KISS - Elder Statesmen, Elder Statement?
I recall being in conversation with Todd Rundgren back in late 2000 when the KISS Psycho Circus tour was doing good business (featuring the original line-up that had reformed a number of years prior for the hugely successful and highly lucrative reunion tour of 1996/97) and Todd quipped:
"It's still KISS' world, we just happen to be living in it."
Now, I'm not the biggest KISS fan in that world, so it may seem strange to be reflecting on something that happened in KISS Konversation ten years ago.
But it was actually more recent KISS activities that led me to reflect in the first place...
When the ticket scramble started for the KISS UK arena shows that took place in May 2010, I was one of the seemingly very few rock fans in the country who had no interest in those tickets, even though they were selling like Hotter than Hell cakes.
There were of course reasons for both the high demand, and my low interest.
The KISS fever was primarily because the 2010 shows were their first set of dates (excluding Festival appearances) in the UK for eleven years (including their first date in Scotland since 1992), and KISS were promoting Sonic Boom, the first KISS studio album in over a decade.
The album received great critical review and fan feed back, but then it would do, as they intentionally wrote in the style of the "70's KISS sound" for Sonic Boom.
In that respect they certainly succeeded.
I'm no fan of retro or formulated rock as I describe it, but fully acknowledge there is both an audience and a market for it.
And KISS performing live actually brings me to my first Muiriscal reflection.
I saw KISS back in the day and was very disappointed, due primarily to their Vegas style attitude and approach where it was more about the show than the music.
Paul Stanley's raps with the audience... drum and lead guitar solos in the first half hour of the set... a bass solo that was performed more by the sound engineer than Gene Simmons...
Not the sort of attitude or set you bring to a place like Glasgow, trust me, as was confirmed by the number of us that left early.
There were some great moments, but my outstanding memory of that gig before we left was a large number of the Weegie audience, during the torturous solos, responding at a fair volume of decibels themselves with "just play a fucking song!"
But they are older and wiser, now understand the differences between American and British/ European audiences and no-one would deny that when they deliver properly it's Rock and Roll All Nite.
Nor can anyone deny their legacy and longevity, and while the musical heart and business soul of the band remain intact (Paul Stanley and Gene Simmons respectively) there's life in the old Starchild and fire breather yet.
The Elder Statesmen of theatrical rock and roll.
And so to my second reflection.
Having established those Elder Statesmen credentials (Alice Cooper probably has them beat as the Elder Statesman of theatrical shock and roll), could they also be responsible for an Elder Statement in conceptual progressive rock?
As mentioned in my original Muirsical Exceptions article, my favourite KISS album isn't one of the more traditional or classic choices, such as Destroyer or Love Gun, but 1981's (Music From) The Elder.
That album however was critically panned, confused the fans and was so poorly received that the band quickly disowned the concept and returned to being the Creatures of the Night the KISS Army love and demand.
I recall being in conversation with Todd Rundgren back in late 2000 when the KISS Psycho Circus tour was doing good business (featuring the original line-up that had reformed a number of years prior for the hugely successful and highly lucrative reunion tour of 1996/97) and Todd quipped:
"It's still KISS' world, we just happen to be living in it."
Now, I'm not the biggest KISS fan in that world, so it may seem strange to be reflecting on something that happened in KISS Konversation ten years ago.
But it was actually more recent KISS activities that led me to reflect in the first place...
When the ticket scramble started for the KISS UK arena shows that took place in May 2010, I was one of the seemingly very few rock fans in the country who had no interest in those tickets, even though they were selling like Hotter than Hell cakes.
There were of course reasons for both the high demand, and my low interest.
The KISS fever was primarily because the 2010 shows were their first set of dates (excluding Festival appearances) in the UK for eleven years (including their first date in Scotland since 1992), and KISS were promoting Sonic Boom, the first KISS studio album in over a decade.
The album received great critical review and fan feed back, but then it would do, as they intentionally wrote in the style of the "70's KISS sound" for Sonic Boom.
In that respect they certainly succeeded.
I'm no fan of retro or formulated rock as I describe it, but fully acknowledge there is both an audience and a market for it.
And KISS performing live actually brings me to my first Muiriscal reflection.
I saw KISS back in the day and was very disappointed, due primarily to their Vegas style attitude and approach where it was more about the show than the music.
Paul Stanley's raps with the audience... drum and lead guitar solos in the first half hour of the set... a bass solo that was performed more by the sound engineer than Gene Simmons...
Not the sort of attitude or set you bring to a place like Glasgow, trust me, as was confirmed by the number of us that left early.
There were some great moments, but my outstanding memory of that gig before we left was a large number of the Weegie audience, during the torturous solos, responding at a fair volume of decibels themselves with "just play a fucking song!"
But they are older and wiser, now understand the differences between American and British/ European audiences and no-one would deny that when they deliver properly it's Rock and Roll All Nite.
Nor can anyone deny their legacy and longevity, and while the musical heart and business soul of the band remain intact (Paul Stanley and Gene Simmons respectively) there's life in the old Starchild and fire breather yet.
The Elder Statesmen of theatrical rock and roll.
And so to my second reflection.
Having established those Elder Statesmen credentials (Alice Cooper probably has them beat as the Elder Statesman of theatrical shock and roll), could they also be responsible for an Elder Statement in conceptual progressive rock?
As mentioned in my original Muirsical Exceptions article, my favourite KISS album isn't one of the more traditional or classic choices, such as Destroyer or Love Gun, but 1981's (Music From) The Elder.
That album however was critically panned, confused the fans and was so poorly received that the band quickly disowned the concept and returned to being the Creatures of the Night the KISS Army love and demand.
Elder Statement, or KISS' Krowning folly?
The low esteem the album is held in is unfortunate because The Elder saw the band stretching musically and having the audacity (or stupidity, dependant on point of view) to produce a conceptual piece which had musical textures with a light and shade not heard on any KISS album before or since.
The album also featured the American Symphony Orchestra.
It's never going to be hailed as the greatest ever KISS album and it isn't any sort of progressive/ conceptual masterpiece, but it is their most diverse, adventurous and challenging album.
Hence why it's my personal favourite.
There were a handful of trademark KISS songs and sounds within The Elder however and the striking ballad 'A World Without Heroes' was well received, picking up solid airplay.
And how 'I' never became a bona fide Kiss Klassic is beyond me.
The low esteem the album is held in is unfortunate because The Elder saw the band stretching musically and having the audacity (or stupidity, dependant on point of view) to produce a conceptual piece which had musical textures with a light and shade not heard on any KISS album before or since.
The album also featured the American Symphony Orchestra.
It's never going to be hailed as the greatest ever KISS album and it isn't any sort of progressive/ conceptual masterpiece, but it is their most diverse, adventurous and challenging album.
Hence why it's my personal favourite.
There were a handful of trademark KISS songs and sounds within The Elder however and the striking ballad 'A World Without Heroes' was well received, picking up solid airplay.
And how 'I' never became a bona fide Kiss Klassic is beyond me.
The Elder sold in such low numbers the band decided against the idea of pursuing a planned sequel, which is a shame.
But, quite frankly, I doubt they would ever revisit the idea even if tempted to do so because, nearly thirty years on from that Elder statement KISS, without original drummer Peter Criss and guitarist Ace Frehley but with the original costumes and face painted characters, are delivering exactly what the majority want to see.
And, with Sonic Boom, delivering exactly what the KISS Army want to hear.
Love 'em, loathe 'em, or some point in between, it would appear Mr. Rundgren's own statement still applies.
Ross Muir
May 2010
But, quite frankly, I doubt they would ever revisit the idea even if tempted to do so because, nearly thirty years on from that Elder statement KISS, without original drummer Peter Criss and guitarist Ace Frehley but with the original costumes and face painted characters, are delivering exactly what the majority want to see.
And, with Sonic Boom, delivering exactly what the KISS Army want to hear.
Love 'em, loathe 'em, or some point in between, it would appear Mr. Rundgren's own statement still applies.
Ross Muir
May 2010
