Tag Archives: Destroyer

Where They Stand or: Many KISSes? (part II)

12 Wednesday Dec 2018

Posted by in KISS, Music Review, Records

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Salutations™!!

Have you recovered from the first half of the list? Are you torn up about it? That’s okay. I’m used to that. So, here we go into the top 15 KISS albums in my preferred order. Let’s go!

Crazy_nights_album_cover

Crazy Nights

#15 — Crazy Nights (1987). Yeah, this gets a lot of flack for being bubble gum, sugary rubbish, but not with me. I loved this album and I still like it. Is it as good an album as Destroyer or KISS or Rock and Roll Over? Nah, but I enjoyed it. I was almost 17 when the album came out and it was still KISS to me. It didn’t matter how sugary it was, I couldn’t hear enough of it. But, then again, I like that pop-rock stuff. So, there.

#14 — Destroyer (1976). Yeah, what is widely called their best album isn’t even in the top 10 for me; barely does it crack the top 15. Yes, it has classic tunes, including one of my top ever, “God of Thunder,” but overall, it just isn’t my bag. Now, it could be that I never had this as a kid on record and didn’t spend all my pubescent years listening to it. I got what I could when I could and it was never gifted or given to me as a present and I didn’t buy it myself. So, it just doesn’t hold the same nostalgia as the following albums did. Now, I agree it is great, I just don’t get excited about it.

#13 — Lick It Up (1983). I talked about this album on its 35th birthday, which is September 18. You can go back and read more if you want. It was heavy and “metal” and that’s some of what made this a great album. It wasn’t about sex, it was about serious rock stuff. It was a great album and I dig it.

Dynasty_(album)_cover

Dynasty

#12 — Dynasty (1979). The disco craze had just hit and this is where KISS decided they needed to be trendy over their roots and hit up Vini Poncia to produce an overly-slick album that reeked with disco flavor, and I liked it. I talked about the album earlier this year on May 23, its anniversary. I talked about how I really didn’t notice that it was different until much later. I did notice that “2000 Man” sounded unlike KISS, but the rest of it wasn’t really different. I couldn’t pick out the differences back then, I was 8 years old.

 

#11 — Creatures of the Night (1982). The “lost” album. It wasn’t lost, it wasn’t hidden away, it was where many KISS fans were just looking over KISS after their disco/pop/art rock debacles from 1979-1981. As with the previous album, though it was a departure, I didn’t notice the difference. The last true “makeup” album it was KISS trying to get their feet back under them. So, until they went back and listened, most KISS fans didn’t know what they were missing. I will say, it is the coolest of any KISS cover.

#10 — Paul Stanley (1978). So, that means that two solo albums cracked my Top 10. This is very KISS-like, but there was something about it that also wasn’t KISS. It was a little less hard as the KISS stuff. Well-written songs and a bevy of great studio musicians helped make this a fun album to listen to. I could see these being KISS songs and not just KISS throw-aways. To me, probably the best of the solo albums. But…

#9 — Gene Simmons (1978). Gene’s album was what I felt the solo albums should be and my favorite of the four. It was the most experimental, had the widest range of styles, the biggest guest list of any of them and still pulled off a great album that was a lot of softer Beatles-esque tunes, groove rock, horror film feels, and Disney tunes. I mean, c’mon! That’s amazing. Way to go, Demon!

Kiss_alive_album_cover

Alive!

#8 — Unmasked (1980). 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.

#7 — Alive! (1975). What really broke KISS out was this album. The live version of “Rock and Roll All Nite” kicked it up that notch. It is certainly a Klassic with the whole album a non-stop punch in the face. It’s energetic and KISS was still hungry. The cracks hadn’t started to form, yet. While it is probably their best live album…

#6 — Alive II (1977). This one is my favorite and yes, I know to call this a “live” album is probably a misnomer, it’s the time/era of KISS that is my favorite. I wish they would have filled the five studio songs with more live stuff, but the song selections that I grew up with was spot on. Most of it was overdubbed and recreated in the studio, but it’s still the live album I go to first.

#5 — Rock and Roll Over (1976). So, here we are in the Top 5. This album was the follow-up to Destroyer and I think it surpassed it. I wrote a review about this just two weeks ago. It was given to me by my Uncle Ricky, as was my first copy of Double Platinum. He was my first grownup KISS fan. I didn’t have older brothers or even cousins that were into or aware of KISS. He helped me. Starting slow, ramping up and just having a great mixture of song styles, this album has it all. It was well represented on Alive II, as well.

Cover_hth_large

Hotter Than Hell

#4 — Hotter Than Hell (1974). the band’s sophomore effort was a great followup to the debut album. This was one of the first albums I was able to get my hands on and my mother put up a fight because it said “hell.” As I wrote just a few weeks back, it sounds like it was recorded in an old porcelain bathroom, but I think that also adds to the charm. Some of my favorite KISS songs are on there.

 

#3 — KISS (1974). The one that started it all. The KISS debut album is the Klassic-est of Klassics when it comes to KISS. From the opening drum intro of “Strutter” to the tape drag of the bombs at the end of “Black Diamond” it really never gives up except for “Love Theme from KISS.” It’s a great album, all the way through.

#2 — Love Gun (1977). The first KISS album I ever owned. The bombastic opening of “I Stole Your Love” to Ace’s debut vocal performance on “Shock Me,” to the bizarre penis references in “Plaster Caster” to the gender-altering cover of the Crystals’ tune “And Then She Kissed Me,” the album has many highlights and five of the first six songs are represented on Alive II. Also, a great album cover, one in which I spent a lot of time staring at when I was 7. And…

The_elder_album_cover

Music from ‘The Elder’

#1 — Music from ‘The Elder’ (1981). I have said many times that this was my favorite KISS album and I still maintain that. Though, really, any of the top 15 could probably sit on the top of this list. They’re like kids, my favorite one is the one in front of me at that moment. But, this album was KISS trying to be artistic and gain critics’ approval. They didn’t need either one but they thought they did. To most KISS fans and critics alike this was the ultimate KISS “mistake.” A beautiful mistake in my opinion. While Love Gun was the first KISS album I owned, this was the first CD I bought (along with Hotter Than Hell) after Bad English’ debut. At the age of 10, I was only really familiar with “The Oath,” “A World Without Heroes” and “I” and I just knew those tunes were rocking. It wasn’t until much later that I realized it was what it was, or attempted to be. I think it’s gravely overlooked and deserves a second or twelfth listen if you didn’t like it the first time you listened. But, keep an open mind. Like with Unmasked, you have to be prepared to put aside the KISS aspect and listen to the album as a whole. I love it and while I know it’s not the best KISS album, it currently sits at the top of my faves.

So, there you have it, Dear Reader. I know many of you will disagree with just about all of this list and I’m prepared for that. Send me your comments, but keep it cordial. Again, this is my opinion and isn’t supposed to represent how “good” any album is. What is your top 5? I’d like to hear that. Or heck, do the full list.

I did leave off 19 greatest hits albums and other inconsequential recordings, including the box set and You Wanted the Best You Got the Best with two new “live” tracks. I just felt that the three greatest hits albums that I included were enough. Most of them were repetitive anyway. So, yeah, let me know your thoughts, not like you wouldn’t anyway.

Until tomorrow, same blog channel…
Scorp out!

—
“Once I was a fool dreamin’ my life away, and then yesterday I found you lookin’ for me, draggin’ your heart around at the lost and found. I love you, you’re the only one who could make me feel love was smart. I feel you deep inside of me, beatin’ up against my heart. And I found out, I found out, what makes the world go ’round. Oh I found out, really found out, what makes the world go ’round.” – “What Makes the World Go Round” (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)

Escape From The Island or: A True Turning Point

17 Monday Jul 2017

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Salutations™!!

This wasn’t included in my “The Haul” from yesterday because it was delivered after I had posted that. This album was not purchased from Underdog Records, but Amazon. The distributors are back ordered and Amazon had five of them left, so I grabbed one. What is this, already, you ask? It’s my favorite KISS album: Music from “The Elder” (1981).

The_elder_album_cover

©Casablanca Records/Universal 

 

Now, I know a lot of my friends cringe when I say that, especially true KISSheads. Deeper than that, a lot of my friends cringe when I say I’m a KISS fan, period. I have always and will always be a fan of the band and in turn, this album. It’s a major dividing line not only in KISStory itself but in much of the KISS Army. Most people I’ve talked to that have any clue what this album is are in the love camp or hate camp. There isn’t that much in-between.

KISS fans had already started to wane in loyalty over the perceived debacles that the two previous albums, the disco-laden Dynasty (1979) and the power-pop heavy Unmasked (1980). They didn’t like that their favorite band was bowing to trends and seemingly abandoning their roots, and arguably, their fans. There was a lot of turmoil and trouble in the KISS camp that the general public didn’t know about until several years post. The public never knew the fact that Peter was essentially out of the picture for just about everything KISS at this point and that Ace was very unhappy, as well. Part of that was that he wanted to get back to rocking and another part was the fact that, without Peter, he was constantly being outvoted by Gene and Paul and their clique. So for Dynasty and Unmasked Peter wasn’t even on the albums other than one song. They needed something to kickstart the interest again. KISS touted a new album that returned to the rocking style that got them “world domination” status.

Instead, Gene and Paul were persuaded by bad advice and “those who know” suggestions to do something to get critics on board with how KISS really are great musicians. Here’s the thing, though… KISS aren’t great musicians. KISS are good musicians and great entertainers that did what they did (entertain) really, really well.

There was Rock on the album, no doubt. In fact, most of the songs were rock, but this wasn’t the Cock Rock that KISS was known for. Instead of an album full of sex and debauchery, the fans were given art rock concept album that followed a disjointed storyline that was like Excalibur meets Homer’s Odyssey or something equally as weird. In fact, “Odyssey” was a song on the album, written by songwriter Tony Powers that was released a few years prior but never got anywhere. The critics, instead of jumping on the bandwagon, jumped into a ditch to steer clear of it. It wasn’t very good in their eyes. Pretty much, it wasn’t that good. It’s the only KISS album up until Carnival of Souls (1997) that didn’t at least make Gold status in sales. The official tally is around 375k sold. It was also the first record that didn’t have a tour to go with it.

To make matters worse, here in the States, Casablanca decided to rearrange the songs in order to turn the focus onto two songs: “The Oath” and “A World Without Heroes.” So, the concept album that was already confusing enough totally went into the weeds and the songs weren’t strong enough to keep the listeners interested. No one cared. KISS had essentially lied and not put out a kick-arse rock album. KISS put out sub-par tunes that were not even on a decent band’s throw away list. KISS messed up.

I could have been there was a new drummer, one that replaced the departed Peter Criss. Eric Carr is my favorite KISS drummer. He breathed new life into a crumbling phase of KISStory. It was a new, youthful (even though he was only a few years younger than Peter) approach and while the tunes didn’t rattle the windows, his drumming was spot on. Also, Ace was all but checked out. The only real promotion KISS did for this album was on the ABC version of Saturday Night Live called Fridays Ace didn’t care to be there, you could tell if you watched it. He could have phoned in the performance. End-of-caring bare bones costumes, songs that were limp, band members who were either embarrassed or imbibing on substance and it made for a bad time. There was also a “video” performance of “A World Without Heroes” on TV’s Solid Gold.

Most of Ace’s parts were redone in the studio and you had Paul doing several solos and guitarist Robben Ford doing the solo for “Just a Boy.” Ace couldn’t even be bothered to show up for the recording sessions. He had his own studio, “Ace in the Hole,” in a bunker behind his house and he had the tapes sent to him where he’d record his parts and send them back to Toronto or New York, wherever they were recording at the time. It was a long, drawn-out process, to say the least.

Even bringing in legendary producer Bob Ezrin, who co-wrote some of the tunes and who was instrumental in making Destroyer (1976) the beast and success it was, couldn’t save this project. I believe it was a bit of his doing that it was made this way. I also think he was strung out on cocaine. Oddly enough, a few songs were co-written by the late, great Lou Reed. It just made for strange bedfellows, I think. It was a bad time for KISS. It was a bad time for many KISS fans. But, it wasn’t for me; not at the time.

I was still in my “KISS-Can-Do-No-Wrong” phase and truthfully, other than knowing it sounded a little different, I was so blinded that I couldn’t really tell there was a musical change. Not at almost 11 years old (the album was released 10 days before my 11th). It was KISS and I liked the songs. I liked some more than others. I loved “The Oath,” “A World Without Heroes,” “I” and “Mr. Blackwell” (mostly because they said “go to hell”). I listened a little to the others but it wasn’t until much later that I realized what was going on and fell in love with the whole album. I listened and formulated the nonexistent film in my head through the songs. When the “remastered” version came out in the correct track order (the Japanese version was always in the right order), it made a world of more sense to me. It made it a better album to me, although I already dug it. But, it really wasn’t great. I was just too blinded to notice.

So, why then do I say it’s my favorite KISS album if I’ve spent the entire post explaining why it sucked? Okay, it’s only my favorite album in theory. I can’t really place that tag on any one album. I can point to the ones I don’t like as much, easily, though. I think because it was when I was hitting that certain age and still loving KISS in every way and getting to see them on Fridays, that was a big time for me. The next album, they came to their senses and busted arse, but it was a tad too late, sort of… I think Music From “The Elder” is a fine album. Weird but fine. I think it took a lot of balls, the same balls the overall vibe was missing, to put it out and own it. Gene and Paul recognize it for what it is, whatever you want to call it. I love it and will tout it as my favorite, still.

Listen to Music From “The Elder” and give it a fair shake. Understand what it is and try to understand the whys and hows. It’s not typical KISS and it’s not that great but for this former 11-year old, it was it! It was the first KISS album I had on CD (original release listing) and I made sure to get it quick on LP before they discontinued it. Thanks for reading this long-winded post, Dear Reader.

Until tomorrow, same blog channel…
Scorp out!

—
“Morpheus, you have been summoned here to offer your judgment of The Boy. Do you still deem him worthy of The Fellowship?” – Order of the Rose