eric carr

RE-REVIEW: KISS – Revenge (1992)

The KISS RE-REVIEW SERIES Part 43

 – Revenge (1992 Polygram)

The first three-year gap between Kiss albums.  The first Kiss record produced by Bob Ezrin since 1981.  The first shared Simmons/Stanley lead vocal in ages.  The first lineup change since 1984.  And saddest of all, Kiss’ first album without Eric Carr since 1980.  Revenge was a shakeup for fans and band alike.

The pendulum of rock had swung back to “heavy”, with Metallica scorching the charts and grunge pummelling everyone else with new sounds.  It was obvious that Kiss had to go heavier, too.  In 1992, most rock bands had to sink or swim.  In order to swim, bands tended to heavy things up.  A lot of the time they called it “going back to the roots”.

Kiss began making tentative steps back that way.  Hot in the Shade (1989) toned down a lot of the keyboards and 80s trappings.  On tour, they played more old material like “Dr. Love”, “God of Thunder”, and “I Was Made for Loving You”.  Then, as an experiment, they got back together with Bob Ezrin for a song from a movie soundtrack.  Everyone was writing, even the sick Eric Carr.  The initial plan was to have Eric play on half the new album, so he could have time to recover from his cancer surgery.  The drummer from Paul Stanley’s solo tour, Eric Singer, was available to play on the other half.  Singer was on tour with Alice Cooper during the summer of 1991, but would be home soon enough.  Then, on November 24, Eric Carr passed.

The most obvious choice to replace Carr was Eric Singer.  He was already working with the band, he knew the songs, and he was a fan.  Bruce Kulick found him inspiring to have around, as Singer loved his guitar work.  In fact the only thing about Eric Singer that didn’t fit was his hair colour!

The energetic new drummer was a godsend.  With albums to his name by Black Sabbath and Badlands, Kiss couldn’t have asked for a more technically adept player.  He could hit hard (though Eric Carr takes the belt in that regard) and he could authentically do any era of Kiss.  Be it the early, slippery Peter Criss material or the heavy metal of Eric Carr, Singer had it all covered.  And he could sing!  Though we wouldn’t get there quite yet.

It was the heavy metal side that was most immediately apparent.  The first track and first video from Revenge was “Unholy”, something very unlike anything Kiss had done before.  And it came about in a most peculiar way.  Enter:  Vinnie Vincent.

Those who say “Vinnie saved Kiss” will point to “Unholy” as one such song that saved Kiss.  After years of estrangement (and preceding even more), Vinnie came out to write with Gene and Paul.  “Unholy” was one of three songs he contributed.

With a fury unlike any before, Gene Simmons and company swirl in rage on “Unholy”.  The closest they got to this kind of heavy before would be Creatures, but there’s something just pissed off about it that wasn’t there before.  With a concrete riff and angry slabs of drum tribalism, Kiss announced their return loudly.  Not to be outdone, soloist Bruce Kulick laid down his noisiest guitar assault yet.  There isn’t an ounce of fluff to “Unholy”.

Thanks to Bob Ezrin, Revenge is Kiss’ best sounding album since Lick It Up or Creatures.  It’s no Destroyer, and it’s no Elder.  This time they cut the extras down to the bone, leaving the four Kiss guys to rock it themselves.  Err, mostly themselves.  That’s Kevin Valentine on drums for the second song, “Take It Off”.  Strange that Kiss continued to have ghost musicians on albums when they clearly didn’t need to.  An ode to strippers, “Take It Off” is lyrically juvenile, but gleams like stainless steel.  Paul Stanley wrote it with Ezrin and ex-Alice Cooper guitarist Kane Roberts, and it could have been used as a single had Revenge needed another.  A dirty, dirty single.

Paul, Bruce and Ezrin composed “Tough Love” with a slower, chunky riff.  Kulick’s solo is remarkable, but it’s also just nice hearing Paul do a sex song that has some balls.  There is no “X” in this sex, although there’s a little BDSM for the 50 Shades crowd.  Then, teaming up with Gene, they do their first co-write and co-lead vocals together in the first time in a dog’s age.  “Spit” is old school fun with a modern heavy edge.  Bruce pays homage to Jimi Hendrix in his complex guitar solo, a composition all to itself.  Eric Singer gets to throw down tricky beats and fills, making “Spit” one of the most deceptively clever songs Kiss has done.

“God Gave Rock ‘N’ Roll To You II” was released as a single the year before.  It was the experiment with Ezrin that kicked off Revenge in the first place.  It was the only song that Eric Carr was alive for, and you can clearly hear him on backing vocals.  Singer handled the drums, though Carr did it in the music video.  The album mix is different from the single or soundtrack, in order to better suit the sonics of Revenge as its sole anthem.

Gene tells a story about a girl who “kisses like the kiss of death” to end side one.  “Domino” hearkens back to early Kiss, with a sparse arrangement and Gene playing rhythm guitar instead of Paul.  This greasy rocker just screams “Kiss”.  There is nobody else with songs like “Domino”.  It was the third single from Revenge, sporting a nifty video with Gene cruising around in a convertible while Kiss plays as a trio!  Paul Stanley: bass guitar.

“Heart of Chrome”, the second Vinnie Vincent collaboration, rocks with attitude.  Once again, anger seems to be the emotion of the day.  The 90s-look Kiss could deliver anger in spades.  Then Gene takes the mantle on “Thou Shalt Not”.

He said “kindly reconsider the sins of your past,”
I said “Mister you can kindly kiss my ass.”

These are not songs for the Kiss hits mix tape you’re making for your roadtrip.  These are songs to be experienced in context of the album, where they deliver mighty riffs and enough hooks for the long-player.  “Thou Shalt Not” has another one of those Kulick solos that could be a study in string manipulation, and Singer just keeps it kicking the whole way through.

You could choose from two schools of thought regarding “Every Time I Look at You”.  As the album’s only true ballad, some see it as a mistake on a record as heavy as Revenge.  Others see it as a reprieve from a fairly relentless onslaught.  Indeed, it does sound as if from another album.  With a string section, Ezrin on piano, and Dick Wagner on ghost guitar, one could even argue that it’s an album highlight.  A little re-sequencing though, and you probably wouldn’t even miss it.

Gene makes it heavy again on “Paralyzed”, not an outstanding track but a little funkier than usual.  “I Just Wanna” is far more entertaining, though it is a shameless and obvious rip-off from “Summertime Blues”.  It was chosen as the second single, and lo and behold, it’s the third Vinnie Vincent song too.  “I Just Wanna” is immediately catchy and memorable for days.  Probably because you already knew it as “Summertime Blues”.

As a touching surprise, Revenge ends on an instrumental called “Carr Jam 1981”.  Bob Ezrin dug up an old demo from The Elder with a hot riff and a complete drum solo.  It had been bootlegged before, notably on Demos 1981-1983, but not with very good sound.  Ace Frehley even recorded it as “Breakout” on his second solo album.  Ezrin cleaned up the original demo for Revenge, edited it for length, and overdubbed Bruce on lead guitar.  “Carr Jam” has become Eric’s signature drum solo.  Placing it here at the end of Revenge was not only poignant but also just great sequencing.

Album in hand, now it was time to tour.  Kiss would start with a short run in the clubs.  More on that next time.

Today’s rating:

4.5/5 stars

Original mikeladano.com review:  2012/08/10

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REVIEW: Eric Carr – Unfinished Business (2011)

The KISS RE-REVIEW SERIES Part 42:  Eric Carr solo #2.

EC_Unfinished_Business_2011ERIC CARR – Unfinished Business (2011 Auto Rock Records)

Even though 2000’s Rockology compilation released a treasure trove of unheard goodies for the fans, there is always more to sell.  For the 20th anniversary of Eric’s passing, another batch of tracks were unearthed.  Some are mere filler, some are pretty decent.  Fans of the beloved  drummer will have to sift through the bad to get to the good.

There are a couple Kiss songs here for the diehard fans.  “No One’s Messin’ With You” is yet another demo of what would become “Little Caesar” from Hot in the Shade.  A third called “Ain’t That Peculiar” was released on the 2001 Kiss Box Set.  This is an almost completely different set of lyrics, although it does have the “Hey Little Caesar” chorus.  In chronological terms, this version probably falls between the other two, with lyrics still a work in progress and a different verse melody.  Then there’s “Shandi”, from Eric’s Kiss audition tape, with brand new acoustic backing music.  Unfortunately, Eric’s shaky voice (or a warbly tape) makes this totally unlistenable.

One of Rockology‘s highlights was “Just Can’t Wait” which was crying out for a lead vocal to finish it off.  This was completed by Ted Poley of Danger Danger.  Though the backing track lacks the fidelity of a proper Kiss recording, the song has taken shape as the shoulda-coulda-been hit that it is.  Eric would have been proud and very happy to hear it as a finished song.

The unfinished “Troubles Inside You” is a demo with regular Kiss collaborator and Beatlemania member Mitch Weissman.  It was recorded at Gene Simmons’ house, but the old cassette must have deteriorated pretty badly.  The music is barely audible, though hints of a good song shine through.  Two more Kiss outtakes include the legendary “Dial L For Love” and “Elephant Man”.  These were written for Crazy Nights and Revenge, respectively.  Neither were finished by Carr.  “Dial L For Love” has the bones of a good song with a unique riff.  Eric only managed to finish the lyrics for “Elephant Man”, but here it is given music and life by a group of musicians including the late A.J. Pero of Twisted Sister, and ex-Europe guitarist Kee Marcello.  Singer Bob Gilmartin did a great job of it, turning “Elephant Man” into a cross between ballad and rocker, and something Kiss totally could have done on Revenge.  “Midnight Stranger” is another unfinished riff.  Ex-Kiss guitarist Mark St. John was slated to overdub brand new solos for this instrumental, but he too passed before he could finish.  This is the original cassette demo.  The riff sounds like a brother to “Carr Jam”.  They are definitely related.

“Carr Jam 1981” is, unfortunately, not the original unaltered Elder demo.  It is a cover by drummer Joey Cassata, and a very authentic one at that.  Same with “All Hell’s Breakin’ Loose”.  Just a cover, not a demo, by Cassata’s band Z02. Pretty good stuff, at least.  New backing music was recorded for “Eyes of Love”, a song previously released on Rockology.  The Rockology version with Bruce Kulick on guitar is superior.

Finally, some real serious archival treasures:  an Eric Carr drum solo basement tape (same as his live Kiss solo), and a 1967 recording by Eric’s first band The Cellarmen!  That’s Eric on lead vocals too.  It definitely sounds of its time. Added filler include a few interview bits and clips, including one with former Kiss manager Bill Aucoin about Eric.

If the first Eric Carr CD release was best left to hardcore fans, it’s doubly true of the second one.  This is a fans-only release, period.  It is highly unlikely anyone else would get much enjoyment from this low-fi set.

2/5 stars

Although Carr’s loss was devastating to both fans and the band, there was no question Kiss would carry on with imminent Revenge….

 

RE-REVIEW: Eric Carr – Rockology (2000)

The KISS RE-REVIEW SERIES Part 41Eric Carr solo #1.

It’s back and picking up right where we left off:  the death of Eric Carr.  The previous chapter of this series was posted November 8 2017, with the intention to talk about Eric Carr’s demos next, before moving on to his replacement.  When Eric died of cancer in 1991, he left behind several tapes of unreleased material that have since been issued on CD.  Likewise, the Kiss Re-Review Series was derailed by Mrs. LeBrain’s cancer diagnosis, but will carry on now that she is well.  Thank you for your patience!

ERIC CARR – Rockology (2000 EMI)

The late  drummer Eric Carr was frustrated towards the end.  He was writing good material, but it was always being rejected by Paul and Gene.  In the press, Eric would tow the company line and explain that everybody else had such good songs, that there was no room for his.  In his heart, he was hurt and felt shunned.

Eric Carr wasn’t just a drummer.  He could sing lead, and he could write.  Kiss’ single “All Hell’s Breaking Loose” was an Eric idea.  He co-wrote “Don’t Leave Me Lonely” with Bryan Adams.  Although his writing credits on Kiss albums were sparse, he had plenty of material in the can.  2000’s Rockology is a series of those demos, some in a near-finished state and some left incomplete.  Much of this material was intended for a cartoon Eric was working on called The Rockheads.  10 years later, Bruce Kulick finished recording some guitar parts and mixed it for release.  He also wrote liner notes explaining the origins and Eric’s intentions for each track.

Eric didn’t have a particularly commercial voice, falling somewhere south of a Gene Simmons growl.  There’s no reason why Gene couldn’t have sung “Eyes of Love” from 1989, which has more balls than a lot of Hot in the Shade.  This demo has Eric on drums and bass, and Bruce Kulick on guitar with a solo overdubbed in 1999.  It doesn’t sound like a finished Kiss song, but it could have been tightened up to become one.  Same with the ballad “Everybody’s Waiting”.  It sounds custom written for Paul Stanley.  But it was 1989, and nothing was going to displace “Forever” from the album, nor should it have.

Many of the demos have no words.  “Heavy Metal Baby” features Eric scatting out a loose melody.  This heavy and chunky riff would have been perfect for the later Revenge album, had Eric lived.  In a strange twist, several of the best songs are instrumentals.  The hidden gem on this CD is the unfinished “Just Can’t Wait”.  It could have given Journey and Bon Jovi a run for their money.   Eric, Bruce and Adam Mitchell wrote it for Crazy Nights, and you can almost hear a killer chorus just waiting to leap out at you.  This potential hit could have been the best song on Crazy Nights, had it been finished.

“Mad Dog” has nothing to do with the Anvil song of the same name.  The chorus is there but the verses are a work in progress.  This hard rocker from 1987 was probably too heavy for what Kiss were doing, though it would have added some much needed groove.  “You Make Me Crazy” is in a similar state of completion and boasts a tap-tastic solo by Bruce.  Apparently this demo was originally called “Van Halen” and you can hear why.  Two versions of a song called “Nightmare” exist, including a really rough one without drums.  This incomplete song could have really been something special.  It has a dramatic feel and different moods, and was probably too sophisticated for Kiss, though any number of 80s rock bands would have been lucky to have such good material.

The last batch of tracks show off the Rockheads material.  Whether Eric’s cartoon idea ever would have happened or not, the advent of bobble-heads and Pops would have made marketing easy.   The songs are virtually complete though the drums are programmed.  “Too Cool For School” is a little cartoony, which is the point, right?  For keyboard ballads, “Tiara” showed promise.  It’s not the equal of “Reason to Live” but it demonstrates a side to Eric unheard before.  Next, Bruce says that they always wanted Bryan Adams to cover “Do You Feel It”.  It would have fit Adams like a nice jean jacket.  Not that Adams really needed the help, it would have been awesome on Waking Up the Neighbors.  The set closes with “Nasty Boys”, nothing exceptional.  It sounds like a song called “Nasty Boys” would sound…or anything by 80s Kiss really.

Before you spend your hard-earned dollars, remember that these songs are definitely unfinished. They are as polished as possible given some of their rough (cassette) origins. Eric’s talent still shines, but you have to be a fan.  Especially a fan of 80s Kiss.  They will find it to be a crucial companion piece to their collections.

Long live the Fox!

Today’s rating:

3/5 stars

Original mikeladano.com review:  2014/04/24

Sunday Chuckle: Not Kiss!

A good buddy of mine has three kids.  He will often play them music via Youtube, and they have been enjoying classic Kiss lately.  In fact about a year ago, I myself was trying to teach them the correct words to “Shout it Out Loud”, for which they were singing their own variation.

My buddy tells me that the other day, Youtube shuffled to the “Lick It Up” video and he pointed out, “Look kids, Kiss.”  His infant daughter looked up, saw four guys with no makeup on, and yelled, “NOT KISS!”

Smart kid.  Just a child and already knows “new” Kiss from “old” Kiss.

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

 

 

REVIEW: KISS – “Forever” (4 track single, 1990)

The KISS RE-REVIEW SERIES Part 39: bonus single review

 – “Forever” (1990 Polygram EP)

Kiss took the unusual step of waiting six months before going out on tour to support Hot in the Shade.  Bands were having trouble selling out arenas.  In the meantime they released singles and videos.  “Hide Your Heart” came first in October of 1989.  It did alright; for fans the best part of “Hide Your Heart” was seeing Paul Stanley playing guitar again in the music video.  The CD single was nothing special; just the Paul Stanley A-side, backed by two Gene Simmons B-sides, as had become the norm.  “Betrayed” and “Boomerang” were among the better Simmons tracks to chose from Hot in the Shade.

In January of the new year, they dropped what they hoped to be the big single, “Forever”.  The excellent music video was an MTV hit, going to #1, while the single went to #8 on the U.S. Billboard Hot 100.  One reason the video was so well received is that it was a rare back-to-basics look at the band.  It was just four guys playing together in a room.  No girls, no gimmicks, no dancing.  Featuring exceptional performances by Eric Carr and Bruce Kulick, “Forever” was one of those rare ballads with integrity.  Having Bruce’s old Blackjack buddy, Michael Bolton, in the writing credits didn’t hurt.

Ace Frehley wasn’t impressed though.  In the July 1990 issue of Guitar for the Practising Musician, he dismissed it as pop.  He wasn’t wrong, but that doesn’t make “Forever” bad.

The single for “Forever” received a wider release on all three major formats (CD, vinyl and tape), and was expanded to EP length with four tracks.  It also received something very rare for Kiss:  a single exclusive remix, by Steve Thompson and Michael Barbiero.  It has some difference in levels and echo.  However, every CD copy of this single has a flaw, a skip at 1:40 that shouldn’t be there.  It’s not even a damaged CD; if you look at the track times, the single version is encoded few seconds shorter.  In other words a faulty master was used on every CD single.  You won’t find one without the skip.  Vinyl and cassette don’t have the flaw.

Fortunately this oversight was fixed when Kiss released their box set a decade later.  The correct remixed single version without flaw was remastered and included in the set.

The included B-sides are an interesting mix.  From the Hot in the Shade album, there’s the Gene Simmons throwaway “The Street Giveth and the Street Taketh Away”.  The other two are, strangely, two of Paul’s “new” tracks from Kiss Killers.  The logic here was the Kiss Killers was (and still is) unreleased in North America.  At least this gave us an easy way to get the amazing “Nowhere to Run” on CD.

Too bad about that flaw on the CD version.  Otherwise this isn’t a bad little single.

4/5 stars (cassette and vinyl versions)

0/5 stars (CD)

To be continued…

 

 

RE-REVIEW: KISS – Hot in the Shade (1989)

The KISS RE-REVIEW SERIES Part 38: 

 – Hot in the Shade (1989 Polygram)

Step one:  Get Gene Simmons’ demon head back into the game.

Step two:  Record a rock album, not a Bon-keyboard-Jovi-Kiss hybrid.

Throw in the kitchen sink while you’re at it.  It’s Kiss, so what’s wrong with excess?  Why not a new album with 15 tracks?  Why not work with Vini Poncia, Desmond Child, Holly Knight, and Michael Bolotin Bolton?  How about bringing in Tommy Thayer from Black ‘n Blue to co-write some tunes?

Why not indeed.  The results yielded were interesting to say the least, and certainly more rock and roll than anything else Kiss did in the 1980s.  It is also overall one of the hardest Kiss albums to listen to front to back.  A for effort, D for songs.  Its bloated and unfinished track list seemed like Kiss was trying really hard on one end, but gave up on the other.

Paul Stanley and Gene Simmons self-produced Hot in the Shade, after the negative experience with outsider Ron Nevison.  This meant that there was no-one to push them to do better, as Bob Ezrin and Eddie Kramer would.  No-one to say “no” to using demo tapes on the finished albums.  No-one to say “no” to 15 tracks, to drum machines, and to sub-par songs.

Issues aside, Hot in the Shade is not all bad.  At least you can say that Kiss went for it.

Opener “Rise to It” begins with something new:  acoustic slide guitar (from Paul Stanley)!  In a time when rock bands were re-discovering the blues, this old-timey touch was a welcome sound.  The slide gives way to one of Paul’s most incendiary tracks of the decade.  Written with expert songsmith Bob Halligan Jr., “Rise to It” hits all the right spots.

“Rise to It” was eventually chosen as a third single to promote Kiss’ upcoming 1990 tour.  The music video opened a door that fans refused to allow them to close:  Kiss in makeup again.  Instead of the slide guitar intro, the video takes us to a theoretical 1975.  Gene and Paul sit in the dressing room, applying their legendary whitepaint.  The conversation was one that Gene and Paul may have had many times in the old days:  musing on a life without makeup.

“I saw that review today.  Some of those people don’t think this is gonna last.  They think it’s a joke,” says Paul.  Gene reassures them that it doesn’t matter as long as they believe in themselves.

“I bet you we could take the makeup off and it wouldn’t make any difference,” Paul retorts.  Gene calls him nuts.

“Gene, there’s nothing we can’t do.”

“Still say you’re nuts.”

At the end of the video, there they were: Paul and Gene, Starchild and Demon, in makeup for the first time in seven years.  What did it mean?  Was it just hype?  Of course it was.  It would be seven more years before they’d do a tour in makeup again.

But it was cool, and it made many fans smile ear to ear.

Like all the previous Kiss albums from the non-makeup era, all three single/videos were Paul songs.  Though “Rise to It” is the most noteworthy video, “Hide Your Heart” was first.  This Stanley/Child/Knight outtake from Crazy Nights was actually first recorded by Bonnie Tyler in 1988.   At the same time that Kiss were recording it for Hot in the Shade, Ace Frehley also did his own version for 1989’s Trouble Walkin’.  Confusing?  Kiss were the only band to have a semi-hit with it (#22 US).

As a nice change of pace from putting X’s in sex, the lyrics were a story about star-crossed lovers in gangland.  “Tito looked for Johnny with a vengeance and a gun, Johnny better run better run,” sings Paul.   In fact, “Hide Your Heart” does not get enough credit in fan circles for being lyrically different.  At least it is recognised as a great tune from a poor album.

Kiss weren’t worried about competition from Ace and did indeed record the best version of “Hide Your Heart”.

The most notable single was the ballad “Forever” (and we will take a closer look at the CD single in the next instalment of this series). Michael Bolton was an old bandmate of Bruce Kulick’s from the Blackjack days.  Before he was a superstar crooner, he was a rocker.  Together he and Paul wrote “Forever”, which became the big hit (#8 Billboard hot 100).

As an acoustic ballad, “Forever” is far more palatable than the keyboardy “Reason to Live” from ’87.  What gives it balls are the two unsung Kiss members:  Kulick and Eric Carr.  Eric’s heavy drumming on “Forever” really kicks it up a notch.  Listen to that hammering 1-2-3-4 bit at the 1:05 mark.  “When you’re strong you can stand on your own…” ONE TWO THREE FOUR on the snares.  Heavy as fuck on a ballad!  Then there’s Bruce’s acoustic solo, another first for Kiss.  The temptation would be to record a ripping electric solo like everyone else.  Bruce wrote and recorded a hook-laden acoustic solo that is as much a part of the song as the chorus.

Those are your three standouts from Hot in the Shade, leaving 12 more that don’t hit the same bar.

Of the remaining 12 tracks, Eric Carr’s lead vocal “Little Caesar” is significant.  Making him sing “Beth” on Smashes, Thrashes & Hits was unfair and a cheat.  “Little Caesar” is his “real” lead vocal debut.  Originally written as “Ain’t That Peculiar” (later released on a Kiss box set), the words changed to reflect one of Eric’s nicknames.  He was, after all, a little Italian guy!  The funky “Little Ceasar” was performed entirely by Eric and Bruce Kulick.

US picture CD

Gene’s “Boomerang” (written for Crazy Nights with Bruce) may be noteworthy as the closest Kiss have ever gotten to thrash metal.  Another Gene tune, “Cadillac Dreams” has a horn section and electric slide guitars.  Paul’s “Silver Spoon” is augmented by soulful female backing vocals.  You have to give them credit for stretching out and trying new things, but keeping it rock and roll.

Then there is a slew of filler, stuff that would never be played live nor remembered fondly.  Gene has a number of generic sounding songs, heavy but uninteresting:  “Betrayed”, “Prisoner of Love”, “Love’s a Slap in the Face”, “The Street Giveth and the Street Taketh Away”, and “Somewhere Between Heaven and Hell”.  Paul is also guilty of providing filler material.  “Read My Body” isn’t bad, but sounds like his attempt to re-write “Pour Some Sugar On Me”.  “King of Hearts” and “You Love Me to Hate You” both have good parts here and there, but not quite enough.

As unfocused as Hot in the Shade is, at least it was a step.  Sure, adding horns and slides smacked of Aerosmith.  Going almost-thrash was following, not leading.  Musically, Kiss have never been leaders, but what they do is create their own confections from the ingredients of their best influences.  Hot in the Shade represented a better mixture of  ingredients, just without the discipline to mould them into 10 (just 10, not 15!) good songs.

Today’s rating:

1.5/5 stars

The story of the next three years in Kiss will be explored in a series of reviews on CD singles, live bootlegs, and solo releases.  Don’t miss them!

Original mikeladano.com review:  2012/08/07

BOOK REVIEW: KISS Still On Fire – Dave Thomas & Anders Holm (1988)

The KISS RE-REVIEW SERIES Part 37: bonus book review

 Still On Fire – Dave Thomas & Anders Holm (1988 Melody Line)

In the 1980s, there were generally no Kiss books on the market.  If you found one, you bought it.  The only widely known Kiss book back then was 1978’s paperback Kiss by Robert Duncan.  I was lucky to find Kiss Still On Fire in Stratford Ontario on December 27, 1990 in a great little store called The Book Vault.  Still On Fire is very very unofficial, but it was unequalled in its time:  130 magazine sized pages, mostly in full colour, loaded with pictures, facts and a few errors.

Peppered with old interviews and article snippets, Still On Fire takes a balanced look at the band and isn’t afraid to get critical when it’s warranted.  It also attempts to take a crack at who played what on some of those tracks where it wasn’t quite clear.  For example, Ace Frehley is pictured on the front cover of Killers, but didn’t play on any of the new songs.  Still On Fire quotes a Paul Stanley interview.  Was it Bob Kulick playing lead on these tracks?  “Bob did come out, yes, but he didn’t play.  When I couldn’t handle things — and I don’t consider myself the ultimate lead player — another friend of ours came in and gave us a little help.”  The book states this friend was Robbin Crosby of Ratt, a claim that is not backed up in other sources.  Did Crosby play on Killers?  Who knows, but according to this book, he did.  Other books such as Julian Gill’s Kiss Album Focus claim Bob Kulick did play some on Killers.  In other words, if you read something interesting in this book that contradicts what you’ve read elsewhere, take it with a grain of salt.

There’s a bit of content here about what Gene was doing in the 1980s outside of Kiss:  producing bands such as Black & Blue and EZO.  Gene was responsible for EZO’s fantastic single “Flashback Heart Attack”, co-written by James Christian of Simmons Record act House of Lords.  Gene was also working on movies but was having trouble finding the time.  Apparently Sergio Leone really wanted Gene Simmons for Once Upon a Time in America in the role of Max, ultimately played by James Woods.  Can you imagine?

Besides the ample photos, the most impressive feature of Still On Fire is the discography.  Though incomplete, Still On Fire attempts to document myriad Kiss bootleg recordings, including cover art.  There are also interesting promo and foreign releases, such as the Special Kiss Tour Album and Kiss – The Singles.  Side projects and solo albums are included, from major (Frehley’s Comet) to obscure (Bruce Kulick’s band The Good Rats).  A variety of singles, picture discs and videos are on display, fully illustrated.  All of this was completely new to me then.  Not to mention the titles of unreleased songs!  What the heck were “Don’t Run” and “The Unknown Force”?  (The Elder demos.)  This is also where you’ll find the most typos and spelling errors.  (I really want to hear this song called “Pick It Up”.)

Still On Fire isn’t definitive nor is it definitely 100% accurate, but it should still prove to be a valuable resource for your Kiss library.

3.5/5 stars

 

RE-REVIEW: KISS – The Ritz, NYC 12/08/1988

The KISS RE-REVIEW SERIES Part 34

 – The Ritz, NYC, 12th August 1988 (from 4 CD set Radio Waves 1974-1988) (2015 American Icons broadcast release)

At last, we are at the end of the Crazy Nights era.  Radio broadcasts are the next best thing to a bootleg.  Actually, strike that.  Radio broadcast CDs are often better than bootlegs.  The audio is usually decent because it’s a professionally recorded broadcast.  They are almost always cheaper than an equivalent bootleg CD too.  Broadcast discs are easily found on various Amazon sites and all over Ebay.  Thanks to their abundance, sometimes you can even choose from multiple releases of the same concerts.

One such show is Kiss’ 1988 performance at the Ritz in New York in 1988.  It’s a tight, hot Crazy Nights recording, but there are pros and cons to the different releases.  There was a 2013 Gold Fish release of the Ritz concert, called The Ritz on Fire, reviewed here.  Fans immediately noted that “Reason to Live” was missing, although others had “Reason to Live” on different releases.  In fact The Ritz on Fire is missing two songs:  “Bang Bang You” is the other.

To get all the songs, one recommended version is the 4 CD set The Very Best of Kiss – Radio Waves 1974-1988.  Inside you will get:

  • Disc 1:  Agora Ballroom, Cleveland, April 1 1974.  We reviewed a better version of this show with bonus tracks from ABC In Concert and the Mike Douglas Show.
  • Discs 2 & 3:  Animalize Live Uncensored 1985.   Missing some of the stage raps, but including all the songs from the original VHS release.
  • Disc 4:  The Ritz NYC 1988.  All the songs, but missing some of the stage raps.

Nothing’s perfect.  These broadcasts are quirky that way.  You can buy Radio Waves 1974-1988 to get all the songs from the Ritz show, but not all of Paul’s stage raps.  You could, of course, compile the best of the two versions together into one custom complete concert.  The sound quality is virtually the same.  What about an official release?  The only Kiss-produced media of this concert is a rare 11 song bonus DVD that came with Kissology Vol. 2, but only at US Best Buy.

Regardless of which version you buy, this concert has a good reputation with fans and it is easy to hear why.  Eric Carr and Bruce Kulick rose to the challenge and gave a Kiss a hard, professional sheen.  Meanwhile, behind the curtain stood Gary Corbett, thickening up the sound with additional  keyboards and backing vocals.  Paul Stanley was in his prime, hitting notes only dogs could hear.  Meanwhile Gene Simmons was present in body if not spirit.  Notably, “Shout it Out Loud” was performed at the Ritz, making it a rare 80s appearance of that song.  “Dr. Love” was also something of a rarity at the time.

Choose according to your own preferences, but don’t be afraid to pick up some version of Kiss at the Ritz.

Today’s rating:

4/5 stars

Original mikeladano.com review:  2014/01/27

REVIEW: KISS – In the Land of the Rising Sun (live 1988 bootleg)

The KISS RE-REVIEW SERIES Part 33

 – In the Land of the Rising Sun (Big Boy Records bootleg from 1988 tour)

If you are in the mood for some live Kiss from the late 80s, then your journey might just come to an end here: Kiss at the Budokan, Tokyo Japan, April 22 1988. It’s not the last live Kiss from 1988 that we’ll examine, but it’s decent.  This 2 CD set boasts a more extensive track selection than Monsters of Rock, recorded in Germany in August.  It’s an audience recording, but above average quality.  It sounds like it is sourced from a previous vinyl generation.

In Germany, Kiss opened with “Deuce”, but in Japan, they didn’t even play it.  Instead they opened with “Love Gun”, chased immediately with some “Cold Gin”.  Therefore, it’s cool to have a couple bootlegs from this tour, to get a broader range of songs.  Japan also heard “Bang Bang You” from Crazy Nights.  Not a highlight to be sure, but a rarity that Kiss fans will want in their bootleg collection.  In a strange twist, “Fits Like a Glove” is split into two tracks, just like it was on the Germany CD, made by a completely different company.

Bruce Kulick’s solo before “No No No” is much longer, leading us to think that the solo on the Germany CD was edited for length.  This is the one to check out, to hear what kind of solo Bruce was playing in 1988.  Kulick is continuously impressive.  He always does justice to the original Ace Frehley (or Vinnie Vincent) ideas, but by playing his own solos with the right feel.  His technique is all but flawless.  This disc also has the Eric Carr drum solo and Gene’s bass solo intro to “I Love it Loud”.

There are plenty of tunes here that either weren’t played in Germany or just weren’t on that CD:  “Bang Bang You” (see above), “Calling Dr. Love”, “Reason to Live”, “War Machine”, “Lick It Up”, “I Was Made For Lovin’ You”, “Shout it Out Loud”, and “Strutter”.  “I Was Made For Lovin’ You” hadn’t been played live since 1980.

Almost every bootleg CD I own has some amusing mistake or quirk that I enjoy picking out.  This has a couple.  The label can’t decide if it’s named “Big Boy” (inner sleeve) or “Big Apple” (disc itself).  There are three “producers” and two “engineers” credited, for a bootleg CD.  I guess Eddie Kramer wasn’t available.  Kiss is credited on the disc as — not Kiss! — as the “Metal Boys of New York”!  Finally, in order to appear that nobody was making money off Kiss’ back, it is claimed on the CD that this “promotional copy” is “not for sale”.

Don’t let that deter you.  Buy it if you find it.

3.5/5 stars