Tag Archives: Desmond Child

That Late Entry or: MmmmBop?

06 Monday May 2019

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Salutations™!!

Can you believe 22 years ago today we were “subjected” to Hanson and their earworm “MMMBop?” Yep, their album Middle of Nowhere was released 22 years ago. Okay, I’ll admit it. I never disliked the song. It isn’t a favorite or something that I’d just go looking for on a whim, but because today is the anniversary. Let’s do it. Here’s the thing. They’re brothers and these brothers have great harmonies. It’s good stuff, really. They also write their own stuff. Some of the album — call it what it is, most of the album — was co-written by outside writers like Desmond Child, Barry Mann, his wife Cynthia Weil and more. But, this tune was actually written by the brothers. It’s supposed to be a tribute to the 50s and early 60s doo-wop groups. Enjoy!

Until tomorrow, same blog channel…
Scorp out!

—
“You have so many relationships in this life, only one or two will last. You go through all the pain and strife. Then you turn your back and they’re gone so fast, oh yeah. And they’re gone so fast, yeah. Oh, so hold on the ones who really care. In the end, they’ll be the only ones there. And when you get old and start losing your hair. Can you tell me who will still care?” – “MMMBop” (Hanson/Hanson/Hanson)

Smashin’ Thrashin’ the Millenial Box or: Many Kisses

30 Friday Nov 2018

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Salutations™!!

Finishing out the month of November with KISS things, we have three more anniversaries this month.

Smashes_Thrashes_cover

©Mercury

First, what is, to me, the better of the two original US-based greatest hits KISS albums, Smashes Thrashes & Hits. I don’t know why they used this title as I think it’s kind of silly, but I liked the album itself. November 15 was the THIRTIETH anniversary of that album. THIRTY! Wow.

There are several things to note about this album, though.

One, it has two original songs written and recorded for this comp. I believe they may have been written for Crazy Nights but just didn’t make it on. I also think that those two songs sound more like Hot in the Shade material than they do Crazy Nights and it came out between the two.

Both songs are dripping with sex. Extra sex. I mean, the songs’ titles are “Let’s Put the ‘X’ in Sex” and “(You Make Me) Rock Hard.” I think that Paul was trying too hard, actually. Well, him and his writing partners. Both were co-written with frequent writing partner Desmond Child and “(You Make Me) Rock Hard” was co-written by Diane Warren. The second isn’t as obvious but the double entendre is “hard” to miss. Both had videos and both were pretty cheesy. But, I listen to them.

Another thing, with the exception of “I Was Made For Lovin’ You,” all the makeup songs (which were most of the album) were all remixes. Eric Carr recorded his version of “Beth” which I thought was a much better version. Another notable change was with “Love Gun” where they sang the outro chorus over what would normally be the solo spot. The solo spot still happened just under the vocals.

One more thing, there was nothing from Crazy Nights even though that was the most recent album. All the non-makeup albums and including Creatures of the Night were represented except Crazy. The UK version did have “Reason to Live” and “Crazy, Crazy Nights” but not the US version. The UK also didn’t have “Deuce.”

I wore the cassette and CD out of this album. The cover had Gene and Bruce looking kind of cool to the right while Eric was playing a little side-shy-peek-a-boo and Paul doing some weird jazz hands thing. They were surrounded by a bunch of reaching arms, I suppose of fans. It was billed as “15 Years of KISStory.” Overall, I really like the album. I had grown weary of Double Platinum and this included more than the first six studio albums. If you’re not a KISS fan or just wonder what I get out of it? This is a decent representation. More things came after this. Speaking of which…

Last Tuesday, November 20, which happens to be my birthday, was the 17th anniversary of the KISS Box Set. Now, I have mixed feelings about this album. I have the cool “box set” that is in the mini guitar case with five CDs. There’s also a 120-page booklet that has “commentary” and liner notes from Ace, Peter, Gene and Paul. There are a good bit of unreleased songs and demos.

Now, what I have a problem with is there should have been a lot more demos and unreleased songs. They remixed and remastered the Wicked Lester album, or at least they did three of the songs. I was hoping to hear the whole thing remastered. I had only heard a muddy mix of a dubbed tape of a dubbed tape of a dubbed tape of about 20 generations. I know that Gene and Paul didn’t write but a small handful of the songs, but I think they could have secured rights.

Plus, I think there should have been a better representation of all the albums to that point. In some shape or form, the entire debut album is represented on here (minus the cover of “Kissin’ Time”). Five songs are represented from Hotter Than Hell including demos. Four from Dressed to Kill, and then, and then, and then.

I have never known KISS to worry about how much something costs. I think they could have done two boxes. One just the demos, unreleased and rarities, the other more complete albums. Maybe that’s not feasible. Maybe it’s overkill. I just wish I had more of the stuff I’ve not heard my entire life over the stuff that I have. I know they have to assume that people who aren’t KISS fans will buy it and they need to give them the substance. But, again, make that a separate thing. Give us more of that. Give me more of that.

What is included? As I said, parts of the Wicked Lester unreleased album; “Stop, Look to Listen,” a 1966 demo by Paul; “Leeta” a 1969 demo by Gene; a six-minute live performance from 1973 of “Acrobat” which in part became “Love Theme from KISS”; the original studio demos that got KISS their record deal; “Doncha Hesitate” and “Mad Dog” both unreleased demos from the Destroyer sessions; the demo of “God of Thunder”; “Bad, Bad Lovin'” which became “Calling Dr. Love”; “I Want You” from a 1977 soundcheck; “Love Is Blind” an unreleased demo from the Love Gun sessions; a demo version of “Radioactive” from Gene’s solo album (each member has one solo album song); “You’re All That I Want, You’re All That I Need” a demo recorded in 1977 that would eventually become “You’re All That I Want” on Unmasked; ” Talk to Me” live in 1980;  an unreleased demo of Paul’s “Time Traveler” from the Crazy Nights sessions; “Ain’t That Peculiar” Eric demo that became “Little Caesar”; the demo of “Domino”; “Childhood’s End” with the special coda – previously unreleased; a previously unreleased demo of “It’s My Life” from the Psycho Circus sessions, which sounds like something that would come later on Sonic Boom or Monster.

So, really that is a lot of cool things, but with the vault they must have, can you imagine what this could have been? Now, also I recognize that with the “End of the Road” tour coming up and their impending retirement of the band, that there will be opportunities for more box sets. This was a great start, but I think it could have been much better.

And, then the last thing (or two last things) I’ll talk about for November is another box set of sorts. It’s KISS Alive! 1975-2000. This includes the same day release of Alive! The Millennium Concert, a show that was recorded on New Years Eve 1999 but not released until 2006 on November 21. The box set contained Alive, Alive II, Alive III and the Millennium Concert. I haven’t heard the last so I can’t really comment on it. But, it is from 1999 before Paul’s voice was completely shot. There’s really nothing that stands out to me about it. It was supposed to be Alive IV but that got shelved and we ended up with KISS Symphony: Alive IV. It’s okay.

So, happy anniversaries to each of the releases I talked about. This is all of the releases for the year. There were no KISS album releases in December, as of yet. So, I hope you enjoyed the KISS albums that I have touched on. I think it’s all true to the best of my knowledge.

Until tomorrow, keep KISSin’!
Scorp out!

—
“Kiss is a Fourth of July fireworks show with a backbeat.” – Gene Simmons

Hot in the What? or: Yeah…

17 Wednesday Oct 2018

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Salutations™!!

In recent posts about KISS albums, you will have noticed that I always talk smack about one album in particular. And, today happens to be that album’s 29th anniversary.

Of course, I’m talking about Hot in the Shade (HITS).

Hot_in_the_shade_cover

©Mercury

Until Sonic Boom came along, this was my least favorite KISS album. I have two immediate (and probably several subsequent) reasons for this. One, the song “Boomerang,” and two, the lyrics to “Cadillac Dreams.”

I remember buying this album. In the days before the internet’s popularity, you had to read the music rags to know when things were coming out. I hadn’t read one in a while and didn’t know when the album was coming out. I was a freshman in college and hated every minute of it. I had the morning off, which I believe was a Tuesday. I went by Peaches Records and Tapes on Peters Creek and looked at the new release section and saw the cover to this album on cassette. Other than the “postmark” there was no indication that it was a KISS album. My eyes grew wide when I saw it was KISS. Heck yeah!

I bought it, ran straight to my car and put it in the cassette player. Hey… what’s Cinderella’s “Bad Seamstress Blues” doing on this tape? Are they covering it? No. It was a ripoff, though, I still think. The rest of the song (“Rise to It”) isn’t bad, but I get tired of “cheerleading” songs.

Fast forward a few songs and you hear Paul attempt to rap. “Read My Body” is one of the most ridiculous songs I think I’ve ever heard him do. Now, that being said, I don’t really mind it, I just understand it’s not at all good.

Let’s talk “Cadillac Dreams” a second. I hadn’t heard the song yet (it’s the first song on the second side of the cassette), but I took the cassette cover into class with me and I remember sitting in the communications building at WSSU waiting for class and reading the lyrics. What in the wide world of sports is this!? “When I was seventeen, found out just what it means. If you can get it free, it just ain’t worth a damn. When I heard the preacher say, don’t throw your life away. I got that message, and I wrote it on the wall.” I think I was just worn out on that same song mentality over and over. I had lived it since I was seven. Perhaps I was maturing? Perhaps I just needed something new? I don’t know. Then I heard it and it was not better than I had imagined it to be.

I know Paul had stated in an interview about the album (I did read that) that “there won’t be any hammer-ons on this album.” I know they were trying to get back to basics-ish and scale things back. But, most of the songs seem uninspired to me. They lack any real feeling and depth. Yes, I know I’m talking about KISS here but, to me, they were innovative (if but to and from themselves) and always put out things that I liked. As I have stated, this is the first time I was able to see through my KISS “fog” and see that they weren’t infallible. With the exception of a few tunes, I really did not and still do not like this album.

It does seem that Gene was present for this album. The production credits are given to him and Paul. They did use outside writers for most of this album. Both “Rise to It” and “Read My Body” were co-written by Bob Halligan, Jr., who is probably best known for his writing with Judas Priest and Kix (he co-wrote “Don’t Close Your Eyes). Five of the tunes were co-written by former KISS producer/songwriter Vini Poncia including “Love’s a Slap in the Face,”  “Cadillac Dreams,”  “Somewhere Between Heaven and Hell” (with Gene), “Silver Spoon” and  “King of Hearts” (both with Paul). Some of those are good some are bad.

Bruce Kulick co-wrote a few songs on the album including “Prisoner of Love” and “Boomerang.” Let’s talk the latter, now. This song makes no sense to me. Not, lyrically, but musically. It seems disjointed and sounds like it’s about to go off the rail. It’s KISS’ attempt at speed metal. It’s a good showcase for what Eric could do, but the rest of it just seems like a blur of noise. And, Paul’s assessment about pull-offs and hammer-ons is total BS on this song. I really, really, really dislike this song.

Future Spaceman Tommy Thayer co-wrote two songs with Gene, “Betrayed” and  “The Street Giveth and the Street Taketh Away.” Eric finally gets to sing lead on an original tune, that he co-wrote with Gene and long-time KISS collaborator, Adam Mitchell. The song was called “Ain’t That Peculiar” but they reworked it to become “Little Caesar” which was what Gene playfully called Eric when he was being a badarse. It’s okay, not great, but at least he got to do something that wasn’t (and doing a better job of) covering  Peter’s vox on “Beth.”

Pop music songwriting superstars Desmond Child and Holly Knight collaborated with Paul on “Hide Your Heart” which was on not only this album, not only two different albums but FIVE different albums in 1989. My fave is the KISS version but it was also covered, and probably most successfully, by Bonnie Tyler on her album of the same name, Robin Beck on her album Trouble or Nothin’, Molly Hatchet on Lightning Strikes Twice and oddly enough, Ace on his Trouble Walkin’ album. Ace’s wasn’t bad. Bonnie Tyler’s sounded like “Total Eclipse of Hiding Your Heart” and Robin Beck’s version is Bonnie Tyler Lite. I don’t like anything Molly Hatchet does and this is no exception.

But, the most eyebrow-raising collaboration has to be the album’s biggest hit and the band’s second-highest charting single ever, “Forever” which was co-written by Michael Bolton. Yes, that Michael Bolton and NO, not Michael Bolton from Office Space. “Forever” was a ballad and it was a very well-written song. It reached #8 on the Billboard Top 100 chart (only “Beth” did better on the charts). The video was great. Simplistic. To the point. Bruce’s solo was magnificently done.

The tour that followed this album was my first concert ever. I finally got to see them live. I finally got to see anything live. I had to put my foot down to my mother who wouldn’t let me go to concerts. So, on July 27, 1990, I saw Danger Danger (who I loved), Slaughter (who I liked a lot) and KISS. It was the only time I would see Eric Carr play as he passed away just two years later. But, the band came out of “LEON” the Sphinx’s (get it?) mouth followed by lasers and smoke. Eric’s drum solo with the Simmons pads was great to watch, too. I was in awe!

But, back to the album. This was their longest and longest-running studio album. It was barely shy of an hour and it had 15 songs. I think they could have left off “Boomerang,” “Cadillac Dreams,” “Read My Body,” “Prisoner of Love” and “Silver Spoon” and made it a reasonably-tracked ten-song album and it would have been better for me. I felt they just tried too much filler. I know that the minimalist approach of the album and worrying about budget had them overdubbing on demos instead of rerecording them. That could be part of my problem with the album, too. Not enough production, cutting corners, fluffing the album with filler crap. All that just made for a bad experience overall, even with some shining moments. For me that is. It sat at the bottom of the barrel (15 to that point) until the clunkers Sonic Boom and Monster came out. One day I’ll do a countdown of my own of KISS studio albums. A few people have asked about that.

This was the last KISS album I bought on cassette, as I got my first CD player in December 1989.

Happy anniversary HITS, meh…

Until tomorrow, same blog channel…
Scorp out!

—
“Would you want to know what I’m thinking about? Do you wonder do I wanna make you scream and shout – shout it out. Would you like to see what’s in my brain? Does your curiosity make you insane – insane? Baby, you’re just wastin’ precious time, if you want to know what’s on my mind. Read my body, are the letters big enough? Read my body, do you like the book of my love? Read my body, turn the page, get to the good stuff, read my body.” – “Read My Body” (Stanley/Halligan)

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)

 

Asylum Et Al or: Many Kisses (Part 1)

17 Monday 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.

Asylum_album_cover

©Mercury Records

Alive! (click the link to see what I said about it) was released on September 10, 1975. That’s the album that broke them free of obscurity. The live version of “Rock and Roll All Nite” was finally the light in the clouds and radio stations ate that up. Now, it may be sacrilege to some KISS fans and may be concurred by others but I don’t care to ever hear it again. It is one of my top 10 least favorite KISS songs. Now, I say that but if I didn’t hear it at KISS concerts, I’d be totally ticked. It led the way for more KISS albums, as I feel it was the make-it-or-break-it time for the band and for Casablanca Records. And, it was #159 on the RS List.

Last week I talked about Animalize which came out on September 13. You can click that link to see what I said.

I didn’t post this yesterday because I knew I was going to write a big post today. But, September 16, 1985, was the release of Asylum. As with most 80s-era KISS albums, fans either love it or hate it. Non-fans know the big hit, “Tears Are Falling” and nothing else. They generally don’t even know it exists. Once again, Gene is mostly absent, although he somehow convinces Paul to include his name on the “produced by” line. We all know that’s BS. He was still acting. He was still producing and managing. He was still…

For my buck, once again, Paul was “the Man” on this album. While I wouldn’t classify the Gene tunes as “clunkers,” I can’t say they’re great.  Gene’s songs had no “umph” and mostly without testicular fortitude. Now, if you know me, or have read much on this blog in the last several years, you know I’m a huge Gene fan (literally and figuratively) and he is the reason I’m a musician, how I am a musician and how I am on stage. But, even I know you can only pull off so many things before you totally start losing control. Now that KISS tours here-and-there, he can focus on 10,000 business ventures, but that that time Paul operated like KISS was still his full-time gig. As was the case on Animalize, Jean Beauvoir came in to fulfill some bass duties on two of the songs he co-wrote with Paul.

Let’s dig in a little. “Any Way You Slice It” was co-written by someone named Howard Rice. I can’t find anything on him. It’s not a bad start for Gene, really. “Trial By Fire” has some cool moments and the chorus is catchy, but I hate the verses. It’s also the first collaboration of Gene and Bruce Kulick, now the full-time guitarist of the band. “Love’s a Deadly Weapon” was co-written by Paul and two other members of the Plasmatics, Ron Swenson and Wes Beech. So, add in the stuff Paul did with Jean Beauvoir, there’s a shload of Plasmatics on this album. “Love’s a Deadly Weapon” has some cool, but cheesy lyrics, but it’s definitely not my favorite tune, I’d say it’s my least favorite on this album. “Secretly Cruel” is okay. Nothing of Gene’s really catches me, though.

Not that all of Paul’s songs were wonderful, either. Don’t hear that. While I do like the songs, they could have been from some band named K-R-A-F-T instead of K-I-S-S. The last two, especially. “Radar For Love” and “Uh! All Night” are silly but call me crazy, I love them. My least favorite Paul song is “I’m Alive.” It’s unnecessary and mundane. It was a co-write with both Bruce Kulick and Desmond Child, as was “King of the Mountain” which is one of my highlights of the album. Eric Carr’s drums are amazing on it. Paul’s voice is really strong, too.

So, my faves are definitely “Tears Are Falling” along with “Who Wants to Be Lonely” and “King of the Mountain.” There are some really good tunes across this album, it’s just not their best. Even Gene and Paul kind of pan it today, except of course, for “Tears…”

The cover features the faces of the four then-current members drawn with their lips colored in the classic solo album color schemes. Gene’s lips are red, Paul’s purple, Bruce’s are blue (to represent Ace) and Eric’s are green (to represent Peter). The back cover showed the band looking like Billy Squier’s band or early SNL intros.

I think Paul (and whatever Gene did) could have made the album a little meatier and heavier but that’s not the case. Bruce’s guitar work on this album is really good and it fit the time. It wasn’t KISS to most, but to me, it still was KISS. Eric’s drumming was solid but again, could have used a little more treatment on the sound, in my opinion. The videos for “Tears are Falling,” “Who Wants to be Lonely” and even “Uh! All Night” are pretty cool for that era.

It had come out and “Tears Are Falling” was being played (where there was real rock radio) and on MTV, but it was 1985 and prior to my move to WSNC. I read about the song in Hit Parader and Circus but it wasn’t until I could convince Ma Mère to let me have it could I actually listen to the song. I thought it was someone other than Paul singing at first. He was extra breathy and un-Paul-like. I still love the song, though. One of my favorite KISS songs, not just non-makeup era KISS but overall.

I know this sounds like I’m panning the album and that certainly isn’t the case. It was amazing for its time but as I got older, I realized it wasn’t quite the best, certainly not as good as the 70s stuff and really wasn’t near the top on the 80s stuff, which you’ll find out more about later, like tomorrow or Wednesday. It’s not in the bottom 5 of KISSdom for me nor is it in the top 5. It’s middle-of-the-road, to me. Give it a listen, with an open mind, and tell me what you think.

Tune in tomorrow to find out more about this WEEK in KISStory.

Until tomorrow, KISS it!
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, who wants to be with you tonight? Who wants to be lonely, who wants to be holding you tight?” – “Who Wants to be Lonely?” (Stanley/Child/Beauvoir)

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)

Silent Sunday or: The Haul 5/13/17

14 Sunday May 2017

Posted by in Records, Silent Sunday

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Salutations™!!

I don’t know how I missed it but there was a whole other section of $1 records at Underdog Records. We found it yesterday. Oh did we. It was 33% off all $1 records, too, so that was a bonus. Here’s what we walked away with:R-603114-1156732637.jpeg

Whew! 40 albums. Actually, 41 because there’s one I have to put into Discogs because there is no record of it. Ha! No record of it… Funny stuff. Anywhat! Jonathan has a fantastic selection of old, new, future, all kinds of records. And, if you don’t use Discogs for your record (and even CD) archiving and cataloging, then you’re missing out.

Until tomorrow, same blog channel…
Scorp out!

—
“And I’ve got such a long way to go (such a long way to go) to make it to the border of Mexico. So I’ll ride like the wind. Ride like the wind” – “Ride Like the Wind” (Cross)