The KISS thread

[revbob]

I liked Hoy's idea of Psycho Circus but I also feel obliged to honour Heston's suggestion of Unmasked, so I will listen to and write a review of both. Not likely on the same day because that much concentrated awful is probably toxic.

Do the whole catalog and each member's/exmembers side projects.

[Dr. Medulla]

I liked Hoy's idea of Psycho Circus but I also feel obliged to honour Heston's suggestion of Unmasked, so I will listen to and write a review of both. Not likely on the same day because that much concentrated awful is probably toxic.

Do the whole catalog and each member's/exmembers side projects.

I want some kind of compensation from the community to do that! I mean, in a weird way, I'm up for doing an album a week for the next, what, full year? But there's a distinct risk to my health ingesting that much dung.

[revbob]

I liked Hoy's idea of Psycho Circus but I also feel obliged to honour Heston's suggestion of Unmasked, so I will listen to and write a review of both. Not likely on the same day because that much concentrated awful is probably toxic.

Do the whole catalog and each member's/exmembers side projects.

I want some kind of compensation from the community to do that! I mean, in a weird way, I'm up for doing an album a week for the next, what, full year? But there's a distinct risk to my health ingesting that much dung.

A year? They haven't unleashed that much shit on the world have they?

[Dr. Medulla]

I liked Hoy's idea of Psycho Circus but I also feel obliged to honour Heston's suggestion of Unmasked, so I will listen to and write a review of both. Not likely on the same day because that much concentrated awful is probably toxic.

Do the whole catalog and each member's/exmembers side projects.

I want some kind of compensation from the community to do that! I mean, in a weird way, I'm up for doing an album a week for the next, what, full year? But there's a distinct risk to my health ingesting that much dung.

A year? They haven't unleashed that much shit on the world have they?

If solo records are included, I'm guessing it's in the 40+ range. And I imagine Peter Criss records would take me at least two weeks to restore my strength.

[gkbill]

I liked Hoy's idea of Psycho Circus but I also feel obliged to honour Heston's suggestion of Unmasked, so I will listen to and write a review of both. Not likely on the same day because that much concentrated awful is probably toxic.

Do the whole catalog and each member's/exmembers side projects.

I want some kind of compensation from the community to do that! I mean, in a weird way, I'm up for doing an album a week for the next, what, full year? But there's a distinct risk to my health ingesting that much dung.

A year? They haven't unleashed that much shit on the world have they?

If solo records are included, I'm guessing it's in the 40+ range. And I imagine Peter Criss records would take me at least two weeks to restore my strength.

Hello,

Whatever doesn't kill you makes you stronger.

[Dr. Medulla]

Do the whole catalog and each member's/exmembers side projects.

I want some kind of compensation from the community to do that! I mean, in a weird way, I'm up for doing an album a week for the next, what, full year? But there's a distinct risk to my health ingesting that much dung.

A year? They haven't unleashed that much shit on the world have they?

If solo records are included, I'm guessing it's in the 40+ range. And I imagine Peter Criss records would take me at least two weeks to restore my strength.

Hello,

Whatever doesn't kill you makes you stronger.

Some things weaken and compromise you and make you pray for death. I'm not confident that your view is superior to this alternative when we're talking about listening to KISS.

[Dr. Medulla]

KISS, Unmasked. Released 20 May 1980 (my eleventh birthday; happy birthday, you weird house ape).

I would have still been a KISS fan when this came out, but I never owned a copy, presumably because I never found it at any place in my hometown that sold records. This album continues the cold and sterile approach of Dynasty ("professional" would be the kind term, I guess), so I imagine eleven-year-old me would have been cool with it. Honestly, if I was told that these songs were recorded at the same time as those for Dynasty, I’d accept it at face value. It’s not hard rock nor glam, so what is this stuff? I suppose it’s closest in style to the power pop side of new wave, making the audience for this stuff Knack fans. Or at least that’s who they would have hoped would buy this. There’s a huge problem, tho.

The narrative of the band from the start was to be this big, bombastic, total spectacle of a group. The costumes and make-up made sense to that end, being superheroes and playing basic hard rock really loud. It was music for the eyes far more than for the ears. To the degree they succeeded with their schtick, it was due to their shamelessness in going overboard with the spectacle. Anything that might overwhelm, to overrule one’s critical skills, was a valuable weapon. And, yes, there was something that might concern your parents with their 70s act. The ghoulishness, the crude lyrics, the volume should have alarmed any parent worried that rock music might be harmful. That was always the sizzle to KISS, and so much of it that people ignored that there wasn’t much steak to eat.

On this record, we don’t even get the sizzle. They still have the costumes and make-up, but as the sleeve suggests, it’s now less spectacle than cartoon. There’s nothing scary about these guys anymore than reading about the Riddler’s latest plan to embarrass Batman and Robin. The music is still basic but it’s so damned lifeless, the kind of stuff that one could expect from a competent garage band who will never progress past being a cover band. All shiny production, lots of isolated parts cleaned up. Even the smutty lyrics are toned down for mainstream acceptability. KISS are stepping away from spectacle and bombast and seeking to be a hits band, but it’s so bland, so rote, like a contractual obligation kind of album. They just don’t have the writing and performing chops for new wave pop. They don’t know how to be a non-spectacle band. In that respect, the album title is just off the mark; they aren’t unmasked so much as exposed.

[Dr. Medulla]

KISS, Psycho Circus (1998).

Okay, let’s do this. I’ll start by saying that I’ve never heard this record before today. I know it’s the album made after their lucrative reunion and make-up and nostalgia and shit. Despite the claim that it’s the first album since Dynasty where all four play, apparently Ace and Peter have very limited contributions, suggesting that the “original KISS” claim is, as usual, a gimmick to lure in the rubes. Which, well, par for the course for the brand, so a tip of the hat to Paul and Gene, who never lose sight of the ledger.

The title track starts off with pretty standard, heavy metal bombast and a good ol’ “Yeah!” and “Hello!” from Paul, and assertions that this is the band and they are one. Well, that’s comforting. But then we find out we’re in the psycho circus and Paul will be the guide. That’s less comforting. The lyrics keep going on about that, welcome to the psycho circus and Paul will be the guide and we can’t leave until the night is over. So much for autonomy. There’s a generic solo in there, too. None of this is awful for what it is, I guess.

The second song is “Within,” a Gene number that starts with some guitar that sounds backward, but I’m not sure it actually is. It’s slower, with Gene grumbling about something (I don’t have the lyrics and don’t care to learn what they are). Oh, he’s clearer now, talking about seeing from within, so it’s spiritual? What I can hear of the lyrics seem half-baked 60s acid rock philosophy about inwardness and outwardness and we’re all united, etc. Do KISS fans want this cod-piece Krishna? Anyway, the song is boring, plodding, occasionally louder to wake up the listener.

“I Pledge Allegiance to the State of Rock & Roll.” I think Heston likes this one, or maybe I'm confusing it with something else. Making these kind of dumb assertions carried more weight back when rock music was for outsiders, the stuff that parents and teachers and cops and priests fretted about. By the 90s, rock was fully corporate, so pledging allegiance to this music is like identifying with Ford or Microsoft. Which, yeah, KISS, it makes sense. It’s also pretty rote, with forced energy. Maybe this is the truest KISS song there is.

Next up is “Into the Void,” an Ace song. He sings about being pulled down into a black hole. Read into that what you will. The music is, meh, competent hard rock but nothing to recall.

Fifth track is “We Are One,” which starts off more subdued. Gene croaks something inspirational about spirits flying and holding heads up. I’m guessing this was written for a beer commercial or an end-of-year hockey team recap. It could also be inserted in a shitty romcom where the guy and girl finally realize each other, with a montage of previous scenes from the movie. In essence, this is the musical equivalent of one of those inspirational posters at a call centre meant to make people feel part of the team, and not chum who’ll be fire if it improves the execs’ bonuses.

“You Wanted the Best.” Ah, another of the “We Are the Clash” variety of statements to confirm that, yes, this is a KISS record. Lots of yeahs to start this off. Good, positivity, that tests well. All the band members trade lines here, with references to the band’s history. This is committee writing, making sure to check off the important bits about make up and serving the fans. There’s also some kind of defiance, like they’re doing this despite everyone saying it shouldn’t be done. They’re rebelling for all of us! And a tedious (but rebellious!) solo. If this is going to be their statement piece, they really owed it to everyone not to make it really boring.

“Raise Your Glasses.” Don’t Gene and Paul eschew drinking? Stuff about the world being on fire and not getting higher and being champions. This is more beer commercial / sports channel highlight package garbage.

“I Finally Found My Way” is, oh fuck, a Peter song. Soppy, piano and strings stuff about Peter finally getting back to Beth. Doubtless it was conceived as the album’s “Beth,” and, to their credit, it’s as wretched as “Beth.” Girls with lighters on their boyfriends’ shoulders, except the fanbase is now fat and in the 40s, so shoulder rides is not advised. Anyway, without knowing the next two songs, this has got to be the worse thing on the record.

Two left, and the penultimate one is “Dreamin’,” which begins slowly and menacingly, but then Paul ruins that mood with his urgent(?) vocals. The chorus sounds suspiciously like Alice Cooper’s “I’m Eighteen,” which is the best part. Otherwise, it’s probably the worst example on the album of Paul Pauling his way thru, hoping to get that Grammy for Most Singing.

And it ends, finally, with “Journey of 1,000 Years.” That’s unkind. This has only felt like a couple years out of my life listening to this, but who am I to argue with KISS? It’s slower, methodical, more subdued, another Gene song. Still, it has that undercurrent of anthemic. You can see the crowd shaking their fists, seeking transcendence. However, the song just circles the airport, not knowing whether to land or fly off. It’s all build-up to something that doesn’t happen. And then it just fades out limply. If someone wants to read unconscious admission in that, go ahead, I won’t stop you.

All in all, the album serves the brand well, which is all that matters. The stockholders will be pleased and we all look forward to robust growth in the third quarter.

[matedog]

http://kissasylum.com/psychocircus/phot ... esheet.jpg
KISS, Psycho Circus (1998).

Okay, let’s do this. I’ll start by saying that I’ve never heard this record before today. I know it’s the album made after their lucrative reunion and make-up and nostalgia and shit. Despite the claim that it’s the first album since Dynasty where all four play, apparently Ace and Peter have very limited contributions, suggesting that the “original KISS” claim is, as usual, a gimmick to lure in the rubes. Which, well, par for the course for the brand, so a tip of the hat to Paul and Gene, who never lose sight of the ledger.

The title track starts off with pretty standard, heavy metal bombast and a good ol’ “Yeah!” and “Hello!” from Paul, and assertions that this is the band and they are one. Well, that’s comforting. But then we find out we’re in the psycho circus and Paul will be the guide. That’s less comforting. The lyrics keep going on about that, welcome to the psycho circus and Paul will be the guide and we can’t leave until the night is over. So much for autonomy. There’s a generic solo in there, too. None of this is awful for what it is, I guess.

The second song is “Within,” a Gene number that starts with some guitar that sounds backward, but I’m not sure it actually is. It’s slower, with Gene grumbling about something (I don’t have the lyrics and don’t care to learn what they are). Oh, he’s clearer now, talking about seeing from within, so it’s spiritual? What I can hear of the lyrics seem half-baked 60s acid rock philosophy about inwardness and outwardness and we’re all united, etc. Do KISS fans want this cod-piece Krishna? Anyway, the song is boring, plodding, occasionally louder to wake up the listener.

“I Pledge Allegiance to the State of Rock & Roll.” I think Heston likes this one, or maybe I'm confusing it with something else. Making these kind of dumb assertions carried more weight back when rock music was for outsiders, the stuff that parents and teachers and cops and priests fretted about. By the 90s, rock was fully corporate, so pledging allegiance to this music is like identifying with Ford or Microsoft. Which, yeah, KISS, it makes sense. It’s also pretty rote, with forced energy. Maybe this is the truest KISS song there is.

Next up is “Into the Void,” an Ace song. He sings about being pulled down into a black hole. Read into that what you will. The music is, meh, competent hard rock but nothing to recall.

Fifth track is “We Are One,” which starts off more subdued. Gene croaks something inspirational about spirits flying and holding heads up. I’m guessing this was written for a beer commercial or an end-of-year hockey team recap. It could also be inserted in a shitty romcom where the guy and girl finally realize each other, with a montage of previous scenes from the movie. In essence, this is the musical equivalent of one of those inspirational posters at a call centre meant to make people feel part of the team, and not chum who’ll be fire if it improves the execs’ bonuses.

“You Wanted the Best.” Ah, another of the “We Are the Clash” variety of statements to confirm that, yes, this is a KISS record. Lots of yeahs to start this off. Good, positivity, that tests well. All the band members trade lines here, with references to the band’s history. This is committee writing, making sure to check off the important bits about make up and serving the fans. There’s also some kind of defiance, like they’re doing this despite everyone saying it shouldn’t be done. They’re rebelling for all of us! And a tedious (but rebellious!) solo. If this is going to be their statement piece, they really owed it to everyone not to make it really boring.

“Raise Your Glasses.” Don’t Gene and Paul eschew drinking? Stuff about the world being on fire and not getting higher and being champions. This is more beer commercial / sports channel highlight package garbage.

“I Finally Found My Way” is, oh fuck, a Peter song. Soppy, piano and strings stuff about Peter finally getting back to Beth. Doubtless it was conceived as the album’s “Beth,” and, to their credit, it’s as wretched as “Beth.” Girls with lighters on their boyfriends’ shoulders, except the fanbase is now fat and in the 40s, so shoulder rides is not advised. Anyway, without knowing the next two songs, this has got to be the worse thing on the record.

Two left, and the penultimate one is “Dreamin’,” which begins slowly and menacingly, but then Paul ruins that mood with his urgent(?) vocals. The chorus sounds suspiciously like Alice Cooper’s “I’m Eighteen,” which is the best part. Otherwise, it’s probably the worst example on the album of Paul Pauling his way thru, hoping to get that Grammy for Most Singing.

And it ends, finally, with “Journey of 1,000 Years.” That’s unkind. This has only felt like a couple years out of my life listening to this, but who am I to argue with KISS? It’s slower, methodical, more subdued, another Gene song. Still, it has that undercurrent of anthemic. You can see the crowd shaking their fists, seeking transcendence. However, the song just circles the airport, not knowing whether to land or fly off. It’s all build-up to something that doesn’t happen. And then it just fades out limply. If someone wants to read unconscious admission in that, go ahead, I won’t stop you.

All in all, the album serves the brand well, which is all that matters. The stockholders will be pleased and we all look forward to robust growth in the third quarter.

Oof, this sounds like quite the slog. Good on you for making it through.

I just watched the Psycho Circus video and man it's bad. It seems cheap, but I think they just blew their budget on some now very dated CG. Like, they probably had a good budget for this, yet it looks so cheap because of the heavy reliance on CG imagery that looks really cheap now but was probably very expensive at the time. Poor Ace and Peter for having to mime to others' parts.

[matedog]

double post/bad edit

[matedog]

This week, KISS chases after that Heaven/Every Rose money with their first single of the 90s (note 1990 is basically the last year of the 80s, so it's not a real part of the Blessed Decade) and apparently succeeds, scoring their biggest single since "I Was Made For Lovin' You." This was cowritten by Paul and fucking Michael Bolton and you can definitely hear Bolton singing it. What the fuck was going on with Gene in the 80s? He doesn't even play on this song. It's a 100% in the vein of the classic monster ballad. I'm baffled as to why I don't know this song given my familiarity with hair metal at the time.

Like most KISS songs, there's not much to this. As noted earlier, this is a pure monster ballad - soft acoustic verses and a big chorus. Eric Carr tries his damnedest and the dude that's not Ace Frehely plays an acoustic solo, so that's cool. Otherwise, there's not much interesting going on - no songwriting tricks or dramatic key changes. Either I've outgrown the genre or the chorus just isn't that good. It doesn't hook me the way Sometimes She Cries or Poison's Life Goes On do. I'd say I even prefer "Reason to Live."

In terms of lyrics, it's still uninteresting. I was hoping Paul had like seven wives, so I could make fun of the vow of devotion, but he's only had a couple. The video is also pretty blah. The dudes are black and white, but the rest has some color, so cool? Gene doesn't seem to be taking it too seriously, but Eric really is. RIP Eric Carr.

Song grade: C
Video grade: C-
Next week, we'll get back into rockers with "Rise To It."

[Dr. Medulla]

This week, KISS chases after that Heaven/Every Rose money with their first single of the 90s (note 1990 is basically the last year of the 80s, so it's not a real part of the Blessed Decade) and apparently succeeds, scoring their biggest single since "I Was Made For Lovin' You." This was cowritten by Paul and fucking Michael Bolton and you can definitely hear Bolton singing it. What the fuck was going on with Gene in the 80s? He doesn't even play on this song. It's a 100% in the vein of the classic monster ballad. I'm baffled as to why I don't know this song given my familiarity with hair metal at the time.

Like most KISS songs, there's not much to this. As noted earlier, this is a pure monster ballad - soft acoustic verses and a big chorus. Eric Carr tries his damnedest and the dude that's not Ace Frehely plays an acoustic solo, so that's cool. Otherwise, there's not much interesting going on - no songwriting tricks or dramatic key changes. Either I've outgrown the genre or the chorus just isn't that good. It doesn't hook me the way Sometimes She Cries or Poison's Life Goes On do. I'd say I even prefer "Reason to Live."

In terms of lyrics, it's still uninteresting. I was hoping Paul had like seven wives, so I could make fun of the vow of devotion, but he's only had a couple. The video is also pretty blah. The dudes are black and white, but the rest has some color, so cool? Gene doesn't seem to be taking it too seriously, but Eric really is. RIP Eric Carr.

Song grade: C
Video grade: C-
Next week, we'll get back into rockers with "Rise To It."

I've never heard this before (heard *of* it, yes, but not listened) and my reaction is: This was a hit? There's, like, nothing there. It's like an exercise in playing a monster ballad rather than playing an actual monster ballad. How would they know how to repeat it during concerts? When you're playing in the same pool as Michael Bolton, your claim to being a rock band (let along an edgy one) is null and void.

[Dr. Medulla]

[WestwayKid]

This week, KISS chases after that Heaven/Every Rose money with their first single of the 90s (note 1990 is basically the last year of the 80s, so it's not a real part of the Blessed Decade) and apparently succeeds, scoring their biggest single since "I Was Made For Lovin' You." This was cowritten by Paul and fucking Michael Bolton and you can definitely hear Bolton singing it. What the fuck was going on with Gene in the 80s? He doesn't even play on this song. It's a 100% in the vein of the classic monster ballad. I'm baffled as to why I don't know this song given my familiarity with hair metal at the time.

Like most KISS songs, there's not much to this. As noted earlier, this is a pure monster ballad - soft acoustic verses and a big chorus. Eric Carr tries his damnedest and the dude that's not Ace Frehely plays an acoustic solo, so that's cool. Otherwise, there's not much interesting going on - no songwriting tricks or dramatic key changes. Either I've outgrown the genre or the chorus just isn't that good. It doesn't hook me the way Sometimes She Cries or Poison's Life Goes On do. I'd say I even prefer "Reason to Live."

In terms of lyrics, it's still uninteresting. I was hoping Paul had like seven wives, so I could make fun of the vow of devotion, but he's only had a couple. The video is also pretty blah. The dudes are black and white, but the rest has some color, so cool? Gene doesn't seem to be taking it too seriously, but Eric really is. RIP Eric Carr.

Song grade: C
Video grade: C-
Next week, we'll get back into rockers with "Rise To It."

I've never heard this before (heard *of* it, yes, but not listened) and my reaction is: This was a hit? There's, like, nothing there. It's like an exercise in playing a monster ballad rather than playing an actual monster ballad. How would they know how to repeat it during concerts? When you're playing in the same pool as Michael Bolton, your claim to being a rock band (let along an edgy one) is null and void.

A glance at Wikipedia shows that Gene didn't play on this song, the bass duties being handled by guitarist Bruce Kulick.

[matedog]

This is the MTV people were nostalgic for in the 90s when they stopped playing videos?