ace frehley

RE-REVIEW: KISS – Killers (1982 import)

The KISS RE-REVIEW SERIES Part 21:  

  Killers (1982 Casablanca, German and Japanese versions)

No matter how you feel about Kiss’s concept album Music From the Elder, it was a commercial dud.  It was Kiss’ first serious flop as a band since hitting the big time in 1975 with Kiss Alive!  More significantly, it was part of a trend:  Kiss chaos.  Since the solo albums, Kiss were fragmented.  The band weren’t playing on all the songs anymore, and members were leaving.  They had strayed from their music roots and become a comic book novelty act.  The Elder was not so much an album that people didn’t “get”, but one they didn’t care to “get”.  Fans were moving on.

The European record label, Phonogram, was in damage control mode.  They drew up plans to issue an album consisting of new and old songs; a compilation to put some money back in the coffers.  They weren’t mucking around.  They wanted a batch of new rock songs, but Kiss had effectively become a trio.  Ace Frehley hadn’t left the band officially, but he was no longer involved creatively.  Filling the guitar slot again was Bob Kulick.  As he did on Kiss Alive II, Bob played lead guitar on the new songs.  A 1988 book called Kiss: Still on Fire also named Ratt’s Robbin Crosby as a guitar player on the new songs, though this is a claim not backed up in any other source.  Paul provided the new songs, written with old and new friends:  Mikel Japp, Adam Mitchell, and some Canadian guy named Bryan something.  Bryan Adams?  Cuts like a knife indeed!  Adams co-wrote the lethal “Down On Your Knees”, and it wouldn’t be his last songwriting credit with Kiss either.

The best new tune in the batch was called “Nowhere to Run”, and it was one of the rockers that Kiss were working on before they decided to do The Elder instead. The sheer quality of this Stanley-penned underdog really supports the theory that doing The Elder was a mistake.  “Nowhere to Run” was classic Stanley, as good as anything on his solo album and exactly the kind of song that Kiss should have been doing.  In an alternate universe where The Elder never came out, what could have happened to Kiss?  Unfortunately the new compilation called Kiss Killers was never released in North America.   “Nowhere to Run” could do very little to change Kiss’ fortunes without being released in their native country.

The second-finest of the new songs is a little ditty called “I’m a Legend Tonight”.  Paul has somewhat disowned these songs since, but it is really hard to understand why.  This is a hard hitting Paul rocker, as only Paul can do.  It’s all innuendo and hot guitar licks.  The riff is simple and hooky, while Kulick plays for all he’s worth.  No longer was Bob being told to “play like Ace”.  His signature scorch really makes these new songs sound like a continuation of the Paul Stanley solo album.  Then there is “Down on Your Knees”, the one with Bryan Adams’ fingerprints on it.  It’s hard to tell, although it’s not outside the Adams ballpark.  It’s a sleazy rocker, spare and sounding great.  The new tracks were produced by Michael James Jackson, who finally captured Eric Carr’s drums properly.  Bob Ezrin buried them under mud on The Elder.  Kiss Killers sounds more like the real Eric Carr debut album.  The last of the new songs, “Partners in Crime”, is the weakest of the four.  Paul takes it down to a slow sexy grind, but “Partners in Crime” lacks the charisma of the other three.

As far as the new songs could be considered a “comeback”, it’s close but no cigar.  There’s no discernable Demon.  Where is Gene Simmons?  The lack of any audible Simmons vocals makes you question whether he even played bass on the new songs.  Regardless, Kiss is about a balance between Gene and Paul, and Killers represents the first heavy skew towards Paul.

 

The hits on the record make for great listening.  Most of the key bases are covered:  “Detroit Rock City”, “Shout it Out Loud”, “Love Gun”, “God of Thunder” and even “I Was Made for Lovin’ You”.  There are no Peter Criss songs, and the only Frehley is “Cold Gin”, which Gene sings.  The only ballad is “Sure Know Something”, a minor hit in Germany where this album was issued.  In a cool touch, the record closes with the “live” (quotation marks!) version of “Rock and Roll all Nite” that made them superstars.  It is the more well known, and arguably superior version.  (Some of the other tracks are edits or single versions.*)

Kiss’ very first Japanese bonus tracks were on Killers.  The Japanese version is an even better listen.  They put a bonus track in the second-to-last position on each side:  “Shandi” (massive hit in Australia) and “Escape From the Island” (previously unreleased in Japan — it wasn’t included on their version of The Elder).  “Shandi” is just a great fucking song, and “Escape From the Island” is a cool inclusion because of a) its obscurity, and b) its total Ace Frehley shreddery.  It is interesting to note, that only Japan had tracks from the two most recent Kiss albums, Unmasked and Music From the Elder.  The rest of the world did not.  Were Kiss already trying to bury those records?

Periodically, the new songs on Kiss Killers have reappeared on single B-sides, compilations and box sets.  The best way to get them is just to pick up a copy of Killers.  Choose your format, sit back and rock!

Today’s rating:

4/5 stars

* “Shout it Out Loud” is a single version with a different mix on the lead vocals and an early fade.  “Detroit Rock City” and “I Was Made for Lovin’ You” are edited versions.

Original mikeladano.com review:  2012/07/27

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RE-REVIEW: KISS – Music From the Elder (1981)

The KISS RE-REVIEW SERIES Part 20:  

  Music From the Elder (1981 Casablanca, 1997 Mercury remaster, 2014 Universal vinyl)

Kiss had gone as far as they could go in the pop direction that they travelled on Unmasked.  The band’s stature was in jeopardy.  The image was outweighing the music and they suffered their first member defection.  As discussed in chapter 18, Peter Criss was out, but he was replaced by an energetic young drummer henceforth known as Eric Carr.  His abilities put sounds in reach that the band weren’t able to do with Peter Criss.  The smartest move, albeit the safest, would be a return to the band’s hard rocking roots.  Songs were written and demoed, including “Don’t Run” (Frehley/Anton Fig), “Every Little Bit of My Heart” (Stanley), “Deadly Weapons” (Stanley/Simmons), “Nowhere to Run” (Stanley), “Feel Like Heaven” (Simmons) and an instrumental called “Kix Are For Kids”.

Based on what we know of these songs today, Kiss easily could have turned them into a classic sounding album.  Whether it be ego, fear, ambition or sheer hubris, Kiss scrapped the demos and aimed instead to shoot in another direction.  That is, Paul Stanley, Gene Simmons and manager Bill Aucoin changed direction at the protest of Ace Frehley.  Eric Carr had no say, being an employee.  Playing on the strengths of Kiss’ larger than life comic book image, Gene concocted a fantasy story that they wanted to turn into a concept album.  If that was successful, they could spin the album off into sequels, a tour and a movie.  And who else would be better to produce a concept album than Bob Ezrin?

The addition of Ezrin was another grievance for Ace Frehley.  It was Bob Ezrin who replaced him on 1976’s Destroyer album with Dick Wagner on “Sweet Pain”.

So a fractured Kiss went into separate studios to record the concept album.  Ace stayed in his new home studio in Connecticut and recorded his guitar parts there, painstakingly taking his time to get just the right crunch.  Much to his chagrin, Bob Ezrin used only bits and pieces of what he was sent.  Bob was dealing with a severe drug problem, and had isolated himself so that the only lines of communication regarding the album were Kiss and Bill Aucoin.  Nobody outside of the circle heard a note until they were done.  There was talk of a double album, but it made sense to do it one at a time…just in case it didn’t sell.  Hence the title, Music From the Elder.  Like Star Wars, this was meant to be only a part of the whole story.

A word about the running order.  When Music From the Elder was first released in North America, the story didn’t make much sense.  It was supposed to begin with the instrumental “fanfare” and then the acoustic strumming of “Just a Boy”.  Instead the record company shuffled the song order to start with something heavier:  “The Oath”.  But the concept never made any sense.  In 1997, Mercury released the Kiss remastered series, and restored the original intended track order.  They even restored a snippet of “lost” music, a Gregorian chant bit between the first two tracks.  The original Japanese pressing came with the tracks in the right order, but was missing one overall (“Escape From the Island”).  The Japanese version also came with a neat full cover obi with pictures of the band — something fans missed out on with the normal release.  (When fans did finally see pictures of the 1981 Kiss, they were taken aback by the modern hair and image.)  The current 2014 LP edition on 180 gram vinyl also has the restored track order.

The album begins quietly (and pretentiously) with strings and woodwinds of “fanfare“, credited to Ezrin and Stanley, and based on the melody of second track “Just a Boy”.  “Who steers the ship through the stormy seas?  If hope is lost then so are we.  While some eyes search for one to guide us, some are staring at me.”  The Elder is the tale of a reluctant hero known only as “the boy”.  He is the archetypal “chosen one” selected by the mysterious and powerful Council of the Elder.  “When the Earth was young, they were already old,” reads the liner notes.  He must face the evil Blackwell, but he can’t believe there is anything special about him.

Although “Just a Boy” is a deep cut loved only by those with Kiss infecting their blood, you can hear its charm.  It sounds nothing at all like Kiss, and its soft acoustics don’t even sound like a rock band.  Paul sings the chorus in an insane falsetto, which he also utilizes elsewhere on the album.  The powerful guitar solo is all his, and one struggles to hear Ace Frehley on the track at all.  “Just a Boy” is a good song, with structure and dynamics and thoughtful composition.  It isn’t something that could be performed well on stage, and the production leaves a muddy haze over the lead vocals.  It’s hard to hear 50% of Paul’s lyrics.  Fortunately, the 2014 vinyl reissue comes with something the 1997 CD did not:  a lyric sheet.  With that in hand, you can follow the story.

In fact, it must be recommended to listen to The Elder on vinyl at least once to fully appreciate the album.  Something about sitting there with a gatefold jacket open and following a story on a record sleeve works as a sort of time machine.  It’s truly an experience that you cannot feel with CD alone, and the only way to do that with the songs in the proper order is with the 2014 vinyl reissue.

Kiss have thrown obscure covers on their albums before, but it’s strange to see such a thing on a concept album.  “Odyssey” by Tony Powers fit the story at this moment, although nothing could sound less like Kiss.  It is a fully orchestrated song and it doesn’t even have Eric Carr on it.  Ezrin didn’t think he was getting the right vibe so he brought in Allan Schwartzberg who also played on Gene’s solo album.  “Odyssey” is as overblown and pretentious as a song can get, as if Kiss suddenly became the Beatles and this was their “Hey Jude” moment.  This many soft, un-Kiss like songs right off the bat is a good way to throw listeners, so the record label ended up moving it to side two.  Paul Stanley has disowned the song, but what Paul failed to appreciate is that though campy, “Odyssey” is also incredibly fun.  It has no place in the Kiss canon, but there it is, and it’s hard to forget that delightfully pompous orchestra.

The first appearance of the mighty demon Gene Simmons is “Only You”, a choppy and spare guitar number that is the first rock moment on the album.  It’s an attempt to be progressive and rock, and it more or less works.  It’s simple and blocky, but it shifts into a few different sections including a reprise of the “Just a Boy” theme.  Paul also guests on a verse as the boy character, questioning his destiny:  “I can’t believe this is true, why do I listen to you?  And if I am all that you say, why am I still so afraid?”  The Elder respond, “In every age, in every time, a hero is born as if by a grand design.”  In an interesting twist, Doro Pesche later covered this song with completely different lyrics.

According to their self-written Kisstory (volume 1) tome, Eric Carr expressed some doubt as to the band’s current direction.  In response Gene challenged him to come up with something of his own, so Eric provided the beginnings of “Under the Rose”, on which he also plays acoustic guitar.  “Under the Rose” became his first writing credit on a Kiss album, with Gene Simmons.  “Under the Rose” is soft/heavy, soft/heavy, and features an ominous choir on the chorus.  But through this, Ace Frehley’s presence cannot be felt.  Such an important part of the Kiss sound before, now relegated to the sidelines.  Ace had only one lead vocal on The Elder, a song based on a riff written by Anton Fig.  Their “Don’t Run” demo was re-written by Gene Simmons and Lou Reed, yes Lou Reed, to become “Dark Light”.  In context of the story, “Dark Light” warns of coming evil.  Ace’s presence is welcome, providing some much needed rock foundation and a brilliant guitar solo.  Unfortunately “Dark Light” is probably his weakest in his Kiss career, a disappointing followup to prior classics like “Talk to Me”, “Save Your Love” and “Shock Me”.

Lou Reed co-wrote the lyrics to the single “A World Without Heroes”, which originated as a Paul Stanley ballad called “Every Little Bit of My Heart”.  Reed came up with phrases like “a world without heroes is like a world without sun.”  These clicked with Gene and Bob Ezrin who completed the song.  Paul plays lead guitar on a somber single that, again, sounds little like Kiss.  Kiss had done ballads before and even had hits with them, but nothing like “A World Without Heroes”, one of their darkest songs.  Strangely, it ended up being covered by Cher.

At this point of the story, the boy agrees to fulfill his destiny and become the hero.  This happens on the most heavy metal song on the album, “The Oath”.  This is the track that opened the original released running order of the album, completely destroying any comprehensible plot.  You can still understand why they did this.  Its metal riff and impressive drums are the intro that the album really needed.  Paul sings in falsetto again:  “Now inside the fire of the ancient burns, a boy goes in and suddenly a man returns.”  The song was performed live once in 1982 on a TV show called Fridays.  Although the performance seemed sloppy and awkward, Ace burned up a couple wild guitar solos.  If this is the kind of material that Bob Ezrin cut from the album, it was a big mistake.

So the boy has taken the oath, and it’s time to meet the evil one. Gene and Lou Reed wrote “Mr. Blackwell” about the character, who doesn’t seem to be too worried about the discovery of the chosen one. “Here’s to the kid, a real man among men,” mocks Blackwell in the lyrics. (The song also contains the phrase “rotten to the core”, which was a song title Gene had been batting around since the mid-70s.) Musically, “Blackwell” is spare and revolves around the words. A bumping and thumping bass is the main feature of a song that is more words than music.

At the exact moment that you need Ace Frehley to come back and save the album, he does with the instrumental “Escape from the Island”. Co-written with Eric Carr and Bob Ezrin, “Island” delivers the thrills and action-packed guitar action. Because it’s an instrumental it’s hard to determine exactly how it fits the story, except it sounds like an action scene. Perhaps Blackwell launched a preemptive strike on the boy, who escaped. Ace’s guitar attacks the surroundings, chopping them down with fatally loud riffs.

The final song (on all versions of the album) is the single “I”. Gene and Paul split lead vocals on this Simmons/Ezrin song, but once again Eric Carr was secretly replaced on the recording by Allan Schwartzberg. The story is wrapped up with the boy now proclaiming he believes in himself and is ready to take on the evil. The end of the album, yes, but clearly intended as only the first chapter of something bigger. Gene spoke of a heavier sequel album called War of the Gods which would depict the conflict. Instead, “I” serves as the ending, and at least it’s a kicker. Like vintage Kiss, the riff and chorus meld into one fist of rock. The lyrics are suitably uplifting. “I believe in something more than you can understand, yes I believe in me!” That’s pure Kiss in a nutshell right there.

A short hidden track following “I” provides the only dialogue on the album (over a reprise of “fanfare“), although more was recorded. The hidden coda reaffirms that the Elder have found the right kid. “He’s got the light in his eyes, and the look of a champion. A real champion!”

There are two ways to listen to The Elder.  If you want the whole enchilada and would like to hear the story in its correct order, pick up a remastered edition of the album either on CD or vinyl.  If you’d like a more even listening experience that is the same as that of fans who dropped the needle on the album in 1981, then go for the original CD or vinyl release.  But if you’re a Kiss maniac, you simply must do it both ways.

Music From the Elder is a flawed album, mostly marred by sonic muddiness.  It has an uncharacteristic quantity of ballads and un-Kiss-like songs, so fans stayed away in droves.  What they missed was a decent concept album for Kiss, a band that never should have attempted a concept album in the first place.  Because the album failed to sell, Kiss’ ambitious tour plans were scrapped and the band stayed home.  Aside from the three songs played on the Fridays TV show (“The Oath”, “A World Without Heroes” and “I”), Kiss never played any songs from The Elder live until their 1995 acoustic Konvention tour.  The lack of a tour meant Kiss’ momentum was all but halted.  The new drummer that fans barely knew only ever played one show in North America!

A bigger problem was brewing, and that was a bitter and disenfranchised Ace Frehley.  Once again, fans were not aware of the problems brewing in Kiss, but The Elder was the last album Kiss Ace played on until 1998.  It was a repeat of the Peter Criss situation only two years prior.

If Kiss had stuck to their plan of recording a hard rock album again, perhaps things would have played out completely differently.  We’ll have a chance to check out some of the songs they were working on in upcoming chapters for they would not stay buried long.

Today’s rating:

3.5/5 stars


Uncle Meat’s rating:

2/5 steaks 

Meat’s slice:  Some of my favorite records ever have been “concept” records.  Operation: Mindcrime, Misplaced Childhood, 2112, Metropolis Pt 2: Scenes From a Memory, El Corazon; to name just a few of many.  When it comes to The Elder, my one sentence review of this album would simply be:  Some bands should not make concept albums.  Bob Ezrin came straight from The Wall to record this mess.  I read somewhere recently, and it may even have been in the comments here perhaps, but Ace Frehley hates this album.  Which completely makes sense considering he had been on such a roll until it halted with this record.  It’s kind of a hard album to break down individually, but some quick notes:

“The Oath” – Very chuggy heavy song.  I think the [domestic] album starts off with the best song.  Song begins as if it’s Manowar meets Kiss.  More reminiscent of Creatures of the Night than this record.  Perhaps some bombastic Tenacious D-like moments.

“Just A Boy” – Starts off like early ELP and first reaction is that Paul Stanley could never come close to singing this song again.  Solid song.  Overall I get a Wishbone Ash feel. 

“Dark Light” – As mentioned earlier, Ace’s roll slows down with a dull track.  I do like the guitar solo over the bongos though.

“Only You” – An even duller track that starts with Gene singing, and morphs into Stanley singing with some stupid effect on his voice.  Right producer, wrong band.   (That could be another one sentence review of The Elder)

“Under the Rose” – This clunker doesn’t flow for me.  Gregorian Monks?  Bah….

“A World Without Heroes” – I thought it was lame then and it’s only slightly less lame to me now.  Could have used more Lou Reed.

“Mr. Blackwell” – Funky novel track.  Dancy and quirky but one of the strongest songs on The Elder for me.  One of the only songs for me that has a great hook to it.  Unmasked this album is not.

“Escape From the Island” – Good solid rocker.  Great drumming.  This would have been a great live jammer, but I’m doubting they have ever played this live.   LeBrain?  [Nope]

“Odyssey” – WTF?  Was this Paul’s tryout demo  for Phantom of the Opera?  This song alone is an unforgivable sin, and just another reason why this album should have been aborted in the womb.

Favorite Tracks”  “The Oath”, “Mr. Blackwell”, “Escape From the Island”

Forgettable Tracks:  Take your pick….


To be continued…

Original mikeladano.com review:  2012/07/26

RE-REVIEW: KISS – Best of Solo Albums (1979) #0wordchallenge

Brief explanation:  After the #200wordchallenge, I was inspired to come up with an even more daunting task.   Could I do a review in 0 words — without using any words at all?  I invite you to the #0wordchallenge!  Mine is below, but use your imagination and come up with something uniquely you!  This review is a part of…


The KISS RE-REVIEW SERIES Part 19:  

  Best of Solo Albums (1979 Phonogram)


Original mikeladano.com review:  2012/09/03

RE-REVIEW: KISS – Unmasked (1980)

bThe KISS RE-REVIEW SERIES Part 18:  It’s a KISS three-fer!  LeBrain and Uncle Meat discuss KISS Unmasked below.  Meanwhile Deke at Stick it in Your Ear has an accompanying piece called Peter Criss:  Tossed and Turning!

  Unmasked (1980 Casablanca, 1997 Mercury remaster)

“I think Unmasked is a pretty crappy album.  It’s wimpy” – Paul Stanley, KISS Behind the Mask

Here we are at Unmasked, the very album that inspired the Kiss Re-Review series in the first place.  It’s a polarizing platter.  The band often trash it and shun it in concert.  Meanwhile, some fans have grown to appreciate it, particularly in Europe and Australia.  There is even a tribute CD on a German label with covers of the entire album.  Indeed, Unmasked is not without strengths.  Ace Frehley contributed another three songs of his own, continuing the growth he demonstrated on his solo album and Dynasty.

On the other side of the ledger, there were factors that fans see as a diluting of the Kiss sound.  Co-writers were now the norm.  Returning producer Vini Poncia had eight co-writes.  They used a track by songwriter Gerard McMahon.  Even ghost guitarist Bob Kulick had a co-write on Gene’s “Naked City”.  Most importantly, but publicly unknown at the time, was that Kiss had effectively become a trio.  Peter Criss’ substance issues had come to a head and he was not involved with the album at all.  He was on the cover, and in the credits, but all Peter did was mime some drums for the “Shandi” music video.  When that shoot was done, Peter was gone.  Anton Fig (Dynasty, Ace Frehley) returned again to fill the gap behind the scenes.

The album demonstrated a slick turn towards pop rock.  Not disco so much, although the compression on the drums and guitars gives it a disco sound.  The keyboards and slick production sweetened the album to the point that the thunder of Alive! or Love Gun was completely absent.  Kiss were becoming caricatures in pursuit of megahits.

The Gerard McMahon song “Is That You?” was selected to open Unmasked.  This sexy grind is one of the best tracks, with Paul in peak voice showing off what he can do.  The slow and dirty pop rock number gets the job done, with minimal loss of integrity.  That’s Paul on lead guitar too, one of several songs on which he solos, though it is hard to tell.  In fact Unmasked is one of those Kiss albums on which you can’t be sure who played what.

Only one Kiss member appears on the big single, “Shandi”, and that’s Paul Stanley.  On bass was Tom Harper, and Holly Knight on keyboards.  There is little doubt that “Shandi” is a fantastic song, and it worked particularly well live in the acoustic setting.  While Unmasked blurred the lines between rock and pop, “Shandi” is pure pop joy — almost adult contemporary!

Frehley’s first track was a favourite called “Talk to Me”, a song many Kiss fans easily embraced.  These first three songs were performed on the Unmasked tour, which demonstrates their worth.  “Talk to Me” has a cool guitar riff and one of Ace’s most infectious choruses – an instant classic.  Ace had really grown as a singer by this point.

The waters get murkier after the first three tracks.  Gene’s “Naked City” is a grower.  It possesses hooks and great verses, but the main guitar riff doesn’t hit the spot.  Gene’s falsetto voice is employed to great effect.  It takes a few spins, but “Naked City” has a cool darkness to it and a strange kind of class.  That is followed by the very pop “What Makes the World Go ‘Round”, a keyboard-heavy Paul Stanley tune.  It sounds very little like Kiss, but Paul’s performance (guitar solo included) is stellar.  Falsetto must have been very popular at the time.  Bee Gees, anyone?

Paul’s side two opener “Tomorrow” is just as pop as “What Makes the World Go ‘Round”.  These would be great songs for somebody else’s album.  Perhaps Rick Astley.  Fortunately the side is quickly redeemed by Ace’s excellent “Two Sides of the Coin”.  Notably, this song inspired the title of Michael Brandvold’s Kiss podcast, “Three Sides of the Coin“.  Ace’s track is a fan favourite, upbeat and melodic with just enough guitar bite.  If the production was meatier, as on Ace’s solo album, it would be an absolute killer.

Gene continues chasing the ladies on “She’s So European”, a filler track with familiar themes.  “She makes love on a brass bed, because her parents are still awake.”  Not Gene’s finest moment.  “Easy As It Seems” is a Paul track, and also not one of his finest, but the bouncy bass (by Paul) is quite great.  But is that a bloody keyboard solo that I detect?

One of the most interesting tracks, and most instrumentally impressive, is Ace’s surf rock classic “Torpedo Girl”.  This is just a fun summertime track with infectious ooh-ahh vocal hooks.  His role within Kiss resulted in some of their more unique songs, and “Torpedo Girl” is unorthodox.  Ace’s picking is enviable, and the lyrics are just pure fun.  “Come on, get your feet wet.”

Album closer “You’re All That I Want” is one of Gene’s tunes, but Paul’s vocals on the outro sell it.  It’s a little on the light side, as is much of Unmasked, but it remains a good song.

On a personal note, I have one very strong memory of Unmasked.  I first heard it by taping it off a friend, my late neighbor George.  George dropped the needle on the record, hit record on my tape, and then got out his bass and played bass along to every song.  Unbeknownst to him, his bass playing bled onto the tape.  From that point until I finally got a store-bought cassette copy, I always heard George’s bass on the fade-outs of every song.  I can still hear it in my head.  I suppose that’s one way that George is still alive, in my memory.

Unmasked was released on May 20, 1980, with a bright cartoony cover including Peter Criss.  Meanwhile the band were already preparing for their first of many lineup changes, something that was kept quiet until the right moment.

In July, Kiss were ready to unveil the new member.  Paul Caravello, from Brooklyn, impressed Kiss with his audition and humble personality.  The story that everybody remembers is that Caravello asked the guys for their autographs in case he never saw them again.  No worries there; the job was destined to be his.  But Kiss couldn’t have another guy named Paul, and his last name was too “ethnic” (obviously Italian), so his name was changed to Eric Carr.  (Fortunately, Gene’s suggestion of “Rusty Blades” was discarded.)  The newly dubbed Eric was an energetic mighty-mite of rock, and the band quickly grew to love him.  Everything was new to him.

“The Hawk”

A new makeup design was required.  This was a big deal — a new challenge.  A hawk concept was tried, but in the costume Carr looked more like Big Bird than a rock star.  He drew up an inspired fox design which immediately clicked.  The new character was born!

Carr’s first appearance with the band was at their only US date on this tour: New York on July 25 1980.  The rest of the tour took place in Europe and Australia where “Shandi” became a hit.  There were only 41 shows in total.  Despite their best efforts, Kiss’ fortunes were shifting.  Opening acts on the tour included Iron Maiden, which must have been quite the mismatch.  Given Maiden’s reputation for blowing away headliners (much like Kiss when they started out), you must wonder how this went down.  Girl, featuring future Def Leppard guitarist Phil Collen and future L.A. Guns singer Phil Lewis, also opened a handful of gigs.

Unfortunately for fans, especially in North America, this was the last tour for a long time.  It was also the only tour featuring this lineup.  While Kiss had endured their first lineup change, that was only just the beginning of the problems to solve.

Today’s rating:

3.5/5 stars


Uncle Meat’s rating:

4.5/5 steaks 

Meat’s slice:  Unmasked was released in May of 1980. A couple of months later I had heard that Kiss was going to introduce their new drummer on a show called Kids Are People Too. Seeing Kiss in the Phantom movie on TV was one thing. But knowing they were being interviewed, and introducing their newest member…Eric “The Fox” Carr. I watch it today on YouTube, and it’s so…umm…not what I remember. But it was monumental at the time for me. At this point, I had heard Unmasked once at a friend’s place and was underwhelmed. But I loved the album cover and still think it is probably their best. My take on Unmasked is much different now, and was how LeBrain’s Re-Reviews started in the first place. First of all I will address this. Mike referred in the beginning of this series to the two “Disco” era Kiss albums of Dynasty and Unmasked. Dynasty has one Disco song. Unmasked does not have anything close to a Disco song. Some would say “Shandi”, but that is Kiss capitalizing on the Soft Rock success of the day. Unmasked may not be a typical Kiss album, but thanks to Vini Poncia it’s a great album of Rock tunes and one of my favorite Kiss albums.

The drumming on this album is a major high point. Anton Fig shines all over this disc. Ace also continues his consistent roll with great rock songs like “Talk To Me”. He has such a great Rock and Roll voice. The background vocals are great too. “Two Sides of the Coin” is another song with incredible drumming, and a single writing credit. Both this song and “Talk To Me” are the only two songs on the album that don’t have an outside writing credit. Subsequently these songs sound more like classic Kiss than the rest of the album. However “Torpedo Girl” is another story. This might be the shining moment of Ace’s career in Meat’s opinion. Unbelievable guitar riff and funky drum beat. I have had it in my head for days now.

It seems that the addition of Vini Poncia to the Kiss machine inspired Gene Simmons as well. Unlike Dynasty where his songs were mostly forgettable, a couple of his songs on this album shine here. “She’s So European” is “completely ridiculous” but a “great fucking tune” (according to my longtime Kiss-mate Scott) . That about says it all. “Naked City” sees the falsetto of Gene Simmons on display here in another catchy song. There are great hooks within this song, which is indicative of the whole album really. However the album closer, “You’re All That I Want” might be the weakest track on the album. I do though love the ending, which you hear Stanley screaming in his typical live-show style.

Paul Stanley’s contributions on this album are good as well, with a few curveballs thrown in. “Shandi” was a massive Australian hit, and even though the song is about as limp as it can be, I still love the song. Reminds me of the Little River Band and Ambrosia songs of the Soft Rock era that I still dig. “What Makes the World Go ‘Round” is a solid song, with some of the greatest solo guitar playing Paul Stanley has put to record. “Tomorrow” sounds a lot like .38 Special to me and is just OK. “Easy As it Seems” is a solid song that incorporates keyboards in an interesting way, and might be the best Stanley song on Unmasked.

Overall Unmasked is a misunderstood, understated classic. I am curious to see if time has changed LeBrain’s take on this album. All I can say is…this may be Kiss’s last truly great album. From here on in, the “Meat’s Slice” section will start to get a lot shorter, with a couple exceptions.

Favorite Tracks: “Torpedo Girl”, “Shandi”, “Is That You”, “Talk To Me”, “She’s so European”

Forgettable Tracks: “You’re All That I Want”, “Tomorrow” (both borderline)


To be continued…

Original mikeladano.com review:  2012/07/25

 

 

 

RE-REVIEW: KISS – Dynasty (1979)

The KISS RE-REVIEW SERIES Part 17:  

 

  Dynasty (1979 Casablanca, 1997 Polygram Japan remaster)

“The Return of Kiss”.  It sounds quaint today, that after a two year absence they called it “The Return of Kiss”.  Two years today means nothing.  But for Kiss, who were doing two releases a year, it did actually mean something.  Their last project was their series of four solo albums, one for each member, and unified by cover art.  This project only reinforced the idea that the whole is greater than the sum of its parts.

The truth is, the original Kiss were already over.  Peter Criss returned from his solo album and a car accident as a changed man, and not in a good way.  Upon walking in the door he insisted upon seeing sheet music for the new tunes.  That was a first.  It was quickly apparent that Peter was not in a condition to perform.  The band had even hired his solo album producer, Vini Poncia, to helm the new Kiss.  Poncia deemed Criss’ current abilities inadequate and he was replaced for the album by Anton Fig.  Anton was Ace’s solo drummer, and more than capable of filling in.  Previously, when Bob Kulick was hired to replace Ace on side four of Alive II, he was instructed to “play like Ace”.  Anton Fig was given no such instruction and was free to drum as he pleased.  Some Kiss fans were able to pick up on that.  Ultimately Peter Criss played drums on only one song, his own called “Dirty Livin’”.  And that would be Peter’s final appearance on a Kiss studio album until 1998’s Psycho-Circus, on which he also played drums on only one track.  Kiss was indeed broken, but few on the outside knew it.  Peter would never play on a whole Kiss album again.

A lot had changed.  Kiss’ massive marketing campaigns paid off, but was that a good thing?  Little kids were now coming to Kiss concerts.  Paul Stanley was actively seeking hits.  Together with new songwriting friend Desmond Child, Paul wanted to write a dance single.  Inspired by the clubs of New York, the pair produced “I Was Made For Lovin’ You”, the song that gave Kiss the “disco” tag.  The single sold a million copies.  Needless to say, it was not the last Kiss single written with Desmond Child.

The album went platinum and became the hit it was designed to be.  Inside the sleeve, the music was streamlined and more commercial than before.  “I Was Made For Lovin’ You” led the way, demolishing the walls between dance and rock.  Frehley had a hot solo in the mix, and the bouncy bass was performed by Paul Stanley.  The song had all the right ingredients and though thin sounding by today’s standards, it’s still a great little dance rock number.

The real revelation about Dynasty wasn’t the turn towards slicker, highly compressed recordings.  It was Ace Frehley coming out of his shell.  Newly confident after his hit solo experience, Frehley had three songs to sing on Dynasty.  Ace covered the Stones on “2000 Man”, a version that may be more beloved than the original.  It certainly sounds at home.  Ace rocks it up significantly.  Ace also had lead vocals on “Hard Times”, a track about growing up as an aimless youth in New York.  “We’d go to school, then we’d cut out, go to the park, and space our heads out.”  “Hard Times” is not an exceptional song, but it’s interesting since it’s so autobiographical.  Ace’s last song was the more aggressive “Save Your Love”.  This track closes Dynasty with the kind of rock that people often forget is on the album.  Ace’s tracks are the only ones that can be classified purely as “rock”.  He has more guitar riffage on “Save Your Love” than the other songs combined.  Without the Space Ace, Dynasty would have been a much weaker album.

The increase in Ace’s participation was balanced by a decrease in that of Gene Simmons.  Gene only had two songs on the album, neither of which were singles.  “X-Ray Eyes” and “Charisma” inhabit the same kind of compressed audio landscape as the rest.  “Charisma” is the best, due to its unusual echoey vocals, fitting for the demon persona.  Gene’s prime interest was still the opposite sex, and both songs have the demon’s stamp.  The main hooks on both are delivered by the backing vocals during the choruses.

The dominant force on Dynasty — and as it turns out, for the coming decade – was Paul Stanley.  Not only was “I Was Made for Loving You” a massive hit, but the second single “Sure Know Something” was also one of his.  Paul wrote this dancey ballad with producer Vini Poncia.  It’s not all simply dance floor moves though, as the chorus has the power chords and lung power that Kiss fans expected.  Stanley also wrote “Magic Touch”, a lesser known album classic.  “Magic Touch” burns slow, but hot.  Paul’s falsetto was a sign of the times, but the power chords explode on the chorus.

And that leaves poor Peter.  “Dirty Livin’” was written with Stan Penridge and Vini Poncia, and it was written as something more R&B in direction.  It was Kiss-afied and included on the album as Peter’s only appearance.  You can hear that it’s not the same drummer and that it’s a very different vibe.

For all outside appearances, Kiss maintained an image of solidarity.  There was no mention of a session drummer, and Peter was there on tour for all 82 shows.  However there were some cracks visible.  Several shows had to be cancelled for poor ticket sales, in areas such as New York City and Pontiac Michigan.  With the toys, comics and merchandise, Kiss were beginning to be seen as a kids’ band.  Dynasty was the hit it needed to be, but the situation was not sustainable.

Today’s rating:

4/5 stars


Uncle Meat’s rating:

4/5 steaks 

Meat’s slice:  The first of the two supposed “Disco Era” Kiss records LeBrain referred to in the introduction of this series, Dynasty really just is a pretty solid rock and roll record other than the mega-hit, “I Was Made For Lovin’ You”.  There really is not another song on the record that could be classified as Disco.  But more on that when I talk about Unmasked.

This album sees the beginning of a couple new eras in Kisstory. The first being the band’s writing collaboration with Desmond Child.  “I Was Made For Lovin’ You” was the first hit of many for Desmond Child.  He has “songwriter” credits (and yes I am using that term loosely) on such deplorable pap as “Livin’ La Vida Loca”, “She Bangs”, and upcoming Kiss dung like “Let’s Put the X in Sex” and “Uh! All Night”.  Basically when a band gets shittier, they go to Desmond Child.  When Ratt got shittier, in came Desmond.  When the Scorpions got shittier, he pops up again.  When Aerosmith started becoming a glossy joke, here comes Desmond Child and “Dude (Looks Like a Lady)”. Yes, as good as this album is, Kiss was starting to get shittier.

As George Costanza would say, worlds collide for me on this album.  For years I had no idea Peter Criss only played drums on his own song on Dynasty.  His phantom replacement turned out to be Mr. Anton Fig, who played drums in one of my favorite bands ever, Paul Shaffer and the World’s Most Dangerous Band.  Even Anton’s dry humor on the show was a high point in Late Night with David Letterman for me.  I am a true Letterman head and always will be.  Anton Fig went on to be Ace’s drummer in Frehley’s Comet, so maybe Fig’s presence somehow inspired the Space man, since he is a high point of Dynasty.  The Rolling Stones cover “2000 Man” is a fucking great tune.  “Hard Times” is just as good and a personal favorite of many Kiss fans.

There are a few weaker-ish songs on the album but nothing egregious here.  Very good rock album with ONE disco song.  Thank you Desmond Child for injecting Kiss with your “Bad Medicine”.  (Yes, he wrote that too.  As well as writing songs for such wonderful artists like Hanson, The Jonas Brothers, Lindsay Lohan and Clay Aiken.)  Hey Desmond…in the words of Ricky…you are truly a FuckGoof.

Favorite Tracks:  “Sure Know Something”, “Hard Times”, “2000 Man”, “Save Your Love”, “Magic Touch”

Forgettable Tracks:  “Dirty Livin'”


To be continued…

Original mikeladano.com review:  2012/07/24

RE-REVIEW: KISS – Ace Frehley (1978 solo album)

The KISS RE-REVIEW SERIES Part 14:  

 Ace Frehley (1978 Casablanca solo album, 1997 Mercury remaster)

Of the four members of Kiss, Ace Frehley felt he had the most to prove on his solo album.  He’d only had two lead vocals with Kiss, and usually only contributed a couple songs to each album.  Could he write and sing an entire solo album?  Some in the Kiss camp had their doubts.

Ace regrouped with his favourite Kiss producer, Eddie Kramer, and crucially got a newcomer named Anton Fig to play drums.  Anton, from South Africa, has a long and fruitful career but a huge chunk of it was with Ace, and it started right here.  Ace Frehley played almost everything else himself.  Will Lee (Anton’s future bandmate on the Late Night with David Letterman show) played bass on three tracks.  Ace also wrote the majority of the songs by himself, proving he wasn’t reliant on Gene and Paul.

“Rip It Out” is one of the great Ace album openers.  He used it to open his Frehley’s Comet shows in the 1980s, and on album, it really sets the right scene.  Ace was singing great, but more importantly, he had a chance to really let his guitars shine.   Listen to the main riff — you can clearly hear an acoustic guitar mixed in with the electrics.  In Kiss, Ace’s job was to solo and complement the rhythm guitars.  Now Ace could play with multi-layered guitars and effects.  “Rip It Out” really sounds like a statement of intent.  Listen very carefully to the number of guitar parts happening in the mix, from slides and squeals to solos.

Ace has a knack for a pop melody, and “Speeding Back to My Baby” has that side to it.  It’s pop rock complete with female backing vocals, but with serious crunch.  Frehley is the master of guitar crunch, so even when we call a song “pop”, it really rocks.  Check out Frehley’s partly backwards stoppy-starty guitar solo too.

The heavy side of Ace is explored on “Snow Blind”, a mean rocker with a nasty riff.  The solo section is to die for.  “Ozone” too is heavy, and possibly better known as a cover by the Foo Fighters.  There weren’t any questions about the subject matter:  “I’m the kind of guy who likes feelin’ high,” sings Ace in the opening line.  Gene would not have approved, but note the combined use of electrics and acoustics once again.

Ace ended the first side with another triumphant pop rocker:  “What’s On Your Mind”.  It is tracks like this that helped Ace’s solo album become a clear fan favourite.  The guitar riff has punch, but when doubled with acoustics, it rings like a bell.  From brilliant guitar licks to the unforgettable melody, Ace nailed it with “What’s On Your Mind”. It also bookends the first side very well with “Rip It Out”.

The big hit, still getting radio play today, was the Russ Ballard cover “New York Groove”.  Ballard originally gave his demo to the band Hello, but it was Ace that made it an important song.  Ace took the words (written by an Englishman!) and adapted his persona to them.  His lovable rough and tumble New York personality fit the song to a “T”.  It’s a bit cheesy, but Ace can take cheesy and make it cool.  The stompy beat was created using studio experimentation, Eddie Kramer the mad genius who would record anything and everything to get just the right sound.

A pair of rock tracks, “I’m In Need of Love” and “Wiped Out”, fill the middle of side two.  Ace’s echoey guitar slides on “I’m In Need of Love” deliver the prime hooks.  It’s an excellent example of what Ace can do with an electric guitar.  Meanwhile, “Wiped Out” is like a sequel to the surf rock classic “Wipe Out”, and not Ace’s last foray into surf rock either.  His intricate picking here would cause a lesser player’s fingers to fall off.  Check out that wacka-ja-wacka stuff too, funky and cool.

Ace saved the most impressive track for the last, and the first in his so-called Fractured Quadrilogy:  “Fractured Mirror”.  This instrumental features shimmering six and twelve strings working in tandem.  Ace and producer Eddie Kramer went to great lengths to get the guitar sounds on this song.  One technique included playing the figure on a doubleneck guitar, but only using the pickups on the open-tuned second neck.  The pickups to the neck that Ace was actually playing on were turned off.  Once overdubbed, this gave the guitars a bell-like chime, and fans spent years trying to figure out just how Ace did it.  Now you know.

This album was a turning point for Ace.  It gave him confidence.  It ushered in a slew of Ace Frehley lead vocals in Kiss.  And eventually, it set him up for his departure, as nothing he did in Kiss was as artistically freeing as his first solo album.

Today’s rating:

5/5 stars

To be continued…

Original mikeladano.com review:  2012/07/19

 

 

 

 

RE-REVIEW: KISS – Double Platinum (1978)

The KISS RE-REVIEW SERIES Part 12:  

kiss-logoDouble Platinum (1978 Casablanca, 1997 Mercury remastered edition)

As 1977 turned into 1978, Kiss were buying mansions, and buying time.

Their next big project was a rock and roll first.  Four solo albums, all under the Kiss banner, simultaneously.  It had never been done before.  As each of the four members toiled separately on their albums, Casablanca Records and Sean Delaney put together the next Kiss package:  Double Platinum was intended to keep the band on the charts in the meantime.

The first Kiss “greatest hits” album is the most legendary.  Sparing no expense, the two records were housed in a brilliant gatefold sleeve, embossed in shiny silver foil.  Kiss made their hits package really look like one, and the 20 included songs meant fans would get a cross section of hit material from all six Kiss studio albums.

Therein lay the challenge.  Kiss studio albums were, at best, uneven sounding.  Their early work was marred by studio inadequacies.  Producer Delaney chose to remix (with Mike Stone) a number of the old Kiss tracks, in an attempt to bring everything up to the level of DestroyerDestroyer was considered the benchmark, the best sounding Kiss album.  Using it as the high water mark, Delaney and Stone attempted to bring the rest of the material to that level.  Remixed were “Firehouse”, “Deuce”, “100,000 Years”, “Detroit Rock City”, “She”, “C’mon And Love Me”, “Hard Luck Woman”, “Calling Dr. Love”, “Let Me Go, Rock and Roll” and “Black Diamond.”

Most casual buyers don’t want remixes when they buy a hits package, but many won’t even be able to tell the difference.  Some are more obvious.  “Hard Luck Woman” has a longer acoustic section.  “She” now has the “Rock Bottom” intro.  “Black Diamond” is rearranged so that it ends where it begins and repeats to fade.  By and large, these remixes are not obtrusive.  They enable a great song flow.

And what songs!  “Detroit”, “Beth”, “Deuce”, “Hotter Than Hell”, “Cold Gin”, “Firehouse”, “Makin’ Love” and more, with very few important exclusions.  The only track that earns scorn from many is “Strutter ‘78”, a re-recording done especially for Double Platinum.  It was done up with a late-70s production featuring compression and shakers.  The “disco era” was on the horizon.  Today, Gene Simmons questions why the re-recording was made.  To sell records, is the answer.

Double Platinum is the album to buy instead of Alive! if you would like to start your Kiss collection with a broad sampling of studio classics.  It’s still an enjoyable front to back listen for anyone.

Today’s rating:

5/5 stars

Original mikeladano.com review:  2012/07/14
Review of foil embossed CD reissue:  2012/11/22

Official apology to Robert V Conte

In my November 2012 review I called the CD liner notes by Conte “shitty” and then added a snarky “Who?”  I knew who he was (I own lots of books with his name inside) and I didn’t need to be bitchy.  His liner notes to the 1997 remastered editions are what they are, and what he was paid to do.  Robert, I hope you accept this apology for what was a dumb comment on my part.

MOVIE RE-REVIEW: KISS Meets the Phantom of the Park (1978)

A huge thanks to old buddy Scott who hooked me up with a DVD rip of this movie, taken from the original VHS release.

The KISS RE-REVIEW SERIES Part 11:  

Meets the Phantom of the Park (1978 Hanna-Barbera TV movie)

A monster-sized, semi-transparent Gene Simmons prowls above a rollercoaster.  Ace Frehley and Peter Criss fly about on a floating amusement park ride, and Gene says “hello ladies” from the top of the rollercoaster.  Paul Stanley dances up a storm, all to the tune of the original “Rock and Roll all Nite” from Dressed to Kill.  This is how it all happened on October 28, 1978 when NBC broadcast the TV movie Kiss Meets the Phantom of the Park.

The sheer hubris of Kiss and their enablers in 1978 was out of control.  The band had always intended to conquer TV screens, and silver ones too.  When Gene hyped the proposed Kiss movie as the best thing since either Jaws or Star Wars, skepticism would be justified.   Kiss had a ready-made image for spinoffs, and Marvel comics had first dibs on illustrated Kiss.  But their ambition caught up with their abilities with Kiss Meets the Phantom of the Park.  Nobody in the band could act.  The script was being changed on a daily basis.  The special effects were a joke.  Stunt doubles looked nothing like the real Kiss.  Jokey fight scenes are accompanied by cartoony music from the Hanna-Barbera archives.

There is a superior European cut of this film called Attack of the Phantoms.  The cartoon fight music is replaced by actual Kiss songs, and it is generally just a better version.  It can be found in the Kissology II DVD set.  The cut that most of us saw on television has been issued on VHS, but never DVD.  For a complete breakdown of every difference between every version of Kiss Meets the Phantom, be sure to get Dale Sherman’s thoroughly incredible reference book, Black Diamond 2.

It is summer in sunny California at Magic Mountain amusement park.  Over the loudspeakers, an announcement is made:  “Kiss is in concert, starting tonight, for three great nights!”  The security guy, Sneed,  is worried about a riot.  Park owner Calvin Richards only sees dollar signs.  And there is a third party too:  Abner Deveroux (the acclaimed actor Anthony Zerbe in his most embarrassing role ever).  Deveroux built the rides and all the park’s robotic animatronics, but things are starting to break down.   Devereux fancies himself a scientist and can’t deal with his budget cuts while money is being spent promoting the Kiss concert.  Throw in a group of thugs (Chopper, Slime and Dee) and you have a potentially dangerous situation.  When Devereux’s assistant Sam goes missing, his girlfriend Melissa goes looking for him.  And, for some reason, she needs Kiss’ help.

Minute after agonizing minute, we sit through clumsy dialogue and wooden lines, as we wait and wait for Kiss to finally show up.  A creepy tour of Devereux’s underground robot-filled laboratory reveals he’s completely nuts, always a good thing to have in the designer of a kids’ amusement park.  He has the will and the means to exact his revenge on those who cross him…and he also has the missing Sam!  But when will Kiss show up?  Not for an incredibly slow moving 30 minutes…and that’s not including commercials.

Kiss’ grand entrance (to the tune of “Rocket Ride” from Alive II) is the first time the audience is given one vital piece of information.  Kiss, apparently, have superpowers.  They can shoot laser beams from their eyes, breath fire, teleport and more.  Why they have chosen to use their powers for rock and roll is never revealed  beyond “you got to have a party”.

The concert continues with “Shout it Out Loud” and “Black Diamond”.  Peter Criss’ drum kit elevates and fireworks explode.  When the movie first aired, it was the first time kids could could see what a Kiss concert was like from the comfort of home.  The concert footage is far too short, but all is not well with the park.  Abner Devereux is fired from his job (yet he’s not removed from the premises, and continues to work in his underground lab)!  He sets into motion a plan to get his revenge…on Kiss!   Fortunately, Paul can shoot a star thing out of his eye that lets him read minds.

“You’re looking for someone.  But it’s not Kiss.”

When Gene seemingly attacks two security guards at night, Kiss is questioned in the classic “pool scene”.   There used to be an urban legend that Peter Criss did voices for cartoons such as Superfriends.  The origin of this is Kiss Meets the Phantom.  Supposedly Peter Criss refused to overdub his lines (as is standard procedure for any show due to the flawed nature of on-location audio) so voice actor Michael Bell was called in.  Many fans never knew Peter Criss’ real speaking voice for years, since Bell’s was the only one we heard.  Worse, Ace Frehley barely had any dialogue at all, beyond yelping “Ack”.  The writers who were hired to follow Kiss around to get a feel for their personalities didn’t pick up much from Ace beyond odd noises.  Lines has to be added for Ace at the last minute when he flipped out over his lack of verbiage in the film.  Therefore, he also got “Hi, Curly!”  Most of Gene’s lines are just lion-like roars.

The plot thickens:

Calvin Richards:  “Look, someone vandalized our park last night, smashed some of our buildings, and injured a few of our guards.  Well Gene, they think it was you.”

Guard #1:  “Think!?  It was him!”

Guard #2:  “Or his twin!”

Peter Criss:  “Gene’s brother was an only child.”

Paul Stanley:  “Easy, Catman, they are serious.”

The best part is that Guard #1 is played by the then-unknown Brion James of Blade Runner and Fifth Element fame.

When Melissa returns (still looking for the missing Sam), Kiss reveals to her the truth behind their powers:  They possess talismans that grant them superhuman abilities…and now an eavesdropping Devereux knows, too!  The second Kiss concert goes off without a hitch.   An exciting “I Stole Your Love” features the band descending from elevating side stage platforms.  The song is edited for length, but Gene blows fire at the end.  What Kiss don’t know is that Devereux has sent Sam, who he now controls, to steal their talismans!

After the concert, Gene, Paul, Peter and Ace are joined by Melissa, heartbroken over Sam.  Neither Gene, nor Paul, nor Ace and Peter attempt to sleep with her.  No, instead, they serenade her to a very special version of “Beth”.  Some in fandom feel that this version is the best ever version of “Beth”.  It has Peter Criss’ vocal from the album, and a single acoustic guitar.  (Paul mimed this guitar part for the movie, though Peter felt it should have been Ace.)  Meanwhile, Sam is thwarted from stealing the talismans by a force field, but Kiss can sense that something is up.  They decide to check out the park and look for Devereux.

Cue that funky fight scene music, white cat!  Four white cat-like people get the drop on Kiss!  “They’re not real, they’re robots!” says Paul.  “It’s all unreal!”  The cats are followed by samurai, wielding lightsaber-like swords. But Devereux is not so easily beaten.  Sam, now equipped with a ray gun from Devereux, has stolen the talismans!  Kiss follow him into the spooky Chamber of Thrills, where they are attacked and captured by even more robots.  These campy fight scenes are either intolerably awful, or the highlight of the movie, depending on your point of view and level of intoxication.

The climax is an epic battle between Kiss and their evil robotic alter-egos, built by Devereux!  Devereux sends the phony Kiss-bots on stage to use music to incite the crowd to riot and destroy the park.  Changing the words to “Hotter Than Hell”, the Kiss-bots almost succeed.

It’s time for everyone to listen good,
We’re taking all we can stand,
You’ve got the power to rip down these walls,
It’s in the palm of your hand!

Rip, rip, rip and destroy!
You know the hour’s getting late.
Rip, rip, rip and destroy!
Break it down and seal your fate.

Can the real Kiss recover the talismans, beat the bots and retake the stage?

Other Kiss tracks heard in the movie include “Christine Sixteen” and “God of Thunder”, but let’s face it, Kiss Meets the Phantom is a shit-show.  It was an opportunity for fans to see Kiss on TV, but it did little to convert anyone to the Kiss cause.   The concert footage is fantastic, although songs are severely edited.  Its greatest value today is as a camp classic, but without a beverage of some kind, it is a lethargic undertaking.  The fact that Anthony Zerbe has this movie on his resume is astonishing; the fact that Kiss have yet to release this version on DVD is not.

1978 was a rocky year for the Kiss army.  Though the Alive II tour started the year on a high, and the Marvel comic was a pretty cool thing, fans were now being fed more product.  Double Platinum (up next) left some feeling exploited for their dollars, and Kiss Meets the Phantom could be considered a complete write-off.

Today’s rating:  1/5 stars

To be continued…

Original mikeladano.com review:  2012/08/09

RE-REVIEW: KISS – Alive II (1977)

The KISS RE-REVIEW SERIES Part 10:  

kiss-logoAlive II (1977 Casablanca, 2006 remastered edition from Alive! 1975-2000)

Kiss in 1977 were a band of four different personalities, and those personalities were beginning to drift apart. There was talk of allowing members some time to do solo albums and blow off some steam. There was a Kiss movie happening (Kiss Meets the Phantom of the Park), not to mention Love Gun and its accompanying tour.  Kiss Alive! was the album that made them a household name, so why not try to buy some time with another live release?  The band had amassed three more studio albums in the interim.

Eddie Kramer was hired once again to recapture the magic.  Shows (and soundchecks) in L.A. were recorded, and older tapes from a pre-Love Gun Japanese tour were dusted off.  They had lots of material to work with, and so it was decided that Alive II would have no crossover with tracks from Alive!, a value-conscious move that  fans appreciated.  They were still short enough songs to make a full double live, so studio time was booked at Electric Lady to record new songs too.  As with the previous Alive, much fixing and re-recording was done to the live tracks.  Some of the soundchecks were used with audience noise overdubbed.  Two songs (“Hard Luck Woman” and “Tomorrow and Tonight”) were actually re-recorded completely.  Knowing now what we didn’t know then, this certainly explains why Alive II sounds more sterile than the first, and why you can hear Paul Stanley singing backup vocals to his own lead vocals.

Alive II has always been viewed as sort of a poorer cousin to Alive!  It’s hard to blame the studio tampering, because Alive! was done the same.  For whatever reasons, it’s a lot more noticeable on Alive II, although not to the point of distraction.  Alive II simply does not have the same oomph, the same fire bleeding through.  Even with tracks like “Detroit Rock City”, “Shout it Out Loud”, “God of Thunder” and “I Stole Your Love”, it’s hard to compete with Alive! for sheer ferocity.

As is their penchant, some songs like “God of Thunder” are much faster live.  “God of Thunder” could be the heaviest version of that track on tape.  “Ladies Room” and “Dr. Love” are also faster and harder.  “Makin’ Love” blows away the album version, and “I Want You” comes close.  Ace Frehley’s vocal slot on “Shock Me” is a welcome treat and obvious highlight, featuring Ace’s big solo spot.  As for Peter Criss, “Hard Luck Woman” is a nice electric version, but “Beth” underwhelms.  Singing “Beth” to backing tapes is a “who cares” moment anyway, but Peter doesn’t nail it either.

The real point of interest on Alive II is side four, the studio side, for two reasons.  One is that it’s a surprisingly strong side even though only one of these songs has gone on to be a classic today.  Paul Stanley has dismissed these tracks as schlock, but fans don’t always agree.  The second is that Kiss’ internal problems had come to a head, and once again members were secretly replaced on recordings by outsiders.

Ace Frehley wasn’t around, except to record his own song (“Rocket Ride”), which has become a second-tier Kiss classic.  Maybe to spite Kiss, he played all the bass and guitars on it.  Ace’s track is immediate, Kiss-like and perfect for his persona.  With Peter Criss in the pocket, Ace lays down some seriously wild effects-laden six-string magic.  But that was it.  Ace was focussed on his forthcoming solo album.  The wheels were already in motion and songs were being written.   To keep things from falling apart and maintain a facade of unity, Kiss decided that all four of them would release solo albums, unified, under the Kiss banner.

Meanwhile, Paul and Gene came up with a few tracks for side four.   Replacing Ace Frehley on lead guitar was the man who he nudged out of the job in the first place — Bob Kulick.  Paul and Bob had maintained a friendship in New York ever since his 1973 Kiss audition.  Bob was asked to come in on the sly and record uncredited.  His task was to play like Ace would have done it, a difficult task.  “Ace wouldn’t play that note”, someone would say from the control booth as Bob struggled to come up with the enigmatic “right” vibe.  But he did it, and now that we know the truth, fans hold Bob’s work in high esteem.

Paul Stanley’s “All American Man” (Stanley/Sean Delaney) has the goods:  a signature guitar hook, a memorable chorus and a killer solo that we only know now was actually Bob.  “All American Man” is a natural extension of where Kiss were headed with Love Gun.  Gene had the next two tracks, “Rockin’ in the U.S.A.” and “Larger Than Life”.  “Rockin’ in the U.S.A.” sounds like Gene writing his own “Ballad of John and Yoko”, but a hard rock version.  As for “Larger Than Life”, you can guess what body part Gene’s talking about.  “Larger Than Life” works because of the combination of Gene’s “monster plod” riff with Bob’s sweet guitar lightning.  Finally a cover of the Dave Clark Five hit “Any Way You Want It” closes Alive II, quick and catchy.  Kiss have a way of adapting their blocky rock style to covers and making it work.  Suddenly the Dave Clark Five sound like Kiss, rather than vice-versa.

Alive II arrived in stores on October 14 1977, exactly two weeks ahead of the much-hyped movie Kiss Meets the Phantom of the Park.  There are some who would consider this the end of the beginning.  But Kiss weren’t done releasing albums before the big solo projects came to fruition.  We know today that making Alive II was a financial move rather than an artistic one, but the reality is it was conceived as a product.  At least it was a quality product.  As usual, Kiss and Casablanca rewarded fans with goodies inside the original LP.  It had a gatefold cover, a booklet entitled “The Evolution of Kiss”, and temporary tattoos.  Good luck finding those intact.  Our recommended edition:  The four disc 2006 box set Alive! 1975-2000.  The set contains four volumes of Kiss Alive, deliciously remastered, with each album fit onto a single CD without losing any songs.  There’s even a bonus track:  the single edit of “Rock and Roll all Nite”, from the original Kiss Alive!  This 3:23 version is from the 7″ single, edited down from the 3:59 Alive! album version.  It was the first CD release of that version.

Today’s rating:

4.5/5 stars


Uncle Meat’s rating:

4/5 steaks 

Meat’s slice:  Alive II is an album that for me, gets kinda lost in the shuffle amidst the Kiss discography.  Not because it’s not a good live album, but more that it’s very much Alive-lite.  There are definite highlights on this record of course, but it doesn’t pack the consistent hit-parade punch as the first “live” record.  I also have never really understood why side four was all studio tracks.   Kiss did get a minor hit out of “Rocket Ride” though, a pretty good Ace tune here, and a sign of things to come with an Ace song on the charts.  The other studio tracks feature some good guitar work, but not memorable overall.  If Kiss has played any of these songs live at all I would be surprised, but I’m sure LeBrain will have some Turkish B-side thingy that will prove me wrong.  [I don’t. – LeBrain]

I was wond’ring aloud (purposeful and cheap Tull shout-out there) earlier about the whereabouts of a good “God of Thunder” cover in an earlier review, but perhaps that cover is right here.  Kiss plays it live here in double time and I like the feel of it.  “Shock Me” shines on this album.  So do a few other Kiss classics.  I just see a few unnecessary garnishes on this plate.

Favorite Tracks:  “Shock Me”, “Detroit Rock City”, “Shout it Out Loud”, “God of Thunder”, “I Stole Your Love”

 Forgettable Tracks:    Side four


 

To be continued…

Original mikeladano.com review:  2012/07/12

 

 

 

RE-REVIEW: KISS – Love Gun (1977)

The KISS RE-REVIEW SERIES Part 9:  

LOVE GUN DELUXE_0002kiss-logo – Love Gun (1977 Casablanca, 2014 Universal reissue)

By the late 1970s, Kiss had achieved more than most bands do in an entire career.  In 1977, Marvel comics released the first ever Kiss comic.  Famously, as a publicity stunt, each Kiss member had a vial of blood drawn, and poured into the red ink.  “Printed in real KISS blood”  proclaimed the front cover.  Can you imagine such a thing in 2017?  In 1978, the toy company Mego marketed the first set of Kiss action figures.  The phenomenon of Kiss was almost eclipsing the music.  Perhaps it would have completely, if Kiss didn’t continue to release excellent albums on a biannual basis.  Their first album of 1977 was the legendary Love Gun.  Even the Ken Kelly cover art depicts Kiss as demi-gods of some kind.  Inside, the merchandising spilled over to the album.  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.  Again with Eddie Kramer in the producer’s chair, Kiss sought to make a focused heavy rock record.  Their material had rarely been stronger.  Paul Stanley was becoming handy at writing opening tracks that defined what an album was going to sound like.  “I Stole Your Love” cranked it fast with one of Paul’s most thunderous riffs.  The tribal sounding drums by Peter Criss are an apt example of what made him great at the time.  Criss was not a technical drummer, but he had the right feel and a knack for the perfect fill.  Ace Frehley soars in and dive bombs with an unforgettable lightning solo.  Gene Simmons is there in the back, adding the thump.  “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”.  “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!”  Probably from the perspective of a highschool senior, but still, it came from Gene’s mouth.  The less said about the words the better, for “Christine Sixteen” is one of Gene’s most perfect musical moments.  Eddie Kramer provides the piano for a vintage rock and roll sound.  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”.  Uptempo sleeze is perfect for Kiss’ friendly demon, but Frehley is the real star here.  Speaking of whom, the Space Ace finally worked up the courage to sing his first lead vocal on his trademark Kiss song “Shock Me”.  On the prior tour, Ace nearly electrocuted himself on stage when he touched a railing that wasn’t grounded properly.  “Shock Me” is a humorous reference to this.  Any Frehley track has a unique flavour.  He attacks his Gibson and assembles chords and riffs in a style all his own.  “Shock Me” showed he could sing too, finally adding a fourth voice to a Kiss album.  For the first time, Love Gun has all four Kiss members singing lead.  The first side was bookended by another Paul Stanley track, the killer “Tomorrow and Tonight”.  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.  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.  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).  All the ingredients click perfectly.  “Love Gun” kills and cannot be improved upon.  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”.  Substitute “penis” every time Paul sings “Love Gun” and see.  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”.  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.  The best thing about both “Hooligan” and “Almost Human” is that both perfectly fit the personas that sing them.  Peter has always emphasized his tough street upbringing, but as the lovable cat character, and that’s “Hooligan”.  “Almost Human” is 100% the sex-crazed demon, almost a theme song.  The bass thumps, but there is some interesting percussion stuff happening too.  Simmons continues looking for love in “Plaster Caster”, his encounter with the legendary Cynthia Plaster Caster.   One can assume that Gene Simmons’ wang is among those on her display.  “A token of my love for her collection.”  “Plaster Caster” rocks hard (pun intended) and has balls (also intended).

Love Gun surprisingly closes on a Phil Spector classic, “And Then She Kissed Me” (gender reversed) by the Crystals.  Paul Stanley helms it, a romantic number perfect for Kiss content at weddings.  The Kiss-ified version is almost comically guitar heavy, but Kiss have managed a number of unusual covers over the years.  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,  and of course the big Kiss logo in behind.  Kiss were huge.  A gallup poll put Kiss as the most popular band in America, over Zeppelin, Aerosmith and the Stones.  When bank accounts inflate, so do egos.  With success comes cost.  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?  His dick is the gun!


Uncle Meat’s rating:

3.5/5 steaks 

Meat’s slice:  This was Peter Criss’ last album with Kiss for a long time.  Love Gun is a hit and miss record in Meat’s opinion.  Or maybe better put…hit and somewhat miss.  I think there are simply too many forgettable songs on this album.    “Then She Kissed Me”, “Hooligan”, “Got Love For Sale”, “Tomorrow and Tonight” and “Almost Human” are all average at best.  That’s half the album right there.  There are also standout songs. Obviously the title track is a Rock and Roll classic now, the album’s 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.  I don’t know a Kiss fan that doesn’t love “Shock Me”.  The debut of Ace Frehley as a “singer-songwriter” so to speak, made many wish he would have sung a few more before things all fell apart.  Some of the songs coming up in the next few albums, including his solo album, are some of Kiss’ best material in my opinion. 

Maybe they just ran out of ideas.  Should have been half an album of Ace songs instead.

Favorite Tracks:  “Shock Me”, “Love Gun”,  “I Stole Your Love”, “Christine Sixteen”

Forgettable Tracks:  Look above


To be continued…

Original mikeladano.com review:  2012/07/011
Deluxe Edition review:  2014/11/09