Tag Archives: KISS

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

23 Wednesday May 2018

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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)

Revenge of Sounds Like Saturday or: the Domino Bonus

19 Saturday May 2018

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Salutations™!!

I know I’ve already done a post today but not only is today the release anniversary of So from Peter Gabriel, it’s also the 26th anniversary of KISS’ Revenge. It was a return of heavier rock from KISS that mostly got away from the poppier sound of the last few releases. To quote Paul Stanley, “you won’t hear any ‘hammer-ons’ on this album.” I think he meant hammer tapping, but whatever. In this video, I swear that Gene is the only person that could drink from a straw and make it look cool. Even, if the song is a bit creepy, it’s definitely “Gene.”

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

—
“Never had confession. Never had a home. Never had no worry until I met Domino. 
Ain’t the Virgin Mary. Love her I confess. Got my hesitations, ’cause she kisses like the kiss of death. Loves lots of money, back’s against the wall. Calls me Sugar Daddy, she knows she’s got me by the balls. They call her Domino – so fine.” – “Domino” (Simmons/Vincent)

Reaching the Beach or: Shipping Up to Boston

03 Thursday May 2018

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Salutations™!!1tix

Here’s the phone conversation:

The BCPF: “Hello.”
Me: “So, baby… I love you!”
The BCPF: “Um… I love you.”
Me: “I fixed the shower (it had been leaking really badly (I was proud of myself – that’s another conversation)).”
The BCPF: “Yay! Thank you.”
Me: “And… I love you!”
The BCPF (with trepidation): “I love you…?”
Me: “So, I made a little purchase today.”
The BCPF: “Okay…?”
Me: “You know how we’ve gone to several concerts to see your bands and you told me it was my turn next?”
The BCPF (cautiously): “Yeah…?”
Me: “Well, I purchased tickets to something. And, it’s on our anniversary weekend.”
The BCPF: “Okay…?”
Me (after a pregnant pause): “And… it’s in Boston.”
The BCPF: “WHOA!!!”
Me: “I LOVE YOU!”
The BCPF (stutteringly): “Wha… er… um…  Okay, so, two questions…”
Me: “Okay. I love you!”
The BCPF: “First: who is it?”
Me: “The Fixx.”
The BCPF: “Really!?”
Me: “Yep.”
The BCPF: “Okay… Second: how are you paying for this?”
Me: “I had a bit from a new sponsor.”
The BCPF: “So, I don’t have to pay for it?”
Me: “Nope. I’ve already done it.”
The BCPF (still stutteringly): “Wha… er… um… ”
Me: “I LOVE YOU!”

So, that’s almost word-for-stuttering-word the conversation. I partially blame Doug Davis, yes, that Doug Davis for it, although, it’s a good blame. You know, Dear Reader, how I post all these records that I listen to on my Instagram/Facebook/Twitter almost daily? Well, I posted one on Tuesday that was The Fixx’s Phantoms. Doug mentioned that they were still doing gigs with the classic lineup and that they were touring but nowhere around here. I said, “ROAD TRIP!!”

And, apparently, I wasn’t kidding. I went online, as one does, and looked up their tour. There was one in Nashville and some all across the country but here this one was on Labor Day, September 3. Our anniversary – you’ll remember because I don’t dare allow you to forget it – is on September 2. It just so happened to be in Boston. There were four tix left. I bought one. The venue, City Winery, only seats about 200 people it appears so it will be intimate.

We have both mentioned, several times, that we wanted to go to Boston one day. We are also the couple that will talk about doing stuff but won’t actually pull the trigger on making big plans until we “have reason to.” We haven’t been anywhere for our anniversary since our honeymoon and serendipity says that those two stones could be knocked out by one bird. That bird (or Bee-man) was me.

We agreed, once she was able to breathe, that we’d just have to tighten up and save for some stuff. Turns out, I had some Sky Miles with Delta and was able to book roundtrip tix from GSO to BOS for only $56 cash (travel insurance and all). Plus, I still have some Sky Miles to use later. So, that was taken care of. A reason and the transportation.

Now, just to find the right accommodations. I scanned my known inventory of hotels (no I’m no longer a travel agent, but I know where to look) and found something that I know that The BCPF would love (she loves classic “old” places) and settled on the Omni Parker House in the “North End (or just right outside of it)” which is about 2 blocks from the inspiration for Cheers (one of our favorite shows to watch together) and about that far from the venue to see the band. It’s on the “Freedom Trail” and we will get to do a lot of exploring of the “cradle of American civilization (as I call it),” Boston.

The hotel itself has a rich literary history involving both Edith Wharton and Charles Dickens (her two favorite authors) and other literary figures, plus it is where (allegedly) the Bostom Cream Pie was perfected and the Parker House roll was invented. There are about 30 more things I found about it but will save that for when I travel. It was also the least expensive in that area but still a 4-star hotel. We will be there for five nights.

As for The Fixx. I know that I like them. I love what I have heard, which is actually more than what they play on the radio, still. I have three albums by them and really, really dig them. They will be playing Reach the Beach in its entirety which celebrates its 35th anniversary in 12 days (3B’s birthday).  This is the album with “Saved By Zero” and “One Thing Leads to Another.” It’s also the farthest I’ve ever traveled to see a band. The previous record was driving to Greenville, South Carolina to see KISS, Jackyl, and Trixter. You’d think if I was going to do this it would be for my favorite band or at least one that I identify as a “fan” of. Like I said, I love what I have and will learn even more before September. I promise that! So, it looks like we’re going to have fun in Boston.

I know a good bit of you have been to Boston. What would you recommend? I know that she already has most of the trip planned already (not really) but I’d like to hear some “must see,” especially food places and beer places (yes, we’ll probably go to Samuel Adams). Thanks in advance for that!

Until tomorrow, same blog channel…
Scorp out!

—
“Crying parents tell their children, ‘if you survive, don’t do as we did.’ A son exclaims there’ll be nothing to do to. Her daughter says she’ll be dead with you. While foreign affairs are screwing us rotten, line morale has hit rock bottom. Dying embers stand forgotten. Talks of peace were being trodden. Stand or fall. State your peace tonight.” – “Stand or Fall” (Curnin/West-Oram/Woods/Greenall/Barrett)

Double Platinum or: The Best of My Younger Days

02 Monday Apr 2018

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Salutations™!!

I know I was going to write about Jesus Christ Superstar today but, I put it off for another day or two because there’s another KISS album that is celebrating a milestone today that I need to talk about.

Double_platinum_album_cover

©Casablanca

 

Usually, I don’t get excited about “greatest hits” or “compilation” albums. I mean, I like them, but they don’t really get me going. For KISS’ Double Platinum, however, it certainly did get me going. You see, as an eight-year-old, getting this album was the greatest thing ever. It had the “hits” or what we called hits. It had the blockbuster songs. It was in a shiny silver (platinum) cover and had KISS’ stylized logo all over it in big embossed letters.

It was a gatefold album sleeve that opened up to show all four characters in embossed portraits. I spent many a day tracing those four larger-than-life pictures and did so much on my original copy that you could see the traced lines over the regular embossment.

When I was this young, I didn’t have all of the albums from KISS up to that point. It included songs from the first six studio albums. With the exception of “Do You Love Me?” all were also included on one of the two “live” albums. So, without having all the albums, I needed this to have studio versions of those songs that I didn’t have on albums. My uncle Ricky gave me my copy, right after I got into KISS. He also gave me my copy of Rock and Roll Over as well.

KISS was at their tipping point at this point. This came out in 1978, the same year as the solo albums (they came out in September, all on the same day), which came about to appease Ace and Peter who wanted to taste more stardom and they thought they could make it on their own. However, KISS was the biggest act in the world so the record company threw together a “greatest hits” compilation that would be a fairly good representation of the band. This included some remixing, and in some cases, rerecordings.

In a successful effort to entice consumers into buying an album full of tunes that they probably already owned (I didn’t at the time), Casablanca had KISS remake the song “Strutter” from the debut album. This time, though (remember it’s 1978), from Sean Delaney, a long time friend of KISS in the early days and producer of Gene’s solo album and co-writer of some other tunes, they added some rapid-fire hi-hat work that made “Strutter ’78” a bit more disco. There are also shorter solos in that song.

There are passages of “Hard Luck Woman” left out and there’s some weird remix at the beginning of “Calling Dr. Love” that, my pal Eugene says takes out the intro that made that song cool. “C’mon and Love Me,” “Detroit Rock City,” “100,000 Years” and “Deuce” were all remixed, too. The end of “Black Diamond” on the debut album had a slowing tape effect of bombs that sounded apocalyptic. However, for this comp, they took that out and copied and pasted the intro – even into the meat of the song – back into the ending.

I never had Dressed to Kill growing up so I was confused later when I purchased it on cassette and the intro to “Rock Bottom” wasn’t at the beginning of “She.” I know it’s on the Alive version where it belongs but it was so low I never knew what was going on with it. I do now, but not back then.

I think a “greatest hits” album should have had “Shock Me” on it, that way all four were represented in the lead vocal sense. Peter had three songs that he sang lead on, but Ace had none. Still, I think it was a strong representation but not “definitive.”

So, Double Platinum came out on April 2, 1978, so yep, that’s 40 years. My copy is somewhere at Ma Mère’s house. The copy that I have at home now I got from my pal, Clay Howard. That was nice of him. So, for those looking for an intro experience into KISS’ first six albums, even now, 40 years past, grab this album if you can find it and get some learning. Actually, I’d really suggest you just buy those albums but still…

Happy birthday DP!

Until tomorrow, same blog channel…
Scorp out!

—
“I just hate when the girl says wait. I really want her by my side, don’t hesitate. I really want her by my side the whole night through. We do all the things that we wanna do. Well, come on baby, don’t leave me sad. Cause you’re good lookin’, the best I’ve had. Makin’ love.” – “Makin’ Love” (Stanley/Delaney)

Sounds Like Saturday or: Gabriella Quevedo

24 Saturday Mar 2018

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Salutations™!!

My cousin Gary put this on my timeline and I thought it was just awesome, so I’m sharing it with you, today. We all know that KISS is my favorite band. We know, too, that I did “I Was Made For Lovin’ You” with the Vagabond Saints Society a few years back. I think the disco-esque song is perfect for the Spanish-style guitar in this case. I especially love the middle bridge part in this manner. Ladies and germs, I present Gabriella Quevedo!

Until tomorrow, same blog channel…
Scorp out!

—
“Tonight I want to give it all to you. In the darkness, there’s so much I want to do. And tonight, I want to lay it at your feet. Because girl, I was made for you. And girl, you were made for me.” – “I Was Made for Lovin’ You” (Stanley/Poncia/Child)

Forty-Two On or: Destroyer

15 Thursday Mar 2018

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Salutations™!!

Forty-two years ago today, March 15, 1976, the fourth KISS studio album, Destroyer was released. Destroyer was the immediate follow-up to Alive which, thanks to “Rock and Roll All Nite,” really broke KISS into popularity.

200px-Kiss_destroyer_album_cover

©Casablanca

 

Their first three studio albums did absolutely nothing and were released within 13 months. They tried one after the other and no luck. This album was released two years after the first album.

People had heard rumors that this band KISS put on makeup and were rocking so hard that their live shows were going great. But, bands (and record labels) want to sell records. The release of Alive brought them to the radio. Fans then went back and bought up the first three albums, which made up the contents of Alive.

So, here they were recording a follow-up album. The record company brought in Bob Ezrin, best known at the time, for producing Alice Cooper. Ezrin brought string arrangements, choirs, and special effects. KISS was just straightforward Gibsons and Marshalls at that time. Fans were expecting the same hard rock pizzazz that KISS, Hotter Than Hell and Dressed To Kill had. They got that, kind of…

The strings and acoustic guitars, pianos and choirs kind of threw people off. Not in a bad way, mind you, just perplexingly. It wasn’t expected. And, really, that wasn’t something that happened on a full-blown KISS album again until 1981. The solo albums had some hints of it but, again, full-blown KISS albums.

The album starts off with someone washing dishes and listening to or watching a news report about someone dying in an auto accident. It was the intro to “Detroit Rock City,” which was based on a true story about someone who died on their way to a KISS concert in Charlotte. But, Charlotte Rock City doesn’t have the same ring to it. DRC was a song that I got really tired of really quickly. I got to where it turned my stomach to hear it. It was just overdone and I didn’t really care much about it. I will say the solo was awesome, which was arranged by Ezrin. I have come back around and now don’t mind hearing it again. I don’t know why.

The crash then goes into “King of the Night Time World,” a song about a youth having troubles at home and wanting to make it with his girl (“… and the dirty things that we do”). That song grew on me later, as well. I really didn’t pay much attention to it until the band I was in, Heavens Sake, learned it and played it live.

Third, is my favorite song from the album and one of my all-time KISS songs all around – “God of Thunder.” It is Gene Simmons, even though he didn’t write the song. Paul Stanley did. But, Ezrin thought the theme and progression were better suited for Gene’s darker character, so he slowed it down and turned it over to Gene. Starting off with Ezrin’s kids playing in the studio, they were wearing some space helmets with walkie-talkies in them. What they actually say has been debated for 42 years and even David and Josh Ezrin don’t know what they said. I’ve always thought they said, “okay… talk sexy.” Who knows? Anywhat! I have always loved singing this, which I did for the VSS show a few years back and playing it with Heavens Sake. The darkness of the song is amazing. Lots of crackles, feedback, screaming, moaning and wasteland effects. I love the song. Gene usually does his blood spitting at the beginning of this tune.

All that was well and good. Great hard-rocking tunes. Then it happened. The strings. The acoustic guitar. The odd lyrics and (gasp!!!) the Brooklyn Boys Chorus singing about getting a girl horny. “Great Expectations” was a drastic turn of events. Part of the compositional theme of the song was based on Beethoven’s “Sonata Pathétique,” and I find that pretty cool. Now, I dig the song; like it, in fact. But, it threw people for sure. After a few listens, it grows on you and it’s a pretty cool song. Odd… but cool. End Side 1.

Side Two starts with some rock and roll rebellion going on. Paul wrote two songs about breaking out and being free of the parental grasp on this album. Well, three really. I know that rock and roll was about rebellion and they took this to heart in the song, “Flaming Youth.” I mean, could it be more obvious? “My parents think I’m crazy and they hate the things I do. I’m stupid and I’m lazy, man, if they only knew. How flaming youth will set the world on fire. Flaming youth, our flag is flying higher and higher and higher.” Yeah, rebellion. The song was an amalgamation of ideas from Gene, Paul and Ace Frehley, with Ezrin taking them and embellishing them. I really dig this tune.

“Sweet Pain” is up next and it’s quintessential Gene and his horndog-laden love god persona. Ain’t no one can love you like me and my BDSM loving arse is basically the theme. I’ll love you so much it will hurt. And, he’ll do it while wearing leather and using whips. Isn’t that sweet? Yeah, sweet pain, from what I hear. I didn’t understand most of that when I was a kid but I find it funny now. Gene was what? 26 when they released this? Yeah. Horndog. And, I love it.

The third “break out and be something/do something song” was a bit of a smash from the album and a live staple for many years to come. “Shout It Out Loud” was co-written by  Stanley, Simmons and Ezrin. If it’s too loud they’re too old. Shouting it out loud is basically the cheerleading call-to-action of the rockin’ world. That’s what they want you to do. They took the title from the Hollies tune “We Want to Shout It Out Loud.” Wicked Lester recorded that when Gene and Paul were in that band. I got to do the Gene lines with my pal Reid Mansell at the VSS show.

“Beth” was a surprise. It was filler. It was a throw-away. They recorded it to appease Peter’s itch to have a song with his name on it. That may not be the official story but from what I’ve read between the lines over the years, yeah… It was the B-side of “Detroit Rock City” and was left to its (presumed) fate of filler. But, something happened. Something that I don’t know what really common at the time, DJs started flipping the record over and playing “Beth” instead of “DRC.” It still sits as the highest charting song in KISStory, at #7, one place higher than “Forever” which came 14 years later. I like the tune. I prefer the Eric Carr version on the greatest hits album, Smashes Thrashes and Hits in 1988, but this is classic.

The album closes with “Do You Love Me.” It’s a tune about the glitzy lifestyle of the rockstar and the potential gold-digging girlfriend who may or may not really like the singer; she may just be using him to get the status, attend the parties, get the backstage passes, limousine rides and so on. It’s sad really. That is unless Paul’s character in the song was getting what he wanted out of it. But, if he was, would he need to ask if she loves him? Probably not. That song became a concert staple. It then fades into some weird effected thing where you hear Paul doing banter from Dressed to Kill/Alive tour about a “rock and roll party.” I never felt it was necessary but I didn’t hate it.

I wasn’t into KISS or even know about them, until around 1977/78 and I never had this on vinyl as a kid. I did get it on cassette when I moved to WSNC and I definitely got it on CD and then the remastered CDs. I got it the vinyl remasters on 180g black vinyl that has all the original packaging and all.

I do have the remixed copy of Destroyer: Resurrected that Ezrin remixed and re-EQed the songs while adding some elements that had been left out. The original Ace solos (which were originally Dick Wagner of Alice Cooper’s band in the release) for a couple of songs and added some additional vocals to a few songs. Ace was part of stuff from this album but he was starting to flake a bit. That’s why Wagner did his thing.

The cover was painted by sci-fi/fantasy artist Ken Kelly (who also did the Love Gun cover) and it depicts a true wasteland with burning buildings and barren, burning land. It showed the band as larger-than-life characters that were destroying the world around them.

I don’t know why the album was called Destroyer other than it goes with the God of Thunder theme. I don’t know and I don’t care. It’s a great album. To me, there’s not a filler on there. It is #489 on the RS list I’m always talking about. It isn’t my favorite KISS album but I’d say it’s in the top 10. One day I really need to rank them. I’ll do a post on that when I do.

Have you listened to this album, Dear Reader? What did you think? Tell me about it, I’m truly interested. If you haven’t check it out on your favorite streaming service and if you like it, consider purchasing it. It sounds great on vinyl, but I’m biased. Rock on, Destroyer!

Until tomorrow, same blog channel…
Scorp out!

—
“I’m the lord of the wastelands. A modern day man of steel. I gather darkness to please me and I command you to kneel before the… God of Thunder and Rock and Roll. The spell you’re under will slowly rob you of your virgin soul.” – “God of Thunder” (Stanley)

Sounds Like Saturday or: Paul Stanley

20 Saturday Jan 2018

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Salutations™!!

Happy 66th birthday to one of my favorite rock vocalists and certainly my favorite rock front men! I’m just gonna leave what I feel is one of his best vocal performances ever.

Until tomorrow, same blog channel…
Scorp out!

—
“You tell me that you’re leaving and I’m trying to understand. I had myself believing I could take it like a man. But if you gotta go, then you gotta know that it’s killing me. And all the things I never seem to show, I gotta make you see. Girl, it’s been so long, now tell me. Tell me how could it be. That one of us knows the two of us don’t belong In each others company.” – “I Still Love You” (Stanley/Vincent)

Listing or: a New Play

05 Friday Jan 2018

Posted by in Life as We Know It, Movie Review, Music Review, Records

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Salutations™!!

Well, it’s a new year. Last year around the new year, I finished two long-time lists, The Rolling Stone Top 500 Albums of All Time and the 400 nominations for the AFI 100 Years… 100 Movies. Again, those were long, drawn-out treks. The movies list took almost nine years and the RS list was a three-year jaunt. Lots of hours spent in that. One day I may add up the run times of each film and each album to see how much time those actually took. I’m really curious.

nme

©NME

 

Then, this past year, I did Eugeology: Eugene’s List of Hard Rock Albums and Possible Gems where Eugene and Jon and I listened to a random list of 50 hard rock albums that Eugene thought were fantastic and perhaps lesser known to everyday music folk. I finished it in almost perfect time. Eugene got somewhere barely over half done and Jon never made it to half. Oh well.

Now, the point is, Dear Reader, you know that I do lists. That’s how I operate. Eug jokes that the only way to get me to do something is to put it on a list or let it involve a streak and watch me burn through it. He’s not far off from the truth, there.

I feel I need to explain this again, but I’m always asked why I have to have lists, why can’t I just listen to stuff? I’ll condense it and say that where I grew up there were no top 40 or pop music radio stations until at least 1982 and at that, it was a limited playlist. We didn’t have MTV and I really had no access to the plethora of music that was out there. My father listened only to what we now know as “classic country” and my mother listened to Leslie Gore and gospel stuff. She isn’t really a “musical person.” I spent most of my time, ages 8 until around 12/13, listening to nothing but KISS. I don’t regret that, but I do wish I had more knowledge of the rest of musicdom.

As I said at the beginning, it’s a new year. And, since I’m out of lists that I was already working on, well, I need another. So, I was looking through some Google searches and came across a few lists but the one that I think is manageable right now is NME’s 101 Albums to Hear Before You Die. I will figure out how to structure the listen. I know for the RS list I did 10 at a time and with Eug’s list we did one a week. I don’t know, just yet, how I’m going to approach it. I know that about half of the albums on that are on the RS list in different spots (obviously) but there are some out there things that I’ve never even heard of. You never know I may find the next Forever Changes (Love), Maggot Brain (Funkadelic) or Berlin (Lou Reed) on this list. Or, I may find the stuff too out there for me and abandon it. We’ll see. I know that NME has a 500 of all time, too. Who knows. I have the 1001 Movies You Must See Before You Die (2011 edition) book and there’s a website with the whole list including all editions. You never know I may pick all of those. For now, however, I’m going to say the NME list is what I pick. You’ll see how it works out because I know you read every day, right? Right.

Until tomorrow, same blog channel…
Scorp out!

—
“Lists are how I parse and manage the world.” – Adam Savage

Rock and Roll Hall of Fame or: Sing It Sister!

13 Wednesday Dec 2017

Posted by in Life as We Know It, Rant

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Salutations™!!

So, I know the Rock and Roll Hall of Fame is at times controversial, sometimes political and always polarizing subject. Some think it’s contrived, others a complete waste of time. I have been critical of their inability to nominate qualified artists over some that have been sketchy at best.

Now, I know opinion is a major boiling point in things like this. I don’t like this band so they shouldn’t be in there. How can they say that’s rock and roll!? Where’s KISS!? They let N.W.A. in? Those are just the tip of the iceberg when it comes to the HOF. I was guilty of that, as I’ve said (and said above). But, I have to look beyond my personal tastes (because there’s not account for that I’ve always been told) and look to the importance of the artist.

First off, what constitutes Rock and Roll? Is it just a genre of music that includes predetermined instruments with or without vocals? Or, does it go beyond that and stretch into attitudes as well? My admitted idol, Gene Simmons, sparked a bit of controversy last year over the inclusion of N.W.A. in the HOF. According to Rolling Stone, Gene said this to Ice Cube: “Respectfully, let me know when Jimi Hendrix gets into the Hip-Hop Hall of Fame. Then you’ll have a point.” Ice Cube shot back about Chuck Berry, Little Richard and Chubby Checker inventing rock and roll and, from what I can understand, Cube made it about race (but… wasn’t Jimi black?). Gene said in response: “You’ve got Grandmaster Flash in the Rock and Roll Hall of Fame? Run-D.M.C. in the Rock and Roll Hall of Fame? You’re killing me. That doesn’t mean those aren’t good artists. But they don’t play guitar. They sample and they talk. Not even sing.” I don’t know that I agree with him on that part. Yeah, rap is a different animal altogether but I believe what Cube said in response to that part was all telling: “I respect Gene Simmons, but I think he’s wrong on this because rock & roll is not an instrument and it’s not singing. Rock & roll is a spirit. N.W.A is probably more rock & roll than a lot of the people that he thinks belong there over hip-hop. We had the same spirit as punk rock, the same as the blues.”

I want to focus on six words in that last part. Rock & roll is a spirit. 

It took me a long time to realize that. It wasn’t something that I liked, therefore it wasn’t something that needed to be in the Hall of Fame. Well, bullstein on that! Anyone can look at my music reviews on this blog in particular and tell that I am no expert on anything other than my opinion. My backstory and history and the music industry’s backstory and history don’t necessarily run in the same circles. I like what I like and I’m pretty staunch in those things, right or wrong, I’m there. What I like compared to what most others like is hit or miss (usually leaning more toward the “miss”) and certainly my ideas on what something should be is just a personal incantation. It’s not gospel or even informed a lot of the time. That’s one reason why with the Eugeology list, I have tried to pay very close attention, do some research and craft the proper responses and or thoughts for each entry. Rock and roll is a state of mind, or, well, spirit.

This brings us back to the HOF and the inductees for 2018 have been announced. First, let’s see who was actually nominated this year: The Meters, Sister Rosetta Tharpe, J. Geils Band, Rufus featuring Chaka Khan, Link Wray, Moody Blues, Dire Straits, Eurythmics, Judas Priest, Kate Bush, Rage Against the Machine, Depeche Mode, The Zombies, The MC5, The Cars, LL Cool J, Bon Jovi, Nina Simone and Radiohead.

I voted many times (you were allowed one per IP addy, per day) and my votes were always the same with one alternating. I voted for The Cars, Depeche Mode, Radiohead, Nina Simone, Dire Straits, and Eurythmics. I guess my newfound love for first wave/new wave was showing. However, three of those actually made it in. I wasn’t not for Judas Priest, The Zombies, Kate Bush or MC5 to get in, I would have been fine with them, as well. But, not who I was voting for this time. The final list was as such: Bon Jovi, Nina Simone, Dire Straits, Moody Blues, The Cars and listed as “an early influencer,” Sister Rosetta Tharpe.

Sister Rosetta Tharpe. I hate that title for her, “early influencer.” I’m not a fan of blues and I’ve made no bones about that, but man this lady could wail some serious blues guitar and she sang like nobody’s business. She belted her tunes with major conviction and regardless of whether she was relevant mostly in the 1940s or not, I believe if she’s worthy of being in, she’s worthy of being in. It doesn’t need a special category. At least not in that direction. She deserves to be here because she was influential to many of the top blues musicians, either directly or indirectly. I wanted a few YouTube vids to get myself more acquainted with her style and man, it was pretty great. Yeah, I just said that.

Nina Simone, it’s about danged time. She stood out. There was none like her. She was scary, too. She thought nothing of pointing out someone in the audience that was being an idiot or disruptive and she’d tear you a “new one” anytime she thought you were wronging her. Great musician and great raspy, yet smooth vocals. My first introduction to her was in the film Point of No Return (the Americanized La Femme Nikita) which wasn’t that great of a film but whatever. I also loved her version of “Black is the Color of My True Love’s Hair” (the Jaffa Remix). And, she’s a North Carolina girl! She’s from Tryon, NC.

The Cars were never known for their dynamic stage presence, but they wrote some catchy-arsed tunes. Their first album is darn near perfect start to finish and I really dug Heartbeat City, as well. They were the inspiration for a good many new wave and mainstream artists alike. One of my votes, I am glad they’re getting in. I hate Ben Orr won’t be here to see it.

Dire Straits. I was never a “fan” per se, but they have some serious moments. Brothers in Arms is a fantastic and powerful album from end-to-end, even if you leave in “Money for Nothin'” and “Walk of Life.” As overplayed as those songs were, they were well written and what guitarist isn’t at least a little bit jealous they didn’t write the opening riff of “Money?” I have to admit I didn’t know what that song was about until about two years ago. It snapped and I was like… wait! It’s about that!? I don’t know what I thought it was about, really. But, it’s a little twinge of jealousy from two working joes that they have to do all this heavy lifting and these “yoyos” playing their guitars get paid for nothing. Not true of course, but we all choose our “work.” Of course, their career is far beyond that album forward and backward. Mark Knopfler is a great guitarist and his work on the soundtrack for The Princess Bride was quite awesome. I’m glad they got in.

I really know very little of Moody Blues other than that sappy arsed “Nights in White Satin,” “I’m Just a Singer (in a Rock and Roll Band)” and 1986’s “Your Wildest Dreams.” I know I should know more. I will probably get educated on my lack of knowledge by those who read this blog. I would go as far as saying that I want to know more. I do have The Other Side of Life on vinyl (with the aforementioned “Your Wildest Dreams”). Perhaps that will go on soon. I know it’s a pale representation of the band’s collective work but you gotta start with what you’ve got, right? I guess.

Bon Jovi. Bon Jovi. Hmmm… Okay, I’ll admit it. I like Bon Jovi from New Jersey back. My favorite album from them is the first one, cleverly called Bon Jovi. It was piano/keyboard driven rock and I liked that. “Love Lies” and “Shot Through the Heart” are great. On CD the only one of those in the range I mentioned that I don’t have is 7800° Fahrenheit. I don’t know why, either. I know they get a bad rap when it comes to rock and roll. It was cheesy and hair bandy, sure. But, they sold records and they put on a good show. The songs, as juvenile and over-polished as they sometimes were, were well-written. I can’t complain about them, really. Plus, they outright beat the pants off the other nominees in the fan votes. I mean it wasn’t even close. The fan vote was easily twice as many as the next closest nominee if not three times. It was crazy. I knew they’d not have a problem getting in, so I never voted for them.

Well, that’s my thoughts on this. I will probably get wrung for it, but hey, it’s the way it is. What are your thoughts, Dear Reader? Who do you feel should be in the HOF that isn’t? Of what are your thoughts on the HOF in general? What could be done to make it a more legitimate accolade? Is it already legit? Answer me those things. Thanks in advance.

Until tomorrow, same blog channel…
Scorp out!

—
“I don’t mind you coming here and wasting all my time. Cause when you’re standing oh so near I kinda lose my mind. It’s not the perfume that you wear. It’s not the ribbons in your hair. And I don’t mind you coming here and wasting all my time.” – “Just What I Needed” (Ocasek)

Hot to Trot? or: Wild Dogs (Eugeology Entry 48)

07 Thursday Dec 2017

Posted by in Music Review

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Salutations™!!

I think I pleased Eugene with the last entry. The thing is he doesn’t comment much when I do like something. He indeed comments when I don’t. Jon doesn’t say a whole lot. He’s still sitting at #19. He may finish this time next year. We’ll see. Okay, let’s hit it. wild-dogs-541d88043e488

#48 – Wild Dogs by The Rods.

I have no clue who the Rods are. I have never heard of them, have never heard a single song (unless it’s been slipped in on me and me not know it). And, let me be clear up front, here. I think this is a fine album. I would say that I like it. Let’s leave that right there. Now, let me say some stuff about what’s going on here.

There’s not a wealth of info on the internet (Wikipedia is barren and the link to their website dies in transit) about them. The guitarist and co-vocalist David Feinstein (known to his pals as “Rock”) is the cousin of Ronnie James Dio. Okay. He played in the band Elf with his cousin. Okay. He’s a good riffing guitarist and I can’t tell who is singing what so I’m going to say he’s a good singer. He’s not overly flashy but just enough to make me say, “well, alright!”

The drummer Carl Canedy (also listed as vocals) is probably the flashiest of the musicians. The drums are more than solid, they are heavy and artful. The runs and fills are pretty impressive. Again, I don’t know who is singing what, so let’s say he’s good?

I believe this is the first album that had Garry Bordonaro as bass player with the band. I can hear some good riffing in there. There are runs and passages that are pretty good. He, too, is listed as “vocals.” I don’t know what that means, exactly, so I’m going to say he’s good?

As for the songs, there are a few that I really liked and a few that I didn’t. I am conflicted with the opening track. The song itself isn’t bad but I hate their use of the phrase “I’m too hot to trot.” I don’t know why that irks me but it does. I actually have used the phrase in conversation but its use in this song just bothers me. The rest of that song isn’t bad.

The pedophilia aspect of “Violation” is weird, but I can’t knock it too much because there were two songs from KISS that talked about the same thing and I loved both of those songs. The rest of the song lyrically is a violation. And it’s cheese. I’d say this is the song I don’t like the most. And, while I’m at it, I don’t like “The Night Lives To Rock,” the last song on the album, lyrically, because they say they’re gonna rock their arses off for me. That’s dumb. It’s very “Rock and Roll All Nite”-ish. Don’t force anthems, that’s anti-anthemic, I think.

I don’t care for the lead vox in the cover of “Keep Me Hangin’ On” but I do love the backing vox. It’s weird. Overall, that song’s pretty good.

Now, I do like “Burned By Love.” I love the harmonies in that. I like the title track. I like the guitar riffs in that. Also, there’s room for Canedy to show off his double kick work. After complaining about the lyrics of “The Night Lives To Rock” I’m contradicting myself by saying I do like the song “Rockin’ ‘N’ Rollin’ Again.”

My favorite tune on the album is “End of the Line.” The lead and backing vox are really good. “No Sweet Talk, Honey” is pretty rocking and good, too. So, I’d say it’s right down the middle, hit or miss. My faults are probably minor infractions in the grand scheme of the album.

Now, let’s revisit my initial statements on it: I think this is a fine album. I would say that I like it. However, my question is to Eugene. This isn’t a knock on the album, but why did this particular album make the Top 50? I feel that while it’s good, it’s a bit of a stretch. Even the ones in the past that I haven’t liked have been more obvious as to why you picked it. I don’t find a lot of memorable material on this. Until I just forced myself to pay attention, the best it could get was background filler. Again, I think it’s good, just I won’t ever seek it out and don’t care if I don’t hear it again. I know you’re several (okay ~20) behind and I should wait until you catch up with the review. I just think there could have been better albums for this spot. Again, this is your list and I don’t mean to question, just, I don’t know, it was kind of flat. NOT bad… flat. But, it’s still something I wouldn’t have heard and I appreciate the introduction.

Until tomorrow, same blog channel…
Scorp out!

—
“What are you going to do when I finally walk away? How are you going to feel when I’m gone? What are you going to do when I finally turn away? How are you going to feel when I’m gone? It’s the end of the line.” – “End of the Line” (The Rods)