Sunday Chuckle: Gone Fishin’

I’m not a fishing guy at all, but I have a lot of friends who enjoy it regularly.  I saw this sticker on the back of a car and I had to take a photo.  This one is for my fishing buddies!

Nostalgia Stream – Full Video

That was intense!  What follows is two hours of stories, friendship, music, hardship, music, childhood, Record Store Tales, music, and emotion.  I don’t think I’ll be able to do a show like this one again.  But I’m glad I did it and thank you for watching.

This episode may not be for everyone and I will warn you right from the start that there are some serious heavy, raw emotions about to outpour.  This is your trigger warning.  There is very little in this live stream that I have not written about in the past so if you have been reading Record Store Tales and Getting More Tale, then you’re all caught up anyway.

Nostalgia Stream Friday

It has been a heck of a week here at LeBrain HQ and I can’t wait to tell you all about it.  This week’s theme was suggested by Superdekes (I hope he doesn’t start sending me bills for all his ideas).  I’m calling this one the Nostalgia Stream because, once again, we’re talking about the 80s.  Music will be heavily involved, but what does that have to do with events of this week?  You’ll find out tonight at 7:00 PM E.S.T.

There will be no lists, no notes.  I’ll be freestyling it like I did the first couple shows, but all within the framework of this week’s theme.  I’m really excited about this one.  Expect the usual fun and frivolity, and hopefully lots of interaction.  It’s the usual time and place at Facebook:  Michael Ladano.

THREE-VIEW: KISS – Unmasked (1980)

Back for Round Three.  For the first two Unmasked reviews, click here and here.

  Unmasked (1980 Casablanca, 1997 Mercury remaster)

This has been a weird year.  Comforting, nostalgic sounds in the age of Covid have dominated at LeBrain HQ.  There are two Kiss albums that have been absolute joys this summer for blowing the blues away.  They have been Dressed to Kill, and Unmasked.  Originally rated 2.5/5 stars, I was definitely wrong on Unmasked.  The band may have disowned it, and it might not be hard rock, but reviewing it is not as “Easy As It Seems”.  This album definitely has “Two Side of the Coin”.  It might not be “What Makes the World Go ‘Round” but this summer, I just want to say one thing to Kiss Unmasked:  “You’re All That I Want”.

One reason I may have judged Unmasked harshly before is that first impressions are strongest.  In a case of Classical Conditioning, my first impression was not good.  In fact, for the first two years of hearing Unmasked, my copy was all but unlistenable.  In the beginning, I taped my first Kiss albums from next door neighbour George.  He fancied himself a bass player.  While he was recording Unmasked for me, I sat in his bedroom while he played bass along to it.  Every song.  Unbeknownst to him, his bass bled onto my tape.  Every time I played the album, it was like a remix with George overdubbed on bass, and I had the only copy.  Sometimes he continued playing well after the fade, other times he came in prematurely.  Either way, my first two formative years with this album were awful.  Even after buying a proper copy on cassette, I couldn’t hear the album without the auditory illusion of George’s bass ringing in my skull.  Though not the only factor, that had to be one of several reasons for my dislike of the album.  A dislike which in no longer:  in 2020, it’s love.  Just a fun anecdote to colour in some history, nothing more.

“Is That You?” asks Paul Stanley on the opener, a Gerard McMahon song that boasts grinding verses and a killer chorus.  Piano tinkles quietly in the background, but the guitars are nice and rich, especially Paul’s solo.  His lead vocals absolutely rip, while a sultry Gene sings the backgrounds.

A second Paul vocal follows, and it’s the big hit “Shandi”.  Listening with 20/20 hindsight in the year 2020, it’s amusing to ponder how anybody thought this was Peter Criss on drums.  It was a secret that Anton Fig played on Unmasked and Dynasty, but it’s really obviously not Peter Criss.  That disco groove is too impeccably perfect to be the Catman.  Paul is, in fact, the only Kiss member to play on “Shandi”.  And while this song is a softie, it ain’t a baddie.  It’s clear that Kiss were not the rag-tag rock and roll beast they once were.  They had evolved.  Temporarily, at least.

If the first two tracks were light on Ace Frehley, that’s not indicative of the album.  Three lead vocals for the Spaceman this time, including the single “Talk To Me”.  Shiny and chromed-up, Frehley’s songs are among the best on Unmasked and “Talk To Me” could be the top track.

I always had problems with “Naked City”, but part of that might be that I can still hear George come in early on the bass.  Gene Simmons makes his album vocal debut here, and while the chorus and riff are still not top-notch, the verses are excellent.  Songs like this also demonstrate that Gene is an underrated singer.  He’s more versatile than people realize.

Paul strikes a cool riff on “What Makes the World Go ‘Round”.  He often talks about how the album had good songs, but they should have sounded different.  This one sounds like it could have turned out more like the first three albums.  You can imagine how the riff would have been more prominent.  As it is though, it’s one of the most unabashedly catchy songs Paul’s ever written, and his guitar solo is simply delicious.  You can slag Paul for doing something so pop, but can you slag him for doing it so well?

Side B’s opener is “Tomorrow”, with Paul’s vocals cleanly produced as per the pop trends of the day, with slapback delay and airy EQ.  But like “What Makes the World Go ‘Round”, this is pop rock done really well.  The keyboards are too prominent, but at least Ace gets a tasty solo here.  As Kiss songs got catchier, so did the Spaceman’s solos.  Frehley’s next lead vocal follows on “Two Sides of the Coin”, the song title which inspired a podcast (“Three Sides of the Coin“).  Y’see, Ace just can’t pick a girl!  But he has to.  “Two sides of the coin to choose from, I’m getting weary.  Which one should I choose?  I need time.”  He insists that the girls don’t mind, but I question that assertion.  But he has to pick a mate because he’s “tired of all those dates”!  Silly words aside, Ace has knocked out two top-notch songs on Unmasked so far.

Gene’s back on “She’s So European”, a song about a girl with a French accent who drinks pink champagne.  I’ve softed my stance on this one too.  You can certainly hear the rock n’ roll riffiness that it could have been.  That’s been replaced by keyboards and slick beats, and it’s fine.  “Easy As It Seems”, a Paul song, really sneaks up on you.  It disappears into the fabric of the album until one day you just can’t get it out of your heard.  Paul lays down another fine solo, and weaves a plaintive tapestry with his incredible voice.  What range he had.

An album highlight is the third and final Frehley concoction — a weird little number called “Torpedo Girl”.  Surf rock meets the Space Ace.  The guitar lick is a tricky little off-beat riff, but with Anton Fig behind on drums, Kiss could do complex stuff like this.  Especially since that’s Ace playing the bouncy bass part too.  It’s also one of Frehley’s most entertaining lyrics.  A submarine with a pretty girl on the bridge has surfaced in the bay!  Better go check it out.

The final track, “You’re All That I Want” is a Gene number.  Like “Easy As It Seems”, one day it just catches you.  Especially Paul’s “answer” vocals in the outro.  One thing (among many) that made Kiss truly special is the multiple lead singers.  And unless you’re a Catman diehard, you don’t really miss Peter in that mix.  Frehley more than made up for the lack of Criss.  While four singers is better than three, remember that Kiss only had three lead singers for their first five studio albums.

I don’t want to have to three-view the entire Kiss catalogue but it is amazing how Unmasked just opened up to me this summer.  I’m enjoying more than ever, with that nostalgic glow for days gone by.  The “good old days” were not always good, but at least the music was.

4.5/5 stars

#848: Dear Bob

Dear Bob,

I know we don’t get to talk much anymore.  I think the last time I saw you was at a funeral.  We both have our own lives now.  You have four kids to raise, and I have a Jen to take care of and cherish.  While we have separate journeys now, I will always remember and treasure our shared origins.  We were the lucky few to grow up on a very special street in a neighbourhood like no other.

Some of my earliest memories are of us playing in the front yard.  You were two years older but at that young age it hardly mattered.  All that mattered were our adventures.  It started with dinky cars, Lego and plastic swords.  Do you remember building little garages for our cars?  I do.  You showed me how.  A few twigs stuck into the ground covered with a grass roof, and we had multi-car garages right in the front lawn.

You taught me how to improvise our fun.  With cardboard boxes, we constructed a Cloud City for my Star Wars guys to play around in.  Do you remember showing me how to make little sliding pocket doors?  Or how about that board game we came up with on our own?  It was huge!  How many of my mom’s shoeboxes did we cut up to make that?  We used my Army Men for the pieces.  We constructed traps for them, that could you trigger with the pull of a thread.  Mom eventually said “No more shoeboxes!”

I could go on, and on, and on about how we created our own worlds to live in.  The drawings, a huge binder of which I still have!  We designed our own video game.  We wanted to submit it to Atari.  Then, when my family got a computer, we discovered a new world:  word processing!  No more pen and paper; now we could really come up with stories.  The program was called IBM Writer’s Assistant and we pushed the limits of what we could achieve.  We co-wrote the Adventures of Comet-tron, though it was your idea.  I even sold copies of our “book” at a garage sale.  25 cents each, and there were two issues!

Building obstacle courses in the back yard.  Improvising audio equipment with little more than a few wires and black electrical tape.  Riding our bikes, exploring the trails.  Renting horror movies and pausing to see fake rubber props.  Writing down the rules to our own invented version of street volleyball.  These are all things I did with my best friend.  If I didn’t have you, do you think “Double Bounce Volleyball” ever would have been conceived, much less documented with actual rules?  Chances are high that the only reason I owned a volleyball was because you had one first.

It’s funny that you studied architecture later in life, because I remember us sitting down with pencils and designing our future houses.  In our blueprints, we still lived on the same street.  We bulldozed all the other houses, and added on to our own (things like swimming pools and helipads and secret tunnels and overhead bridges).  We put new houses for our families to live in, while our original homes were connected by an enclosed bridge so we could hang out without even having to go out!

As your interests changed, so did mine.  Where you led I was eager to follow.  Music was next.  Do you realize how lucky I was to have you and other older kids around the neighbourhood?  While my classmates were listening to music they’d be embarrassed by in six months, you guys had discovered Van Halen.

Do you remember our front porch listening sessions?  One of us would plug in the stereo, and somebody else would bring over the Van Halen.

“Van Halen!?” said my dad as he came home from work.  “Sounds like some kind of tropical disease!”

And so began the long tradition of my dad creating memorable quotes about rock bands.  Wouldn’t have happened without you.  Your dad had some good ones too.

“Is there something wrong with that man?” he mocked when Bruce Dickinson was screaming the high notes.

Classic!  Absolutely classic.  You were not only there for it, but you were the guy who supplied the music for them to mock!

What I’m getting at here is this.  I need to really let you know how much you shaped my life, and how much I looked up to you.  I wanted to be you.  For years I was your mini-me.  You were smart, you were cool, you were big and strong and creative and everything I wanted to be.  I had nobody like you at my school.  Why did you have to go to a different school?  How life would have been different if you were able to stand up for me during the dark times.

I’ll never forget one thing you did for me.  It was grade six.  My bully Steve went at me really hard that year.  He made me cry in class.  It’s not a good feeling, crying publicly with 30 of your peers.  All I could think is how badly I wished you were there to stop him.  Stop all of them.  Then one day, you did make an appearance.  Our schools had March break during two different weeks.  During your March break, you got on your bike and paid me a visit during recess.  None of those kids had ever seen you before.  Maybe they thought you were my imaginary friend.  Not any more!  Steve actually fell flat down on his back when he saw how much bigger you were.  The memory still makes me smile.

I don’t know if you really understood how bad I had it at school.  It was a daily living nightmare.  You were the opposite of that.  I’d come home, phone you up, and 10 minutes later we’d be in the back yard jumping hurdles made of lawn chairs, and everything was forgotten.  You just got me; we shared the exact same sense of humour.  Nothing can gravitate two friends together like a shared love of laughing at the same things.  You also drew out and nurtured my creative side.  Anytime you came up with something cool on your own (which was frequent) you’d share it with me and together we’d expand on it.  It was the exact opposite of what I had at school.  There, nobody understood me.  There, nobody nurtured me.  There, nobody laughed with me.  Only at me.

You were my hero, man.  You were my Wolverine or Iron Man.  Funny enough, I got into Marvel comics because that’s what you read!  Do you remember reading comics on the patio?  Hawkeye was your favourite Avenger back then.

I mean it when I say you were my hero.  You were smart and popular and I was just happy to be the sidekick!  When I finally made it to highschool, you sneakily got an extra locker next to mine.  I felt so cool sharing that illicit locker, like part of an elite club.  We had some excellent times in highschool.  You bought a black guitar and so for contrast I bought a white one.  We never really put the effort in, but we did have fun drawing our logo.  “Paragon” was the name you chose for our band.  We never really learned to play, but we made a music video.  I know you’ll never forget that.  Together we spent a week after hours at the school in the editing suite, finishing the video with a very tight deadline.  We did it, though.  It was hard work.  We fought through technical issues and were recognized for our efforts by having our video shown at the local 1989 Charlie Awards.  What an honour for us.

I know for a fact that I would not be the person I am today had we not crossed paths 40-some years ago.  I think I’d still find ways to be creative, but the things I do today are just extensions of the things we did then.  Sequels, reboots, remasterings.  I like to think that I’m continuing with the projects we started together.  Together we made a music video and two movies.  Today, I make several music videos every year!  And as hard as it is to believe, I even completely re-edited one of the movies we made 30 years ago.  Finishing the work that we started.

It’s OK that you went to college and started your own life.  It was always going to be that way.  We were never really going to bulldoze the neighbourhood and live in connected houses.  Back then, I was never able to express how important you were — and still are.  You helped me survive.  I knew that all I had to do was endure a week at school.  On Saturday it would be us again, you and me, racing cars, flying starships or hosting our own shows.  Despite everything I had to go through at school, I always have considered it a good childhood.  The best childhood.  And that’s because I had you, my best friend.  We embarked on truly great adventures, and they far outweigh the damage the other kids could do.  When it was you and me, they couldn’t touch me.  They weren’t a part of the worlds we were building out of cardboard and Scotch tape.  You projected a force field around yourself and nobody would touch you.  In turn you were able to shield me with it too.  That was a tremendous gift that you can’t understand unless you were the beneficiary.

Do you remember why you chose the name “Paragon” for our band that never was?  “Because it means we’re the best,” you said.  It was true!  We were the best.  We were the paragon of friendships with adventures that shaped a lifetime.  Thank you for sharing that with me.

 

Happy birthday, buddy.  I hope you’re well.

 

REVIEW: Akira Takasaki – Tusk of Jaguar (Take Another Bite) (1982)

AKIRA TAKASAKI – Tusk of Jaguar (Take Another Bite) (1982, 2009 Columbia CD reissue)

In 1982, Loudness guitarist Akira Takasaki and a Japanese keyboardist named Masanori Sasaji teamed up to record an album of music that was different from the usual Loudness rock.  Though the cover art and title Tusk of Jaguar screams “pure metal”, this is actually a combination of rock, pop and jazz fusion among other influences.  The cool thing about the album is that Loudness play on almost all of it, including singer Minoru Niihara on a couple of vocal tracks.  Some songs are all but considered part of the Loudness discography.

Certainly the opening title track sounds like Loudness.  That speed metal pace can only have been set by Munetaka Higuchi on drums and Masayoshi Yamashita on bass.  “Tusk of Jaguar” is a strange amalgam of shredding metal and jazz-rock interludes.  It sounds a bit like the Ian Gillan Band but with Eddie Van Malmsteen on lead guitar instead of Berne Torme.  Tremendously enjoyable, but way over the heads of most of the masses.

Minoru makes his first appearance on “Steal Away”, a song difficult to describe.  It’s Styx-like and has a big organ sounds like Dennis DeYoung.  Cinematic, progressive pop dance rock?  Then it goes pure Burn-era Deep Purple!  I don’t know what it is, and even with Minoru it sounds little like Loudness.  It’s also one of only a few songs without Higuchi and Yamashita.

“Macula (Far from Mother Land)” is based on synthesizer until it transforms into a more traditional guitar instrumental, with clear Brian May influences.  The way Akira Takasaki stacks his guitar harmonies can only be described as Queen-like.  For that reason, this song is the most accessible to rock fanatics, who will eat up every note that Akira celeverly lays down.  For those curious to know more about the critically acclaimed guitarist, check out “Ebony Eyes”, a serious hard rocker on which he takes lead vocals himself!  His voice is higher in timbre than Minoru’s, and while he is not an amazing vocalist, he does have some pretty incredible guitar solos on this track.

“Wild Boogie Run” is an interesting tune, sounding almost exactly like Dixie Dregs.  The violins, the acoustic & electric guitars, and slight western leanings make this a track that will make your friends wonder what Dregs album it was from.  This could be the track worth buying the album for.  Rock returns on “Gunshots” but even when Akira is just riffing, the rhythms beneath are complex and jazzy.  Hard to describe, but heavy!  A jazzy funk opens “Mid-Day Hunter”.  Takasaki is nothing if not diverse on Tusk of Jaguar, but even if the rhythms throw you for a loop, you can surely dig into his always memorable lead work.  In their early pre-Steve Perry days, Journey wrote songs like this.

Minoru Niihara returns on a song that is basically a Loudness track:  “Show Me Something Good”.  Though it also has Masanori Sasaji on keyboards, it is the entire Loudness lineup otherwise.  A pop rock track like this could have sat on an album like Lightning Strikes if it was produced with heavier intent.  The album closer is called “Say What?” which you might in fact be saying by the end of it.  Blazing tempos and synth solos adorn a track that is beyond the comprehension of mere mortals.

This is a challenging album, no word of a lie.  It’s certainly not immediate, and though parts of it sound familiar, it takes a bit of listening to really start to penetrate.  Loudness fans, and anybody into challenging progressive rock should give it a go.

3/5 stars

#847: Taping the Kiss

GETTING MORE TALE #847: Taping the Kiss

My obsession with Kiss was started in September of 1985.  You all know the story.  I knew that the neighbour, George Balasz, only needed two Kiss albums to complete his LP collection.  He needed The Elder, and Hotter Than Hell.  One day Ian Johnson called, wanting to trade some records for an Atari game:  Superman, one of the poorest games in the Atari catalogue.  He could have that stinker!  He was trading me copies of Alive! and the much coveted Hotter Than Hell.  I already knew that I was going to spin Hotter Than Hell over for more trades.

I played Hotter Than Hell once.  Then I called George to negotiate a trade.

By the conclusion of the evening, I had acquired a Walkman, Black Sabbath’s Paranoid on cassette, an Abbott and Costello record and an Iron Maiden 12″ single.  Not bad for a shitty Atari game.

Now, technically the Atari game belonged to my sister and I, and she was pissed that I traded it without at least consulting her, but today she understands the monumental significance of her sacrifice.  My Kiss collection had begun.

I owned a record player, but it was a terrible one, so my Kiss focus was going to be cassette.  I asked George to record that scratchy copy of Hotter Than Hell for me.  Between that day in September of 1985 and summer of 1987, I taped just about every Kiss album from George.  The ones I didn’t tape, I bought at the local Zellers store.  Their selection was limited.  For that matter, every store’s selection was limited.  There wasn’t much Kiss available on cassette in 1985 Kitchener.  I had to have them.  I had to get them all.

I can’t remember the specific order anymore.  I probably recorded Animalize off George next.  I say this because it was on the flipside of the 120 minute cassette that also contained Hotter Than Hell.  Those, plus my LP of Kiss Alive, kept me occupied for a few months.

There were only a few vintage Kiss albums you could find on tape in town.  Dynasty and Destroyer were common.  They had been reissued in something called The Priceless Collection, a low budget series of repressings.   The vinyl edition of Destroyer in this series lacked the gatefold.  I got Dynasty in one of the local stores, and a few weeks later, accidentally dropped it into a bucket of wallpaper water.  My dad bought me a new copy right away.  I have an amazing dad.  He always took care of me.

It was a neat experience, getting those Kiss albums on tape as a kid.  It was a whole new world to me.  Imagine getting a Kiss album, and hearing for the first time who sang which songs.  You’d try to guess from the titles.  You couldn’t guess from the writing credits, necessarily.  I’d listen to the words and try to figure out what Kiss were singing about.  Wonder if, when I was a grown-up, I would have some of these experiences with the ladies that Kiss were talking about.

I taped a few more off George in the interim.  Sometimes I’d just drop a tape off at his house while he was at work.  I asked him to record Kiss, Dressed to Kill, Unmasked, Creatures of the Night, Love Gun, and Double Platinum. He wrote down the song titles as neatly as he could, and then I made my own covers.  I had a system.  I always had a big Kiss logo on the top half of the cover.  I tried to draw them identically every time.  If it was a single album, I would add a crude drawing of something to do with the album.  On Dressed to Kill, I had Gene in a trenchcoat.  On Love Gun, a pistol.  On the back cover I’d write out the tracks.  But for a double album, I used the bottom half of the front cover to list all the songs.  There wasn’t enough room on the back for a double album tracklist once I cut (or punched) out the two holes for the tape shell.  The back cover also had the year of release, and I drew a symbol on the tape label to indicate whether I recorded it from LP or cassette.  The spine featured a “Dolby stereo” logo.  I was meticulous about keeping all my Kiss tapes looking the same.

The only one of these Kiss tapes that I still have the hand made cover for is Crazy Nights, and I half-assed it because I knew I’d be buying a copy as soon as I could.  I can remember recording Crazy Nights the day it came out from George, and this temporary cover was on the tape that tided me over until I could get a real copy.*

Of course, some were store bought.  Lick It Up was a Christmas gift and I bough Asylum myself.  Destroyer was another early purchase.  I had it before I heard Double Platinum.  I had never heard “Detroit Rock City” before.  I was familiar with some tunes from Kiss Meets the Phantom of the Park, my first exposure to many Kiss hits.  I found Destroyer to be weird and I was surprised how much George liked it.

A memory that I have of Creatures of the Night is how good that album made me feel.  Listening to that tape in the garage after a day of bullying at school was a powerful experience.  The music was defiant.  The lyrics sounded good.  “Get me off this carousel, you can do as you please, you can go to hell.” Yeah you can!

Once George got The Elder, I taped it pronto.  I remember we couldn’t read all the song titles.  “Escape from the Ish?  What is that?”  He couldn’t legibly squeeze “Island” into the line.  Then I started seeing Kiss cassette reissues in stores.  Creatures came out with Kulick on the cover.  Most importantly, all the Kiss solo albums, which were otherwise impossible to locate on tape, were reissued in early ’87.  I asked — nay, demanded — all four for my birthday.  And because I was so spoiled, I received all four.  I listened to them in alphabetical order three times each.  A lot of the tunes weirded me out.  Too much funky bass.

Last to land in my collection was Rock And Roll Over.  And I recognized, that until Kiss out with a new album, this was the last time I was going to have this experience:  hearing a Kiss song for the first time, guessing who sang what and trying to understand the lyrics.  It was bittersweet.

It turns out, even when Kiss do put out a new album, it’s just not the same.  I don’t feel like I am learning something of Kisstory, like I did with the older albums.  I don’t get the sensation of “Wow, this is a classic song that I didn’t know before.”  It is just not the same.  But I’m glad I had the experience.

* When I got Crazy Nights, I recorded over this tape and re-used the paper for the cover.  Mixed Songs replaced Crazy Nights, a compilation of singles by Dokken, Ratt, Anvil, Helix and many more.

Sunday Chuckle: The Stulk

My favourite single comic book growing up was Marvel Star Wars issue #47:  “Droid World”.  I have three copies today including the one I originally had back in 1981.  The post-Empire period is the one I remember most fondly, even though Han Solo was absent from the story, frozen in Jabba’s dungeon.  I took this issue everywhere with me.  It is tattered but still barely holding together.  At the lake or at home, I kept it near.  I tried to draw the robots inside, with the comic pages splashed open on the driveway.  Best friend friend Bob was with me with pen in hand.

I recently opened it again and came across a page that had to be Bob’s handiwork.  He was the destructive one, not me.  In ink he scrawled a word bubble on an ad page featuring the Hulk and a dollar bill with the face of Stan Lee.  Stan Lee + Hulk = Stulk?

Whatever the reason for this comic book graffiti, at least I have my two backup copies of “Droid World”.  I can’t remember him doing this but it had to be Bob!

 

Complete 80s KISS live stream! From Unmasked to H.I.T.S., unboxings and surprises!

You gotta give Aaron from the KMA credit for several things.  One, for bringing the Community together.  Two, for his thoughtful and generous nature.  And three, apparently, for clairvoyance.

Long before I decided on this week’s KISS theme, Aaron sent me a birthday gift.  You won’t believe it.  Clairvoyance?  Obviously!

This was an action-packed show and to help you navigate, here are the highlights:

I included the pre-show portion of the stream in this video.  To hear two awesome Max the Axe tunes, “My Daddy Was a Murderin’ Man” and “Magnum P.I.“, go to 0:01:20 of the stream.

For the epic Aaron Unboxing, check out 0:12:20 of the stream.

To begin 80s KISStory, go to 0:18:20 and rock!

For a sneak preview of a comedy bit that I recorded for Sausagefest 2020 (spoiler free), skip to 0:25:00.

To check out a host of cool ReAction figures, go to 1:26:00They Live, Ghost’s Papa Emeritus, Aliens, and the Transformers.

Or just enjoy the whole dang thing.

Friday Solo Stream – 80s KISS!

The rest of the gang has the weekend off, giving me the opportunity to go solo, just like Peter Criss did in 1980!  Join me Friday July 24 at 7:00 PM E.S.T. for this week’s live show.

We will be discussing 80s !  From Unmasked to H.I.T.S. and everything in between.  Am I still wrong on Unmasked?  Has my opinion changed further since my 2017 re-review?  80s Kiss is such a rich subject, with multiple lineup changes and a steady stream of polarizing music.  I hope you will enjoy and participate in the topics I have lined up.

As an added BONUS there will also be a birthday unboxing!  Who is this parcel from?  You know him and love him too.  Suffice to say he always sends something interesting….

Join me at 7:00 PM E.S.T. for your thrills in the night.  Facebook: Michael Ladano