>> SPACE TRUCKIN’ – hard, heavy, foxy ‘n free spaced Deep Purple (slight return), ample G-forces to take your breath away just long enough to ascertain the Space Bear is M.I.A. again, riding’ high in the saddle with Blackmore’s gang
For those in denial or worse, I wanted to write a short piece here on why the drummer on Ace Frehley’s “Rocket Ride” off the studio side of 1977’s KISS ALIVE II is indeed, 100% zero doubt, PETER CRISS.
Over the years many have shared their foggily diluted memories of who played what on the other 4 tracks off the studio side of the 2-record set. The Demon has asserted that at the very least it’s “absolutely PETER CRISS on “Larger Than Life”” even if it is the ever-proud Bob Kulick on lead in Ace Frehley‘s stead on that and perhaps all the others on side 4 (save “Rocket Ride” of course) ….but then again even Eddie Kramer can’t quite pin it down when trying to reel in the years.
Without the benefit of a time machine, we’re left with one option — to analyze the drumming on the track. When I do that, I have no doubt it’s PETER CRISS. A relief too because, for years, if anyone has told me KISS sucks, I’ve popped on “Rocket Ride” and watched their eyes widen, often declaring “Jeez .. I had no idea!!”.
Here’s why we know it’s PETER CRISS on “Rocket Ride”:
ACROBAT > It’s really good and, with the benefit / first-time-in-KISStory anomaly of no Simmons/Stanley on the track, stands as a KISStoric kick in the teeth in that it foreshadows the revelation that would be Ace Frehley’s solo debut under the KISS banner a year later.
BETRAYED > Peter’s snare roll style matches. On all of his recordings with KISS (esp. those with Kramer) his snare work is definitively his own and what I dig the most. It has flourishes of jazz in attack, ghost notes, ebbs ‘n flow and a snare sound that mirrors Motown as well as the big band drummers like Gene Krupa he grew up idolizing.
CRAZY KNIGHTS > Peter’s ride cymbal style & treatment is loose, softer and has more interplay with his snare and bass drum than most hard rock or metal drummers. It compliments the song nicely with fun stops n’ starts that typify Peter’s playing on all of his recordings with KISS. Same can be said of his hi-hat use on this; it’s singular in style and, as always, playful yet always the complimentary back beat a song requires to ‘happen’. I’ve noticed, when Peters’ on the hi-hat, there’s a slight skip in his beat as he pulls off the hi-hat a skosh early before the snare tap, similar to Charlie Watts who usually entirely skips the beat on the hi-hat when hitting his snare. But as Peter does it, he drags a quiet few snare notes with his left hand as his right returns to the hi-hat. It’s subtle but is on “Hard Luck Woman”, “Dr. Love”, Mr. Speed” and tons of others as he got better and better with Eddie at the helm. He also has a couple fills he loves: One is a simultaneous bass drum & cymbal crash, a ‘tag’ as some folks call it, after a quick snare roll and an other he loves to pepper in is the one in which he leads with a tom smack in to the snare riff, and back again, like on the intro to “Shock Me” or “Got Love For Sale”. It’s a Ringo Starr fill that informs Peter’s approach to his verse-chorus transitions in general over the years …and I dig it.
DONTCHA HESITATE > Peters notoriously inconsistent drum ‘parts’ (a constant refrain from Simmons/Stanley) are in evidence here too verse-to-chorus as they aren’t quite flushed out per se. Perhaps because they were binging on blow at the time, but the drum parts never quite duplicate themselves. Probably because it doesn’t matter in a certain school of thought where the take with the vibe wins the day. See, studio drummers / musicians pride themselves on that seamlessness, often at the expense of a take with energy or feel. Rockers and ”studio cats’ are always at odds. Sometimes they are the answer. They can do it the same each time, like robots, or like Eric Singer, but Peter Criss thrives on giving it a feeling, catching the moment, just like Ace. He reportedly couldn’t play the same thing twice if he tried but that’s what makes him an authentic feel musician, interacting with the music and the other players, verses learning it for perfections sake – the enemy of all great rock & roll. That’s why KISS always recorded live in the studio, to catch Peter’s best take. Later, when the band splintered and were desperate for hits, that changed: que Unmasked & Dynasty and everything that came after.
EASY AS IT SEEMS > The outro full-kit-in-use rapid-fire attack is pure jazz exploding into a rock arena, and echoes the ‘end of song’ flurries Peter was doing on the road with KISS at the time. To this day, Peters’ drum volley and Ace’s Page-inspired solo guitar on RR’s coda is not only the coolest KISS moment on analog tape but one of most explosive few seconds in the history of rock. Incredibly, KISS never played the song live and, although Ace does it almost every show, he’s never even tried to make the songs ending part of its live presentation, because (wild guess) he can’t seem (or bother) to relearn it and, more centrally, nobody else can pull off that drum break! Well, Anton Fig might, but had he played on the track, I believe it would have been completely different. The ideas are Peters, not Antons, that’s clear to this KISStorian. If you wanna hear how different Anton is from Peter, listen to Dynasty or any of Ace’s solo stuff he’s on. He’s a monster. Prolific click-track-like precision with genius flare and an uncanny knack for adapting to any artist or musical style. That’s why they brought him when Peter was going mad, and he did a damn good job of pretending to be Peter Criss on Unmasked. Anton is more versatile and obviously easier to direct given the dynamic, but he’s not Peter Criss and his feel is way more buttoned down. Dynasty proves that, and Peter dots the ‘i’ on “Dirty Livin'” which, as I revisit, was a more viable single than “Hard Times”. As much as I love the latter, man would I like to hear the radio edit for a “Dirty Livin'” joint push, or for that matter an EDM version today? I think it’s Paul’s falsetto on IWMFLY that might have pushed some fans over the cliff to exodus. “Dirty Livin'” seems as I hear it now to perhaps bridge the disco gap without a full KISS sell-out, thanks largely to Ace’s bitchin’ guitar work throughout and the stellar Vini Poncia mix, with Criss on the drums.
FANFARE > Finally, I gotta tell you people, when you then listen to the drums on the other 4 cuts on side 4, they too are absolutely Peter Criss on drums as all of the aforementioned tenants of his playing are on full display. Sound, attack, feel, pocket, and the flams, I forgot to mention then ever-present dynamite Peter Criss flams!
GIMME MORE > Put it to you this way, having done KISS’s original demo, Love Gun, Rock & Roll Over and both live albums, on which it must be noted Kramer has commented “the only stuff we didn’t have to touch at all on the live recordings were Peter’s drums and his vocal mic”, why would he have brought in another drummer for the studio tracks? He didn’t. Peter plays amazing drums on all of the Kramer produced KISS albums and, on another score, is hands down the best natural singer in the band. Plus, Eddie’s too cool to have let it play out that way. KISS was a band he helped mold into shape and I sense Eddies too much a purist, and probably more loyal as a dude than most. He would have endeavored to make it work with Peter and that story simply doesn’t exist. Sure, Eddie knows Peter went off the rails at some point, but it wasn’t on his watch.
HOOLIGAN > All I ever wanted to be was Peter Criss. Over the years I’ve realized it wasn’t just the the voice and the drumming, it was an attitude we all picked up on early, just from the photos of the band, regardless the ballad. That detached yet inspired “I wanna rock & roll!” bravado that defines defiance. Who the F else could dress up like a cat and still be cool? The guy who believed in it and became it. The Catman .. or ‘Cat’ as Ace calls him. Peter, like Ace, provided the built-in, hyper social, legit street aura ballast KISS needed for folks to buy in out of the box. Without their vibe, talent and attitudes, I get the sense it would have never gotten off the ground. Vision and drive is one thing, but authenticity always rules. Finding Ace & Peter was a shrewd masterstroke that Gene & Paul ought to embrace more often, and will in coming years.
Heck, “Rock & Roll All Nite” has got more to do with Peter & Ace than the guys who actually wrote it. Go figure, or pop on “Rocket Ride”, the definitive Peter Criss & Ace Frehley KISS track.
#1 > LOVE GUN – Eddie Kramers KISStoric sonic masterpiece, the punchy Love Gun boasts Ace’s first vocal, some of his best leads and the original line-up’s finest studio hour. Best snare sound found on any KISS studio recording save the non-live side 4 of Alive II, compliments again of Kramer.
#2 > ROCK & ROLL OVER – Meaty, beaty, big & bouncy, and again with Kramer at the wheel, Rock & Roll Over is a bombastic rock record that captures the band getting back to what they do best, rock. The debut EP should probably have this spot but the band is so much more developed by ’76’s RRO .
#3 > KISS – Almost as pristine as “Christeen Sixteen” herself in sheer simplicity, KISS is loaded with more of the bands live staples than any other and, If you don’t like “Kissin’ Time”, you’re probably in the band because Ace’s solo on it is fierce, capturing on his frets the bands frustration in being forced to record the number.
#4 > DRESSED TO KILL – Shortish but tight, Dressed To Kill is a surprisingly crisp sounding album given it was practically self-produced …DTK features a notably improved Peter Criss and a number of now classic KISS rockers for the subsequent tour and Alive!. Turns out that giving the band more control, at least at this juncture, enabled them to produce something that represented them better than the debut and HTH, employing acoustic guitars to add texture for the first time.
#5 > DETROYER – The bar and the band raised to the high ‘n mighty Bob Ezrin standard, Destroyer is KISS’s first successful foray into mainstream pop hot on the heels of the radio explosion of the Alive! version of “Rock & Roll All Nite”. Although many argue it’s KISS’s best studio effort because of their expanded scope with Ezrin producing, the overblown fascism that is “Great Expectations” gives us their first truly cringeworthy moment and a snapshot of the shape of things to come.
#6 > HOTTER THAN HELL – A delightfully dark ‘n dirgy, balls-to-the-wall album that includes a number of my all-time favorite KISS deep cuts, HTH is a major cornerstone of the KISS cannon. Were it not for its muddy production and dead drums, I could even put it above Destroyer because its definitive stuff. No place else would the sludge blues-rock of “Mainline” have made the cut nor “Goin’ Blind” & ” Strange Ways” fit in so well with classics like “Parasite”, “Got to Chose” and the title cut.
(( KISStorians note: I have left off Dynasty & Unmasked because they, by & large, feature Anton Fig as ghost drummer. Had I included them, Unmasked would have come in last place, Dynasty somewhere in the middle ‘cuz its state-of-the-art KISS! ))
Until all the following demands are met, darkness will consume the land and silence will persist…..
KISS is required to re-mix both Unmasked & Crazy Nights, removing all keyboards.
KISS must immediately issue a live DVD from the Asylum tour.
KISS is implored to perform The Elder live on a pay-per-view.
KISS must engage Bob Ezrin or Eddie Kramer to record one more album with the band.
The Demon’s hand must be forced to release of the oft-threatened ‘Gene Simmons 100’
I snagged this on Bleecker Street in NYC in like ’87 when I was going to school out east. We would shoot down from upstate and always hit the record stores looking for boots. Pre-Youtube, this was a goldmine of a find for any budding young KISStorian looking for more pieces of the puzzle. Now everyone knows the tale but then it was a total mystery . The price tag says $8.99 and the KISStoric vinyl treasure featured both the never released Wicked Lester album as well as the Eddie Kramer recorded first actual demo of the band done at Electric Lady.
Lists like these can do more harm than good but I felt it was about time I went on the record. It was a cathartic exercise that had me shuffling the order around like so many KISS cards. No sooner than a minute after hitting ‘publish’ I wanted a mulligan. Please feel free to comment with your top 10 and why?
#1 – ALIVE – this is our ‘live’ rock & roll party and the desert island keeper
# 2 – LOVE GUN – you wanted the best, you got the best studio album
#3 – KISS – the vision, the sound and the live staples in one concise initial salvo, a sacred sphere.
#4- ALIVE II – at their live zenith plus 5 studio cuts larger than life
# 5- ROCK & ROLL OVER – a band in full 70’s stride, don’t put baby in the corner
# 6 – DESTROYER – the pinnacle for some, too soft for others, dear to the daughters of Aphrodite
#7- CREATURES OF THE NIGHT – a sonic boom still reverberating from Eric Carr’s kick
# 8- ACE FREHLEY – I don’t wanna burst your bubble but the original spaceman crashes the party wiped-out with the best of the 78 solo emissions
# 9- DRESSED TO KILL – stark perfection plus the Stanley/Simmons rock & roll national anthem
# 10- LICK IT UP – the bands best sans clown album and the shape of things to come
Editors note: Scott Wheeler’s suggestion below was so right on that I have heard his words and indeed taken heed. I am still wrestling with including MONSTER on this list as it is still taking root frankly and if “Never Enough” wasn’t on SONIC BOOM I may be able to talk about it as a really great record to. It is a process. I am contemplating trying to calculate albums #10 thru #20; a Herculean task.
How did you originally catch the rock & roll bug? Well if The Beatles were the definition of Rock and Roll in 1964 then there it was! But I think that the real heavy rock for me was Black Sabbath, Led Zeppelin and Humble Pie. I learned a lot about melodies, harmonies and song construction from the Beatles and kept within those guidelines right into my ‘heavier’ introductions.
Who are your favorite 5 rock singers of all time? Good one, as it depends on one’s definition again, of a ‘rock’ singer! I was influenced by singers over the years but perhaps didn’t realize what would become my favorites until later – realizing how they in fact shaped my own style (even though I don’t sound like many of them) ….John Lennon, Steve Marriott, John Waite, Steve Walsh, Layne Staley.
Can you describe your first time meeting Ace Frehley? It took place in New York on my first audition. I was flying out to do another leg of a tour with Cheap Trick then and I combined the trip to meet up with the future Comet band. I walked in, saw John Regan of course, Eddie Trunk was there (however I had no idea who he was) and then there was Ace. I truly would not have known him sans makeup because I had never ‘looked’ him up through the pages of countless rock magazine articles – I seldom read those and never gravitated to KISS photos and articles because my personal musical interests were elsewhere.
Ace shook my hand as we were introduced and he was very pleasant, enthusiastic about the project and I imagine thrilled to be completing the group to really get out there and tour. I do remember that the impression that I got was, ‘Wow, cool guy, he’s happy to be here and play and very positive about what he’s doing and where’s he’s going’
This in itself was very refreshing as I had been through a few projects with tons of negativity and that was a drain on me over time. Ace looked good and he had a tremendous presence about him at that time.
He let you play a number of leads or record and live, was that something you had to fight for? Not one bit. In fact I had told him that I wasn’t a jammin’ lead player nor a spontaneous one as I’ve always considered myself to be a singer/songwriter that played solid rhythm guitar/keys. I believe that he was disappointed to a degree that I wasn’t asking to play more leads so as to bounce things off each other. I can play lead (obviously) but my compositions are melodies and notes that I hear in my head and then have to learn them.
I did want to play the lead on “It’s Over Now” after I tracked it because, well I thought that it suited the song. He had no problem with that at all. That’s when I gained HUGE respect for him as he was very confident in his guitar talent (had every right to be) and let me have that one.
Of your Frehley’s Comet song contributions, which track are happiest with today? (mine may be “Calling To You”) Ha! Cool that you like the old ‘MEGAFORCE‘ title “Calling To You”! Mine would be a toss up, somewhere between “Time Ain’t Runnin’ Out”’ and “It’s Over Now”.
How was it working with legendary producer Eddie Kramer? Eddie at that time was a great guy, big resume and I learned more about him as we worked together, again, I really didn’t know that much about him either! He was very diplomatic about his ideas and brought great humor and results in the studio all at the same time. I don’t have any recollections that stand out about the times in the studio…besides the personal banter and jokes that we had between all of us.
Guitarists often say no two drummers are alike: how would you describe the feel difference between playing with legends Anton Fig and Jamie Oldaker behind the kit? Well that saying is so very true. I think that perhaps in the past I may have eluded to the opinion that Anton was better suited for the Comet initially, but then Jamie was so very instrumental in the feel in at (the very) least the track “It’s Over Now” …. he became the stellar standard. So it really becomes the definition of the ear listening. Anton was flat out powerful, rocking, pounding and wild and the proverbial mosh pit for the ears – full of raw energy. Jamie was moreover rock solid with the depth of a feel the escapes many drummers from track interpretation. The way he laid the snare down…..monumental.
What is your 2013 solo release Opposite Gods about? (its pretty fucking heavy dude … and I heard you sing like Bowie!?) This solo effort has a plethora of inspirations that are all real life with exception to “Dancing Through The Pain” which was a dream. I have songs on here about my adult children, and their trials in life, a song about one of my very best friend’s Harley accident, which paralyzed him from the waist down, a tune about the shallowness of today’s ‘talents’ One about my dog! And just one political tune – of which I don’t do normally but could not help to sing about what I see here in America.
Cool that you can hear ‘Bowie’ in my voice! I can imitate him dead on!
Yes. it’s very heavy, but I’ve always been heavy – until I start to sing! Ha! I love deep dark material but I also write in an adult contemporary style like my Winter CD When I record my heavy stuff it’s just that to me, heavy… but my voice really isn’t a ‘heavy’ type timbre so it becomes a little less threatening!
You highlight your adrenaline junkie hobbies nicely on your website: is that what drew you to rock & roll originally, the rush of it all? No, the draw was – reflecting and understanding what I went through back then in the ‘60s now – acceptance and acknowledgement. My early life was a little rough, nothing too traumatizing but enough for me to search out some attention – and then of course a lot of that would evolve to women! The Beatles had that, well …. Hell, I wanted that too!
How did your recent appearance on the TV show Wipe-Out come about and was it fun? I got my ass kicked! I ‘trained’ for about three weeks swimming (which I ended up using a lot of) and general biking, weights, but no where near as much as I would need.
I had been watching the show for a while and being that ‘adrenaline junkie’ that you saw on my website I thought, ‘Man, I wanna do this!’ So at 53 years of age then, I decide to drive up to Los Angeles and audition. I wrote to them first of course and was immediately accepted to do as such and they loved me.
Upon arrival to the set in the mountain area of the northern Hollywood area I noticed that they had just recently cut all the weeds around the course – deadly for me as I’ve huge allergies which affect my breathing. This was not the entire reason for me getting my ass kicked but it surely didn’t help. I qualified I believe the 8th fastest time out of the final 22 or so but there was no chance that I could compete after the first real round (the one filmed for TV) because they were to film the second round only a few hours after my initial ass kicking. I had no second wind to give.
I had fun though, but realized that I was in fact, 53 years old then. I’m now 56!
What’s the new project Four By Fate about? Four By Fate is a brand new project / band that is the result of a few key industry players. John Regan and I have kept in touch over the years, more so in the last few trying to get Ace back into the fold to do a 25 year re-union show/tour/concert for the 2012 (or around this time) year.
While having trouble getting through to him on a direct questions, it was posed to him by third parties where he expressed no interest. He had his solo band and was happy rightfully so, doing that and other events. In the mean time John and I were asked to collaborate with a Canadian KISS aficionado named Mitch Lafon on contributing tracks, re-recordings to his project; KISS 40 year anniversary tribute A World Without Heroes CD that would benefit a cancer hospice. A great cause. We did so and while doing this we were hooked up with some fantastic musicians via the internet style of recording.
Meanwhile, John had struck up a great business relationship with Danny Stanton of Coallier Entertainment and through a quickly morphed idea of getting John and I plus perhaps some musicians from the KISS project together to do a few quick shows, it whittled down to an actual band that would power on as a heavy melodic rock band using a few songs from Frehley’s Comet as a jump off point.
The line up is as follows: John Regan, bass guitar, backing vocals, Sean Kelly, lead guitar and lead/backing vocals, Stet Howland, drums, lead and backing vocals and me on lead vocals, guitar and keys.
With John’s and my extensive resume, Sean Kelly’s and Stet Howlands credits (Nelly Furtado & W.A.S.P respectively) we felt that we could initially pull from the big bands we’ve played with material wise while quickly developing our own which would be ‘Heavy Melodic’.
The new band was announced this last Tuesday and has it’s now website already, www.fourbyfate.com We are all doing homework at this very moment in preparation for the up and coming events that will unfold soon! – TOD HOWARTH
KISS Nation should demand the boyz seal these ten Gene master strokes up immediately in a time-capsule. I cannot put them in any order of import; no mere mortal could possibly extrapolate such calculations (not safely anyway).
WAR MACHINE – Creatures of The Night – This may have in fact have been recorded “On The 8th Day” because it is freakin’ god-like rock. The intro guitar riff is a couple of light years ahead of its time; hard to believe songsmith Bryan Adams could have had anything to do with the song, but he did. Gene’s growl says get the bleep out of my way or get run over by the biggest drums on earth, ever (thanks Eric Carr) and stands as a testament to Gene’s mastering of the ‘monster plod’. When he sings “draw the battle lines” it’s so evil, so infectious, that I literally wish to rule the world briefly. Terrifying. The gut-check guitars in the verse and the sheer space allowed for the drums to resonate ’till the next A-chord bruises another rib is downright primal. If “War Machine” doesn’t get your blood boiling you probably have never ‘rocked’ anyway. While we’re at it, it bears mentioning that there isn’t a bad track on Creatures; get it.
ALMOST HUMAN – Love Gun – Let me count the ways it’s special: the grabber bass tone, the poppin’ bass breaks, Peter Criss’s jungle groove, Ace Frehley’s Hendrix-inspired guitar solo, Gene’s all-holds-barred vocal musings, lyrics like “the moon is out I think I’m gonna change”. It screams ‘The Demon’ and yet has an avant-garde thing about it that few Kiss songs do. “Almost Human” added to the mystery of KISS in ’77, showcasing Gene’s knack for expanding the KISS superhero brand vision. Gene meets Zappa compliments of legendary producer Eddie Kramer.
GOIN’ BLIND – Hotter Than Hell – Of the early Gene songs this is by far the darkest offering, in both lyrical content and musical tone, though “Watchin’ You” (off the same record) comes as a close second. When I was a kid, I couldn’t listen to “Goin’ Blind” because it troubled me, as it should have: it’s about a 93-year-old man in love with a 16-year-old. No question, it has a palpable desperation about it. The stark imagery, slowly developing minor chord melody, grungy mix and Gene’s straining lead vocal (“BEEE_EEEEEEE”) make for a heady, gut wrenching brew that exposes Gene’s British Invasion bug. To me, this is the song that qualifies Gene as an artist to be reckoned with. It’s all too wonderful; maybe the darkest ballad of all time!! Ace’s solo work throughout the track alone make “Goin Blind” a top ten Kiss song in this rock soldiers book. Yes, it’s Gene the bohemian artist.
ANIMAL – Sonic Boom – Okay, I know, it’s not ‘Klassic KISS’ but you coulda fooled me, or anyone who cares. It’s a ruthless mother of tune that recalls Gene at his very finest, declaring independence and little remorse for his prey – probably the best tune he’s written in 20 years. It just sounds so damn urgent one has to wonder what buttons Paul Stanley must have pushed to awaken the Demon’s ire. Too bad he couldn’t have mustered something like this up for Animalize; the album might have been even a bigger success for the boyz. How does a 60-year-old man write a rock riff this cool and have it not sound like anything else? The “Almost Human” refrain in the break is a real nice touch and Tommy Thayer lays down the law on arguably his best lead on the bands most recent opus. Conviction? Guilty as charged.
MAN OF A THOUSAND FACES – Gene Simmons – When KISS ruled the world the gods decreed there be four solo Kiss albums, and so it was. Gene’s ego was approaching supernova at the time so it was probably for the best, and maybe why “Man Of 1.000 Faces” was so perfect then and is so perfect now. It’s like a personal Gene Simmons brand statement / warning of things to come, and it’s a great song that took some guts. The first-person revelations and horn arrangements in the verses roar into an anthemic Beatles-inspired chorus that sounds more like a Broadway encore than a KISS song. It really shows Gene’s ability to tell a story and, in this case, an apparently spot on autobiographical one that paints Gene as a new hero to root for.
NAKED CITY – Unmasked – Okay, the record leaves a lot of folks with a poppy “what happened to KISS” taste in their mouths but it is, in hindsight, a pretty good record, largely due to the three Ace tunes on it. For some reason though, “Naked City” always felt strangely ultra-sincere to me in relation to the rest of it. So many departures on it including Gene’s falsetto and a quasi-reggae groove guitar line that came off like an entirely new KISS branching out. And, for all its cliche imagery, somehow Gene is able to sell us on the bleak reality of the ‘naked city’. With Kiss waning in popularity in America at the time, perhaps in some detached mercenary sort of way the song was about the fact Gene knew the band may be left for dead stateside. Was it all over? Gene even asks the question in the veiled lyric “Is there no tomorrow?”
LARGER THAN LIFE – Alive II– LTL is just that, KISS at their 70’s zenith, in a position to audaciously release their second double-live record in just three years! But it gets better; side four included some new material that made it a ‘must have’ (like all KISS). The best Gene cut on it is “Larger Than Life”. Gene’s voice is flat-out menacing and the Bonham-esque groove Peter Criss lays down makes for one of the very best rock moments in KISSstory. I would say it’s easily in any true believers’ top ten as far as studio recordings go ‘cuz there are so many cool things exploding in your face. So dry. So crisp. So tight. So raw. So Gene. I hear a cool reworking of The Who’s “The Seeker” riff with heavier guitars, a Beatles shock end-of-chorus turn-around and one of the best snare-flamm, bass-drum breaks on any rock song, ever. “Da-Boom, Da-Boom, Da-Boom, Da-Boom DA DA!!!” No one sounds or even thinks like Gene, no one ever will and this one proves it. What you have in LTL is signature, A1 Simmons, basking not so sheepishly in the glow of KISS’s 70’s supremacy. It’s nothing short of a rock & roll masterpiece.
TWO TIMER – Dressed To Kill – Dressed To Kill is always overlooked when folks talk about the early stuff but it is, if a little short in length, a good rockin’ time. Funny though that Gene should be the one calling the kettle black but that’s exactly what we get on this rrotsy rocker. Juxtapose this with the sentiments on “Ladies In Waiting” on the same record and you have Gene’s split personality. His walking bass line shows he listened closely as young player and learned his lessons well. “Two Timer” is steeped in old school song craftiness and is the kind of thing that you could hear coming from other bands which, lets face it, you can’t say for many Gene songs. Plus, vocally he pulls off a Louis Armstrong-like richness with so much personality and believability that one has to say aloud “Geno!” The lyrics are fun too because, for the first time, Gene’s on the losing end complaining “she tells me she’s high fashion, she thinks she looks divine, and that’s what I keep telling her, I tell her all the time” lol.. As the song fades, Gene raps “that’s the truth baby you’re a….”, in what sounds to me like a nod to the hip vocal stylings of Hendrix in songs like “Cross Town Traffic” and “Foxy Lady”.
WAITING FOR THE MORNING LIGHT – A**hole – Everyone tends to slag Gene’s solo efforts, inside the band and even in the KISS Army ranks; I don’t get why. Gene seems to have fun with them, taking chances more often than not and touching on genres no one would think Gene would have any interest in. Who knows, this song may be closer to the real Gene Simmons than anything else, especially if you are an aficionado of his early demos. In any event, it’s one of the very few sweet sentiments expressed anywhere by him and offers a glimpse of the lighter side of his ‘singer/songwriter’ upbringing.
******* Pick one – Lick It Up – LIU is a guilty pleasure on a lot of levels but, album title aside, it’s a balls to the wall rock record that declared KISS alive and well in 1983 and may have been the best hard rock record of the year. Still sounds fresh to me, although Paul sometime poo-poos the album for some reason. Simply put, it represents Gene’s best 80’s/ sans make-up outing, bar none. “Young & Wasted”, “On The 8th Dy”, “Fits Like A Glove”, “Not For The Innocent”, “Dance All Over Your Face” – sweet Jesus, it’s a Gene-a-thon that finds the freshly scrubbed Simmons lashing out in anger, fit to be tied and chomping at the bit. Makes one wonder what happened between LIU and Animalize to sour his enthusiasm because if you don’t have LIU (and Creatures of The Night for that matter), you are quite truly in the dark on the sheer magnitude of KISS’s scope. For example, “Young & Wasted” is KISS doing metal better than the real metal bands they had been forced to compete with to stay afloat. With the unmasking as a backdrop to the release, Gene’s tracks on LIU are an essential heaping helping of KISStory. “Not For Innocent”,”Fits Like A Glove”, and “Dance All Over Your Face” sound the charge for a new ‘unholy’ KISS looking for your daughter, reminding the listeners that Gene was back on the hunt while “On The 8th Day” defined KISS’ mission for the first time in biblical terms as the band soldiered on “through the heart of a brave new world”. Although the Dynasty tour was dubbed “The Return of KISS”, it was Lick It Up that saved the band’s ass and shows Simmons to be one of the heaviest musicians of all-time.