Tag Archives: Animalize

Where They Stand or: Many KISSes?

11 Tuesday Dec 2018

Posted by in KISS, Music Review, Records

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Salutations™!!

I threatened this a while back. I threatened that I would do my own ranking list of KISS albums, and here it is. There are a few criteria to this list and I will give some details as to why on some of them. This is my opinion and not based on anything other than my preferences with the albums. This doesn’t even represent what I think are the better albums and which are the worse as far as the overall substance, it’s where I prefer them.

I know there will be controversy and I know that there will be screaming and yelling at me over some of them, especially one pretty low on the list. We’ll hit it fairly soon. But first, let’s go over the criteria. To begin, these are the first 20 studio albums, the four solo albums, Alive I-IV, Unplugged, and the three “greatest hits” albums that I felt qualified (read: that I consider worth a crap). I am going from #32 and counting down backward. According to how long-winded I get, I may break this down into two posts, we’ll see when we get there. Okay, ready? Here we go:

Hot_in_the_shade_cover

Hot in the Shade

#32 — Sonic Boom (2009) and #31 Monster (2012). As I said in my post about these two last month, I think Monster is the better of the two, but both are pretty much non-existent to me. There are some hits and misses on each but, more misses than hits.

#30 — Hot in the Shade (1989). This was the long-reigning worst KISS album until the previous two came along. It was half-arsed, lacking substance, about five songs too long and, with the exception of about four songs, I didn’t care about any of it.

Dressed_to_Kill_(album)_cover

Dressed to Kill

#29 — Dressed to Kill (1975). Yeah, this is the one that will probably get the most attention and get me screamed at by my KISS-lovin’ friends and “purists” alike. While this album has three of my favorite songs overall (top 15 probably), it also has that song on it. It has “Rock and Roll All Nite” on it. It also has “Getaway” and “Room Service” on it. Neither of those is awful, I just think they’re quite cheesy. The album, to me, sounds thin, and I just don’t like to listen to it. So, there’s the first surprise.

#28 — KISS Symphony: Alive IV (2003). To really even call this a KISS Alive is kind of pushing it, to me, anyway. Yes, it is live and some of it is done with the Melbourne Symphony, but it’s thrown together and while I like to listen to it, it just doesn’t move me as a KISS album.

#27 — KISS Killers (1982). This was originally a Japanese-only release and then was re-released here in the US later. It’s kind of shoddy production and while there are four new songs on this album, outside of “Nowhere to Run,” I don’t really care for the others. The new songs were recorded because Phonogram, the international label at the time, pretty much made them after the disappointing sales of 1981’s Music from ‘The Elder.’ The makeup and costumes are of that same period.

#26 — KISS: MTV Unplugged (1996). This has some great version and I have the full uncut show on VHS somewhere, and it got the “band back together.” I like to listen to it, but it’s not something I listen to often, so it isn’t dislike but disinterest that puts it this low on the list. Not a bad album.

#25 — Alive III (1993). I did like this album. I saw the tour it was on and I loved hearing “I Was Made for Lovin’ You” and later KISS tunes live. The sound is pretty good on this, too. It’s starting to get into albums that I just had to place them somewhere, not because I disliked them, same as the one previous.

#24 — Carnival of Souls: The Final Sessions (1997). I wrote a review of this last month, too. It was a big

Carnival_of_Souls_KISS

Carnival of Souls

departure from even the heaviest (to that point) KISS albums like Revenge and Creatures of the Night. I don’t know that they could have toured in support of this album, though, as I don’t think Gene could even play half of the bass lines on the album. Nor, do I think they’d want to. I liked it, though. I just don’t listen as much as its predecessors. You can search the blog for the review if you missed it. Just type in Carnival of Souls.

#23 — Psycho Circus (1998).  Again, reviewed just recently. I do think while it attempted to capture the old-makeup days’ glory, it missed a lot of its spirit. I do really like the album, but not better than the next 22.

#22 — Ace Frehley (1978). Yeah, here’s the second yelling spot. In September, I wrote about the four and stated that Ace’s album was my least favorite. To me, the solo albums were a chance to experiment and Ace experimented the least. While Paul’s was also KISS-like, Ace’s was just plain KISS.

#21 — Smashes Thrashes & Hits (1988). A good representation of KISS from 1974-1988 (including the two new originals). I talked a bit about this album last month, too.

Peter_criss_solo_album_cover

Peter Criss

#20 — Peter Criss (1978). It was a lot of disco, country & western, boogie rock and ballads. But, I liked it. And, I liked it better than Ace’s.

#19 — Double Platinum (1978). The KISS greatest hits album that started it all. Two records, four sides, each loaded with KISS Klassics. Some remixes, most notably “Strutter ’78” which added a little disco hi-hat overdubs in to jazz it up a bit. Some tunes had parts removed and some remixed and rearranged. I wore that record out.

#18 — Animalize (1984). I don’t know that I’ll ever really understand the title or cover, but that’s okay. It was 1984 and that was the going thing. “Heavens on Fire” is still one of my favorite non-makeup songs and “I’ve Had Enough (Into the Fire),” “Under the Gun,” “Thrills in the Night” were pretty cool, too. There were some Gene clunkers but there was a lot of energy on the album.

#17 — Asylum (1985). The only reason this album gets higher than Animalize is that this album has “Tears are Falling” and “Who Wants to be Lonely” which are two of my favorite KISS songs overall, not just non-makeup. Again, a lot of energy on this album and it’s fun to listen to.

Kiss_revenge_cover

Revenge

#16 — Revenge (1992). Released after Eric Carr’s passing, KISS went into “heavy mode” to right the wrongs that their direction had taken. The did the same in 1982, yes, 10 years earlier. It’s like they had started to veer and needed to correct. The album is a monster (more so than the one actually titled that) and while there are heavy tunes, there are also some Paul cheese. Paul cheese generally isn’t a bad thing. It’s just that, cheese. The album that the Alive III tour was recorded for, I saw this tour and it was great!

I think I am going to stop here and break it up. I’ve given you enough to stare at your screen agape already. I’ll get back to the rest later this week, maybe tomorrow.

So, just from this, go ahead, Dear Reader and all you KISS fans, give it to me. I can handle it. Again, this is my opinion, not based on anything else. I’m pretty outspoken about a lot of the albums, but I’ve tried to keep my verbosity to a minimum on this. Be on the lookout for Part 2.

Until tomorrow, same blog channel…
Scorp out!

—
“Open yourself to me. Let me show you what it can be like. Baby, giving it all that you’ve got. Nothing can hold you back. Some things can stand alone. A mountain can feel no desire. But a heart isn’t made out of stone. Wake up in the middle of the night. Nobody’s gonna make it alright.” – “Who Wants to Be Lonely” (Stanley/Child/Beauvoir)

Welcome to the Show or: Many Kisses (Part 4)

21 Friday Sep 2018

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Salutations™!!

The month of September is a huge month for KISS fans, even if they don’t know it. Why you may ask? Because the month of September is the anniversary month for the releases of TEN KISS albums. I’ve talked about Alive!, Animalize, Asylum, Paul, Gene, Ace, Peter, Lick It Up and Crazy Nights. Here’s the last one for September. It’s one of great debate, I’m sure. I am conflicted with it myself. And, I’m doing it a day early because Saturdays are scheduled for something else.

Psycho_Circus

©Mercury Records

Heavens Sake, the band that I was in and still the proudest of (we were greatly influenced by KISS), was still happening in 1998. It was in and out but it was happening. I had seen MTV’s “Unplugged” featuring KISS, along with a reunion of the original members while at drummer Bob’s apartment. We saw KISS actually reunited in makeup on the Grammys, introduced by Tupac. They had a reunion tour and we went. So, it was inevitable that there would be an album. This was the “reunion” album, Psycho Circus, in 1998 on September 22.

I say that in quotations because Peter really only played on Ace’s “Into the Void.” And, current KISS “Spaceman” Tommy Thayer played leads on all but four tunes. And, Bruce Kulick, former KISS member, played bass on the title track and “Dreamin'” and played the backward guitar track on “Within” and rhythm guitar on “Dreamin’,” as well. The drums, this time, weren’t played by Anton Fig in Peter’s stead, this time it was Kevin Valentine (who played on Revenge and Hot in the Shade, as well), known from Donnie Iris & the Cruisers and he was a touring drummer with Cinderella for a bit. Valentine also is an Emmy award-winning composer.

Whilst it was supposed to be a “return of KISS,” even in sound and feel it wasn’t old KISS. There were a lot of aspects of Carnival of Souls, the grunge-metal hybrid they were working on before getting the wise idea of “putting the band back together,” still on here. “Within” is the prime example of that, and in fact was demoed for that album. They had stuff that really sounded like most of the 80s-era stuff, especially Crazy Nights and Hot in the Shade. Again, this was a reunion album in concept only.

When you go out and play American football with all the rules, the same team, the same players, and call your team the New York Yankees, it’s still American football. You can call it a return to the “old KISS” but when the same two people are in charge of the songwriting and the same players are in the studio, it’s still the “new KISS.” Now, all that being said, I’m glad.

I loved the new KISS. I loved the old KISS. I still love KISS. As I said, up until Hot in the Shade, they couldn’t do any wrong, and, even with a few hiccups since that album, I still love them. It’s like that uncle that you know does dumb stuff but you still love him. The band evolved. They grew. They regressed. They moved forward. They moved backward. They adapted and that’s probably their biggest sin, here. I don’t think it would have been possible to return to Destroyer or Love Gun. I don’t think they forgot how to play and write like that, I just think it wasn’t them. If you listen to Sonic Boom or Monster (more on those next month), it’s not far from the same sound as this album.

I think they loved the idea of a KISS reunion but didn’t love being reunited. In a Rolling Stone interview in 2009, Paul said, “We tried to do a Kiss album, and it was an ill-fated attempt because there was no real band. For a band to make a great album, it has to share a common purpose…and we didn’t have it.” It was also revealed that Ace and Peter were trying to negotiate more money out of the “partnership.” You don’t negotiate money with Gene and Paul, not anymore. They feel they’ve survived without Ace and Peter, they kept the name going – regardless of the circumstances, and I think they knew that it was only a matter of time before it all came to an end.

In a very tongue-in-cheek attempt to return to some semblance of the old KISS sound, what do they do? They hire Bruce Fairbairn who was known for Bon Jovi’s Slippery When Wet and New Jersey albums, Aerosmith’s Permanent Vacation, Pump and Get a Grip, and AC/DC’s The Razor’s Edge. Now, all of those are fine and decent albums but do any of them scream what KISS would have sounded like as “old KISS?” All of those are the slickly-produced, sugary popped, the 80s/early 90s hair band mess. Which, I am quite fond of, actually. But, most folks aren’t when it comes to a KISS reunion.

People were disappointed. I wasn’t. Is it my favorite KISS album? Absolutely not. Is it top 10? Absolutely not. Is it top 20? Well, considering there are only 20 studio albums, it kind of has to be, right? It ranks higher than does either Sonic Boom, Monster, Hot in the Shade, Ace or Peter’s solos, and the gasper for this whole thing, Dressed to Kill. Yeah, I’ve really always been so-so about that one. Live with it. I do. This was the last good KISS record to me.

Contrary to what my blog always sounds like, I’m not anti-Ace or anti-Peter, I just don’t care. They squandered their chance and it’s okay that they milk what they can from what they had: sober, not sober, whining, moaning, happy, in, out… whatever. But, I’m really indifferent about their involvement in the band. I felt a little down when they didn’t all play together on stage for the Rock and Roll Hall of Fame, but I’m kind of glad at the same time. Upon the announcement of the “End of the Road” tour that is coming to be the actual retirement tour (we’ll see), people are calling for Ace and Peter to be part of it. Nah. They don’t deserve it in my eyes. Plus, even on the reunion and “farewell” tours, Peter couldn’t keep up and Ace was Ace. Tommy does the same licks, doesn’t mess them up and still has feeling in his playing. Just let it go. If you’re the “F.You without Peter and Ace,” then go back and listen to the old stuff and relish what you had but shut the heck up. Stop living in the past. Paul and Gene aren’t going to change their minds and they don’t care if you don’t give them money. You’re just grandstanding at that point.

My favorite tunes on this album are the title track, “We Are One,” “Dreamin'” (which got Paul and Bruce sued for copyright infringement from Alice Cooper, he won, they settled out of court) and “Journey of 1,000 Years.” I could have done without “You Wanted the Best” because I’m not a fan of “cheerleading” songs and that’s all it was. “Into the Void” was okay. I do actually like “Within,” but then again, I liked COS, too. The rest are okay, too. I like it. Most don’t. I get it, but oh well.

Tomorrow will be 20 years since this came out. To me, it’s still the “new KISS album.” It’s hard to count Monster and ESPECIALLY Sonic Boom. I just listened to Psycho Circus again for good measure.

Until tomorrow, same blog channel…
Scorp out!

—
“I’ve been waiting here to be your guide. So come, reveal the secrets that you keep inside. Step up! No one leaves until the night is done. The amplifier starts to hum. The carnival has just begun. You’re in the psycho circus. And I say welcome to the show.” – “Psycho Circus” (Stanley/Cuomo)

Crazy Licks or: Many Kisses (Part 3)

18 Tuesday Sep 2018

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Salutations™!!

Here’s the second post today! And yes, this is verbose as was the last.

The month of September is a huge month for KISS fans, even if they don’t know it. Why you may ask? Because the month of September is the anniversary month for the releases of TEN KISS albums. I’ve talked about Alive!, Animalize and Asylum. But, like I said in the last post, September 18 is a doozie and talked about the four solo albums that were released 40 years ago, today.

Lick_it_up_cover

©Mercury Records

In 1983, Lick It Up was released on this day and also that night Gene, Paul, Eric and Vinnie Vincent showed up on MTV and showed their faces publicly, at least as KISS, without the makeup. It was a weird transition for them, even if they say it wasn’t. Look at that interview and tell me that Gene doesn’t look uncomfortable as he says through his big white grill that it feels good… Uh huh. I think Vinnie looks uncomfortable all the time. Paul seemed the most natural. Eric was just there. Then look at the video for “Lick It Up” and tell me they look comfortable. Gene can’t figure out how to act. His professional career had always been under some kind of disguise. He’s not the most handsome man, truthfully, but really, were any of them? Nah.

Lick It Up, though, was a big breakthrough for the band. It was their chance to bring the people back into the KISS Army coming off the heels of Creatures of the Night, which saw the departure of Ace, even though he was on the cover, he played nary a note on the album. Several guitarists played in his stead on that album and one of those was Vinnie Vincent. Creatures was the rebirth KISS was looking for. It wasn’t quite KISS, but a harder rock version of KISS. I think Creatures is one of their heaviest albums in the entire KISS Katalog. But, they did that under the hidden comfort of their makeup-laden personas.

Truly, the band incognito had run its course. It was time for a new approach. Gene said in his book Kiss and Make-Up that Paul had talked him into unmasking. He was still apprehensive but Paul explained that the makeup had become a stigma and more people knew the characters than they did the musicians and the music, whether people want to admit it or not, was judged more on the makeup than on the merits of the music and songs. I was only 12 when this came out and I was aware of that fact. And, I’m ALL about the show. So, what to do? New direction with the music on the album before, let’s try a new direction in image, as well. I think it worked.

This album was pretty heavy and at times, mean. From the harmonics-driven intro of “Exciter” on to the fade of “And on the Eighth Day,” the album was a non-stop auditory assault. Paul also showed a whole new vocal style starting with this album. He started singing a little different on Creatures but from Lick It Up on, he sang higher, as did Gene, with more power and with more confidence. In fact, I think this album has Paul’s most powerful tone and timbre.

Gene really changed up his singing from just gruff to high and gruff. I can’t sing most of his non-makeup songs and I sing pretty high. The band also started aiming for the “metal” crowd instead of the “kids and rock-n-rollers.” Eric’s drumming was more volatile as well. He pounded the crap out of the drums. I found I was at the same time longing for and also glad they dismissed the drum sound employed on Creatures. It was an awesome sound but it was also overpowering.

Much of what made this album heavier was Vinnie’s playing. He was all about flash and speed and less about feel. But, I think that bled over onto Paul’s style, as well. Paul’s parts were heavier than the KISS we knew. There were no ballads or slower songs on this album. Speaking of songwriting, this marked the first time that there were no outside writers on a KISS album.  People have a hard time believing that, but from the first album (which had a cover – and yes I know the original didn’t have that cover), the second and third rehashed Wicked Lester songs, and so on. Plus, people forget that Vinnie was “in the band” at one time.

This is one of my favorite KISS albums, although it didn’t start that way. I never really noticed it being a “different KISS” until much later. KISS was KISS was KISS to me. I get it now, but I was blinded at the time. As tired of the title track I am, I still love it. We used to do it in Busted Uncle. It was fun. The only song I really don’t care for is “Gimme More” and even that is a pretty good song. The one that all my friends hate is one of my favorites on this album, “Dance All Over Your Face.” I don’t know why but I just dig the heck out of it.

This was the first album that I got on cassette and not on vinyl. So, the copy I have now (180g brand new) is the first time I’ve ever had it on vinyl.

Crazy_nights_album_cover

©Mercury Records

Now, 31 years ago today KISS released Crazy Nights. It is perhaps the most polarizing of the 80s-era KISS albums. I know a lot of critics, fans and even my friends have labeled it as poppy sugary drivel but I am not one of those. Yes, it is poppier. It’s not quite “hair band” material, but not far from it. Their heavy sound had softened a bit, even though they were on their second album with one of their best guitarists, Bruce Kulick who showed up on the tour for Animalize and played on Asylum. I don’t mind sugary pop, though, as you have read me talking about often, Dear Reader.

I believe part of the deal with the overall tone was that Paul and Gene gave up production duties and just recorded music. But, they were also using outside writers and not the likes of ex-Plasmatics members but with genuine pop music writing heavyweights, Adam Mitchell, Desmond Child, Bruce Turgon, Davitt Sigerson and legend Dianne Warren. On top of that it was produced by Ron Nevison who took over duties from David Foster on Chicago albums, Heart’s Heart and Bad Animals, Europe, Damn Yankees, Survivor and my favorite Ozzy Osbourne album, The Ultimate Sin. What absolutely didn’t help was the incorporation of keyboards (played by Phil Ashley).

I remember buying this album on cassette at Peaches. I knew it was coming out but hadn’t heard anything from it. I put it in the car stereo (in my ’74 Chevelle Malibu Classic’s Craig audio system) and waited. It seemed the leader tape was a bit long, so I turned it up thinking it was low. The opening notes of “whew!” for “Crazy Crazy Nights” scared the bejeezus out of me and I nearly wrecked my car. I loved it, though. That followed by “I’ll Fight Hell to Hold You” and “Bang Bang You,” gave Paul a good three-song start. Nice and poppy.

Then Bruce got to do his thing. He schools us on tapping techniques flawlessly and  Eric joins in with a little double-bass flash. This is “No No No” from Gene. The whole thing is a little hard to follow on the beat because it’s about being fast, I think. The only song that I don’t care for is “My Way” which I think single-handedly shows off the overly-poppy nature that many people see the entire album for. Also, as with Lick It Up, one of my faves on there is the one my friends say they dislike the most on the album, which is “Thief in the Night.” It was covered by Wendy O. Williams (also of Plasmatics fame) on an album that Gene produced which could have actually have been a KISS album.

Is this their best album 80s-era or otherwise? No. It is, however, the 80s-era KISS album that I listened to the most. It was the last original studio album that I actually had a love for and enjoyed without bias. The next album, Hot in the Shade, had plenty of letdowns for me. I don’t mean that I don’t love post-Crazy Nights albums, but up to this point, they could do no wrong. I realized on HITS that they could. Between the two came Smashes, Thrashes & Hits, a greatest hits album. I liked it.

This album also had a lot of unreleased things make it to other artists and box sets and such. The original title of the album was Who Dares Wins. I’m glad they changed that.

What are your thoughts on these two albums, Dear Reader? Are they up your alley or not? If you’re not familiar, why not give them a shot? Let me know what you think.

Until tomorrow, same blog channel…
Scorp out!

—
“Baby, now that you’ve made up your mind, I’m gonna let you go, if that’s what it takes to show love is blind. I gave you the best love you ever had, but it wasn’t enough. So, if you think you’re so smart, go and play with your heart. When you walk out the door, you’ll realize what you never did before. A million to one – that’s what it will be. A million to one – there’s someone better than me. A million to one – no, you never will find. A million to one – another love like mine.” – “A Million to One” (Stanley/Vincent)

 

Gone Solo or: Many Kisses (Part 2)

18 Tuesday Sep 2018

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Salutations™!!

The month of September is a huge month for KISS fans, even if they don’t know it. Why you may ask? Because the month of September is the anniversary month for the releases of TEN KISS albums. I’ve talked about Alive!, Animalize and Asylum.

20090517004510!Solo_inner_sleeve

©Casablanca Records

Now, today, September 18th is a doozie. In 1978, all four solo albums were released on this day. Three other KISS albums were released on this day as well, we’ll get to those.

Today is the 40th anniversary of the release of all four KISS solo albums. When I got into KISS, I was 7 going on 8 and that’s about when the whole Love Gun, Alive II, Double Platinum era was going on and then these were just coming out. Because of my newness to the band, I didn’t understand what was going on. I thought it was just 4 albums, one featuring songs by each member. I thought that was cool. And, in a way, it was. In other ways, it wasn’t. In many ways, actually.

While I pride myself on knowing my KISStory, at that time I had no such knowledge. I didn’t realize that Peter and Ace were both becoming victims of their own demons and weren’t pulling their own weight. They were constantly being pitted against Gene and Paul and were coming out on the losing side. As would be the case in any partnership/band/biz, that led to dissension. Ace and Peter were becoming more and more disillusioned with the “other side.” Gene and Paul were becoming less and less patient with Ace and Peter. Ace and Peter, whether right or wrong, felt that Gene and Paul were abusing their power and not allowing the others their creative freedom. Peter was threatening to quit as was Ace.  This is not just Gene’s and Paul’s long-heard version of the story, Sean Delaney backed this up when I talked with him several years ago. More on Sean later.

To keep the semblance of the band together, Gene and Paul, along with manager Bill Aucoin proposed that the individual members release their own album under the KISS moniker and let each showcase their influences, skills, desires, etc. Eraldo Carugati did the cover art of each and they looked cohesive, as they were supposed to. To the fans, including the newbies like me, it was to look like a cool thing they did in the name of creativity. I guess it was in some strange instances. They each dedicated their individual albums to each other, except Peter who added a dedication to Michael Benvenga who was in Chelsea and Lips with him, pre-KISS.

Ace’s album was all about the rock. Not, any pop or fluff really, even in the Russ Ballard tune, “New York Groove.” His guest list was not really extensive when you look at the other members’ tracks. He did recruit Anton Fig and Will Lee to play on his album, both of which would go on to be part of The World’s Most Dangerous Band from David Letterman. Fig would go on to be the drummer on the next two KISS studio albums (Dynasty and Unmasked) and when Ace finally blew the joint, he was part of Frehley’s Comet. Ace, being Ace decided he would do most of the other instruments himself, including most of the bass duties (Lee played on “Ozone,” “I’m in Need of Love” and “Wiped-Out”). There’s nothing wrong with that, he did it for the next few KISS albums, at least on his songs. Ace had Eddie Kramer produce his album (Ace co-produced it). Kramer was associated with Jimi Hendrix, David Bowie, the Rolling Stones, Beatles, and the list goes on. He also produced Alive! and Alive II. “New York Groove” was the only tune from this album that charted (#13). Ace’s was the only album to chart (#26) and was the highest selling.

Peter’s album was about soul, R&B, jazz, and rock and roll. kind of stuff. Peter’s background was in jazz drumming, not necessarily the hard rock that he was known for. His influences were older. Diverse. Most of the tracks on this record were written by Stan Penridge. The credits go to Penridge and Peter, but I’m suspicious of how much Peter actually wrote. He may have done some lyrics, I guess. Peter’s cover of Bobby Lewis’ “Tossin’ and Turnin'” was pretty good. KISS did it on the Dynasty tour, at least for a few shows. It was pretty awful from what I’ve heard of it. But, Sean Delaney wrote two songs on the album (“Rock Me Baby” and “I Can’t Stop the Rain”). What is remarkable about this is Sean actually produced Gene’s solo album but was asked to write for Peter. He did both. Peter had many guest musicians including Steve Lukather of Toto fame, Neil Jason (who also played all the bass on Gene’s album), Penridge, Allan Schwartzberg (who also played on Gene’s album and was credited as “additional drum overdubs” on several of the 80s-era KISS albums) and more. The album was produced by Vini Poncia who produced Dynasty and Unmasked. Incidentally, it’s the only one of the four that had a “credits insert” and the only one that released two singles, even though neither song charted.

Paul’s album has been touted as the “most KISS-like” and I disagree. I think that would be Ace’s (which could be one reason why I like it less). Now, Paul’s has KISS qualities but it sounds like Paul’s KISS songs. The addition of outside musicians changes the feel than that of a KISS album. I think Paul’s has the best-written tunes. A little bit of “Starchild” and a little bit of the “lover” is how I’d describe the album. Ballads, power-ballads, hard rocking tunes and some pop aspects. There’s not a song on this album that I don’t dig. While there are three songs (“Move On,” “Ain’t Quite Right” and “Take Me Away (Together as One)”) that were co-written by Mikel Japp, this is the only one of the four solo albums not to feature a cover tune. Paul had some notable guests on this album. Carmine Appice and Craig Krampf (co-writer of “Oh Sherrie” and session drummer for many big-named artists) on drums, and of course, Bob Kulick on guitar. Steve Buslowe played bass on side one and Eric Nelson on side two. I wonder if that was by design? I find it odd. The album was produced by Jeff Glixman who has worked with Kansas, Yngwie Malmsteen, Black Sabbath and more.

Gene’s album seems, to me, like a huge party. It’s like he gathered all of his friends, girlfriends, a previously-released KISS tune, bits of horror, hard rock, The Beatles and his favorite Disney films and threw himself a shindig. If I knew he wasn’t so straight-edged, that could be the case, but other than a few impromptu orgies, I don’t see the party happening. The album opens with something that reminds one of The Omen and is hellish before hitting the hard rock “Radioactive” which has a very cool (complete with choreographed dissonant passing notes) classical guitar interlude into “Burning Up With Fever” which on the original CD versions put both of those songs together and you had to either just listen through or fast forward to get to the latter. This is the only one of the four that re-recorded a KISS song (“See You In Your Dreams”) because he wasn’t happy with the original that was on Rock and Roll Over. Gene has always maintained that he learned English from watching Disney films. So, while it sticks out like a sore thumb on the album, it makes perfect sense that he’d cover “When You Wish Upon a Star” because hey, it gives him an extra tune and you love what you love, especially when it fits your story. Now, his guest list is incredible. He plays no bass on this album, just acoustic and electric guitar. He leaves the bass work to Neil Jason, who along with Allan Schwartzberg on drums, also played on Peter’s album. Elliot Randall, who is probably best known for his guitar solo on “Reelin’ in the Years” from Steely Dan handles most of the main guitar work but also, Rick Neilsen, Joe Perry, Jeff “Skunk” Baxter and Richie Ranno of Starz do guest spots. And back up singers? Bob Seger, Helen Reddy, Donna Summer, Cher, Janis Ian, Michael Des Barres and a then-unknown young lady by the name of Kate Sagal (yes, Peggy Bundy) all lent their voices. Sean Delaney, as I said, produced the album. Sean claimed, to me, that he never got paid for that job and that Gene cheated him. Again, that’s an allegation and not necessarily a fact. But, the fact that he and Gene had a falling out about this time and as far as I know never really reconciled, I can see it. It wasn’t my business and I hope they talked before Sean passed away in 2003.

You’ll notice the order in which I talked about the albums. This order is important because it is in reverse order my favorite/preferred list. Gene, Paul, Peter and Ace. I get looks and furrowed brows when I say Ace’s is my least favorite. There are several reasons for this. One, I just am not a huge fan of Ace’s. I feel he squandered an opportunity and let KISS fans down in general. Yes, Peter flaked first and was a little byotch about it. But, I felt we got the better deal because Eric Carr was a much better drummer and a rock drummer at that. Ace’s also is just boring to me. Don’t get me wrong, I like it, it’s just my least favorite. I felt the reason for the solo projects was to show a bit of freedom and influence and step out of the KISS box. If you’re going to sound like KISS, record a KISS album and don’t be a byotch. Peter, Paul and Gene all got experimental and showed range, for better or for worse. Don’t argue, you have your favorites and I have mine!

All four had cool posters that you pieced together and the ones I have on 180g vinyl (from Underdog Records, of course) are pretty good. I had to buy my Paul Stanley used and it is missing the poster. I never had all the posters as a kid, either, so I’m looking for a replacement. I talked earlier about the good and bad of the solo albums. I love them for what they are, in varying degrees. The bad, however, was that no matter how crappy Peter’s performed, he still thought he was better and needed more from KISS. They showed him the door. Ace, on the other hand, got bolder as his album did the best and it proved, at least in his head, that he was more important. I feel he was, but disagree with how he dealt with it. Plus, he and Peter’s demons really got in their way beyond “just ego.” What are your thoughts on the solo albums, Dear Reader? I know you’ll disagree on the Ace placement but it is how I see it.

This got a lot more overly verbose than I expected, so I’ll continue the others either in a separate post for today or just do it tomorrow. Stay tuned.

Until tomorrow (or later today), stay in the Useless Things Groove!
Scorp out!

—
“You were standin’ and I was thinkin’ ff all the time that I spend hangin’ around. Situation could only get better. I got closer to see what I found. In the mornin’, movin’ easy. Everything seems so right. But when the night comes, I’ve been dreamin’… Dreamin’ ’bout leavin’ you one more time. Girl, you gave me good love but it ain’t quite right.” – “Ain’t Quite Right” (Stanley/Japp)

Heavens on Fire or: Animal Eyes?

13 Thursday Sep 2018

Posted by in Music Review

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Salutations™!!

34 years ago today, one of KISS’ best-selling 80s albums was released. That would be Animalize. It’s not my favorite of that era, but it isn’t my least favorite, either. It has some good songs that carried over to the live concert video they put out on this tour.

By the time KISS was putting this out, Gene was pretty much a ghost in the band. He was still very much a member because, hey, it’s Gene Simmons. But, he had gotten really into other projects that he was afforded both because he now had money and he wasn’t restricted by keeping his identity cloaked. During the recording of this album, he was starring in Runaway (1984) and producing or managing bands like House of Lords and Black N Blue (which, incidentally had future KISS member, Tommy Thayer). So, being the loyalist, perhaps sometimes to a fault, that he is to the KISS brand, Paul Stanley took over the whole deal and produced this album. I think he did a pretty good job.

Animalize.jpg

©Mercury Records

It had been two years since an album was released as a “makeup” album and only a year (almost to the day) of the unmasking of the band on MTV, which also was the release date for Lick It Up. KISS fans were still riding the high that was the return of the hard rock KISS that they had loved as a kid before the disco-ing down and artification of the band. Don’t hear me wrong, I loved that stuff, too. But, they lost a big part of their “Army” with those things. I recognize that. This album came out and it was still punchy, still heavy and still cool.

The song “Heavens on Fire” was a huge hit for the band and was on heavy rotation on MTV. For anyone under the age of 30, MTV was a channel that played music videos 24/7. I don’t know if you’ve heard of it or not. There’s some other channel now that calls itself MTV but it’s nothing like that MTV. Anywhat! They debuted new videos at 5-minutes past each hour. The “world-wide” debut of “Heavens on Fire” was at 1:05am on a Saturday night. In 1984, I lived in WV and we had 7 channels, MTV wasn’t one of them. However, for whatever reason, I was staying at my grandmother’s house in a larger town that did have REAL cable television and had MTV. I fought dozing off and once the video came on, I was jarred up and ready to fight someone. I loved it. One of the funniest parts is when Eric Carr runs up behind Paul and sings a line with him. That wasn’t planned and Paul’s reaction was genuine. It’s cool.

This was the only album that “featured” Mark St. John on guitar. He replaced Vinnie Vincent who had replaced Ace Frehley. Mark was a talented player but really unreMARKable (see what I did there?). I remember looking at the album cover (on LP) and thinking who the heck is that guy? Of course, because I read all the rags and stuff, I knew his name but he looked like a big block of a guy, broad-shouldered and stiff. Looking at it now, it looks like he took Peter Criss’ Dynasty costume, painted it all black from the green it was and was wearing that. He wasn’t really, but he seemed like a piece of stone. And, in the video, he looked uncomfortable. He also used Rockman gear to record the album, which we know is the invention of Boston guitarist, Tom Sholtz. Paul had to do a lot of EQing to get that Boston out of it. St. John left the band just after the tour started because of Reiter’s syndrome, now called reactive arthritis. He was replaced by Bruce Kulick. Who you’ll hear about in a few days and next week.

Eric Carr’s drumming on this album was great! I loved it. Solid and heavy.

Paul’s songs were the best on the album, bar none. Three of the songs, “I’ve Had Enough (Into the Fire),” “Under the Gun” (co-written with Eric Carr), and “Heavens on Fire” were co-written with recurring collaborator, Desmond Child. “Thrills in the Night” was co-written by ex-Plasmatics bassist, Jean Beauvoir who also played bass on this album for “Get All You Can Take”, “Thrills In The Night” and “Under the Gun.”

Gene, while mostly absent, was there for some of it. He wrote “Burn Bitch Burn” and “Lonely is the Hunter” solo and co-wrote “While the City Sleeps” and “Murder in High Heels” with Paul McCartney look-alike Mitch Weissman, who co-wrote “Get All You Can Take” with Paul. Gene’s songs are cool for the fact that he’s a little tongue-in-cheek but Paul wins this album.

The story I always tell about this album is this: In 1984, the PMRC and its ridiculousness were in full-force (and no, I don’t mean Lisa-Lisa & Cult Jam with…) and Ma Mère fell for it hook, line, and sinker. She didn’t want me listening to “that rock and roll devil’s music.” Which, she herself did when she was younger. Anti-authority, satan, drugs, alcohol, etc. That’s what we kids were getting too much of. Anyhow, I wanted this album, really, really badly. I stood in front of the cassette case, you know, the old kind with holes in the plexiglass so you could hold the tapes and look at them but couldn’t get them out and steal them?  I stood there and begged to get both this album and Prince’s Purple Rain. She made me promise that I wouldn’t worship the devil if I got them. It didn’t help that one of the songs was called “Heavens on Fire” and another one “Burn Bitch Burn.” I promised. I did her one better. Not only do I not believe in or worship the devil, I don’t go the other way either. I’m non-Prophet when it comes to my religion. But, I got them and wore them both out!

I still love the album to this day. Both, of them, as I’ve mentioned before.

I do want to also wish my two great pals, Clay Howard and Jon Lowder a very happy birthday. I love you guys! You mean a lot to me and my family.

Until tomorrow, same blog channel…
Scorp out!

—
“My eggs in one basket, but she threw me a bone. She was dealt a full deck, but she likes to live alone. Ain’t just talkin’ to myself, need a reason to stop (oh yeah). With a flower in her teeth, she drained the last drop. I said girls love money like bees the honey. But lonely is the hunter, you’re my one and only, and lonely is the hunter.” – “Lonely is the Hunter” (Simmons)

Punch a Higher Floor or: Purple Pain

21 Thursday Apr 2016

Posted by in Life as We Know It

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Salutations™!!

I’ve been trying to process the loss of Prince since I found out around 1pm. I’ve also been trying to think about what to write. I’ve pondered and lamented to myself to the potential phrases and clauses and I want to do it justice. Upon my frustration, I was flipping through Facebook and realized that someone had basically said everything I was feeling, already.

art-Prince3-420x0

(photo ©WB)

I’ve asked his permission to use it and I am going to omit a few lines as they don’t pertain to me: I’ve never seen him live and now will never get that opportunity. Anyway, these are the words of the incomparable Ed Bumgardner as it pertains to the World’s loss of a musical genius. Take it away Ed.

“The Artist … formerly known as Prince ….
Shattered. Heartbroken. Numb.
Prince Rogers Nelson died today, age 57, at Paisley Park, his studio compound, home and Fortress of Solitude in Minnesota.
He leaves to mourn his memory… well, EVERYBODY.
One-Hundred Million Albums sold.
Seven Grammy awards.
An Oscar.
A Golden Globe.
Nearly 40 years of musical innovation, all of it done his way.
Prince was an enigma. He was the ultimate Party Master, a global superstar with few musical peers. He was also ferociously private; what happened in Prince’s life, behind the walls of Paisley Park, stayed private.
The world only knew what Prince wanted the world to know.
His was a truly original compositional voice that managed to assimilate obvious influences – Hendrix, James Brown, Sly Stone, George Clinton, Duke Ellington, Charles Mingus, The Beatles, the hip-hop innovators – in such a way that what came out of him was, simply, Prince music.
He was an Alpha Male in androgynous persona, lasciviously sexual and fiercely spiritual, who, at the dimming of the day, taught the world that image is marketing, but that music is forever.
Prince sought to be all things to all people, but always, ALWAYS, it was the music that mattered..
He could play multiple instruments at high skill levels and was an especially incredible guitarist who, as a total musician with open ears, was fluid in blues, funk, jazz, hip-hop and world music.
His deeply passionate performance of “While My Guitar Gently Weeps” at the 2004 Rock ‘N Roll Hall of Fame ceremonies stands as a landmark in rock music.
He was an equally inventive producer and arranger who could make full albums by himself and make them groove and swing.
Prince led several incredible bands – the last of which included Joey Rayfield, a North Carolina School of the Arts graduate and a long-serving member of the Liquorhouse Soul Revue – all bound by his seemingly limitless vision and boundless energy.
The respect he garnered within the musical world was mind boggling – Miles Davis reached out to Prince to collaborate.
When he changed his name to a symbol to take on the major-label system that he felt he was holding him hostage, all the people who initially thought he was nuts had to sit back in admiration as he made his point and won his battle.
And he was marketing genius. Prince took his favorite color – purple – and turned it into a personal brand known around the world.
Simply put: Prince was one of the most important and original musical voices of the 20th Century. You could hear his influences, but nobody – NOBODY – sounded like Prince.
He was that amazing.
It seems impossible that he is gone.
This one REALLY hurts.
Purple rain, indeed.
God speed, Purple One. Thanks for the music.
Thanks for life.”

Thank you, Ed for putting what I was thinking (and even more than). This one hits me hard, too. Bowie’s passing really bothered me but I was never a Bowie fan until about the last 10 years or so. I’ve been a Prince fan since 1982. I was 11 and mainstream pop music wasn’t available to us there in that little town of Pineville, WV. It wasn’t until a friend said that I needed to listen to 1999, that I heard what was something so new, so bizarre to me that it was exciting. It was the one of the first times that I ever got excited about a record (in this case, a TDK 90-minute cassette copy of my friend’s cassette) that wasn’t a new KISS album.

I may have stated before but Purple Rain is in my top 10 albums of all time. I was obsessed with the music and definitely the film (it could have been Apollonia’s nakedness, who knows) and haven’t forgotten the feeling of hearing it the first time. I got it the same day I got Animalize from KISS. I had to promise my mother, standing in this store called “Buddy’s” with both hands in the plexiglass holes that allowed you to look without stealing, that I wouldn’t worship the devil. Specifically because the PMRC deemed Prince to be dangerous to us kids, possibly satanic. Well, that fueled my curiosity’s fire, but I truly came to love that album.

I could travel more anecdotal roads about him but I think I’ve said enough, more than, really. Many thanks to Mr. Ed Bumgardner for allowing me to use his words and even more thanks for writing it so eloquently. The most thanks here, though, goes to Prince Rogers Nelson. His music, even beyond being inspiring (to a musician), breathed life into so many listeners. His catalog will give us much to remember him by. Rest well, sir. Rest very well.

Until tomorrow, same blog channel…
Scorp out!

—
“Dearly beloved, we are gathered here today to get through this thing called life. Electric word life; it means forever and that’s a mighty long time. But I’m here to tell you, there’s something else: the after world. A world of never ending happiness. You can always see the sun, day or night. So, when you call up that shrink in Beverly Hills – you know the one, Dr. Everything’ll Be Alright – instead of asking him how much of your time is left, ask him how much of your mind, baby. ‘Cause in this life, things are much harder than in the after world. In this life, you’re on your own. And, if the elevator tries to bring you down? Go crazy. Punch a higher floor.” “Let’s Go Crazy” (Prince)