This past weekend I picked up the long overdue, newly mastered ½ speed cut of George Michael’s FAITH. Side one is a classic album side. Faith - Father Figure (my favorite song of the album) - I Want Your Sex - One More Try. The album sounds fantastic and is an upgrade from my original pressing, which sadly isn’t always a given, but what impressed me the most was the price. $39.99? Nope. $32.99? No again. Not even $29.99. I picked this up for a sticker price of $26. Can I say this price for this pressing has restored my “FAITH” in record collecting? Maybe a little. It’s just nice to catch a break every once in awhile. “…I know not everybody, has money like you.”

Disclaimer: I am not a Springsteen fan. I respect him as an artist and I’m very familiar with his hits, but my exposure to him has mostly been through the radio. Growing up, music introduced me to three distinct visions of America through Tom Petty, John Mellencamp, and Bruce Springsteen. Petty felt like freedom. Mellencamp felt grounded. Springsteen, like longing. Maybe that’s why I connected with them in that order.

I understand why this film didn’t quite hit its mark, but without overanalyzing, what struck me most was the process behind the music. I was intrigued by Springsteen’s fight to get the sound exactly right. The sound had to tell the truth. There’s something compelling about an artist who refuses to compromise until the work feels honest. It wasn’t about perfection for its own sake; it was about integrity. Like the sound itself mattered in a deeper way.

I enjoyed the scene where he and Jon listened to “Last Mile of the Way” by The Soul Stirrers. Behind the fame, there was Bruce absorbing music’s raw conviction. It taught me that his version of America didn’t begin in stadiums; it began in soul.

And then there was Faye.

I loved Faye, only to find out she was fictional. Of course she was. She felt almost too aligned, too intuitive, too good to be true. When she said “Little Richard,” Bruce immediately knew she was different. She was on the same frequency. In that moment, the universe seemed to be screaming at him: This is it. Pay attention.

It fascinates me when people fight fate; when they ignore that quiet voice inside them. Sometimes I think people want too much. They overcomplicate what is actually simple. They chase something bigger, shinier, more dramatic, and miss what is steady and real right in front of them.

A true soulmate doesn’t complicate your path; they clarify it. They complement you in ways that feel natural. They support your vision. They believe in you more than you believe in yourself. They make you better, not by changing you, but by strengthening what’s already there.

Springsteen’s work often feels restless, always reaching, always chasing something. Maybe if Bruce meets his Faye in real life, his needs are fulfilled, the chase ends, and the struggle that so often births great art might never have existed. The film reminded me that sometimes the real story isn’t about fame or legend. It’s about conviction. About listening carefully to the music, to the moment, and to that voice inside you when it speaks clearly.

And what happens when you decide not to ignore it.

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Earlier this week I sent off my Rogue Pharaoh II for their “Dark” upgrade. I’m a huge fan of Rogue Audio. After a year of listening to my Denon DP-300 record player on an Onkyo home theatre receiver, I knew it was time to enter the rabbit hole. After a lot of research, I felt the best way to get the most out of my money was to purchase a Rogue Audio Sphinx II. This upgrade, along with a jump from an ortofon red to blue had me feeling like I had entered true audiophile territory. So before I get to the next upgrades, I want to make sure I make it a point to stress that this is the best way to enter the hobby. Start small. If you have the money, I can understand wanting to start your journey at the top, however I cannot tell you how gratifying it is to level up from one receiver to the next, one cartridge to the next, one pair of speakers, etc. Not only will you repeatedly think that your new system sounds like the best thing ever. You also learn SO much about what sounds good to you, and what doesn’t. Anyway, after some time with a Sphinx II and a pair of Pioneer HPM-60’s, I upgraded to some Zu Audio Dirty Weekends. Again, a massive improvement. (During one particular listening session, I decided that listening to the song Dr. Feelgood at 75% volume with the Sphinx and the Zu speakers was definitely the one of the best experiences I had had listening to a home stereo.). So as I enjoyed my Sphinx, I started to chase that “in the room” sound. When I listen to my system, if it’s an excellent recording, I want to be able to close my eyes and feel like the artist is in the same room performing. I have an old pressing of Tom Petty’s Damn the Torpedos. This album shined on the Sphinx. I knew that if this record could sound this good on this modest system, what would the next level sound like? So the next few years I went from the Denon to a Technics SL-1200. From the ZU DWs to some Mofi SourcePoint 10s, from an ortofon blue to an ortofon bronze, and finally from the Sphinx II to a Chronus Magnum III. The Chronus Magnum did not stay long. For some reason I just couldn’t get the bass dialed in. It was too warm / too muddy. I tried a lot of different options, but I eventually traded the Chronus for the Pharaoh and it turned out to be a better fit. So now, if you want to hear Mick Jagger sing to you in my room, come over and listen to Angie off of the deluxe version of Goats Head Soup. The Pharaoh delivers everything I like: the warmth of the tubes, the detail of the instruments, and the 3D effect that fills the room. For the time being it’s my endgame tube system. Will I get double the upgrade if I pay double the price and buy something like a Macintosh or similar system? Until I hear different, I won’t make that investment. However, I did invest in upgrading this current system.

As I said, I just sent off my Pharaoh for the Dark upgrade. What is the Dark upgrade? Rogue Audio has a list of improvements listed on their site that includes upgrades to the power supply, tubes, caps, resistors, and binding posts. I wish I was smart enough to tell you how this is going to improve the sound. I’m not, but I trust Rogue and am excited to listen to the results. While I await my integrated amp, I decided to upgrade my speakers too.

Technically, I’m not following my own advice here. I should upgrade the amp first, then listen to the results. Then upgrade my speakers and listen to the results. But these new Mofi crossovers can easily be set to their original settings. Last summer, Mofi announced a Master Edition of the SourcePoint 10s. Some people complained that the tweeters measured a bit high on the SP10s. Andrew Jones admitted this was true and explained the reasons for the design. I heard what people were complaining about when the speakers were toed-in to form that perfect triangle so many systems seek. However, when I towed the speakers slightly away, or used the low sling stands, that brightness disappeared. So Mofi made these new crossovers that can be adjusted based on your room. The photos attached show me replacing these crossovers and you can see the new ones are quite a bit larger.

So now I wait and look forward to posting the results. Along with my system upgrades, I am also changing my setup. The picture at the top of this post shows my old Pangea Audio Rack I really like the design, but right now my space is too cramped and I need more room to set out my albums when listening. I plan to post reviews of all my equipment once I get it together. If you share any experiences with the equipment I’ve shared, please comment below. Thank for the read!

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My students and I covered this poem recently. A simple poem with a simple message that sometimes less is more. When the author of this poem was young and broke, payday became an event. It was a chance to live the good life for the next day or two, before returning to a life of bread and coffee. I couldn’t help but connect this message with the way my students consume music. I relate to “The Good Life” by remembering working at a grocery store, bagging groceries for around $4.00 an hour. Paydays meant a trip to the record store for an exciting new release or to fill the holes in your favorite artist’s catalog. This was a routine that was something to look forward to. If the author of the poem reaches a level where going out to dinner is no longer something to look forward to, then deciding where to eat becomes somewhat like a chore; it loses its magic. My students will never have to earn money in order to listen to their favorite artists. Of course many students love music and do look forward to new releases, but acquiring that music has lost its magic and deciding what to stream can be a chore. If there is one thing everyone needs, it is something to look forward to, something to be excited for. Modern conveniences are robbing us (and more importantly younger generations) of these opportunities. Sometimes, less is more.

So what was the first album that I bought with my own money?? That is a story for a different day, but I will post a picture of the album cover below. I also remember the first CD I bought, but my question to my students is a simple one. Do you remember the first song you streamed?

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HiFiHuff

New Day Records

Emotiva 2.0

The year was 1979 and Disco was enjoying what would be its last year under the mirrorball. Everything was futuristic from the electronic synthesized dance music to polyester party outfits. Dance clubs were equipped with supersized subwoofers and light-up dance floors. Fortunately for rock, the craze was so short lived, most bands didn’t have time to undergo an identity crisis, however most bands weren’t KISS. In their early years, the group often pumped out two albums per year. Now, after releasing the solo albums of ‘78, KISS couldn’t afford to sit ‘79 out.

Dynasty was a sign of the times in more ways than one. Musically it wasn’t KISS meets the Phantom, unless the phantom was secretly Barry Gibb. Artistically it was a final effort to save the original lineup (...save it, save it) and had KISS continue to sell out stadiums it probably would have succeeded for at least another tour. KISS was trying to expand their horizons and prove to critics that no matter what direction Billboard turned, KISS could follow.

Enter Peter Criss’s paisan Vini Poncia as producer. Peter admits to demanding that the band hire Vini or he would quit. It was a surprising turn, considering Peter’s solo album was the least successful of the four, but all the members of KISS enjoyed working with Vini, particularly Paul and Ace. Dynasty went on to ship platinum. I Was Made For Lovin’ You was among their highest charting singles and Vini would be invited back to produce Unmasked.

Here’s a quick rundown of the track listing:

I Was Made For Lovin’ You - KISS meets Studio 54 at 128 beats per minute. This song features a great bass line and is an instant shot of adrenaline. For long time fans of the band, it’s important to note that this is the first song Paul ever wrote with Desmond Child. Child would continue to collaborate with KISS, churning out many classics over the next decade.

2,000 Man - The original Rolling Stones version that appeared on Their Satanic Majesties Request was simply forgettable. Ace more than breathes life into it; he makes it his own. Vini suggested that this was Ace’s way of reaching out to old KISS fans despite the albums new direction. (Leaf and Sharp) It worked. Definitely one of the best songs on the record and any Rolling Stone fan who argues that this isn’t an improvement is just in denial.

Sure Know Something - Many music critics credit this deep track as proof of Paul Stanley’s writing abilities. Vini Poncia also praises Paul’s effort and describes it as one of his favorite collaborations. This song was the second single released from the album and could easily be slipped on the Saturday Night Fever soundtrack without notice.

Dirty Livin’ - Peter’s lone entry and only performance on the album closes out the disco vibe of side one. This song is another “soundtrack” entry that would work well in films like Saturday Night Fever, Rocky, or even Flashdance.

Charisma - Gene’s strongest entry on the album, this song is another “persona” song for the Demon. The reverb or echo of the lyrics and background vocals work well with the disco inspired production. Much like the opening song of side one, this opening groove on side two is a positive mood setter.

Magic Touch - Paul delivers an exploratory vocal performance, but it’s ultimately wasted on this throw away track. The magic is missing from this side two slacker.

Hard Times - The opening riff of Hard Times is another Ace rescue effort after the lackluster previous track. This song screams to the KISS Army about the days of his youth. Brightened up a bit by production, this song is now a much grittier fan favorite of Ace’s setlist. As much criticism as Ace received about his attitude after the success of his solo album, maybe KISS would have been better off to have followed his lead during this time of transition.

X-Ray Eyes - Gene mentions that he would often just sit down in the studio and force out songs. This is one of those songs. It’s not bad, but it’s not memorable either. It does compliment the other tracks on the album.

Save Your Love - A good decision to end Dynasty with another rock song from Ace. Although not as good as his other two contributions, during the Dynasty era Ace at his worst is still better than a lot of the other songs on the album.

In February of 1974 KISStory was launched as KISS released their debut album. This blue collar classic would not capture the consciousness of rock fans resulting in a disappointing 75,000 sold. Time has treated KISS’ debut well. The homemade cover still stands as a classic, and the songs have solidified their place in classic rock lore. At the time, KISS and Casablanca Records didn’t have time for historians to take note. They needed hits! So a few months later KISS followed producers Kenny Kerner and Richie Wise out to L.A. to refine the band’s image. Many of the bands decisions regarding Hotter Than Hell may have been the result of impatience and overreaction. Whatever these songs lack in the areas of production, they excel in raw rock and roll expression and some stand among the finest in KISS’ entire catalogue. One decision that did pay off was the album cover. Deciding to go with a Japanese theme not only opened the door to a whole new fanbase, it also added to the mystery and allure of the band. Who are these guys and where exactly are they from? What do they stand for?? One look at the back cover gave parents the impression that KISS was dangerous and nothing breeds success in rock and roll like an album that your parents won’t let you listen to.

Got to Choose - KISS has never been shy about their efforts to model the Beatles. Got to Choose is KISS meets the Beatles at it’s finest. Much like I Want to Hold Your Hand, You’re Gonna Lose That Girl, and Ticket to Ride, Got To Choose follows the same formula as Paul leads us though the song while the band harmonizes to support his plight. Got to Choose is one of the better tracks on the album. The main riff was borrowed from Boomerang’s 99 and a Half.

Parasite - Not a fan of the Beatles?? How about Black Sabbath? KISS continues to find themselves with this KILLER 2nd track. Some argue that Parasite would have been a better album opener for Hotter than Hell, but at this point KISS was still finding their identity with Ace still morphing into his role as the lead guitarist. Maybe Got to Choose was just to warm up the fans. Parasite makes sense as a song about addiction.

Goin Blind - A song ahead of it’s time, this Gene Simmons/Stephen Coronel song was an eclectic entry for side one. The almost ballad-like pace wasn’t fully appreciated until Gene revived the song for MTV’s historic unplugged episode. Dinosaur Jr, a 90’s alternative act, also breathed life into this classic on the KISS My ASS tribute album.

Hotter Than Hell - The opening riff of this title track is as signature of the 70’s KISS sound as a fingerprint. Unfortunately this flawed classic doesn’t deliver throughout. Hot Hot Hotter than Hell kills the promising momentum of the introduction. The robotic “Rip Rip, Rip and Destroy” from Phantom of the Park exposes the chorus for what it is. Paul admits to borrowing from Free’s All Right Now. Outside of the chorus, this may have been one of Paul’s finest story telling lyrics.

Let Me Go, Rock and Roll - This song is all about the guitars and while it never really shined on the album. Live performances have grown legendary as KISS, who rarely covers other artists, often use this song to break into jam sessions covering artists like the Who and Led Zeppelin.

All the Way - A great song with colossal cowbell. This tune enjoys some great tongue in cheek lyrics from Gene about a nagging girlfriend. Can’t help but think this might be inspired by a real muse.

Watchin’ You - According to Gene, the riff introducing the song was rearranged from “Mississippi Queen” by Mountain. The beginning of the song kind of drones on, however the main riff is contagious and Ace’s solo brings the whole thing to life. This is a song that has grown through live performances and the turn at the end to Watchin Us is Klassic!

Mainline- Peter’s raspy vocals make for a catchy chorus, however this song suffers as the worst song lyrically on the album. KISS fans can’t help but wonder if this was done intentionally based on stories of Peter’s “write me a song or I quit” demands. Peter may be “hot like an oven” but these lyrics would leave any woman cold.

Comin’ Home - The arrangement on the album holds this song back. Luckily, we have the unplugged performance to prove that this has grown to be among the best songs from the album. The falling melody of the chorus truly has a traveling feel that Paul is indeed on his way home.

Strange Ways - This Dark, Ominous, riff sets the tone for a song that could only fit on an album entitled Hotter than Hell. Peter’s vocals deliver as one of his best performances with KISS. I appreciate the way he pushes his vocal chords to the limit at the end of each stanza “That I could set you free.” and “Just wanna feel some more.” Even Ace’s solo sounds as if it is distortedly escaping from the depths below.

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Alright, Vinyl Vagrants, gather ‘round, as we’ve got a classic slab of vinyl for ya, straight from the glitter-bombed gutters of… where’d they say these guys were from, Queens? Yeah, Queens, not exactly the Liverpool of New York, but closer than you think. This is the debut album from KISS. Remember when rock was about, y’know, something? Well, these greasepaint gargoyles were looked at as either a death knell or the glorious resurrection of Rock n’ Roll, and many still haven’t decided which.
This ain’t just classic rock, that’s for sure. This is… well, it’s like somebody took the Stooges’ raw power, Alice Cooper’s theatricality, and a hefty dose of bubblegum pop and threw it all into a blender with a case of cheap beer. The result? A sonic Molotov cocktail that’s either gonna blow your mind or make you wanna crawl back into the womb. Or both!?!?!

The guitars? Forget about Page’s mystical meanderings or Richards’ sleazy swagger. These guys are all about raw, unadulterated riffage. It’s not subtle, it’s not sophisticated, but goddamn, it’s effective. It’s the kind of stuff that makes you wanna pump your fist and bang your head, even if you know you’ll regret it in the morning. Or maybe especially because you’ll regret it in the morning.

And then there’s the vocals. Paul Stanley, the Starchild, belts out these anthems of teenage angst and hormonal overdrive like he’s trying to summon his youth from the depths of his soul. Gene Simmons, the Demon, growls and snarls like he’s gargling razor blades. It’s cartoonish, it’s over the top, but it’s also strangely compelling. It’s like they’re not even trying to be cool, which, ironically, makes them kinda cool. Or maybe just kinda pathetic. I’m still workin’ on it.

The songs themselves? A mixed bag, to be sure. You got your obligatory rock anthems, no power ballads (although there is an instrumental, “Love Theme from KISS”), and a few surprises thrown in for good measure. There’s “Strutter,” a swaggering anthem that’ll have you strutting your stuff down the street like you own the place. Paul Stanley’s vocals are full of attitude, and Ace Frehley’s guitar riffs are sharp as a razor. It’s the perfect introduction to the band’s sound – loud, proud, and in your face. There’s “Deuce,” which is pure, unadulterated rock and roll fury. It’s a classic KISS track that’ll have you headbanging till your neck hurts. Then there’s “Cold Gin,” a hard-hitting rocker that’ll have you reaching for your air guitar and shredding along with Ace. Gene Simmons’s vocals are menacing, and the rhythm section of Peter Criss and Paul Stanley is tight as a drum. And then there’s “Black Diamond,” which starts off all acoustic and moody before exploding into a full-blown rock and roll inferno. It’s like the Zep, but without the pretension. Or maybe with a different kind of pretension. Yeah, let’s go with that.

Look, this ain’t gonna change the world. It ain’t gonna make you question the meaning of life. But it will make you wanna crank up the volume and let your inner teenager run wild. And in a world that’s increasingly obsessed with being serious and sophisticated, maybe that’s not such a bad thing. Maybe, just maybe, KISS is exactly the kind of mindless, over-the-top rock and roll we’ve always needed. If time has proven anything, they’re not just a bunch of clowns in makeup. The album isn’t without its flaws. The production is a bit rough around the edges, and some of the songs could have used a bit more polish. But that’s part of what makes it so great. It’s a raw and honest record that captures the band’s energy and spirit perfectly.

So, what’s the final verdict? KISS’s debut album is a must-have for any fan of rock and roll. It’s a classic record that’ll have you coming back for more. If you’re looking for a loud, proud, and in-your-face rock and roll experience, look no further than KISS. Now, if you’ll excuse me, I’m gonna go put on some glitter and crank this sucker up to eleven. Don’t even judge me.

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See this image? Do not underestimate the importance of this photo. It is one of the most iconic images in the history of rock n’ roll. When the curiosity of youth collides with comic book lore come-to-life, the impressions can last a lifetime. Love’em or Leave’em, that super hero reputation is responsible for many on both sides of the Kiss legacy, but even the haters cannot deny KISS’s role in corrupting multiple generations into the world of live concerts. This was the image for me. It was everything. This blood and sweat soaked photo introduced me to the idea that rock music was an all-out assault of the senses. The God of Thunder was a warrior who wielded his bass into battle and the accompanying photos on this album cover joined together to embody the rock n’roll version of the Fantastic Four. So for these reasons, 45 years later, fans were on high alert, anticipating how KISS might mark the occasion with new releases.

Today KISS announced new limited vinyl releases to celebrate the 45th Anniversary of this double album. The picture disc, limited to 500 copies, sold out just over 30 minutes after being posted. This will always be an issue of contention among fans. Fans who are lucky enough to score one of these limited edition pressings love the low numbers and take pride in adding such an exclusive item to their collection. Fans who miss out are left fuming. Even noted KISS fan, Sebastian Bach, shared his disappointment in missing out on this release shortly after it sold out. Certainly there are more than 500 fans who deserve a shot at this release.

One step the KISS camp could consider is limiting the number of copies per customer. Currently, KISS limits these picture discs to 4 per customer. Bringing that number down to two per customer would at least give a few more fans a fighting chance at acquiring a copy without having to pay secondary market prices. Many collectors buy two copies. One to open and one to keep sealed. Others exercise a little KISS Kapitalism, buying one to keep and one to flip, using the second copy to finance their first. Given these buying habits, fans can certainly justify doubling the numbers to 1000 copies per release and a limit of 2 per customer. Thoughts?? Leave a comment below to share your opinions on these limited releases.

Click here for a complete view of the entire 45th Anniversary collection.

While the Black Panther may be all the rage today, back in the 80’s teens looked to White Lion for an escape from the everyday routine.  Powering this rock band were the duo of Mike Tramp and Vito Bratta.  This duo proved to be an aqua net force with the sandpaper vocals of Tramp supported by the furious fretboard of Bratta. It still has not been determined if the band named themselves after Mike Tramp’s mane, or if the lead singer grew out that mane to match the moniker of his band.  Either way, Tramp/Bratta showed the promise of performing in the same league as Michaels/DeVille, Neil/Mars, and even Roth/Van Halen. (Yes, Vito’s talent set White Lion apart from being just another rock band.) As with many rock bands however, talent doesn’t always lead to longevity. Oh White Lion, We never had a chance to love you!!

Lion’s tenure may have been short lived over the course of their 3 album releases, but the band peaked with their second release, Pride.  Recently, Friday Music has released two special reissues of Pride. One in turquoise vinyl and the other in white. 

Pride is anchored by the band’s feel good anthem, Wait, which peaked at #8 on the billboard charts. Wait took a slow climb to the top, as MTV didn’t start playing the video until over 6 months after the song’s release. That slow climb probably affected the overall momentum that it would have taken to reach the top 5.  Surprisingly, the biggest hit on the album was When the Children Cry, which hit #3.  You can argue that Children hasn’t aged well, but no one can deny the singalong draw of Wait. Some other gems on this album include Tell Me, Hungry, and Lady of the Valley.

How does it sound?

I listened to Friday’s release track by track along with my original from ’87. The best way to describe the difference in these two pressings is the difference between analog and digital. The original sounds more analog. In other words, it sounds warmer and also louder. It’s as if you hit the loudness button on your receiver when you put this pressing on compared to the ’22 release. The new version sounds like it has definitely been “cleaned up”. The bass and punch are tighter, but the overall volume is lower than the original release.

I thought this might mean the new release might sound better at louder volumes, but that wasn’t necessarily the case. As with any music, it just comes down to personal preference. The new release sounds great and delivers a CD-like sound, but if I had to choose, I would play my original ’87 pressing mastered by George Marino. If you are having trouble finding an original ’87 pressing out in the wild, then the new release by Friday Music is absolutely worth adding to your collection. This album was remastered by Joe Reagoso, who also remastered Friday’s recent reissues of Winger and Slaughter’s Stick it to You. I found this version to sound very similar to the Winger release. Of the three releases, I enjoyed Joe’s remix of Slaughter the best and highly recommended tracking down that release for your collection.

Never before has an album cover captured the identity of a band like Ken Kelly’s 1977 cover of KISS’s 6th studio effort, LOVE GUN.  On June 30th, 1977 KISS was indeed the “Hottest Band in the World”, giving fans of glimpse of the marketing machine to come.  On this day, Love Gun, shipped platinum and Marvel Comics released what would soon become one of their best selling comics of the time, A Marvel Comics Super Special, KISS.  Fans were able to “double-dip” on their KISS fix by bombarding their local record store and hitting the closest newstand/magazine rack.  One can only imagine how many fans spent those July summer days reading the KISS comic while listening to the newly released “soundtrack.”  And if that wasn’t enough to satisfy their KISS cravings, they could use their hard earned allowance or paper route funds and fill out the KISS merchandise order form to further establish themselves as a member of the KISS ARMY.  So while there was no denying KISS’s dominance during these days…. The Love Gun album proved prophetic in both production and design that KISS’s reign was starting to fall.  One look at the medieval, gothic style cover shows the band members appearing to be Larger Than Life superheroes.  A second glance might reveal four confident members looking off into four separate directions.  A visual foreshadowing of the solo albums to come.

Love Gun was produced by Eddie Kramer.  Gene refers to Eddie as more of an engineer than a producer.  Bob Ezrin was a producer.  He pushed the band members to limits that threatened their comfort zone and their egos.  The result was arguably KISS’s best studio effort, however after all the effort, Destroyer’s immediate sales were disappointing, so KISS went in a more “komfortable” direction.  Kramer was a “yes” man.  Perfect for the band at the time.  As Paul is reported as saying he wrote his songs on his own and the band just pretty much copied them in the studio.  Gene and Ace express similar stories.  In the early days, KISS would write together, as a band, trying to mimic their influences and create a Beatles meets Black Sabbath type sound, but with the success of ALIVE, now KISS was confident.  No longer trying to copy success, this 3 album span was KISS being KISS and the four personas started to split and create what they felt best fit themselves. This success would split the band at its core and after the lack of success of the solo efforts, the band would once again try to mimic success with the divided release of their next studio effort, DYNASTY.  Here is a breakdown of the songs that make up this classic KISS release.

I Stole Your Love – Among the best the KISS album openers, this song grew to become a favorite as a concert opener too.  This adrenaline pumping anthem is an instant mood changer that prepares you for anything that lies ahead, whether it be a two-hour concert, a grueling workout, or a top-down drive on the expressway.  This song was influenced by Deep Purple’s “Burn.”  Take a listen; you’ll enjoy the similarities.

Christine 16 – The lyrics of this classic can be a little cringeworthy today, but this song wasn’t written recently, it was written in 1977.  Gene has said that this song is based on the concept of “forbidden fruit.”  Don’t let the lyrics ruin it for you.  Much like the Rolling Stones’ “Angie” or Looking Glass’s “Brandy”, this is a more aggressive version of a tribute to a beautiful girl.  Teenage fans of KISS at the time probably serenaded many a Christine, whether they were 16 or not.  The opening neanderthal-like banging of the piano grasps your attention and the song fails to disengage until the end.

Got Love For Sale – This song starts out strong with a promising intro.  The acoustic guitar is a nice touch. Unfortunately, the song quickly turns to filler.  This is a rare miss for Gene as far as vocals go.  The song just doesn’t fit and may have been better if sung by another member.

Shock Me – Ace’s ultimate persona song!  Gene has God of Thunder.  Paul has Love Gun.  Ace has SHOCK ME!  The only question that needs to be discussed is if this is Ace’s greatest song as a member of KISS.  I would say no, however maybe that is just a result of being overplayed.  The more you hear a song, the less you appreciate it.  Many KISS fans would rank Shock Me #1 and it is certainly tough to argue with them. The history of Ace being electrocuted on stage, the lightning bolts on his guitar strap.  It all just works…  Ace Frehley…..Lead Guitar…. SHOCK ME!

Tomorrow and Tonight – Influenced by Mott the Hoople’s “The Golden Age of Rock n Roll”, you can tell a lot of effort went into the production of this song.  The background singers (which include a future member of the Village People, Ray Simpson), are a nice touch.  Paul admits he was trying to write another Rock n’ Roll All Nite, but it just didn’t work.  KISS has been guilty of trying to write another Rock n Roll All Nite throughout their career.  “Hell or Hallelujah” and “Say Yeah” (which I really like) are some of the latest attempts that come to mind.  Despite the chronological confusion of the chorus,  I do like some of the lyrics, but ultimately this is a forgettable song.

Love Gun – “All right PEOPLE!!!!  I’m coming to SEE YOU!” (Rolling Drum Fill)  Any fan who has attended a KISS concert that past couple decades knows this live introduction to Paul’s signature song.  The fact that we get Love Gun and Shock Me on the same record vault this album into the ranks of KISS’ best studio efforts.  Paul says Love Gun is one the 5 greatest songs KISS has ever written and musically he might have a case. Throw in the cardboard Love Gun that was packaged in the album and you may have the song and promotion that launched KISS’ merchandising future.

Hooligan – I like Hooligan more than the average KISS fan.  Maybe it’s just the term Hooligan in general that I appreciate.  Certainly many a KISS fan was characterized as a Hooligan back in the 70’s.  “Hooligan….won’t go to school again, won’t go, no.”  When I watch the film Detroit Rock City, I feel the main characters fit the vibe of this song.  For most however this is the hooligan (underachiever) of the album.

Almost Human – Gene’s attempt at putting his persona song on the album.  Just imagine if he succeeded and He, Paul (Love Gun), Ace (Shock Me) and Peter (Hooligan) all succeeded.  Then this record really would have lived up to its cover!  Almost Human does match the vibe of werewolves, Jekyll and Hyde, and the Demon.  It’s kind of cool, but I would never request to hear this song live in concert.

Plaster Caster – Given the historical nature of this song recounting the efforts of a couple groupies from Chicago, it is actually quite good.  HBO recently aired a documentary (Rolling Stone: Stories from the Edge.) on the early years of Rolling Stone magazine.  They cover these groupies efforts in great detail, maybe more than you are interested in seeing.  The song is catchy….”If you wanna see my love just ask her.”

Then She KISSed Me – A cover of the Crystals’ classic, I never skip this song on the album.  KISS was originally going to cover Elvis’ Jailhouse Rock.  I’m glad they didn’t.  I’m not sure what they were looking for in covering this song about young love.  Maybe this is the same vibe Gene was looking for when he sang When You Wish Upon a Star.  Take this evil looking band and sing a surprisingly pop friendly song.  It’s understandable many fans didn’t care for this.  KISS admits to being baffled when parents were bringing their kids to KISS shows, but when you sing family friendly songs, include toys in your album, and make made for TV movie specials…”what is this Ringling Bros.”??