Gene Simmons

#414: Get the Firehouse!

RECORD STORE TAKES MkII: Getting More Tale
#414: Get the Firehouse!

Initially, I wanted to do a post called “Miscellaneous Mailings”, with all sorts of fan club and fanzine paraphernalia.  Once I started digging through said bags and boxes of postal  paraphernalia, I realized I had enough Kiss curiosities here just to do a post on them alone.

Canada’s Firehouse Magazine’s claim to fame was being the longest running Kiss fan club in world.  Based out of Surrey BC, I first became aware of Firehouse via Len, a customer of mine at the Record Store.  They had an actual mail order service where you could buy Kiss bootlegs, both audio and video.  That must have really chapped Gene’s ass.  We all know how much Gene likes fansites and fanzines….

Len gave me the Firehouse catalogue which I used to buy a live tape and some back issues.  There are plenty of cool things inside these books to drool over.  News about concert dates, new releases, chart positions and set lists were regular.  There are even exclusive interviews!  The Sept./Oct. 1996 issue features the Ace man himself!  I really like the personals ads in the back.  “Hey Kissexy female Kiss fans of all ages!  I will answer all!”

Other neat things I found in the bag o’ mail:  bumper stickers, an official Kiss catalogue, and the sales chart from Canada’s The Record magazine, showing Kiss’ Psycho-Circus debuting at #2 on the top retail albums!  The only thing that held it back was the Armageddon soundtrack, which jumped to #1 after 16 weeks on the charts.  Take a look for yourself, and bask in the nostalgia of a period that boasted such luminaries as Spice Girls and Backstreet Boys on the charts.

KISS KOLLECTIBLE_0001Lastly, and certainly not least:  an unsigned letter from “Gene Simmons” to my mom, who put the Kisstory II book on her credit card.  Gene was apologizing for a manufacturing delay that had caused the book to be several months late.  He assured my mom that her credit card would not be charged until the book shipped.  How kind of him!  I thought this was amusing, so I kept the letter!  I’m sure my mom appreciated hearing it from Gene personally.

Enjoy the treasures below from my bag o’ Kiss!

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REVIEW: Keel – The Right to Rock (1985)

IMG_20150613_084127KEEL – The Right to Rock (1985 A&M)

From the Gene Simmons Song Factory, heeeeere’s Keel!

Like many Gene Simmons productions, Keel’s The Right to Rock bears his name on a few writing credits.  The rest of the songs are basically reworkings of tracks from Keel’s first album Lay Down the Law.  That album, like Ron Keel’s debut with Steeler (featuring one Yngwie J. Malmsteen) were on Shrapnel.  For the A&M Records debut, they pulled out the big guns.  They got Gene Simmons in all his wig-ness, and put out a very corny but tremendously fun music video.

It is “America 1989”, and rock and roll is outlawed. “Those who are apprehended suffer severe consequences.”  Can our young teenage Keel lookalike get away from the rock police?  Quiet Riot did something similar with their “The Wild and the Young” video a year later. It’s corny fun.

The song too is corny fun. I guess it’s a classic now. It has that stock heavy metal riff that you need: something Motley Crue or the Scorpions would be comfortable with. It has that rebellious rock theme that was so prominent in the 80’s. It has a shoutalong chorus. “You got it! The Right to Rock!” Hey, I grew up in a Catholic school. I know what this is about. “Don’t let anyone tell you how to live your life!” I had a teacher call me out on the first day of school for wearing a Judas Priest T-shirt. I could relate to this song in a big way when I was 13.

It should be noted that Gene Simmons, as a producer, is not known for his sonics. The Right to Rock sounds pretty good for the period, but the drums ring shallow and weak. There’s not much presence for the bass guitar, and the backing vocals are the typical rock mush. That’s what you get with Gene behind the console.

“Back to the City” has a good Priest-like chug to it. I think Keel were going for something middle of the road with their music, like Priest-meets-Scorps-meets-Crue-meets-Kiss. If so, this hit the mark. Ron’s vocals are overwrought but that’s his style. If you don’t like that kind of vocal, you won’t like Keel.

Kinda stinky is “Let’s Spend the Night Together”. You know, I still gotta give the guys credit. They have made this into a pretty fine pop metal song. If you didn’t know the song, you’d assume it’s an original, in the pop metal genre. So from that perspective, I think it’s kinda cool. Stinky and cool — like good gorgonzola.

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“Easier Said Than Done” was written by Simmons/Weissman, the same team responsible for much of the Animalize album. The lyrics even reference “Russian Roulette”, a song title Gene had been toying with for years. (A song called “Russian Roulette” was finally release on Sonic Boom.) So, guess who “Easier Said Than Done” sounds like? That’s right — it is a dead ringer for Simmons-style Kiss. And it’s actually a pretty good song. The problem is Ron’s Gene impression. I can’t help but chuckle at his dead-on Gene vocals. I dare you to refrain from a giggle yourself. Same deal with “So Many Girls, So Little Time”. Kiss fans will recognize that’s a line recycled from the Kiss song “Burn Bitch Burn”.

Onto side two, “Electric Love” is a Keel original, but you immediately notice that the song isn’t as immediate as the two previous Simmons tunes. “Speed Demon”, another original, sounds exactly as the title implies. Quality-wise, it’s only at “Priest outtake” level (Defenders of the Faith era). Then it’s back to Simmons outtakes, with “Get Down”, the weakest of the Simmons songs by a long shot. “You’re the Victim (I’m the Crime)” is a Gene-like title, but this too is a Keel tune. It’s in the same vein as “Speed Demon”, and the same level of quality.

It’s fun to revisit The Right To Rock periodically…but sparingly.

3/5 stars

REVIEW: KISS – Unholy Kisses (1992 bootleg)

UNHOLY KISSES_0002KISS – Unholy Kisses (Audience recorded bootleg, 1992 Flashback)

“You know who we are, let’s kick some ass!”

That’s how Paul Stanley introduced the legendary Kiss on their stripped-down 1992 club tour, April 23 1992 in San Francisco.  The Revenge album was a “reboot” of sorts, out of necessity.  New drummer, new attitude, and a return to the producer (Bob Ezrin) who helped make them huge.  A return to the clubs without the lights, stage show, and costumes helped Kiss transition into the 90’s.  If this one bootleg CD is any indication, then the club tour was a huge success.

Eschewing their normal opening routine, the band entered to the sound of “Love Gun”, but heavier than ever.  Many fans consider the Simmons/Stanley/Kulick/Singer lineup to be among their best, and this live bootleg proves why.  In fantastic voice, Paul leads this devastating lineup to demolish the clubs in their wake.  Full of adrenaline, “Love Gun” is faster than its studio counterpart, and Bruce Kulick creates his own individual guitar solo that fits the track.

Gene’s next on “Deuce”, the new lineup infusing it with menace.  The CD, though obviously a bootleg, sounds great.  Even though the drums are a bit distant you can hear that Eric Singer has come into the band paying homage to the drum parts he inherited.  Then Paul takes a moment to tell the audience that they’ve been so fired up about the way Kiss have been sounding, that they just got to come down to San Fransisco and play.  A rough opening to “Heaven’s On Fire” is a mere hiccup after they get going on the hit single.  For the first time you can clearly hear new guy Eric Singer singing background vocals.

“You ready to hear something old? One of those Kiss klassics?  Bruce – let ’em have a taste.”  Then the shocked audience picked up their jaws as Kiss slammed through “Parasite” for the first time since 1976.  Returning to songs like this was critical for a band who spent the 80’s largely ignoring the deep cuts.

UNHOLY KISSES_0001One thing I love about bootleg CDs is the chance to overhear some audience chatter.  “Shout it Out Loud” however is marred by one nearby fan who keeps singing “You got to have a party,” even when that’s not the current part of the song!  Minor beef, as “Shout it Out Loud” rocks and is another song that was tragically ignored during most of the 80’s.

“How many of you people have Kiss Alive?  Gene must know this one.  Gene’s got Kiss Alive.  Goes like this!”  There begins “Strutter” (also from the first Kiss album) and the crowd goes nuts.  “Dr. Love” follows, with Eric Singer showing off some fancy footwork on the double bass drums.

Fans who were shocked by these old tunes must really have lost their minds when “I Was Made For Loving You”, heavy as hell, tore through the club.  “I Was Made For Loving You” was re-imagined as a chugging metal track and in the club environment, it’s only more raw and aggressive.  Then Paul lets another bomb drop when he introduces “100,000 years” from the first album.  “Oh my God!  I don’t fucking believe it! I do not fucking believe it!” says one nearby fan, obviously excited by this rarity.  It’s incredible how well Bruce and Eric adapted to the sound of old raunchy Kiss.

But what of new Kiss?  The band weren’t ready to start unveiling all the new songs, as Revenge hadn’t even come out yet.  They did roll out two: the first single “Unholy”, and album cut “Take it Off”.

“We got a new album about to come out,” begins Paul.  “And I’ll tell you something, this album is the shit.  I’ll tell you, this album is our fuckin’ Revenge and when you hear the album you’ll know what I’m talking about.”  Indeed, as promised the new songs kick ass, though “Unholy” is kind of awkward in the live setting.  “Take it Off” is more like Kiss.

It’s all oldies from here.   Aside from the new Revenge songs, the most recent track that Kiss played here was “Heaven’s On Fire” from 1984!  (Note: this CD is not the full concert and 1985’s “Tears are Falling” was also played that night.)  I think it’s safe to say that Paul and Gene understand some of the errors in direction they made over the last 10 years, and successfully steered the ship back on track.  “Firehouse” and “Cold Gin” from the first album are present. “I Stole Your Love”, “Detroit Rock City”, and “I Want You” close the CD.  “I Stole Your Love” with the backing vocals of Eric Singer is top-notch!

The songs played that night that aren’t on this CD are “God of Thunder”, “Lick It Up”, “Got Gave Rock and Roll to You II” (its live debut), “Rock and Roll all Nite” and the aforementioned “Tears Are Falling”.  Too bad this is only a single CD bootleg, but bootlegs were so expensive that a double would have cost at least $60-80.  If it was a double, I never would have bought it and heard what I have of this awesome show!

4.5/5 stars

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CD KISStitics

Songs:

  • 5 from Kiss (1974)
  • 2 from Destroyer (1976)
  • 2 from Rock and Roll Over (1976)
  • 2 from Love Gun (1977)
  • 2 from Revenge (1992)
  • 1 from Hotter Than Hell (1974)
  • 1 from Dynasty (1979)
  • 1 from Animalize (1984)

#372: Top Five Reasons Why I Love Kiss

KISS ARMY FRONT

RECORD STORE TALES MkII: Getting More Tales
#372: Top Five Reasons Why I Love Kiss

A while ago I recorded this segment for a proposed podcast over at KingCrimsonProg.  The podcast hasn’t come together yet, for the moment anyway, but I’ve decided to use my segment right here because it’s a subject of interest.  Listen to the embedded video below to hear my Top Five Reasons Why I Love Kiss!

REVIEW: KISS vs Momoiro Clover Z – “Samurai Son”/”Yume no Ukiyo ni Saitemina” CD singles

NEW RELEASE

MOMOIRO CLOVER Z vs KISS – “Yume no Ukiyo ni Saitemina” / “Samurai Son” (2015 King Records Japan CD singles, sold separately)

Here they are, the new singles featuring the Kiss vs Momoiro Clover Z collaboration.  “Samurai Son” appeared on the current Best of Kiss 40 CD, billed there as the “U.S. Mix”.  That meant there are other versions out there, so I ordered the singles (two separate releases) from Japan.  Even if I did not like the other versions of the song, the single covers were cool enough to keep as collectibles.  As it turns out they are printed on high quality textured parchment style paper, and have stunning inner and outer art.  They also come with transparent outer shells with shiny embossed symbols and writing.  For packaging, it’s 5/5 stars for these singles.

Between the two singles, there are four different mixes from the “U.S. Mix” of “Samurai Son”.  All feature Kiss, to a certain degree.  Here’s how the versions break down, from “Least Kiss” to “Most Kiss”:

5. “Yume no Ukiyo ni Saitemina”.  This is the full-on Japanese version with the spotlight primarily on Momoiro Clover Z.  They take the lead vocals and their elements of the song and style and brought up in the mix.  It’s funny to hear Kiss singing background vocals in English, underneath the Japanese lead vocals!  Who know if the words actually go together in any way.

4. “Yume no Ukiyo ni Saitemina” (instrumental version).  Kiss are the backing band on this track and you can clearly hear Tommy soloing, but the Kiss and J-pop elements are mixed fairly equally here.  These first two renditions of the song are on both versions of the single.

3. “Samurai Son” (instrumental version). From the CD with the artwork emphasizing Kiss.  This instrumental is based on the Kiss rather than the Momoclo version of the song.  Tommy is in the spotlight a bit more on this version, as the instrumental mix leaves more room for his guitar licks to take the spotlight.

2. “Samurai Son”.   From the same CD as the above track, this is a Kiss-heavy version similar to the “U.S. Mix” on Best of Kiss 40…but not quite the same.  It follows the same blueprint of Kiss being up front and the Momoclo girls audible in the background and on the chorus.  It has vocal, guitar and J-pop parts that are not as apparent in the “U.S. Mix”.  Gene’s vocals also sound higher in the mix.  It’s audibly mastered way, way louder than Kiss 40, as you can see from the Audacity waveform below.  Track 3 from the CD is on top, the “U.S. Mix” from Kiss 40 is beneath.

1. “Samurai Son” (U.S. Mix). The Kiss 40 version; the mix that is geared to appeal mostly to Kiss fans.  Logically, it sounds the most like Kiss.  It’s only on Kiss 40; neither of these two singles have this mix which makes it a little more special for Kiss fans.

MOMOIRO CLOVER Z VS KISS_0004There are more tracks, but I’ll be frank — I didn’t even rip them to the computer.  These tracks are vocals and instrumental covers by Momoiro Clover Z of “Rock and Roll all Nite”.  I listened to it; it’s cute.  If you want to try and get your little niece into rock music, this might be the way to do it.  It has some guitars but it’s very cutesy.  (Probably still better than Poison’s version though, Mr. Rockett.)

Finally there is the Blu-ray containing the music video, that I cannot play due to region restrictions.  That’s why they invented Youtube, I think….

I give Kiss credit for doing something different like this and making it accessible to different audiences.  My favourite version is the one on Kiss 40, but that one was custom built for people like me.  These two singles are fun additions to the collection.  It’s one of those conversation pieces you can show that one guy you know who says he has “all” the Kiss CDs.

3/5 stars

SAMURAI SON

REVIEW: KISS – 40 (2015 single CD Japan Commemorative edition)

 

NEW RELEASE

KISS 40 2015_0001KISS – 40 (2015 Universal Japan single CD Commemorative edition)

Wait a minute, I’m confused — did I just buy Kiss 40, again?

Wait a minute, it’s 2015 now — shouldn’t this be Kiss 41, or something??

Wait a minute, what the hell is “Kiss vs. Momoiro Clover Z”???

Eager to buy anything new from Gene and Co., I got this new single CD version of Kiss 40 without really knowing what it was about.

Now that the CD has arrived at the door, I discovered that Momoiro Clover Z is a Japanese all-girl pop group with similar intentions as Kiss themselves.  They dreamed big dreams for themselves and aimed to entertain and bring a spectacle to the people.  They have colour coordinated members and characters, so perhaps a Kiss collaboration seemed like the next step for them.  I don’t know how the collaboration came to be, but the result was a brand new Kiss song written by Paul Stanley and producer Greg Collins.

This edition of Kiss 40 commences with a Kiss-heavy mix of the new collaboration, “Samurai Son”. There are other versions available on two singles and on iTunes, but reviews for those will wait until they arrive at LeBrain HQ.  The good news is that the “U.S.” mix of “Samurai Son” has no problem hanging out on a Kiss greatest hits CD.  Musically, it’s not too much of a departure of the direction from Kiss’ last album, Monster.  It’s just more produced, polished and embellished.  The girls from Momoiro Clover Z come in during the chorus, but it’s not the first time Kiss have had female backing vocals on their albums.  It’s the first time since 1989, but remember old classic tunes like “Tomorrow and Tonight” from Love Gun, and “Sweet Pain” from Destroyer?  Female backing vocals.  The new twists this time are the lines in Japanese, and the very slight J-pop slant.  It’s not too far of a departure.

Collector's card included inside Kiss 40

Collector’s card included inside Kiss 40

It may not be to your taste, but I love “Samurai Son”.  The lyrics address Kiss’ experience of hitting Japan for the first time back in 1976:

“I took a flight into Tokyo,
Into the Land of the Rising Son,
I heard my song on the radio,
Blowin’ my mind like a shot from a gun.”

Paul then proceeds to tear it up all over town, “Livin’ life with no regrets.”  The words suit one of those fast paced Kiss rockers that they’ve been doing of late — think “Hell or Hallelujah”.  There are some cool Thayer licks and you can tell that Gene Simmons showed up for the sessions, because you can hear him singing on the choruses.  The overall impression is that “Samurai Son” is one of those solid Kiss catalogue rockers.  It’s like the new material on side four of Kiss Alive II: pretty good but living in the shadow of the Kiss greats.

KISS 40 2015_0006From this point on, Kiss 40 (the 2015 abridged version) continues with the “best” hits from the full length 2 CD version…but not quite.  There have been some major tweaks to the tracklist, perhaps to maximize the listening pleasure of consumers who just need one CD of Kiss in their lives.  The classic live version of “Rock and Roll all Nite” has been replaced with the studio version from Dressed to Kill.  Same for “Shout it Out Loud” and “Detroit Rock City”, here in their original full Destroyer guises instead of live. I like the way the car crash ending of “Detroit” merges into “Calling Dr. Love”.  “Dr. Love” and “Love Gun” were thrown into the pile here, even though they weren’t on the original Kiss 40 in any form.  A little further down, a different song was plucked from Kiss Killers:  The superior “I’m a Legend Tonight” replaces “Down on Your Knees”.

Moving on from the makeup years to the non-makeup 1980’s, the original version of “Crazy Crazy Nights” replaces that unreleased live version from the double Kiss 40.  That sums up the song substitutions; the album still continues chronologically to the current era.  I’m pleased that even though early songs from the first two Kiss albums were axed, songs from the last two Kiss albums were not.  I think Sonic Boom and Monster are Kiss albums the band should be proud of, so you get “Modern Day Delilah” and “Hell or Hallelujah”, as it should be.  Other albums excluded from this compilation are The Elder, (surprisingly) Creatures of the Night, Hot in the Shade, the live records and the solo albums.

With all these tweaks and alterations, the overall listening experience is enhanced albeit at the cost of some deeper tracks. It’s a give and take, so the overall score for the new Kiss 40 remains:

4/5 stars

#353: Hotter Than Hell

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RECORD STORE TALES MkII: Getting More Tale
#353: Hotter Than Hell

Grade 8 was a shitty year. I couldn’t wait to get the hell out of that shitty school.  I had it up to here [holds hand right below chin] with the bullies and teachers.  I had a fight with a bully at the beginning of the year, which at least kept that one off my case for the rest of it.  That was also the year I got mono!  The only thing that really helped get me through was rock and roll, and especially Kiss.  Way back in Part 3 of Record Store Tales, I acquired Hotter Than Hell on LP, in very bad condition.  I almost immediately traded it away for a bunch of other records and swag, but not before dubbing a copy on a terrible Scotch blank tape.  As explained in great detail  in Part 3, I grew to love Hotter Than Hell despite its flaws.  Sonically, it was arguably Kiss’ worst album.  I was listening to a scratched LP via a 120 minute Scotch tape that was prone to stretch and warble.  I had Kiss’ worst sounding album on the worst sounding format!  Yet something about it kept drawing me back.

Sound issues aside, there’s no denying Hotter Than Hell is a powerful record.  Perennial Kiss klassics such as “Got to Choose”, “Hotter Than Hell”, “Parasite”, and “Let Me Go, Rock and Roll” can be found right here.  It also has one of Peter Criss’ best tunes (albeit written by Paul Stanley) called “Mainline”.  I found myself immediately hooked on Peter’s raspy voice.  I surmised that “Mainline” wasn’t a hit, since it neither appeared on Alive! nor Double Platinum.  I couldn’t figure out why.  “If Kiss have songs this good that never became hits,” I reasoned, “the rest of their albums must also be pretty good.”

Right after “Mainline” was another amazing song that I fell for: “Coming Home”.  This Stanley ode to the road was chosen many years later as the opening track for Kiss’ MTV Unplugged.  Back then, to me it was another classic that should have been a hit.  The nucleus of the album became four key songs that I could not get enough of:  “Coming Home”, “Mainline”, “Hotter Than Hell” and “Got to Choose”.  Later on, “All the Way” expanded that list to five.

Those tunes kept me going.  If I was having a rotten day at school, I could hum “Coming Home” to myself and feel better.  For a French assignment, we had to record an introductory paragraph about ourselves, approximately 30-60 seconds long.  We were allowed to do this with music in the background.  I chose the opening riff to “Got to Choose” for mine. First chord — then, “Je m’appelle Michèle…” I talked for the instrumental part, and was finished before the opening line of the song. But I kept the tape running for a moment longer before I did a fade-out: “Baby, you know I heard the neighbors say…” Just so I could work a little bit of Kiss into my French class. I was probably the only one who noticed.

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The bullies picked on me pretty hard in grade 8.  I was assigned “flag duty”, which meant I was the guy who had to put the flag up every morning.  Drawing attention to myself was never a fun thing in grade 8, and I had to do it every morning.  Walking down the hall to the coughs of “Fag Boy” — a clever name derived from “Flag Boy” — was a daily torment.  They also liked to make fun of my boots, which today would have been cooler than hell, since they were vintage, but then just added to misery.  Thursdays were wood shop class, which meant a bus ride to another school downtown.  That bus ride was without a doubt the worst part of each week.  I was prone to getting sick on Thursdays, for some reason….

When I got mono (for real) I missed most of the end of grade 8, but not before being shamed in front of the entire class by my teacher.  “Shame on you!” she said, because I picked the wrong school.  We all had to choose which highschool we wanted to go to.  We were usually expected to choose the Catholic school, but there was no way in hell I was doing that.  You couldn’t have dragged me along with those kids, believe me.  There was just no way.   I chose Grand River Collegiate, which was closer.  Plus my best friend Bob, who was two years older than me, went to that school.  It would be cool to see him every day at lunch time.  We never had any classes together for obvious reasons, but we conspired to get lockers side by side once.  We had a great time in highschool.  Those were the golden years!

Certainly better than grade 8.  I’ve never told all of these stories publicly before.  It is what it is, and all is certainly forgiven now.  The interesting thing is how these experiences collided to really galvanize my love of that Hotter Than Hell album.  Listening to it today still brings back memories of gym class, waiting for it to finally end, humming “Coming Home” to myself.  And that, friends, is why such a terrible sounding record is so important to me!

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DVD REVIEW: KISS – 20th Century Masters: The DVD Collection (2004)

KISS – 20th Century Masters: The DVD Collection (2004 Universal)

These 20th Century Masters DVDs were a fun way to pick up key music videos from major bands at a cheap price.  Today this role is largely filled by sites such as YouTube.  The Kiss edition features five of their biggest from the 1980’s:  One with makeup, four without.  One each from Creatures, Lick It Up, Animalize, Asylum, and Crazy Nights.

“I Love It Loud”, of course, features the band in full makeup and costumes, including Ace Frehley, even though he did not play on Creatures of the Night.  This brilliant video spoofed the popular “rock and roll is brainwashing our kids” fears of the 80’s.  In this video, Kiss use their incredible brain powers to do that very thing.  Gene can even melt objects with his fire breathing, through a fucking television set.

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Let me set the stage for you in the clip for “Lick It Up”:  It is the Future.  Nuclear war has seemlingly reduced America to a wasteland, the population are dressed in rags.  The only human beings left alive are women…and of course the four guys from Kiss (now including Vinnie Vincent on guitar).  Only they can bring salvation (and music) to the surviving ladies.

“Heaven’s On Fire is a pretty standard 80’s video.  The band frolic with babes, Gene wags his tongue, Eric shakes his hair.  This video is however notable as the one and only appearance of guitarist Mark St. John (who replaced Vinnie Vincent) on lead guitar.

The clip for “Tears Are Falling” isn’t the best.  It’s a better song than a video, but there’s a cool part where Bruce plays a guitar solo in the rain.  It’s too bad that Kiss chose the Asylum period for a garish set of sequined covered bathrobes, a popular 1985-86 trend.

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“Crazy Crazy Nights” boasts some pretty big production values and the debut of the “new” late-80’s KISS sign.  I hated the softening of the musical and visual direction of Kiss in this video.  This is the beginning of Paul Stanley merely dancing with his guitar in videos, rather than playing it.  Watch the video.  At no point is Paul doing anything more than wearing or dancing with his guitar!

Eric Carr was the drummer on all tracks, rest his soul.

3/5 stars

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REVIEW: KISS – Love Gun (2014 Deluxe Edition)

NEW RELEASE

KISS – Love Gun (2014 Universal Deluxe edition, originally 1977 Casablanca)

Mrs. LeBrain picked this CD up for me on Friday November 7 at the local HMV store, an adventure in itself that we will tell in a future Getting More Tale installment.  Love Gun is the first ever Kiss Universal “Deluxe Edition” to be released, hopefully the first of many.  You can understand why it would have been chosen first.  In 2012 they already released the newly remixed Destroyer (Resurrected), and the second most beloved studio album in Kisstory may well be Love Gun.

Like other Universal deluxes, Love Gun is a 2 CD digipack, with liner notes, rare photos, a fresh remastering and bonus tracks.  One of these bonus tracks is previously released.  The demo “Reputation” was only released a few short months ago on the commemorative Kiss 40 compilation.

First, let’s talk about disc one, the remastered Love Gun.  This sounds about as definitive as it gets.  The cymbals sound nice and crisp to me, not fizzling out in the distance.  I am very pleased with the sound.  You can see that it is not overdriven.  You can hear plenty of nuance in the instruments.  I hope this is about as close as you can get to the sound of listening to Love Gun in the studio control room.

GOT LOVE FOR SALE

2014 remaster of “Got Love For Sale”

For a more detailed review of the original Love Gun album, you can check out my original from my 2012 Kiss review series.  I rated it 5/5 stars.  From that review, “The classics here are among Kiss’ all time best. ‘Shock Me’, ‘I Stole Your Love’, and ‘Love Gun’ are still played in Kiss’ set circa 2012…’Tomorrow And Tonight’ and ‘Christine Sixteen’ were on Alive II.”  On the other hand I also said, “there’s a little bit of filler on here. I’m not a big fan of ‘Almost Human’ even though Gene is, and some people dislike ‘Hooligan’ although I love it. I could also take or leave ‘Got Love For Sale’.”  Since writing that, I’ve changed my tune on “Got Love For Sale” which I like a lot more today.

And yes, I did have “And Then She Kissed Me” played at my wedding.  I’m very proud of that fact.

The rarities here include some goodies that I have never heard before.  “Much Too Soon” is a slower Beatles-esque rock ballad.  Although I think it’s a pretty cool Gene Simmons experiment, it was clearly not suited to the heavier material on Love Gun.  If Gene had released it on his 1978 solo album, it would have been one of the stronger tracks.  The aforementioned “Reputation” is another decent tune from the Love Gun sessions.  In my review for Kiss 40, I said, “You can hear that aspects of this song later made it into other Gene Simmons compositions such as ‘Radioactive’.  This is one of those song titles I’d read about for years, but have never heard until now.  Cool.  While the song is definitely a demo, and not quite as good as most finished Kiss songs, it does boast a cool dual guitar solo and rocking piano a-la ‘Christine Sixteen’.”  The third and final unreleased song is called “I Know Who You Are”, which is actually a demo version of “Living In Sin” from Gene’s solo album, with a different chorus.  The verses are the same, and I think I might prefer it to the overly funky “Living In Sin”.

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Other unreleased goodies on the deluxe are 1977 demos of familiar songs.  “Plaster Caster” is pretty tight in terms of how the final version went.  Paul’s “teaching demo” of “Love Gun” is interesting.  He’s naming and recording the chords from the song as he goes, presumably to show the other members how to play it.  It’s in inessential track, interesting only to fans, but cool nonetheless.  This leads directly into an unreleased band demo of the song.  You get to hear the evolution in motion.  This band demo is all but identical to the final version, right down to the shimmering Frehley chord effects.  Then there’s a great instrumental demo for “Tomorrow and Tonight”.   Of the demo tracks, this is probably the greatest treasure.  I love hearing the bare guitars and drums of the four classic Kiss guys just playing together as only they can.  Ace Frehley’s solo is a work in progress but some of the key hooks are already in place.

Three 1977 live unreleased tracks are also quite the treat.  These are from December 20 1977, in Landover Maryland.  This was the second of a two night stand there.  If you ever wished the Alive II album wasn’t as polished sounding as it is, then you will be happy with these three tracks.  Yes, you get “Love Gun” four times, but who freakin’ cares?  It’s “Love Gun”.  You also get “Christine Sixteen” and Ace Frehley’s “Shock Me” complete with guitar solo.  So suck on that.

LOVE GUN DELUXE_0006The final audio bonus is a 7-minute Gene Simmons interview from 1977, from a radio station in Montreal Quebec.  It’s an interesting interview, but I’d be happier if more demos were on the CD rather than an interview.  However, let’s be honest — reasonable Kiss fans know that the Simmons/Van Halen demo of “Christine Sixteen” was not going to be on here.  Like Eddie and Alex want that to happen.

The packaging is great, with commentary from the musicians and writers involves, and artist Ken Kelly.  (These comments are re-printed from other sources.)  Also included is Ken Kelly’s original concept for the cover art, which was rejected for not being as grand and large as Kiss felt they were.   Finally there’s a two page essay by Joe Elliott of Def Leppard, who says he’s seen them play “Love Gun” live over 40 times, so I’d say he’s qualified.  Elliott waxes nostalgic about the days when bands used to release two albums a year.

A final note:  The Love Gun deluxe edition is supposed to come with a fridge magnet, but many have been opened and found to be missing the magnet.  I have already contacted Universal about a replacement.

4.5/5 stars

BOOK REVIEW: C.K. Lendt – KISS and Sell: The Making of a Supergroup

KISS AND SELLC.K. LENDT – Kiss and Sell: The Making of a Supergroup (1997 Billboard Books)

Chris Lendt used to be an accountant for Kiss’ management company (from ’76-’88), and according to him, quite close to the band. He spent a lot of time on the road, with the band, keeping track of the money.  The story he tells is amusing at times, off-topic at others, but also often critical of his former bosses.

Lendt distills Kiss’ legacy to profit/loss diagrams. At the same time, he tells a lot of stories about excess, touring, and groupies, but not a lot about rock and roll. If you are looking for the nitty gritty details about Kiss and the music, this is not the book for you. For that book, check out Black Diamond by Dale Sherman. If you want one person’s account of the inner workings of the Kiss business, then read on.

Lendt describes parties, extravagent budgets, and stage shows. Where things get really interesting in this book is when things start to go sour for Kiss, right around the time of the Dynasty tour in ’79. He desribes Gene’s plan for “Kiss World”, a traveling amusement park that was to play outside of Kiss’ concerts on that tour. Needless to say it never happened, but it’s not something that’s well covered in other books, at least in this level of detail. He talks about recording budgets, about Ace Frehley building a gajillion dollar home studio that was never used (and later turned into a swimming pool), about wigs (Gene’s), about gurus (Paul’s), and about desperately copying every move Bon Jovi made when they hit it big in ’86, before his company was fired by Kiss in ’88.

He also spends a bit too much time talking about Diana Ross, whom his company was also managing. There are too many pages about investments, stuffy boardroom meetings, profit margins, and budgets. While this book is very insightful, covering many details that nobody else was privy to, it’s not enough about rock and roll. I can’t even tell if Lendt really likes rock and roll. Certainly, he liked working for Kiss in the early years, and the touring, but the later years are marked by constant criticism.  (A bit like my own Record Store Tales, I guess.)

Pick up Kiss and Sell cheaply, read it and enjoy it; but please also pick up Dale Sherman’s Black Diamond, and Kiss’ own Behind The Mask. Both books are more about the music, and both books are actually surprisingly critical as well. All three together will be a very well rounded reading of the hottest band in the land.

3/5 stars. More if the author would stick to the topic!