KISSOGRAPHY

KISSOGRAPHY

Kiss (Casablanca NBLP 7001)—Number one. The original. The era’s twenty megaton blastoff. Released in February 74, this debut album, produced by Kenny Kerner and Richie Wise, comes on full-strength right from go on side one with Paul Stanley’s “Strutter.” Seven out of the tensongs on this were later recorded live for the breakthrough Aliue! (“Strutter,” “Nothin’ to Lose,” “Firehouse,” “Cold Gin,” “Deuce,” “100,000 Years,” and “Black Diamond”) and remain staples of Kiss concerts today. "

Side one is stronger—tight, no-frills heavy rock ’n’ roll that, in its lack of pretension and production values and in its emphasis on energy, predates the Ramones by three years. Side two is less cohesive, but invaluable as a Kiss kollector’s item; it contains their one and only instrumental, the Allman Bros.-influenced “Love Theme from Kiss,” as well as one of the only two oldies they’ve recorded, the early ’60s Bobby Rydell hit (appropriately titled), “Kissin’ Time.”

Essential.

Hotter Than Hell (Casablanca NBLP 7006)—Hotter than hell, yes—but not as hot as that first album. While they retained the same producing team, they moved from New York (Bell Sound Studios) to L.A. (Village Recorder) for this one (released October 74), so maybe it was homesickness that stifled the songwriting (one tune is titled “Cornin’ Home”...).

Stifled, of course, is relative when you’re talking about Kiss—this LP is raw and explosive, and it’d be tough to find anything anywhere else as powerful as Paul’s “Got To Choose” or Gene and Paul’s “Let Me Go, Rock ’n’ Roll” (the latter of which foretells “Rock and Roll All Nite” in its chorus hook, its drum segue, and in the opening section of Ace’s remarkably similar solo). Plus— eegads!—a ballad from the metal masters: “Goin’ Blind,” a Jack Brucian excursion by the world’s other great bassist, Gene, whom we see here at his most pained—and most painful.

The best cuts off this made it to Aliue!', had they not, this might be necessary. Great cover, just OK content, considering. Stay tuned!

Dressed To Kill (Casablanca NBLP 7016)— What this one lacks in consistency, it more than makes up for at its high points. The release date was March 19, 1975 and mark that a national holiday: Kiss gives planet Earth “Rock and Roll All Nite,” the capper of their kareer till then and a song about which we can’t say enough. It’s the new rock ’n’ roll anthem with Universal Teenage Lyrics and a melody that won’t quit. It may be done better later (more on that coming up!) when Casablanca chief Neil Bogart isn’t producing—but you never forget the first time!

Frosting on the cake: the LP also includes Paul’s spine-sizzler “C’mon and Love Me,” their first minor hit. And kollectors, take note: Ace’s 12-string intro to “Rock Bottom” is their earliest experiment with acoustic instruments and the seedbed for the flourishes of Destroyer, also“Room Service” is their first road song. Which is not to mention that on the cover they appear for the first and only time in street clothes!

Good, not great. But in this age of “roots," everyone should have the studio “Rock and Roll All Nite.”

Alive! (Casablanca BBLP 7020)—Words cannot express...Absolutely, inescapably one of the greatest rock ’n’ roll records of all time! Released September 75, Alive! not only altered the shape of music to come, but the shape of Kiss forever. This live LP, certified platinum (for sales over one million dollars), garnered the band much-needed AM radio airplay, helped save Casablanca’s floundering finances, and, finally, after 20 months of grueling roadwork and 20 years of dreams before thab-put Kiss over the top—where they belonged.

The band and fans alike knew that the live show could do it for Kiss, but it is to the perennial credit of producer Eddie Kramer (resident at Electric Lady Studios, longtime friend of Gene and Paul) that the true Kiss-inconcert was ever squeezed onto vinyl. It’s a masterfully crisp, yet full-bodied production. Singing and playing, of course, are unparalleled and the songs, la creme de la creme! Need we mention...The Moment?

From the front of the blackened arena, a drum begins to pound 4/4—umpa-chucka, umpa-chucka—louder and harder than you’ve ever heard before. Umpa-chucka, umpachucka. You begin to zip past time—umpachucka, umpa-chucka—back to a jungle land of long ago in your mind. Umpa-chucka—it pursues you— umpa-chucka—back—umpachucka—further—umpa-chucka—back to the womb—umpa-chucka—to your mother’s heartbeat—umpa-chucka—louder—umpachucka, umpa-chucka—louder and louder and louder and louder until...Crashing metal power chords drive you into the arena’s concrete floor, screaming: “OY WANNA ROK UN RDWL AWL NOYT UN PAWTY EV-VARY DEH!!!!M”

Excuse us, we have tQ leave the room.

Destroyer (Casablanca NBLP 7025)— Whew!...They weren’t going to beat Alive! at its own game, so in their fourth LP, released March ’76, Kiss set off. on a sidetrip. Signing Bob Ezrin (of Alice Cooper fame) on as producer and sometime co-writer, and huddling with L.A. crazo Kim Fowley, among others, to further expand their writing scope, the band went into the studio for their longest stint ever. When they emerged, they had created their Sgt. Pepper—an extremely slick, heavily orchestrated recording that made at least a cursory nod towards Art. Like the Beatle landmark Sgt. Pepper, it also lacked raw spontaneity, and a lot of fans .who were in it for what Gene terms, “heavy sport” were disappointed.

Reflecting now, those same fans might admit to error. The Stanley-Ezrin “Detroit Rock City” is as tough a number as the band ever cut. The backing boys choir aside, “Do You Love Me" is as wicked as “Room Service”—some feat. And “Flaming Youth” is the group’s number two great anthem—albeit a good ten lengths behind “Rock and Roll All Nile.”

One challenge for Kiss in Destroyer was reaching the parents of the teenagers they had already captured. But they could not have guessed how successful they’d be with “Beth.” Co-written and sung by Peter (in his first shot out front) over a pristine piano-andstrings accompaniment, “Beth” was devoured 1 by soft rock stations and piped into elevators, restaurants, and supermarkets all over the country. The LP became their second platinum record, and Kiss had conquered all! Whatta sidetrip!

Highly recommended. Give it another chance if you skipped the first time.

Rock And Roll Over (Casablanca NBLP 7037)—Ditching orchestra, choirs, and Bob Ezrin, Kiss teamed again with Eddie Kramer (Alive!) to turn in their hottest, most consistent studio set since the first one. “Mr. Speed”—which sounds like the Stones’ “Star Star” with balls—is our fave; but Gene’s sinisterly self-serving “Calling Dr. Love” is a very close second. And, then again, there’s Paul’s “1 Want You” and “Makin’ Love” and...Well, it’s just so nice to have a complete choice again—without having to worry about Art.

Released November ’76, the key to the greatness of this LP is the fact that they recorded it in an actual theatre (Star Theatre, Nanuet, New York) with very little overdubbing for a live-in-the-studio sound. On the evidence of this and Alive!, live is where they most belong. Rod Stewart fans, note: Peter’s note-perfect imitation on “Hard Luck Woman.”

Another essential record.

The Originals (Casablanca NBLP 7032)—A repackaging of the first three LPs into a box with memorabilia.

For kollectors.

Love Gun (Casablanca NBLP 7057)—Eddie Kramer is back a third time for this one recorded at Record Plant in N.Y.C. Though they’ve added a little depth to the background vocals, the general sound is basically the same as Rock And Roll Over— with the exception of the title cut which sounds closer to Destroyer. Unfortunately, some critics opine that “Love Gun” is the only good cut here amongst a lot of throwaways. Admittedly, despite a valiant attempt by Paul on “Tomorrow and Tonight,” there’s no real anthem material, and though there’s lots of good Kiss sleaze (“Plaster Caster," ‘‘Christine Sixteen”), nothing stands out but Gene’s totally disgusting—and perfect—“Almost Human.” Kollectors'should know that Love Gun, released in late June this year, contains the band’s second oldie, the Crystals’ “And Then He Kissed Me” (reworked to a male point of view), as well as Ace’s singing debut on his own “Shock Me.”

The critical jury may still be out (and tending to convict) on this, but it aids the first Kiss LP to ship platinum...!

☆ ☆ ☆

Alive! II (expected from Casablanca by late this year)—Words cannot express... Aijiiiiiiiiyeeeeeeee!!!

In other words: we can’t wait!