiss album. Β For the first time, Love Gun has all four Kiss members singing lead. Β The first side was bookended by another Paul Stanley track, the killer “Tomorrow and Tonight”. Β Piano and Motown-style female backing vocals give the track a classic feel, and Paul once again came up with a sweet candy-coated chorus. Β Echoing a previous hit, Paul sings “We can rock all day, we can roll all night.”
The most well known track from Love Gun is the title track itself. Β It has been in the set regularly since 1977 and is generally considered one of Paul Stanley’s best songs (if not his very best). Β All the ingredients click perfectly. Β “Love Gun” kills and cannot be improved upon. Β Even if, when you think about it, “Love Gun” is a metaphor for “penis”, and the lyrics amount to singing, “You pull the trigger of my…penis, penis, penis”. Β Substitute “penis” every time Paul sings “Love Gun”Β and see. Β Paul Stanley is an absolute genius, because he has gotten stadiums full of thousands of people to sing an ode to his cock, and that’s cool.
“See Ronnie? His dick is the gun!”
Peter Criss only had one track on Love Gun, a Stan Penridge co-write called “Hooligan”. Β It was good enough to get some live performances, though it and Gene’s “Almost Human” occupy the lower rungs of the Love Gun album. Β The best thing about both “Hooligan” and “Almost Human” is that both perfectly fit theΒ personas that sing them. Β Peter has always emphasized his tough street upbringing, but as the lovable cat character, and that’s “Hooligan”. Β “Almost Human” is 100% the sex-crazed demon, almost a theme song. Β The bass thumps, but there is some interesting percussion stuff happening too. Β Simmons continues looking for love in “Plaster Caster”, his encounter with the legendary Cynthia Plaster Caster. Β One can assume that Gene Simmons’ wang is among those on her display. Β “A token of my love for her collection.” Β “Plaster Caster” rocks hard (pun intended) and has balls (also intended).
Love GunΒ surprisingly closes on a Phil Spector classic, “And Then She Kissed Me” (gender reversed) by the Crystals. Β Paul Stanley helms it, a romantic number perfect for Kiss content at weddings. Β The Kiss-ified version is almost comically guitar heavy, but Kiss have managed a number of unusual covers over the years. Β Adapting it to their sound, Paul owns “And Then She Kissed Me”, especially when topped by an awesome and appropriate solo.
The Love Gun tour that followed this album is one of Kiss’ most legendary: the dual staircases, levitating cat drums, Β and of course the big Kiss logo in behind. Β Kiss were huge. Β A gallup poll put Kiss as the most popular band in America, over Zeppelin, Aerosmith and the Stones. Β When bank accounts inflate, so do egos. Β With success comes cost. Β Though the Love Gun period is all but universally lauded, it was also the last unified album before some members became liabilities.
Today’s rating:
5/5 stars
See Ronnie? Β His dick is the gun!
Uncle Meat’s rating:
3.5/5 steaksΒ
Meat’s slice: Β This was Peter Crissβ last album with Kiss for a long time.Β Love Gun is a hit and miss record in Meatβs opinion.Β Or maybe better putβ¦hit and somewhat miss.Β I think there are simply too many forgettable songs on this album. Β Β “Then She Kissed Me”, “Hooligan”, “Got Love For Sale”, “Tomorrow and Tonight” and “Almost Human” are all average at best.Β Thatβs half the album right there. Β There are also standout songs. Obviously the title track is a Rock and Roll classic now, the albumβs opener “I Stole Your Love” is a hot tamale, and I have always loved the catchy “Christine Sixteen”, especially that chorus.
However, Love Gun is a very significant Kiss album simply because of one song.Β I donβt know a Kiss fan that doesnβt love “Shock Me”.Β The debut of Ace Frehley as a βsinger-songwriterβ so to speak, made many wish he would have sung a few more before things all fell apart.Β Some of the songs coming up in the next few albums, including his solo album, are some of Kissβ best material in my opinion.Β
Maybe they just ran out of ideas.Β Should have been half an album of Ace songs instead.
– Rock and Roll Over(1976 Casablanca, 1997 Mercury remastered edition)
Kiss were at a crossroads.Β What to do next?Β Destroyer, produced by maestro Bob Ezrin, introduced a new Kiss to the world:Β glossy, indulgent, polished and augmented with plenty of highbrow non-rock instruments. Β Would they explore that road and see where it lead?Β If they had, an entire alternate KISStory would exist today. Β Instead they chose to get back to basics.
Producer Eddie Kramer, who made Kiss Alive! so unforgettably thunderous, was called up again.Β Kramer and Kiss departed for the Star Theater in Nanuet, New York to record.Β The idea this time, as opposed to Destroyer, was to go for a live Kiss sound, but on a studio album.Β The theater setting was intended to help capture that. Β Peter Criss’ drums were recorded in a bathroom for the perfect ambience. Β Rock and Roll Over followed Destroyer by a mere seven months, maintaining Kissβ record of two albums per year.Β As promised, it was a return to the core Kiss sound:Β loud guitars and hard rock.Β They had learned a trick or two from the Destroyer experience.Β Rock and Roll Over was tighter and sharper than the first three Kiss albums.
The acoustic intro to Paulβs βI Want Youβ lulls you into a false sense of calm.Β Then it completely explodes with one of Paulβs most passionate tunes.Β In three minutes, Kiss laid waste once again.Β A second Paul scorcher, βTake Meβ was written with Kiss road manager and coach Sean Delaney. Β The words are simple and c-c-c-catchy: “Go baby, you make me feel ah, ah, ah, ah yeah!Β Oh, baby, you make me feel ah, ah, ah, ah yeah!”Β Elsewhere, Paul asks βPut your hand in my pocket, grab on to my rocket,β just so there is no confusion.
Gene Simmonsβ βCalling Dr. Loveβ (based off a demo called βBad Bad Lovin”) was a single and a perennial concert classic.Β You either like Gene or you donβt.Β βCalling Dr. Loveβ wonβt change any minds, but it will satisfy those who canβt enough of the sex-crazed demon. Β It does boast a fiery Ace Frehley guitar solo, one of his most memorable. Β Geneβs second track βLadies Roomβ is just rock and roll, a lesser-known Kiss classic, but catchy as sin.Β The LPβs first side was closed with a Peter Criss song, co-written with his Chelsea bandmate Stan Penridge.Β βBaby Driverβ is not listed among Kissβ best tracks, but there isnβt much wrong with it.Β Itβs basic, it slams, and Peter screams his throat out.Β Not a standout but worth a spin or two.
Geneβs βLove βEm and Leave βEmβ is the lovely kind of sentiment that many Kiss songs were built on.Β This ode to groupies and hotel sex was not the first and not the last, but it had a memorable bop and catchy chorus.Β βMr. Speedβ (Stanley/Delaney) is a standout with the kind of rock and roll guitar riff that Paul specializes in.Β This killer track could and perhaps should have been a timeless concert classic, probably ahead of other tracks. Β (It was also used on the soundtrack to Keanu Reeves’ 1994 action movie Speed.) Β Simmonsβ βSee You In Your Dreamsβ was less timeless and memorable, so later on Gene took a shot at re-recording it.Β The Rock and Roll Over version makes for the kind of song that is good for filling the spaces between better songs.
Speaking of better songs, Paulβs βHard Luck Womanβ is undeniably one of his best.Β The lush acoustic six and twelve string guitars ring pure and clean.Β Paul wanted to give the song to Rod Stewart to sing, as it has a light βMaggie Mayβ aura.Β Wiser minds prevailed and the song was kept for Kiss, and given to Peter Criss to sing as a followup to βBethβ.Β Peter of course nailed it and βHard Luck Womanβ reigns as one of the best tracks Peter was given to sing, if not the best. Β It might not have been as big as “Beth” but that means little; it is the far superior song.
Closing the record, Paul Stanleyβs βMakinβ Loveβ ends Rock and Roll Over on the same kind of fast and furious riffingΒ that it began with.Β βI Want Youβ and βMakinβ Loveβ are bookends, starting and finishing Rock and Roll Over with hardΒ guitars and good times.Β Sean Delaney co-wrote βMakinβ Loveβ and his contributions to KISStory have too often been swept under the carpet.Β Delaney had three co-writes on Rock and Roll Over.Β Peter Criss had one, and Ace Frehley didnβt have any at all.
Rock and Roll Over gave Kiss another platinum album to hang on the wall.Β Their success, and their sound, had solidified.Β There was nowhere to go but up.
Todayβs rating:Β 4.5/5 stars
Uncle Meat’s rating: Β 5/5 steaksΒ
Meat’s slice: Β This time letβs start with the negative, as small and nitpicky as that is in the case of this album.Β Iβm not a big fan of “See You in Your Dreams”.Β Not awful, but just kinda bland in comparison to the rest. Β “Baby Driver” could also be lumped in with that for the same reason.Β
The other thing I could say about this album is that since Kiss were the “Kings of the Night Time World” at this point, this is where the lyrics started to get their most misogynistic or what have you.Β Songs like “Ladies Room” and “Love ‘Em and Leave ‘Em” are tunes I really like, however I can see that these were the gateway drug to some of the ridiculous lyrics in Kiss songs in the 80s and 90s.Β
I love everything else about this album.Β Rock and Roll Over was my favorite Kiss studio album as a kid, and itβs just a shade under Dressed to Kill now on my Kiss albums list. This seems to make sense now, since both albums were created in similar fashion: Β Kiss under the gun and needing to write and record an album fast.Β Β Good Rock and Roll instincts there.
My favorite ever Kiss ballad is on this record too. Β “Hard Luck Woman” is an extremely catchy song, and could be my favorite song on the album.Β I recall that somewhere around 2002, I was very drunk in a bar and ended up singing “Hard Luck Woman” on karaoke, and probably had not heard the song in many many years.Β I sang the first 2/3rds, however well a pissed me could muster.Β The end of the song surprised me and I had no idea what to sing and left in the middle of the track.Β Not long after a girl came up to me and said, βI have never heard anybody sing that Garth Brooks song on karaoke beforeβ.Β She seemed so taken aback at my insistence that “Hard Luck Woman” was a Kiss song.Β Maybe it was because I started freaking out on this poor girl. Β “Hard Luck Woman” indeed.
DUST – Hard Attack(1972) / Dust(1971) (2013 Sony Legacy)
fans know the names of Richie Wise and Kenny Kerner. Β This production team laid down the first two Kiss records, and although their production was not the best, they were the first. Β But where did they come from? Β A little trioΒ called Dust. Β Wise was the singer and guitar player. Β Kerner was the manager, co-producer and co-writer. Β They released two records as Dust, also featuring legendary Derringer bassist Kenny Aaronson and drummer Mark Bell. Β These two albums, Hard Attack and Dust, were remastered and compiled as one CD by Sony in 2013 (presented in reverse order).
The cool thing is the Dust albums actually sound better than the Kiss albums.
Dust were a hard rockin’ band, distinguished by having loads of slide and pedal steel guitars (handled by Aaronson). Β Dust were travelling the same roads as other bands such as Aerosmith, Cream, Free or Zeppelin, but with less of an identity. Β The songs were good. Β “Stone Woman” is slippery slick blues rock, while “Goin’ Easy” is a laid back southern acoustic blues. Β And they could get heavy. Β “Love Me Hard” is the kind of proto-metal that Budgie, Sabbath and Purple were doing on the other side of the Atlantic.
3.5/5 stars
This was a 200 word review in the tradition of the #200wordchallenge.
Action figures are like CDs. You can go and buy the “standard edition” at Walmart, or what have you. But if you want all the extra goodies, sometimes you have to hunt a little more and buy a few extra versions.
Toys such as my beloved Star Wars Black Series 6″ series have plenty of exclusives, some that I have and some that I want. The most elusive are the San Diego Comic-Con toys. Some exclusives: Jabba the Hut came with a cardboard throne and accessories. Their Boba Fett came with Han Solo in carbonite. But they are mucho pricey. Elsewhere down the money scale are toys that are exclusive to certain stores and online outlets.
Walgreens is a store that doesn’t exist in Canada and often gets exclusive Star Wars figures. Their most well known is the “prototype” all-white Boba Fett based on an original 1978 Ralph McQuarrie concept sketch. Their current Star Wars treasure is a C-3P0 variation with two gold arms and one silver leg.
The “standard” version of Threepio has the red arm seen in The Force Awakens. This “Resistance Base” Threepio is the common one. Since C-3P0 doesn’t come with any accessories (not even a restraining bolt or com-link), fans hoped he would come with alternate limbs, so you could recreate his look in Episode IV. Hasbro had a different plan. Instead they made the different limbed robots exclusives to Walgreens. I have been looking for one. Β (There is also a version with a darker red arm, but it doesn’t look as good as these.)
Our neighbors went to Toronto Comic-Con yesterday and found the Walgreens silver leg Threepio for me. It was only $40 — a lot cheaper than ordering one online. Thanks guys!!
Many record store employees drink. Β Record store people are just people, and some people drink. Β And some drink, a lot. I was never much of a drinker, not until I moved in with T-Rev in β98. Then I caught up pretty quickly (Captain Morgan’s and Coke, not beer), but I still couldnβt compete with those guys. (In fact, I still remember when I went out for my 30th birthday. I was accused by the Operations Manager/Bully of βfakingβ that I was drunk. Iβm a light weight, and she was just a meany.)
Like me, some of the younger folks, they just couldnβt pace themselves. Β The difference is they’d be drinking while having to open the store the following morning. Β A lot of them would be out partying, and then weβd get the inevitable phone call the next morning. βIβm sick. Can you cover for me today?β It happened more than once, not naming names.
One guy, who helped me set up the first store that I managed, came into work hungover so many damn times. The first time, I had to send him home. He was absolutely useless. He was actually trying to work with his head down touchingΒ the counter. He was slowing me down, so I sent him home and somebody else came in.
The same guy came in hungover one Saturday morning, later on, after we opened. He had his head down on the counter when a customer approached him. He raised his head.
βUhh, excuse me. Do you have the soundtrack to Jasonβs Lyric?β
The hungover employee stumbled over to the computer.
“It’s a movie soundtrack,” clarified the customer, seeing Mr. Hangover was struggling.
βNo. We donβt have it.”
The customer asked him to check to see if one of our other stores had it, so he picked up the phone. Β The customer went back to browsing while Mr. Hangover was making the call. Β We only had three stores at the time. Β One of them had Jason’s Lyric used on CD!
Mr. Hangover then walked out onto the floor to tell the customer about the CD. Only problem: Β he didn’t remember who asked. Β Or the exact name of the CD he asked for. Β So Mr. Hangover approached somebody who looked right.
Walking up to the unsuspecting stranger he said,Β βHey man. They got your Jesusβ Lyric over there.β
βWhat?β
βThey got your Jesusβ Lyric soundtrack CD at the other store that you asked for.β
Overhearing this, the correct customer identified himself, and things got sorted. Β No big surprise ending here: Β Mr. Hangover was let go soon after!
Kiss had βmade itβ.Β Alive! put them where they wanted to be:Β on the charts and headlining concert stages coast to coast.Β The financial pressure was off and they didnβt have to simply crank out new albums to keep the band afloat.Β They could now take their time and make something that was more thought out; a statement.
The first issue to deal with was Kissβ past sonic inadequacy in the studio.Β Prior albums produced by Kenny Kerner & Richie Wise, and Neil Bogart did not capture the full-on Kiss thunder. Β They failed to shred the speakers.Β They needed somebody “big time”, to give them the punch they desperately needed.Β That somebody was Canadian producer extraordinaire Bob Ezrin.Β Ezrin had been an instrumental guiding force for Alice Cooper.Β Now it was Kissβ turn to receiveΒ the platinumΒ Ezrin magic touch.
Ezrin agreed to work with Kiss, reportedly influenced by a neighbor kid who liked to discuss music.Β βThe kids fromΒ school love Kiss,β the boy told Ezrin.Β βThe problem is, their records sound so shitty.Β But the band is so good we buy the records anyway.βΒ Working with Kiss wasnβt much different from working with Cooper.Β These were not schooled musicians.Β Ezrin had to take them to boot camp.Β Keeping the drums in time was a challenge.Β Peter Criss had difficulty maintaining a steady tempo, so Ezrin would beat a briefcase to keep him in time.Β He wore a conductor’s coat and tails, and pushed the rest of the band like a drill sergeant.Β Even the mighty demon Gene Simmons was chastised, for finishing a take before the producer instructed him to stop.Β And when Ace Frehley didnβt show up because he had a card game?Β Shenanigans were not tolerated.Β When Ace wasn’t available when he should have been, Ezrinβs buddy Dick Wagner (Alice Cooper) was there.Β For the first time, a Kiss member was replaced on album by an outside uncredited musician.
One innovative technique that Ezrin brought in to thicken up Kissβ sound was using a grand piano to back up the big guitars.Β The end result doesnβt sound like piano and guitars, but one solid wall of rock, like Phil Spector channelled through Bob Ezrin.Β Where Kiss used to rely on rag-tag recordings they now had a big glossy sound to play with.Β Ezrin was also fond of sound effects and orchestration, and he brought both to Kiss.
The opening track βDetroit Rock Cityβ was a slam-dunk intro to the new Kiss sound.Β After an extendedΒ start with the sound of a fan driving to a Kiss concert, the band thundered into focus.Β That trademark riff chainsaws through, before Paul Stanleyβs powerful pipes take command.Β What a song.Β The new Kiss had arrived, shiny and sleek, souped up and fueled, as if they were a brand new band.
βDetroitβ faded out into βKing of the Night Time Worldβ, an outside song brought in for completion by Ezrin and Paul Stanley.Β They turned it into something that worked for a Kiss album, albeit very different from their past.Β As for Paul, he contributedΒ a fast hard rocker called βGod of Thunderβ.Β Though reports sometime differ in the details, ultimately the song fit Gene Simmonsβ demon persona better and the song was given to him to sing.Β It was slowed to a monster plod, and a few lines were changed to suit. Β (“Make love ’til we bleed” was changed to “Hear my words and take heed”.) Β And those little demonic voices?Β Bob Ezrinβs kids, playing with walkie-talkies.
βGreat Expectationsβ (based on Beethoven) has to be the most bizarre song on the album and one of the weirdest that Kiss have attempted.Β A lush ballad with strings and choirs and Gene Simmons in crooner mode, it is definitely different.Β Even one of the rockers, βFlaming Youthβ written by Frehley/Stanley/Simmons/Ezrin, is different for Kiss.Β Itβs a rock songβ¦with calliope. Β (Picture circus music.) Β Geneβs βSweet Painβ had female backing vocals like an old Motown single.Β These are all interesting experiments, but none of those three songs have become live concert classics.
Bob Ezrin tricked the band into writing βShout it Out Loudβ.Β He realized they needed one more song, so he told the band that they had lost the masters to βGreat Expectationsβ and needed a replacement.Β Gene and Paul hurriedly wrote βShout it Out Loudβ with the producer and had another instant classic.Β Like βRock and Roll all Niteβ before it, βShoutβ was an anthemic rallying cry that a concert audience could get behind.
The album closer was a track called βDo You Love Meβ, another tune brought in by outsiders (Kim Fowley) to be finished by Kiss.Β Though on the surface βDo You Love Meβ is a bit repetitive and dull, it was later covered by Nirvana.Β There must be something to it that struck a chord.
There was still one more song on the album, a throwaway.Β It was used as a B-side to βDetroit Rock Cityβ, as the band didnβt have much faith in it.Β Peter Criss had brought forward a love song called βBeckβ, named for a girl named Becky, written by Stan Penridge for their old band Chelsea.Β The song needed work, including a new title.Β Ezrin revamped it completely, and the result was one of Kissβ all time biggest hits:Β βBethβ.Β Tender and accessible, the only Kiss member on βBethβ was Peter Criss himself.Β Dick Wagner played acoustic and Bob Ezrin played piano.Β The orchestra finished it off.Β Eventually, radio stations started flipping the “Detroit” single and playing βBethβ.Β This led to Casablanca reissuing “Beth”Β as a single A-side, Kissβ highest charting ever.
With the help of βBethβ, Destroyer maintained Kissβ stardom and opened up the doors for any future musical experiments they could fathom.Β Its cover showed Kiss in an apocalyptic landscape, in full super hero mode for the first time.Β Artist Ken Kelly created something that helped define Kiss as larger than lifeβ¦and larger than life they did become.
That wasnβt the end of the story for Destroyer.Β For years it became the benchmark that Kiss albums were measured against.Β In 2012, Bob Ezrin revisited the backing tapes and produced an alternate mix called Destroyer: Resurrected.Β This featured some previously unheard music such as an alternate Ace Frehley guitar solo for βSweet Painβ (Dick Wagner played the original solo).
Destroyer is far from the definitive Kiss album.Β In fact, it is more like a one-off, an experiment that was never fully revisited.Β Some of its songs are less than classic.Β Others are so classic that you canβt imagine the world without them.Β The bottom line for Kiss was that Destroyer propelled them further towards their goal of becoming the hottest band in the world.
Today’s rating:
3.5/5 stars
Uncle Meat’s rating:
4/5 steaksΒ
Meat’s Slice: Β The general consensus of casual Kiss fans is that this is their greatest studio album.Β Letβs examine this.Β I’ll start with the iconic.
“SHOUTΒ IT OUT LOUD” β On May 22, 1976, this song went number one in Canada, the bandβs first ever number one song.Β 40 years later and “Shout it Out Loud” might be the Kiss song with the longest shelf life.Β One of two perfect βlive concertβ songs on Destroyer.Β The other?
“DETROIT ROCK CITY” – Β Thin Lizzy-esque two-guitar rock fest. Β Β Sitting on the same shelf as “Shout it Out Loud”.Β Iconic indeed.Β Β Unperishable.Β Β Even has a movie named after it. I have never seenΒ it.Β Β Maybe itβs finally time to do so.
“BETH” β If any other member sang “Beth” it wouldnβt have been the same song, or had the same success.Β Peter Criss has a special rasp in his voice that can both rock and schmaltz it up. Β Like Rod Stewart, or that goof that sings for Slaughter.Β Β I personally wish “Beth” would “fly to the angels” up in the sky, but this song did do one good thing for me. Β My grandmother refused to get me anything Kiss related until I pointed out to her that “Beth”, on the radio in the car at the time, was actually Kiss.Β So thanks for that at least.
“DO YOU LOVE ME” βΒ Perhaps this song is more iconic in my own mind specifically, since it is in my Top Five Kiss songs.Β Classic Paul Stanley stuff here.
“GOD OF THUNDER” β Unique in every way for the time.Β A lot of Ezrin tricks in this track including backwards drumming.Β I still have not heard the great cover of this song I always thought I would from some Metal band.Β Thereβs still time….
No wonder the casual Kiss fan believes this is the best of all of the Kiss studio albums. Β It is a great collection of songs that are still loved today.Β But everything else on Destroyer not listed above is average at best,Β or much worse than that.Β Maybe itβs because Kiss was too busy getting music lessons from Bob Ezrin while in the studio.Β Maybe itβs simply that Kiss was tired of being looked at as a βjokeβ and wanted to get more serious, hence getting some more respect from the mainstream press.Β Now again, this is my opinion and Iβm sure that some might vehemently disagree with me about some of the deeper Destroyer tracks.Β The best of which I think is “Flaming Youth”. Β “King of the Night Time World” is pretty good, but borrowed from another song. Β “Great Expectations” is blah stuff except for the melody stolen from Beethoven. Β “Sweet Pain” sucks.Β And “Rock and Roll Party” is just unnecessary filler, very much like “Inside”, the ending track on 5150.Β Might as well take the needle off the record as soon as the song starts and put on something else immediately.
Letβs use this analogy.Β
A couple raises 10 children.Β Β Three of their children become world leaders.Β Two others become successful doctors.Β But half of their kids are in jail, some for unspeakable crimes against humanity.Β Can you call them the best family overall because half of them are special? Β Β Destroyer is definitely not the greatest Kiss album.Β
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