Big thanks to 2020 for making this our most successful year at mikeladano.com yet. The final tally is:
284,513 hits from 135,708 unique viewers. This is a massive uptick from our previous best year, 2018, which received “only” 215,440 views. Thank you pandemic, because that’s what this totally is. I had no new ideas for 2020; I had given up on “growth”, only for 2020 to come to the rescue with a goddamn pandemic!
One way you can tell this uptick had nothing to do with me: All the top hits are old, old posts with deep roots on Google searches.
The death of Eddie Van Halen caused October to be our best month ever, and helped push Van Halen to #1 this year as well as contributing to the record hits overall. The Van Halen Zero review is now the most popular thing I’ve ever written, having been read 12,294 times.
By comparison, the best-read “new” post this year was:
What do these stats show us? The power of both Eddie Van Halen and a worldwide pandemic. I’m pleased that people chose to read my stuff at those times, but I’d give just about anything to get Eddie and our normal world back. Since I can’t, I can only tell you this: I don’t plan on stopping in 2021! And that’s about all I can say. 2020 taught us that life doesn’t give a shit about your plans. I had plans in 2021 and they didn’t involve sitting in this little space live streaming. This time there is no plan except give ‘er. The universe tends to unfold as it does.
I wish you nothing but peace, happiness and harmony in 2021. Let’s give ‘er together.
This has been a weird year. Comforting, nostalgic sounds in the age of Covid have dominated at LeBrain HQ. There are two Kiss albums that have been absolute joys this summer for blowing the blues away. They have been Dressed to Kill, and Unmasked. Originally rated 2.5/5 stars, I was definitely wrong on Unmasked. The band may have disowned it, and it might not be hard rock, but reviewing it is not as “Easy As It Seems”. This album definitely has “Two Side of the Coin”. It might not be “What Makes the World Go ‘Round” but this summer, I just want to say one thing to Kiss Unmasked: “You’re All That I Want”.
One reason I may have judged Unmasked harshly before is that first impressions are strongest. In a case of Classical Conditioning, my first impression was not good. In fact, for the first two years of hearing Unmasked, my copy was all but unlistenable. In the beginning, I taped my first Kiss albums from next door neighbour George. He fancied himself a bass player. While he was recording Unmasked for me, I sat in his bedroom while he played bass along to it. Every song. Unbeknownst to him, his bass bled onto my tape. Every time I played the album, it was like a remix with George overdubbed on bass, and I had the only copy. Sometimes he continued playing well after the fade, other times he came in prematurely. Either way, my first two formative years with this album were awful. Even after buying a proper copy on cassette, I couldn’t hear the album without the auditory illusion of George’s bass ringing in my skull. Though not the only factor, that had to be one of several reasons for my dislike of the album. A dislike which in no longer: in 2020, it’s love. Just a fun anecdote to colour in some history, nothing more.
“Is That You?” asks Paul Stanley on the opener, a Gerard McMahon song that boasts grinding verses and a killer chorus. Piano tinkles quietly in the background, but the guitars are nice and rich, especially Paul’s solo. His lead vocals absolutely rip, while a sultry Gene sings the backgrounds.
A second Paul vocal follows, and it’s the big hit “Shandi”. Listening with 20/20 hindsight in the year 2020, it’s amusing to ponder how anybody thought this was Peter Criss on drums. It was a secret that Anton Fig played on Unmasked and Dynasty, but it’s really obviously not Peter Criss. That disco groove is too impeccably perfect to be the Catman. Paul is, in fact, the only Kiss member to play on “Shandi”. And while this song is a softie, it ain’t a baddie. It’s clear that Kiss were not the rag-tag rock and roll beast they once were. They had evolved. Temporarily, at least.
If the first two tracks were light on Ace Frehley, that’s not indicative of the album. Three lead vocals for the Spaceman this time, including the single “Talk To Me”. Shiny and chromed-up, Frehley’s songs are among the best on Unmasked and “Talk To Me” could be the top track.
I always had problems with “Naked City”, but part of that might be that I can still hear George come in early on the bass. Gene Simmons makes his album vocal debut here, and while the chorus and riff are still not top-notch, the verses are excellent. Songs like this also demonstrate that Gene is an underrated singer. He’s more versatile than people realize.
Paul strikes a cool riff on “What Makes the World Go ‘Round”. He often talks about how the album had good songs, but they should have sounded different. This one sounds like it could have turned out more like the first three albums. You can imagine how the riff would have been more prominent. As it is though, it’s one of the most unabashedly catchy songs Paul’s ever written, and his guitar solo is simply delicious. You can slag Paul for doing something so pop, but can you slag him for doing it so well?
Side B’s opener is “Tomorrow”, with Paul’s vocals cleanly produced as per the pop trends of the day, with slapback delay and airy EQ. But like “What Makes the World Go ‘Round”, this is pop rock done really well. The keyboards are too prominent, but at least Ace gets a tasty solo here. As Kiss songs got catchier, so did the Spaceman’s solos. Frehley’s next lead vocal follows on “Two Sides of the Coin”, the song title which inspired a podcast (“Three Sides of the Coin“). Y’see, Ace just can’t pick a girl! But he has to. “Two sides of the coin to choose from, I’m getting weary. Which one should I choose? I need time.” He insists that the girls don’t mind, but I question that assertion. But he has to pick a mate because he’s “tired of all those dates”! Silly words aside, Ace has knocked out two top-notch songs on Unmasked so far.
Gene’s back on “She’s So European”, a song about a girl with a French accent who drinks pink champagne. I’ve softed my stance on this one too. You can certainly hear the rock n’ roll riffiness that it could have been. That’s been replaced by keyboards and slick beats, and it’s fine. “Easy As It Seems”, a Paul song, really sneaks up on you. It disappears into the fabric of the album until one day you just can’t get it out of your heard. Paul lays down another fine solo, and weaves a plaintive tapestry with his incredible voice. What range he had.
An album highlight is the third and final Frehley concoction — a weird little number called “Torpedo Girl”. Surf rock meets the Space Ace. The guitar lick is a tricky little off-beat riff, but with Anton Fig behind on drums, Kiss could do complex stuff like this. Especially since that’s Ace playing the bouncy bass part too. It’s also one of Frehley’s most entertaining lyrics. A submarine with a pretty girl on the bridge has surfaced in the bay! Better go check it out.
The final track, “You’re All That I Want” is a Gene number. Like “Easy As It Seems”, one day it just catches you. Especially Paul’s “answer” vocals in the outro. One thing (among many) that made Kiss truly special is the multiple lead singers. And unless you’re a Catman diehard, you don’t really miss Peter in that mix. Frehley more than made up for the lack of Criss. While four singers is better than three, remember that Kiss only had three lead singers for their first five studio albums.
I don’t want to have to three-view the entire Kiss catalogue but it is amazing how Unmasked just opened up to me this summer. I’m enjoying more than ever, with that nostalgic glow for days gone by. The “good old days” were not always good, but at least the music was.
“I think Unmasked is a pretty crappy album. It’s wimpy” – Paul Stanley, KISS Behind the Mask
Here we are at Unmasked, the very album that inspired the Kiss Re-Review series in the first place. It’s a polarizing platter. The band often trash it and shun it in concert. Meanwhile, some fans have grown to appreciate it, particularly in Europe and Australia. There is even a tribute CD on a German label with covers of the entire album. Indeed, Unmasked is not without strengths. Ace Frehley contributed another three songs of his own, continuing the growth he demonstrated on his solo album and Dynasty.
On the other side of the ledger, there were factors that fans see as a diluting of the Kiss sound. Co-writers were now the norm. Returning producer Vini Poncia had eight co-writes. They used a track by songwriter Gerard McMahon. Even ghost guitarist Bob Kulick had a co-write on Gene’s “Naked City”. Most importantly, but publicly unknown at the time, was that Kiss had effectively become a trio. Peter Criss’ substance issues had come to a head and he was not involved with the album at all. He was on the cover, and in the credits, but all Peter did was mime some drums for the “Shandi” music video. When that shoot was done, Peter was gone. Anton Fig (Dynasty, Ace Frehley) returned again to fill the gap behind the scenes.
The album demonstrated a slick turn towards pop rock. Not disco so much, although the compression on the drums and guitars gives it a disco sound. The keyboards and slick production sweetened the album to the point that the thunder of Alive! or Love Gun was completely absent. Kiss were becoming caricatures in pursuit of megahits.
The Gerard McMahon song “Is That You?” was selected to open Unmasked. This sexy grind is one of the best tracks, with Paul in peak voice showing off what he can do. The slow and dirty pop rock number gets the job done, with minimal loss of integrity. That’s Paul on lead guitar too, one of several songs on which he solos, though it is hard to tell. In fact Unmasked is one of those Kiss albums on which you can’t be sure who played what.
Only one Kiss member appears on the big single, “Shandi”, and that’s Paul Stanley. On bass was Tom Harper, and Holly Knight on keyboards. There is little doubt that “Shandi” is a fantastic song, and it worked particularly well live in the acoustic setting. While Unmasked blurred the lines between rock and pop, “Shandi” is pure pop joy — almost adult contemporary!
Frehley’s first track was a favourite called “Talk to Me”, a song many Kiss fans easily embraced. These first three songs were performed on the Unmasked tour, which demonstrates their worth. “Talk to Me” has a cool guitar riff and one of Ace’s most infectious choruses – an instant classic. Ace had really grown as a singer by this point.
The waters get murkier after the first three tracks. Gene’s “Naked City” is a grower. It possesses hooks and great verses, but the main guitar riff doesn’t hit the spot. Gene’s falsetto voice is employed to great effect. It takes a few spins, but “Naked City” has a cool darkness to it and a strange kind of class. That is followed by the very pop “What Makes the World Go ‘Round”, a keyboard-heavy Paul Stanley tune. It sounds very little like Kiss, but Paul’s performance (guitar solo included) is stellar. Falsetto must have been very popular at the time. Bee Gees, anyone?
Paul’s side two opener “Tomorrow” is just as pop as “What Makes the World Go ‘Round”. These would be great songs for somebody else’s album. Perhaps Rick Astley. Fortunately the side is quickly redeemed by Ace’s excellent “Two Sides of the Coin”. Notably, this song inspired the title of Michael Brandvold’s Kiss podcast, “Three Sides of the Coin“. Ace’s track is a fan favourite, upbeat and melodic with just enough guitar bite. If the production was meatier, as on Ace’s solo album, it would be an absolute killer.
Gene continues chasing the ladies on “She’s So European”, a filler track with familiar themes. “She makes love on a brass bed, because her parents are still awake.” Not Gene’s finest moment. “Easy As It Seems” is a Paul track, and also not one of his finest, but the bouncy bass (by Paul) is quite great. But is that a bloody keyboard solo that I detect?
One of the most interesting tracks, and most instrumentally impressive, is Ace’s surf rock classic “Torpedo Girl”. This is just a fun summertime track with infectious ooh-ahh vocal hooks. His role within Kiss resulted in some of their more unique songs, and “Torpedo Girl” is unorthodox. Ace’s picking is enviable, and the lyrics are just pure fun. “Come on, get your feet wet.”
Album closer “You’re All That I Want” is one of Gene’s tunes, but Paul’s vocals on the outro sell it. It’s a little on the light side, as is much of Unmasked, but it remains a good song.
On a personal note, I have one very strong memory of Unmasked. I first heard it by taping it off a friend, my late neighbor George. George dropped the needle on the record, hit record on my tape, and then got out his bass and played bass along to every song. Unbeknownst to him, his bass playing bled onto the tape. From that point until I finally got a store-bought cassette copy, I always heard George’s bass on the fade-outs of every song. I can still hear it in my head. I suppose that’s one way that George is still alive, in my memory.
Unmasked was released on May 20, 1980, with a bright cartoony cover including Peter Criss. Meanwhile the band were already preparing for their first of many lineup changes, something that was kept quiet until the right moment.
In July, Kiss were ready to unveil the new member. Paul Caravello, from Brooklyn, impressed Kiss with his audition and humble personality. The story that everybody remembers is that Caravello asked the guys for their autographs in case he never saw them again. No worries there; the job was destined to be his. But Kiss couldn’t have another guy named Paul, and his last name was too “ethnic” (obviously Italian), so his name was changed to Eric Carr. (Fortunately, Gene’s suggestion of “Rusty Blades” was discarded.) The newly dubbed Eric was an energetic mighty-mite of rock, and the band quickly grew to love him. Everything was new to him.
A new makeup design was required. This was a big deal — a new challenge. A hawk concept was tried, but in the costume Carr looked more like Big Bird than a rock star. He drew up an inspired fox design which immediately clicked. The new character was born!
Carr’s first appearance with the band was at their only US date on this tour: New York on July 25 1980. The rest of the tour took place in Europe and Australia where “Shandi” became a hit. There were only 41 shows in total. Despite their best efforts, Kiss’ fortunes were shifting. Opening acts on the tour included Iron Maiden, which must have been quite the mismatch. Given Maiden’s reputation for blowing away headliners (much like Kiss when they started out), you must wonder how this went down. Girl, featuring future Def Leppard guitarist Phil Collen and future L.A. Guns singer Phil Lewis, also opened a handful of gigs.
Unfortunately for fans, especially in North America, this was the last tour for a long time. It was also the only tour featuring this lineup. While Kiss had endured their first lineup change, that was only just the beginning of the problems to solve.
Uncle Meat’s rating:
Meat’s slice:Unmasked was released in May of 1980. A couple of months later I had heard that Kiss was going to introduce their new drummer on a show called Kids Are People Too. Seeing Kiss in the Phantom movie on TV was one thing. But knowing they were being interviewed, and introducing their newest member…Eric “The Fox” Carr. I watch it today on YouTube, and it’s so…umm…not what I remember. But it was monumental at the time for me. At this point, I had heard Unmasked once at a friend’s place and was underwhelmed. But I loved the album cover and still think it is probably their best. My take on Unmasked is much different now, and was how LeBrain’s Re-Reviews started in the first place. First of all I will address this. Mike referred in the beginning of this series to the two “Disco” era Kiss albums of Dynasty and Unmasked. Dynasty has one Disco song. Unmasked does not have anything close to a Disco song. Some would say “Shandi”, but that is Kiss capitalizing on the Soft Rock success of the day. Unmasked may not be a typical Kiss album, but thanks to Vini Poncia it’s a great album of Rock tunes and one of my favorite Kiss albums.
The drumming on this album is a major high point. Anton Fig shines all over this disc. Ace also continues his consistent roll with great rock songs like “Talk To Me”. He has such a great Rock and Roll voice. The background vocals are great too. “Two Sides of the Coin” is another song with incredible drumming, and a single writing credit. Both this song and “Talk To Me” are the only two songs on the album that don’t have an outside writing credit. Subsequently these songs sound more like classic Kiss than the rest of the album. However “Torpedo Girl” is another story. This might be the shining moment of Ace’s career in Meat’s opinion. Unbelievable guitar riff and funky drum beat. I have had it in my head for days now.
It seems that the addition of Vini Poncia to the Kiss machine inspired Gene Simmons as well. Unlike Dynasty where his songs were mostly forgettable, a couple of his songs on this album shine here. “She’s So European” is “completely ridiculous” but a “great fucking tune” (according to my longtime Kiss-mate Scott) . That about says it all. “Naked City” sees the falsetto of Gene Simmons on display here in another catchy song. There are great hooks within this song, which is indicative of the whole album really. However the album closer, “You’re All That I Want” might be the weakest track on the album. I do though love the ending, which you hear Stanley screaming in his typical live-show style.
Paul Stanley’s contributions on this album are good as well, with a few curveballs thrown in. “Shandi” was a massive Australian hit, and even though the song is about as limp as it can be, I still love the song. Reminds me of the Little River Band and Ambrosia songs of the Soft Rock era that I still dig. “What Makes the World Go ‘Round” is a solid song, with some of the greatest solo guitar playing Paul Stanley has put to record. “Tomorrow” sounds a lot like .38 Special to me and is just OK. “Easy As it Seems” is a solid song that incorporates keyboards in an interesting way, and might be the best Stanley song on Unmasked.
Overall Unmasked is a misunderstood, understated classic. I am curious to see if time has changed LeBrain’s take on this album. All I can say is…this may be Kiss’s last truly great album. From here on in, the “Meat’s Slice” section will start to get a lot shorter, with a couple exceptions.
Favorite Tracks: “Torpedo Girl”, “Shandi”, “Is That You”, “Talk To Me”, “She’s so European”
Forgettable Tracks: “You’re All That I Want”, “Tomorrow” (both borderline)
GETTING MORE TALE #551: “You’re Wrong on Unmasked“ (Introduction to the Re-Review series)
When mikeladano.com launched five years ago on March 9 of 2012, one of the earliest projects on hand was posting a complete series of Kiss reviews. This included every compilation I’d ever listened to, every studio album, every official live album, every B-side. As comprehensive as it was intended to be, it was not 100% original. Most of it was recycled from old reviews I wrote long ago and posted elsewhere. Posting the old Kiss reviews was a good way to kick-start the site with loads of content right off the bat.
There was, however, a certain sense of dissatisfaction, as there often is with any old writing that is repurposed for something else.
Several months after the series was completed, I received a text from a girl I knew named Lee. Out of the blue, she sent me this Kiss-related note:
“You’re wrong on Unmasked”.
“Pardon?” I texted back. We’d never talked about Kiss even once. She’d didn’t read my stuff. I didn’t get it.
“You’re wrong on Unmasked.” Then a followup: “Eric told me to text that to you,” she added. “I’m not sure what it means.”
Ah, that made sense. Lee played darts with Uncle “Eric” Meat, legendary Kiss fan and one of the Jedi masters who instructed me in the ways of the Rock. Apparently, Uncle Meat felt I was too harsh on the second of Kiss’ two disco albums. He urged me to one day revisit it. Having moved on to other series since (including Iron Maiden, Van Halen, Aerosmith, and King’s X) I wasn’t too interested at the time of going back and doing any Kiss over again.
Still…I’ve improved as a writer since Kiss. Some of those reviews are over a decade old. Plus, the other series (particularly Van Halen) were so much, much better than Kiss. That text message planted the idea in my head of one day re-doing all of my Kiss reviews fresh, from scratch, the way they should have been done.
So that’s what we’ll be doing: Bigger, better, fresher. The old reviews are fine, but feelings change, even in as short a period as five years. Sometimes you might feel different about an album from day to day, even for an album you’ve owned for 30 years! It will be interesting to compare. The new reviews will be bigger and beefier, with more info and more photos. Plus, Uncle Meat will even be joining me on some albums to add his own ratings and comments! Just as a remastered CD forces you to buy the album again, my “remastered” reviews will hopefully force you to read about Kiss one more time. There will even be a review of a rare officially released Kiss song that I was unaware of when I did the first series! (It was on a tribute album, recently acquired and also featuring other luminaries such as Alice Cooper and Def Leppard.)
For these reasons, and in the effort of creating a truly high-quality series of reviews deserving of the Hottest Band in the Land, we will be taking one last in-depth look at the official Kiss catalogue. One more time! (It won’t be necessary to re-do budget compilations like 20th Century Masters, but everything significant from Wicked Lester to Sonic Boom will be given a second look. Reviews from Monster onwards were fresh from the start, so we won’t need to look at those a second time either. Besides, we have already posted reviews for three separate editions of Monster!) There may even be room for some additional reviews outside the traditional discography.
2017 promises to be the year of at mikeladano.com. Get ready to shout it out loud!
RECORD STORE TALES Mk II: Getting More Tale #344: Childhood Recording Sessions
When we were kids in the 1980’s, pre-internet, pre-downloading, the only avenue we had to share music with each other was taping. If a friend had an album you wanted, you could try to record it. For example my next door neighbor George had all the Kiss albums, on LP. All he was missing was The Elder. What Kiss albums I didn’t own myself (which was most of them) I gradually taped one by one from George. I’d write down the song titles and make a cassette cover. When George wrote down the songs, I couldn’t always read them. When he did get The Elder in ’86, he made a copy for me. For a little while, I thought Kiss had a song on it called “Escape from the Ish”.
One Sunday afternoon in ’85 I went over to his place with a 60 minute tape, intending to record Unmasked. George dusted off the LP, dropped the needle and hit “record”. At the same time, he also decided to play bass along to the whole album. Somehow, his bass bled through to the tape recorder.
I didn’t find an original copy of Unmasked for two more years. Until that time, all I had to listen to was my taped copy, complete with George’s bass “overdubbed” on top of Gene’s! If I think back and remember really hard, I can still hear in my mind how George kept playing through the song fade outs!
Other recording sessions were far more elaborate. When George acquired Kiss’ Animalize Live Uncensored on VHS tape, he brought it over along with his own VCR, so we could dub a copy, VCR to VCR. On other occasions I would bring our VCR over to my best friend Bob’s place, and record there. My parents hated it when I disconnected the VCR! My dad always seemed to fear we’d never get it hooked up properly again! Or that we’d lose the controller, or worse, break it. But then, if we were recording at my house, my dad would always walk in and mock the bands. “What’s wrong with that man?” my dad said of Bruce Dickinson. “He keeps on screaming as if he’s in terrible pain!”
Copying music improved greatly in the 1990’s. The durability of the blank tapes improved, and dubbing from CD was infinitely better than recording tape to tape. Because of the improvements in quality, the cassettes we dubbed in the 90’s are still playable. Still, there is no comparison in sound to a CD. Finally in 2001, I purchased my first CD burner, enabling me to create the best possible sounding copies of music.
None of those improvements in technology, nor the advent of the CD-R, swayed me from owning an original CD or LP. I may have had a burned copy of the Sultans of Ping F.C., but there’s nothing better than an original. Somebody could send me a CD rip of some amazing rare bonus tracks by bands I like, which is great…but not as great as owning the original.
I don’t really know. Certainly I have plenty of friends from every age group who are content not to own any CDs. They don’t need to own it in order to listen on an iPod. That’s not good enough for me. I want the whole experience. I want the cover art (on paper, not a computer screen), I want the liner notes. I want to file the new CD on my shelves in the right order, and then gaze upon my collection of a given artist. I like to handle the artwork, the CD, and take a hard squint at the pictures. It’s hard to explain. I can justify it by saying CD just sounds better than an mp3. And as good as CD gets, sometimes vinyl can sound even better.
Even though I don’t need them anymore, I miss the old days of the Sunday recording sessions. I miss the social aspects of friends gathering in somebody’s basement or living room to share and discuss and enjoy music (all of which I later bought, anyway). I miss that feeling of heading home with some new music to listen to, right out of a friend’s collection. But I don’t miss having only enough money to buy blank tapes, instead of originals. I’m much happier now with my collection of well loved physical, original music.
Part 16 of my series of Kiss reviews, leading up to the release of Monster!
KISS – Unmasked (1980)
As a kid I remember loving this album cover. I loved any album cover that was different, and you could stare at trying to make out the details. It didn’t occur to me that this cover represented a newer, cartoonish Kiss far removed from the one on the Destroyer cover.
Indeed, if Kiss were falling apart at the seams on Dynasty, now they had truly run out of steam. Peter Criss was effectively gone, and Anton Fig played the drums on all tracks once again. The band were increasingly separated. Ace Frehley played all the basses on his own songs, and even Paul played bass on a couple of his. “Shandi”, the top 10 single in Australia, featured no Kiss members at all, except Paul Stanley.
The public never knew this at the time. Unmasked, on the surface of it, was a newer brighter poppier Kiss, but underneath there was nothing new about the fragmenting that had set in years earlier. Vini Poncia (Dynasty) was brought in to produce once again, hot on the heels of “I Was Made For Loving You”. Kiss had never sounded so pop, with keyboards in the forefront and compression on the drums. The soft production removed the normally thunderous lifeblood from the songs. This all went hand in hand with their increasingly colourful image. Indeed, the demo and live versions available elsewhere reveal a heavier Kiss, almost punk-like in delivery.
There are some good songs here, most notably Ace’s. Heavy on melody, “Talk To Me” and “Two Side Of The Coin” feature some great soloing by the Spaceman. “Torpedo Girl” is campy but fun; imagine Kiss doing a summer beach song. It’s odd but, I like it. Paul’s “Shandi” is a great song, and continues to be a great song when it is performed on special occasions by the band. Gene Simmons once again is underreprensented here, with only three songs: “Naked City” (OK), “She’s So European” (better) and “You’re All That I Want” (best).
It is arguable that Unmasked wasn’t even the nadir, that Kiss sank even lower of the next album, Music From The Elder. I don’t agree with that. The Elder may have failed as an album, but it did succeed in bringing some seriousness back to the table and some rock values back into the production. To me, Unmasked represents the nadir, maybe not the worst album Kiss ever made but probably the least Kiss-like. Even so, many of the songs are well crafted and memorable. It won’t be something you want to listen to in the car with the windows down, or anywhere that someone might overhear you!