CD singles

REVIEW: Poison – “Every Rose Has Its Thorn” (1988 3″ CD single)

POISON – “Every Rose Has Its Thorn” (1988 Capitol 3″ CD single)

This is a beautiful item that I’m happy to have in my collection.  3″ CD singles were uncommon, but you’ve probably seen one before.  What is less common is the clamshell 3″ case that this Poison single came in.  A lot of 3″ singles came in regular 5″ cases, or a cardboard sleeve.  Clamshells are rare.  This one, called a “Gem Pak” (patent pending) was specifically made to house a “CD3”, another outdated term.  It’s made of white plastic and the artwork is in the form of a sticker which covers the front, back and spine of the case.  The Gem Pak’s flaw (patent pending!) is that it does not hold the disc in securely.  It wants to pop out.  Take care when handling one of these that the disc doesn’t fall out when you open it.

I’m a defender of “Every Rose Has Its Thorn”.  I loved it as a kid.  I remember some people saying it might be “too country”, which is wasn’t.  It’s just an acoustic ballad but a well written one and deserving of its success, if not its notoriety.  It tended to spawn a generation of soundalikes, a fuzzy swarm of late 80s acousti-balladry that ultimately only served to take bands like Poison down, while ushering in the grunge era.  “Every Rose” broke down walls for Poison, but the backlash was inevitable.  When Bill & Ted quoted it to get into heaven in 1991, it was already all over.  I can hear all that history when I listen to this single.  It’s an excellent song, and even C.C.’s solo, as inarticulate as it is, still fits like an electrically heated glove.

The B-side “Livin’ for the Minute” shows off the heavier side of Poison.  Fans might forget that Poison liked to really spit one out every now and then.  C.C.’s solo is bonkers on this one, but perfectly suited to the frantic tune.  Bret really cuts loose too.  Poison actually have some pretty cool B-sides.

These tracks are both available on the remastered Open Up and Say…Ahh!! CD, but you gotta snap this one up if you find it in the wild.

3.5/5 stars

REVIEW: Metallica – “Mama Said” (1996 CD singles one and two)

Part Two of a two-part “Mama Said” review

METALLICA – “Mama Said” (1996 Vertigo CD singles parts one and two)

In order to get all the songs, you had to buy three separate singles.  You needed the 7″ vinyl (reviewed yesterday) and two CD singles.  The total payoff was seven B-sides:  five live, one demo, one single edit.  The 7″ picture disc included “Ain’t My Bitch” live from Irvine Meadows in ’96, and the rest are on the two CDs each sold separately.

The first single ignites the live feast with “King Nothing”, which finds Metallica in an informal mood before kicking into the track.  Though “King Nothing” was eventually released on its own as the fourth single from Load, it was never really one of the best songs from that album.  It slams heavy enough and would have been fun to mosh to.  They go old school on “Whiplash” which has that energy you want out of live Metallica.  The old fans boo the new fans, but everybody gets what they want.  Lars is sloppy as fuck; what do you expect?  When Metallica play stuff like “Whiplash” live it’s not about precision, it’s about energy and this version delivers.

The first CD ends with just a single edit of “Mama Said”, a good ballad with a country twang that some fans might have found unpalatable.  It’s shorter by 40 seconds, starting immediately with James’ lead vocal.  15 seconds chopped at the start and 20 more at the end.  Do Metallica fans need single edits?  No; Metallica was always resistant to compromises like that.  Paul DeCarli was given the job of the edit, presumably being told to get it safely under five minutes for radio.

“Mama Said” album version (top) and single edit (bottom) waveforms

The second CD in the set wastes no time going for the throat.  It’s “So What”, the infamously vulgar Anti-Nowhere League cover that was a B-side for Metallica once upon a time before.  It was so notorious that it became a live favourite unto itself, often turning up in the encores.  That’s followed by “Creeping Death”, an epic way to cap off the live tracks.  That mountainously heavy rock just never lets up until it gives way to another massive one.

The last and most interesting track among the B-sides is the original “Mama Said” demo recorded solely by James and Lars in Ulrich’s basement.  Electric guitar at first instead of acoustic, but beautiful.  The purity of this version, unadorned as it may be, is the reason to seek it out.  The twangy guitar part is in place, as are the lyrics (not always the case with James’ songs).  Metallica could easily release an album of their demo versions, but they haven’t so you gotta get the singles.

Seek these out.

4/5 stars

REVIEW: Bon Jovi – “Someday I’ll Be Saturday Night” (1995 single)

BON JOVI – “Someday I’ll Be Saturday Night” (1995 Mercury single)

It’s impossible to acquire a “complete” Bon Jovi collection; trust me on this. Even Jon Bon Jovi doesn’t have a complete Bon Jovi collection. Up to a certain point in time, it’s fun to collect as many B-sides and bonus tracks you can get your hands on.

The second single from “best of” album Cross Road (1994) was “Someday I’ll Be Saturday Night”, and it was a pretty clear indication of where the band would go on their next album These Days.  But — surprise bonus — this single doesn’t have the studio version (that you already own) from Cross Road.  It has an uncredited live version instead!  Added bonus — Alec John Such on bass.  He had yet to be replaced (on stage, anyway) by Hugh McDonald.  This is probably the only live version of the hit with Such on bass.

Make no mistake, “Someday I’ll Be Saturday Night” is a great song.  There’s a Bon Jovi niche for acoustic rock songs with down-on-your-luck/inspirational lyrics.  “My life’s a bargain basement, all the good shit’s gone.”  This is Jon’s bread and butter.  He wouldn’t know a bargain basement if he was shopping for old Bon Jovi singles in one, but he does this kind of rock really well.  This is one of the last of his must-haves of the genre.

Another rare one, “Good Guys Don’t Always Wear White”, is a studio track with the well-worn cowboy motif.  It’s from the movie The Cowboy Way featuring Jon’s old Young Guns buddy Keifer Sutherland.  Unexpectedly, this one is an  intricate hard-driving rocker, with a Sambora riff that he could take pride in.  Tico Torres is absolutely on fire on the kit.  That guy can lay down a groove while throwing in challenging patterns just for fun.  Why can’t Bon Jovi rock like this anymore?  This track feels more honest than the hard luck songs.

Two more live songs finish the CD.  These two are from Montreal in ’94:  “With A Little Help From My Friends” (Joe Cocker style) and “Always”.  The reason Bon Jovi can get away with “A Little Help From My Friends” is Richie Sambora, who always brings the soul and the integrity.  That’s not to say that Jon sucks.  Check out the note he holds at 3:57.  The man had lungs back in 1994!  The demographics of the audience are obvious: “Always” is almost drowned out by a sea of high-pitched screams!  It’s one of their last ballads that really deserves that kind of cheering though.

A great single is one that you can list to independently of the album, and doesn’t sound like a bunch of miscellaneous bonus tracks.  This single is like that.  There’s no wasted space, no filler, and no tracks you can get on the albums.  The live stuff is high grade and the studio track is extremely valuable for its hard rocking nature.  This is more like an EP than a single, but it’s all semantics.  Let’s just call it:

4.5/5 stars

 

You say you don’t like my kind,
A bitter picture in your mind.
No, it don’t matter what I say,
I hear you bitchin’ when I walk away.
I’ll never be what you want me to be,
You tell me I’m wrong but I disagree,
I ain’t go no apology.
Just because I don’t look like you, talk like you, think like you,
Judge and jury, a hangman’s noose,
I see them in your eyes.
Good guys don’t always wear white.

 

REVIEW: Bon Jovi – “Real Life” (1999 CD singles)

Forget Valentine’s Day…except when it’s good for traffic!  Back in my single days I used to call it “Bon Jovi Day” and listen to nothing but Jon & Richie.  Here’s some Bon Jovi for you!

BON JOVI – “Real Life” (1999 Reprise & promo CD singles)

There was an unprecedented five year interregnum between These Days and Crush.  This pause allowed Jon Bon Jovi and Richie Sambora to get some solo albums out of their systems before the band re-convened.  In the buildup to the new album, Bon Jovi contributed a new single called “Real Life” to the movie EdTV.  Remember EdTV?  There were two movies out at the same time about a guy who had his whole life broadcast on television 24/7.  One, The Truman Show starring Jim Carrey, was a huge hit.  The other, Ron Howard’s EdTV starring Matthew McConaughey, was the also-ran.  EdTV might have been more interesting, but bombed.  This rendered the Bon Jovi single relatively obscure.  It’s not the first time a Bon Jovi movie track misfired.  Remember “Good Guys Don’t Always Wear White”?

“Real Life” was a decent tune, but it was a ballad at a time when Bon Jovi already had plenty.  There’s little to draw your attention, aside from Richie Sambora’s always alluring guitar and vocals.  The watery guitar tone is not far removed from These Days, but that album boasted the kind of ballads you’d never forget.  Songs like “Something to Believe In”, “These Days”, and “(It’s Hard) Letting You Go” are the kind of songs you carry your whole life.  “Real Life” is not.  In the wake of These Days, it was just another ballad.

Who is “Desmond Childs“?

This commercial single has two versions of “Real Life”, but there are actually four versions out there!  For the “album version”, if you don’t want the EdTV soundtrack, look for a promo single instead.  The differences between the album version and the radio mix are slight, but the album version has more guitar where the single mix has more piano.  The third version is an instrumental mix, which is nice if you want to listen to Richie’s guitar a little more.  The fourth and final version is an alternate mix that can be found on the box set 100,000,000 Bon Jovi Fans Can’t Be Wrong.

Finally, a live recording of “Keep the Faith” rounds out the single.  It seems to be a standby live B-side for this band.    They used another version on the 2013 single for “Because We Can“.  It’s certainly one of their most accomplished songs.  The bass groove and Tico’s busy drum patterns keep your feet moving.  It’s noncommercial and it strives to be something bigger.  It might be, in a technical sense, Bon Jovi’s most unapologetic and best hit.

Interestingly enough, “Real Life” is the only Bon Jovi video without David Bryan who was away on an injury.  I don’t think he missed out on much.

2.5/5 stars

 

REVIEW: British Whale (Justin Hawkins) – “This Town Ain’t Big Enough for Both of Us” (2005 single)

BRITISH WHALE – “This Town Ain’t Big Enough for Both of Us” (2005 Atlantic CD single)

In 2005, while we anxiously awaited a new Darkness album (and they changed producers from “Mutt” Lange to Roy Thomas Baker), Justin Hawkins decided to do something on his own.  The rumour mill was going on about how the new Darkness was going to be an 80s-fest.  Justin’s solo single under the name British Whale certainly conveyed that sound.

“This Town Ain’t Big Enough for Both Of Us” is a Sparks cover, previously tackled by Faith No More.  The original track was from 1974, but Justin’s rendition really did sound like the 80s.  Russell Mael’s high pitched vocal was exaggerated by Justin, with the cheese-whiz poured on thick.  It’s the kitchen sink approach.  But a classic pop song cannot be sunk and it’s quite listenable.  Faith No More’s cover would win in a one-on-one competition, but Darkness fans will obviously want to hear Justin’s take. The music video was popular because it featured world darts champion Phil Taylor (no relation to the Motorhead drummer).  Some fans expressed disappointment that the music video wasn’t included on the single, but in 2019 it matters not.  (The video was included on a DVD single, along with a “making of”, but that DVD did not include the B-side “America”.)

Perhaps better than the A-side is the more Darkness-like B-side.  It’s a tribute to the USA, its weather, and trees.  According to “America”, Justin really likes the scenery!  He sounds very sincere in his high-pitched praise.  There’s gui-board (or “keytar”) and a guitar solo that sounds like a cross between Brian May and Thin Lizzy.  It’s a bit of goofy fun.  Actually an excellent track, even containing some music from the “Star Spangled Banner” in the well-constructed solo.

These two songs really seem to convey that Justin really wanted to have some fun, blowing off steam with pop music in 2005.  In a way these songs are “peak Justin”.  You just can’t imagine anything more Justin than this!  (British Whale did another single called “England” in 2006 that never saw a physical release but we’ll cover that another time.)

British Whale can be bought on CD for ridiculously low prices.  If you’re a Darkness fan, you have no excuse.  Dive on in!

3.5/5 stars

REVIEW: Europe – “The Final Countdown 2000” (Single)

“Oh God!  What did I just listen to?” – J from Resurrection Songs

EUROPE – “The Final Countdown 2000” (1999 Sony single)

As we edge closer to the start of a new decade, it’s the perfect time to look back at the turn of the millennium, 20 whole years ago.   Sony decided that Europe’s “The Final Countdown” would make the ideal anthem for the millennium, and so had it remixed by the guy (Brian Rawling) who did Cher’s “Believe” a year earlier.  Joey Tempest was not amused, and tried to find another mixer without success.  Drummer Ian Haughland called the finished remix a “disaster”.

The full 5:45 remix was released as a single, while a 3:47 edit version was issued on a new version of Europe’s “greatest hits”, with title updated from 1982-1992 to 1982-2000.  At least the millennium led to a performance by a reunited Europe on New Year’s Eve featuring both guitarists John Norum and Kee Marcello.

The full length remix is the antithesis to rock music.  Sped up, with bouncy synth bass and drums, it was obviously calculated for dancing.  There are keyboards, weird sounds, and samples that have nothing to do with the song.  Of the original recording, Joey’s vocals remain, but the rest sounds completely digital.  It goes on, and on.  The edit is tolerably shorter, but barely.  “The Final Countdown 2000” is an affront to rock music and everything its fans enjoy.  It is pure pandering to people who would never have bought a Europe album in the first place.  Is that what Sony felt they had to do in order to make it a hit a second time?  Imagine if Europe recorded a new version with both guitarists instead.  The song was already pop enough to be a hit again on the wave of 80s nostalgia.  It didn’t need to be mutilated to fit into a dance remix.  It surely would have done better than this (#6 in Sweden, #36 in the UK).

As a consolation prize, this CD single includes a single edit of the original song.  All it’s missing is the countdown opening.  After hearing the dance version twice, it sounds strangely sluggish (even though it’s not).  It’s like taking an offramp from the highway into normal traffic.

Possibly the worst single I’ve ever bought.  And I’ve bought Puff Daddy.

0.5/5 stars

REVIEW: Alice Cooper – “It’s Me” (1994 single)

ALICE COOPER – “It’s Me” (1994 Epic single)

The Last Temptation, Alice Cooper’s acclaimed 1994 concept album, spawned a couple collectable CD singles.  Collectable, because 1) they had unreleased live B-sides, and 2) Eric Singer of Kiss played drums on them!

As far as Alice ballads go, “It’s Me” is not particularly special.  The song fits into the story of the album, but it’s musically in the same vein as the ballads from Trash and Hey Stoopid.  The mandolin is a nice touch, but Alice has more fondly remembered ballads.  “It’s Me” works best as part of the album it was written for.

The two live tracks were recorded in ’91, which actually makes Eric Singer pre-Kiss in this case.  “Poison” is stunning sounding live, but still with rich backing vocals.  The chorus of “Poison” requires several backing singers and Alice’s bands are always equipped for the job.  You can’t tell if Eric Singer is one of the vocalists, but you can easily recognise his style on the drums.  That’s him alright!  “Sick Things” is a strange one live; always has been.  Here, it is inflamed by guitarists Stef Burns and Pete Freezin’ (Freisen).

Alice’s CD singles were hard to find in the early 90s, but thanks to the internet you can get them affordably.  If you’re a Kiss collector, this is one to consider.  If not, just enjoy a snapshot of Alice live during an era that is so far undocumented by a live album.

3/5 stars

REVIEW: The Darkness – “Love Is Only a Feeling” (CD and DVD singles)

THE DARKNESS – “Love Is Only a Feeling” (2004 Warner UK CD and DVD singles)

Collecting singles isn’t as easy as just buying the single anymore.  Which versions are out there, with what tracks?  The Darkness’ singles are usually interesting for the different bonus tracks and variations out there.  Their hit ballad “Love Is Only a Feeling” was available on CD, DVD and 7″ vinyl.  You only need the CD and DVD to get all the tracks, but there’s a catch:  the DVD is in PAL format (common in Europe), so you need a player that can decode it.

No problem.  LeBrain HQ has a collection of frankenstein multi-media tech that can convert the most popular physical formats into something easier to play!  It’s not a pretty setup but it gets the job done.  All the tracks from all the versions of “Love is Only a Feeling” can be compiled in a single file folder!

As far as ballads go, The Darkness didn’t wimp out with “Love is Only a Feeling”.  The Lizzy-like intro harmonies meld into an acoustic mandolin verse.  A bombastic band like the Darkness is at home with a bombastic ballad, but early Darkness didn’t use a lot of frills and extraneous instrumentation.  “Love is Only a Feeling” doesn’t go overboard, but sticks to pretty a traditional rock arrangement.  You can blast it out the car windows — no problem.

The first of the single B-sides is “Planning Permission”, an unpolished song that almost stands with the ones that did make it onto Permission to Land.  It could use a little more tightening up but the roots of a good song are there.  Next is the bizarre “Curse of the Tollund Man”.  It might even be considered educational.  The actual mummy of the Tollund Man was found buried in peat as described in the song.  It sounds like the Darkness were really trying to write a Queen B-side.  It’s amusing but all over the place.

The music video for “Love is Only a Feeling” is the main feature of the DVD single.  I’m a sucker for mountaintop videos.  “Love Is Only a Feeling” is almost as epic as the Bon Jovi and Guns N’ Roses clips that came before .  Then, they take it over the top by going under the ground, in a cave!  A behind-the-scenes video reveals safety ropes, helicopters and elevated platforms to heighten the drama.

The real reason to seek the DVD single is to acquire the final bonus track, “Get Your Hands Off My Woman” live at the Astoria.  The action-packed track features Dan Hawkins on all guitars, so Justin can jump around and do the splits.  Vintage live Darkness with the original lineup is scarce, as far as official releases go.  This live Darkness is full speed, filmed in the raw.  It doesn’t matter if you get it for watching or just listening.  It’s a great version.

If you’re fortunate enough to play DVDs from multiple regions, the singles are usually dirt cheap on Discogs.  This one even came with a poster!  DVD singles were a fad and never really caught on.  They can, however, patch some holes in your Darkness collection.

4/5 stars

 

 

REVIEW: Bon Jovi – “Please Come Home for Christmas” (1994 single)

BON JOVI “Please Come Home for Christmas” (1994 Mercury single)

Christmas of ’94 was a good one for Bon Jovi.  Their first greatest hits record Cross Road was a smash, returning Bon Jovi to the charts.   It spawned two hit singles:  “Always” and later on, “Someday I’ll Be Saturday Night”.  With all that going on, it is understandable if you missed another Bon Jovi single that was just under the radar.

“Please Come Home for Christmas” is billed as a Bon Jovi single, but in actuality it’s a Jon Bon Jovi solo track.  It was first released exclusively to the album A Very Special Christmas 2 (1992), billed to Jon Bon Jovi and not performed with the band.  By ’94, “solo” and “band” Bon Jovi were becoming blurred.  Jon’s solo track “Blaze of Glory” was on Cross Road even though it’s from Jon’s first solo album.  Nowhere on the “Please Come Home for Christmas” single is it indicated that this is a Bon Jovi solo recording, further blurring the lines.

None of that really matters; Bon Jovi is Jon’s band and this single gathers together his first three Christmas recordings in one place.  It’s actually a great value.

The old Charles Brown seasonal classic has been covered over and over, notably by the Eagles.  Jon’s version isn’t bad either.  You either like Bon Jovi or you don’t.  If you like Bon Jovi then this will probably be right up your alley.

Next up, one of the B-sides from Keep the Faith and an original song too:  “I Wish Everyday Could Be Like Christmas”.  This has the vibe of Keep the Faith, with full production by Bob Rock.  Why can’t everybody be kind to each other every day like they are on Christmas?  It ain’t easy to write an original Christmas song, and Jon did an excellent job on this one.  I’ve always preferred it to “Please Come Home for Christmas”.

Finally, from the first Very Special Christmas album (1987), it’s a live take of “Back Door Santa” (Clarence Carter).  That means it’s from the Slippery When Wet tour.  Vintage Bon Jovi with cheesy keyboards right out “Social Disease”.  It’s not good but it’s here!  Meaning, Bon Jovi fans don’t have to look for A Very Special Christmas to complete their collections.

Two for three decent songs isn’t bad.  All are non-album tracks, so that’ll make this single worth it to you.

3/5 stars

RE-REVIEW: KISS – “God Gave Rock & Roll to You II” (1991 single)

The KISS RE-REVIEW SERIES Part 40:

 – “God Gave Rock & Roll to You II” (1991 Interscope single)

Kiss’ Hot in the Shade tour wasn’t a sellout, but it was well received by fans who appreciated that a bunch of older songs were back in the set.  The tour was unfortunately highlighted by the June 15, 1990 date in Toronto, igniting a feud with Whitesnake.  Kiss were third on a four-band bill, with David Coverdale, Steve Vai and company in the headlining slot.  Paul Stanley used his stage raps to complain that Whitesnake wouldn’t let them use their full setup, including a giant sphinx.  When Whitesnake hit the stage, it was to a chorus of boos.  Steve Vai later stated that it was the first time he had ever been booed.  Vai once even walked onstage to the sound of people chanting “Yngwie! Yngwie! Yngwie!”, but he had never been booed until the incident with Kiss in Toronto.

When the tour wrapped up in November, Kiss took a few months off before gearing up again in the new year.  It was to be another album, another tour, but suddenly real life interfered.

Eric Carr hadn’t been feeling well.  Flu-like symptoms turned out to be heart cancer.  Simultaneously, Kiss received an offer to record a song for the sequel to Bill & Ted’s Excellent Adventure.  Carr underwent surgery in April, with chemotherapy following.  Having little choice, Kiss recorded without him.  Eric Singer, who had performed so well on Paul Stanley’s solo tour, filled in on drums.  Eric Carr, in a wig, was able to play for the music video taping.  He gave his all, and did a full day’s shoot, with excellent (pun intended) results.

Unfortunately a rift was developing, with Eric Carr feeling shunned and excluded from Kiss.  He was afraid he was going to be replaced, permanently, and his relationship with the band was strained.  Although everybody hoped Eric would make a full recovery, he passed away from a brain haemorrhage on November 24, 1991.  Eric Carr was 41.

On the same date, Freddie Mercury of Queen succumbed to AIDS.  Carr’s death was barely mentioned in the news, including Rolling Stone magazine who missed it completely, prompting a harsh reply from Kiss:

If anything positive came from Eric Carr’s death, it was that Kiss were going to put all that anger and frustration back into the music.  The music was to be their Revenge.

It started with “God Gave Rock & Roll to You II”, a re-imagining of an old Argent song for the Bill & Ted movie.  Eric Carr may not have been well enough to play drums, but that didn’t stop him from singing.  His vocals on “God Gave Rock & Roll to You II” were his last.  The song wouldn’t be the same without Carr, as he can be heard sweetly harmonising with Paul Stanley.   Eric Singer wasn’t credited on the single, or the final soundtrack for Bill & Ted’s Bogus Journey.  It simply says “performed by Kiss”.

“God Gave Rock & Roll to You II” was important for two more reasons.  First, and very significantly, it was produced by Bob Ezrin.  Ezrin was responsible for the two albums that some consider Kiss’ best, and Kiss’ worst.  It had been 10 years.  A Kiss-Ezrin reunion was very big news for fans.  It indicated that Kiss meant business this time.  Secondly, “God Gave Rock & Roll to You II” was the first Paul Stanley/Gene Simmons (with Bob Ezrin and Russ Ballard) co-writing credit since 1985, and their first shared vocals in ages upon ages.

Although it didn’t make waves in 1991, “God Gave Rock & Roll to You II” has become enough of a favourite to make it onto 2015’s Kiss 40 compilation, and continue to be played live.  It shows off what Kiss can really do.  Yes, they can sing!  Yes, they can play!   This lineup could do it particularly well.  It’s appropriate that Eric Carr went out on a good Kiss track.  And Eric Singer was the right guy to continue.

There are three released versions of “God Gave Rock & Roll to You II”:  The single edit (3:57), the soundtrack version (5:23) and the final 1992 version that was later released on the next Kiss album (5:19).  The single edit cuts out too much of the grand, pompous arrangement, including the epic opening.

In an ironic twist, the version of “God Gave Rock & Roll to You II” that is in the movie has a guitar intro solo by Steve Vai.  The same guy whose band got booed in Toronto thanks to Kiss.

The CD single is rounded out by two more songs from the Bill & Ted soundtrack, by Slaughter and King’s X.  The King’s X track, “Junior’s Gone Wild” (previously reviewed in our mega King’s X series) has never been one of their better tunes, but as a non-album rarity, a nice one to have.  Just don’t judge King’s X by this one track.  Slaughter turned in something better, a fun party tune called “Shout It Out”, also a non-album recording.  Slaughter, of course, were one of Kiss’ well-received opening acts on the Hot in the Shade tour.  And what was their Kiss connection?  Mark Slaughter and Dana Strum were in a band with Kiss’ old guitar player, called the Vinnie Vincent Invasion!

As work proceeded on the next LP, the world suddenly changed.  Hard rock was out, and grunge took over MTV.  This single bought Kiss a little bit of time, but it was going to be the longest gap between Kiss albums yet — three years.  Revenge had to wait a little longer.

Today’s rating:

3.5/5 stars

 

Original mikeladano.com review:  2012/08/08