Paul Stanley

REVIEW: KISSworld – The Best of Kiss (2017) – PLUS Kiss Re-Review Series complete directory

The KISS RE-REVIEW SERIES Part 47: The Conclusion

Two years ago, I bought this CD to use as the final review for the KISS Re-Review Series. I hadn’t played it.  I hadn’t even opened it. I wanted to save it for our conclusion…so here it is. A lot happened since we started, most notably the current End of the Road farewell tour.  Let’s wrap this series up in a bow.  And to do that properly you’ll find links to every single part and supplement to the KISS Re-Review Series below!

 

KISSworld – The Best of Kiss (2017 Mercury)

You know what KISSworld makes me miss?  The good old days when bands would bribe you into buying their new hits compilation by including something you didn’t have already.  In 1978, Kiss re-recorded “Strutter” for Double Platinum.  In ’82, Kiss recorded “I’m A Legend Tonight”, “Partners In Crime”, “Nowhere To Run” and “I’m A Legend Tonight” for inclusion on the UK compilation Killers.  And in ’88, Paul Stanley produced two new songs (“Let’s Put the X in Sex” and “(You Make Me) Rock Hard”) for Smashes, Thrashes & Hits.  Not great songs, but new ones at least, so you felt less foolish for handing Kiss more of your money.  By the time of 1996’s Greatest KISS album, they tacked on a new “live” version of “Shout It Out Loud”, and from that point on they pretty much gave up giving you any added value.  True, they did record “Samurai Son” for 2005’s KISS 40, but that was a mere blip in the overall pattern.

So in terms of reviews, all you can really talk about is song choice and running order.  It looks like KISSworld is just a revamping of various versions of KISS 40.  The running order is no longer chronological, but the songs are the same.  Opener “Crazy Crazy Nights” was on the single CD KISS 40.  “Unholy” was on the double CD version of KISS 40, albeit live.  “I’m A Legend Tonight” was on both, and so on.  It would have been nice to hear something you don’t get very often, like “All Hell’s Breaking Loose” or “Got to Choose”, but nobody expects bravery from a Kiss tracklist or setlist these days.

Kiss Dynasty poster

Fans who were buying Kiss albums during the peak years probably miss the excellent packaging Kiss would throw in for free.  Look at the mirror finish of the original Double Platinum LP, or the posters and masks and booklets that came with other albums.  Buy a Kiss CD today, get nothin’!  KISSworld has one vintage 1974 black and white photo inside, song credits and nothing else.  Granted, we know that Kiss doesn’t come up with these releases, it’s the record label.  And we keep buying them and buying them, “for the collection”, even though we know we’re going to be disappointed.  The label isn’t thinking of us when they issue this stuff.  They think of it as a part of their latest marketing push, aimed at people buying their first Kiss (or first Kiss in decades).  But they know — they know — that we fans are buying these things too.  They can’t throw us a bone?  What is there here for us?

Nothing, except another CD to file in the appropriate slot, making our collections “complete” again.  Will you listen to it?  Maybe, if you’re tossing coins and can’t decide which greatest hits to play on this particular road trip.  It is, however, the most complete of the in-print, easily-acquired hits CDs.  For a first timer, it would appear to make sense to grab this over Double Platinum or one of the other choices at the CD shop.  You’d be getting a good variety of tunes from over their entire career.  But you’re not getting something assembled with any logic or care, nor are you buying a fair representation of their best stuff.  In fact, this CD only has one song from their first three albums (“Rock and Roll All Nite”)  You could make a greatest hits just from their first three albums!  KISSworld‘s ill-considered tracklist is its downfall.

1/5 stars

 

 

THE COMPLETE KISS RE-REVIEW SERIES

GETTING MORE TALE #551: “You’re Wrong on Unmasked“ (Introduction to the Kiss Re-Review series)
Part 1: Wicked Lester (1972) & the Eddie Kramer demos (1973)
Part 2: KISS (1974 Casablanca)
Part 3: Hotter Than Hell (1974 Casablanca)
GETTING MORE TALE #353: Hotter Than Hell
Supplemental: DUST – Hard Attack (1972) / Dust (1971) (2013 Sony Legacy)
Part 4: Agora Ballroom 1974 (2015 Go Faster)
Part 5: Dressed To Kill (1975 Casablanca)
Part 6: Alive! (1975 Casablanca)
GETTING MORE TALE #552: Alive!
Part 7: Destroyer (1976 Casablanca)
Part 8: Rock and Roll Over (1976 Casablanca)
Part 9: Love Gun (1977 Casablanca, 2014 deluxe)
Part 10: Alive II (1977 Casablanca)
Part 11: KISS Meets the Phantom of the Park (1978 Hanna-Barbera TV movie)
Part 12: Double Platinum (1978 Casablanca)
Part 13: Peter Criss (1978 Casablanca)
Part 14: Ace Frehley (1978 Casablanca)
Part 15: Gene Simmons (1978 Casablanca)
Part 16: Paul Stanley (1978 Casablanca)
Part 17: Dynasty (1979 Casablanca)
Part 18: Unmasked (1980 Casablanca
Supplemental:  PETER CRISS – Out of Control (1980 Casablanca
Part 19: Best of Solo Albums (1979 Phonogram)
Part 20: Music From the Elder (1981 Casablanca, 1997 Mercury remaster)
Part 21: Killers (1982 Germany and Japan versions)
Supplemental: PETER CRISS – Let Me Rock You (1982 Casablanca)
Part 22: Creatures of the Night (1982 Casablanca, 1985 Polygram reissue)
Part 23: Lick It Up (1983 Polygram)
Part 24: Demos 1981-1983 (Bootleg)
Part 25: Animalize (1984 Polygram)
Part 26: Animalize Live Uncensored – audio portion (2015 American Icons)
Part 27: Runaway (1984 Tristar feature film)
GETTING MORE TALE #579: Entering the Asylum
Part 28: Asylum (1985 Polygram)
Part 29: Crazy Nights (1987 Polygram)
Part 30: VINNIE VINCENT INVASION – Vinnie Vincent Invasion (1986 Chysalis)
Part 31: eXposed (1987 Polygram VHS)
Part 32: Monsters of Rock (Bootleg from 1988 tour)
Part 33: In the Land of the Rising Sun (Bootleg from 1988 tour)
Part 34: The Ritz, NYC, 12th August 1988 (2015 American Icons)
Part 35: VINNIE VINCENT INVASION – All Systems Go (1988 Chysalis)
Part 36: Smashes, Thrashes & Hits (1988 Mercury)
Part 37: KISS – Still On Fire (Dave Thomas & Anders Holm (1988 book)
GETTING MORE TALE #608: Hot in the Shade
Part 38: Hot in the Shade (1989 Polygram)
Part 39: “Forever” (1990 Polygram EP
GETTING MORE TALE #690: Unholy Kisses
Part 40: “God Gave Rock & Roll to You II” (1991 Interscope single)
Part 41: ERIC CARR – Rockology (2000 EMI)
Part 42: ERIC CARR – Unfinished Business (2011 Auto Rock Records)
Part 43: Revenge (1992 Polygram)
Part 44: Alive III (1993 Polygram)
Part 45: KISS My Ass – Classic Kiss Regrooved (1994 Polygram)
GETTING MORE TALE #697: Kiss My Ass
Part 46: Toronto – Scotiabank Arena, March 20 2019
Supplemental: KISS Playing Cards
Supplemental: KISS Crocs
Part 47: KISSWorld – The Best of Kiss (2017 Mercury)

AND THERE’S STILL MORE!

72 MORE KISS REVIEWS available by clicking this link!

 

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#766: The Blue Tape (1991)

GETTING MORE TALE #766: The Blue Tape (1991)

This blue Scotch tape has seen a lot of use over the years.  It was my first blank tape, 120 minutes.  This cassette was well loved.  Back in ’83, it contained open-air recordings of songs like “Dirty Deeds Done Dirt Cheap” and “The Mighty Quinn”.  At some point in history (early 1991) I must have recorded over it.  Let’s have a listen.

Play ►

I have a feeling I know what it is now.  Sounds like something I recorded for a girl!  It would have been for my long distance crush Tammy.

This tape was never anything more than a cheap cassette, and it sounds awfully horrendous today.  The contents, however, are still identifiable.  The reason I never sent it to her was that it didn’t pass the sound quality test when I played it back.  That was the shitty thing about cassettes.  You could pour hours into making something, and then abandon the entire project.

I’m writing this in real time as I listen.  If I’m right about my original intentions with this cassette, then I know that I’m going to find a specific song buried somewhere in the track list.  Let’s find out.

Side 1

1. Tesla – “Love Song”

The acoustic intro to the song made a perfect run-in for this lovey-dovey tape.  I’ll spare the identity of the poor girl who this was made for, but she knows!  This Tesla ballad is still utterly perfect.  Off to a good start.

2. Kiss – “Shout It Out Loud”

Whew, I sure am glad it’s not all ballads.  This track took me by surprise.  I’m glad I used a classic Kiss rocker as the second track, instead of pandering for romance with “Reason to Live”.  Good for me!

3. Cheap Trick – “The Flame”

I read a lot of hate for this song today.  In the 80s, it was my favourite Cheap Trick and it’s still in my top five.  It may be a ballad but like the Tesla one, it’s utterly perfect.  This tape is now clearly made for a girl.  I’d never do 2/3 ballads for my opening trio otherwise.

4. Warrant – “Thin Disguise”

Here I go again with the rarities!  She loved Warrant but there is no way she had this song unless she had the cassette single for “Cherry Pie”.  I did — I collected that stuff even back then.  Turns out the B-side “Thin Disguise” is one of the best Warrant tracks, even today.  It’s an acoustic/electric killer.  Jani wrote some incredible songs in his time.  This is one.

5. Warrant – “I Saw Red (Acoustic version)”

Another rarity, this time from the “I Saw Red” cassette single.  I think this simple acoustic track (just Jani and a guitar) is better than the bombastic A-side version.  Even then, I was trying to impress a girl with my music collection — how comical is that?

6. Kiss – “Reason to Live”

Ahh shit, there it is!  That is hilarious.

7. Cinderella – “Nobody’s Fool”

OK, I’m getting a little sick of the power ballads now.  The cool thing is, I know for a fact that I taped this off a cassette that she gave me for Christmas called Rulers of Rock.  I wanted to show that I appreciated the gift by including this song.  Kind of like when your favourite aunt gave you a sweater and you had to wear it when she was over to visit.

Enough with the ballads though.  Let’s get a rocker next.  Let’s hope for a rocker.

8. Kim Mitchell – “Easy to Tame”

Well, it’s not a ballad, but it ain’t a rocker either.  Kim Mitchell was a good way into a girl’s heart in the late 80s and early 90s.  Everybody loved “Patio Lanterns”.  “Easy to Tame” was kind of like it’s cooler, lesser known cousin.

9. Paul Stanley – “Hold Me, Touch Me (Think Of Me When We’re Apart)”

Jesus fuck!  I went full ballad.  This was probably my favourite ballad of all time back then.  Stanley’s guitar solo is flawlessly written and executed.  And I got three Kiss songs right there on side one.

10.  Kiss – “I’ll Be Back”

Four!  Four Kiss songs!  What a wild inclusion, too.  This is a brief, very quick, Beatles tune done a-cappella for Kiss eXposed on VHS.  I dubbed this from the video for a “soundtrack tape” that I made, and then recorded it here tape to tape.  Just a filler between two other songs, but fuck…that’s cool.

11. Killer Dwarfs – “Doesn’t Matter”

At least this ballad has balls.  We played this song a lot the previous summer.  Bob had the cassette for Dirty Weapons, and he loved this song.  A couple years later it was still good enough to include on their next album Method to the Madness.  It’s still great.

12. Triumph – “Let the Light (Shine on Me)”

I’m getting steadily more and more disgusted with myself as the ballads play on.  This one was recorded from the 7″ single, but at this point I don’t care and I just want the side to be over so I can flip the tape.

13. Quiet Riot – “Don’t Wanna Let You Go”

I’ll let myself off with a warning here, because this electric song is still pretty great.  Truthfully, I included it hoping she’d like it, as Quiet Riot wasn’t really her thing.  I was feeling nostalgic for the early 80s, the simplicity and quality of the Metal Health era.  You didn’t need a ballad to have a hit then, and indeed “Don’t Wanna Let You Go” isn’t a single.  Even in this shitty tape, Carlos’ guitar sound incredible.

14. Slaughter – “Fly to the Angels (Acoustic version)”

I put this on because she loved Slaughter but didn’t have a CD player, and this was a CD bonus track.

Side 2

I need a break from all the balladeering, but I have a feeling the mush will be just as relentless.  On the whole of side 1, there was only one track that you could call a rocker!

1. Judas Priest – “Out in the Cold”

Here it is!  Yes, I sure do remember making this tape.  The main motivation was — get this — to trick her into liking Judas Priest.

She hated Priest.  Meanwhile, we were in the Painkiller era and I was riding a Priest high.  I planned to write this song on the cover as:

1. Exciter – “Out in the Cold”

I used an alias (disregarding the thrash band with the same name because I know she wouldn’t recognize it) because I wanted her to hear this awesome Priest song with no preconceived notions.  I wanted her to love it.  I never found out since the cassette sounds so terribly bad and I never sent it, but this proves that I remembered my intentions correctly.

This sheds a new light on all the balladry.  I was trying to really lull her in.  I figured I needed a tape with nothing but the best soft songs in the world to really get her with the mighty Priest.  It’s all coming back to me now.

2. Frehley’s Comet – “It’s Over Now”

I didn’t think she would know this one, but I hoped she’d like it.  I was a big proponent of the second Frehley disc, appropriately called Second Sighting.  I always thought this song should have been a huge, huge hit.  I was hoping she would agree.  Unusually for a Frehley song (but wiser from a commercial ballad point of view), it has both lead vocals and lead guitar by Tod Howarth.

3. Frozen Ghost – “Promises”

This one takes me completely by surprises.  It’s a great song, but I didn’t have it back then.  My sister did — I must have poached it from her collection for this tape.  Bob played this a lot in the car over the last couple summers, so our whole gang would remember it fondly.  She would have been in the car when we were rocking Frozen Ghost.  Lead singer Arnold Lanni later went on to become quite a successful producer.  Guitarist Phil X made it even bigger, now touring the world with Bon Jovi!

4. Lee Aaron – “Only Human”

I don’t think this is one of Lee’s finer moments, but I thought she’d like it, so on it went.

5. Winger – “Miles Away”

Putrid.  Just awful.  Fast forwarding.

6. AC/DC – “Moneytalks”

Holy shit!  Finally a rock song.  AC/DC were huge in ’90-’91.  I couldn’t have gone wrong with AC/DC.  Then why the fuck didn’t I include more?  “Who Made Who”.  “You Shook Me All Night Long”.  Everybody likes those songs.  Holy shitballs.

7. Motley Crue – “Home Sweet Home”

Tammy had Dr. Feelgood before I did, but I don’t know if she would have Theater of Pain back then.  There was no such thing as a Motley greatest hits (can you imagine such a world?) so I thought this would be nice for her to have.

8. Van Halen – “Dreams”

OK, probably not a ballad.  Very keyboard-heavy.  Very easy to enjoy, and Van Hagar were still cool as fuck.

9. Van Halen – “Dancing in the Streets”

Some folks that are not necessarily Van Halen fans really like their version of “Dancing in the Streets”.  It’s probably better than Bowie/Jagger, at least.  I’m pleased with myself for including both Sammy and Dave on this tape, and one after the other no less!

10. REZ – “Shadows”

Woah!  Deep cut.  This was a tape, of a tape, of a tape, of a tape.  You can imagine what it sounds like today.  Bob and I loved this song by the Christian rock band REZ, formerly Resurrection Band.  You can see that I snuck in a few unfamiliar songs like this, hoping she’d get into them.  This one is pretty easy to like.  Total shock to find it here.

11. Kiss – “Hard Luck Woman”

Kiss Count:  five.

12. Brighton Rock – “One More Try”

This also comes as a surprise.  Then I think to myself that my music collection wasn’t very large back then and I would have to pull a few obscure ones out.  If I remember the details clearly, Tammy had MTV and so didn’t necessarily hear as much Canadian content like Brighton Rock.

13. AC/DC – “You Shook Me All Night Long”

Ah, good.  What’s interesting to me about this is that at this point of the tape, the right channel is completely inaudible.  So all I get is Angus (no Malcolm), Brian, and maybe half of Phil Rudd.

To my surprise, that is the last song.  Usually I snuck something short and goofy at the end of a tape.  “You Shook Me All Night Long” does make a good final song….

Wait!

I didn’t erase the tape to the end!  There is something left at the tail.  Older contents; older than 1991.

It’s “On the Road to Rock” by Kick Axe!  It is a mystery how that song got on this tape in the first place, as I didn’t own it back then and don’t even own it now.  I must have recorded it off someone.  Who, I have no idea.  Perhaps my next door neighbour George had it.  It was him or Bob, but I’ll never know for sure.  George is gone now and Bob wouldn’t remember.

Knowing when I made this tape, and all the motivations behind it doesn’t forgive it for being a piece of shit. I did a shitty job here folks! Too many ballads, not enough variety. It’s a real slog to listen to without a fast forward button. At least half of those ballads could be axed, and replaced with something else that I had in my collection at that time.

Usually when you make a tape for someone, you give it away and never hear it again. In this case I had the rare chance to play back a mix tape that I made 28 years ago and never sent. It’s just as bad as I feared though not without some surprises and the odd cool inclusion.

That blue Scotch tape, an ancient C-120, goes back to at least 1983 making it 36 years old at minimum.  120 minute tapes are never any good, and this one was always particularly cheap.  Now that I’ve satisfied my curiosity, I will never play this tape again.

#750: KISS II

GETTING MORE TALE #750:  KISS II

Kiss frontman Paul Stanley seems emboldened by the monumental success of their End of the Road tour.  Why “emboldened”?  Because they’re pulling it off with only half the original band.  Ace Frehley has not shown up to sing “Shock Me” and Peter Criss seems happily retired.  Tommy Thayer and Eric Singer remain in the greasepaint and the spotlight.  It’s proof that the majority of the masses don’t know or don’t care who is in a band anymore.  The “fans” who refer to Thayer and Singer as “scabs” have had no impact on ticket sales with their boycotts.

Many bands have toured successfully in recent years without key members.  AC/DC made headlines by replacing Brian Johnson with Axl Rose.  Deep Purple are going strong with only one original member.  Queen sell out with Adam Lambert taking Freddie Mercury’s place on stage, and bring home terrific reviews to prove it.  Kiss too are doing just fine.

Would they be able to do it with even fewer original members?  Like, say, none?  Paul Stanley thinks so.  He’s said so before and recently he raised the idea again:

“I think that Kiss has served a huge purpose and brings incredible joy to people on the End Of The Road tour. The shows are packed, and not only with the early followers of the band, but people who have heard the legend of what this band does live. And it’s something that’s more than music. It really is a preaching of self-empowerment and the idea that anything that you’re willing to work hard for, you can probably attain. And the idea of celebrating life. Things that may seem simplistic or overtly simplistic, but actually have a timeless depth to them. So when bands continue, ultimately the people in ’em need to change or have to, because of circumstances.

“So that’s a long explanation for me feeling that I would have an enormous amount of pride in knowing that we can continue the band once I’m not there anymore.  That would be the ultimate test of its credibility and the role, I think, that it serves.

“I didn’t invent the wheel. I am the product of all the people who I looked up to, all the musicians who I respected, and it was kind of like a stew, and then I added my own ingredients to it. But there are other people who are out there who wouldn’t necessarily imitate me any more than I imitated my heroes. But there are people out there, I’m sure, who are well equipped to pick up the flag and run with it.”

Paul is correct to say that bands must sometimes change out of necessity.  He is actually the best proof of this.  Paul cannot sing anymore and has been miming a huge percentage of his lead vocals on this tour.  We won’t go down that rabbit hole this time.  Suffice to say, if this wasn’t the End of the Road, Paul couldn’t really continue singing lead in Kiss.

But replacing him?  That’s a whole other bowl of Cheerios.

The idea of Kiss going on without Paul and Gene – let’s call the hypothetical band “Kiss II” – would certainly cross a line with me.  Bands with one or two original members is one thing.  Many bands have replacement members far more important than the originals.  Phil Collen is a key member of Def Leppard, vastly more so than his predecessor Pete Willis.  Same with Roger Glover and Ian Gillan in Deep Purple.  Adrian Smith in Iron Maiden.  The list goes on and on.

Could a Kiss II be a viable prospect with Eric Singer the longest serving member?  With Tommy Thayer as band leader?

No.  Paul and Gene control Kiss.  The other guys have just been hired guns ever since the originals left.  Kiss may have started as four guys, but for the last few decades it’s the vision of just two.  (In the 80s, just one, as Gene went Hollywood.)  You could imagine Paul and Gene controlling a Kiss II band from behind the scenes, but that is a hollow prospect.  Imagine Stanley and Simmons discussing new costumes and approving setlists for a Kiss II tour without them.  Would you pay to see that?

I wouldn’t.

Kiss have already gone down in history, many times, for their accomplishments.  Making the band immortal with all parts replaceable might also be historic, but not in a good way.  There are guys out there who can sing better than Paul, and play better than Gene.  Tribute bands have all the moves down pat.  But you can go see a tribute band for $10.  Kiss II would be, in essence, an “official” tribute band and with Paul and Gene behind the scenes they’d be charging a hell of a lot more than $10 per ticket.

I think Paul has lost perspective.  Kiss has been successful, against the odds, in replacing Peter Criss and Ace Frehley.  But there was precedent for that.  Kiss made fantastic albums without either.  That doesn’t mean you can remove Paul or Gene from the picture and still call it Kiss.  Paul and Gene have always been the ones with the drive and the vision.  They are not so easy to replace.  Can you picture some replacement guy imitating Paul’s stage raps?  There might have been a brief window in the late 80s when Kiss could have gone on without Gene, only Paul, since he had become the captain of the ship for a while.  However that ship sailed long ago and it’s all but impossible to imagine the band without them both.

No, Kiss II is a lousy idea.  It’s just a way to milk naïve fans in this era of hologram and nostalgia tours.  Would they sell tickets?  Sure, they’d sell some.  These hologram tours are proof that people will pay to see anything.  Would it be good?  Hell, no!

 

VHS Archives #59: Paul Stanley in the Much studios (1989)

During his 1989 solo tour, Paul Stanley of KISS talked to MuchMusic’s Steve Anthony about his new company Paul Stanley Entertainment LTD.

GUEST CONCERT REVIEW: KISS – Toronto – Scotiabank Arena March 20 2019 by Uncle Meat

UNCLE MEAT:  Well…I guess tonight I experience the controversy head on.

LeBRAIN:  What’s tonight?

MEAT:  Members of Black N’ Blue and Badlands.

LB:  Kiss?  You are going?  If so you are REQUIRED to write something for me. Or else!!

MEAT:  Old buddy, Scott Hunter, who I saw Kiss with twice in 1982 and 1983, messages me out of nowhere and has a paid-for ticket. Him and his buddy have VIP but only two, but who cares.  They had the Vault Experience with Gene last year too.

LB:  Go go go.

MEAT:  Only been 36 years since I saw Kiss live.  Mid-arena, 20 rows up.

LB:  It’s gonna be sad I think. Just my feeling.

MEAT:  Fairly good tickets. But yeah. The spectacle is the part to enjoy I guess.

LB:  I hope you have a good time.  But seriously if you don’t write this up for me, I am going to probably hurt you very badly. You won’t see it coming. Maybe we will be driving to the farm and I will punch your nuts so hard that you bleed from your ears. Just saying. Not that you “owe” me anything, you just have to. Or have your nuts tenderised. Your choice! You won’t see it coming but it will happen!

 

– Toronto – Scotiabank Arena, March 20 2019
Review by Uncle Meat

Kiss in 2019 was the best “show” I have ever seen.  Easily.

What about the singing?  I had watched a cool video the other day, where a guy pointed out in each song where Paul is lip syncing and where he is actually singing.  Which was good because before that I thought it was pretty much all tape. That being said, I could notice both last night.  It’s like he is trying some songs’ verses (or what have you) on different nights. But, 60% of the vocals (at least) were the same as they had been on other stops. I have heard the “Love Gun” track several times, how the verses have been re-recorded, and he does exactly the same inflections within the verses.

BUT!!!

Truth is? 20 seconds in, and I didn’t give a shit.  And while I hold the same opinion about it, it literally took ZERO away from a show I can only describe as almost perfect.

Gene sings 100% of his vocals, at least on the verses, and was kinda goofy all night.  More aloof than he usually is. Less Demon. More Mike Myers.  He is getting fat in the face though, wow…he looked like Bea Arthur in Gene makeup.

Paul still is on the very top shelf of frontmen, as per between-song banter.  He had me right in the trenches, clapping along, laughing out loud several times, just fuckin’ entertaining.

Eric Singer was a great drummer.  LOVED his voice in “Black Diamond”, and really really enjoyed “Beth”.  Like alot.  Surprising.

I was really blown away by Tommy Thayer’s guitar tone.  Fucking powerful, and creamy.  He changed just enough of the Ace solos to put his mark on it, but leaving the important parts of the solo in to suit the songs.  Great set list too.  “100,000 Years” and “Let Me Go, Rock and Roll” were serious highlights.

4.5/5 steaks 

The missing 1/2 steak only because of the lip-sync stuff.

 

 

 

 

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

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

REVIEW: The Hellacopters – Grande Rock (1999 vinyl)

THE HELLACOPTERS – Grande Rock (1999 Sub Pop vinyl edition)

Personally, it all began with Iron Tom Sharpe and Joe Big Nose Perry.  By 1999, everyone was well aware that the big Kiss reunion album, Psycho Circus, was a diluted compromise of the album they should have made.  “The Hellacopters made the real new Kiss album, man.”  Come on, Tom, quit yanking my chain.  “You’ll love it.  This is the album Kiss should have made.  No man, seriously, they even have a song called ‘Paul Stanley’.”   Joe stepped in by offering to pick me up a vinyl copy, which had a bonus track, at the Orange Monkey.  I gladly took him up on his offer and hoped to hear what Iron Tom was talking about.  Grande Rock was the Hellacopter’s third LP, but LeBrain’s first Hellacopters.

What’s this about Kiss then?  As “Action De Grâce” easily demonstrates, The Hellacopters can groove like the original foursome don’t even dare anymore.  This is Kiss circa 1976, but if they had taken a road other than Destroyer.  This is something like what they could have done if they wanted to take Kiss Alive! to the next step, and maybe taking some punk inspiration instead of disco.  “Move Right Out of Here” slams like Dressed to Kill on jet fuel.  “Alright Already Now” adds some harmonica, fuzz bass, and wah-wah.  The Hellacopters are not slavish like Klassik’78, they’re not trying to duplicate anything.  They’re going their own way with it, and it just so happens to be a lot better than Psycho Circus.  A lot of the vocals actually are closer to Steven Tyler circa Draw the Line.

A slower and darker vibe hits on “Welcome to Hell”, with some electric piano mixed in with Frehley-like solos and a little “Sympathy for the Devil”.  The punk rock builds on “The Electric Index Eel”, with stabbing guitar licks in under two minutes of length.  Clearly far beyond Kiss.  But then as if to get my attention back, there it is:  “Paul Stanley”, the song!  The riff must be inspired by Paul’s solo song “Tonight You Belong to Me”.  Wasn’t I telling you recently that Paul is one of rock’s most underrated riff writers?

The vinyl bonus track is right at the end of side one:  “Angel Dust”, which really sounds more like a top speed Appetite for Destruction outtake.  There’s a lot of Guns N’ Roses on this record too, particularly when there is a wah-wah solo or a blast of speed.

“The Devil Stole the Beat From the Lord” continues the rock and roll party on side two.  It’s pedal to the metal right through to “Dogday Morning”.  There’s a real gem in the middle of side two called “Venus in Force”, a big and grand riff with a song to go with it.  A more Kiss-like tempo in “5 Vs. 7” maintains a sense of variety.  Enjoy the flurry of guitars in the extended fade-out.  “Lonely” is a nice shorty by contrast, like a Gene Simmons love lament written in a hotel bathroom.  Closing position goes to “Renvoyer”, a killer outro jam.

Here is an interesting observation for you.  I used to think that Grande Rock had a great side one, but not much happening on side two.  However, I hadn’t actually listened to the vinyl for years.  I was listening to an mp3 rip of the 13 track album.  This time, I played the record and my perspective changed.  You have to get up and flip the record, and I happened to do something else for a few minutes before I dropped it back on side two.  That intentional break right there is everything.  There’s some sort of reset that happens, and you’re good to go for round two.

Grande Rock is damn near perfect for anyone craving a dose of the classic 1970s with a toe in punk rock too.  Vinyl is the way to go.  Don’t even bother with the CD, which taunts you with the fact that you bought the wrong version on the back cover by telling you that you’re not getting “Angel Dust”!  Awesome.

4.5/5 stars

 

VHS Archives #10: KISS band interview 1992

In 1992, MuchMusic introduced a new Saturday show called Start Me Up that focused on rock.  It helped make up for the diminished Power 30.  It got to the point that Start Me Up was the show to watch for rock and metal, since the Power 30 detoured into grunge and thrash.

Paul Stanley, Gene Simmons, Bruce Kulick and Eric Singer of KISS dropped in one afternoon on the Revenge tour.  It’s a strange, stiff interview compared to past KISS appearances on MuchMusic.  Paul Stanley seems to want to answer all of Eric’s questions and aside from Bruce, everyone’s awkward.

By request of reader KK, enjoy this strange Kiss interview from 1992!

#713: End of the Road? Paul Stanley’s Voice

GETTING MORE TALE #713: End of the Road? Paul Stanley’s Voice

In 2012, before the release of the last Kiss album Monster, I wrote an editorial about Paul Stanley’s voice problems.  Thanks to the advent of Youtube, anyone can hear how rough Paul’s voice has become in the last decade.  The guy who was once one of the top singers in rock, ever, is now the worst singer in Kiss!

Curiosity in Kiss and Paul’s voice has peaked again due to the End of the Road tour.  I received some hits from a Q&A site called Quora, so I followed the address and checked out the site.  I found something very interesting, from a man named Kevin Richards, who says he was a vocal coach for Paul Stanley and others such as Rod Stewart.  His story checks out.  Mr. Richards answered a question about Paul’s current vocal state, and it was very revealing indeed.

Richards said that Paul’s vocals today are a result of health and age.  He is also trying to live up to his own image too hard.  “He is trying to maintain a stage presence from 25 years ago and doesn’t realize he isn’t in the vocal shape to do so.  He is being VERY STUBBORN in doing anything that changes what he thinks the audiences expectation of the ‘Starchild’ should be. The way he moves, the way he sings, etc.”

Paul is still great as a frontman, but to me, it’s the music that matters more, and the voice is the biggest part of that.  Richards continued, saying he “told Paul that he needs to rethink how he sings his songs because it’s not 1990 or 1984 or 1976 anymore. He had to make adjustments to his vocal delivery and rearrange the set lists to give him more space between his songs. He reluctantly agreed but again stressed the ‘needs’ of the audience. I said ‘yes, but they also have an expectation that you sound good at THEIR concert.  Bad vocal performances aren’t rumour anymore, its on Youtube the next day.'”

You have to admire Paul for wanting to give fans a level of showmanship above and beyond the call of duty, but his priorities seem mixed up.  Richards’ bottom line is that Paul is a “stubborn, aging rocker refusing to accept that he can’t perform like he’s 30 anymore.”  There is even more, so be sure to read what he had to say.

What does Paul think of the current state of his voice? “I’ve been doing a lot recently to make sure that my voice is in great form. If you want to hear me sound like I did on Kiss Alive!, then put on Kiss Alive!

“Great” form?  I’ll let you know how Paul sounds when Kiss hit Toronto in March 2019.  Can Stanley’s voice survive a whole tour?  Will there be more Gene, Eric and Tommy vocals to compensate?  We will find out at the End of the Road.

#712: Does Paul Stanley Get Enough Credit for Writing Killer Riffs?

GETTING MORE TALE #712: Does Paul Stanley Get Enough Credit for Writing Killer Riffs?

Think for a moment about the greatest guitar riffs of all time.  “Smoke on the Water”, “You Really Got Me”, “Iron Man”, and “Whole Lotta Love” might make your own personal favourites.  Indeed, these songs usually show up on any decent list of great rock riffs.  Planet Rock did a dubious list in 2017, featuring the classics and questionable choices like The Darkness.  It also featured a number of hot licks by Hendrix, Ozzy, and Van Halen.  The usual suspects.  They do get points for including Budgie’s “Breadfan”.

I once read a quote by a guitar player* who said he hated Jimmy Page because “He already wrote all the greatest riffs, and I’m jealous.”  Tony Iommi, Ritchie Blackmore, the Young brothers and even the young fellas from Metallica are often credited as the greatest riffmasters in rock.  They’ve all done their part to enrich our lives with memorable, chunky and headbangin’ guitar riffs.  But so have others.

Consider Kiss’ Paul Stanley.  Once upon a time, the singer was considered one of the best with very few rivals.  You’d often see his name on singers’ lists with guys like Freddie Mercury and Ronnie James Dio.  Paul must, absolutely, be considered one of the greatest frontmen in history.  That is hard to dispute.  On the other hand, few give him credit for his guitar.

“I’m no slouch,” said Paul of his guitar playing.  He’s even responsible for some Kiss solos.  But as a riff writer?  We rarely think of Stanley, yet behold the songs!  Looking only at tracks with lone Paul Stanley writing credits, the list of monster riffs is impressive.

  • “Black Diamond”
  • “Hotter Than Hell”
  • “C’mon and Love Me”
  • “Rock Bottom”
  • “God of Thunder”
  • “I Stole Your Love”
  • “Love Gun”
  • “Tonight You Belong To Me”
  • “Magic Touch”

Paul had some pretty awesome riffs on co-written songs like “Mr. Speed”, “Makin’ Love” and “Creatures of the Night”, but since other writers may have contributed, we’ll exclude those.  This list also doesn’t include his catchy acoustic riffs like “Hard Luck Woman”, or lesser-known later material like “Modern Day Delilah”. If you wanted to delve further into Sonic Boom and Monster, there’s plenty of Paul’s guitar thunder without co-writers.  This is strictly a list of the most impactful material:  the 1970s.

So Stanley doesn’t get enough credit.  Does this make him a riff master, up there with the other guys?

I’m going to go out on a limb:  Maybe, leaning towards yes.

“God of Thunder”, “I Stole Your Love” and “Love Gun” are monolithic enough to stand next to an Iommi or Blackmore riff.  Just like a Deep Purple fan knows there is more to them than just “durrh durrh durrh!”, a Kiss fan can recommend a number of rock solid riffs from their albums.  A huge number of those are Paul’s, although certainly Gene did just fine with “Deuce”.  “Deuce”, admitted Gene, is just a Stones lick played backwards.  Paul’s best stuff is less derivative than that.  “God of Thunder” is just that — “God of Thunder”.  You can say it sounds vaguely Sabbathy, but it doesn’t sound like anything specific.  Same with “I Stole Your Love”.  As for “Hotter Than Hell”?  Much like a great Sabbath song, it boasts two killer riffs in one track!

Elitists like to scoff; make fun of adults in makeup and spandex.  Fair enough.  Tony Iommi never needed makeup or particularly tight pants to be a rock star.  Sabbath played with the “Satanic” gimmick but didn’t rely as heavily on image and flash.  Kiss wouldn’t have made it in the first place without the makeup and costumes, but as they developed, they had the music to back it up.

Do yourself a favour and go back to listen to Paul’s classic guitar riffs.  They are often highlights of the song, little rock solid gems that are ready for air guitar.  He really hasn’t received the credit due for coming up with a number of simple, solid and dynamic riffs on his own.  Should his name be spoken with Page, Blackmore, or Young when talking of riffs?  We’ve made our case, so get Kiss’ed on these classics.

 

 

 

Might have been Nuno Bettencourt