Tag Archives: Paul Stanley

A Change of Mind or: 3 Tickets to…

01 Thursday Nov 2018

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Salutations™!!

If you listened to The Less Desirables a few weeks back and heard me say that I wasn’t going to get tix to the End of the Road Tour from KISS, well, I changed my mind. kissendoftheroadlogotour

I had said that I figured it would be in the “sheds” or amphitheaters and I hate shows at sheds. I especially hate it for bands that are clearly “arena” bands. KISS is an arena band. The bombs, the lights, all that is great for those up front but the people back on the lawn sucks for people having to watch it on the screens because they’re sitting a half mile away. That’s not worth spending my time driving, parking or even being there. I can sit in my own house, drink cheaper beers, use my bathroom, etc. But, arena shows are different. Even stadium shows are better than the sheds.

This show is at PNC Arena in Raleigh. I hate Raleigh, too and I’m pretty sure that they will at least add Charlotte soon, if not Greensboro, as well, but I didn’t want to take the chance.

Another issue I had was even though they’re encroaching upon 70 years old, they’ve talked “farewell tours” before. I fell for that in 2000. And, Paul’s voice has gotten less-than-stellar from all the years of abusing it. But, the more I thought about it the more I realized that I would be so disappointed with myself if they didn’t come anywhere around here again and I wasted my chance to see them one last time.

But, there were two more factors for my decision. The BCPF and 3B. I wasn’t allowed to see concerts until I was almost 20 years old. I finally told Ma Mère that I was going and she couldn’t stop me. Not the same here. 3B hasn’t had any interest in going to any concerts, at least that I know of, and he isn’t really a fan of rock music. I know, I failed him. But, he has grown up hearing me play KISS and has seen a few videos but seeing videos are not the same. Even at nearly-70, they still put on the show to trump all shows.

The BCPF knew this was coming before I mentioned wanting to go. She and I have gone to see a lot of concerts by artists and bands that she likes and I did get The Fixx for our anniversary but this truly my pick. She has also seen a few videos but I really think they both need to see the real thing.

This was not a cheap purchase. In order to get the tix when I did, I had to pay for a KISS Army membership and the seats are in the front row of the lower-balcony overlooking Gene’s side of the stage. I sat in this area in Greensboro once and it was a great view. Ticketmaster called the seats “premium.”

So, I went from not giving a hoot to excited. The bad part is I have to wait five months for this to happen. It’s a Saturday night so I may see if we can get a hotel and spend the night. That way we can Uber and not drive in and out of that stuff. I hate that traffic. Perhaps I’ll see you there.

Until tomorrow, same blog channel…
Scorp out!

—
“You wanted the best and you got the best. The hottest band in the world…” – KISS

Carnival of Dark Souls or: Many KISSes

31 Wednesday Oct 2018

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Salutations™!!

Happy Halloween, first of all. And, now, let’s talk about an album that was the last before the makeup came back for KISS. Almost as polarizing as Music from ‘The Elder’ was but for slightly different reasons. True Long-Time KISS fans have always been on the fence about it, some think it’s a great departure while others feel it had nothing to do with KISS. KISS fans who kind of kept themselves in the perimeter mostly gave it nary a thought and newer KISS fans thought that it was groovy but probably didn’t get that it was KISS. This album, of course, is Carnival of Souls.

Carnival_of_Souls_KISS

©Mercury

Gene, Paul, Eric and Bruce went back to the studio in 1995 after their successful release from 1991, Revenge. KISS started off as a trend-setter but after Dynasty and on, really, they were really followers. They did show some folks how to still party whilst creepin’ on their turf, though. Grunge and heavier rock was the thing at the time, so KISS decided it was their turn to do that, too. Really, Gene was already there with “Unholy” and “Spit” from Revenge. (which included some Vinnie Vincent songwriting).

I’ll be honest, here. I like this album, a lot, but I really don’t know much about it. I have listened to it only slightly more than Sonic Boom and Monster. I am listening to it as I write this to refresh my memory.

I’d say first, that there are a lot of “drop D” tunings on this album, even further if you consider that KISS (except on Dynasty and Unmasked) did almost everything a half-step down. It’s heavy, the heaviest they ever did. It certainly is the darkest-themed they have ever done; almost Black Sabbath-like. It also has a lot of odd time signatures. It’s “grown-up” songs, too. Not a lot of sex and party. It’s probably their most intellectually advanced album. Does that make for a good album? Probably not to most KISS fans. Someone once said, “where’s the f—ing!?” So, again, probably not to most KISS fans.

There were rumors of this album right after it started. This was right when everyday folks were starting to get and get onto the internet. BBSs were dedicated to KISS. Online chat boards were, too. I was part of a few of those. It was also about this time that I got hooked up with David and Bobby from Heavens Sake. David was a collector of KISS bootlegs and when the “leaked” bootlegs of this album dropped, David and I sat in my office above where the band rehearsed and listened to it. We weren’t quite sure what to make of it. But, I don’t think either of us disliked it. I don’t remember what Bobby thought when he showed up as we listened. The bootlegs didn’t really sound all that great and there was stuff missed with some of the songs misnamed.

The album starts with “Hate,” a Gene song. So, that makes three KISS albums (this being the last) where he gets to go first. I don’t know why I’m so hung up about that. Anyway, it was co-written by Gene with Bruce and Scott Van Zen, a commercial songwriter. Gene uses his “Unholy” voice here. A great, heavy groove sets this song on fire.

The only thing I don’t like about “Rain” is the lack of any effect on Paul’s voice. The whole thing is really dry which, I am not sure that it brings it out as dark as they wanted. But, it could be that it highlights the songs, but the vocals part is dry. Bruce played bass on this.

“Tell Me” is next. That’s not true. It’s actually called “Master and Slave” but the internet folks called it “Tell Me” probably because it sounds like it would be in the chorus. Oddly enough, this is the only non-Gene song on which Gene plays bass. I don’t know if he and Paul were having a spat or if he just didn’t do a good job (he’s not the most prolific bassist alive) or was he off doing something else? Who knows, I just find it interesting.

The next two are more melodic and ballad-like. “Childhood’s End” is named after a book by Arthur C. Clarke. It’s not autobiographical as many folks have said. The song is basically talking about when we’re born we don’t know hate; we haven’t killed anything or know a lot of bad. We grow into it and are taught those things. The subject matter, according to the box set’s liner notes, is “Two friends, one of whom died before his time, and the other one who lived and reminisced about his missing friend.” It was co-written by Tommy Thayer (who is now Spaceman in the band) and songwriter Curtis Cuomo who collaborates with Paul and Gene throughout the album.

“I Will Be There” is an acoustical ballad with heavy orchestration and allows Bruce to show off some serious acoustic guitar/classical-riffed solos. It’s dedicated to Paul’s son, Evan.

The only song to really be considered a single was “Jungle.” It did reach #8 on the Billboard US Mainstream Rock charts (not to be confused with the Hot 200 where the Top 40 comes from) beating the previous best, which was “Heavens on Fire.” That’s a heavy-hitter, too. It also won Metal Edge Readers’ Choice Award for Song of the Year for 1997. It’s probably one of my least favorite tunes on the album but I still like it.

Gene recruited help from Van Zen and Black ‘N Blue’s Jaime St. James for “In My Head.” It’s heavy and mean. It’s weird but I feel that fits the scene for Gene’s head, indeed.

“It Never Goes Away” is Paul’s dragging tune. I like it but it drags on at like 4 beats a minute. Not really, but it seems like it. It’s more around 88 BPM. Continuing on the “kind of crazy train” that this album’s lyrical content provides, in, from what I can tell was a podcast called KISSaholics (#13), Paul says “(“It Never Goes Away”) Is a pretty cool song that says basically there’s all kinds of evil stuff that goes on and misery in the world but there’s really not a whole lot I can do about it. It never changes.” Well, okay, then. Bottom of the list for me.

I love the exotic beat happening in “Seduction of the Innocent.” It’s one of the more laid back Gene songs on the album and I dig it. Gene had announced this was being worked on as a follow up to Revenge. Co-written by Van Zen, who co-wrote seven of the tunes (out of 12) on the album.

My favorite tune on the album is “I Confess” which was co-written by Sammy Hagar’s cousin and Christian songwriter (how’s that for contrast?), Ken Tamplin. I love the deep darkness that the song puts forward, both musically and lyrically. The reverse swells and orchestration, along with the melody are amazing. I love this song.

“In the Mirror” is still grungy but still is kind of previous-KISS-like. Another thing this and other songs from COS have going on are some great vocal harmonies. That’s really all I have for this song.

Bruce finally gets his vocal moment. He sings the closing track, “I Walk Alone.” I think it’s interesting that both he and Eric Carr were in the band for a long time and both of them finally got their vocal debuts on their last album with the band. Now, I don’t think Bruce has a great voice, but I think Bruce’s voice was great on this song. It fit perfectly, in my opinion. This song is also the second longest song on the album, over six minutes. I’m a fan of this song, too.

So, the recording of this whole album, as I said, started in 1995. It was also in 1995 that KISS did MTV Unplugged and that led to the original lineup getting back together. That roller coaster hit a crest and was on its way, which we’re still experiencing. The monster (no pun intended) that thing became put COS on hold. It was released on October 28, 1997 which means it turned 19 this past Monday. Next year… wow, 20 years! Jeez.

Overall, I think it’s a great album. I just don’t think it is a great KISS album. Just like ‘The Elder,’ and Unmasked before it, if you take it out of the KISS context or at least what you expect from a KISS album, it can stand on its own. Okay, I’ll admit it, maybe I’m wrong. Maybe it’s not a great album, but I think it’s a really good album. It has many fantastic songs. Songs that I feel Gene outdid Paul on. These songs fit Gene’s voice and musical mindset better than it did Paul’s. If you listen to Gene’s solo album, Asshole, you’ll hear more evidence of his heavier styles.

If you decide to give COS a listen, again, keep in mind that it’s not what you’d think a KISS album would be, but it’s experimental and I think worth listening to, more than once. I’ve listened to it three times whilst writing this post. Happy listening!

Until tomorrow, Keep KISSin’…
Scorp out!

—
“When I look into the mirror, just can’t believe, what do I see. There’s no wakin’ from this nightmare and you’re lost in your reality. So you tell me all your secrets. And you tell me that you’re innocent. There’s something in your eyes I can see and my face keeps looking back at me. You Confess. You can’t help yourself. This living lie that you can’t go on. You’re possessed. You can’t fool yourself. You’re the crime and you can’t go on.” – “I Confess” (Simmons/Tamplin)

Hotter Than Most or: A True Klassic

24 Wednesday Oct 2018

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Salutations™!!

I am finding it hard to write this post because I’m singing along with the album as I’m writing it. And, let me tell you, Dear Reader, at 8:30am, that’s a feat.  Anywhat! Monday was the 44th Anniversary of the KISS Klassic Hotter Than Hell. It is one of my faves, for sure. It was one of the first albums I ever got in the 70s and it was one of two KISS CDs that I purchased when I bought my first CD player in Orlando, FL on December 27, 1989. I got the player at Wal-Mart (the first time I ever went to one) and purchased the Bad English CD from the band of the same name and when we were eating dinner, I went to Peaches Records and Tapes and bought this and Music from ‘The Elder.’ I just felt like I needed to. That was when CDs were still $24ish at Peaches. But, enough about me…

Cover_hth_large

©Casablanca

In February of 1974 young group of New Yorkers had donned greasepaint and put out their first album called KISS. Casablanca Records had put “Kissin’ Time” which had been a hit for Bobby Rydell on the album because Neil Bogart thought it was catchy and they needed a boost for the album. It wasn’t on the original version but subsequent copies had it. They did some novelty things like KISSing contests and the like. KISS was gaining speed as a live act, but that was on a somewhat smaller scale as it was only the people who went to see the band that knew about them. The album itself had a little momentum but then went nowhere.

Well, if at first you don’t succeed… do it again. So, here they were in August and disappointed with sales of the first record. Bogart shipped them to Los Angeles to record with Kenny Kerner and Richie Wise who both had just moved to LA. None of the band liked it out there (at first). Equipment theft, eccentric people, the list goes on for reasons, just didn’t sit well with the tougher New Yorkers.

Recording went okay, but any KISS fan can tell you it sounds like they recorded it in a bathroom. It’s more reverb-heavy or echoey and the sonic presence is somewhat thinner. That, despite the lyrical content being a little darker and the music heavier than on the first album. The producers can just blame it on their frazzled state after moving to Cali. Now, I’m sure, this being the 70s and such, that there were probably drugs involved, too. Despite that, as a kid, I never knew there was a difference. I just heard the songs. The songs spoke to me.

Ace and Peter were still in it at this time. I mean, they were in it. They were still hungry. Ace wrote two of the songs and co-wrote another with Paul. He still wasn’t in a position to sing as his confidence level in that area was quite low. But, the songs that he wrote were powerful. One becoming a concert staple and making it onto Alive! just a year later. More about that in a minute.

The album, at first, went nowhere. The distribution deal that Casablanca had with Warner Bros. Records had expired. So, they had practically no heat behind it. It undersold the first album and that’s saying something. It did eventually reach gold a few years later but that was because the surprise popularity of Alive! boosted the public interest of the previous studio albums. The low sales/high potential led to the very quick recording of Dressed to Kill only three months later.

Musically, however, this album is chock-full of goodness. The album starts off with “Got to Choose” a tune written and sung by Paul. It’s about a guy who hears his girl is going to leave him or at least going to be double-dippin’ and he’s telling her it’s “him or me,” make up your mind. This song was the first KISS song that Heavens Sake ever performed live. The first of very many. There’s even a recording of it on our 1998ish WV EP that was never released as the sound quality was worse than this album, but we enjoyed it. We realized after we had already come back home that we had totally left off one of the harmonies in the verses. Oh well. It was still fun. And, so, I’d say if you asked Dave and Bobby about this song, we’d all three have the same fond memories of doing it in the HS. This tune was track #3 on Alive!

“Parasite” was another that made it to Alive! and was written by Ace. It’s heavy and is pretty much a song about a leecher or a woman holding on and it seems the guy can’t shake her loose. Ace played bass on this album but left the vocal duties to Gene. I have performed this one a good bit live. It’s fun.

The odd-ball song on this album, which is not to say it’s not one of my faves, is “Goin’ Blind.” It was co-written by Stephen Coronel and Gene when they were both in Wicked Lester. It’s subject matter, which you’d never get away with in today’s musical and political climate, is about a relationship (or wanted relationship) between a 93-year old man and an underaged girl. Gene did a couple of these over the years. I didn’t appreciate it when I was a kid but I love the song now, subject matter notwithstanding.

The title track is one of my faves, for sure. It also was the subject of a lot of misheard or misunderstood lyrics when I was a kid. I didn’t get the whole premise other than this girl was hotter than hell. I don’t really know what I thought he was saying. But, hey! There’s a gong in it! Great, marvelous, okay move on.

The album’s only single is my least favorite song on the album. It has always been just “okay” with me. It’s called “Let Me Go, Rock ‘n’ Roll.” I think because it’s the boogie-woogie style tempo and feel of the song. I don’t usually care for those type of songs. With that, I don’t have a lot to say about it, other than why was that the single?

“All the Way” is actually kind of a fun, punchy, and happy sounding song, even if it’s just about a guy being driven to the edge of crazy because of his girlfriend.

My absolute favorite song on the album is “Watchin’ You.” It’s a pretty tough riff to pull off and it’s one of the few KISS songs that has a weird time signature (at least in the interludes between chorus and verses). It’s heavy as heck and was an inspiration to my lyrical content for the Heavens Sake song “Cannibal.” In fact, the first line is “I’m watchin’ you…”

Peter gets to sing the next one. It’s called “Mainline.” It was written by Paul and is about a heavy want of this girl. I never really cared for it as a kid but I like it now. It’s 60s or 50s style rock with a harder 70s edge.

“Comin’ Home” was co-written by Paul and Ace, one of the few with that co-billing. I listened to it but never paid attention to it until KISS did it for their Unplugged album. Then, of course, Heavens Sake did it for a bit. Come to think of it, every song on this album got some HS love.

Another one of my faves on the album closes it out. Written by Ace but sung by Peter, “Strange Ways” is just mean and heavy. It is also one of my favorite KISS songs that Heavens Sake covered live. Bobby sang it because he sounded like Peter and was the drummer. Makes sense, yeah? A great solo by Ace on this one, too.

I remember looking at the album cover and think that Gene had some ironed, flipped hairdo and that Paul looked like he had his hand down Peter’s pants. I also couldn’t figure out all the Japanese things. And, what in the wide world of sports was with the green fingernails? The back cover, however, turned me on and confused me. Peter was sitting in a throne (which would probably be more Gene-like) with a naked woman (with stars over her nipples). Ace was sitting, virtually, on nothing in a big aluminum bag. Gene looked like something from “Planet of the Apes” breathing fire but the fire didn’t look real. And, Paul was either making out with a mannequin or doing his best impression of Captain Kirk because his picture partner looked like she was blue.

None of that (other than Peter) was actually what was going on, it just what it looked like to my 8-year old self. I loved, however, the amalgamation mask of the members, adding elements of them all to one face.

It turns out that there had been a party thrown and, other than Gene, all of the band were either drunk or high. So, probably, other than Gene, none of them really have any recollection of what happened during that shoot.

I would put this in my top 10 of KISS albums, possibly even top 5. It’s a great album, even with the shoddy production. Five of the ten songs made it to Alive! and some are still concert staples. It’s a great album and should be heard. If you are confused about what I’ve written, just listen to it and you’ll get it. Imagine an 8-year old kid just learning about rock and roll music in a house full of country and gospel. I was in heaven. Thanks, Paul, Gene, Ace, and Peter.

Until tomorrow, keep KISSin’!
Scorp out!

—
“She’ll always be there trying to grab a hold. She thought she knew me, but she didn’t know that I was sad and wanted her to go. Parasite lady, parasite eyes. Parasite lady, no need to cry.” – “Parasite” (Frehley)

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)

Creatures Alive, Too? or: Many KISSes

14 Sunday Oct 2018

Posted by in Music Review, Silent Sunday

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Salutations™!!

My Saturday was awesomely fun, but it didn’t include Underdog Records, so instead of a haul for today, we’re going to talk about (as promised yesterday) two major KISS records that have anniversaries this weekend.

COTN_album_cover

©Casablanca Records

Yesterday was the 36th anniversary of the “comeback” album from KISS, Creatures of the Night. After the publicly-admonished “disaster” that was Music from ‘The Elder,’ KISS realized that had a lot to atone for.

The guise was that Ace was still part of the group. He took pictures for the cover, did a video for “I Love It Loud,” and did some appearances, but the truth was, he was nowhere near the album, at all. He had had enough with being outvoted and really, he absolutely knew that The Elder was a mistake. Take those factors with the fact that he was a slave to substances (just listen to “Rock Soldiers” from the debut Frehley’s Comet album) and he was either done on his own or done from Gene’s and Paul’s perspective.

Also, removed from the mix was long-time manager Bill Aucoin. Bill had basically hyped Gene and Paul to make The Elder and really, the Unmasked album, too. Paul, in his book, has called them both “disasters.” I disagree, but, I can see where they alienated the fan base or “KISS Army.” Bill was dismissed.

Here they were, three main components of their history, their success, all gone. First Peter, then Ace, then Bill. So, what next? Paul says he wanted to take the makeup off and Gene wouldn’t have it. Paul suggests that he wanted to make a clean sweep, a whole new beginning. Truth be told, while I don’t believe everything Paul wrote in his book, I have to agree with him that it was probably time to remove the disguise at that point. However, if they had, we’d not have one of the most iconic album covers in KISStory (or to me, even ever – across all albums).

So, here they were in search of yet another replacement member. They held auditions in the industry but the public didn’t know. Again, Ace was still “officially” in the band. So, in essence, the auditions for a new guitarist was executed by the players actually playing on the album.

With that, they got Steve Farris, who went on to found and play with Mr. Mister. He did the solo on the title track, “Creatures of the Night.” They got Robben Ford, a well-known blues guitarist doing the solos on “Rock and Roll Hell” and “I Still Love You.” Adam Mitchell, who was best known for writing poppier songs and who ended up co-writing “Creatures,” “Keep Me Comin'” and “Danger” with Paul on the album doing some guitar work on “Creatures.” Bob Kulick, from Paul’s solo album, did guitar overdubs across the album, which I figure includes a good bit of rhythm guitar. And, the one that got most of the solo work on the album was a mostly-unknown smoker on the axe, Vincent Cusano. He played the solos on “Saint and Sinner,” “Keep Me Comin’,” “Danger,” “I Love It Loud,” “Killer” and “War Machine.” At one time, was the staff writer for both Happy Days and Joanie Loves Chachi.

Cusano also got the gig with the band. As Mick Fury! No, not really. That’s what he wanted to go by but Paul nixed that idea (according to him). They decided on Vinnie Vincent and Paul designed the Ankh Warrior makeup. No one knew what the Ankh was all about. Not Vinnie, not the fans, not even Paul who designed it. That should have been more an indicator to the band that the makeup needed to go.

The songs, though, they were really fantastic. They made it heavy; the heaviest they had done to that point. They needed to let the fans know that they were back! They were ready to rock and rock. They were ready to rock and roll hard! They were ready! THEY WERE READY!

The problem was, the fans didn’t care. They weren’t ready. They weren’t ready to let KISS back in. They had a hard time letting go or forgiving KISS for the Dynasty, Unmasked and especially The Elder. I wasn’t one of those, though. I still loved it. I didn’t realize (I was 11) that Ace wasn’t there. I did, however, know that this was a heavy album. It was booming, even on my crapola cabinet record player (but I wish I still had that).

At the time, there were a few songs that I didn’t like. I didn’t care for “Danger,” “Keep Me Comin’,” or “War Machine.” I loved the title track, “Saint and Sinner,” “Rock and Roll Hell,” “I Love It Loud” and “I Still Love You.” “Rock and Roll Hell” and “War Machine” were written by Gene along with Jim Vallance and Bryan Adams. The album was produced by Michael James Jackson who had done some poppier things and co-produced by Gene and Paul.

More indicative of the fact that the fans had given up was the tour that followed. The same stadiums and arenas that KISS had been selling out, ones that held 18,000 people or more, were now only selling 1,000 tickets or so. Paul said in his book you could tell by how loud the opening bands were or the announcements were how empty the arenas were. Also, Paul would flick his pick and it would sail over the heads of the audience and land on the floor. Sad, really. They canceled the rest of their North American tour.

That was in North America. In South America, they played to record (for them) crowds. They played at Maracanã Stadium in Rio de Janeiro, Brazil, with over 250,000 people in the audience. Still, they knew their home fans (US) were giving up. They had to change something and that something was the makeup. Get back to music. It worked.

Mercury Records, who had bought out Casablanca Records, had some weird notion that they wanted to upgrade the awesome Creatures cover to something more “indicative” of current KISS in 1985. They changed it to a group photo of the 85 lineup with Bruce Kulick. So, both covers featured members that weren’t on the album. At least Ace was still technically part of the band. The closest Bruce was to being in the band was his brother Bob’s overdubs.

Now, I love this album and think it’s one of their best of the 80s. One of the best of the catalog, really. And, the tables turned. I went from not liking the songs mentioned earlier to really liking them and, now, “I Love It Loud” is one of the “big three” that I wish I never had to hear again (along with “Detroit Rock City” and “Rock and Roll All Nite” even though DRC has re-grown on me). The album was just a victim of circumstance, I think.

Today, however, is the 41st anniversary of my favorite of the “Alive” albums, KISS Alive II. Do I think it’s the best of them? Not really. I just love that era. The costumes, the feel, etc. The songs from Alive II were all from Destroyer, Rock and Roll Over and Love Gun.

As far as live albums go, it’s hard to even call it a “live” album. A lot of it was live, recorded at the Los Angeles Forum. Then a few of the songs were recorded from soundchecks at those shows. Notably, “Hard Luck Woman” and “Tomorrow and Tonight” were both soundcheck recordings and weren’t actually played on that tour. But, also, “I Stole Your Love,” which was the opener of the shows. Eddie Kramer just went in afterward and put in canned crowd noise.

The energy was up but it seems they weren’t as hungry as they had been on Ailve! The sound on the album wasn’t as full. It seemed a little thinner. I’m still confused as to why they started the album with “Detroit Rock City” when it was “I Stole Your Love” that started them actual shows. I know it was “Detroit Rock City” that went into “King of the Nighttime World” on Destroyer and perhaps they wanted to recreate that. That’s all I can figure.

Another odd thing to me was the fourth side of the album. It was five studio songs, including a cover of the Dave Clark Five tune, “Any Way You Want It.” It was claimed that it was all the original members, but in reality, it was Bob Kulick playing Ace’s parts except for “Rocket Ride,” which he played all guitars and bass. That was the beginning of the end for Ace. I love “Larger Than Life” which I just think sounds bad arse. I also dig “Rockin’ in the U.S.A.” that I kind of “borrowed” from to write “She’s Got What It Takes” on Heavens Sake’s debut album. “All American Man” is also a good song.

Don’t get me wrong, I actually like the side four songs but why not give us more live songs? Perhaps they could have done some more in soundcheck? With that, though, three songs (that I know of) were soundcheck songs, the five studio songs, if they knew they didn’t have enough to do a full live album, why not strategize the setlists better?

Couldn’t they have done “Do You Love Me?” or left “Take Me” in there? If they were going to do soundcheck recordings anyway, why not “Mr. Speed” or “Almost Human?” “Hooligan” was in the set for the “Love Gun Tour,” they could have left that in. I don’t know. There seemed to be more options that they didn’t take advantage of. Then again, when I was 8-years old, I loved the album. I really didn’t listen to the fourth side much but as I got older, I appreciated it more and more.

So, happy anniversary to Creatures of the Night and KISS Alive II. I love ya both.

Until tomorrow, same blog channel…
Scorp out!

—
“Wanna bite the hand that feeds me, wanna turn the tides. Set the demons free and watch ’em fly. Strike down the one who leads me, I’m gonna take his place. Gonna vindicate the human race. Better watch out ’cause I’m a war machine.” – “War Machine” (Simmons/Adams/Vallance)

Monsterous Sonic Collections or: Missteps

09 Tuesday Oct 2018

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Salutations™!!

Just like September, October has a lot of KISS album releases. Some of them Klassic and some of them… pure crap. Yeah, I have finally come to grips with the reality that not everything that KISS did was awesome. Most of it, yes, but not all.

We’ll go first with one that actually has its 12th anniversary tomorrow as it’s not really that important, just a compilation album. It’s called The Best of Kiss, Volume 3: The Millennium Collection, which actually marks the first time there has been a KISS album that features 90s-era KISS only. It has songs from 1992’s Revenge, KISS Alive III, the “throw-away” Carnival of Souls (I don’t believe it was a throw-away), MTV Unplugged: KISS, Psycho Circus and one from the Detroit Rock City film soundtrack. Interesting mix, but it’s a compilation album of stuff that I already have.

Okay, let’s get to the crap, or is that Krap?

Kiss_sonicboom111

©KISS/Roadrunner

In 2009, KISS wanted to “get back to basics” with their stuff, they had Tommy Thayer and Eric Singer donning the “Spaceman” and “Catman” personas so they wanted to try to do what they didn’t do with Psycho Circus nine years prior, they wanted to produce a “Klassic KISS” album. I actually feel they got closer with Psycho Circus. What they came up with was Sonic Boom on October 6.

There are a couple of songs on this album that I can listen to, like “Modern Day Delilah” (which was the lead single). Even with that song, though, Paul tried way too hard to bring back the early 80s magic by hitting high notes he no longer has any business hitting and pitting it against the grungier, more mid-90s Carnival of Souls. Tommy tries to capitalize on his taking over of “Spaceman” and co-writes and sings “When Lightning Strikes” to what I feel is a nod or knock on “Shock Me” from Ace. I can’t really tell. Eric gets a turn at lead vox on “All for the Glory.”

“Russian Roulette” by Gene isn’t too bad. It shows how done Gene is with singing, as well. He basically talks through it. Musically, it’s probably one of the best on the album. I think there are a couple of things that bother me about this album the most. One: It’s touted as Klassic and it’s not. It’s subpar in that realm and is even further down from any run-of-the-mill rock band. Two: 60s-aged KISS singing about things they would have sung about as 20-somethings is just creepy and sad. I claim this as my least favorite KISS album and with Hot in the Shade in the mix, that’s saying something. Three: It was distributed exclusively (and still is) by Wal-Mart in the US and Canada. I can see doing individual store exclusives so that they could sell more, but perhaps the worst part is that I had to go to Wal-Mart to get it. At least all the songs were written in-house for the main album and with no outside writers.

The one great thing – or is it two – about this album I can say is that they included the KISS Klassics album which was a re-recording of 15 KISS songs from most of the KISS albums from KISS to Hot in the Shade. That was released a year prior in Japan under the name Jigoku-Retsuden which translates to “Intense Transmission from Hell.” That was great. Somehow Paul and Gene don’t sound spent on those, at least as much. Another thing was a DVD from April 2009 in Argentina with all two songs each from the first three KISS albums (KISS, Hotter Than Hell, Dressed to Kill). So, there was some consolation here. But, man, this album, as a whole, isn’t that great. It had three singles, “Modern Day Delilah,” “Never Enough” and “Say Yeah.”

KissMonsterAlbum2

©Universal

That brings us to today, which is the sixth anniversary of Monster. I remember getting that album and totally thinking the album cover seemed unoriginal and “thrown together.” It was produced by Paul Stanley and Greg Collins (who incidentally produced Sonic Boom as well).

The thing that stands out to me about this album is that it reminds me more of Creatures of the Night or Lick It Up than Klassic KISS and I’m okay with that. Gene belts out his stuff on this one. They just took a break on Sonic Boom, it seems. Lyrically, a good bit of it is kind of K-R-A-F-T–worthy. But, not too bad. I just enjoy listening to this one more than Sonic Boom. Once again, Tommy has a song that is “Ace-related.” This one is called “Outta This World.” I still wonder if it’s a nod or a knock. I can’t figure it out. And, for the second album in a row, Eric has a song that starts with “All for the…” in “All for the Love of Rock & Roll.” It is his trademark, eh? Not really.

I just think that this KISS works better with the 80s/90s sound than trying to rekindle the feeling and sound of the Klassic years. Another factor in this albums fullness is the fact that they went analog with tape and tape machines than doing it digitally. It makes it a little more full and lush, I feel. There are several “good” songs on this album. I think the two best are the two singles, “Hell or Hallelujah” and “Long Way Down.”

This is also not anywhere near my favorite KISS album and ranks just barely above Sonic Boom. Again, with HITS out there, that’s saying something. I give Hot in the Shade a lot of crap, but it gets its day in the sun next week.

It’s still a “wait and see” if Sonic Boom and Monster are the last KISS studio albums, especially with them about to embark on a true “farewell” tour. Paul said in regards to Psycho Circus that he didn’t want to go out with that experience, so they carried on without Peter and Ace. I still think, as I mentioned earlier, that PC is much better than these two. Anyway, happy anniversary to all three of those albums this week.

We have three more this weekend/next week coming.

Until tomorrow, same blog channel…
Scorp out!

—
“I ran from temptation. I prayed for salvation (yeah). I screamed at God, ‘Save me from my own damnation’ (yeah). My eyes were cold and blinded. I held the page I could not read. Drew up my blood inside him. I woke up in a sweat and heard the Lord’s decree. The Devil is me. The Devil is me. I fought myself to be set free ’cause the Devil is me.” – “The Devil is Me” (Simmons/Stanley/Thayer)

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

21 Friday 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. 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)

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)

 

Gone Solo or: Many Kisses (Part 2)

18 Tuesday Sep 2018

Posted by in Music Review, Records

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Salutations™!!

The month of September is a huge month for KISS fans, even if they don’t know it. Why you may ask? Because the month of September is the anniversary month for the releases of TEN KISS albums. I’ve talked about Alive!, Animalize and Asylum.

20090517004510!Solo_inner_sleeve

©Casablanca Records

Now, today, September 18th is a doozie. In 1978, all four solo albums were released on this day. Three other KISS albums were released on this day as well, we’ll get to those.

Today is the 40th anniversary of the release of all four KISS solo albums. When I got into KISS, I was 7 going on 8 and that’s about when the whole Love Gun, Alive II, Double Platinum era was going on and then these were just coming out. Because of my newness to the band, I didn’t understand what was going on. I thought it was just 4 albums, one featuring songs by each member. I thought that was cool. And, in a way, it was. In other ways, it wasn’t. In many ways, actually.

While I pride myself on knowing my KISStory, at that time I had no such knowledge. I didn’t realize that Peter and Ace were both becoming victims of their own demons and weren’t pulling their own weight. They were constantly being pitted against Gene and Paul and were coming out on the losing side. As would be the case in any partnership/band/biz, that led to dissension. Ace and Peter were becoming more and more disillusioned with the “other side.” Gene and Paul were becoming less and less patient with Ace and Peter. Ace and Peter, whether right or wrong, felt that Gene and Paul were abusing their power and not allowing the others their creative freedom. Peter was threatening to quit as was Ace.  This is not just Gene’s and Paul’s long-heard version of the story, Sean Delaney backed this up when I talked with him several years ago. More on Sean later.

To keep the semblance of the band together, Gene and Paul, along with manager Bill Aucoin proposed that the individual members release their own album under the KISS moniker and let each showcase their influences, skills, desires, etc. Eraldo Carugati did the cover art of each and they looked cohesive, as they were supposed to. To the fans, including the newbies like me, it was to look like a cool thing they did in the name of creativity. I guess it was in some strange instances. They each dedicated their individual albums to each other, except Peter who added a dedication to Michael Benvenga who was in Chelsea and Lips with him, pre-KISS.

Ace’s album was all about the rock. Not, any pop or fluff really, even in the Russ Ballard tune, “New York Groove.” His guest list was not really extensive when you look at the other members’ tracks. He did recruit Anton Fig and Will Lee to play on his album, both of which would go on to be part of The World’s Most Dangerous Band from David Letterman. Fig would go on to be the drummer on the next two KISS studio albums (Dynasty and Unmasked) and when Ace finally blew the joint, he was part of Frehley’s Comet. Ace, being Ace decided he would do most of the other instruments himself, including most of the bass duties (Lee played on “Ozone,” “I’m in Need of Love” and “Wiped-Out”). There’s nothing wrong with that, he did it for the next few KISS albums, at least on his songs. Ace had Eddie Kramer produce his album (Ace co-produced it). Kramer was associated with Jimi Hendrix, David Bowie, the Rolling Stones, Beatles, and the list goes on. He also produced Alive! and Alive II. “New York Groove” was the only tune from this album that charted (#13). Ace’s was the only album to chart (#26) and was the highest selling.

Peter’s album was about soul, R&B, jazz, and rock and roll. kind of stuff. Peter’s background was in jazz drumming, not necessarily the hard rock that he was known for. His influences were older. Diverse. Most of the tracks on this record were written by Stan Penridge. The credits go to Penridge and Peter, but I’m suspicious of how much Peter actually wrote. He may have done some lyrics, I guess. Peter’s cover of Bobby Lewis’ “Tossin’ and Turnin'” was pretty good. KISS did it on the Dynasty tour, at least for a few shows. It was pretty awful from what I’ve heard of it. But, Sean Delaney wrote two songs on the album (“Rock Me Baby” and “I Can’t Stop the Rain”). What is remarkable about this is Sean actually produced Gene’s solo album but was asked to write for Peter. He did both. Peter had many guest musicians including Steve Lukather of Toto fame, Neil Jason (who also played all the bass on Gene’s album), Penridge, Allan Schwartzberg (who also played on Gene’s album and was credited as “additional drum overdubs” on several of the 80s-era KISS albums) and more. The album was produced by Vini Poncia who produced Dynasty and Unmasked. Incidentally, it’s the only one of the four that had a “credits insert” and the only one that released two singles, even though neither song charted.

Paul’s album has been touted as the “most KISS-like” and I disagree. I think that would be Ace’s (which could be one reason why I like it less). Now, Paul’s has KISS qualities but it sounds like Paul’s KISS songs. The addition of outside musicians changes the feel than that of a KISS album. I think Paul’s has the best-written tunes. A little bit of “Starchild” and a little bit of the “lover” is how I’d describe the album. Ballads, power-ballads, hard rocking tunes and some pop aspects. There’s not a song on this album that I don’t dig. While there are three songs (“Move On,” “Ain’t Quite Right” and “Take Me Away (Together as One)”) that were co-written by Mikel Japp, this is the only one of the four solo albums not to feature a cover tune. Paul had some notable guests on this album. Carmine Appice and Craig Krampf (co-writer of “Oh Sherrie” and session drummer for many big-named artists) on drums, and of course, Bob Kulick on guitar. Steve Buslowe played bass on side one and Eric Nelson on side two. I wonder if that was by design? I find it odd. The album was produced by Jeff Glixman who has worked with Kansas, Yngwie Malmsteen, Black Sabbath and more.

Gene’s album seems, to me, like a huge party. It’s like he gathered all of his friends, girlfriends, a previously-released KISS tune, bits of horror, hard rock, The Beatles and his favorite Disney films and threw himself a shindig. If I knew he wasn’t so straight-edged, that could be the case, but other than a few impromptu orgies, I don’t see the party happening. The album opens with something that reminds one of The Omen and is hellish before hitting the hard rock “Radioactive” which has a very cool (complete with choreographed dissonant passing notes) classical guitar interlude into “Burning Up With Fever” which on the original CD versions put both of those songs together and you had to either just listen through or fast forward to get to the latter. This is the only one of the four that re-recorded a KISS song (“See You In Your Dreams”) because he wasn’t happy with the original that was on Rock and Roll Over. Gene has always maintained that he learned English from watching Disney films. So, while it sticks out like a sore thumb on the album, it makes perfect sense that he’d cover “When You Wish Upon a Star” because hey, it gives him an extra tune and you love what you love, especially when it fits your story. Now, his guest list is incredible. He plays no bass on this album, just acoustic and electric guitar. He leaves the bass work to Neil Jason, who along with Allan Schwartzberg on drums, also played on Peter’s album. Elliot Randall, who is probably best known for his guitar solo on “Reelin’ in the Years” from Steely Dan handles most of the main guitar work but also, Rick Neilsen, Joe Perry, Jeff “Skunk” Baxter and Richie Ranno of Starz do guest spots. And back up singers? Bob Seger, Helen Reddy, Donna Summer, Cher, Janis Ian, Michael Des Barres and a then-unknown young lady by the name of Kate Sagal (yes, Peggy Bundy) all lent their voices. Sean Delaney, as I said, produced the album. Sean claimed, to me, that he never got paid for that job and that Gene cheated him. Again, that’s an allegation and not necessarily a fact. But, the fact that he and Gene had a falling out about this time and as far as I know never really reconciled, I can see it. It wasn’t my business and I hope they talked before Sean passed away in 2003.

You’ll notice the order in which I talked about the albums. This order is important because it is in reverse order my favorite/preferred list. Gene, Paul, Peter and Ace. I get looks and furrowed brows when I say Ace’s is my least favorite. There are several reasons for this. One, I just am not a huge fan of Ace’s. I feel he squandered an opportunity and let KISS fans down in general. Yes, Peter flaked first and was a little byotch about it. But, I felt we got the better deal because Eric Carr was a much better drummer and a rock drummer at that. Ace’s also is just boring to me. Don’t get me wrong, I like it, it’s just my least favorite. I felt the reason for the solo projects was to show a bit of freedom and influence and step out of the KISS box. If you’re going to sound like KISS, record a KISS album and don’t be a byotch. Peter, Paul and Gene all got experimental and showed range, for better or for worse. Don’t argue, you have your favorites and I have mine!

All four had cool posters that you pieced together and the ones I have on 180g vinyl (from Underdog Records, of course) are pretty good. I had to buy my Paul Stanley used and it is missing the poster. I never had all the posters as a kid, either, so I’m looking for a replacement. I talked earlier about the good and bad of the solo albums. I love them for what they are, in varying degrees. The bad, however, was that no matter how crappy Peter’s performed, he still thought he was better and needed more from KISS. They showed him the door. Ace, on the other hand, got bolder as his album did the best and it proved, at least in his head, that he was more important. I feel he was, but disagree with how he dealt with it. Plus, he and Peter’s demons really got in their way beyond “just ego.” What are your thoughts on the solo albums, Dear Reader? I know you’ll disagree on the Ace placement but it is how I see it.

This got a lot more overly verbose than I expected, so I’ll continue the others either in a separate post for today or just do it tomorrow. Stay tuned.

Until tomorrow (or later today), stay in the Useless Things Groove!
Scorp out!

—
“You were standin’ and I was thinkin’ ff all the time that I spend hangin’ around. Situation could only get better. I got closer to see what I found. In the mornin’, movin’ easy. Everything seems so right. But when the night comes, I’ve been dreamin’… Dreamin’ ’bout leavin’ you one more time. Girl, you gave me good love but it ain’t quite right.” – “Ain’t Quite Right” (Stanley/Japp)

Asylum Et Al or: Many Kisses (Part 1)

17 Monday Sep 2018

Posted by in Music Review

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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)