I was going to put this video online myself, but a more complete version already exists. No point in duplicating it, but I still wanted to make a post for it. I had this in my VHS collection on one of my 1985 tapes.
I didn’t know what show this was from, since it came from the “Balasz Tapes” recorded off my next door neighbour. I watched and treasured it, because it was the only video I had of Peter Criss as a kid. My only Catman footage. Not to mention it was Kiss! Kiss in makeup too, and there wasn’t much of that in the mid-80s.
This was from a TV show called 3-2-1 Contact, and it’s a pretty cool demonstration of what goes in to putting on a Kiss concert.
George used to complain about one detail. The sound tech shows how he can use a harmonizer to create the Gene Simmons “God of Thunder” monster voice. “He does that with his own voice!” protested George. As for me, I’m more upset that the sound tech thinks it was Darth Vader who says “My the Force be with you”.
From way back on the Dynasty tour, check out this really cool Kiss clip.
QUIET RIOT – One Night in Milan (2019 Frontiers Deluxe Edition CD/DVD)
James Durbin made me a believer.
On paper, the current Quiet Riot shouldn’t be my thing. A band with no original members and a frontman from one of those singing contest shows? No thanks. Except it’s actually good. After years of flailing around with different replacement singers, Frankie Banali finally hit gold when he got James Durbin. Wisely, Frankie chose to do a live album with him.
One Night in Milan is a terrific live CD/DVD set, aided and abetted by a singer who is 100% into it. Durbin has charisma and the frontman chops, but importantly, he’s not trying to be Kevin DuBrow. He still uses the striped mike stand, but otherwise Durbin is his own person. His range is out of this world, and though his voice may grate on some ears, he sounds terrific to this listener. The whole lineup, including Alex Grossi on guitar and veteran Chuck Wright on bass, has gelled.
Quiet Riot get points for doing the opposite of what most bands do. They didn’t ignore their 1990’s albums! “Whatever It Takes” (from Down to the Bone) and “Terrified” (from “reunion” album Terrified) sound awesome live. “Terrified” in particular has been a long time coming, a true hidden classic from a forgotten era. On the other hand, there are only two songs (“Freak Flag” and “Can’t Get Enough”) from their newest album Road Rage. There’s only so much room on a live CD, and it’s otherwise stuffed with stone cold Quiet Riot classics. It’s cool to hear deeper cuts like “Condition Critical”, “Thunderbird” and “Let’s Get Crazy” live.
The DVD, featuring all the songs from the CD, is even more convincing. Banali continues to thunder like no other drummer, a true phenomenon. There’s more stage talk included, and Banali introduces “Thunderbird” performed live for the first time ever with piano. Durbin is always the focus on stage, although Wright and Grossi are both mobile, entertaining performers.
If you’re just not into Quiet Riot without Kevin DuBrow, that’s fine and you should stick to what you like. However it’s safe to say that James Durbin has saved Quiet Riot from becoming a pointless parody of itself. With James center stage, this band has a future again.
I always liked this interview clip. Jeff Pilson seemed so friendly and enthusiastic. Don, meanwhile, didn’t even know how many songs were slated for the Back for the Attack album! I think he forgot “Mr. Scary”.
Back for the Attack wasn’t out yet, so Laurie Brown asked Dokken about Under Lock & Key. Check it out!
This public service announcement from Twisted Sister frontman Dee Snider mostly likely aired on an episode of Toronto Rocks’ Midweek Metal Mania show, the prototype for the Power Hour. It’s probably from 1984 or 85. I don’t know its exact origin because this comes from one of the “Balasz Tapes” — stuff originally recorded by next door neighbour George and then taped by me in one of our childhood recording sessions.
It’s lower quality because it’s a tape of a tape, but I think it’s still pretty cool.
By now you know that “Rogu” is my favourite new American Dad character. I decided to set him up as my desktop background at work. The result is suitably freaky.
MuchMusic’s Laurie Brown took over the Pepsi Power Hour in 1988, and for me personally, a lot of their best shows were from her era.
This interview with the young rockers named Duff McKagan and Slash (from some band called Guns N’ Roses) is definitely an anachronism. Cigarettes lit, the guys seem fairly sedated though refreshingly authentic. Their naivete is interesting in hindsight. They clearly did not see themselves becoming the mega-phenom that they are. “Guns N’ Roses is five kids, who pretty much don’t have a whole lot of influence on the rest of the world, as far as we know.”
Duff and Slash offer insight about their early years, getting signed, and touring with Iron Maiden. It’s quite obvious they are not having a good time with Iron Maiden! Laurie also asks them about the original cover to Appetite For Destruction. “We didn’t see any rape thing going on,” insists Duff. “Her bra fell off, what?” laughs Slash. Slash mockingly relents. “OK, alright fine. We were generally promoting rape…I mean come on.”
Speaker’s Corner was a place where anyone could get on TV! You would step into the recording booth, pop in some coins, and record a brief video. If you were lucky, you’d be chosen for the Speaker’s Corner TV show.! The Barenaked Ladies got their start by playing a song on Speaker’s Corner (“Be My Yoko Ono”). There were lonely people looking for love, there were eccentrics and even LeBrain and his pals (though I don’t know if our video was ever broadcast). There were also recurring people, like Brie.
Funny thing. A guy I used to work with at the Record Store named Joe Perry once said to me “I know a girl with a Poison tattoo.” He was shocked when I answered, “Is her name Brie?”
“How, how the hell do you know that?” he asked.
How could Joe have known that I was taping Speaker’s Corner the day she showed off her Poison tattoo!
You gotta give the girl credit for getting a Poison tattoo in the 1990s.
When I was a kid buying new Kiss albums likes Crazy Nights, I used to say “Kiss should go back and make a full album that sounds like Side Four of Alive II.” Either that or Kiss Killers. I thought either direction was worthy of re-visiting, since they were small collections of songs, not full albums.
The guys who created the original band Klassik ’78 read my mind, and decided to do something about it. In the spirit of the Kiss sound circa Alive II, Klassik ’78 took it upon themselves to write and record a “lost” Kiss studio record that could have followed Love Gun. Imagine Kiss didn’t split to make solo albums or return with a Disco record. Original Kiss, not ghost musicians. Klassik ’78 aimed to create an album from that exact year in that precise alternate universe. The remarkable thing is that they actually succeeded.
The Side One EP has a bangin’ opener: the Paul-styled “Standin’ Tall”. Paul-vocalist “Joe” nails the Starchild’s mannerisms, while the riff mimics that kind that Paul was writing around the time of Rock And Roll Over. A slaying Kiss-like chorus drives it home. Klassik ’78 member “Tom” rolls out a Gene-like song as authentic as the Demon’s long tongue. “Please n’ Tease” is a “Love ‘Em Leave ‘Em” styled sleaze rocker just like Simmons used to write them. There’s even an Ace-y solo that burns like the Spaceman’s rockets. “Mean Business” definitely nails the Alive II vibe, kind of like a sequel to “Larger Than Life” with a guy who’s doing his best to sound raspy like Peter Criss. Another perfect faux-Frehley solo is the ideal topping. “Passion & Love” is obviously a “Paul” song, a mirror image of “Mr. Speed” and a nearly perfect vocal. Every “Ooh yeah!” is spot-on. There’s a good chance you could fool any casual fan into thinking “Passion & Love” is an actual lost Kiss song from 1977. “Rock and Roll You” is another Gene-like vehicle, right in that Kiss pocket. Finally, with a title like “Streetwise”, you’re probably already expecting a track like Ace Frehley. That’s exactly what you get, with a crunchy Ace-like riff, sharp licks, and the same kind of spacey vocals (also by “Tom”). “I grew up in the city, spent my time on the street.” Every lyric on Side One is crafted to fit the Kiss member it’s for. The attention to detail is remarkable. Certain moments of the “Ace” guitar solo have bits inspired by Frehley’s 1978 solo album. It’s uncanny.
The important thing is that these are not just tracks that sound exactly like Kiss songs. These are songs that sound exactly like good Kiss songs. Could Klassik ’78 deliver another six tracks to make it a full, good album?
“Joe” in the Paul Stanley guise opens Side Two with a stunning “World on Fire”. It is in the style of Stanley’s ’78 solo disc, but with the Frehley guitar fills of Kiss instead of Bob Kulick. Time for a “Gene” song next with “Ain’t No Fool”, kinda similar to “Mad Dog” as released on the Box Set. Another obvious Ace title is “Jendell”; I say “obvious” because hard core fans know that Ace Frehley supposedly comes from planet Jendell. “I was sent on a mission, light years ago. To help the human condition, for how long I didn’t know.” Yep, it’s a “Space Ace” track and a good one at that, once again with tones inspired directly from the Frehley solo album. Back to Alive II (think “Rockin’ in the USA”), it’s another “Gene” song with “American Made”. The title alone is perfectly Simmons. “I”m American Made, and all my dues have been paid.” In the vibe of “Makin’ Love”, it’s a Stanley-like “Hot On Her Heels” next. Once again, you could easily fool friends into thinking this is actually Kiss. Closing Side Two is “Victims (Nosferatu)”, implying a Kiss Demon epic. Think “Almost Human” from Love Gun, but with more heft. Klassik kloser, pardon the pun.
I’m not going to bullshit you. If the Klassik ’78 album was a real Kiss album from 1978, it would be considered one of their best, with the original six. Obviously Kiss have no intention of ever making an album like this, so why not let Klassik ’78 have some fun with it? Clearly the fans responded, because the limited run of CDs (re-titled The Un-Originals) sold out immediately.
Check out Klassik ’78 on iTunes, put on your old jean jacket and set your time machine back to 1978. This album will transport you back.
Once upon a time, John Roberts was J.D. Roberts. He wasn’t a political pundit on Fox News, he was the host of the Pepsi Power Hour! The year was 1986 and Yngwie J. Malmsteen was in the studio.
J.D. asked him about his Classical influences, and then a dumb question about turning Bach into Rock. Check it out.
While out promoting 1987’s Dream Evil, Ronnie James Dio and Craig Goldy sat for an interview with MuchMusic’s Erica Ehm. She asked him about Satanism in rock lyrics and videos.
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