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 1996-1997) and Todd quipped:
"It's still KISS's world, we just happen to be living in it."
I'm not the biggest KISS fan in that world, so it may seem strange to be reflecting on something that happened in KISS conversation ten years ago.
But it was actually more recent KISS activities that led me to recall that conversation 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.
But there were, of course, very specific 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; KISS were also promoting Sonic Boom, the first KISS studio album in over a decade.
The album had received great critical review and fan feedback, but then it was almost guaranteed to as the band had intentionally written and recorded Sonic Boom in the style of the "70s KISS sound."
I'm no fan of rewriting-the-hits albums or formulated rock but I fully acknowledge there is both an audience and a market for it.
And my indifference to KISS performing in the UK again brings me to my first KISS reflection.
I saw KISS back in the day and was disappointed by the quality of performance and left cold by their "Vegas" style attitude and approach to a concert that was clearly 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 KISS 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 (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 the second KISS reflection.
Having established those Elder Statesmen credentials (although Alice Cooper 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?
This writer's 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 1996-1997) and Todd quipped:
"It's still KISS's world, we just happen to be living in it."
I'm not the biggest KISS fan in that world, so it may seem strange to be reflecting on something that happened in KISS conversation ten years ago.
But it was actually more recent KISS activities that led me to recall that conversation 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.
But there were, of course, very specific 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; KISS were also promoting Sonic Boom, the first KISS studio album in over a decade.
The album had received great critical review and fan feedback, but then it was almost guaranteed to as the band had intentionally written and recorded Sonic Boom in the style of the "70s KISS sound."
I'm no fan of rewriting-the-hits albums or formulated rock but I fully acknowledge there is both an audience and a market for it.
And my indifference to KISS performing in the UK again brings me to my first KISS reflection.
I saw KISS back in the day and was disappointed by the quality of performance and left cold by their "Vegas" style attitude and approach to a concert that was clearly 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 KISS 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 (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 the second KISS reflection.
Having established those Elder Statesmen credentials (although Alice Cooper 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?
This writer's 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.
Sonic Boom, the first KISS studio album in over a decade, gave the fans exactly what they
wanted – that "70s KISS sound." Thirty years earlier however the band gave the fans something
their ears couldn't believe; but in retrospect is it an Elder Statement or KISS's crowning 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.
The Elder was never going to be hailed as the greatest ever KISS album but it is their most diverse, adventurous and challenging album. Which is exactly why it failed so spectacularly.
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 the big-beat, bombast and chant rock of 'I' never became a bona fide Kiss Klassic remains a mystery to this day...
wanted – that "70s KISS sound." Thirty years earlier however the band gave the fans something
their ears couldn't believe; but in retrospect is it an Elder Statement or KISS's crowning 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.
The Elder was never going to be hailed as the greatest ever KISS album but it is their most diverse, adventurous and challenging album. Which is exactly why it failed so spectacularly.
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 the big-beat, bombast and chant rock of 'I' never became a bona fide Kiss Klassic remains a mystery to this day...
The Elder was such a commercial flop (and serious financial worry for both KISS and then record label Casablanca) the band decided against the idea of pursuing a planned sequel.
While that's unfortunate, the musical reality of the situation is that nearly thirty years on from that Elder statement (or crowning folly), 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
Audio track is presented to accompany the above article and promote the work of the artist/s.
No infringement of copyright is intended.
While that's unfortunate, the musical reality of the situation is that nearly thirty years on from that Elder statement (or crowning folly), 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
Audio track is presented to accompany the above article and promote the work of the artist/s.
No infringement of copyright is intended.
