Tag Archives: Anton Fig

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)