Tag Archives: Anton Fig

Now Normal Chronicles or: She’s So What?

20 Wednesday May 2020

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Salutations™!!

Today is the 40th anniversary of one of my favorite KISS albums, Unmasked. Now, like most of my favorite KISS albums, we have to look past the fact that these are actual KISS albums and just look at the music as a, at least, in this case, pop record. The fact that it is KISS is a whole other thing. Peter was no longer in the band and David Letterman’s drummer, Anton Fig, stood in for him. It was a whole different kind of drumming.

Here’s what I wrote about it in my KISS album rankings: Unofficially the first album after Peter’s “departure.” But, realistically, it was. Dynasty held that last thread with a Peter tune, but this was not Peter and although I could tell the drumming was different (I was 9) I didn’t know it wasn’t actually Peter until several years later. Some pan this record, a lot. But, as I’ve had to tell one person and probably a few others, don’t think of it as a hard KISS record because it certainly isn’t. Think of it as a good pop record. It has a lot of cool tunes on it if you’ll give them the chance. I always loved the cover, too.

Here’s my choice for video today. It’s not my favorite song off the album even though it was the most popular. But, this is a great version. Enjoy!

Until tomorrow, same blog channel…
Scorp out!

—
“We’ve been holding on so tight, we’re afraid to let it go. Shake it loose, we both could use the ride. Here’s another mess I got myself in, and when you touch me you ain’t helping.” – “Shandi” (Stanley/Poncia)

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

21 Friday Sep 2018

Posted by in Music Review, Rant

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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)

Gone Solo or: Many Kisses (Part 2)

18 Tuesday Sep 2018

Posted by in Music Review, Records

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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)

Sure Know Something or: The “End” of a Dynasty?

23 Wednesday May 2018

Posted by in Life as We Know It, Music Review

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Salutations™!!

Usually, I’d do a post about The Less Desirables Beer of the Week (brought to you by our “Official Beer Sponsor,” Bull’s Tavern), but today I’m going to talk about a KISS album. You know how I feel about me some KISS albums.

Dynasty_(album)_cover

©Casablanca

 

So, 39 years ago today, KISS released what is probably one of the two most polarizing albums in their Katalog, Dynasty.

First, let me tell the story of how I obtained my first copy of the album. I was 8 years old when the album came out in May of 1979. I was very much burdened with the worst case of allergies that many people had seen when I was a child. I had to go through allergy testing (around 80 shots) three different times and that included the scrape tests on the back (at least two of those times). I had been there so many times and been marked by that red oil pencil so much that my doctor called me “chief” (referencing war paint on Native Americans). It was as painful as you’d think and yes, it sucked.

I had saved some money from my allowance, which at the time was about a quarter a week. Yeah, I thought it was perfect. But, we had gone to Welch a bit before and I had spent many of my quarters on something, I’m sure. I don’t remember what, but I know I needed a “loan” on my allowance to purchase the newest KISS record. We picked it up in Beckley when we went that morning as my appointment wasn’t until later in the day. As I was lying on the table, weeping but not full out crying (essentially, being a “good boy”) Ma Mère told me that if I got through the tests, I wouldn’t have to repay for the record, it would be her treat. I was crying on the inside but biting my bottom lip, I pushed through it.

Okay, well, Ma Mère had plans that evening at a friend’s house and I took the record there and I, along with my friend Anjel and a cousin of hers, proceeded to listen to it. The first tune was familiar to me, “I Was Made for Lovin’ You.” Yeah. Then, “2000 Man” came on and I was like, what is this Beach Boys crap? I had no idea that it was Rolling Stones until later. I wasn’t familiar with the Stones at all. I had heard of them but other than “It’s Only Rock ‘N’ Roll (But I Like It),” which my parents inexplicably had on 45, didn’t know any tunes. I didn’t like that.

But, the wispy sound around “Sure Know Something,” “Magic Touch” and two of Ace’s other tunes, “Hard Times” and “Save Your Love,” those really intrigued me. I loved that. I didn’t immediately put together that Gene, one of the two main guys in the band (yeah, that’s just me at the time, get off my back) only had two songs. I loved “Charisma” (still do!) and thought “X-Ray Eyes” was cool.

Now, a little on the album itself.

The times were a-changin’. Peter’s and Ace’s need for importance, along with their substance abuse, led to the solo albums in 1978. The whole music scene was in a turn at the time. Disco was hitting its peak and punk was just starting to make an aboveground impact. The four members all did their solo albums, each taking a different route in their own journey. Gene went singer-songwriter and experimental. Peter went old-school rock and roll and pop. Paul was pretty much his KISS-writing self, with what I think was more along the lines of the KISS sound than any of them. Ace just did his thing which was kind of KISS-like, too, but because he didn’t get as much writing credits on the current Katalog of KISS albums, it may or may not have been prevalent.

To many folks chagrin, Ace’s is my least favorite and Gene’s is my most favorite. That goes for my favoritism in the actual members, too. Again, to most people’s chagrin. But, yeah, Ace and Peter weren’t thrilled with their positions and Peter was the most unhappy. While he had little writing credit, he at least got vocals on all the previous albums. But, don’t discount Ace’s gripe, either.

Well, it was time to reconvene and record. Who did they get to produce it? Ringo Starr’s co-writing partner, Vini Poncia. By chance do you know who produced Peter’s solo album? Yep, you guessed it, Vini Poncia. I believe it was an appeasement to Peter. Plus, he knew the disco sound and that was the (perceived) state of the music biz at the time. But, surprise, Vini thought that Peter’s drumming was subpar. And, being the power duo they were, Gene and Paul, not only agreed but also agreed to have a session player come in and do the drums. Say, Ace… what was that cat’s (pun) name that you had playing drums on your solo album? Oh yeah, that guy that will go on to play for David Letterman and Paul Shaffer later, Anton Fig. Let’s get him in to play on this album. So, they tried to appease Peter and now here’s one of Ace’s “boys.” To Peter’s credit, other than being a pompous arse, he was dealing with injuries from a car accident at the time. But, still…

Peter does sing “Dirty Livin'” and it is the only song he played drums on, too. I didn’t notice the difference when I was a kid and was blinded, again, by the KISS mystique. I thought it was all Peter. I can tell the difference now, even though I think Anton did a good job “imitating” Peter.

Lots of other things were going on at this time, too. Gene had apparently gotten the acting bug after being in the beautifully terrible film KISS Meets the Phantom of the Park the year before (I still love that crappy movie). He was pursuing things but since KISS was still incognito with the makeup, it wasn’t until they unmasked in 1983 that he got to really pursue it. Also, he was bouncing from Cher to Diana Ross around this time. He wasn’t “all in.” In fact, he was barely in. Of the nine songs on the album, he didn’t play on four of them. As he would do with the follow-up albums, Unmasked (released 362 days later) and Music from “The Elder,” Ace played the bass on his three songs. Yes, he got three. Gene only two. And, Ace’s songs were better written. I think Ace had a point to make.

Paul, being the trouper that he is, was the one that held most of the band together. But, it was hard.  His tunes were the most solid and, I think, the best three on the entire album.

This album was the last one to chart for a while. Its biggest hit, “I Was Made for Lovin’ You,” made it to #11 on the charts. The tour was huge and Peter played even though he didn’t do much in the band, but he didn’t play nice. He and Paul got into some argument on stage and Peter slowed the tempo to a near halt in the middle of a song. The tour also saw one song from each of the four solo albums played, but that only lasted a little bit as they dropped most of them. “New York Groove” was the only one that ultimately survived. This was the end of it all for Peter, though. He was gone after the tour. Whether he was fired or he quit, that depends on which interview you read by which member.

The costumes for this album were out of sight! Where they garish? Oh heck yeah. I loved it though. They had reached their costume pinnacle and there was nowhere else for that train to rail.

One thing I remember about the album, too, that added to its poppier sound was that unlike the earlier KISS albums, this wasn’t tuned down a half step. That half step makes the sound a little heavier. It just does. This album and Unmasked (also produced by Vini Poncia) were both at standard tuning. So, that’s my reasoning for the sound at least.

All-in-all, it wasn’t KISS’ finest hour, and they admitted that they listened to the wrong people at the wrong time. It was a trend they stuck with for the next two albums. However, I still love this album. Is it different? Yes, I realized that much later, though. I think Ace’s version of “2000 Man” is better than the Stones version and I grew to like it. Paul’s voice is fantastic in all three of his songs. I had the poster on my wall from 1979 until 1986 when I moved to WSNC. I did once trade this album for one of those Ronco records that had a KISS song on it. But, I eventually traded it back.

Most folks wouldn’t even consider this in their “top” anything KISS albums. I don’t know that it’s “top” but I do listen to this more than Dressed to Kill and Destroyer. I don’t think it’s better than Destroyer but I like it better than DTK. It could be what this album meant to me as a kid. It was the first “new release” KISS album I owned. By the time I was into or knew who KISS was, Alive II was out. I didn’t get solo albums until right before this and they weren’t new releases. Newest but not new. I was just really digging into my KISS journey and this was one of my first stops. I love this album and it holds a place in my heart. I have listened to the vinyl version of it twice whilst writing this post. Happy 39th, Dynasty.

Until tomorrow, same blog channel…
Scorp out!

—
“I’ve been up and down, I’ve been all around. I was mystified, almost terrified. But, late at night I still hear you call my name. I’ve been on my own, I’ve been all alone. I was hypnotized. I felt paralyzed. But, late at night I still want you just the same. I’ve been a gambler, but I’m nobody’s fool. And, I sure know something, sure know something. You showed me things they never taught me in school. And, I sure know something, sure know something. No one can make me feel the way that you do. And, I sure know something.” – “Sure Know Something” (Stanley/Poncia)

Bonus Post! or: Music from My Past

10 Friday Nov 2017

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Salutations™!!

The_elder_album_cover

©Casablanca Records

 

That’s right, you get two music posts today. This one is about what I call my “favorite KISS album.” Is it really my favorite? Maybe. Maybe not. Why I say it is is because it was an important, pivotal moment in KISStory that mostly goes unnoticed. Today is the 36th anniversary of the release of Music from “The Elder” (1981). This is historically the lowest-selling, most ridiculed and most controversial release in the entire KISS Katalog.

Why is that? Well, KISS listened to some bad advice. Gene, Paul, and Ace were recently joined by a brand new drummer, Eric Carr. Gene and Paul decided that going along with some bogus counsel, they needed the approval of critics. The power duo overrode Ace’s vote (Eric had no say as he was just a “hired hand”) and went a little more artistic instead of trying to dig out of the disco-laden hell they were putting most of their fans through. I say “most” because I loved Dynasty (1979) and Unmasked (1980). I didn’t really notice the difference in the musical styles until much later. The voting override is partially why Ace left after this album.

KISS brought back producer Bob Ezrin who was at the helm during their then best-selling album, Destroyer, in hopes that he would help renew that same magic. New drummer, new chance to shine. Sadly, that wasn’t the case. Ezrin was entangled in a bad cocaine addiction at the time and his magic was basically in the mirror’s lines. Ace was resentful of the direction and what he felt like was Gene’s and Paul’s dominance of the decisions. He refused to do much of the recording with the others, instead relying on courier service to deliver tapes to his home where he would record his parts and solos and then return them to Ezrin. Ezrin didn’t much care for this and some of Ace’s solos were redone.

Now, it is true that the band went back to a harder rock motif, but that was accented by orchestras and choirs. You may recall that Destroyer did that, too, but this was not the same heavy layers that Destroyer was. The songs were not as strong as previous KISS albums. The songs came off as pretentious and grandiose. To put it plainly, KISS was trying way too hard. All they had to do was do an album of hard rock goodness. I believe their fans would have stayed on board, at least most of them, sales would have been better and the band wouldn’t have to have dug themselves out of a “cred” hole.

That is how it was. Of course, I was blinded by the KISSness of it all and thought it was just awesome, only something different. I had first heard the three “focus” songs, “The Oath,” “I,” and “A World Without Heroes,” on the ABC TV show Fridays. I thought it was cool to see them live. It was really the first time I ever had. The costumes were different, too. They were a little more post-apocalyptic than previously and all but Eric had changed their signature hairstyles. When I got the gatefold album a little later, I was in awe of the image of a hand reaching for a big door knocker on an oak door that adorned the cover.

The US release of the album added to the confusion as to what the deal was with the album. You see, I forgot to mention that this was supposed to be a concept album based on a story that Gene had written and it was supposed to be made into a movie. The original track listing was altered for the US release because Casablanca and Neil Bogart wanted to highlight the songs I mentioned above. This made the already loose story completely unravel. So, we were aware that there were a theme and story but it really made little sense because the songs were scattered about the album. The Japanese releases were in the correct order and it wasn’t until the US remasters that came out in the 1990s that we were able to get the proper track order without spending a lot of money for bootlegs or imports.

The story goes loosely like this: a group of elders called the Order of the Rose send Morpheus to train “The Boy” to do their bidding and combat evil. The Boy is scared and full of self-doubt. He eventually evolves and becomes more and more self-confident. Morpheus reports to the Order that The Boy is ready to expound evil. It’s kind of hard to follow and I’ve spent the last 36 years trying. I thought I had it figured out before but I was mistaken. It’s not really any easier when you do know the story.

The artsy aspect of the record turned many off but I loved it. When there were heavy riffs and beats, the lyrics were taken as storytellerish and contrived. Paul played more solos on this album than he ever had on a KISS album, being the solos on “The Oath,” “A World Without Heroes” and “Just a Boy.” Ace was credited with two songs, “Dark Light” (co-written by Gene, Anton Fig and Lou Reed (yes, that Lou Reed)), and “Escape from the Island,” an instrumental co-written by Eric Carr and Ezrin. Speaking of Lou Reed, he co-wrote three tunes on the album. And Tony Powers brought his “Odyssey” to the KISS table making this basically a cover tune, even playing piano on the song. There’s not a song on here, other than the “Escape from the Island” that I don’t like and it’s not that I don’t still listen to it, it’s just I’m too lazy to skip it usually when it tags onto the end of “Mr. Blackwell.”

The debate as to my “favorite” album is that I love the difference of it. The chance they took. The risk that didn’t really pay off in the long run, but they did take that chance. I love the songs, and I know I’m squarely in the minority in that field, but I’m okay with that, I usually am. Happy 36th anniversary to Music from “The Elder,” and I may have to pull that out and listen to it this weekend, just because. What are your thoughts on this album, if you’re familiar? If you’re not and you have Spotify or Napster or whatever, then give it a listen. Make sure your version starts with “fanfare,” though, as that’s the one that matters. If it starts with “The Oath,” it’s the modified version.

Thanks for listening to the rant.

Until tomorrow, again, same blog channel…
Scorp out!

—
“A world without heroes is like a bird without wings. Or a bell that never rings. Just a sad and useless thing. Where you don’t know what you’re after or if something’s after you. And you don’t know why you don’t know in a world without heroes.” – “A World Without Heroes” (Stanley, Simmons, Ezrin, Reed)

She Sees Me Through to the End or: 40 Happy Years

30 Friday Jun 2017

Posted by in Music Review, Records

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Salutations™!!

So, Thursdays are my day to do music reviews but today is something special. It was 40 years ago today that one of my favorite, if not my favorite, KISS albums came out. That’s Love Gun. It was the first of their albums that I owned and it started my love affair with the band that kept me dreaming, mesmerized, enamored and inspired me to become a musician myself.

Love_gun_cover

©Casablanca Records

 

I started long hours at the cover. Both because the band was “larger than life” in their characters and because there were scantily-clad women adorning the cover… ish. I didn’t know as an eight-year-old kid that I wasn’t actually seeing anything. I thought I was. That, too, was mesmerizing. Thanks, Ken Kelly (artist for the cover)!

At this point in their career, KISS was at their apex. They were also starting to bend and crack with the pressures their “#1 in the world” status brought. Ace Frehley and Peter Criss both started to feel that they were bigger stars and needed to be highlighted more, hence Ace getting his first lead vocal credit on his signature tune, “Shock Me.” He was nervous about it and laid on the floor in the studio, he says to help him with his pitch. I think it was so no one could see him doing it, but I wasn’t there, so I don’t know. Peter had had vocal credits on every album thus far. This was the last full-band studio album to feature Peter as on the studio follow-up, Dynasty, Anton Fig of David Letterman’s “World’s Most Dangerous Band”/CBS Orchestra played drums save for one tune, which was Peter’s lone contribution.

It was the tour for the Love Gun album that spawned KISS Alive II, which is my favorite of the two live albums that really matter. Not because it was better, but it was more my favorite time period in the make-up era of the band. The costumes were cooler and they were just everywhere. I loved that. I didn’t miss an issue of 16 Magazine to see what they were doing, older mags to see where they had been, special editions and so on. This time period was important to me. It was also the period for the fantastically awful made-for-TV movie, KISS Meets the Phantom of the Park. That was the first time I really ever saw what they looked like.

This album is pretty much clunker-free. My least favorite song is “Hooligan” but even that is somewhat cool. Peter’s lyrics are kind of ridiculous but it was right for the time. My next least favorite would be “Got Love for Sale.” I didn’t get how cool that song really was until Heavens Sake (the band I was in for many years – and still am in as we never officially broke up) learned it to cover, although we really only did it in practice a few times. “Have love will travel,” that’s classic. The last I’d do without if I had to choose three would be the cover on the album. “Then She Kissed Me” which was a backflipped version of the Crystals hit. I didn’t listen to the first two of these as a kid much, I’d skip over them. But, I listened to the last. Luckily, I don’t have to get rid of any of the those. I love them on the album, I’m just saying they’re my least faves.

On to the ones that I do love, though. “I Stole Your Love” and the title song are some of my favorite KISS songs, ever. I love the riffs of “Stole” and the lyrical content. KISS was never really deep, but they, at times, told good stories. Those are just solid tunes, both of which made the cut for Alive II and “Love Gun” is still a concert staple for the band. Paul Stanley has been known to ride a pulley to a remote stage in the crowd to sing that song.

Gene Simmons’ sex-obsessed freaky-deakiness came out in two tunes: “Christine Sixteen” in which the song’s narrator laments about a 16-year-old girl as she’s coming out of school. The other is “Plaster Caster” which was written about Cynthia Albritton, also known as Cynthia Plaster Caster to made plaster molds of male rock stars’ junk and some female breasts. Okay, then. If you want to see Gene’s love, just ask her. He also had two “conquering” songs, the aforementioned “Got Love For Sale” and “Almost Human.” I didn’t listen to “Human” much as a child either. I really got into that one after I got the CD in 1990.

The production on this album is solid, produced by both the band and Eddie Kramer, who did three of the band’s live albums (including Alive III), Rock and Roll Over and Ace’s KISS solo album (okay he did Frehley’s Comet, too). Gene’s playing is good. Peter’s, too, although I question if everything on there was his playing or session people. I have no proof, just a thought. Ace was still doing well, despite his substance problems, but there’s some solid solo work as well as some of his best guitar stuff on this album. Paul’s vocals were fantastic and the riffage he threw out on the rhythm tracks is great. He played the first half of the solo in “I Stole Your Love,” too.

This album is where my KISS journey began. I guess you can say it’s maybe one of the most important albums in my life? I really do love it. It’s hard to believe it’s 40 years old today. Man, time’s fun when you’re having flies. If you have it, may you take a listen today or tonight. If you don’t, look it up. It is some of their finest work, in my opinion. I have been listening to it on vinyl whilst writing this, but it’s only slightly over 30 minutes long. I have to turn it over again!

Until tomorrow, rock on!
Scorp out!

—
“I remember the day that we met. I needed someone, you needed someone too, yeah. Spend time takin’ all you could get. Givin’ yourself was one thing you never could do. You played with my heart, played with my head, I got to laugh when I think of the things you said. ‘Cause I stole your love, stole your love. Ain’t never gonna let you go.” – “I Stole Your Love” (Stanley)