Gene Simmons

#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!

 

Advertisements

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 #49: KISS – Gene and Bruce interview mega-mix (May 1992)

Gene Simmons and Bruce Kulick of  visited MuchMusic in May of ’92 for an interview, and to host the Power 30.  There are some real moments of sincerity, such as when they are asked about Eric Carr.  However the clips you are about to watch are also notable for showing how the Power 30 was a drop in quality from the Power Hour.

Unlike previous MuchMusic visits, this one was broadcast in separate segments.  First is an interview by Teresa Roncon; the best part.  Then there is a Power 30 co-hosting gig, and a smattering of interview outtakes from the Kiss Spotlight.  All filmed the same day, but split apart since the Power 30 was too short.

I’ve recently given you two great Power Hour shows with guest hosts.  Rik Emmett from Triumph was a fabulous co-host and also played music in addition to a substantial interview.  Blackie Lawless of W.A.S.P. picked the tunes for his co-hosting gig, and the candid interview made it one of the best episodes of the entire run of the Power Hour.   Now, here is Kiss co-hosting the shorter Power 30, and there is very little substance.  A bad joke by Gene that went too far and got censored is the only particularly notable moment.  Well, that and Gene’s advice to “fat girls”.  Bruce Kulick seems far more engaged, but it’s jokey and short compared to what the Power Hour used to do.

Stuff to look for:

  • Cool live footage from the Phoenix club in Toronto
  • Gene’s Canadian jokes, which Bruce eventually apologises for
  • Talking about the club tour and playing obscure songs
  • A brief clip from the famed Creatures-era limo interview with Jeanne Bekker
  • Another brief clip from a 1992 Peter Criss interview

I remember when the Kiss spotlight aired, my mom really liked when Gene compared Kiss to “electric church”.  Yeah, my mom loved that….

 

This one required a bit of editing to make it cohesive; I hope you enjoy.

VHS Archives #28: KISS – Paul and Gene’s reason to live (1988)

Denise Donlon got to chat with Paul and Gene in 1988 on the Crazy Nights tour. She asked them what there is to sing about after 21 albums?

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!

WTF Search Terms: Lars Ulrich Trout (Thunder Bay) edition

WTF SEARCH TERMS XL: Lars Ulrich Trout (Thunder Bay) edition

It’s that time again…the 40th time in fact!  It’s those “WTF” search terms that somehow brought people to this site.  Let’s skip the chatter and get to the weird.

  • lars ulrich trout warrant thunder bay ontario

I had to ask Thunder Bay’s hardest rocker, Deke Dekerson, if he could possible explain this one.  He had no idea.  Warrant did open for Metallica in 1990, and our own Uncle Meat has written about it.  There were no dates in Thunder Bay, and I don’t want to know what Lars was doing with a trout.

  • gene simmons vault is stupid

Well, I don’t know about that!  He’s having no problem selling it.  The only thing “stupid” about Vault is that there is no pricing affordable to regular people.

This is a great question!

  • ten game0f galishow

Nooo idea.

  • styx equinox bakelit lemez

You lost me.

  • give me any diolock

I’m not giving you squat!  I think this guy was looking for Lock up the Wolves by Dio?  He could also have been searching for “dicklock“.

  • coverdale page 4cd tour edition box set

Definitely in the “wishful thinking” category.  There wasn’t really such thing as “tour editions” back in 1993, and sadly all you can get to this day is the standard single CD of Coverdale-Page.

  • the swedish penis enlargement pump and me (this definitely is my thing, baby)” by austin d. powers

I admire the amount of effort this person went to, to be as specific as possible.

  • liam payne chenine lozano midnight memories def leppard copyright infringement

I tuned out after reading “Liam Payne”.  The fuck does he have to do with Def Leppard?  I don’t care enough to look.

  • how to work in a record store

You came to the right place, friend!  The one and only and original Record Store Tales can be found right here!

 

 

#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.

 

 

REVIEW: Ace Frehley – Spaceman (2018)

ACE FREHLEY – Spaceman (2018 eOne)

Ace is back and he told you so!…with a new band.  It’s true.  One of the of the players on Ace’s new disc Spaceman (Scot Coogan) was in his band…until last week.  And that’s all we’re gonna say about that.  Anton Fig and Matt Starr of Mr. Big also handle drum chores.  Ace steps up with new songs, stacks of guitars, and bass too!

Perhaps the showcase moment of the new album is the first Simmons/Frehley co-write in forever, a stomper called “Without You I’m Nothing”.  Almost immediately, without even knowing the details, there is something “Simmons sounding” about it.  Probably because he’s also on bass.  There is something primitively unique about a Gene Simmons bass line.  Ace’s guitar solo, the first of the album, is pure wicked electricity, though he struggles a bit vocally.  It’s a solid opening though, followed by the old-styled “Rockin’ With the Boys”.  It sounds like something written for 1987’s Frehley’s Comet.  It’s all about the chorus.  Then Simmons is back with another co-write (no bass though) on “Your Wish is My Command”.  Ace’s guitars have a crunchy chime, and the focus is catchy melody.

Spaceman was preceded by an excellent EP, Bronx Boy with a brilliant title track.  “Bronx Boy” is back.  That’s Scot Coogan on drums and backing vocals…no wonder he’s pissed about being fired!  Make way for the crunchy stomp “Pursuit of Rock-N-Roll”!  You don’t have to read the credits to know that it’s Anton Fig playing that tricky rhythm.  His unique playing plus Ace’s crunch make this another album highlight (and a song that Ace wrote solo).  That’s followed by a song he didn’t write:  Eddie Money’s “I Wanna Go Back”!  When Ace covers a song, he tends to go for poppier things than you’re used to hearing from him.  Think “Do Ya” from Trouble Walkin’.  This one has the potential to be as fondly regarded.

“Mission to Mars” rocks.  It’s a wham-bam-thank-you-ma’am rocket ride to the red planet.  Another potential album highlight.  “Off My Back” (Anton Fig on drums) is really strong as well.

Finally (technically) the next in the instrumental “Fractured” series:  “Quantum Flux”.  Technically, because the word “Fractured” isn’t in the title, but it could be considered a spinoff of “Fractured Quantum” from Anomaly.  It’s heavier than the usual, so “Fractured” doesn’t quite suit it.  The acoustic guitars are only a small part of this wide-ranging instrumental.  Songs like “Quantum Flux” are levels above the rest musically.  It’s a tour-de-force.  Ace Frehley is an instrumental genius.  Yeah, we said it!

For Ace Frehley in 2018, Spaceman is a delight.  It is a true fact that the human voice changes as we age, and Ace’s is lower and less dynamic.  Instrumentally he’s never been better, and as a songwriter, he’s done well.

4.25/5 stars

RE-REVIEW: KISS My Ass – Classic Kiss Regrooved (1994)

The KISS RE-REVIEW SERIES Part 45

 My Ass – Classic Kiss Regrooved (1994 Polygram)

When reports surfaced that Kiss were in the studio working on a song with country star Garth Brooks, some assumed this was to be a bonus track for the forthcoming Kiss Alive III.  Little did we realize that Kiss were actually working on their own tribute album.

In the early 1990s, tribute albums were all the rage.  Common Thread: the Songs of the EaglesStone Free: a Tribute to Jimi HendrixOut of the Blue and Borrowed Tunes:  tributes to Neil Young.  There were many more, and Kiss were not on the trailing edge of this trend.  They beat Black Sabbath and Led Zeppelin to the market.

Kiss My Ass was the clever title, but it was not the first.  1990’s Hard to Believe: A Kiss Covers Compilation featured soon-to-be-famous bands like Melvins and Nirvana.  The ever-enterprising Kiss decided to corner the market with their own official tribute to themselves.

To toot their own horn, Kiss included a list of not only the musicians who appeared on Kiss My Ass, but even the ones that didn’t.  Nirvana is on the list.  According to the Melvins though, the truth is that they only dropped Kurt’s name as a guest on their track, because Gene didn’t seem too interested otherwise.  Nine Inch Nails were going to do “Love Gun”.  Both Ugly Kid Joe and Megadeth wanted to tackle “Detroit Rock City”.  It’s hard to imagine what songs Run D.M.C. and Bell Biv Devoe were supposed to record, or Tears for Fears for that matter.  Take this list with a grain of salt!

Kiss My Ass (or A** if you bought it from Walmart) is a weird album.  It’s scattershot and not immediately likeable.  It collected 11 (12 if you include the bonus track) covers by a diverse assortment of 90s artists.  The cover art sucks and lacks the Kiss logo and Ace’s real makeup (which Kiss did not have the rights to in 1994).  The only cool gimmick the cover had was the background flag was unique to the country of release.  A Kiss album with a Canadian flag is neat to own.

The album hits the ground running with some 70s cred, as Lenny Kravitz and Stevie Wonder do “Deuce”.  Lenny funks it up while Stevie brings the harmonica.  This is an example of a simply terrific cover.  The artists put their own spin on it, changing its style but not its drive.

“Hard Luck Woman” was already up Garth Brooks’ alley.  His version doesn’t stray from the Kiss original, and even features Kiss (uncredited) as his backing band!  That makes it an official Kiss recording, just with a guest singer of sorts.  Arguably the biggest country singer of all time, and a closet Kiss fan.  The Garth Brooks track threw a lot of people for a loop, though it’s an easy song to digest.

Kiss only participated in two songs:  the Garth track, and Anthrax’s “She”.  Anthrax insisted that Paul and Gene produce it, and they did a great job of it.  Anthrax are brilliant at doing covers anyway.  John Bush-era Anthrax was truly something special, and “She” slams hard.  Heavy Kiss songs made heavier are such a delight.

The Gin Blossoms turned in a very mainstream, very mid-90s version of “Christine Sixteen”.  It kicks about as hard as the original, but something about it is very tame.  After all, singer Robin Wilson is not Gene Simmons (which is probably a good thing), and guitarist Scotty Johnson is not Ace Frehley.  Far worse through is Toad the Wet Sprocket’s soggy “Rock and Roll all Nite”, a buzzkilling country fart.  “Calling Dr. Love” by Shandi’s Addiction (a collection of assorted big names) is also a hard pill to swallow.  This quartet consists of (are you ready for it?):  Maynard James Keenan – lead vocals.  Tom Morello & Brad Wilk – guitar and drums.  Billy Gould – bass.  So, it’s Rage Against the Machine with the singer from Tool and a bass rumble right out of Faith No More.  And the track is just as schizophrenic as you’d expect.  It’s both brilliant and annoying as fuck.

J. Mascis of Dinosaur Jr. used his unique vision on “Goin’ Blind”, turning Gene’s murky song into something even darker.  Then bright shimmers of a string section break through the clouds, shadowing everything dramatically.  It’s a brilliant track.  Much like Kravitz, J. Mascis took the song and changed the style but not direction.  You could say the same for Extreme who do a brilliant spin on “Strutter”.  Though by 1994 Extreme were well over in the public eye, they continued to push their own boundaries.  “Strutter” became something slower and funkier, with Nuno Bettencourt slipping all over the fretboard and Gary Cherone pouring it all on.  This is primo Punchline-era Extreme (Paul Geary still on drums).  And listen for a segue into “Shout it Out Loud”!

The Lemonheads chose “Plaster Caster” from Love Gun, a sloppy garage rock version, and score a passing grade.  It’s an admirable effort, but they are quickly overshadowed by their fellow Bostonians, the Mighty Mighty Bosstones.  The Bosstones had the balls to open their track with a phone message from Gene Simmons advising them to pick another song.  “Dicky, about Detroit Rock City…”  Ugly Kid Joe had dibs.  Any other song would be fine…and then WHAM!  The opening chords to “Detroit Rock City”.  Gene was gracious enough to appear in the video.  Their disciplined ska-punk horn ensemble lays waste to the town.  Dicky Barrett’s gravelly throat is like a sniper taking out anyone left standing.  The Bosstones win the whole CD, hands down.  There is little doubt that Dicky Barrett would have shaken unfortunate Kiss fans unfamiliar with the Bosstones.  Today it’s clear that they stole the show with their mighty, mighty cover.

The closest match to the Bosstones in terms of excellence, is a polar opposite.  It’s Yoshiki (from X-Japan) and his orchestra version of “Black Diamond”.  This is performed instrumentally with piano in the starring role.  In this form, “Black Diamond” would make a brilliant movie theme.  Yoshiki closes the album in style, unless you choose to go further and get the LP.  Proceed with caution.

The vinyl bonus track by Die Ärzte is the only non-makeup Kiss track included: “Unholy”. This is a garbage version (in German no less) that you don’t need to spend your money finding. It’s only interesting when it briefly transitions into “I Was Made For Loving You”.  Want a good version of “Unholy”? Check out the 2013 tribute A World With Heroes.

By 1994, Kiss needed a boost.  Grunge was omnipresent and Kiss looked silly and outdated, even with their beards and scruffier appearance.  Kiss My Ass was clearly a transparent attempt to try and latch onto some fans of the newer breed.  Maybe some Lenny Kravitz fans would like it.   If a few Garth Brooks followers bought a copy too, then bonus!  But Garth Brooks fans didn’t buy the album, turned off by the cover art and tracklist.  Likewise, fans of Lenny Kravitz, Tool and Rage Against the Machine didn’t run out en-masse either.

Fortunately Kiss had plenty of cards left in their deck.  There was a Kiss My Ass spinoff video, a tour, and a coffee table book all in the works.  This seemed to distract from the oft-rumoured next Kiss studio album.  More next time.

Today’s rating:

3.75/5 stars

 

Original mikeladano.com review:  2012/08/13

 

RE-REVIEW: KISS – Alive III (1993)

The KISS RE-REVIEW SERIES Part 44

 – Alive III (1993 Polygram)

A brief club tour warmed ’em up.  The full arena tour put Kiss back on the big stage, this time with a huge statue of liberty in addition to the Kiss sign.  As the show went on, the statue crumbled to reveal a skulled figure…giving the finger.  Not everybody got that.  The tour suffered from very poor attendance in the United States, partly blamed on grunge, and partly blamed on a late start (October).

Regardless, it was clearly time for Kiss Alive III.  There was early talk of Alive III back in 1986, set to follow the next studio album.  That never materialised, and some would argue rightfully so.  Kids of the 80s generation already had their own Alive III:  It was called Animalize Live Uncensored, and with the benefit of hindsight, it easily could and should have been the official Alive III.

The real Kiss Alive III was issued in 1993, produced once again by Eddie Kramer, and in the sacred tradition of all Kiss Alives….was heavily overdubbed in the studio.  It is the only Kiss Alive from the non-makeup era, and therefore the only Alive with the lineup of Stanely, Simmons, Kulick and Singer…and Derek Sherinian on ghost keyboards.  He followed Eric Singer over from the Alice Cooper group.

Although there is some overlap with Kiss Alive and Alive II, the third instalment is largely made of newer material, like opener “Creatures of the Night”.  Some fans were upset that “Detroit Rock City” was moved to the end of the set, but a shakeup on a Kiss setlist is usually a good thing.  Opening with “Creatures” was fresh and set the scene firmly back to the heavy sound of 1982, which really seemed to be what Kiss were trying to re-create.

Gene takes over on “Deuce” (1st repeat – Kiss Alive) and for the first time in years it seemed like Gene didn’t look and act goofy on stage.  Give credit to the beard.  It finally gave Gene an image he could work with.  Meanwhile on stage right, Kulick nails a vintage Kiss guitar sound, but without losing his technical advantages.  Another first:  Kulick finally sounded at home playing Ace Frehley guitar solos.  His revamped greasy rock solos fit love a glove.

But wow, does that crowd noise ever sound fake, and fans say that Paul’s stage raps were recorded later, because they’re not from Detroit, Cleveland or Indianapolis where the album was recorded.  “I Just Wanna” is the first Revenge track, but it sounds sterile like a studio version with glistening backing vocals.  It’s also too early in the album to stop the song for a singalong (and a bad singalong at that).  That’s followed by a fairly flat “Unholy” which, Kiss were discovering, didn’t work as well on stage.  Paul’s “Woo-woo” intro to “Heaven’s On Fire” sounds very dubbed, but the track smokes hotter than it did on prior tours.  You can hear Eric Singer clearly on backing vocals, adding a bit of sweetener to the mix.

“Watchin’ You” came as a surprise, an oldie from Hotter Than Hell (and 2nd repeat – Kiss Alive).  With Eric Singer on drums, they captured the jazzy Peter Criss drum vibe once again, but this time with more power and precision.  This is as close as it ever got to original Kiss.  Some would say it’s even better than original Kiss, but that would just be stating a preference.

Back to Revenge, “Domino” is the first song to really click live.  That’s probably because it was always close to that vintage Kiss vibe.  Another surprise is rolled out:  “I Was Made for Lovin’ You” from 1979’s Dynasty, but Wikipedia says this version was recorded at soundcheck.  Whatever the case may be, it’s not as purely heavy as the one on bootleg Unholy Kisses but it’s still good to have it on an Alive.  A set highlight is “I Still Love You” from Creatures, a real chance for Paul to sing.  In 1992 and 1993, Paul was arguably at his vocal peak strength.

They chose an interesting slot for “Rock and Roll all Nite”:  the first track on side two (original cassette version, side three for LP)!  Again, some fans loudly stated a preference for “Rock and Roll all Nite” (3rd repeat – Kiss Alive) as a closer, but it’s stale no matter where it sits.  It’s followed by 80s classic “Lick It Up”, a good song but always a little sparse in the live setting.  Don’t forget the overplayed “I Love It Loud” which was chosen as the only Alive III single.

“Forever” is a little surprising by its inclusion in the setlist that.  A good ballad, yes:  but was a ballad necessary?  It must have been because according to Paul “Every time we play this one, the place lights up like a damn Christmas tree.”  Also true:  Paul’s stage raps are not at all memorable this time out.  A great example is “Detroit Rock City”, although that may also just be that “Detroit” doesn’t belong near the end of an album (4th repeat – Kiss Alive II).

There was a Japanese/vinyl bonus track, finally available on wider release within the Alive! 1975–2000 box set:  “Take It Off”.  This is the one where the strippers came up on stage; yes indeed, a calculated move to shed Kiss’ kiddie image in the 1990s.  As a live song, it’s way better than  “I Just Wanna”.

Kiss closed the show with the complex anthem “God Gave Rock ‘N’ Roll to You II” followed by an actual anthem, “The Star Spangled Banner” as a Bruce Kulick guitar showcase.  This works surprisingly well to wrap up a Kiss Alive that is very different from the other Alives.  Turn it up and hear the bombs bursting in air!

Where does Kiss Alive III sit today among the Alives?  It’s not the worst Alive, but we’ll get there.  Think of it like a movie.  Superman was amazing, and nobody expected Superman II to be as good as Superman.  But it was good enough to make a Superman III which wasn’t as good as I or II.  In reality, Superman III was a total bed-shit, but Alive III is not.  For its flaws, it is a pretty good live album.  There were a lot of live albums out in 1993 for Kiss to compete with:  Iron Maiden (two singles), Ozzy (a double), Van Halen (a double) and Metallica (a triple CD and triple VHS monstrosity).  Alive III is better than most of them (you figure out which).  Kiss were only modestly asking you to part with a single CD’s worth of money, and if you bought it at certain stores you’d get an Alive III poster while supplies lasted.

Today’s rating:

3.5/5 stars

Alive III finally behind them, Kiss were still not ready to record their next studio album.  For better or for worse, the post-Alive III era was a complicated, scattershot period with a few interesting releases to cover.

Original mikeladano.com review:  2012/08/11