I didn’t plan on writing anything on this subject until next year, but here goes.
First of all: Thank you.
Thank you for reading and following for the last 5 ½ years. Thank you for your comments, your emails, and in some cases your valued friendship!
Thank you for joining me as we talked about music and all sorts of miscellaneous tangents. Thanks for sharing your points of view! Thank you for being interested enough to read about my life at the Record Store, and after.
This is where we get serious.
A few weeks ago, my wife the incredible Mrs. LeBrain was diagnosed with cancer. This is on top of her major, decade long struggle with epilepsy. It feels like another kick in the shins. We made some major progress on the epileptic seizures this year, but now we have this new setback.
I’m not going to get into the details, except to say that right now, we are told the prognosis is good. That doesn’t mean there isn’t fear, or pain. Pain exists daily for her, and fear is probably right there with it. She has a fighting attitude. We both do. In my role as supporter, it’s my job to keep her going. It’s a role I wouldn’t trade with anyone else. We are all dealt different cards in life. I’ve been a supporter for a long time now. It’s not an easy job, but I have a gift for it, I guess.
Being a supporter might not be as difficult as being the one with cancer, but it does require time, and lots of energy. I talked about having writer’s block a few weeks back. I expect that there will be times in the weeks to come where I won’t have any energy to write.
I know you understand that. I know there’s no pressure to write every day, except the pressure I put on myself. And Jen has put no pressure on me to cut back or do less writing.
I continue to write because I feel good doing it. I have been a creative personality for as long as I can remember. Writing about what I love – music – brings me great happiness. It helps me forget, for a short while, the real struggle of our lives. Reading your comments is its own form of joy. After all, writing is only half of the equation if nobody is there to read it.
Again – thank you for reading. You probably didn’t know that it pumps me up, like fuel injection. The first thing I do every morning is read the comments.
Because even the supporter needs to take care of themselves, I continue to do what I do. I must do what makes me happy. I don’t plan on stopping for this. As much as I love to write for you, I do it mostly for me.
There are going to be times when I’m too tired physically, mentally or emotionally to work. There may be some days with no new content. I’ve been having trouble dedicating time to finishing the KISS Re-Review Series. Now you know why.
This is not going to stop us. We have the best medical team, and family to support us. We have friends who have offered to be there with us in this fight. I’m confident we are going to beat this. I’m looking forward to getting it all behind us.
We have a busy schedule in the coming weeks. Lots of appointments and tests and travel. If I miss a day, or two, or three, don’t worry. It’s just us taking on a bigger challenge, together as a team like always. But when we beat it, and I’m sure it’s “when”, I know you’ll still be here.
Thank you for your support. When I feel we have something to update, I’ll let you know how it’s going. Until then, stay safe and healthy this season. We have the upcoming Christmas bounty, and all the year end lists to look forward to. Please continue to join me as we rock and roll all nite (and part of every day).
– “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.
Wicked Lester (1972 unreleased album) & the Eddie Kramer demos (1973) (CD bootleg “promo” with “Epic” logo)
Stanley Eisen and Chaim Witz were two young New York musicians who didn’t particularly care for one another. They met via guitarist Stephen Coronel, a mutual friend and bandmate of Witz. Chaim, who came to the United States from Israel at the age of eight, changed his name to Gene Klein. Stephen Coronel told Gene that young Stanley wrote songs too. Unimpressed, Gene commanded, “Oh yeah? Play one.” Stanley played a prototype called “Sunday Driver”, but the encounter left a foul taste in his mouth.
Coronel eventually succeeded in bringing his two friends together, when Stanley Eisen joined their band Rainbow. In was 1971, and Ritchie Blackmore had yet to form the most famous Rainbow of them all, but even so they needed a more unique name. They already knew of one other band using the name Rainbow. Both Paul and Gene had their sights set on bigger things than just New York City. They wanted something original, and settled upon Wicked Lester. They’d also drop their “ethnic sounding” real names in favour of the handles “Paul Stanley” and “Gene Simmons”. They collected together some material they’d written and focused on their originals. The lineup consisted of Stanley and Coronel on guitars, Simmons on bass, Brooke Ostrander (RIP, FYC) on piano and horns, and Tony Zarella on drums.
Wicked Lester performed only two gigs before an opportunity was offered by Ron Johnsen, a resident sound engineer at Electric Lady studios. He saw something in the band, and put up the funds for some demo recordings. Eventually, Epic had their curiosity piqued enough to buy the demos and agree to do make an album. They had only one condition: Get rid of Stephen Coronel. Thus, the man that brought Gene Simmons and Paul Stanley together was fired from the band he shared with them.
Coronel was replaced by a player named Ron Leejack, and recording of the album commenced. The majority of tracks were Simmons/Stanley (and sometimes Coronel) originals, with a handful of covers. To cut a long story short, upon completion, Epic shelved the album and deemed it not good enough to release.
They were right to do so.
Only three tracks have ever been released officially, on the 2001 Kiss Box Set: “Keep Me Waiting”, “She”, and “Love Her All I Can”. The rest are only available on very poor sounding bootleg discs. Even without the full fidelity of a proper release, one can tell from the available bootlegs that the album Wicked Lester was best left in the shadows. When Kiss seemed to emerge fully-formed in 1974, nobody had witnessed their growing pains.
The running order of various bootlegs differ. The red-packaged “Epic promo CD” (surely not) begins with the familiar “Love Her All I Can”, best known as one of Kiss’ early classics from 1975’s Dressed To Kill. The unfocused Wicked Lester original sounds like a hippie commune on speed. Simmons today describes their sound as “like a cross between Three Dog Night and the Doobie Brothers.” Throw in a healthy dose of acid. Who knows where that came from, Simmons being so proudly anti-drug.
An obscure cover “Sweet Ophelia” (Barry Mann/Gerry Goffin) really demonstrates how far out in left field everybody was. It’s mildly disconcerting how well Paul Stanley fits the hippie vibe, far removed from his future Starchild persona. A Stanley original “Keep Me Waiting” bears little resemblance to the style his is known for. Though one could imagine the guitar solo section as part of a Kiss song, “Keep Me Waiting” is a delirious concoction of congas and horns. Simmons’ “Simple Type” is more straightforward. No annoying extra accoutrements. No hooks either, or any balls, but it’s one of the earliest examples of Gene Simmons and Paul Stanley sharing lead vocals on a song. Even at this early stage, it was clear that Paul Stanley possessed a mighty throat.
“Simple Type” merges with the flutes and tambourines of “She”. Flutes and tambourines, on “She”?! Yes, this future Kiss grinder is set to the sultry sounds of more hippie instrumentation, to go with the organ and shakers. As the song fades out, you can just hear the potential it had. This potential is nowhere to be found on “Too Many Mondays” (Barry Mann/Cynthia Weil), light and flaky. “What Happens in the Darkness” (Tamy Lester Smith) is all but indescribable. Deep Purple Mk I gone terribly wrong, but with Paul Stanley leading the choir instead of Rod Evans going it alone. Tougher and better is “When the Bell Rings” (Austin Roberts/Christopher Welch) which again features Paul and Gene singing together. This time, Gene utilizes his early high rasp, also heard on Kiss tracks like “Goin’ Blind” and “Let Me Go, Rock and Roll”. Sounding a bit more like our beloved demon, “When the Bell Rings” is actually listenable. Paul Stanley’s dainty “Molly” brings the flutes back into the picture, and the sooner it’s over the better. A cover of The Hollies’ “(We Want To) Shout it Out Loud” is not bad. And it lent its title to something much better later on.
The “Epic promo” CD has terrible tape bleed-through. It’s clearly a copy of a copy, generations down. The cheap paper cover belies its actual bootleg manufacture. It’s also missing a song called “Long, Long Road”, a soft country track that was recorded but perhaps cut from the intended album. That’s right — soft country.
Epic passed on the Wicked Lester album, which was mixed and even had cover art selected. The boy was their mascot, “Wicked Lester”. The cover art was originally intended for another band called Laughing Dogs. Now that the album was shelved (and since Simmons and Stanley were the clear leaders of the group) the fates of the others were pre-determined. Paul and Gene began looking for new members, and experimenting with makeup. They wanted a strong, singular image, not five guys who looked like the line at the local soup kitchen. They also wanted a focused direction, and that was to be hard rock a-la The Who, Cream and Led Zeppelin.
An experienced drummer (his band Lips had an album) named Peter Criscoula was first to heed the call. The new Wicked Lester was a power trio consisting of Peter, Gene and Paul, who rehearsed in a loft located at 10 East 23rd Street in Manhattan. The sound was incomplete: a lead guitarist was needed. Auditions were held at the same loft. Legend has it that Bob Kulick (who features into the story much later) was about to get the gig, when they were rudely interrupted. A spaced out guy with one red and one orange sneaker had plugged in and started wailing away. Paul Frehley snatched the gig at the last minute, and Kiss was born.
The new focus became apparent when the re-named band entered Electric Lady one more time, in March of 1973, with legendary producer Eddie Kramer. The band cut five new originals: “Deuce” (Simmons), “Strutter” (Stanley/Simmons), “Cold Gin” (Frehley), “Watching You” (Simmons), “Black Diamond” (Stanley). Each of these songs later made it onto Kiss albums in 1974. They had the goods.
The Kramer demos sound better on this CD than the Wicked Lester tracks. A different, younger tape generation would be the probable source. Only two of these demos (“Strutter” and “Deuce”) have been released officially, on the Kiss Box Set. These ferocious tracks are almost completely faithful to the final album arrangements. A few extended solos here, and some longer bits there. Tracks such as “Deuce” are faster than they were later recorded, and more akin to what Kiss sounded like live. Playing to their strengths, keeping things simple, and with Eddie goddamn Kramer at the boards, the band laid down one hell of a demo. This is something that bands today would release officially as their first EP, to build buzz for an album. That wasn’t the strategy in 1973, so the band instead stuck to a regular regimen of songwriting, rehearsals and unforgettable club gigs.
Nine months after their debut gig as Kiss at the Coventry, they signed with Neil Bogart’s Casablanca Records. They had built up a repertoire of roughly 18 originals, including some holdovers from the shelved Wicked Lester: “She”, “Simple Type”, “Keep Me Waiting”, and “Love Her All I Can”. These four songs were whittled out again in the process of coming up with the tracks to record for their first LP.
The Eddie Kramer demos and Wicked Lester album alike are important historical documents. They are pieces of the puzzle coming together, and by the time they got with Kramer, the outline was in place. The only way to go was up.
2017 rolls on like a mini-2016. The latest casualty is former Black Sabbath keyboardist Geoff Nicholls who was on every Sabbath album from Heaven and Hell (1980) to Forbidden (1995). He played bass and sang when need be. For that period of Sabbath’s history, he was the only stable member excluding Tony Iommi himself. Geoff passed at age 68, after a battle with lung cancer. He was rarely pictured with the four “main” Sabbath members, but he was more important than most of them. Rest in Peace.
It has been a very emotional summer for fans of The Tragically Hip, but it all ends tonight.
A few months ago, nobody ever thought this would be the last summer of the Tragically Hip. Gord Downie’s brain cancer diagnosis came as a surprise to all. We can only imagine what Gord and his family are going through, but fans have been mourning in their own ways. Mostly, they’ve been trying to go and see Gord one last time. As StubHub jacked up ticket prices to ridiculous highs, fans scrambled to win contests or find any way to see the Hip live.
The good news is, everyone can see the Hip live, anywhere.
Locally, there is a lot going on. You can join the gang from DaveRocks at local pup Bobby O’Brien’s for a Hip celebration. They will be showing the last Hip concert on a big screen. Lots of bars are doing the same thing — check your local listings. Some families are having backyard and pool parties with the neighbours, with big outdoor screens. All over Canada, fans will be celebrating separately, but together.
Not in Canada? No problem. There are viewing parties in major US cities such as New York and L.A. They will even be watching the Hip in Rio de Janeiro as the Olympics close. And it will be streamed worldwide. The CBC has all the details.
How are you planning to enjoy the Hip show? Here at LeBrain HQ, we are going to make some food, order in some gourmet chicken wings, and watch the Hip in 5.1 surround sound. It will be a turbulent experience. We don’t know much about Gord’s cancer except that it’s not treatable. We don’t know how he feels. All we know for certain is that we have been told this is the last tour, and that more than likely means this is the last show, forever. The band has not done any press, nor said much to address the many questions. It is like a giant elephant in the room. But tonight, I want to put all that out of my mind and just enjoy the music. I don’t want to think too much about what it all means. There will be plenty of journalists doing that. Tonight is for the fans, so let’s enjoy it, for us.
GETTING MORE TALE #491: My First Tragically Hip Experience, by Scotty G
As fans know, Gordon Downie of the Tragically Hip was recently diagnosed with terminal brain cancer. It is devastating news. Downie, living his life as an artist, has decided to go out as an artist and do a farewell tour in support of the new album Man Machine Poem. As writers, we have been trying to come up with a way to honour the man without dwelling on the negative. With that in mind, in a multi-site event, we have several posts for you today to honour the man and the legend, Mr. Gord Downie. Mikeladano.com’s contribution is this guest shot by the King of Rock Knowledge, and fellow ‘Fester, Scott. He is what I like to refer to as a “Jedi Master of rock”, the kind of man that can pass down stories and legends to the next generation. Scotty had the chance to see The Hip back in the early, early days and…well see for yourself! Please welcome Mr. Scotty G!
My first Hip experience was around 1988 or so, just prior to the release of Up To Here (1989). Somewhere after the Spoons and Rough Trade, and possibly prior to Sass Jordan, (I cant remember) at a Canada Day concert at Molson Park in Barrie, the Tragically Hip hit the stage.
Obviously young and lacking a whole lot of support, they carried their amps on stage themselves, placed them on chairs and started to play. I was kind of familiar with “Last American Exit” from the video, but that was it. They hit the stage and I was BLOWN AWAY. Mid-set, after really rocking one out, Gord called out to the crowd and asked if anyone had a dime? Literally, the crowd pelted the stage with change. Gord grabbed the coin of choice and proceeded to tighten a screw in his mic stand. He thanked the crowd for the help, and they blasted into another tune.
Months later, with this show still in the forefront of my mind, Up To Here was released and with it came more opportunities to see the Hip in many small venues. One in particular, the Highlands in Cambridge*, always offered up good opportunities to meet bands and in this case a couple of us were welcomed into the dressing room where Gord very politely obliged our fan talk. Joint after joint flew from Johnny Fay’s expert rolling fingers. Although it’s a long time ago, I have a good memory of it. I have to add that I am still amazed that he gave us the time of day, and seemed cool with having two 17 or 18-year-olds sitting in the dressing room asking silly questions while the band got stoned….
I got to see the Hip many times after that, and look back on those early performances with fondness. I never saw them live after the Road Apples tour, but will always recall the welcome that Gord and the band gave two young fans after a great show in Cambridge. He is a cool shit….
SCOTTY G
* I saw the London Quireboys at Highlands in Cambridge in December 1990
Yesterday the world lost David Bowie, to cancer, at age 69. While I own absolutely no Bowie in my collection (aside from covers of his music and guest appearances on Queen albums) I have always admired the man’s creativity. He goes to places I don’t even understand, and maybe that’s why I never “got” David Bowie. While recognizing his genius I was unable to penetrate beyond the singles. Perhaps I should try again.
In the meantime, plenty of folks far and wide have posted tributes to the man, his music and even his movies. Rather than pretend I know what I’m talking about, I’ll let these fine writers do it instead. Rest in Peace, David Bowie.
IRON MAIDEN – “Speed of Light” (2015 BMG single/T-shirt bundle – Best Buy exclusive)
“Only at Best Buy“ — the words chill me to the bones.
I don’t know what the deal is with Best Buy exclusives in Canada. When Tenacious D’s movie Pick of Destiny came out, I found the Best Buy edition no problem, just up the street. Bonus disc and all, easy peasy. Didn’t even know such a thing existed until I found it at Best Buy.
Only a few years later, it became impossible to find Best Buy exclusives at Best Buy. Using Tenacious D as the example again, the Best Buy edition of Rize of the Fenix has two bonus tracks. I had to buy it on eBay, so you know it was an inflated price. Same thing with the last Black Sabbath album. Best Buy had a bonus track called “Naïveté in Black” which happened to be one of the best songs. Had to buy it on eBay. Paid too much.
A few weeks ago, Best Buy announced they were getting an exclusive on the new Iron Maiden single “Speed of Light” from the forthcoming double album The Book of Souls. It came with a T-shirt. But I wanted the single just as much. That’s where Stone from Metal Odyssey came in!
First of all, I’m gonna tell you to follow Stone in some way, shape, or form. (WordPress/Twitter) He read my plight regarding Best Buy items here and took pity. I called my closest Best Buy — all CDs have been removed from their inventory. So Stone bought two copies and sent me one, asking nothing in return. (I will return the favour — just name it man!) To say I appreciate this gesture is am understatement, which is why I’m being more long winded than usual for a one track CD single!
“Speed of Light”, written by the duo of Dickinson/Smith, is true to Iron Maiden, and it sounds fucking brilliant. We know all about the new double album, with plenty of long bombers. “Speed of Light” is just a hair over five minutes, a very concise song for any Maiden album. When Adrian and Bruce write together, you can count on a catchy riff and hooks. “Speed of Light” delivers, and Bruce’s singing is just as powerful as ever, cancer be damned. His voice is virtually unchanged since Brave New World, 15 years ago. The air raid siren is intact. And this album will be the fifth with this Maiden lineup, the longest lived in its history. Impressive.
Most impressive.
A highlight of “Speed of Light” has to be Adrian’s solo. The three Maiden guitarists (Janick Gers and Dave Murray being the other two) all have their own distinct styles, which is a major boon to a band like Maiden. Adrian is the one who thoughtfully composes his solos, and then lets them rip. This one is brief but has his stamp all over it.
Sometimes Maiden take on a 70’s vibe. “The Angel and the Gambler” is one such moment, but I think “Speed of Light” also has one foot in the 70’s. Just a hint, an insinuation, at the beginning. Otherwise, “Speed of Light” is purely a modern Maiden metal moment. It would have fit comfortably on The Final Frontier, although I would caution against inferring the sound of the new album from just one single. It is probably one of the more straightforward moments on The Books of Souls, but we’ll find out for sure on September 4.
One last comment: fuck you, cancer! You just got beat by Bruce Dickinson!
A World With Heroes EP – A KISS Tribute for Cancer Care(Anniversary release)
You’ve heard me talking a lot about this one lately. It’s a release I’m really excited about. The record shows that I heartily approved of last year’s A World With Heroes (A Kiss Tribute for Cancer Care), assembled by Mitch Lafon. Proceeds went to benefit the Vaudreuil-Soulanges Palliative Care Residence in Hudson, Quebec. And it was a killer, killer CD as my 5/5 star rating attested to. To hear there was an EP coming featuring more Kiss covers, that peaked my interest. Lafon always makes sure that there are quality tunes, performed by artists we care about.
The Killer Dwarfs do “C’mon and Love Me” just right. I like that Russ Dwarf throws in some of Gene’s mannerisms in the chorus, but also sings it in his own voice. If you like Killer Dwarfs and Kiss, you will love this, guaranteed. Once again, the A World With Heroes series has delivered a solid Kiss cover that is valuable to fans.
“Calling Dr. Love” as performed by Crash Kelly is a real rarity. You had to pre-donate to the original compilation CD to get an mp3 of it. Now you can buy it on the EP. They turn in a fun version of “Dr. Love”. They make it a bit more pop rock in feel, and Sean Kelly absolutely nails Ace’s solo note for note. It’s uncanny. We all know Sean is a talented axeman, but that solo was flawless.
“Save Your Love” is an awesome Ace song, but Matt Bradshaw’s take on it is unique to say the least. He transforms it into a funky acoustic ballad. But it works! I was prepared to hate it but was pleasantly surprised. It’s bizarre how the song completely works in this format. This is an example of an intelligent, innovative cover — something that is rare these days. Brilliant cover. Seriously.
“Every Time I Look at You” was originally from the Revenge album. Some fans assume that Bruce Kulick played the guitar solo, but it was in fact Bob Ezrin’s old pal, Dick Wagner. Dick Wagner passed away recently, at age 71. This was his last song ever, which makes his version of this song that much more poignant. His quavering voice speaks of the years past, but much like a late period Johnny Cash album, it only adds character to the song. He sounds like a cross between Bob Dylan and Keith Richards. The guitar work is lovely of course.
The Dwarfs return with “Nothin’ to Lose” from the first album. Once again Russ nails the Gene mannerisms, while still sounding like Russ Dwarf. This one is replete with piano and cowbell (Piano is by Bruce Stephen Foster, who also played on the Kiss original!). I gotta be honest with you, I like the idea of the Dwarfs covering Kiss songs. They can do more if they want. They’re allowed.
Sudden Flames are a metal band from Quebec City. They heavy up “Coming Home” considerably. It’s one of my favourite Kiss songs ever, so it’s kind of funny to hear it with drums blasting away like this. Like “Dr. Love”, this song was only available to those who donated in advance to the original CD. Now you can get it on iTunes too. I enjoy hearing their Québécois accents, truly one of the greatest accents on this Earth.
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