vinnie vincent

RE-REVIEW: KISS – eXposed (1987 video)

The KISS RE-REVIEW SERIES Part 31

 – eXposed (1987 VHS/2002 Mercury DVD)

“Hello.  The show we are about to see is a rousing docu-drama.  It will disgust some, and titillate others.  But whether it disgusts you, or titillates you, it is the truth, the whole truth, and nothing but…the truth.”

Kiss were on to something here.  The concept of a home video release that was more than just a compilation of clips was fairly new.  Kiss took the bull by the horns and put together a video that was all at once extremely sexist and innovative, offensive and invaluable.  Only fans need apply; anyone who is sick of Gene Simmons’ schtick will bore quickly of his oafish humour.  But when Kiss play it “straight” in certain interview segments, light shines through.  The old memories and the old friendships are fresh and vivid.

Interviewer Mark Blankfield strolls up to the “Kiss Mansion” where all four members live Monkee-like together in one house with dozens upon dozens of beautiful women. The doorbell plays “Rock N’ Roll All Nite”, and Paul Stanley is confused. He thought the interview was scheduled for…not noon, but 12 midnight! Nyuck, nyuck, nyuck.

The KISS Mansion

Some of the scripted bits are actually funnier than you’d expect. Paul and Gene are natural clowns, and playing the role of disinterested rock stars tickles the funnybone.  Blankfield keeps chasing them around, trying to get them to do some interviews.  All the while, he encounters scantily clad babes in various states of undress, and a butler intent on keeping him away from them.  Subjects of discussion in the scripted bits include nutrition and fitness.  Learn about Joseph Kiss Sr., who came up with the vision of Kiss in 1773.  Check out Paul Stanley’s workout video!  Meet his best friend, a monkey named Sonny Crockett. Cut to a music video!

The music videos are something. In a scripted bit, Paul is surprised that they have access to the uncensored version of “Who Wants to Be Lonely”, which neither MTV nor MuchMusic were willing to play. Censors were offended by images of women in bikinis spraying themselves with hoses, even though I’m sure George Michael did something similar a couple years later. Every music video that Kiss filmed from “I Love It Loud” (1982) to the Asylum album (1985) is included, except “Thrills in the Night”.*  All videos from eras prior to this are live and unreleased!

“Deuce” in San Fransisco

Live in Rio, from Kiss’ very last concert in makeup, it’s “I Love It Loud” with Vinnie Vincent!  This is good quality video and audio from a TV broadcast.  From the now famous bootleg Kissin’ Time in San Francisco (1975), it’s a nuclear version of “Deuce” in black and white.  It’s the first appearance of Ace Frehley and Peter Criss in this feature, and the rawness of the old band is a delightful contrast to the new.  Then it’s “Strutter” at Cobo Hall in ’76, an Ace guitar solo from 1980, and “Beth” in 1977 with Peter Criss (and a pretty bad final note).  Gene’s got a bass solo/blood spitting clip to show off, but the most interesting clip of the batch could be “Detroit Rock City” in Australia, 1980.  Paul did the verse melody with a slightly different twist.  “Rock and Roll all Nite” is included from the same show, which had Eric Carr on drums.  “I Stole Your Love” and “Ladies Room” have the original lineup from the Love Gun tour; Kiss at their bombastic best.

Of the best of the “straight” interview clips is the question, “How did you two get together?”  Paul and Gene start busking to “I’ll Be Back” by the Beatles, and suddenly you can imagine what they sounded like in 1972.  They even sing bits of Gene’s more…obscure early material.  “I love Eskimos…”  “My mother is beauuuutiful…”  (Hopefully we will hear these songs on Gene’s upcoming 150 track box set, Vault?)  Another good question, to Gene, is “Have you gone Hollywood?” which he answers with candor.

Incredible special features

The very large issue with this DVD is the absence of Bruce Kulick and Eric Carr.  They only appear in brief cameos, and get a couple lines a piece.  That’s very unfortunate.  And then there is the excessive objectification of women.  It’s done as an obvious satire of the rock star stereotype, but not particularly well.  Too bad.  This isn’t Spinal Tap.

Some of the diehards would have preferred a home video with more music and less gags.  Fortunately Kiss got the message when they eventually  got around to a sequel.

3/5 stars

* It appears  that “Thrills in the Night” must have been intended for inclusion at one point, because it’s in the songwriting credits at the end of the video.

 

 

Original mikeladano.com review:  2012/08/03

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REVIEW: Vinnie Vincent Invasion – Vinnie Vincent Invasion (1986)

The KISS RE-REVIEW SERIES Part 30 Vinnie Vincent solo #1.

VINNIE VINCENT INVASION – Vinnie Vincent Invasion (1986 Chysalis)

Where oh where did Vinnie Vincent go? The mercurial ex- guitarist with genius level skill resurfaced after 1983’s Lick It Up with his new band, the Invasion.  Ex-Journey singer Robert Fleichman did the self-titled debut album but was quickly replaced for the music videos and tour with an unknown named Mark Slaughter.  Rounding out the band were Dana Strum and Bobby Rock on bass and drums.

As I sat there listening to this album for review, Deke from Stick It In Your Ear told me, “I could never get into VV Invasion.”

My brief response to him is my review:

Dude…it’s comical. Vinnie just goes full shred to the point of stupidity. Like seriously stupid: like some idiot just hammering as fast as he can, like a kid whacking off or playing video games. And then he gets the singer to go as high as possible. It’s shrill. You can hear the songs have good riffs, but virtually every song has something to it that ruins it.

1/5 stars

 

 

REVIEW: KISS – Demos 1981-1983

The KISS RE-REVIEW SERIES Part 24 New bonus review!

Demos 1981-1983  (Bootleg)

For the first time in my life, I bought a CD that sounded so shitty, I couldn’t even stand to listen to it. I knew that the bootleg CD, Kiss Demos 1981-1983 wasn’t going to sound terrific, because my neighbor George had a version of this on LP way back in the day. I didn’t know it was going to sound this horrid.

Demos 1981-1983 collects some Kiss and assorted tracks, from some very dubious sources.  It sounds like 12th generation cassettes, complete with music bleeding through.  You can actually hear “Tokyo Road” by Bon Jovi bleeding through on track 7.  Enjoy the tape drop-out and inaudible drums too.  There are some interesting bits here, and some useless ones.

You can divide this CD into three sections.  The first six tracks seem to be Vinnie Vincent demos.  They include “Boyz Are Gonna Rock”, which evolved into two separate songs.  The verses became “And on the 8th Day” by Kiss, from the 1983 album Lick It Up.  The choruses became “Boyz Are Gonna Rock” from Vinnie Vincent Invasion’s debut LP.  These demos reportedly feature Vinnie himself on lead vocals, and he does a fine job of it in fact.  Why did he even need a lead singer?  Another curious track is “Back on the Streets” which Ace Frehley was known to play live before his first Frehley’s Comet album.  In fact the Comet band covered it on the tribute album Return of the Comet, and Vinnie put it on the first Invasion album. Finally there is the track listed on the back as “Your Baby”.  This is actually “Baby O” also from Invasion’s debut.

Moving on from the Vincent tracks, there are a few Kiss demos supposedly from The Elder sessions.  These include titles that are probably made up:  “Heaven”, “The Unknown Force” and “Council of the Elder”.  They are accompanied by an instrumental demo of “A World Without Heroes” and the original Frehley version of “Dark Light”, called “Don’t Run”.  These are actually really cool skeletons of tracks.  The one titled “Unknown Force” is a bass-led instrumental, and it has a funky little guitar part that is insanely nifty, but it’s just one idea that needs to be fleshed out.  Then there is “Heaven” which fans today know better as “Carr Jam” (on Kiss’s Revenge) or “Breakout” (on Frehley’s Comet).  Eric Carr wrote this riff for The Elder sessions and though Kiss didn’t use it, Ace did.  “A World Without Heroes” is an instrumental on which you can barely hear guitars.  Finally there is the track called “Council of the Elder” which could be the best of the lot.  It has a Zeppelin-y beginning reminiscent of things like “Thank You”, before it blasts into a cool riff that I don’t recognize from anywhere else.  Only a small part of the song seems to have been used, in “Only You”.

The third chunk of songs focuses on Lick It Up demos, a boring bunch of inaudible crap, all but one snippet called “You”.  It’s just a few chords and a vocal melody idea that Paul and Vinnie came up with, but it’s cool to hear them harmonize.  It’s possible this track evolved into “A Million to One” as the chords are similar.

The most inexcusable inclusion on this CD is “Young & Wreckless” which claims to be a Lick It Up demo with vocals by Vinnie Vincent.  This inclusion is an error that goes all the way back to the vinyl versions of this bootleg that circulated in the 80s.  The immediately obvious issue is that it’s not Vinnie Vincent singing, it’s Brian Vollmer.  That’s because “Young & Wreckless” is a Helix song, and this track is lifted right from their 1984 album Walkin’ the Razor’s Edge!  Like the rest of the CD, it sounds like an 18th generation cassette copy.

This disc is for die-hards only.  What I’d like to see is an official release of the demo tracks from The Elder period, which are great.  Next box set, boys?

1/5 stars

To be continued…

 

RE-REVIEW: KISS – Lick It Up (1983)

The KISS RE-REVIEW SERIES Part 23:

  Lick It Up (1983 Polygram, 1997 Mercury remaster)

On September 18 1983, Kiss publicly unmasked on MTV.  They each appeared with a name tag at a desk and answered questions from the press.  Their first album with their bare faces on the cover was just released on that day:  Lick It Up.  With two non-original members now in the band, and their fortunes fading, it seemed like the best move commercially and artistically.  According to writer Robert V. Conte, the Kiss press conference was overshadowed by an MTV special on Van Halen, broadcast the same evening.

It would be easy for skeptics to dismiss Kiss’ unmasking as a mere stunt, and in many ways they would be right, but it was not a decision made lightly.  Kiss had legitimate fears about how they could carry on without the makeup and costumes.  They came to realize that they could just continue doing what they do – playing their songs live as they always have.

The new album, Lick It Up, was brilliant. It is “exhibit A” in the case of “Did Vinnie Vincent save Kiss?”  With eight out of ten writing credits, all of them great, it certainly appears that Vinnie gave Lick It Up a swift kick in the afterburner.

The stark white cover featured Kiss in their street clothes.  It was a minimalist cover with the only clue to their identities being Gene’s tongue.  In Japan, a full cover obi retained the band in makeup (including Vinnie) until you opened the package and saw the white cover inside.  This led to an urban legend that Japan actually had a rare makeup cover on their edition of Lick It Up.

Strangely enough, even though Lick It Up was Vinnie’s official debut as a Kiss member, He didn’t play the solo on opening salvo “Exciter”.  This was unknown to fans at the time, but “Exciter” was performed by Rick Derringer after Vinnie couldn’t nail the right vibe in the studio.  It was an ominous warning of things to come.

Otherwise, “Exciter” ushered Kiss into the 1980s with a sound that fit.  It had a chunky guitar chug, and killer melodic chorus, and left the sound of the 70s far behind.  Perhaps most importantly, it had no outside writers.  Nothing on Lick It Up required outside writers now that they had Vinnie in the band.

After the blowout opening of “Exciter”, Gene Simmons grinds it down slow with one of his heaviest tracks to date: “Not For the Innocent”.  Gene adapted his singing style to include a Demon scream, and “Not For the Innocent” features lots of it on the outro.  “Not For the Innocent” built on the heavy Kiss of Creatures of the Night and pushed it heavier.

The first single was the successful and surprisingly simple “Lick It Up”.  It’s basically a textbook guitar chug with verses and a chorus – no solo.  It was enough to go top 40 in the UK and Canada and has since become a concert staple.  In fact it’s the only Lick It Up song to remain in the set beyond the 80s, and it’s a pretty good song for what it is.

Simmons returned to the fore on the frenetic “Young and Wasted”, an example of speedy 80s Kiss keeping up with their metal compatriots.  Fortunately, Vincent provided a kicking riff.  Live, “Young and Wasted” was often given to Eric Carr to sing.  The studio version is the one to beat.  Then it was Paul Stanley’s turn in the driver’s seat with “Gimme More”, keeping things rolling in a non-descript top gear.

One of the most interesting tunes on Lick It Up is the side two opener and second single “All Hell’s Breakin’ Loose.”  It was begun as a Zeppelin-y riff by Eric Carr, and finished by all four members – only the second Kiss song ever credited to all four members.  It became, in Eric’s words, a “rock and roll rap song!”  That’s not quite so, though Paul’s talk-singing in the verses evokes the basics of rap.  No worries though; this is one brilliant Kiss song that really deserved more exposure.  One worth buying the album for.

The Simmons-dominated second side of Lick It Up is where most of the treasures are found, but Paul had one more kick at the can.  Paul’s “A Million to One” is an unsung classic.  A defiant Stanley tells an ex that her chances of finding a better lover are “a million to one”.  With such an awesome song backing him, Paul makes a convincing argument.  He hits a homerun with melody and angst.

A trio of Simmons tunes ends Lick It Up as one of Kiss’ heaviest album.  “Fits Like a Glove” is speedy-Kiss again, hyper-caffeinated and playing as fast as they can.  Gene’s barking out the words, chewing them up, spitting them out and taking no prisoners.  Then, he brings it back to a groove on “Dance All Over Your Face”.  It’s a song you might not know, but you should.  Kiss’ deep cuts from the 80s have some rare diamonds, and this is one of them.

The closer was an apocalyptic rocker called “And on the 8th Day” which was based on a Vinnie Vincent demo.  The verses of that demo became “And on the 8th Day”.  The choruses became a later Vinnie Vincent Invasion track called “Boyz Are Gonna Rock”, which we will look at later on.  The two songs share DNA but have little else in common.  The Vincent demo is the kind of speed rocker that dominated Lick It Up.  Meanwhile the Kiss song “And on the 8th Day” has the slow monster plod, a killer riff, and a chorus that goes on for days.  Although it’s never seen the light of a concert stage, it really should have.

Though Vinnie Vincent co-wrote the songs that may or may not have saved Kiss, he was a real problem.  His personality didn’t mesh, and his ego got the better of him.  He couldn’t come to an agreement with Kiss over his contract, and in fact never signed one to become an official Kiss member.  This caused him to be let go at the end of the European Lick It Up tour.

Finding a replacement for Vincent wasn’t easy, and he was re-hired for the American tour, though he still delayed signing a contract.  Issues with Vinnie grew on this tour, as he grabbed more of the spotlight from his bandmates.  Like Ace Frehley before him, Vinnie was given a five minute solo spot, but sometimes Vinnie dragged them out well into overtime.  This caused plenty of tension, especially when he once broke into an impromptu solo leaving the band on stage not sure what to do.  The issue of Vinnie’s contract became a non-issue when he was let go permanently.  The band have had very little good to say about Vinnie Vincent since then, especially when the lawsuits began.  Despite this, Lick It Up was not to be Vinnie’s final collaboration with his former band.

Did Vinnie Vincent save Kiss?  This argument will go on as long as there are Kiss fans to discuss it.  Vinnie certainly did provide Kiss with some grade-A songs, both here and on Creatures of the Night.  However he wasn’t the kind of guitar player they needed, who could play the old stuff authentically and also shred with the new kids.  If Vinnie hadn’t come along, another talented writer would have, and Kiss would have continued.  This doesn’t do anything to discredit Lick It Up, a damn fine “comeback” indeed.

Today’s rating:

5/5 stars


Uncle Meat’s rating:

3.5/5 steaks 

Meat’s slice:  After my scathing review of Creatures of the Night, I wasn’t sure how to approach this Lick It Up Meat’s Slice. I guess I’ll start with March 15, 1984. My buddy Scott Hunter and I went to Maple Leaf Gardens to see Kiss on the Lick it Up tour, with supporting act Accept! This was to be my second Kiss concert, as we were also at Maple Leaf Gardens for the Creatures tour on January 14, 1983. A concert in which we didn’t know until well after that it wasn’t Ace Frehley on guitar…but none other than Vinnie Vincent. Of course Vinnie was on guitar for the Lick it Up tour as well. Great show with openers The Headpins. Before my 15th birthday, I had now seen Kiss twice. I am 47 now and haven’t seen them live since.

Kiss had taken the makeup off between these albums. Years before I remember seeing a People magazine in my grandmother’s bathroom, while taking a shit, that showed Gene Simmons with a bandana over his face just over his nose. Up until now I had not seen any Kiss member without makeup. So there they are on the Lick It Up cover and all I can think is…”Damn…wish they still had makeup at least for that really ugly dude,” (Vinnie).  The title track of the album has become a bit of a Kiss classic and is still a great song. Not a lot of this album is exceptionally great in my opinion, but there are some good gems in there. The best of which I think is “All Hell’s Breakin’ Loose”, which I have always loved and still do. Other than those two songs? The album lies somewhere between Meh and Good for me.

Funny Vinnie story for me though. Many years ago our makeshift band at the time were playing a Christmas assembly at St. David’s High School in Waterloo here. I was standing behind the soundboard as my guitar player was on stage doing a sound check. The sound guy asked my buddy Dave to play a bit to get a starting level. As per usual, Dave went ripping into some heavy metal bullshit soloing. After a few seconds of that I could see the sound guy waving his hands in the air in front of me, and after getting Dave’s attention, says into the microphone at the board, “Okay Vinnie Vincent…Settle down there.”  Always found that kinda defined the Vinnie Vincent Invasion.

Favorite Tracks: “All Hell’s Breakin’ Loose”, “Lick It Up”

Forgettable Tracks: I don’t know about forgettable, but the rest isn’t that memorable.


To be continued…

Original mikeladano.com review:  2012/07/20

 

 

 

 

RE-REVIEW: KISS – Creatures of the Night (1982/1985)

The KISS RE-REVIEW SERIES Part 22:

  – Creatures of the Night (1982 Casablanca, 1985 Polygram reissue, 1997 Mercury remaster)

The internal problems with Kiss continued full-bore into their next album, the surprisingly powerful Creatures of the Night.  Ace Frehley was on the cover, and in the music video, but like Peter Criss before him, he didn’t play a note.  In the midst of recording with new producer Michael James Jackson (Red Rider), they were also auditioning new guitarists to replace the Ace.

As a result of the embarrassing failure of their concept album fiasco Music From the Elder, Kiss had little choice in what to do next.  If they had any hope of survival as a musical entity, they had to return to rock.  What may have come as a surprise given their recent history including two pop “Kissco” albums was that their new music was really, really heavy.  Kiss were unleashed and went full-bore heavy metal.

Aiding and abetting this:  drummer Eric Carr was unchained on Creatures of the Night.  His drum sound, inspired by the massive slam of Zeppelin’s John Bonham, was completely off the hook.  These are by far the biggest sounding drums on any Kiss album.  Also helping the band get heavier:  a new songwriting partner.  Vincent Cusano wrote and played on several tracks on Creatures.  His talent was evident to all.

In fact there is a school of thought today regarding Mr. Cusano, later redubbed “Vinnie Vincent”.  A large vocal group of fans proclaim today that “Vinnie Saved Kiss”.  And that theory does hold some water.

Other contributors to the LP included Canadian writing team Bryan Adams and Jim Vallance.  Adam Mitchell and Mikel Japp also wrote with Paul and Gene.  Guitarists Robben Ford, Steve Farris and Adam Mitchell lent chops and solos to the album.  One guy who Gene claims came to the studio, but did not play, was one Eddie Van Halen.  According to Gene Simmons, Eddie came down and poured his heart out complaining how miserable he was in Van Halen…and then asked to join Kiss.  Believe it…or not?

The incendiary title track “Creatures of the Night” is powerful and instantaneous enough to be used as a concert opener.  The metallic chug was new to Kiss, but not alien to them.  This anthemic Paul Stanley rocker had the goods.  Kiss were back, and in a big way.  Just listen to those opening drums!  It’s as if Kiss knew that Eric Carr still needed a more suitable introduction, and they gave it to him.

Creatures is notable for one major “first”.  It was the first of many Kiss studio albums to only feature two lead singers, Gene Simmons and Paul Stanley.  Gene’s debut on Creatures is the incredible “Saint and Sinner”, heavy but low-key and based on a killer verse melody.  “Get me off this carousel, you can do as you please…you can go to hell,” sings an angry Demon.  And that’s Vinnie, absolutely smoking with a brilliantly melodic guitar solo.  What a player…but only when he can control his instincts to play too fast.

Paul turns up the sex on “Keep Me Comin’” (har-de-har har!), a sleazy Kiss rocker with a heavy Zeppelin groove.  While not quite filler material, “Keep Me Comin’” and another Paul track called “Danger” are definitely on the lower rungs of this album.  “Danger” is the prototype for a kind of speed metal Kiss rocker that Paul threw on all the albums from this point to 1985.

One of Paul’s best songs, and longest lasting in concert, was the ballad “I Still Love You”.  This is one heavy ballad, but Paul’s singing is completely over the top.  Again, it’s more like a heavy Zeppelin blues ballad.  A track like this proves why Paul is considered one of the greatest hard rock singers of all time.  Not too many can do it like Paul on “I Still Love You”…and that’s Eric Carr on bass, by the way.  Gene doesn’t play bass on most of Paul’s songs.  Jimmy Haslip (ex-Blackjack featuring Michael Bolton and future Kiss member Bruce Kulick) and Mike Porcaro took over bass duties on “Danger” and “Creatures” respectfully.

As for Gene, Creatures really sounds up his alley, with tunes like “Rock and Roll Hell”, “Killer”, and “War Machine” suiting his dark persona.  And what tunes these are, particularly “Rock and Roll Hell” which simmers with a midnight intensity.  The song rides the basic bassline with not much in the way of additional crunch, into chorus time.  The interesting thing is the song is actually a thorough re-working of an old Bachman-Turner Overdrive song written by Jim Valance.  In fact, Valance claimed that Simmons only insisted on reworking the song in order to get writing royalties.  Either way, “Rock and Roll Hell” just burns like an ember.  Then in another interesting twist, the song was later covered by Ace Frehley (Origins Vol. 1)!  A Kiss cover of a Kiss song he never played on.

“Killer” reeks of Vinnie Vincent.  One of the key guitar riffs sounds quintessentially Vinnie, and kind of similar to his later solo track “Boyz Are Gonna Rock”.  It’s a brilliant track, right up Gene’s alley, with intense speed and hooks.  The female backing vocals in the outro are a surprise.  “War Machine” on the other hand sounds purely Gene, even though it’s a co-write with Valance and Bryan Adams.  Something about it personifies the “monster plod” sound that Gene specializes in. It’s apocalyptic Kiss metal for your nightmares.  It’s strong and relentless.

The single was, of course, the overplayed “I Love it Loud”, which in turn was transformed into a killer music video featuring Ace Frehley miming Vinnie Vincent’s guitar.  “I Love it Loud” is insanely catchy and unshakeable during its first several listens.  After that, it’s too simple to maintain interest too long.  It’s kind of baffling how this song has remained in set lists well past its sell-by date, especially when tracks like “Killer” and “Saint and Sinner” are not.

In 1985 this album was reissued with new non-makeup cover art.  On the cover they replaced Ace Frehley, who never played on the album, with Bruce Kulick…who never played on the album.  Three songs were remixed:  “Creatures of the Night”, “War Machine”, and “I Love it Loud”, but only “Creatures” was included on the 1985 album.  The remixed “I Love it Loud” was later issued on a compilation, and the remixed “War Machine” has yet to be released.  The remixes by Dave Wittman generally toned down the awesome drum sound, weakening the experience overall.

Vinnie Vincent joined the band officially after Creatures was recorded, and was given his own makeup design:  The “Ankh Warrior”.  A strange choice for a new character; perhaps Kiss were plain out of ideas or just didn’t care.  It’s the only Kiss makeup design to never be seen on an album cover.  Then, Kiss embarked on their first American tour in years, the 10th Anniversary Tour.  It featured a stage with a tank for a drum riser.  “Killer” indeed!

Today’s rating:

4.5/5 stars


Uncle Meat’s rating:

2.5/5 steaks 

Meat’s slice:  When Creatures of the Night was released in 1982, Kiss had been on the back burner for me for a couple years.  Obviously still loved the classics, but 12 year old Meat was starting to become a huge fan of Heavy Metal music.  Two different friends of mine and I were discovering new music together.  Albums like Ace of Spades, Maiden Japan and Saxon’s Denim and Leather were the gateway drug for me on my way to being addicted to Heavy Metal. So when Creatures came out I recall being so into it, primarily because this was a “Heavy Metal” Kiss record.  What’s not to like?  The video for “I Love it Loud” was awesome and renewed my love for the band at the time.

So I listened to Creatures from stem to stern the other day, 35 years after it was released, and my take on this album is now quite a different story.  I am expecting that many will disagree with my slice on this one, but circumstances dictate my review.  Metal music just doesn’t inspire me the way it used to.  The love is still there but the lust is gone.  Obviously there are staples that I will always love, and new exceptions pop up all time time, but the truth is I would rather put on stuff like Steely Dan, Sly and the Family Stone, Grand Funk Railroad, Yes, Steve Earle, Drive by Truckers etc etc.

If I would have done these Meat Slices let’s say…20 years ago?…I probably would have panned Unmasked and praised this album.  But now it is the opposite.  The album’s title track, “I Still Love You” and “I Love it Loud” are still enjoyable to me, but pretty much every other song sounds very forced and downright boring to me.  This is what happens when a band, who was used to ruling the world, tries to regain said status by joining the new Heavy Metal revolution.  Trying to be something they are not.   The albums previous (with maybe the exception of the song “The Oath”) and the albums that followed were not Metal albums.  The following albums have some heavy songs, but are definitely not Heavy Metal records.  You have to fast forward a decade until they released Revenge, and even that album had some different styles within it.  It’s so strange to me that a Kiss record that sees Kiss trying SO HARD to be a heavy metal band, turns to Bryan Adams for inspiration?  What’s Metal about that?  Hello.  McFly?

Rating this album was tough for me. I had to consider how much I loved it when it came out, and that the Creatures of the Night tour was my first Toronto arena concert.  I can’t say I dislike the album, but I can say that of all the Kiss records I have revisited doing these slices, it’s this album that truly disappointed me because I went into the listen looking forward to hearing it again.

My final thoughts are this.  Would diehard Alice Cooper fans consider Flush the Fashion a classic Alice Cooper record?  It’s an album I owned on vinyl and I like the album, but it’s a blatant grab at the New Wave market and sounds nothing like the rest of his career.  Celtic Frost has done everything possible to erase the memory of the deplorable Cold Lake, since it is a very un-Celtic Frost like record for the band.  Creatures of the Night is not genuine to me.  Most of the album sounds like the inspiration for Spinal Tap’s album, Smell the Glove. Especially the song “Heavy Duty”, and not surprisingly it was released not long after this in 1984.  So, to end this slice I will refer to the immortal Derek Smalls and put it like this.  Creatures of the Night is a disingenuous collection of head banging bullshit that to me is forgettable.  It sounds square, clunky and has way too many forgettable songs on it.  I would rather listen to Bryan Adams’ 1983 album Cuts Like a Knife.   But Kiss…I still love you.

 Favorite Tracks:  “I Love it Loud”, “Creatures of the Night”, “I Still Love You”

 Forgettable Tracks:   The rest


LeBrain’s rebuttal:  You’re Wrong on Creatures

For this Kiss Re-Review series, I have purposely avoided reading Uncle Meat’s reviews, and vice-versa, until they are ready to post.  We wanted to avoid influencing each other.  Creatures is an exception.  Meat sent this to me a couple weeks ago, long before I even started my review.  And now that I have read it…I feel like crying a single solitary tear of sadness, just like the one Gene shed in the video for “A World Without Heroes”.

Uncle Meat has a point about the switch to heavy metal music seeming like an act of desperation.  I don’t doubt that if The Elder had been a hit instead of an abject nearly career-ending failure, Kiss would have continued in that direction.  But we are talking about Kiss here.  This is a band that have usually been followers, not leaders.  Were they the first to wear makeup and heels?  No.  Did they invent disco with “I Was Made For Lovin’ You”?  No.  Going forward into the future, you will see Kiss continuing to chase other people’s sounds, such as Jon Bon Jovi and Alice in Chains.  Even Revenge, which Meat mentioned above, seemed like an effort to bring things in line with what was happening in rock and roll.

Having listened to Creatures again for what must be the 30,000th time, my love for it is still strong.  I’ve bought Creatures five times over the years.  Every time I play it, I’m a 13 year old again.  I sink into the guitar tones, which Vinnie just nailed on this album, and enjoy the booming echo of the drums.  “I Love it Loud” no longer pitches my pup tent, but mostly due to overexposure.

On this, the Meatmaster General and I will have to agree to disagree.  It’s something we often do when it comes to music, but the benefit is that it generates rich discussions, just like this one.  — LeBrain

To be continued…

Original mikeladano.com review:  2012/07/28

 

#372: Top Five Reasons Why I Love Kiss

KISS ARMY FRONT

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

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

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

 

NEW RELEASE

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

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

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

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

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

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

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

Collector's card included inside Kiss 40

Collector’s card included inside Kiss 40

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

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

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

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

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

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

4/5 stars

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

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

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

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

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

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

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

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

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

3/5 stars

KISS DVD 20TH CENTURY MASTERS_0001

REVIEW: KISS – 40 (Japanese import with bonus track)

NEW RELEASE

KISS – 40 (2014 Universal Japan)

Alright people. I got a question for everybody here (and I didn’t forget about you people upstairs neither, woah yeah!).  How many of you people believe in rock and roll?

If you believe in rock and roll, like you say you believe in rock-and-ro-oh-oll, then you know that 2014 is the 40th anniversary of the very first Kiss album.  Gene Simmons believes in rock and roll.  So does Universal music.  They believe in rock and roll’s ability to fill their pockets again and again.   As fans, we have learned to accept this.  You don’t have to buy every re-package and reissue that comes out; we all choose which releases to buy based on our wants and budgets.

Unreleased music is a top priority for me, so seeing Kiss 40 coming out with a number of unreleased tracks, I was excited about this release.  I bought the Japanese edition from the folks over at CD Japan, for the Japanese exclusive bonus track.  I’ll talk about that track in a bit, for now I want to express how happy I am with Kiss 40, as a compilation aimed at fans both new and old.

Sets like this are tricky.  You have to include familiar versions of familiar hits for the people buying their first Kiss CD.  You have to include value to the cantankerous old fan, and present the old songs in novel ways.  What Kiss and Universal chose to do was include one song from every Kiss album, including every live album.  Sprinkled into that are the unreleased songs.

High points:

I love that they used the Paul Stanley version of “God of Thunder”, the fast one.  Marko Fox has been using that as his theme song on his show for a while, and I’ve really grown to love this version.  All four solo albums have a song included.  (I would have preferred a harder song from Paul’s album, but “Hold Me, Touch Me” was the single after all.)  Killers is represented, via “Down on Your Knees”.  Not a bad song.  I’m glad to have the radio edit of “Jungle”, finally.  I never had that before, and “Jungle” probably wouldn’t be on the album if it wasn’t edited down from its full seven minutes.  (Although not stated, “Psycho-Circus” is also edited to remove the “circus” intro.)

Low points:

The goal of including Kiss songs from every album also means that you have to hear “Let’s Put the X in Sex”.  Although this would have been a great place to use a rarer remixed version, it’s just the same one from Smashes, Thrashes & Hits.  Another total miss that is here is the dreadful “Nothing Can Keep Me From You”, from the Detroit Rock City soundtrack.  Whyyyyy.

Nitty gritty details:

The first rarity is a 1977 Gene Simmons demo called “Reputation”.  You can hear that aspects of this song later made it into other Gene Simmons compositions such as “Radioactive”.  This is one of those song titles I’d read about for years, but have never heard until now.  Cool.  While the song is definitely a demo, and not quite as good as most finished Kiss songs, it does boast a cool dual guitar solo and rocking piano a-la “Christine Sixteen”.

KISS 40On the second CD are the rare live tracks.  In addition to live songs sampled from You Wanted the Best, You Got the Best!!, Alive IV: Kiss Symphony and The Millenium Concert, there are rare ones here from Instant Live CDs.  Instant Live CDs are live albums you buy at the concert, immediately after the concert — a souvenir of the show you just saw.  Extras are then sold online.  I have a handful myself, but nobody has all of them (at least, nobody I know of!).  “Deuce”, “Cold Gin”, and “Crazy Crazy Nights” are all from these Instant Live albums.  “Crazy Crazy Nights” is the one I was most interested in.  Live performances of that song are scarce in my collection.  It is from the Sonic Boom tour, and it’s pretty solid.  The song is played in a lower key to accommodate Paul, who does pretty good anyway.  Eric and Tommy help him out on the chorus.  Thayer simplifies the original Kulick solo, adapting it to his style and keeping the key hooks intact.  The result is a tasty guitar solo which is a cross of both players.

Finally, those lucky lucky fans in Japan got a brand new live song:  “Hell or Hallelujah” recorded at Budokan.  Although the song itself smokes, Paul’s voice is really sore on this one.  (Both the intro and outro, which could have been neatly edited out, are really harsh.) The song includes the line, “No lies, no fakin’,” and that is totally appropriate, because this sounds 100% live and untouched.  Gotta give ’em credit for not trying to fix Paul’s voice in the mix.

Notable omissions:

“Love Gun”, “Creatures of the Night”, “Hotter than Hell”, “I Stole Your Love”, “Rocket Ride”, “Sure Know Something”, “Hide Your Heart”, “Domino”.

The verdict:

Buy this CD.  The concept of “one track per album” creates some interesting listening results.  The ratio of rarities to hits keeps it fresh all the way through.  And if you’re a Kiss fan absolutely get the Japanese version.  Just go to CD Japan and order it.

4/5 stars

Disc One

  1. ‘Nothin To Lose’
  2. ‘Let Me Go, Rock ‘N’ Roll’
  3. ‘C’mon and Love Me’
  4. ‘Rock And Roll All Nite’ (Live)
  5. ‘God Of Thunder’ (Demo)
  6. ‘Beth’
  7. ‘Hard Luck Woman’
  8. ‘Reputation’ (Demo) – Previously Unreleased
  9. ‘Christine Sixteen’
  10. ‘Shout It Out Loud’ (Live)
  11. ‘Strutter ‘78′
  12. ‘You Matter To Me’ (Peter Criss)
  13. ‘Radioactive’ (Gene Simmons)
  14. ‘New York Groove’ (Ace Frehley)
  15. ‘Hold Me, Touch Me’ (Paul Stanley)
  16. ‘I Was Made For Lovin’ You’ (Single Edit)
  17. ‘Shandi’
  18. ‘A World Without Heroes’
  19. ‘I Love It Loud’
  20. ‘Down On Your Knees’
  21. ‘Lick It Up’
  22. ‘Heaven’s On Fire’

 

Disc Two

  1. ‘Tears Are Falling’
  2. ‘Reason To Live’
  3. ‘Let’s Put The X In Sex’
  4. ‘Forever’ (Remix)
  5. ‘God Gave Rock ‘N’ Roll To You II’
  6. ‘Unholy’ (Live)
  7. ‘Do You Love Me?’ (MTV Unplugged)
  8. ‘Room Service’ (Live)
  9. ‘Jungle’ (Radio Edit)
  10. ‘Psycho Circus’
  11. ‘Nothing Can Keep Me From You’ (Detroit Rock City soundtrack)
  12. ‘Detroit Rock City’ (Live)
  13. ‘Deuce’ (Live 2004) – Unreleased commercially
  14. ‘Firehouse’ (Live – 1999/2000)
  15. ‘Modern Day Delilah’
  16. ‘Cold Gin’ (Live 2009) – Unreleased commercially
  17. ‘Crazy Crazy Nights’ (Live 2010) – Unreleased commercially
  18. ‘Hell or Hallelujah’
  19. ‘Hell or Hallelujah’ (Live in Japan 2013) – Japanese bonus track