eric singer

Sunday Screening: Trailer for KISS Off the Soundboard: Tokyo 2001

Just a quickie for you this Sunday.  In rather cool news, KISS announced a new series of live soundboard albums.  The first of these is Tokyo 2001, one of Ace Frehley’s last shows with the band.  The lineup is one never before represented on any official releases until now:  Stanley/Simmons/Frehley/Singer.

The vinyl can be purchased on black or “exclusive 3LP crystal clear vinyl with bone swirl”.  Or for those of us not made of money, plain ol’ CD.  Check it out.

 

1. “Detroit Rock City”
2. “Deuce”
3. “Shout It Out Loud”
4. “Talk to Me”
5. “I Love It Loud”
6. “Firehouse”
7. “Do You Love Me”
8. “Calling Dr. Love”
9. “Heaven’s On Fire”
10. “Let Me Go Rock & Roll”
11. “Shock Me”
12. “Psycho Circus”
13. “Lick It Up”
14. “God of Thunder”
15. “Cold Gin”
16. “100,000 Years”
17. “Love Gun”
18. “I Still Love You”
19. “Black Diamond”
20. “I Was Made For Lovin’ You”
21. “Rock and Roll All Nite”

REVIEW: Paul Stanley’s Soul Station – Now and Then (2021)

PAUL STANLEY’S SOUL STATION – Now and Then (2021 Universal)

Reviewing Paul Stanley’s new album, Now and Then featuring his new band Soul Station, is probably the most challenging task I have ahead of me this morning.  It’s difficult for several reasons, primarily three.  Full disclosure.

 

 

 

  1. Paul Stanley might be my favourite artist of all time.
  2. His voice is in decline and this is always evident.
  3. How can I review Paul’s soul covers without comparing to the originals?

The truth is I like soul just fine, but the bulk of my collection is made of different grades of rock.  I have an Etta James CD.  I’m far from qualified to review this.  But I have to, so I’ll try.

Paul’s band is 10 members (excluding himself) augmented by a horn and a string section.  18 musicians are credited total, with Paul as “lead singer”:  the first time on any of his albums where Paul plays no instruments.  Unexpectedly, Paul’s Kiss bandmate Eric Singer is Soul Station’s drummer.

There are 14 tracks:  nine covers, and five originals.  You can’t accuse Paul Stanley of taking the easy route.

Remember when Kiss were accused of going Disco in 1979?  “Could It Be I’m Falling In Love” really sounds Disco, and certainly there’s nothing wrong with the flawless arrangement, from the lush strings to the punchy horns.  In fact, Paul’s diminished voice is the only noticeable weakness.  He covers for it pretty well.  He used to belt it out all time; now he usually holds back in a soft whispery falsetto.  A performer has to adapt to their limits at every age.  Good tune.  But this is a new Paul Stanley and he’s not the best singer in his band.  He’s just the lead singer.

The first original, “I Do”, sounds like the real thing.  It’s a light ballad, arranged with the strings and full band treatment to sound pretty much just like the covers.  But the really surprising original is “I, Oh, I”, a terrific upbeat dance-y number.  Not only does it sound authentic but it’s also catchy as hell.  You could imagine it in a rock arrangement, and Paul points out in the liner notes that he wrote, arranged and orchestrated all his originals.

“Ooo Baby Baby” is a Smokey Robinson cover, and like the original it’s in falsetto.  It’s one of the harder songs to listen to.  “O-O-H Child” is better, though no substitute for the original.  Paul does well on the upbeat tracks with plenty of melodic hooks.  One of his backing singers take the lead on a few lines.  And although Eric Singer does a mighty job on the drums, he is a rock drummer playing soul, and that’s evident in the fills.  The groove of the 70s just isn’t something that can be recreated easily.

You can tell by the title that “Save Me (From You)” is a Paul original.  Sounds like a leftover from the Live To Win album, jazzed up for the Soul Station.  That said, it’s a pretty good track.  It’s a nocturnal rumble that does really well standing up to the classics.  It cannot be denied that Paul Stanley has a knack for writing a melodic song.  All of his writing credits on Now and Then are solo credits.

“Just My Imagination (Running Away With Me)” is not bad.  It’s the falsetto again, but massaged in the studio, and backed by the Soul Station, this one makes the grade.  Nobody doubts Paul’s genuine love of this music.  In the liner notes he takes ample time explaining his roots with Detroit soul.  And it was him that was hanging out in New York Disco clubs, when he decided he could write one of those songs for Kiss.

“Whenever You’re Ready (I’ll Be Here)” is a duet with one of his backing singers; upbeat, well done.  “The Tracks of My Tears” exposes the weaknesses in Paul’s voice but there are plenty of backing singers to cover for him.  That aside, it’s another great Soul Station cover.  “Let’s Stay Together” (Al Green) underwhelms; I mean how can it not?  The best thing I can say is that it’s better than Michael Bolton’s version.  “La-La — Means I Love You” also kind of just sits there, threatening to send the listener off to sleepytime land.  Fortunately, Paul’s original “Lorelei” revives the album, with upbeat melodic charm.  Cool guitar solo on this one too.

Two more covers to get through — “You Are Everything” (no thanks) and “Baby I Need Your Loving”.  Fortunately the latter song closes the album, on an earnest upbeat note with Paul giving the lungs a little exercise.  Solid ending.

Observation:  I enjoyed Paul Stanley’s Soul Station more the first three or four times I played it — as background music.   When it comes to listening intently, it didn’t capture me.

Observation 2:  Peter Criss got shit all over for trying to make an album somewhat like this back in 1978.

If Paul had released a mini-album (or extra large EP) with only seven or eight tracks, I think we’d be praising his originals and taste in covers.  Unfortunately chinks in the armour appear too frequently on the bulk of the album.  Good background music, but not an outstanding set.

Paul’s originals – 4/5 stars
Covers – 1.5/5 stars
Kiss Fan Fanatic Score – 100/5 stars
Realistic Score – 2/5 stars

#825: Klassic Kwote – Carnival of Souls

GETTING MORE TALE #825:  Klassic Kwote – Carnival of Souls

 

We were encouraged to put stickers on CDs to draw attention to them at the Record Store.  When Kiss’ Carnival of Souls was released in 1997, I put a sticker on there that read “FINAL ALBUM WITH BRUCE & ERIC”.  Because why not.  Other stores did things like that.  Stickers are fun.  Bosses didn’t like my stickers, but I was the store manager and I wanted to make stickers.

A dude picked up the CD and asked me, “What does this mean?  Final album with Bruce and Eric?”

I didn’t know how to respond so I simply answered, “It’s the final album with Bruce & Eric.”

“Oh OK,” he said and put it down.

Ask a stupid question?

 

 

REVIEW: KISSworld – The Best of Kiss (2017) – PLUS Kiss Re-Review Series complete directory

The KISS RE-REVIEW SERIES Part 47: The Conclusion

Two years ago, I bought this CD to use as the final review for the KISS Re-Review Series. I hadn’t played it.  I hadn’t even opened it. I wanted to save it for our conclusion…so here it is. A lot happened since we started, most notably the current End of the Road farewell tour.  Let’s wrap this series up in a bow.  And to do that properly you’ll find links to every single part and supplement to the KISS Re-Review Series below!

 

KISSworld – The Best of Kiss (2017 Mercury)

You know what KISSworld makes me miss?  The good old days when bands would bribe you into buying their new hits compilation by including something you didn’t have already.  In 1978, Kiss re-recorded “Strutter” for Double Platinum.  In ’82, Kiss recorded “I’m A Legend Tonight”, “Partners In Crime”, “Nowhere To Run” and “I’m A Legend Tonight” for inclusion on the UK compilation Killers.  And in ’88, Paul Stanley produced two new songs (“Let’s Put the X in Sex” and “(You Make Me) Rock Hard”) for Smashes, Thrashes & Hits.  Not great songs, but new ones at least, so you felt less foolish for handing Kiss more of your money.  By the time of 1996’s Greatest KISS album, they tacked on a new “live” version of “Shout It Out Loud”, and from that point on they pretty much gave up giving you any added value.  True, they did record “Samurai Son” for 2005’s KISS 40, but that was a mere blip in the overall pattern.

So in terms of reviews, all you can really talk about is song choice and running order.  It looks like KISSworld is just a revamping of various versions of KISS 40.  The running order is no longer chronological, but the songs are the same.  Opener “Crazy Crazy Nights” was on the single CD KISS 40.  “Unholy” was on the double CD version of KISS 40, albeit live.  “I’m A Legend Tonight” was on both, and so on.  It would have been nice to hear something you don’t get very often, like “All Hell’s Breaking Loose” or “Got to Choose”, but nobody expects bravery from a Kiss tracklist or setlist these days.

Kiss Dynasty poster

Fans who were buying Kiss albums during the peak years probably miss the excellent packaging Kiss would throw in for free.  Look at the mirror finish of the original Double Platinum LP, or the posters and masks and booklets that came with other albums.  Buy a Kiss CD today, get nothin’!  KISSworld has one vintage 1974 black and white photo inside, song credits and nothing else.  Granted, we know that Kiss doesn’t come up with these releases, it’s the record label.  And we keep buying them and buying them, “for the collection”, even though we know we’re going to be disappointed.  The label isn’t thinking of us when they issue this stuff.  They think of it as a part of their latest marketing push, aimed at people buying their first Kiss (or first Kiss in decades).  But they know — they know — that we fans are buying these things too.  They can’t throw us a bone?  What is there here for us?

Nothing, except another CD to file in the appropriate slot, making our collections “complete” again.  Will you listen to it?  Maybe, if you’re tossing coins and can’t decide which greatest hits to play on this particular road trip.  It is, however, the most complete of the in-print, easily-acquired hits CDs.  For a first timer, it would appear to make sense to grab this over Double Platinum or one of the other choices at the CD shop.  You’d be getting a good variety of tunes from over their entire career.  But you’re not getting something assembled with any logic or care, nor are you buying a fair representation of their best stuff.  In fact, this CD only has one song from their first three albums (“Rock and Roll All Nite”)  You could make a greatest hits just from their first three albums!  KISSworld‘s ill-considered tracklist is its downfall.

1/5 stars

 

 

THE COMPLETE KISS RE-REVIEW SERIES

GETTING MORE TALE #551: “You’re Wrong on Unmasked“ (Introduction to the Kiss Re-Review series)
Part 1: Wicked Lester (1972) & the Eddie Kramer demos (1973)
Part 2: KISS (1974 Casablanca)
Part 3: Hotter Than Hell (1974 Casablanca)
GETTING MORE TALE #353: Hotter Than Hell
Supplemental: DUST – Hard Attack (1972) / Dust (1971) (2013 Sony Legacy)
Part 4: Agora Ballroom 1974 (2015 Go Faster)
Part 5: Dressed To Kill (1975 Casablanca)
Part 6: Alive! (1975 Casablanca)
GETTING MORE TALE #552: Alive!
Part 7: Destroyer (1976 Casablanca)
Part 8: Rock and Roll Over (1976 Casablanca)
Part 9: Love Gun (1977 Casablanca, 2014 deluxe)
Part 10: Alive II (1977 Casablanca)
Part 11: KISS Meets the Phantom of the Park (1978 Hanna-Barbera TV movie)
Part 12: Double Platinum (1978 Casablanca)
Part 13: Peter Criss (1978 Casablanca)
Part 14: Ace Frehley (1978 Casablanca)
Part 15: Gene Simmons (1978 Casablanca)
Part 16: Paul Stanley (1978 Casablanca)
Part 17: Dynasty (1979 Casablanca)
Part 18: Unmasked (1980 Casablanca
Supplemental:  PETER CRISS – Out of Control (1980 Casablanca
Part 19: Best of Solo Albums (1979 Phonogram)
Part 20: Music From the Elder (1981 Casablanca, 1997 Mercury remaster)
Part 21: Killers (1982 Germany and Japan versions)
Supplemental: PETER CRISS – Let Me Rock You (1982 Casablanca)
Part 22: Creatures of the Night (1982 Casablanca, 1985 Polygram reissue)
Part 23: Lick It Up (1983 Polygram)
Part 24: Demos 1981-1983 (Bootleg)
Part 25: Animalize (1984 Polygram)
Part 26: Animalize Live Uncensored – audio portion (2015 American Icons)
Part 27: Runaway (1984 Tristar feature film)
GETTING MORE TALE #579: Entering the Asylum
Part 28: Asylum (1985 Polygram)
Part 29: Crazy Nights (1987 Polygram)
Part 30: VINNIE VINCENT INVASION – Vinnie Vincent Invasion (1986 Chysalis)
Part 31: eXposed (1987 Polygram VHS)
Part 32: Monsters of Rock (Bootleg from 1988 tour)
Part 33: In the Land of the Rising Sun (Bootleg from 1988 tour)
Part 34: The Ritz, NYC, 12th August 1988 (2015 American Icons)
Part 35: VINNIE VINCENT INVASION – All Systems Go (1988 Chysalis)
Part 36: Smashes, Thrashes & Hits (1988 Mercury)
Part 37: KISS – Still On Fire (Dave Thomas & Anders Holm (1988 book)
GETTING MORE TALE #608: Hot in the Shade
Part 38: Hot in the Shade (1989 Polygram)
Part 39: “Forever” (1990 Polygram EP
GETTING MORE TALE #690: Unholy Kisses
Part 40: “God Gave Rock & Roll to You II” (1991 Interscope single)
Part 41: ERIC CARR – Rockology (2000 EMI)
Part 42: ERIC CARR – Unfinished Business (2011 Auto Rock Records)
Part 43: Revenge (1992 Polygram)
Part 44: Alive III (1993 Polygram)
Part 45: KISS My Ass – Classic Kiss Regrooved (1994 Polygram)
GETTING MORE TALE #697: Kiss My Ass
Part 46: Toronto – Scotiabank Arena, March 20 2019
Supplemental: KISS Playing Cards
Supplemental: KISS Crocs
Part 47: KISSWorld – The Best of Kiss (2017 Mercury)

AND THERE’S STILL MORE!

72 MORE KISS REVIEWS available by clicking this link!

 

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

#750: KISS II

GETTING MORE TALE #750:  KISS II

Kiss frontman Paul Stanley seems emboldened by the monumental success of their End of the Road tour.  Why “emboldened”?  Because they’re pulling it off with only half the original band.  Ace Frehley has not shown up to sing “Shock Me” and Peter Criss seems happily retired.  Tommy Thayer and Eric Singer remain in the greasepaint and the spotlight.  It’s proof that the majority of the masses don’t know or don’t care who is in a band anymore.  The “fans” who refer to Thayer and Singer as “scabs” have had no impact on ticket sales with their boycotts.

Many bands have toured successfully in recent years without key members.  AC/DC made headlines by replacing Brian Johnson with Axl Rose.  Deep Purple are going strong with only one original member.  Queen sell out with Adam Lambert taking Freddie Mercury’s place on stage, and bring home terrific reviews to prove it.  Kiss too are doing just fine.

Would they be able to do it with even fewer original members?  Like, say, none?  Paul Stanley thinks so.  He’s said so before and recently he raised the idea again:

“I think that Kiss has served a huge purpose and brings incredible joy to people on the End Of The Road tour. The shows are packed, and not only with the early followers of the band, but people who have heard the legend of what this band does live. And it’s something that’s more than music. It really is a preaching of self-empowerment and the idea that anything that you’re willing to work hard for, you can probably attain. And the idea of celebrating life. Things that may seem simplistic or overtly simplistic, but actually have a timeless depth to them. So when bands continue, ultimately the people in ’em need to change or have to, because of circumstances.

“So that’s a long explanation for me feeling that I would have an enormous amount of pride in knowing that we can continue the band once I’m not there anymore.  That would be the ultimate test of its credibility and the role, I think, that it serves.

“I didn’t invent the wheel. I am the product of all the people who I looked up to, all the musicians who I respected, and it was kind of like a stew, and then I added my own ingredients to it. But there are other people who are out there who wouldn’t necessarily imitate me any more than I imitated my heroes. But there are people out there, I’m sure, who are well equipped to pick up the flag and run with it.”

Paul is correct to say that bands must sometimes change out of necessity.  He is actually the best proof of this.  Paul cannot sing anymore and has been miming a huge percentage of his lead vocals on this tour.  We won’t go down that rabbit hole this time.  Suffice to say, if this wasn’t the End of the Road, Paul couldn’t really continue singing lead in Kiss.

But replacing him?  That’s a whole other bowl of Cheerios.

The idea of Kiss going on without Paul and Gene – let’s call the hypothetical band “Kiss II” – would certainly cross a line with me.  Bands with one or two original members is one thing.  Many bands have replacement members far more important than the originals.  Phil Collen is a key member of Def Leppard, vastly more so than his predecessor Pete Willis.  Same with Roger Glover and Ian Gillan in Deep Purple.  Adrian Smith in Iron Maiden.  The list goes on and on.

Could a Kiss II be a viable prospect with Eric Singer the longest serving member?  With Tommy Thayer as band leader?

No.  Paul and Gene control Kiss.  The other guys have just been hired guns ever since the originals left.  Kiss may have started as four guys, but for the last few decades it’s the vision of just two.  (In the 80s, just one, as Gene went Hollywood.)  You could imagine Paul and Gene controlling a Kiss II band from behind the scenes, but that is a hollow prospect.  Imagine Stanley and Simmons discussing new costumes and approving setlists for a Kiss II tour without them.  Would you pay to see that?

I wouldn’t.

Kiss have already gone down in history, many times, for their accomplishments.  Making the band immortal with all parts replaceable might also be historic, but not in a good way.  There are guys out there who can sing better than Paul, and play better than Gene.  Tribute bands have all the moves down pat.  But you can go see a tribute band for $10.  Kiss II would be, in essence, an “official” tribute band and with Paul and Gene behind the scenes they’d be charging a hell of a lot more than $10 per ticket.

I think Paul has lost perspective.  Kiss has been successful, against the odds, in replacing Peter Criss and Ace Frehley.  But there was precedent for that.  Kiss made fantastic albums without either.  That doesn’t mean you can remove Paul or Gene from the picture and still call it Kiss.  Paul and Gene have always been the ones with the drive and the vision.  They are not so easy to replace.  Can you picture some replacement guy imitating Paul’s stage raps?  There might have been a brief window in the late 80s when Kiss could have gone on without Gene, only Paul, since he had become the captain of the ship for a while.  However that ship sailed long ago and it’s all but impossible to imagine the band without them both.

No, Kiss II is a lousy idea.  It’s just a way to milk naïve fans in this era of hologram and nostalgia tours.  Would they sell tickets?  Sure, they’d sell some.  These hologram tours are proof that people will pay to see anything.  Would it be good?  Hell, no!

 

GUEST CONCERT REVIEW: KISS – Toronto – Scotiabank Arena March 20 2019 by Uncle Meat

UNCLE MEAT:  Well…I guess tonight I experience the controversy head on.

LeBRAIN:  What’s tonight?

MEAT:  Members of Black N’ Blue and Badlands.

LB:  Kiss?  You are going?  If so you are REQUIRED to write something for me. Or else!!

MEAT:  Old buddy, Scott Hunter, who I saw Kiss with twice in 1982 and 1983, messages me out of nowhere and has a paid-for ticket. Him and his buddy have VIP but only two, but who cares.  They had the Vault Experience with Gene last year too.

LB:  Go go go.

MEAT:  Only been 36 years since I saw Kiss live.  Mid-arena, 20 rows up.

LB:  It’s gonna be sad I think. Just my feeling.

MEAT:  Fairly good tickets. But yeah. The spectacle is the part to enjoy I guess.

LB:  I hope you have a good time.  But seriously if you don’t write this up for me, I am going to probably hurt you very badly. You won’t see it coming. Maybe we will be driving to the farm and I will punch your nuts so hard that you bleed from your ears. Just saying. Not that you “owe” me anything, you just have to. Or have your nuts tenderised. Your choice! You won’t see it coming but it will happen!

 

– Toronto – Scotiabank Arena, March 20 2019
Review by Uncle Meat

Kiss in 2019 was the best “show” I have ever seen.  Easily.

What about the singing?  I had watched a cool video the other day, where a guy pointed out in each song where Paul is lip syncing and where he is actually singing.  Which was good because before that I thought it was pretty much all tape. That being said, I could notice both last night.  It’s like he is trying some songs’ verses (or what have you) on different nights. But, 60% of the vocals (at least) were the same as they had been on other stops. I have heard the “Love Gun” track several times, how the verses have been re-recorded, and he does exactly the same inflections within the verses.

BUT!!!

Truth is? 20 seconds in, and I didn’t give a shit.  And while I hold the same opinion about it, it literally took ZERO away from a show I can only describe as almost perfect.

Gene sings 100% of his vocals, at least on the verses, and was kinda goofy all night.  More aloof than he usually is. Less Demon. More Mike Myers.  He is getting fat in the face though, wow…he looked like Bea Arthur in Gene makeup.

Paul still is on the very top shelf of frontmen, as per between-song banter.  He had me right in the trenches, clapping along, laughing out loud several times, just fuckin’ entertaining.

Eric Singer was a great drummer.  LOVED his voice in “Black Diamond”, and really really enjoyed “Beth”.  Like alot.  Surprising.

I was really blown away by Tommy Thayer’s guitar tone.  Fucking powerful, and creamy.  He changed just enough of the Ace solos to put his mark on it, but leaving the important parts of the solo in to suit the songs.  Great set list too.  “100,000 Years” and “Let Me Go, Rock and Roll” were serious highlights.

4.5/5 steaks 

The missing 1/2 steak only because of the lip-sync stuff.

 

 

 

 

VHS Archives #10: KISS band interview 1992

In 1992, MuchMusic introduced a new Saturday show called Start Me Up that focused on rock.  It helped make up for the diminished Power 30.  It got to the point that Start Me Up was the show to watch for rock and metal, since the Power 30 detoured into grunge and thrash.

Paul Stanley, Gene Simmons, Bruce Kulick and Eric Singer of KISS dropped in one afternoon on the Revenge tour.  It’s a strange, stiff interview compared to past KISS appearances on MuchMusic.  Paul Stanley seems to want to answer all of Eric’s questions and aside from Bruce, everyone’s awkward.

By request of reader KK, enjoy this strange Kiss interview from 1992!

#711: Why Kiss Need to Suck it Up and Bring Ace Frehley Back

GETTING MORE TALE #711: Why Kiss Need to Suck it Up and Bring Ace Frehley Back

In a recent episode of Rock Talk with Mitch Lafon, former Kiss guitarist Ace Frehley said, among many things, that it would take $100,000 per show for him to play on Kiss’ recently announced End of the Road tour.  While that amount of money may seem like ransom, Ace might be able to make those kinds of outlandish demands.  He may have Kiss over a barrel of sorts.

Ace is in a good position right now.  2018 is an interesting time for this Kiss farewell tour to happen, because of what Frehley has been up to.  Since acrimoniously splitting with the band in 2001 (after a previous “farewell” tour), Ace has rebuilt his credibility and his standing.  Over the last decade he’s regained the respect of fans who feared he could no longer write, with a series of increasingly good solo albums.  AnomalySpace Invader, and the recent Spaceman have been well received by fans and critics alike.  Most importantly, since 2016, some crazy things have happened.  First Ace reunited with Paul Stanley on Origins, Vol. 1, a covers album.  Then Ace re-ignited his friendship with Gene Simmons, as Gene promoted his Vault box set.  Gene appeared on Spaceman, and now Ace is touring with Gene’s solo band.  Ace appears cozier with Kiss than he was when he was actually in Kiss.

Throw the farewell tour into the mix.  Kiss will be touring with the current lineup of Stanley, Simmons, Eric Singer and Tommy Thayer.  Some fans still call Singer and Thayer “scabs”, merely imitating Peter Criss and Ace Frehley.  Eric Singer has won over more fans than Tommy Thayer has.  Perhaps it’s because Singer has been in the band longer and played on the legendary Revenge.  More likely, the fans resent how closely Thayer imitates the licks of Frehley — on the orders of Simmons and Stanley, let’s not forget.  At the end of the day, they sign the paychecks, and the employees play the way they want them to.  That’s why they are still in the jobs all these years later.  Regardless, fans have largely accepted Singer as the drummer in the Cat makeup.  Peter Criss has retired with dignity, and realistic fans know that he’s no longer really capable of playing the kind of tour that Kiss are looking at.  Peter had his farewell with Kiss and his chapter certainly appears to be closed.

Frehley, however, is on a new leg of his career and the quality of his new material is encouraging.  In addition to his ask of $100,000 per show, Ace has also suggested the real way to end Kiss would be one final studio album.  It’s almost as if he’s throwing down the gauntlet to Kiss.  An Infinity Gauntlet with only four stones:  Ace, Paul, Gene and Eric.

A studio album might be a bit far fetched.  Monster is from 2012, and Kiss seem scared of their own shadows in the studio.  But Ace on tour?  It simply has to happen before it’s over.  Not doing so would be a slap in the face.

Fans are going to demand it.  Black Sabbath blew it on their The End tour.  Bill Ward probably couldn’t have done a tour, but to not invite him back, for at least a few songs at the end?  A wasted opportunity that can never be repaired.  The original Black Sabbath were all still alive.  Bill Ward was willing and able.  The Sabbath camp didn’t want to hear it, and so finished with 3/4 of the original band plus Ozzy’s drummer Tommy Clufetos.  It’s sad to say, but the next reunion of the original Black Sabbath might have to be at one of their funerals.

Deep Purple can never reunite their original or even their Mk II lineup.

Led Zeppelin will never be whole again.  Neither will Queen, Styx, Stone Temple Pilots or Soundgarden.  Sabbath had the chance, and they let it go.  Truly a regrettable, ego-driven mistake.

Kiss cannot make the same mistake.  True, without Peter Criss, it’s not the originals, but Criss has not expressed interest or ability.  Ace has.  Repeatedly.  And we know the clean and sober Ace today can do it.  He is on another creative high, and already getting along with Paul and especially Gene.  To lose this opportunity in the face of the fans would be a mistake some would be unwilling to forgive.

Start the tour, as normal, with Tommy.  Bring Ace out for a couple guest appearances.  See how it goes.  I’ll tell you how it will go.  Ace would sing “Shock Me”, the crowd would go bananas, and you’d be forced to do it again.  And again.  And again.  Eventually, Tommy could bow out gracefully having had his farewell.  Ace could take over from that point.  Or do half a show each.  There are many permutations for this to work.  This is almost exactly how Duff McKagan returned to Guns N’ Roses.  You’re Kiss; you can figure it out.

Don’t let money stand in your way, Kiss.  Money is not forever.  History is.  You do not want to go down like Black Sabbath, when you could go out the way fans want to see you.

Nobody knows how much time they have left on Earth.  The next reunion cannot be a funeral.  We also don’t really know how many shows Paul’s voice has left before it’s gone for good.  A reunion with Ace Frehley must happen before it is too late.

What about Vinnie Vincent and Bruce Kulick, you ask?  It would be wonderful to see them guesting too, but let’s not set hopes too high (even though Vinnie has been spotted in Kiss makeup).  Focus on what is important:  that is getting the original Spaceman back for the final leg(s) of this tour.  Fans may have to be vocal.  (As if Kiss fans are anything but.)

What if Kiss just flat out refuse to pay Ace’s greedy ransom, and Ace can’t be negotiated with?  It would be a loss for all parties, particularly the fans.  While Kiss will still play spectacular shows, would ticket sales be any different from the last few tours?  Kiss have always done well enough (that’s why they keep touring), but the 1996 reunion tour made $144 million gross, which Kiss haven’t equalled since.  A farewell tour without Ace, and with Paul’s voice in its current condition, simply won’t touch that.

With Ace though?

With Ace, they would generate a lot more hype, press and positive reviews.  Ace Frehley, playing as great as he is today, could inspire yet another generation of kids to pick up the guitar.  It’s what Ace does.  He is a superstar, and even the most staunch fan must admit that Tommy Thayer is not.  If Kiss want to go out as big as they can, they need Frehley.  It’s that simple.

No dates have been announced yet.  Paul Stanley has teased on his social media that the band is rehearsing.  They’re talking about doing a 25 song set.  There is plenty of time for more pieces to fall into place.  A big piece is Spaceman-shaped.  They need to make it fit.   Without Frehley, The End of the Road tour will just be another Kiss tour.  New costumes, sure.  That alone won’t sell tickets.

Kiss have always been a band that claimed to “listen to the fans” and “gives the fans what they want”.  This then would be Kiss’ last chance to live up to it.

 

 

#707: Alice Cooper…Live!

GETTING MORE TALE #707: Alice Cooper…Live!

I’ve seen Alice Cooper twice.  Unfortunately, I didn’t write a review either time.  I certainly should have.  Both shows were special and perhaps unique in unexpected ways.  I have a couple stories to tell you.

The first time I witnessed the Alice Cooper show was on his Rock N’ Roll Carnival tour (no opening act), August 28 1998.  We were lucky enough to get the lineup with Reb Beach (Winger) and Eric Singer (Kiss), who had recently rejoined the band.  It was the now legendary Lulu’s Roadhouse featuring the world’s longest bar.  Thanks to the internet, we know the entire setlist.

  • Hello Hooray
  • Sideshow
  • Billion Dollar Babies
  • No More Mr. Nice Guy
  • Public Animal #9
  • Be My Lover
  • Lost in America
  • I’m Eighteen
  • From the Inside
  • Only Women Bleed
  • Steven
  • Halo of Flies
  • Nothing’s Free
  • Cleansed by Fire
  • Poison
  • Cold Ethyl
  • Unfinished Sweet
  • School’s Out

Encore:

  • Jailhouse Rock
  • Under My Wheels

I went with Lyne (one of our store managers) and her husband. A little while later Lyne was bullied right out of the organisation and went to work for HMV instead.  (I used to call her “Lynie Lynie Boing Boing” for some reason.)  We had an amazing time and I remember being impressed that Alice was still playing material from 1994’s The Last Temptation.  “Sideshow”, “Nothing’s Free” and “Cleansed By Fire” were unexpected treats.  It was also a pleasure to hear so many Nightmare-era songs.

At the end, as per usual, Alice introduced his band, and then himself.  He tore open the front of his jacket to reveal a T-shirt that said “Alice Spice”.  Yes, 1998 was the time of Girl Power and Spice Girls were the biggest thing in the world.  It got the required laughs.

One weird memory stands out.  A few tables ahead of us was a girl who was missing an arm below the elbow.  But that didn’t stop her from getting into the show, air guitar and all.  The missing arm was her strumming arm and she was just pumping it and going for it.  It was an unusual thing to see but she had a great time and that’s all that matters.  An unforgettable night.

The thing about the late 90s period of Alice Cooper:  It was a remarkably unproductive time as far as new material.  From 1994’s The Last Temptation to 1999’s A Fistful of Alice (a live album), there was nothing new.  In 2000, Alice cranked the machine again for a rapid-fire series of new albums starting with Brutal Planet.  The live setlist had changed dramatically too.  When I saw Cooper in 2006 with my new girlfriend (now known as Mrs. LeBrain), we got a very different show.

My mom had early access to tickets at the Center in the Square and surprised us with second row seats. On May 9, Alice rolled into town with his new band and new show. On drums once more: Eric Singer of Kiss. Opening act: Helix! Another favourite of mine in a hometown setting! Alice’s latest album was the excellent Dirty Diamonds and we got to hear the title track plus “Woman of Mass Distraction”.  In addition Alice rolled out a few forgotten oldies like “You Drive Me Nervous”, and “Wish I Were Born in Beverly Hills” which was dedicated to Paris Hilton.

  • Department of Youth
  • No More Mr. Nice Guy
  • Dirty Diamonds
  • Billion Dollar Babies
  • Be My Lover
  • Lost in America
  • I Never Cry
  • Woman of Mass Distraction
  • I’m Eighteen
  • You Drive Me Nervous
  • Is It My Body
  • Go to Hell
  • Black Widow Jam
  • Feed My Frankenstein
  • Welcome to My Nightmare

Medley:

  • The Awakening
  • Steven
  • Only Women Bleed (with Steven reprise)
  • Ballad of Dwight Fry
  • Killer
  • I Love the Dead
  • School’s Out

Encore:

  • Poison
  • Wish I Were Born in Beverly Hills
  • Under My Wheels

There’s no record of Helix’s setlist, but they were able to play a number of songs including a brand new one: “Get Up“.  I was sad to see that a few people in the front row didn’t bother coming early enough to see Helix, but that made it easier for Brian Vollmer to see me in the second.  I pumped my first and sang along to every song — including the new one, once I got the hang of the chorus.  Vollmer obviously noticed the one guy singing every song, and came down to shake my hand.  Vollmer is one of the most fan-friendly artists in rock, bar none.   This was only the first of several times he’d shake my hand.

(Back) Brent “Ned” Niemi, Alice Cooper, Brian Vollmer, Rainer Wiechmann
(Front) Jim Lawson, Jeff “Stan” Fountain, Cindy Wiechmann – May 9 2006

From Planet Helix

 

As good as Helix were that night, nobody puts on a show like Alice Cooper.  Kitchener was no exception.  Mrs. LeBrain found herself swooning over guitarist Damon Johnson.  (I thought bassist Chuck Garric would be more her style, based on a previous Tommy Lee crush.)  Guitarist Eric Dover and the aforementioned Eric Singer rounded out the band, with Alice’s daughter Calico playing numerous roles as stage dancer!  (“Put some clothes on!” said her dad after introducing her.)

I remember two things about the show very clearly.  At one point, right in the middle of a song, a woman walked up to the front of the stage and held up a CD for Alice to sign.  I didn’t get it…you expect him to sign your CD while he’s performing?  While he’s in character as Alice Cooper?  Who did she think she was?

Alice ignored her until he was obviously fed up.  Swinging his cane in the air, he smashed the CD out of her hands.  The sour looking woman returned to her seat dejected.  You don’t interrupt Alice when he’s doing his show.  “What a self-centered idiot,” was all I could think.

Alice’s action with the autograph seeker was made all the more noteworthy later in the show.  Contrasting his attitude towards the previous woman, Alice paid special attention to a young girl in the front row.  Wearing proper ear protection, the young girl was with her dad, possibly seeing her first ever rock concert.  Recognising this, Alice personally handed her some of the fake Alice money lying on stage after “Billion Dollar Babies”, and some of the plastic pearls from “Dirty Diamonds”.  The little girl was the only person in the audience who got special attention from the performer.  Cooper, the consummate showman, plays for everyone not just the front row.  That girl will never forget Alice Cooper as long as she lives, and he made sure of it.  I couldn’t help but think Alice was also making a statement.  “Treat my show with respect and this kind of stuff happens.  Don’t interrupt me mid-song for an autograph.”

Whether I’m right or not, that’s one outsider’s impression of the events of the night.

Whatever I happen to think, there would be no argument that Alice Cooper puts on some of the best concerts in rock, and you should try to see him.  Make it a bucket list goal.  The lineups change, and the setlists evolve.  You’ll always get “School’s Out” but chances are you will also hear a smattering of special classics that don’t get rolled out very often.

Go see Cooper and come back with your own stories to tell.