kiss

RE-REVIEW: KISS – Paul Stanley (1978 solo album)

The KISS RE-REVIEW SERIES Part 16:  

  Paul Stanley (1978 Casablanca solo album, 1997 Mercury remaster)

With the benefit of 20/20 hindsight, we know that Paul Stanley was capable of pretty much running Kiss by himself.  During much of the 1980s, Gene Simmons’ participation in Kiss had a severe drop.  Paul took the reins and the band more or less sounded like Kiss.  With that in mind, it’s no surprise that Paul’s 1978 solo album was also very Kiss-like.  Of the four, Paul’s album had an “if it ain’t broke, don’t fix it” attitude.  His solo songs sound very much like his Kiss songs.  Co-producing with Paul was Kansas producer Jeff Glixman.

Paul had an “ace” in his pocket, so to speak.  On lead guitar was shredder Bob Kulick.  Previously, Bob auditioned for Kiss but was squeezed out at the last minute by Ace Frehley.  He also played ghost guitar on the studio tracks of Alive II.  Now he was out of the shadows on Paul’s album, and his work here absolutely stuns.  It’s a feedback-laden monster of rock.

Paul’s songs are often overblown, and usually loud.  “Tonight You Belong to Me” is one such track:  melodramatic, riffy and loud.  It rocks hard.  It has loads of hooks, killer playing, and lead vocals that slay.  Few singers could touch Paul Stanley in his prime.  If that riff sounds familiar, the Hellacopters ripped it off for the intro to a song appropriately titled “Paul Stanley” (from 1999’s Grande Rock).

“Move On” is upbeat, Kiss-like rock and roll augmented with female backing vocals.  It’s the only song that Kiss played live on their 1979 tour.  It probably fits that standard Kiss mold better than any other tune on the album.  “Ain’t Quite Right” brings things down with a dark acoustic ballad, quite different from past songs Paul has written.  Its sad sound was fairly new territory for an upbeat rocker.

Hold on tight for “Wouldn’t You Like to Know Me”.  If this song was covered by a pop-punk band (pick one:  Sum 41, Blink 182, any of that ilk) it could be huge today.  It’s loud, brash and incredibly rocking, but Paul outsings any punk-pop upstart.  When Paul released his solo One Live Kiss album/video in 2008, “Wouldn’t You Like to Know Me” was one of its highlights.  Kudos must be given to drummer Richie Fontana for kicking it in the nuts.

One of rock’s most legendary (and hardest hitting) timekeepers plays drums on the massive “Take Me Away (Together As One)”.  You don’t associate Carmine Appice with Kiss, but there he is one of Paul’s songs.  It’s a bombastic arrangement of electrics and acoustics, and one of Paul’s most devastating tracks.  Carmine turns it from “stun” to “kill” with his dominating presence.  At 5:26 this is the longest song on the album and as close as Paul gets to epic.

Side two is just as vigorous as side one.  “It’s Alright” has a bright shimmer, plenty of hooks and guitars.  It easily could have been a Kiss classic.  “Girl if you want me to stay satisfied, girl if you want me to stay for the night, it’s alright.”  Sure sounds like Kiss to me.  The guitars have a very “rock and roll” vibe, a classic progression.  Paul has a knack for riffs like this, and “It’s Alright” is one of the best.

Paul’s single was the schlocky piano ballad “Hold Me, Touch Me (Think of Me When We’re Apart)”.  Fans will either love it or hate it.  It’s a song that could have been an AM radio hit on a 70s light rock station.  Lionel Richie could have recorded it.  The guitar solo cooks, and that is all Paul.  He handled all the guitars on this song.  Love it or hate it, it was the second most successful solo Kiss single after Ace’s “New York Groove”.

As the album draws to a close, “Love in Chains” hits hard with punchy drums and choppy guitars.  But it’s just a jab, compared to the closer “Goodbye”, which finishes things off with a flourish and hot riffing.  There is a cool descending guitar part, a superior chorus, and some seriously cool and busy bass by Eric Nelson.  “Goodbye” is a brilliant closer, and it held that slot on Paul’s 2006 solo tour.

Paul’s was the second shortest of the solo albums (only Peter’s being shorter), but it packed more punch than any except Ace Frehley’s.  Everybody has their favourites, and Ace’s album is always held in high esteem.  Ace stepped out of his box and delivered.  Meanwhile, Paul stuck to what he does best, and nailed it.  It’s a “safe” solo album, but lethal when it clicks with you.

5/5 stars

To be continued…

Original mikeladano.com review:  2012/07/22

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RE-REVIEW: KISS – Gene Simmons (1978 solo album)

The KISS RE-REVIEW SERIES Part 15:  

 Gene Simmons (1978 Casablanca solo album, 1997 Mercury remaster)

Given Gene’s demon persona, certainly some fans would have expected his solo album to be the heaviest and darkest.  Imagine their shock upon finally hearing the finished disc!  Musical flights of fancy and whimsical songs dominate Gene’s record, as the demon was determined to do something very different.  His album has the most guest stars, the most diverse songs, and the most split of personalities.

Even the “evil” sounding choirs that open the album are more whimsical than demonic.  This soon gives way to a guitar riff, and the first song “Radioactive”.  The audio compression gives it a disco-like beat, but “Radioactive” is a rock and roll track.  It is one of the songs featuring guests Joe Perry and Bob Seger, not to mention a slew of backing vocalists.  It’s also the one track that Kiss played live on tour in 1979.

The demon sounds like he’s prowling for ladies on “Burning Up With Fever”.  If you’re wondering about that funky bass line, it was played by Neil Jason.  In a surprise move, Gene didn’t play bass on his solo album, only guitar.  This lends the whole LP a funkier-than-expected sound.  This plus the ample backing vocals almost makes Gene Simmons sound like an R&B/rock hybrid from time to time. “Burning Up With Fever” is a bad tune for a sexed-up demon, but not one of his finest either.

Some of Gene’s solo songs were oldies that predated Kiss.  Others were of more recent vintage.  The folksy ballad “See You Tonite” sounds like one of the older tunes.  It’s a good one; good enough that Kiss recorded it live in 1995 for their MTV Unplugged appearance.  In a strange twist, some of the best tunes on Gene’s solo platter are the ballads.  Jeff “Skunk” Baxter played on this one and “Burning Up With Fever” as the cavalcade of guest stars continues.  Even Katey Sagal (Married With Children) sings on the LP.

“Tunnel of Love” and “True Confessions” are two of Gene’s non-descript exploits, fairly ordinary songs given a huge boost by the larger than life production (by Gene and Sean Delaney).  The backing vocals are immaculately arranged.  “Tunnel” features Joe Perry and Donna Summer.  Helen Reddy sings on “True Confessions”.  Unfortunately these two songs are more notable by who appears on them rather than how good they are.

Gene was dating Cher at that time, so it’s not really a surprise that Cher appears on “Living in Sin” (as the groupie on the phone).  This side two opener has a bit of that rock and roll spirit missing on other songs, though very corny.  The ballads on side two are better.  “Always Near You/Nowhere to Hide” has some of Gene’s best singing, showing off that high falsetto.  Gene couldn’t get the Beatles to appear on his album, so he did the next best thing and had Mitch Weissman and Joe Pecorino from Beatlemania sing on “Always Near You/Nowhere to Hide”.  This melancholy song is one of Gene’s most ambitious.

“Man of 1000 Faces” is big and bombastic, orchestrated for maximum impact.  It has more in common with Destroyer than anything else Kiss has done, but even more overblown and bombastic.  It also suits Gene’s persona perfectly.  “I can put on any face, you won’t know me but it’s no disgrace.  The king of night, he understands!”  Then “Mr. Make Believe” is laid back and acoustic, and also another fantastic song.   Gene’s ability with ballads should not be understated.  “Mr. Make Believe” is the most Beatles-esque of Gene’s solo tracks.

“See You In Your Dreams” is a remake of the Kiss song from Rock and Roll Over.  Apparently Gene thought it could have been recorded better, but the more basic Kiss version is much more appealing.  Rick Neilson from Cheap Trick plays guitar on it, but Michael Des Barres’ backing vocals are obtrusive and irritating.

And that leaves only the final track.  Some stop playing the album before track 11, others consider it an indispensable part of Gene’s solo statement.  But there it is:  “When You Wish Upon a Star”, the song whose lyrics meant so much to Gene that he recorded it for the last track of his album.  It was not intended as a joke, but many see it as such.

Gene’s solo album can’t be dismissed as garbage, not with the great tunes it has (especially the ballads).  However it’s so scattershot and just plain strange that it’s hard to really just enjoy.  It’s interesting to study and dissect.  Not so much fun to play in the car.

2.5/5 stars

To be continued…

Original mikeladano.com review:  2012/07/20

RE-REVIEW: KISS – Peter Criss (1978 solo album)

The KISS RE-REVIEW SERIES Part 13:  

 Peter Criss (1978 Casablanca solo album, 1997 Mercury remaster)

Peter Criss’ dreams of superstardom died with his first solo album.

To assuage egos and blow off steam, all four Kiss members agreed to record and release solo albums simultaneously.  This was done under the Kiss banner to unify them, but each member had complete creative freedom on their own.

A project like this had never been attempted before by anybody, and Casablanca records gambled on all four being equally huge.  They gambled wrong.  Peter Criss’ album was the biggest casualty.  It sold the poorest and charted at a lowly #43 (Billboard).  He assumed he was the star of the band due to “Beth” being their biggest single.  He set out to make an album like that, but Kiss fans were not likely to buy an R&B ballad album.

Criss hired Ringo Starr producer Vini Poncia (his first of a few Kiss collaborations), and wrote part of the album with his old Chelsea partner Stan Penridge.  He had a band of studio musicians, but was unable to play drums on the whole album due to injury.  For those tracks he used Allan Schwartzberg who also played on Gene Simmons’ solo LP.

There was a clear R&B direction, the stuff that Peter loved and couldn’t play in Kiss.  There are horns a’plenty and cool non-rock grooves.  Opening track “I’m Gonna Love You” pointed the way:  mid-tempo, loads of soulful backing vocals, easy beats and raspy singing.  His drums fit the sound perfectly.  “You Matter to Me” brought 70s synth into the mixture.  Easy listening light rock ballads go down smooth but don’t leave you feeling satisfied.

“Tossin’ and Turnin’”, the old 1961 R&B hit, was the only tune played live by Kiss on the 1979 tour.  Peter’s version of course does not sound like Kiss, but it’s a lively version suited to his style.  Another ballad, “Don’t You Let Me Down”, is a tender song but lighter than light.  Absolutely too soft for Kiss, but one of the stronger Penridge/Criss compositions that might have worked well covered by an easy listening artist.  Unlike “That’s the Kind of Sugar Papa Likes”, which is not a good song at all.

Criss played all the drums on side one.  Schwartzberg was on most of side two, opening with the quiet yet epic ballad “Easy Thing”.  It has a slow build into something big and orchestrated, and for this album it works.  Sean Delaney’s “Rock Me, Baby” brings things back to rock and roll, but with a mediocre track that wouldn’t be good enough for Kiss.  “Kiss the Girl Goodbye” was another soft and light ballad, pleasant enough but far from outstanding.  Penridge’s guitar is a delight, but the only delight.  “Hooked on Rock and Roll” on the other hand is a standout akin to “Tossin’ and Turnin’”, a little bit of an autobiographical track about the Catman.  “Every morning at the break of dawn, you could see him dragging home his drums.”

The final track, and one of the most polarizing, is Sean Delaney’s “I Can’t Stop the Rain”.  Some love it, some hate it, but one thing for sure:  it’s one of most bombastic ballads Peter’s ever recorded.  Piano, orchestration and stellar guitar by Elliot Randall (Steely Dan) make for a huge ballad.  Love it or hate it, “I Can’t Stop the Rain” is schlocky and bittersweet.

When Peter’s album failed to sell, Casablanca rushed out two singles.  The other Kiss members only got one each.  Neither “Don’t You Let Me Down” nor “You Matter to Me” made any impact.  The fallout from this album was that Peter Criss was perceived as out of touch by his band and his fans.  He was hoping to become a blue-eyed soul star, but his image never recovered.  From this point on, Peter’s dedication to rock was always under scrutiny, and his time in Kiss truly began to tick away.

Today’s rating

1.5/5 stars

To be continued…

Original mikeladano.com review:  2012/07/17

 

MOVIE RE-REVIEW: KISS Meets the Phantom of the Park (1978)

A huge thanks to old buddy Scott who hooked me up with a DVD rip of this movie, taken from the original VHS release.

The KISS RE-REVIEW SERIES Part 11:  

Meets the Phantom of the Park (1978 Hanna-Barbera TV movie)

A monster-sized, semi-transparent Gene Simmons prowls above a rollercoaster.  Ace Frehley and Peter Criss fly about on a floating amusement park ride, and Gene says “hello ladies” from the top of the rollercoaster.  Paul Stanley dances up a storm, all to the tune of the original “Rock and Roll all Nite” from Dressed to Kill.  This is how it all happened on October 28, 1978 when NBC broadcast the TV movie Kiss Meets the Phantom of the Park.

The sheer hubris of Kiss and their enablers in 1978 was out of control.  The band had always intended to conquer TV screens, and silver ones too.  When Gene hyped the proposed Kiss movie as the best thing since either Jaws or Star Wars, skepticism would be justified.   Kiss had a ready-made image for spinoffs, and Marvel comics had first dibs on illustrated Kiss.  But their ambition caught up with their abilities with Kiss Meets the Phantom of the Park.  Nobody in the band could act.  The script was being changed on a daily basis.  The special effects were a joke.  Stunt doubles looked nothing like the real Kiss.  Jokey fight scenes are accompanied by cartoony music from the Hanna-Barbera archives.

There is a superior European cut of this film called Attack of the Phantoms.  The cartoon fight music is replaced by actual Kiss songs, and it is generally just a better version.  It can be found in the Kissology II DVD set.  The cut that most of us saw on television has been issued on VHS, but never DVD.  For a complete breakdown of every difference between every version of Kiss Meets the Phantom, be sure to get Dale Sherman’s thoroughly incredible reference book, Black Diamond 2.

It is summer in sunny California at Magic Mountain amusement park.  Over the loudspeakers, an announcement is made:  “Kiss is in concert, starting tonight, for three great nights!”  The security guy, Sneed,  is worried about a riot.  Park owner Calvin Richards only sees dollar signs.  And there is a third party too:  Abner Deveroux (the acclaimed actor Anthony Zerbe in his most embarrassing role ever).  Deveroux built the rides and all the park’s robotic animatronics, but things are starting to break down.   Devereux fancies himself a scientist and can’t deal with his budget cuts while money is being spent promoting the Kiss concert.  Throw in a group of thugs (Chopper, Slime and Dee) and you have a potentially dangerous situation.  When Devereux’s assistant Sam goes missing, his girlfriend Melissa goes looking for him.  And, for some reason, she needs Kiss’ help.

Minute after agonizing minute, we sit through clumsy dialogue and wooden lines, as we wait and wait for Kiss to finally show up.  A creepy tour of Devereux’s underground robot-filled laboratory reveals he’s completely nuts, always a good thing to have in the designer of a kids’ amusement park.  He has the will and the means to exact his revenge on those who cross him…and he also has the missing Sam!  But when will Kiss show up?  Not for an incredibly slow moving 30 minutes…and that’s not including commercials.

Kiss’ grand entrance (to the tune of “Rocket Ride” from Alive II) is the first time the audience is given one vital piece of information.  Kiss, apparently, have superpowers.  They can shoot laser beams from their eyes, breath fire, teleport and more.  Why they have chosen to use their powers for rock and roll is never revealed  beyond “you got to have a party”.

The concert continues with “Shout it Out Loud” and “Black Diamond”.  Peter Criss’ drum kit elevates and fireworks explode.  When the movie first aired, it was the first time kids could could see what a Kiss concert was like from the comfort of home.  The concert footage is far too short, but all is not well with the park.  Abner Devereux is fired from his job (yet he’s not removed from the premises, and continues to work in his underground lab)!  He sets into motion a plan to get his revenge…on Kiss!   Fortunately, Paul can shoot a star thing out of his eye that lets him read minds.

“You’re looking for someone.  But it’s not Kiss.”

When Gene seemingly attacks two security guards at night, Kiss is questioned in the classic “pool scene”.   There used to be an urban legend that Peter Criss did voices for cartoons such as Superfriends.  The origin of this is Kiss Meets the Phantom.  Supposedly Peter Criss refused to overdub his lines (as is standard procedure for any show due to the flawed nature of on-location audio) so voice actor Michael Bell was called in.  Many fans never knew Peter Criss’ real speaking voice for years, since Bell’s was the only one we heard.  Worse, Ace Frehley barely had any dialogue at all, beyond yelping “Ack”.  The writers who were hired to follow Kiss around to get a feel for their personalities didn’t pick up much from Ace beyond odd noises.  Lines has to be added for Ace at the last minute when he flipped out over his lack of verbiage in the film.  Therefore, he also got “Hi, Curly!”  Most of Gene’s lines are just lion-like roars.

The plot thickens:

Calvin Richards:  “Look, someone vandalized our park last night, smashed some of our buildings, and injured a few of our guards.  Well Gene, they think it was you.”

Guard #1:  “Think!?  It was him!”

Guard #2:  “Or his twin!”

Peter Criss:  “Gene’s brother was an only child.”

Paul Stanley:  “Easy, Catman, they are serious.”

The best part is that Guard #1 is played by the then-unknown Brion James of Blade Runner and Fifth Element fame.

When Melissa returns (still looking for the missing Sam), Kiss reveals to her the truth behind their powers:  They possess talismans that grant them superhuman abilities…and now an eavesdropping Devereux knows, too!  The second Kiss concert goes off without a hitch.   An exciting “I Stole Your Love” features the band descending from elevating side stage platforms.  The song is edited for length, but Gene blows fire at the end.  What Kiss don’t know is that Devereux has sent Sam, who he now controls, to steal their talismans!

After the concert, Gene, Paul, Peter and Ace are joined by Melissa, heartbroken over Sam.  Neither Gene, nor Paul, nor Ace and Peter attempt to sleep with her.  No, instead, they serenade her to a very special version of “Beth”.  Some in fandom feel that this version is the best ever version of “Beth”.  It has Peter Criss’ vocal from the album, and a single acoustic guitar.  (Paul mimed this guitar part for the movie, though Peter felt it should have been Ace.)  Meanwhile, Sam is thwarted from stealing the talismans by a force field, but Kiss can sense that something is up.  They decide to check out the park and look for Devereux.

Cue that funky fight scene music, white cat!  Four white cat-like people get the drop on Kiss!  “They’re not real, they’re robots!” says Paul.  “It’s all unreal!”  The cats are followed by samurai, wielding lightsaber-like swords. But Devereux is not so easily beaten.  Sam, now equipped with a ray gun from Devereux, has stolen the talismans!  Kiss follow him into the spooky Chamber of Thrills, where they are attacked and captured by even more robots.  These campy fight scenes are either intolerably awful, or the highlight of the movie, depending on your point of view and level of intoxication.

The climax is an epic battle between Kiss and their evil robotic alter-egos, built by Devereux!  Devereux sends the phony Kiss-bots on stage to use music to incite the crowd to riot and destroy the park.  Changing the words to “Hotter Than Hell”, the Kiss-bots almost succeed.

It’s time for everyone to listen good,
We’re taking all we can stand,
You’ve got the power to rip down these walls,
It’s in the palm of your hand!

Rip, rip, rip and destroy!
You know the hour’s getting late.
Rip, rip, rip and destroy!
Break it down and seal your fate.

Can the real Kiss recover the talismans, beat the bots and retake the stage?

Other Kiss tracks heard in the movie include “Christine Sixteen” and “God of Thunder”, but let’s face it, Kiss Meets the Phantom is a shit-show.  It was an opportunity for fans to see Kiss on TV, but it did little to convert anyone to the Kiss cause.   The concert footage is fantastic, although songs are severely edited.  Its greatest value today is as a camp classic, but without a beverage of some kind, it is a lethargic undertaking.  The fact that Anthony Zerbe has this movie on his resume is astonishing; the fact that Kiss have yet to release this version on DVD is not.

1978 was a rocky year for the Kiss army.  Though the Alive II tour started the year on a high, and the Marvel comic was a pretty cool thing, fans were now being fed more product.  Double Platinum (up next) left some feeling exploited for their dollars, and Kiss Meets the Phantom could be considered a complete write-off.

Today’s rating:  1/5 stars

To be continued…

Original mikeladano.com review:  2012/08/09

RE-REVIEW: KISS – Alive II (1977)

The KISS RE-REVIEW SERIES Part 10:  

kiss-logoAlive II (1977 Casablanca, 2006 remastered edition from Alive! 1975-2000)

Kiss in 1977 were a band of four different personalities, and those personalities were beginning to drift apart. There was talk of allowing members some time to do solo albums and blow off some steam. There was a Kiss movie happening (Kiss Meets the Phantom of the Park), not to mention Love Gun and its accompanying tour.  Kiss Alive! was the album that made them a household name, so why not try to buy some time with another live release?  The band had amassed three more studio albums in the interim.

Eddie Kramer was hired once again to recapture the magic.  Shows (and soundchecks) in L.A. were recorded, and older tapes from a pre-Love Gun Japanese tour were dusted off.  They had lots of material to work with, and so it was decided that Alive II would have no crossover with tracks from Alive!, a value-conscious move that  fans appreciated.  They were still short enough songs to make a full double live, so studio time was booked at Electric Lady to record new songs too.  As with the previous Alive, much fixing and re-recording was done to the live tracks.  Some of the soundchecks were used with audience noise overdubbed.  Two songs (“Hard Luck Woman” and “Tomorrow and Tonight”) were actually re-recorded completely.  Knowing now what we didn’t know then, this certainly explains why Alive II sounds more sterile than the first, and why you can hear Paul Stanley singing backup vocals to his own lead vocals.

Alive II has always been viewed as sort of a poorer cousin to Alive!  It’s hard to blame the studio tampering, because Alive! was done the same.  For whatever reasons, it’s a lot more noticeable on Alive II, although not to the point of distraction.  Alive II simply does not have the same oomph, the same fire bleeding through.  Even with tracks like “Detroit Rock City”, “Shout it Out Loud”, “God of Thunder” and “I Stole Your Love”, it’s hard to compete with Alive! for sheer ferocity.

As is their penchant, some songs like “God of Thunder” are much faster live.  “God of Thunder” could be the heaviest version of that track on tape.  “Ladies Room” and “Dr. Love” are also faster and harder.  “Makin’ Love” blows away the album version, and “I Want You” comes close.  Ace Frehley’s vocal slot on “Shock Me” is a welcome treat and obvious highlight, featuring Ace’s big solo spot.  As for Peter Criss, “Hard Luck Woman” is a nice electric version, but “Beth” underwhelms.  Singing “Beth” to backing tapes is a “who cares” moment anyway, but Peter doesn’t nail it either.

The real point of interest on Alive II is side four, the studio side, for two reasons.  One is that it’s a surprisingly strong side even though only one of these songs has gone on to be a classic today.  Paul Stanley has dismissed these tracks as schlock, but fans don’t always agree.  The second is that Kiss’ internal problems had come to a head, and once again members were secretly replaced on recordings by outsiders.

Ace Frehley wasn’t around, except to record his own song (“Rocket Ride”), which has become a second-tier Kiss classic.  Maybe to spite Kiss, he played all the bass and guitars on it.  Ace’s track is immediate, Kiss-like and perfect for his persona.  With Peter Criss in the pocket, Ace lays down some seriously wild effects-laden six-string magic.  But that was it.  Ace was focussed on his forthcoming solo album.  The wheels were already in motion and songs were being written.   To keep things from falling apart and maintain a facade of unity, Kiss decided that all four of them would release solo albums, unified, under the Kiss banner.

Meanwhile, Paul and Gene came up with a few tracks for side four.   Replacing Ace Frehley on lead guitar was the man who he nudged out of the job in the first place — Bob Kulick.  Paul and Bob had maintained a friendship in New York ever since his 1973 Kiss audition.  Bob was asked to come in on the sly and record uncredited.  His task was to play like Ace would have done it, a difficult task.  “Ace wouldn’t play that note”, someone would say from the control booth as Bob struggled to come up with the enigmatic “right” vibe.  But he did it, and now that we know the truth, fans hold Bob’s work in high esteem.

Paul Stanley’s “All American Man” (Stanley/Sean Delaney) has the goods:  a signature guitar hook, a memorable chorus and a killer solo that we only know now was actually Bob.  “All American Man” is a natural extension of where Kiss were headed with Love Gun.  Gene had the next two tracks, “Rockin’ in the U.S.A.” and “Larger Than Life”.  “Rockin’ in the U.S.A.” sounds like Gene writing his own “Ballad of John and Yoko”, but a hard rock version.  As for “Larger Than Life”, you can guess what body part Gene’s talking about.  “Larger Than Life” works because of the combination of Gene’s “monster plod” riff with Bob’s sweet guitar lightning.  Finally a cover of the Dave Clark Five hit “Any Way You Want It” closes Alive II, quick and catchy.  Kiss have a way of adapting their blocky rock style to covers and making it work.  Suddenly the Dave Clark Five sound like Kiss, rather than vice-versa.

Alive II arrived in stores on October 14 1977, exactly two weeks ahead of the much-hyped movie Kiss Meets the Phantom of the Park.  There are some who would consider this the end of the beginning.  But Kiss weren’t done releasing albums before the big solo projects came to fruition.  We know today that making Alive II was a financial move rather than an artistic one, but the reality is it was conceived as a product.  At least it was a quality product.  As usual, Kiss and Casablanca rewarded fans with goodies inside the original LP.  It had a gatefold cover, a booklet entitled “The Evolution of Kiss”, and temporary tattoos.  Good luck finding those intact.  Our recommended edition:  The four disc 2006 box set Alive! 1975-2000.  The set contains four volumes of Kiss Alive, deliciously remastered, with each album fit onto a single CD without losing any songs.  There’s even a bonus track:  the single edit of “Rock and Roll all Nite”, from the original Kiss Alive!  This 3:23 version is from the 7″ single, edited down from the 3:59 Alive! album version.  It was the first CD release of that version.

Today’s rating:

4.5/5 stars


Uncle Meat’s rating:

4/5 steaks 

Meat’s slice:  Alive II is an album that for me, gets kinda lost in the shuffle amidst the Kiss discography.  Not because it’s not a good live album, but more that it’s very much Alive-lite.  There are definite highlights on this record of course, but it doesn’t pack the consistent hit-parade punch as the first “live” record.  I also have never really understood why side four was all studio tracks.   Kiss did get a minor hit out of “Rocket Ride” though, a pretty good Ace tune here, and a sign of things to come with an Ace song on the charts.  The other studio tracks feature some good guitar work, but not memorable overall.  If Kiss has played any of these songs live at all I would be surprised, but I’m sure LeBrain will have some Turkish B-side thingy that will prove me wrong.  [I don’t. – LeBrain]

I was wond’ring aloud (purposeful and cheap Tull shout-out there) earlier about the whereabouts of a good “God of Thunder” cover in an earlier review, but perhaps that cover is right here.  Kiss plays it live here in double time and I like the feel of it.  “Shock Me” shines on this album.  So do a few other Kiss classics.  I just see a few unnecessary garnishes on this plate.

Favorite Tracks:  “Shock Me”, “Detroit Rock City”, “Shout it Out Loud”, “God of Thunder”, “I Stole Your Love”

 Forgettable Tracks:    Side four


 

To be continued…

Original mikeladano.com review:  2012/07/12

 

 

 

RE-REVIEW: KISS – Love Gun (1977)

The KISS RE-REVIEW SERIES Part 9:  

LOVE GUN DELUXE_0002kiss-logo – Love Gun (1977 Casablanca, 2014 Universal reissue)

By the late 1970s, Kiss had achieved more than most bands do in an entire career.  In 1977, Marvel comics released the first ever Kiss comic.  Famously, as a publicity stunt, each Kiss member had a vial of blood drawn, and poured into the red ink.  “Printed in real KISS blood”  proclaimed the front cover.  Can you imagine such a thing in 2017?  In 1978, the toy company Mego marketed the first set of Kiss action figures.  The phenomenon of Kiss was almost eclipsing the music.  Perhaps it would have completely, if Kiss didn’t continue to release excellent albums on a biannual basis.  Their first album of 1977 was the legendary Love Gun.  Even the Ken Kelly cover art depicts Kiss as demi-gods of some kind.  Inside, the merchandising spilled over to the album.  Kiss were determined to give their fans a little extra, and so the album was packed with little cardboard “love guns” that you could assemble yourself…accompanied by a Kiss merch mail-away form.

 

The music brightly outshone all the flash and trimmings.  Again with Eddie Kramer in the producer’s chair, Kiss sought to make a focused heavy rock record.  Their material had rarely been stronger.  Paul Stanley was becoming handy at writing opening tracks that defined what an album was going to sound like.  “I Stole Your Love” cranked it fast with one of Paul’s most thunderous riffs.  The tribal sounding drums by Peter Criss are an apt example of what made him great at the time.  Criss was not a technical drummer, but he had the right feel and a knack for the perfect fill.  Ace Frehley soars in and dive bombs with an unforgettable lightning solo.  Gene Simmons is there in the back, adding the thump.  “I Stole Your Love” in a mere three minutes encapsulates everything about Love Gun that makes it great.

Gene Simmons’ demon character had another side; that of the “creepy old man”.  “I don’t usually say things like this to girls your age, but when I saw you coming out of school that day, that day I knew…I knew!…I’ve got to have you, I’ve got to have you!”  Probably from the perspective of a highschool senior, but still, it came from Gene’s mouth.  The less said about the words the better, for “Christine Sixteen” is one of Gene’s most perfect musical moments.  Eddie Kramer provides the piano for a vintage rock and roll sound.  A Kiss classic it is, and Peter once again has the perfect fills for the song.

 

Moving on to “Got Love For Sale”, the lecherous Simmons now “has love, will travel”.  Uptempo sleeze is perfect for Kiss’ friendly demon, but Frehley is the real star here.  Speaking of whom, the Space Ace finally worked up the courage to sing his first lead vocal on his trademark Kiss song “Shock Me”.  On the prior tour, Ace nearly electrocuted himself on stage when he touched a railing that wasn’t grounded properly.  “Shock Me” is a humorous reference to this.  Any Frehley track has a unique flavour.  He attacks his Gibson and assembles chords and riffs in a style all his own.  “Shock Me” showed he could sing too, finally adding a fourth voice to a Kiss album.  For the first time, Love Gun has all four Kiss members singing lead.  The first side was bookended by another Paul Stanley track, the killer “Tomorrow and Tonight”.  Piano and Motown-style female backing vocals give the track a classic feel, and Paul once again came up with a sweet candy-coated chorus.  Echoing a previous hit, Paul sings “We can rock all day, we can roll all night.”

The most well known track from Love Gun is the title track itself.  It has been in the set regularly since 1977 and is generally considered one of Paul Stanley’s best songs (if not his very best).  All the ingredients click perfectly.  “Love Gun” kills and cannot be improved upon.  Even if, when you think about it, “Love Gun” is a metaphor for “penis”, and the lyrics amount to singing, “You pull the trigger of my…penis, penis, penis”.  Substitute “penis” every time Paul sings “Love Gun” and see.  Paul Stanley is an absolute genius, because he has gotten stadiums full of thousands of people to sing an ode to his cock, and that’s cool.


“See Ronnie? His dick is the gun!”

Peter Criss only had one track on Love Gun, a Stan Penridge co-write called “Hooligan”.  It was good enough to get some live performances, though it and Gene’s “Almost Human” occupy the lower rungs of the Love Gun album.  The best thing about both “Hooligan” and “Almost Human” is that both perfectly fit the personas that sing them.  Peter has always emphasized his tough street upbringing, but as the lovable cat character, and that’s “Hooligan”.  “Almost Human” is 100% the sex-crazed demon, almost a theme song.  The bass thumps, but there is some interesting percussion stuff happening too.  Simmons continues looking for love in “Plaster Caster”, his encounter with the legendary Cynthia Plaster Caster.   One can assume that Gene Simmons’ wang is among those on her display.  “A token of my love for her collection.”  “Plaster Caster” rocks hard (pun intended) and has balls (also intended).

Love Gun surprisingly closes on a Phil Spector classic, “And Then She Kissed Me” (gender reversed) by the Crystals.  Paul Stanley helms it, a romantic number perfect for Kiss content at weddings.  The Kiss-ified version is almost comically guitar heavy, but Kiss have managed a number of unusual covers over the years.  Adapting it to their sound, Paul owns “And Then She Kissed Me”, especially when topped by an awesome and appropriate solo.

The Love Gun tour that followed this album is one of Kiss’ most legendary: the dual staircases, levitating cat drums,  and of course the big Kiss logo in behind.  Kiss were huge.  A gallup poll put Kiss as the most popular band in America, over Zeppelin, Aerosmith and the Stones.  When bank accounts inflate, so do egos.  With success comes cost.  Though the Love Gun period is all but universally lauded, it was also the last unified album before some members became liabilities.

Today’s rating:

5/5 stars

See Ronnie?  His dick is the gun!


Uncle Meat’s rating:

3.5/5 steaks 

Meat’s slice:  This was Peter Criss’ last album with Kiss for a long time.  Love Gun is a hit and miss record in Meat’s opinion.  Or maybe better put…hit and somewhat miss.  I think there are simply too many forgettable songs on this album.    “Then She Kissed Me”, “Hooligan”, “Got Love For Sale”, “Tomorrow and Tonight” and “Almost Human” are all average at best.  That’s half the album right there.  There are also standout songs. Obviously the title track is a Rock and Roll classic now, the album’s opener “I Stole Your Love” is a hot tamale, and I have always loved the catchy “Christine Sixteen”, especially that chorus.

However, Love Gun is a very significant Kiss album simply because of one song.  I don’t know a Kiss fan that doesn’t love “Shock Me”.  The debut of Ace Frehley as a “singer-songwriter” so to speak, made many wish he would have sung a few more before things all fell apart.  Some of the songs coming up in the next few albums, including his solo album, are some of Kiss’ best material in my opinion. 

Maybe they just ran out of ideas.  Should have been half an album of Ace songs instead.

Favorite Tracks:  “Shock Me”, “Love Gun”,  “I Stole Your Love”, “Christine Sixteen”

Forgettable Tracks:  Look above


To be continued…

Original mikeladano.com review:  2012/07/011
Deluxe Edition review:  2014/11/09

RE-REVIEW: KISS – Rock and Roll Over (1976)

The KISS RE-REVIEW SERIES Part 8:  

scan_20170302kiss-logo Rock and Roll Over (1976 Casablanca, 1997 Mercury remastered edition)

Kiss were at a crossroads.  What to do next?  Destroyer, produced by maestro Bob Ezrin, introduced a new Kiss to the world:  glossy, indulgent, polished and augmented with plenty of highbrow non-rock instruments.  Would they explore that road and see where it lead?  If they had, an entire alternate KISStory would exist today.  Instead they chose to get back to basics.

Producer Eddie Kramer, who made Kiss Alive! so unforgettably thunderous, was called up again.  Kramer and Kiss departed for the Star Theater in Nanuet, New York to record.  The idea this time, as opposed to Destroyer, was to go for a live Kiss sound, but on a studio album.  The theater setting was intended to help capture that.  Peter Criss’ drums were recorded in a bathroom for the perfect ambience.  Rock and Roll Over followed Destroyer by a mere seven months, maintaining Kiss’ record of two albums per year.  As promised, it was a return to the core Kiss sound:  loud guitars and hard rock.  They had learned a trick or two from the Destroyer experience.  Rock and Roll Over was tighter and sharper than the first three Kiss albums.

The acoustic intro to Paul’s “I Want You” lulls you into a false sense of calm.  Then it completely explodes with one of Paul’s most passionate tunes.  In three minutes, Kiss laid waste once again.  A second Paul scorcher, “Take Me” was written with Kiss road manager and coach Sean Delaney.  The words are simple and c-c-c-catchy: “Go baby, you make me feel ah, ah, ah, ah yeah!  Oh, baby, you make me feel ah, ah, ah, ah yeah!”  Elsewhere, Paul asks “Put your hand in my pocket, grab on to my rocket,” just so there is no confusion.

Gene Simmons’ “Calling Dr. Love” (based off a demo called “Bad Bad Lovin”) was a single and a perennial concert classic.  You either like Gene or you don’t.  “Calling Dr. Love” won’t change any minds, but it will satisfy those who can’t enough of the sex-crazed demon.  It does boast a fiery Ace Frehley guitar solo, one of his most memorable.  Gene’s second track “Ladies Room” is just rock and roll, a lesser-known Kiss classic, but catchy as sin.  The LP’s first side was closed with a Peter Criss song, co-written with his Chelsea bandmate Stan Penridge.  “Baby Driver” is not listed among Kiss’ best tracks, but there isn’t much wrong with it.  It’s basic, it slams, and Peter screams his throat out.  Not a standout but worth a spin or two.

Gene’s “Love ‘Em and Leave ‘Em” is the lovely kind of sentiment that many Kiss songs were built on.  This ode to groupies and hotel sex was not the first and not the last, but it had a memorable bop and catchy chorus.  “Mr. Speed” (Stanley/Delaney) is a standout with the kind of rock and roll guitar riff that Paul specializes in.  This killer track could and perhaps should have been a timeless concert classic, probably ahead of other tracks.  (It was also used on the soundtrack to Keanu Reeves’ 1994 action movie Speed.)  Simmons’ “See You In Your Dreams” was less timeless and memorable, so later on Gene took a shot at re-recording it.  The Rock and Roll Over version makes for the kind of song that is good for filling the spaces between better songs.

Speaking of better songs, Paul’s “Hard Luck Woman” is undeniably one of his best.  The lush acoustic six and twelve string guitars ring pure and clean.  Paul wanted to give the song to Rod Stewart to sing, as it has a light “Maggie May” aura.  Wiser minds prevailed and the song was kept for Kiss, and given to Peter Criss to sing as a followup to “Beth”.  Peter of course nailed it and “Hard Luck Woman” reigns as one of the best tracks Peter was given to sing, if not the best.  It might not have been as big as “Beth” but that means little; it is the far superior song.

Closing the record, Paul Stanley’s “Makin’ Love” ends Rock and Roll Over on the same kind of fast and furious riffing that it began with.  “I Want You” and “Makin’ Love” are bookends, starting and finishing Rock and Roll Over with hard guitars and good times.  Sean Delaney co-wrote “Makin’ Love” and his contributions to KISStory have too often been swept under the carpet.  Delaney had three co-writes on Rock and Roll Over.  Peter Criss had one, and Ace Frehley didn’t have any at all.

Rock and Roll Over gave Kiss another platinum album to hang on the wall.  Their success, and their sound, had solidified.  There was nowhere to go but up.

Today’s rating:  4.5/5 stars


Uncle Meat’s rating:  5/5 steaks 

Meat’s slice:   This time let’s start with the negative, as small and nitpicky as that is in the case of this album.  I’m not a big fan of “See You in Your Dreams”.  Not awful, but just kinda bland in comparison to the rest.  “Baby Driver” could also be lumped in with that for the same reason. 

The other thing I could say about this album is that since Kiss were the “Kings of the Night Time World” at this point, this is where the lyrics started to get their most misogynistic or what have you.  Songs like “Ladies Room” and “Love ‘Em and Leave ‘Em” are tunes I really like, however I can see that these were the gateway drug to some of the ridiculous lyrics in Kiss songs in the 80s and 90s. 

I love everything else about this album.  Rock and Roll Over was my favorite Kiss studio album as a kid, and it’s just a shade under Dressed to Kill now on my Kiss albums list. This seems to make sense now, since both albums were created in similar fashion:  Kiss under the gun and needing to write and record an album fast.   Good Rock and Roll instincts there.

My favorite ever Kiss ballad is on this record too.  “Hard Luck Woman” is an extremely catchy song, and could be my favorite song on the album.  I recall that somewhere around 2002, I was very drunk in a bar and ended up singing “Hard Luck Woman” on karaoke, and probably had not heard the song in many many years.  I sang the first 2/3rds, however well a pissed me could muster.  The end of the song surprised me and I had no idea what to sing and left in the middle of the track.  Not long after a girl came up to me and said, “I have never heard anybody sing that Garth Brooks song on karaoke before”.  She seemed so taken aback at my insistence that “Hard Luck Woman” was a Kiss song.  Maybe it was because I started freaking out on this poor girl.  “Hard Luck Woman” indeed.


Reproduction of the karaoke performance

Favorite Tracks: “Hard Luck Woman”, “I Want You”, “Makin Love”, “Calling Dr. Love”, “Mr. Speed”

Forgettabe Tracks:  I’m done nitpicking on this one.


 

To be continued…

scan_20170302-4

Original mikeladano.com review:  2012/07/09

 

 

REVIEW: Dust – Hard Attack / Dust (1972/1971)

The KISS RE-REVIEW SERIES Supplemental:  Kerner and Wise.

DUST – Hard Attack (1972) / Dust (1971) (2013 Sony Legacy)

fans know the names of Richie Wise and Kenny Kerner.  This production team laid down the first two Kiss records, and although their production was not the best, they were the first.  But where did they come from?  A little trio called Dust.  Wise was the singer and guitar player.  Kerner was the manager, co-producer and co-writer.  They released two records as Dust, also featuring legendary Derringer bassist Kenny Aaronson and drummer Mark Bell.  These two albums, Hard Attack and Dust, were remastered and compiled as one CD by Sony in 2013 (presented in reverse order).

The cool thing is the Dust albums actually sound better than the Kiss albums.

Dust were a hard rockin’ band, distinguished by having loads of slide and pedal steel guitars (handled by Aaronson).  Dust were travelling the same roads as other bands such as Aerosmith, Cream, Free or Zeppelin, but with less of an identity.  The songs were good.  “Stone Woman” is slippery slick blues rock, while “Goin’ Easy” is a laid back southern acoustic blues.  And they could get heavy.  “Love Me Hard” is the kind of proto-metal that Budgie, Sabbath and Purple were doing on the other side of the Atlantic.

3.5/5 stars

This was a 200 word review in the tradition of the #200wordchallenge.

 

 

RE-REVIEW: KISS – Destroyer (1976)

The KISS RE-REVIEW SERIES Part 7:  

scan_20170301kiss-logoDestroyer (1976 Casablanca, 1997 Mercury remastered edition)

Kiss had “made it”.  Alive! put them where they wanted to be:  on the charts and headlining concert stages coast to coast.  The financial pressure was off and they didn’t have to simply crank out new albums to keep the band afloat.  They could now take their time and make something that was more thought out; a statement.

The first issue to deal with was Kiss’ past sonic inadequacy in the studio.  Prior albums produced by Kenny Kerner & Richie Wise, and Neil Bogart did not capture the full-on Kiss thunder.  They failed to shred the speakers.  They needed somebody “big time”, to give them the punch they desperately needed.  That somebody was Canadian producer extraordinaire Bob Ezrin.  Ezrin had been an instrumental guiding force for Alice Cooper.  Now it was Kiss’ turn to receive the platinum Ezrin magic touch.

Ezrin agreed to work with Kiss, reportedly influenced by a neighbor kid who liked to discuss music.  “The kids from school love Kiss,” the boy told Ezrin.  “The problem is, their records sound so shitty.  But the band is so good we buy the records anyway.”  Working with Kiss wasn’t much different from working with Cooper.  These were not schooled musicians.  Ezrin had to take them to boot camp.  Keeping the drums in time was a challenge.  Peter Criss had difficulty maintaining a steady tempo, so Ezrin would beat a briefcase to keep him in time.  He wore a conductor’s coat and tails, and pushed the rest of the band like a drill sergeant.  Even the mighty demon Gene Simmons was chastised, for finishing a take before the producer instructed him to stop.  And when Ace Frehley didn’t show up because he had a card game?  Shenanigans were not tolerated.  When Ace wasn’t available when he should have been, Ezrin’s buddy Dick Wagner (Alice Cooper) was there.  For the first time, a Kiss member was replaced on album by an outside uncredited musician.

kiss-and-ezrin-in-tails

One innovative technique that Ezrin brought in to thicken up Kiss’ sound was using a grand piano to back up the big guitars.  The end result doesn’t sound like piano and guitars, but one solid wall of rock, like Phil Spector channelled through Bob Ezrin.  Where Kiss used to rely on rag-tag recordings they now had a big glossy sound to play with.  Ezrin was also fond of sound effects and orchestration, and he brought both to Kiss.

The opening track “Detroit Rock City” was a slam-dunk intro to the new Kiss sound.  After an extended start with the sound of a fan driving to a Kiss concert, the band thundered into focus.  That trademark riff chainsaws through, before Paul Stanley’s powerful pipes take command.  What a song.  The new Kiss had arrived, shiny and sleek, souped up and fueled, as if they were a brand new band.

detroit_rock_city“Detroit” faded out into “King of the Night Time World”, an outside song brought in for completion by Ezrin and Paul Stanley.  They turned it into something that worked for a Kiss album, albeit very different from their past.  As for Paul, he contributed a fast hard rocker called “God of Thunder”.  Though reports sometime differ in the details, ultimately the song fit Gene Simmons’ demon persona better and the song was given to him to sing.  It was slowed to a monster plod, and a few lines were changed to suit.  (“Make love ’til we bleed” was changed to “Hear my words and take heed”.)  And those little demonic voices?  Bob Ezrin’s kids, playing with walkie-talkies.

“Great Expectations” (based on Beethoven) has to be the most bizarre song on the album and one of the weirdest that Kiss have attempted.  A lush ballad with strings and choirs and Gene Simmons in crooner mode, it is definitely different.  Even one of the rockers, “Flaming Youth” written by Frehley/Stanley/Simmons/Ezrin, is different for Kiss.  It’s a rock song…with calliope.  (Picture circus music.)  Gene’s “Sweet Pain” had female backing vocals like an old Motown single.  These are all interesting experiments, but none of those three songs have become live concert classics.

Bob Ezrin tricked the band into writing “Shout it Out Loud”.  He realized they needed one more song, so he told the band that they had lost the masters to “Great Expectations” and needed a replacement.  Gene and Paul hurriedly wrote “Shout it Out Loud” with the producer and had another instant classic.  Like “Rock and Roll all Nite” before it, “Shout” was an anthemic rallying cry that a concert audience could get behind.

The album closer was a track called “Do You Love Me”, another tune brought in by outsiders (Kim Fowley) to be finished by Kiss.  Though on the surface “Do You Love Me” is a bit repetitive and dull, it was later covered by Nirvana.  There must be something to it that struck a chord.

There was still one more song on the album, a throwaway.  It was used as a B-side to “Detroit Rock City”, as the band didn’t have much faith in it.  Peter Criss had brought forward a love song called “Beck”, named for a girl named Becky, written by Stan Penridge for their old band Chelsea.  The song needed work, including a new title.  Ezrin revamped it completely, and the result was one of Kiss’ all time biggest hits:  “Beth”.  Tender and accessible, the only Kiss member on “Beth” was Peter Criss himself.  Dick Wagner played acoustic and Bob Ezrin played piano.  The orchestra finished it off.  Eventually, radio stations started flipping the “Detroit” single and playing “Beth”.  This led to Casablanca reissuing “Beth” as a single A-side, Kiss’ highest charting ever.


With the help of “Beth”, Destroyer maintained Kiss’ stardom and opened up the doors for any future musical experiments they could fathom.  Its cover showed Kiss in an apocalyptic landscape, in full super hero mode for the first time.  Artist Ken Kelly created something that helped define Kiss as larger than life…and larger than life they did become.

That wasn’t the end of the story for Destroyer.  For years it became the benchmark that Kiss albums were measured against.  In 2012, Bob Ezrin revisited the backing tapes and produced an alternate mix called Destroyer: Resurrected.  This featured some previously unheard music such as an alternate Ace Frehley guitar solo for “Sweet Pain” (Dick Wagner played the original solo).

Destroyer is far from the definitive Kiss album.  In fact, it is more like a one-off, an experiment that was never fully revisited.  Some of its songs are less than classic.  Others are so classic that you can’t imagine the world without them.  The bottom line for Kiss was that Destroyer propelled them further towards their goal of becoming the hottest band in the world.

Today’s rating:

3.5/5 stars


Uncle Meat’s rating:

4/5 steaks 

Meat’s Slice:  The general consensus of casual Kiss fans is that this is their greatest studio album.  Let’s examine this.  I’ll start with the iconic.

“SHOUT  IT OUT LOUD” – On May 22, 1976, this song went number one in Canada, the band’s first ever number one song.  40 years later and “Shout it Out Loud” might be the Kiss song with the longest shelf life.  One of two perfect “live concert” songs on Destroyer.  The other?

“DETROIT ROCK CITY” –  Thin Lizzy-esque two-guitar rock fest.   Sitting on the same shelf as “Shout it Out Loud”.  Iconic indeed.   Unperishable.   Even has a movie named after it. I have never seen  it.   Maybe it’s finally time to do so.

“BETH” – If any other member sang “Beth” it wouldn’t have been the same song, or had the same success.  Peter Criss has a special rasp in his voice that can both rock and schmaltz it up.  Like Rod Stewart, or that goof that sings for Slaughter.   I personally wish “Beth” would “fly to the angels” up in the sky, but this song did do one good thing for me.  My grandmother refused to get me anything Kiss related until I pointed out to her that “Beth”, on the radio in the car at the time, was actually Kiss.  So thanks for that at least.

“DO YOU LOVE ME” –  Perhaps this song is more iconic in my own mind specifically, since it is in my Top Five Kiss songs.  Classic Paul Stanley stuff here.

“GOD OF THUNDER” – Unique in every way for the time.  A lot of Ezrin tricks in this track including backwards drumming.  I still have not heard the great cover of this song I always thought I would from some Metal band.  There’s still time….

No wonder the casual Kiss fan believes this is the best of all of the Kiss studio albums.  It is a great collection of songs that are still loved today.  But everything else on Destroyer not listed above is average at best,  or much worse than that.  Maybe it’s because Kiss was too busy getting music lessons from Bob Ezrin while in the studio.  Maybe it’s simply that Kiss was tired of being looked at as a “joke” and wanted to get more serious, hence getting some more respect from the mainstream press.  Now again, this is my opinion and I’m sure that some might vehemently disagree with me about some of the deeper Destroyer tracks.  The best of which I think is “Flaming Youth”.   “King of the Night Time World” is pretty good, but borrowed from another song.  “Great Expectations” is blah stuff except for the melody stolen from Beethoven.  “Sweet Pain” sucks.  And “Rock and Roll Party” is just unnecessary filler, very much like “Inside”, the ending track on 5150.  Might as well take the needle off the record as soon as the song starts and put on something else immediately.

Let’s use this analogy

A couple raises 10 children.   Three of their children become world leaders.  Two others become successful doctors.  But half of their kids are in jail, some for unspeakable crimes against humanity.  Can you call them the best family overall because half of them are special?   Destroyer is definitely not the greatest Kiss album. 

Agreed?  Discuss….


 

To be continued…

Original mikeladano.com review:  2012/07/06

#552: Alive!

GETTING MORE TALE #552: Alive!

In the spring of 1996, we opened up the big store that I managed. It was our biggest store to date. There were a lot of good times at that location, and hundreds of incredible musical finds. Around the same time, I began replacing my cassette collection with CDs in earnest. Cassettes don’t have the longevity or the sound quality of a CD. Most of my tapes were starting to sound awful, especially the ones purchased from Columbia House, who manufactured their own at a lesser cost.

Upgrading my Kiss cassette collection to CD was an early priority. Some of the first Kiss tapes I bought, like Asylum, had degraded so much they were unlistenable. The early (Canadian) CD releases had issues too; they were not perfect. Both Hotter Than Hell and Alive II (disc one) had severe problems with digital noise in specific spots. On Alive II it was “Love Gun” that was the issue. There was a terrible scratchy sound encoded onto the CD.

The differences between my boss and myself were obvious the day that Kiss Alive! came in stock, used.  It came in one of those old “fat” CD cases.  It was the first chance I had to buy the first Alive! at an affordable used price, in such great condition. The boss and I had very different personalities, almost opposites. I was a music obsessive who collected things and wanted to know all the obscure facts. He liked music but just wanted to sell CDs. I grabbed that copy of Alive! and handed it to the boss to ring in with my staff discount.

 

He sighed and gave me a look. “Don’t you already have this?”

He sounded like my dad. When I’d come home, he’d say, “More Kiss? Don’t you already have Kiss?” My boss had a lot in common with my dad.

I had the tape, but the cassette had the songs in a different order.  This was a fairly common practice.  Song order would be swapped around on cassettes, to keep sides one and two about equal in length. That reduces the amount of actual tape used to manufacture it, and therefore cuts costs. It would be cool to have a CD copy of Alive! to listen to the songs in the original order.

“I have it on cassette and LP,” I explained.  “I listen to the tape, but this CD is different.  The songs are in a different order,” I finished.

He looked at me again and responded in a mocking tone, “Hey Mike, look at my shoes. The left one is different from the right one. Do you want to buy it?”

“No because I don’t collect shoes,” I answered. “I collect Kiss.”

He shrugged with frustration. I really think he was more just pissed off that I had taken some good stock for myself.

Oh well.

Staff taking “good stock” was an ongoing issue, but because getting stock at a discount was one of the established perks of working at a used CD store, there wasn’t much that could be done. I’ll give him credit; the boss considered the staff discount to be part and parcel of the job for all of us.  He eventually put a limit on how much we could buy at a time. Meanwhile, my dad would look at my collection and say “sell, sell, sell!”

He ended up getting that copy of Kiss Alive! back, when I upgraded to the 1997 remastered edition. And then he ended up getting that 1997 remastered edition back when I upgraded to the Kiss Alive! 1975-2000 box set.

He might not have understood my wants and desires as a collector, and he may have complained about me taking all the good stock, but he ended up making money when I sold back my equally good stock. No harm, no foul. Hopefully, I have bought Kiss Alive! for the final time.