It is obvious I am not much of a picture poster, I lack a working scanner, and photography is more of a spur of the moment type thing seeing I even lack my own camera since the one my brother gave me quit out on me last Fall. As such, I will show a different kind of art through the form of words. That is to say, I am going to use this blog space to post up reviews. What better way to start my reviews by taking a look at a recent album that came out last month, by the hottest band in the land: KISS!
Background:
Once I found out KISS was finally going to release a new studio album with their current lineup (well over a year ago when I caught the news) my head exploded! I'm still trying to piece it back together, the long hair hides all the holes from that mini-mushroom cloud; but I digress. Many people are iffy on the fact that they wanted to make such a move. 1. Gene and Paul put Ace Frehley's Spaceman and Peter Criss' Catman makeup/costumes to Tommy Thayer and Eric Singer (I'll talk a little more about that in detail in my sub section after the review). 2. It has been over 11 years since their last album, the Psycho Circus, sure they made KISS Symphony (albeit without Ace) but that is a concert album without new material.
I was eagerly anticipating this nonetheless, since I heard about it, I was constantly going to their website to hear any scrap of information. Hearing them say this is going to be "classic KISS," returning to their "70's" sound even going so far as to record it through the old-fashion analog style as opposed to digital were bold statements. Are they just being boastful as they have in the past? Are they being honest? Either way this is building up hype to let their return be memorable. Surely enough they revealed the cover art by artist Michael Doret (who designed Rock and Roll Over's artwork) seeing the cover art is just ugly to begin with. It really is not Doret's fault because that was Gene and Paul's attempt to recreate magic. Strike 2: Making it a Wal-Mart Exclusive. Many hold huge contempt towards that store including myself for its huge corporate style and its history of destroying smaller businesses. I am all for saving money being the impoverished college student that I am, but at that point I was a bit hesitant. Be that as it may, it is for KISS! I'll totally go on a cross-country adventure for them in the same vein as the dopey teens in Detroit Rock City. So I took one for the team and made a trip to Wal-Mart to make that purchase from my secret stash solely for this album. Plus, I would really like to say that I helped this album reach Gold (or Platinum if it can reach that far given the band not being as "hot" as it was 30 years ago).
The Review:
Surely enough, Gene and Paul have still got it!
Modern Day Delilah
The new group lets an explosion of enthusiasm show with their first track of Modern Day Delilah. From the first time I heard their preview, I couldn't stop listening to it, because it got me stoked to hear more. This song has such a catchy chorus, a strong base, and Paul sings his heart out. 2 minutes into the song, we hear this amazing guitar solo from Tommy Thayer hinting the influences of past guitarists who he succeeded. This is only the beginning of his stepping to the plate to proving himself worthy of being a part of the group. He has already with his past history of songwriting, ghost-playing for Pyscho Circus, and overall jack-of-trades demeanor of being so helpful to the group.
Russian Roulette
Gene takes the mic on this one, and this at the point of the album where it really starts to show off the heavy nature of the album. This song continues to speed up and it really shows when Eric Singer speeds up the tempo bit by bit. The first thing that comes to mind is the album of Asylum (within their non makeup era that is now within their void era since they hardly talk about it and hardly anyone knows about it). At this point of the album I am starting to notice that Tommy has not only been influenced by Ace but also Bruce Kulick, the most underrated KISS member who was actually in the band the longest (outside of Gene/Paul). We can also hear that nothing has changed with Gene singing his patented innuendos.
Never Enough
Paul sings another tune with a pattern in the album, which is one of the little things that made a huge difference: switching the singer after each track in a pattern. Hearing this song reminds me that Paul really has not aged that much, and he can still hit those high notes. You can really hear that there is a cooperative effort from the chorus work to the transitions to Tommy solo. This song captures a reignited energy that the band enjoys working together and you can tell that they are having fun. Which is a good sign, because it is a little known fact when performers are enjoying themselves they give their best performance.
Yes I know (Nobody's Perfect)
To me, this sounds like it could have been a refurnished demo from the Rock and Roll Over album. This really captures the vibe from the 70's the best of having lyrics that do not have to make sense but fit together nicely when strung. Although it lost me a bit when Gene mentions "it's time to take off your clothes," or "take ‘em off, babe!" That's nothing new with KISS, but it simply does not have the same effect as it did 30-20 years ago seeing how now the guy is 60 right now. Then again, who would turn to Gene and Paul for moral advice? Nonetheless the energy is still present.
Stand
This one is a Gene and Paul Duet. This sort of captures the same vibe as God Gave Rock and Roll to You II. This is roughly the territory where people start to scratch their heads. Some love this song; some hate this song. Why? Since it is a song about friendship. I hold this in high regards, because the anthem style can get stuck in my head. Some people forget that KISS has had their sentimental moments from ballads and acknowledging important points. The Elder's World Without Heroes was along the same lines about camaraderie and to this day it is among the few songs from that hated album that is praised. When the song slows down it feels like they are going into power ballad territory calling us all slowly flail our lighters up in the air. When they speed it back up, they close it off. To me, this is among my highlights of the album.
Hot and Cold
Gene takes the lead here. To me, this song feels like if Love Gun's Plaster Caster did the fusion dance with Lick it Up's Fits Like a Glove. Getting the tempo down and still acknowledging that Gene wants to suggests hints of seduction is leaving a constant reminder of who he is: a ladies man. Also that he can play bass well, something that he is not given enough credit for. It is trying to catch the party style and the double-entendres especially when you hear Gene say "feel my tower of power." This song kind of drags a bit with a bit of a repetitive nature, but the instrumental direction really shows that it is covering his weaknesses.
All For the Glory
Eric Singer takes up the helm for the lead vocals on this one. This is actually my favorite one, because it is really feels like a new song. I am not saying that I have my criticisms though. Eric's vocals sound almost identical to Peter's leading me to wonder if he is imitating or has simply inherited with age. The first time I heard him sing was when he took the lead mic for Nothin' to Lose on the Unplugged Album where he had sounded much different. Regardless, this song holds the charisma, and even the feeling of the older days before Eric and Tommy when it was not just Gene and Paul who sang. This one has my favorite solo from Tommy where it is pretty much telling us to do air guitar along with it.
Danger Us
Returning the Mic to Paul, he really lets out a heavy tone. The lyrics are filled with clichés and puns, but nobody can do it better than Paul. It is a very welcome change to see the heavy work come out of Paul, because he has such diverse vocal range, and once again at this age with him pushing 60, it is astonishing to hear that he has not changed that much. This song is very fast paced, and once it is done you will forget that it is a 4 minutes.
I'm an Animal
This is the last Gene song of the album, and his best one. Unfortunately someone else beat me to this analogy but I will use it anyway because I agree to it: feels like a result of God of Thunder, War Machine, and Unholy being put in a blender. Mix them up really nicely, and let it stay for awhile for the flavor. This is The Demon! He growling, snarling, and showing that he is in control! Not only that Tommy really shows that he is capturing a Vinnie Vincent-esque solo from Creatures of the Night. He is really starting to grow on me.
When Lighting Strikes
Speaking of which, it is Tommy's turn to take the mic! Tommy is really making his vocal debut something memorable, as he is establishing some ownership with his time in the spotlight. He is not the best singer, but he is certainly delivering a great sense of enthusiasm. Like All For the Glory, it really has a current sound. If they start having more Sonic Boom songs on Tour I really think Tommy should sing this song rather than doing Ace's Shock Me. It will sound more natural that way rather than copying.
Say Yeah
To close off album Paul mixes in the feel-good vibe from Crazy, Crazy Nights and Raise Your Glasses from Psycho Circus. It is the fitting end to a great album, from transitionary solos to the "Let Me Hear You Say 'Yeah!'” Now it is not the best thought up lyrics, but the breaking of the fourth wall to the audience is pretty much telling you that if you are liking what the album says, go out and say it!
Overall:
This album is far from perfect and is not without its blemishes. Although I praise the enthusiasm of Gene and Paul still talking about seducing women, it really should be limited for album releases solely because it feels awkward to hear someone who is 60 and 57 pick up on chicks old enough to be their (grand)kids. Nonetheless it sounds like a KISS album, and a focused effort. It is stripped down to the bare-essentials like an early alum by having no outside musicians, and as far as I know no ghost musicians like in Psycho Circus. Best of all, all of the songwriting credits are strictly within the band, so I am going to give them a gold star for keeping the circle small. Although with Tommy Thayer doing the songwriting, I am a bit disappointed that they did not explore different ground. After all, Thayer co-wrote Childhood's End on Carnival of Souls which took a break from talking about getting laid and actually explored dangerous ground.
Be that as it may, this certainly isn't the sub par to average warm-up to get back in the studio (that honor goes to Jigoku-Retsuden their reworked songs that was included in the album's supplementary material). Still, they are on the right track, showing that they want to work again. Also, they are not dismissing their past anymore, every bit from every era is present which is why I am praising this album so much: the energy and nonsensical lyrics from the 70's, the hooks and seldom-praised heaviness from the 80's, and the hard-driven power from the 90's. Sure they lacked the undeniable chemistry the original four had, sure they are lacking Bruce's energy, and even Vincent's unsung songwriting, but they have really made it clear they can deliver a solid album.
Expect me to put up more reviews from earlier albums. However, just because they are my favorite band, does not mean I will always give a favorable review. Expect to see me praise an album, look forward to see me trash the flaws of an album, and anticipate that I will just give an average consensus.
Final Score: 9/10
Other Notes...
Commentary on the KISS Klassics packed in:
Originally it was a Japan-only released album titled Jigoku-Retsuden (which translates to Intense Transmission from Hell). They were reworked songs with the current lineup. I would have to say, this CD is worth a few listens. I say this because my first opinion of it was that I felt many of the songs in that album felt sluggish by comparison to the originals (Dr. Love, Deuce, Heavens on Fire, Shout it Out Loud in particular). Then when I listened a few more times, the only reason why I felt the songs felt butchered was because of two things: upon the first few seconds of the song I am not letting my ears adjust. They are trying to sound identical to the original, but by doing so the instrumental pitches are slightly different. After awhile, it feels like you won't tell the difference minus a few exceptions. For instance you can hear how much Gene Simmons' voice has aged particularly when he says "You Got to have a party!" in Shout It Out Loud, it sounds very hoarse. Another criticism I have is including Christine Sixteen in the setlist. I know, Gene is sleazy, and it is a catchy song, but once again it doesn't have the same effect as it did years ago. Making it one of those songs that should be on the top of the list for songs to retire or switch out when shuffling in the more recent material for concerts. These are great songs, and it's an honest effort, but I only give it an average review solely because KISS has had a history of releasing an excess of Greatest Hits Albums.
From looking at a very omniscient prospective, that was what really burned my biscuits about KISS: making way too many Greatest Hits albums. It was tough to beat The Who with that count but they did it! The only one in my opinion that is passable was Double Platinum because it was the first of its kind. They could of tried to make more CDs that used songs not used in the previous compilation albums, but they didn't. They could have put in songs that were originally unused songs being heard for the first time but those instances only happened a few times.
Don't get me wrong, I want to rock and roll all night and party EVERY day! ...but not on every CD. With the years they made compilation albums they could have made a new album (especially when the band reunited). I am well aware of the purpose of these types of media. With a Greatest Hits Album there are two target demographics: 1. Introduce people unfamiliar to the band through a diverse selection. 2. Have a selection of favorites for the fans in a time before CD burning. Have they forgot about making box sets of albums? If not for their 70's Box Set The Originals, the first three albums would've taken longer to go Gold. Plus Box sets are a bargain by comparison to buying the albums individually. Plus, there are smarter ways to market these too. Why not have a KISS: Rock Band, when done right it can be fantastic like Beatles: Rock Band!
However I am willing to forgive the band for releasing yet another compilation through Jigoku-Retsuden. Why? Before Sonic Boom, it was the only Studio Album that officially had the current lineup working together. If not for that studio effort of revamped songs, they would have never realized that they like working together prompting the return of new material.
On to the DVD that was packed in:
The Buenos Aires concert footage though energetic was a bit of a disappointment, because half of the songs were already on the CD (see what I mean about repeats?) Also, I am hoping that was really a portion of their performance, or just some thing they did for a brief Festival gig. If I was there and only heard 6 songs, I will rock out with them, but I will feel ripped off that I paid 100+ smackers only to not have a show that lasts at least an Hour and a Half. The only thing that would make up for that would be if I had a backstage pass to meet them, or if I caught one of the picks or drumsticks thrown to the audience.
On to my take on the makeup thing and the lineup history:
I have always seen it (and still do) as disrespectful to have a new Spaceman and Catman. Yes, those designs along with the Demon and Starchild are iconic. Paul Stanley has even said that in his defense that they are keeping it that way. I just find that to be a lazy euphemism, since they have the budget to market new characters. That sparks confusion that some people who have not followed the band will think they still have Peter and Ace through an untrained eye. This is indirectly forcing just a copy rather than an organic product. Also, as the years go by, not only do I see it unfair to Peter/Ace I see it unfair to Eric and Tommy. They need their own personas to set them apart. Eric Singer has proven his worth by appearing in now three albums, and Tommy Thayer has earned my respect. He really has had an impressive history that not many give him credit for.
He has started from playing in a hair metal band (Black N' Blue). After Black N' Blue split, he played in a KISS cover band (by the name Cold Gin) where he made himself look like Ace Frehley. Cold Gin was one of those cover bands that become overwhelmingly popular going as far as to not go unnoticed by KISS themselves. They played in Paul Stanley's birthday party some time in the late 80's. His enthusiasm was recognized by Gene and Paul so they hired him to be their a gofer and later a roadie for KISS. As an theatre actor who found a passion for costuming (after enthusiastically experimenting numerous outlets) I greatly see some admiration in Tommy for embracing numerous trades not only to stay alive, but to hone his craft. Tommy was in the right place at the right time. They would have re-hired Bruce after Ace left again but Tommy was already there so Gene/Paul gave him a chance. In fact, in an interview he even said he was indifferent to the idea of having another makeup design. It is no secret that Ace was Tommy's hero so to be the Spaceman and play alongside his favorite band is like every boy living out his dream. Not only that, he knows a good thing when he sees it so to go on and say "I want my own persona" without being asked would otherwise feel prima donna-ish. I'm sure that Eric Singer with his history of succeeding the deceased Eric Carr feels the same way.
However the reason why I am still in favor of having a different makeup style for Tommy and Eric is because they really have worked their tails off. They deserve their own characters as much as Bruce Kulick does if he returned to the band. As I seen old footage of Eric Carr and Vinnie Vincent in concert they looked natural and did not copy. Bruce held his place too because that was when they had no makeup so he had a face. At the time too they had Bruce be himself rather than imitate the last guitarists before him. Eric Carr and Vinnie Vincent had their own makeup designs, and they are still remembered. Also think about it: Vinnie Vincent was in the band for about two years and got his makeup. Tommy Thayer has already played for almost 7 years now with the band's touring, and Eric Singer 11 years (from all his combined successions). This is part of my criticism to why I am not a fan of the album artwork for Sonic Boom. Tommy is as much a gain as both the Erics and Bruce have been. Don't get me wrong, I will still see KISS nonetheless should I ever acquire the funds, as it always has been the Gene and Paul show. Plus the current lineup is not as bad as the purists say they are. Many of them do not realize that Eric Carr and Bruce Kulick were in the band longer than Peter and Ace. I even think it is rather close-minded to dismiss albums past Love Gun as great albums as there has been a few criminally underrated albums in the 80's and 90's. Even Mark St. John's run (brief as it may be, God rest his soul), helped the band stay on course and not fade away. Their popularity waned through their "selling out to disco," chasing fads, and their numerous TV appearances to make a buck (ie. Phantom of the Park, Fairly Odd Parents, and What's New Scooby Doo among others), but the band did not die. They still regained sold out shows; the Rock and Roll Hall of Fame should really keep that in mind when it comes time for their committee to vote in next year's inductees as it has made me excited to see they were finally nominated. I hope that if they do make it they don't just stop at the founding members. Eric Carr, Bruce Kulick, and Eric Singer deserve to be recognized too, and so does Tommy!
I even find it funny that some KISS purists who diss Sonic Boom immediately praise Ace Frehley's recently released Anomaly album no questions asked. I am sure it is a great album (if not better than Sonic Boom). Sonic Boom is really getting a bad rap from these purists. I know that Paul and Gene made too big a claim to comparing it to the bands earlier work which in turn is ludicrous knowing that they don't have the original members nor identical chemistry. I think Paul Stanley said it best that members need to be looking out for the interest in the band as opposed to themselves which is precisely what Eric Carr, Bruce Kulick, Eric Singer, and Tommy Thayer saw. Unfortunately Peter, Ace, Vinnie Vincent and Mark St. John didn't see it that way. Everyone has their flaws and I would be remiss to not address Gene and Paul's faults so far I'm 55-45 (the bigger number favoring Peter/Ace only a little more). Although KISS was at their best with the first lineup they couldn't work together for long due to work ethics, which is not uncommon with any band. Band relationships severe, and unfortunately personnel die out. In fact off the top of my head the amount of bands with their founding members still in tact can be counted with one hand: ZZ Top and U2. Rush has had the same lineup for 35 years but Alex Lifeson is the only founding member. More and more I am starting to see this fan-feud about the KISS lineups similar to Metallica vs. Megadeath. It's real petty because in the end both products are great and deserve credit when due.
Right now, I am simply going to see it as superheroes that have new characters under the mask. Like the Dick Grayson Batman or the many Robins.
Alright, I am done ranting. ^_^;