kiss

REVIEW: Gene Simmons – The Vault – Disk 2 (2018)

Previous Reading: 

Record Store Tales #600:  The Vault
Disk 1 Review

 

 

 

 

 

Another disc, another 15 songs!

GENE SIMMONS – The Vault – Disk 2 (2018 Rhino)

One of the fastest and heaviest songs from Gene’s solo album Asshole was “Weapons of Mass Destruction”.  It was originally written for Psycho-Circus, but deemed insufficient.  The demo version just called “Weapons” features Gene calling out what instruments go where, and a much rougher recording.  The final album version was not a remarkable song and neither is this demo.  The song was pretty much in place at this stage.  2.5/5

“Weapons (Power to Raise the Dead)” is another demo version, this one with Ace Frehley on lead vocals.  Gene hoped for him to sing it on the Kiss album, and let Ace write new lyrics.  It also features Bruce Kulick and Eric Singer.  It sounds like Gene wrote the entire song around a bass lick.  This is why it’s better than Gene’s original idea:  Ace’s presence also brings much needed variety to this box set after 16 songs with Gene singing lead.  Ace was in good voice back then, and it would have been awesome to hear a final version.  Psycho-Circus could have and should have been a longer album to accommodate more band contributions.  3.5/5

“Hate” made it onto Carnival of Souls.  Gene openly admits he was inspired by Seattle and that angry style of music.  Written with Bruce Kulick and Scott Van Zen, “Hate” would be improved upon immensely when it was recorded for good.  What’s missing is Bruce’s wah-wah drenched lead guitar acrobatics and drones that normally run through the track.  Otherwise, this is the same arrangement, complete with lyrics and only minor differences.  There’s a neat tape edit trick at the end; see if you can spot it.  4/5

“Hate” goes immediately without break into “Carnival of Souls #2”.  This a four-track demo of the same song included on disc one.  This is performed with Scott Van Zen, and the lyrics are not fully written yet.  As stated earlier, this was never one of Gene’s better songs.  It does feature some cool guitar stuff in the middle breakdown, but otherwise this is a forgettable demo of a song that was never really up to snuff.  2/5

“Master of Flesh” is an interesting song because it’s a cover of a New York band called Street Punk.  Gene bought the publishing rights for cash from writer Jon Montgomery.  Regardless of the name “Street Punk”, that’s not what this is.  An acoustic ballad with spoken word verses, Gene compares it to David Bowie and Lou Reed.  There’s also a bit of John Lennon in the falsetto of the chorus.  Gene recorded the undated demo on a Tascam and plays the lead guitar solo himself.  Really not bad and had potential.  It wasn’t where Kiss was headed over their next few albums, but could have perhaps fit in somewhere.  3.5/5

“Heavy Rain” is a demo with Bruce Kulick of a recurring song called “Rain Keeps Fallin'”, previously released on a Gene Simmons Family Jewels Season One bonus CD.  This heavy-as-hell riff really pops.  Very much akin to Carnival of Souls kind of heavy, with rolling bass, this is the kind of material that is worth coming back to.  There’s some tape dropout issues but that is not unexpected on a collection of demos, often originally recorded on cassettes.  Eric Singer can easily be identified on drums by style and sound.  3.5/5

“Within” from Psycho-Circus was one of Gene’s more ambitious stompers.  Featuring backwards guitars and Lennon-inspired lyrics, there was some psychedelia involved.  Taking that further, the overall song was inspired by Doctor Strange from Marvel comics.  Gene envisioned Strange facing off against a character like Nightmare, and somehow, that led to “Within” featuring Bruce and Eric once again.  The backwards guitar on this demo was used in the final album version later on.  This lengthy demo is far more dramatic and heavy, and really allows certain riffs and bass parts to come out more.  If only the lyrics were complete!  If this were properly recorded, it could surpass the overproduced album version.  4/5

The first version of “In Your Face” included on this box set is a Gene demo before bringing it into Kiss for Ace Frehley to sing.  You may recall this track was a B-side or bonus track for Psycho-Circus, with Frehley singing.  The early version is a bit different with a lot of different lyrics.  It sort of hangs together but is a fairly loose idea that sounds thrown against the wall.  2.5/5

“In Your Face with Ace” is much closer to album version, partly re-written by Ace and much better recorded.  It’s barely different from the final version, except the lead guitar may sound more naturally Ace.  Another Frehley vocal is also very welcome.  This is a fantastic demo that again shows that Psycho-Circus could have rocked a lot more like Kiss.  The producer may have been an issue.  5/5

“Rain #2” is the second (but not last) version of “Rain Keeps Fallin'” that we will hear on this disc.  This version features Simmons proteges Silent Rage on instruments, with a drum machine.  It’s a bit different from the first version we heard called “Heavy Rain” and doesn’t seem to punch as hard.  Only now do a realize there is a line about “keep sippin’ my Diet Coke.”  Why not?  Dare I say why not?  3/5

It’s almost a cheat to call “Carnival Intro” a full track among the 15 here.  This 32 second track is the intro that was later used on Psycho-Circus, though it was originally intended for “Carnival of Souls”.  A cool little intro, but more like a bonus.  Historically valuable for the eventual use by Kiss.  2/5 

It was only a matter of time before Vinnie Vincent (née Cusano) appeared in this set.  Kiss began writing with the future Ankh Warrior in 1982 for what became Creatures of the Night.   Gene says “I Wanna Live” is among the songs they wrote, and has never been recorded or heard before.  It has a cool synth part that goes through the song and sounds like an idea with potential.  This demo sounds pretty decent and the chorus is good enough for rock and roll.  Catchy hard rock with a tough vibe.  4/5

“If It’s Too Hot, You’re Too Cold” later became “Hot and Cold” on Sonic Boom.  This demo with Silent Rage is based on an old song called “Rotten to the Core” from 1977.  Gene says it’s also related to “Eat Your Heart Out”, but the liner notes are a little confused here.  Either way, this is pretty good stuff and does have a 70s Kiss vibe, which is why it worked swimmingly on the Sonic Boom album.  4/5

Finally, “Rain Keeps Fallin'” appears in its third version!  This is still not the same one as the Family Jewels set, which is 3:53 in length.  This version sounds the most 80s, of the songs, circa Crazy Nights if Gene’s smooth vocal delivery is to go by.  It is very hard rock, with focus on the chorus.  You can really hear the evolution of a song by listening to this disc.  An interesting trip.  4/5

“Bells of Freedom” closes this disc, with a Who-inspired song.  Tommy Thayer is on guitar, but from a time before he was in Kiss.  You can hear the Pete Townsend influence in those big chords.  It’s a pretty good song idea and and it sounds like it could really have become something.  There is a great solo included.  It is hard to judge demos like this because often the concept is to get the idea down quickly.  We’ll err on the high side, because there are some serious possibilities with these hooks!  This could have been an 80s rock anthem!  4/5

Averaging out the score for the 15 songs, disc two rates:  3.16/5 stars

Disk 2 Track length and songwriters (from Wikipedia)

1. Weapons (4:16) Simmons
2. Weapons (Power to Raise the Dead) (4:13) Simmons / Frehley
3. Hate (Demo) (4:02) Simmons / Van Zen / Kulick
4. Carnival of Souls #2 (Demo) (3:15) Simmons / Van Zen
5. Master Of Flash (Street Punk) [1980?] (3:38) Montgomery
6. Heavy Rain (3:22) Simmons / Kulick
7. Within (Demo) (5:58) Simmons
8. In Your Face (Gene Demo) (1:51) Simmons
9. In Your Face (Ace Re-write Demo) (3:20) Simmons / Frehley
10. Rain #2 (3:35) Simmons
11. Carnival Intro (0:32) Simmons
12. I Wanna Live (Demo) (4:33) Simmons / Cusano
13. If It’s Too Hot, You’re Too Cold (3:42) Simmons
14. Rain Keeps Fallin’ (3:22) Simmons
15. Bells of Freedom (4:37) Simmons

REVIEW: Gene Simmons – The Vault – Disk 1 (2018)

Previous Reading:  Record Store Tales #600:  The Vault

 

I knew — I knew!! — that if I held out long enough, there was a chance this could happen.  When a bare-bones versions of the Gene Simmons Vault finally went on sale for a reasonable price, I had to have it.  All 11 CDs, plus the coin and the statue, for $100 was too great a deal to pass up.  All you don’t get is the actual vault and gift from Gene.  In this 12 part series, we will take a good look at my new Vault.

This box set was first announced about two decades ago, originally titled Gene Simmons 100.  Then it was going to be called Monster, though that title was re-used on something else instead (Gene blames Paul for “borrowing” that name).  As implied from 100 title, it was supposed to be a set of 100 unreleased songs from Gene vaults.  Kiss demos, solo demos, pre-Kiss music, everything.  Obviously things grew and grew, and so did the price tag!  In the end, there were 165 songs and a much more reasonable valuation.  This will only become more collectible.

In the liner notes, Gene says he tried to split up the songs by “mood”.  Please enjoy this series as we go through each and every song, disc by disc, in this massive collection.

GENE SIMMONS – The Vault – Disk 1 (2018 Rhino)

Rather than start with his earliest material, Simmons chose to sequence this box set starting with a 2011 recording called “Are You Ready”.  It is, for all intents and purposes, a Kiss song without Paul Stanley.  It features Tommy Thayer and Eric Singer on guitar and drums (and backing vocals).  This song was written after Kiss had essentially given up on recording albums, though one lyric was used previously on Monster:  “Give me [a] kiss,  bite your lips”.  This is a Kiss rocker, pure and simple, and had they ever recorded it, it could have been one of their best latter day songs.  The chorus is right out of 1977, and the boys do a great job on it for a demo.  A simple riff, and a fist-pumping beat, and you’re hooked.  Great song.  5/5

“I Turn To Stone” is a hotel demo by Gene and Tommy Thayer.  The title was inspired by the Biblical “pillar of salt” story, but there’s nothing holy about these lyrics.  It’s all about Gene’s inability to resist the fairer sex.  It’s a pretty good song that sounds very early 80s, somewhere around the Killers-Creatures era.  Gene talk-sings some of the lyrics but the song is otherwise pretty melodic.  There are some of “ah-ah-ah” bits in the outro that sound very Hot In the Shade.  Pretty cool, and doubtless would have been polished up for an album.  Great potential.  3.5/5

“Juliet” starts immediately with a riff like “Custard Pie”.  Co-written by Ken Tamplin for the Revenge album, it did not make the cut.  It’s a little herky-jerky sounding, and the clunky primitive drum machine used doesn’t translate it well.  Again, there’s a lyric here that was used later on “Russian Roulette” from Sonic Boom.  This song was probably rejected for being too close to Led Zeppelin.  2.5/5 

“Hey You” is the second Tamplin co-write.  It has a really cool dark vibe, but doesn’t hold together as a song.  It’s more just some components stuck together that don’t necessarily fit.  One guitar bit sounds like it made it onto Revenge in another song.  It’s upbeat, and sounds like something that was hoped to would be a fist pumper in concert.  Close but no cigar.  2/5 

The Carnival of Souls album contained a lot of stuff that was written for Revenge.  “I Confess” is one such song.  It’s one of Gene’s more serious lyrics, regarding religion and hypocrisy.  If you confess to the priest, who does the priest confess to?  This demo is not very different from the final version; just as dark and with the same vocal delivery.  The main differences are in the guitar parts, which Bruce Kulick later put his own stamp on.  4/5

Continuing on with things that ended up on Carnival, “Legends Never Die” was inspired by events that also inspired “Childhood’s End” later on.  Co-written by Micki Free and Adam Mitchell in 1982, this power ballad could have been on an album had Paul Stanley not been the ballad guy in Kiss.  When Gene went on to produce Wendy O. Williams, she recorded this song almost identically to the demo.  Her vocals are more extreme, going from soft to growl, but a Kiss version sung by Gene certainly would have been interesting.  This is as close as we get.  Gene considers it a very personal song.  4/5 

“Something Wicked This Way Comes” is a familiar song title that we have heard about for years.  Gene says he recorded several versions including some with Bruce Kulick on guitar.  It sounds very much like Carnival of Souls material, but not up to standards.  The outro guitar stuff is great.  There is potential to some of the individual parts, but as a whole there’s not much of a song here.   The title was inspired by Ray Bradbury, but is otherwise unrelated.  1/5

“Hand of Fate” with Tommy Thayer and Eric Singer was considered for Sonic Boom.  It’s a song Gene likes, and is a prime example of the “monster plod” groove that he is known for.  There are some nice layers of backing vocals on the bridge (all overdubbed by Gene), but the song would have been one of the weakest on Sonic Boom.  We already have a lot of Gene songs with this kind of groove and theme.  Next!  2/5

“Hunger” is a sex song, written in the late 80s and recorded on New Year’s Eve with Bruce Kulick and Eric Carr.  It’s nice to hear Carr; he has such an identifiable song.  This is an unremarkable song.  It’s a simple riff without a lot of melody to back it.  It sounds like a Whitesnake outtake more than Kiss, but Gene wasn’t beyond being “inspired” by other bands who were having hits.  2/5  

Gene prefers this demo of “In My Head” from Carnival of Souls.  His idea was to do “Beatles-y” things like recording backwards cymbals, but layering them over a heavy thumping groove.  The song idea is inspired by people to hear voices in their heads, and the result is a very chilling song and lyric.  It’s angry, heavy and slightly psychedelic.  The main differences are that Bruce hadn’t added all his layers of genius to the guitars yet.  4/5

Speaking of Carnival, one of the songs that didn’t make that album was “Carnival of Souls”.  It later came out on Gene solo album called (ahem) Asshole.  It was never a good enough song.  Demo #1 is pretty intact.  The issue is mostly the chorus, which just isn’t very good, nor fitting for the fast, almost thrashy verses.  Written with Scott Van Zen, Gene says he was going to a psychedelic vibe similar to the band Love.  A miss.  2/5

“Are You A Boy, or Are You A Girl” is a phrase Gene heard a lot growing up in New York, growing his hair long.  People would stop him on the street and ask that question.  “Are you a long haired creature from another world?”  This song has Eric Carr and Tommy Thayer, which would date it back to the Hot in the Shade era.  There are some musical ideas that later turned up in a Kiss song called “Hot and Cold”.  What is most interesting about this song is that Gene takes a brief bass solo at 1:25 into the song.  Gene’s an underrated bass player; just listen to those walking basslines on the first three albums.  Too bad Kiss never did anything like that on an album.  3/5

“Say You Don’t Want It” dates back to 1979, with a problematic song Gene had called “Mongoloid Man”.  This a is a re-write from 2001 with Tommy Thayer and without the troublesome lyrics.  Some of these words would resurface on “Spit” from the Revenge album.  “Spit” is a far better song.  Just not good enough, and monotonous to boot.  2/5

If that wasn’t enough, the original version of “Mongoloid Man” with Joe Perry on guitar follows.  Musically, this demo actually sounds better.  It has a cool vintage vibe not unlike Gene’s first solo album (which Joe also played on).   It was never going to be an amazing song, but this vintage version is definitely marginally better, despite the lyrics.  Perry smokes!  2.5/5 

Written by Darren Leader of Steel Panther with Gene, “I Wait” ends this disc on a powerful note.  You could call it a ballad, in sort of a late 90s altera-rock way.  It’s actually a great song and though not suitable for Kiss, would have made an excellent solo track.  It definitely sounds a lot more like a 90s alternative band than a classic rock band, but a good song is a good song.  “I Wait” is a good song with potential to be great.  Re-record this one, Gene, and release it as a single.  4/5

When we tally up the 15 individual song scores, this is how Disk 1 averages out:  2.63/5 stars.

We’ll be keeping track of these scores so we can get an accurate average for the box set.  This score is not surprising.  Gene is known for a quantity-over-quality style of creation.  At least his batting average here is over 50 (barely).

 

 

Disk 1 track length and songwriters (from Wikipedia)

1. Are You Ready [2011] (3:13) Simmons
2. I Turn to Stone (3:58) Simmons
3. Juliet (2:52) Simmons / Tamplin
4. Hey You (3:44) Simmons / Tamplin
5. I Confess (3:40) Simmons / Tamplin
6. Legends Never Die [1982] (4:24) Simmons / Mitchell / Free
7. Something Wicked This Way Comes [1988] (3:44) Simmons
8. Hand of Fate (3:15) Simmons
9. Hunger (4:14) Simmons
10. In My Head [1994] (3:30) Simmons / Van Zen / St. James
11. Carnival of Souls #1 [1994] (3:44) Simmons / Van Zen
12. Are You a Boy, or Are You a Girl (2:49) Simmons
13. Say You Don’t Want It (3:29) Simmons
14. Mongoloid Man [1976] (4:06) Simmons (with Joe Perry of Aerosmith)
15. I Wait (4:04) Leader / Simmons)

#1111: Every Copy I Have Ever Seen of This CD Was Flawed – KISS: “Forever” CD single – with audio sample

RECORD STORE TALES #1111: Every Copy I Have Ever Seen of This CD Was Flawed
KISS: “Forever” CD single

Some stories, people just don’t believe!  In my years at the Record Store, I encountered a number of anomalies.   A Four Horsemen CD with Dwight Yoakam music on it?  I witnessed it with my own eyes and ears.  This actually isn’t an uncommon phenomenon.  Mis-printed CDs happened occasionally.  The wrong artwork would be printed on a CD, and it would get sent out in the wrong packaging and sold to an unsuspecting customer.

Far more common are CDs with audio flaws.  Sometimes it’s noise, sometimes the audio drops out.  Even the glorious Judas Priest 50 Heavy Metal Years of Music box set sadly has audio flaws, on a very very expensive item.  Frustratingly, it’s on one of the songs exclusive to the set.  There is a jump the in audio during “Diamonds & Rust” on the 2nd CD of Beyond Live & Rare.  Priest have never corrected this or sent out new discs to people who bought it.

However, there is one more common flaw in a CD single that nobody seems to know about.  Whaddaya mean, every single copy of Kiss’ smash hit “Forever” single has a skip?

I worked 12 years at that used Record Store.  In 12 years, I played every single copy of the “Forever” single to check, including the one I own.  It happens, unfortunately, on the only non-album song:  the remix of the title track!

It happens at roughly 1:40 of the song, right before the solo.  The lyric should be “Until my life is through, girl I’ll be loving you forever…yeah!”  In the CD single version, it goes “Until my…rrrr, yeah!”  The remix clocks in as 3:48 on the single.  In the Kiss box set, it is 3:50.  Two seconds are missing.

It’s not a scratch on the CD (or every other copy of the CD).  There is absolutely no visible flaw.  The music was simply printed incorrectly.  Perhaps the master copy had a skip?  Who knows.  It’s there.  Hear it for yourself below!  Here is the evidence.

 

 

VIDEO: The Kiss Trivia Kollection – KISS – For The Konsummate Kiss Konnoisseur – The Might and Magic of Kiss

NOTE:  Thanks to viewer LEN LABELLE, we now know this insert came in a magazine called The Might and Magic of KISS!

Here’s a late Christmas gift that got lost under a couch!  What is it?  I dunno, but it’s called The Kiss Trivia Kollection – KISS – For The Konsummate Kiss Konnoisseur and it dates back to the Crazy Nights era of Kiss.

This trivia book has black and white photos by Mark Weiss, from several eras of Kiss. There are Q&As with all four members, memorable quotes, key dates in Kisstory, and of course, trivia. There isn’t much information about where this book originated, but we take a quick look at it in the video below.

THREE-VIEW: Eric Carr – Rockology (2000/2023 RSD reissue)

ERIC CARR – Rockology (2000 EMI/2023 Culture Factory RSD CD release)

This release provoked a bit of controversy early in 2023.  Vinyl fans and collectors were pleased that Eric Carr’s collection of unfinished tracks, Rockology, was being reissued on LP.  They were doubly elated by the retro-1970s cover art that fit in with the original 1978 Kiss solo albums.  It even came with a poster to match the original four solo albums, and the CD was printed on a disc replicating a vinyl look.  The packaging, with obi-strip and brilliant black and orange coloration, looks sharp.  They even threw on five extra bonus tracks that weren’t on the 2000 release or 2011’s Unfinished Business.

Unfortunately, much like 2011’s Unfinished Business, the bonus tracks are hardly-listenable throwaways and castoffs that were never meant for public consumption.  What’s more, like all RSD releases, the LP and CD copies were so poorly distributed that fans were soon paying ridiculous amounts of cash on the second-hand market.  Music should be accessible and affordable to everyone, but this reissue was hardly worth it for what amounts to fancy packaging and five ragged unreleased tracks.

We’ll start this review by discussing the five bonus tracks.

Part One – the five bonus tracks

First up is a “long demo” of “Tiara”, a ballad from the original Rockology.  The original track was 4:28 and this “long” version is 23 seconds longer, but it is a completely different demo version.  It is much rougher and laden with occasional noise.  The lyrics are incomplete, as Eric improvises “do-do-do” vocals over  the instrumental opening.  Bruce Kulick provides overdubbed lead guitars, but sadly it sounds like a poor quality cassette.  This is the kind of thing we got too much of on the Unfinished Business CD.

Another “alternate demo” is next, of “Can You Feel It”, a song that Eric hoped Bryan Adams would cover.  Like “Tiara”, this demo is earlier and much rougher.  Similarly incomplete lyrics over a drum machine.  The liner notes claim it’s Eric Carr playing drums, but it’s obviously a drum machine.  Shoddy liner notes.

An “accapella” version of “Eyes of Love” is just a rough multitrack vocal take with no backing music.  It’s not the exact same vocal take used on the other demo version.  It is of limited enjoyment.  It doesn’t sound like there’s a pop guard on the microphone, therefore, lots of noise.

Finally, something we’ve really never heard before:  A 1967 version of the Beatles’ “Ob-La-Di, Ob-La-Da”.  This is a very rough sounding tape with lots of noise, but due to its age, we’ll allow.  It’s a fairly faithful take of the Beatles classic, with Eric on lead vocals and drums.  It features his band The Cellarmen and is the earliest Eric Carr recording yet to be released.  A difficult listen, but at least something of value.  You’d think they could have used AI noise reduction to get rid of that crackling sound.

The last of the five bonus tracks is a 1974 original called “Stranger” by his band Creation.  Eric is on drums alone this time, with bandmates John Henderson and Sarita Squires (also the songwriters) singing lead.  It is a decent soul-rock song and one of the better sounding recordings.  Though the drums are not the main feature of the song, and buried back in the mix, you can hear Eric’s personality shine through his fills.

Part Two – the original album (review posted 2018/06/19)

The late Kiss drummer Eric Carr was frustrated towards the end.  He was writing good material, but it was always being rejected by Paul and Gene.  In the press, Eric would tow the company line and explain that everybody else had such good songs, that there was no room for his.  In his heart, he was hurt and felt shunned.

Eric Carr wasn’t just a drummer.  He could sing lead, and he could write.  Kiss’ single “All Hell’s Breaking Loose” was an Eric idea.  He co-wrote “Don’t Leave Me Lonely” with Bryan Adams.  Although his writing credits on Kiss albums were sparse, he had plenty of material in the can.  2000’s Rockology is a series of those demos, some in a near-finished state and some left incomplete.  Much of this material was intended for a cartoon Eric was working on called The Rockheads.  10 years later, Bruce Kulick finished recording some guitar parts and mixed it for release.  He also wrote liner notes explaining the origins and Eric’s intentions for each track.

Eric didn’t have a particularly commercial voice, falling somewhere south of a Gene Simmons growl.  There’s no reason why Gene couldn’t have sung “Eyes of Love” from 1989, which has more balls than a lot of Hot in the Shade.  This demo has Eric on drums and bass, and Bruce Kulick on guitar with a solo overdubbed in 1999.  It doesn’t sound like a finished Kiss song, but it could have been tightened up to become one.  Same with the ballad “Everybody’s Waiting”.  It sounds custom written for Paul Stanley.  But it was 1989, and nothing was going to displace “Forever” from the album, nor should it have.

Many of the demos have no words.  “Heavy Metal Baby” features Eric scatting out a loose melody.  This heavy and chunky riff would have been perfect for the later Revenge album, had Eric lived.  In a strange twist, several of the best songs are instrumentals.  The hidden gem on this CD is the unfinished “Just Can’t Wait”.  It could have given Journey and Bon Jovi a run for their money.   Eric, Bruce and Adam Mitchell wrote it for Crazy Nights, and you can almost hear a killer chorus just waiting to leap out at you.  This potential hit could have been the best song on Crazy Nights, had it been finished.

“Mad Dog” has nothing to do with the Anvil song of the same name.  The chorus is there but the verses are a work in progress.  This hard rocker from 1987 was probably too heavy for what Kiss were doing, though it would have added some much needed groove.  “You Make Me Crazy” is in a similar state of completion and boasts a tap-tastic solo by Bruce.  Apparently this demo was originally called “Van Halen” and you can hear why.  Two versions of a song called “Nightmare” exist, including a really rough one without drums.  This incomplete song could have really been something special.  It has a dramatic feel and different moods, and was probably too sophisticated for Kiss, though any number of 80s rock bands would have been lucky to have such good material.

The last batch of tracks show off the Rockheads material.  Whether Eric’s cartoon idea ever would have happened or not, the advent of bobble-heads and Pops would have made marketing easy.   The songs are virtually complete though the drums are programmed.  “Too Cool For School” is a little cartoony, which is the point, right?  For keyboard ballads, “Tiara” showed promise.  It’s not the equal of “Reason to Live” but it demonstrates a side to Eric unheard before.  Next, Bruce says that they always wanted Bryan Adams to cover “Can You Feel It”.  It would have fit Adams like a nice jean jacket.  Not that Adams really needed the help, it would have been awesome on Waking Up the Neighbors.  The set closes with “Nasty Boys”, nothing exceptional.  It sounds like a song called “Nasty Boys” would sound…or anything by 80s Kiss really.

Part Three – the packaging and remastering

The selling point for the majority of fans for this reissue was the packaging.  The original cover featured Eric in 1989 or 1990, obviously without makeup.  The new version is designed to look like an Eraldo Caragati portrait matching the first four Kiss solo albums.  It does, after a fashion.  It doesn’t have the depth or realism of a Caragati, but it matches.  The aura colour is orange.  Inside, there is a poster that similar recalls the original four from 1978.

The liner notes from the original CD release are missing.  This is unfortunate.  As such you don’t get the stories or context or knowledge from Bruce Kulick about the background of these songs.  Instead you get a CD that looks like a record.  This is pressed in black plastic, and has actual ridges on the face side that look like record grooves.  The play of the CD is inhibited in no way by this.

The remastering is much louder.  It does sound like somebody messed with the tapes.  “Eyes of Love” sounds like it has more echo on the drums compared to the original.  Is this due to more echo being applied, or more being audible due to the raised volume?  Possibly just a listener-induced effect, but it does sound different.

If you want but don’t have Rockology yet, seek out the reissue.  If you’re dying to make a display of the five lookalike solo albums, get the reissue.  If you don’t feel like listening to rough demos with tape crackle bonus tracks, run away like a fox.

 

Original score: 3/5 stars

Reissue value:  1/5 stars

Original mikeladano.com review:  2014/04/24

Tim’s Vinyl Confessions: Ep. 490: Top 10 Least-Favoured KISS Songs – with Tim, Mike, Jex and Will

Says Tim:

This is exactly the type of episode I’ve long shied away from, something that could be seen as negative. However, we sure had a lot of fun putting this together, and filming it.

Here, Will sits in TVC Headquarters with me, and Jex and Ladano join us (with some written help from Matt) to cover our personal least favourite Kiss songs. I feel it is worth repeating: we are ALL massive Kiss fans, these are our opinions and no one else’s.

Your comments are welcome but please no personal attacks. None of what we say is meant as an affront to anyone’s personal tastes. Having said that, it was unquestionably fun to have a little dig at those Kiss songs that as fans, have always rubbed us the wrong way (which sounds like a discarded Gene Simmons lyric from the 80s).

 

#1104: We Don’t Need No, No No No, Parental Guidance Here

RECORD STORE TALES #1104:
We Don’t Need No, No No No, Parental Guidance Here

In our house, we always had the utmost support.  It didn’t matter if my parents liked the music.  Like it or not, they provided it in spades.

My dad fully enabled my early John Williams addiction.  I had a good collection of Star Wars and Indiana Jones music.  The only way for me to listen to them was on the big family stereo in the living room.  My parents had a good pair of headphones, so noise wasn’t an issue.  There I would lay, my Star Wars toys scattered about, as I read the liner notes to  The Empire Strikes Back, LP spinning at 33 1/3 rpm on the turntable behind me.

Nothing lasts forever but the certainty of change, and in 1984 change was afoot.  Star Wars could not last forever without films to sustain it, and the Kenner action figures were scraping the bottom of the barrel for Ewoks, and other creatures with mere seconds of screen time.  It was, for all intents and purposes for this child, over.

Enter Bob Schipper.  December 26, 1984.  The album was called Masters Of Metal Volume II.

My exposure to music up to that point had been pretty mainstream.  There was an earlier dalliance with AC/DC’s “Big Balls” and some “Mr. Roboto” by Styx earlier, but otherwise I only knew John Williams and whatever MuchMusic was playing those days.  Billy Ocean’s “Loverboy” was a big one.  (The rock connection there was production by Robert John “Mutt” Lange.)  I had Michael Jackson and Culture Club cassettes, but neither were played beyond the big singles.  I loathed slow songs.  I spotted John Fogerty’s “The Old Man Down the Road” and thought it was pretty cool.  My biggest dip into heavy metal to date was Quiet Riot, but that day in 1984 changed the course of my life.

Suddenly the vacuum was filled by Iron Maiden, Judas Priest, W.A.S.P., Motley Crue, Helix, Lee Aaron, Triumph, and Kiss.  Especially Kiss.

So what did my parents do?  They bought me some of my first music cassettes. Powerslave, Walkin’ the Razor’s Edge, Asylum, Condition Critical, and all those seminal albums that shaped my first year as a real music fanatic.  Just as I was obsessed with Star Wars and collecting, now I had a new focus and I was on it like a laser.  My earliest purchases in the field of rock music were magazines:  Faces, and Hit Parader.  I had a Faces Kiss special, catching me up on all the essential facts into 1985.  (Interestingly, the Faces special talked of the next studio album, which was to be followed by Alive III, they said.)  I taped all the music videos off the Pepsi Power Hour like a maniac, soaking up everything I could that wasn’t too scary.  (Venom were scary.  So was Motorhead.)

My parents relinquished control of the VCR to me during the Pepsi Power Hour broadcast time.  5:00 PM, one day a week and then later on, two days a week.  This was seemingly set in stone.  The basement gradually became a music den for me, and Bob Schipper would join me as often as possible as we watched all the latest music I had captured on magnetic tape.  Bob would offer his opinions, pro and con.  We didn’t always agree.  He loved Skid Row, and I was more into Badlands.  He was early on to D-A-D, but didn’t really get what I loved about Savatage.

Whatever demons and dragons were on the covers of the albums I wanted, my parents would buy them for me.  Whether Ozzy was dressed as a priest on the sleeve, or if a guy in a metal mask was being held in a psych ward, they bought the albums.  They never said no.  They never blinked at titles such as Live After Death or Screaming For Vengeance.  I remember my mom once asked me if it was true that AC/DC stood for “Anti-Christ/Devil-Child”.  I kind of laughed.  She let it go.  I think my mom knew how silly all those stories about “satanism in music” really were.  It always seemed so far-fetched, and far removed from the songs I was enjoying in the basement with Bob.

His parents were pretty much the same, except he was older and had to buy his own tapes.  They didn’t mind the shirtless Vince Neil poster on his wall.  Me, I just wondered if he really had a crossbow launcher on his right gauntlet.

A lot of these rock stars looked like wrestlers or apocalyptic warriors from Mad Max.  All these influences poured together in a potpourri of hard rock and heavy metal bands, marketed through the TV and magazines that I was consuming, to appeal to my age group.  I was the target demographic, and it was working.  There’s nothing particularly “evil” about that.  That’s the world of capitalism that I was born into, and that record label executives hitched their wagons to.  I suppose my mom had probably endured something similar when she was a young Beatles and Elvis fan.  Her younger brother, my Uncle Don Don, had Led Zeppelin records.  I was just listening to the next generation of rock down the line.

My parents’ support reached its zenith in 2021, when they bought me the Judas Priest box set, 50 Heavy Metal Years of Music.  Easily the biggest music gift I ever received, it just proved how far they’d go to enable my musical habits.  They don’t understand it, but they support it.  That’s a pretty amazing thing, isn’t it?

 

#1103: Tough Decisions! (First song of 2024)

Date:  Jan 1, 2024.

Time:  7:46 AM

Sometimes it’s fun to make a big deal out of something that doesn’t matter.

Let’s figure it out.  What should the first song of 2024 be?  I just woke up, I have not played any music yet in the new year.  This is the kind of thing that music nerds make a big deal out of.  The first song of the year!  As if it sets the tone for the next 366 days (leap year!), let’s pretend that the first song played in 2024 is somehow really, really important.

How we do make such a decision?  Let’s narrow it down step by step.

1. Let’s start easy.  Should we play the song currently stuck in my head from yesterday?  That would be “Past Life” by the Arkells with the Cold War Kids.  Thematically it works.  It’s all about moving forward instead of backwards, which works well with the whole “new year” thing.  “I’ve been running from a past life, I wanna live this life instead!”  Uplifting, and also I get that “scratch that itch” feeling of playing a song stuck in my head.

2. However, 2024 is the 40th frickin’ anniversary of a very significant year in my life.  1984:  the year I committed to music as “my thing”, specifically heavy metal.  The exact date was December 26 1984, Boxing Day.  Perhaps I should play something from that year to commemorate this occasion.  “I Wanna Be Somebody” by  W.A.S.P., “Run to the Hills” by Iron Maiden, “Rock You” by Helix, or “Heaven’s On Fire” by Kiss would be appropriate.

3. Or, we look ahead.  There are albums to come in 2024, and we have heard some of the new music already.  Judas Priest have released two singles from the forthcoming Invincible Shield.  That would be a great way to start the year right — by looking forward.

4. …Buuuut I’d be starting the year by playing a song to which I have no emotional attachment yet, if I played the new Priest.  That doesn’t seem like the right note to kick off a new year.  Also, do I really want to start the year with a song about a “Panic Attack”?

5. Kiss is my favourite band.  I first got into Kiss during that mythical year of 1984.  And, the debut album Kiss came out 50 years ago, in 1974.

6. I prefer to listen to albums over songs.  1974’s Kiss gives me an excuse to play a whole album.  Playing that debut would be a way to honour both my roots in 1984, and the album’s 50th in 2024.

7. …However, I didn’t know that album in 1984.  I was just getting into rock, and I only knew two Kiss songs at that point:  “Heaven’s On Fire” (1984) and “Rock and Roll all Nite” (1975).

8. Just a side note:  this is the longest I’ve sat at my desk writing with no music playing!

9. The way I see it now, we can go one of two ways.  1984’s “Heaven’s On Fire”, which commemorates its 40th anniversary, and my discovery of heavy metal music the same year.  Or, 1974’s Kiss.  50 years of Kiss is a big deal, and they were one of the first five bands I ever liked back in ’84.  I prefer playing full albums, and overall I have more nostalgia for it.

10. Flip a coin.  Heads:  “Heaven’s On Fire”.  Tails:  Kiss 1974.

Time:  8:07 AM.

Time elapsed deciding:  21 minutes

The coin toss is:  Tails

Kiss it is.  Welcome to 2024.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

NEWS: Kiss introduces the Kiss Avatars – A New Era Begins?

First of all:  congrats to John of 2loud20ldmusic for making it to the final Kiss show.  No surprises in the setlist; just the same songs.  They did a Q&A featuring, most notably, Desmond Child.  After all was said and done and Kiss finally played the last show of their last tour…now we have the Kiss Avatars.

We knew Kiss would continue in some way.  I predicted a “Kiss II” kind of lineup a few years ago.  What we are getting is so so so much worse.

These new digital Kiss “avatars” are eight feet tall and animated, composed of pixels and lights.  They are inspired by the ABBA Voyage show.  Both shows are produced by a company called Pophouse.

It is not yet known where or when we will see the Kiss Avatars next.  But we will.

Me, I’ll be waiting patiently for a 50th anniversary box set of the debut album, or Hotter Than Hell, or a 40th anniversary box set of Animalize.   I won’t pay to see avatars, of anyone, anywhere.  Except maybe the blue kind if the third movie doesn’t suck.