Kiss

Les Paul Would Still Be Proud…

In honor of Les Paul’s 96th Birthday, some of my favorite players of his signature axe:

Steve Jones of the Sex Pistols:

Robert Fripp:

Two for one here… Ace Frehley and Slash!

Neil Young:

Jimmy Page:

Zakk Wylde, here playing with the man who should be Idol:

The Stooges’s Straight James Williamson, here doing a warmup gig with the band Careless Hearts before rejoining Iggy and company:

Randy Rhoads:

And while I’m not one to be posting my own guitar wanking on here, today I can make an exception and share something I did this morning on my own Les Paul, nicknamed after my favorite MoMusu:
Les Paul Birthday Riffin’ by thegroovemusiclife

And to finish off, a now-classic beer ad (not a beer I would ever drink, though) featuring Les himself.

Dear Whiners: Stop Bitching About The Rock Hall of Fame Already!

The Rock and Roll Hall of Fame inductees’ list for 2011 officially came out yesterday, although it started to leak the night before (Handsome Dick Manitoba had caught wind of Darlene Love being one of the inductees and proudly announced it on his Facebook page).

No beef with any of the nominees here. Tom Waits? Interesting left field choice – most people probably know Tom from songs that he’s written that other people have covered (“Downtown Train” as done by Rod Stewart, “I Don’t Wanna Grow Up” via The Ramones, “Ol’ 55” on the Eagles’ first album) than for some of his eclectic (but never out of print) solo albums like Small Change and Swordfishtrombones. Neil Diamond? I’ve heard a few whines from people who can’t get the image of him in the remake of The Jazz Singer, his 70’s adult-contempoary-leaning material or his regular, Vegas/revue-like concert performances out of their mind, but he’s a stellar songwriter with an undeniable track record – and his Bang Records material definitely qualifies as rock, as it did when it was first released in the mid-60’s. Alice Cooper? Not just Al himself, but the entire original band? Influential to both metal and punk, a real no brainer.

As usual when the nominees and inductees are announced, of course, there’s going to be a serious amount of whiners over who got picked and who got passed over. And nobody is whining more than fans of Kiss and Rush.

Let’s get Rush out of the way first. Their time will come – but it can wait. King Crimson and Yes, both of whom blazed trails that Rush were barely starting to copy when they recorded their first record, haven’t been inducted yet, and both bands are long overdue to get in. Hell, King Crimson still blaze trails every time they put a fucking CD out! Rush shouldn’t get in until the two bands that INVENTED progressive rock get in first. Simple as that.

Kiss, on the other hand… a few years ago, I would have agreed with the complaints about their being left out of the Rock Hall. Now, I couldn’t care less.

Quite frankly, Kiss and the Rock and Roll Hall of Fame do not deserve each other.

Yes, I first picked up a guitar (as did hundreds of thousands of other kids, many of whom have become guitar heroes themselves) because of Ace Frehley. I owe him that. His 1978 solo album and his most recent album Anomaly are both pure genius, and the man’s talent as a guitarist and songwriter is both underrated and impeccable. And Paul Stanley is a blueprint for rock frontmen and quite a good songwriter himself.

Beyond that… forget it.

Kiss started out as a band, but once their glory days stated to peak around 1977-78 with all manner of merchandising, that’s when things started to crumble. Gene Simmons started paying less attention to his songwriting and bass playing and more attention to the topic of what can he slap the band’s (or in recent years, his own) name on to make a buck?

Yesterday, when the RHOF inductees were announced, Gene Simmons made an announcement of his own: He announced the release of… a new Kiss Kasket. One with the “scab” members of the band, space deuce Tommy Thayer and kitten Eric Singer, plastered on it along with Paul and Gene.

A lot of Kiss fans were pissed off at that development… until they heard that Kiss didn’t make the cut for the RHOF again.

Admittedly, the first Kiss Kasket was a punchline that fans were more than ready to forgive Gene Simmons for. Shameless as it was (and still is), Gene’s tongue-in-cheek remarks about the product seemed to have lightened the levity of the situation… at least until Dimebag Darrell was assassinated on 12.8.04, which led Simmons, in a rare show of generosity, to donate a Kiss Kasket to the Abbott family for Dime to be buried in. (Of course, Gene had to get a bit revisionist a few years down the line and boast that the band’s faces were tattooed on Dime’s chest – even though it is public knowledge that only Ace’s face is there!)

I would sooner argue that Ace Frehley should be inducted – as a solo artist. He’s been eligible since 2003, 25 years after his first solo album came out. He was the most influential and most talented member of the band, and his solo albums have been cause for celebration amongst rock fans every time he puts a new album out.

The new Kiss Kasket is an insult, though – and now, so is any idea that Kiss should be in the Rock Hall. The Marketing Hall of Fame would be more fitting. Gene Simmons and the Kiss Army should take a Kiss Kasket and bury the idea of Kiss getting into the Rock Hall for good.

And speaking of those armchair quarterbacks who complain about who’s ever been inducted or nominated… “Rock and Roll” is a very broad musical term, but from the complaints of most of these self-appointed experts, you would think there had to be a minimum amount of distortion on the electric guitars before something could qualify as rock, or that using horns, keyboards, or a different style of lead vocal were disqualifications. None of this is true. Look at many of the early, almost obligatory inductees to the Rock Hall: Elvis Presley, Chuck Berry, Little Richard, Jerry Lee Lewis, Robert Johnson, Howlin’ Wolf… none of these artists were plugging solid-body electric guitars into Marshall stacks. Shit, Little Richard and Jerry Lee Lewis played piano, not guitar, and they still rocked.

One should also be reminded that Rock and Roll, as wide of a genre is, is still part of a wider genre called pop music. Many writers of the day considered the likes of Elvis and the Beatles, and their contemporaries, to be pop artists (same thing with Frank Sinatra years before Elvis) – rock was still an almost verboten term to most people. Yet, who are the first three legendary artists your average rock icon will give props to? Right.

Rap music came out of rock and roll – so it shouldn’t be a surprise that Grandmaster Flash and Run-DMC have been inducted in recent years, or that the Beastie Boys and LL Cool J have been nominated. Yet some people will run to their computers and whine about their inclusion, Whether they admit it or not, it’s often for closeted racist reasons – I wouldn’t be surprised if some of these same idiots buy into the “birther” conspiracies that have been thrown at President Obama since day one.

“If I had a say in the Rock and Roll Hall of Fame…” the typical rant goes every time a nomination or inductee list is announced. And then said ranter proceeds to reveal why they should never have a say! That, my friends, says it all.

Happy Birthday!

Happy Birthday, first to my generation’s Elvis – Mr. Costello to you – who turns 56 today:

…and to Miyabi Natsuyaki of Buono! and Berryz Koubou – she whose T-shirt on the “Yuke! Yuke! Monkey Dance” single cover inspired this blog’s name – who turns 18 today:

Apparently, it’s also Gene Simmons’ birthday today, but given recent developments on his part, I’d rather kick his mother in the cunt instead for what she did 61 years ago…

Happy 4th!

Fourth Blogging Anniversary, that is…

I almost forgot to post something today, but I have a good excuse: Today was also my fiancee’s bridal shower, and guess who had to schlep gifts back and forth in his car? Yep…

I should note that for the past few weeks I’ve been – on top of planning towards the wedding and subsequent move into mine and my wife-to-be’s new apartment – finishing up the novel (yeah, still… but then again if I didn’t have to hold a day job it would have been finished already), working on a screenplay for Script Frenzy, working on a couple of reviews for this blog (they’ll be up this week), and working on my guitar.

And last night, boy, did I work on my guitar… I got this thing (Epiphone Les Paul) a few months ago, but I never changed the strings until last night. Such was my Saturday night:

Ready to start restringing - I always start with the low E.

And to keep things J-pop related, here’s another part of what helped keep me sane, especially today:

And what's keeping me sane through all this? Good music, of course!

Besides, I couldn’t figure how to equal or better the live MoMusu and Stooges clips from last year! But what I can do is (even though I didn’t get this finished until after midnight when the 11th became the 12th) update a list I posted two years ago on my second blogging anniversary at MotokoAoyama.com, which would make this “A List That Took Four Years To Make”:
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Should I Tell KISS to Kiss My Ass?

Last week, I decided to go a little old school, pull out my old KISS albums (even though I have them on more recent formats as well), and spin those old favorites on my turntable. After a few hours, though, I stopped. And I blame what KISS has become lately and how much it has bugged me of late for that.

Last year, the coincidental back-to-back release of Ace Frehley’s fourth solo album Anomaly and KISS’ first studio album in 11 years, Sonic Boom found themselves in my CD player and in review form here on TGML. Granted, Ace’s album was the one I was more interested in, and it got a well deserved five-star review here because of the contents. But I found myself compelled to spring twelve bucks for the KISS album in spite of what was an iffy track record in the wake of their post-Dynasty releases, and I felt compelled to give an honest review of the album that I too, still hold to six months later (In short, Paul’s songs are the strongest, Gene’s are a small improvement on his post-’78-solo-album auto-pilot output, and Tommy Thayer can emulate Ace’s soloing style well, having imitated him in a KISS cover band years and years before, but can’t sing worth a fuck.)

A few weeks ago, after a little overindulging in the first two KISSology DVD collections, I decided to man up and add the third one, since it was loaded with footage from the reunion gigs done by the original lineup. Out of curiosity, I took a peek into the DVD’s commentary tracks done by Paul and Gene – and got immediately pissed off. So pissed off that I ejected the DVD from my player and shelved the set along with the first two volumes. What pissed me off? A lot of commentary downplaying Ace’s and Peter Criss’ role in the success of the Reunion Tour.

I suspect that Paul’s part of the commentary in question sounds somewhat forced compared to Gene’s tongue-wagging. Furthering this theory is something Paul said a little more off-the-cuff in the same set’s commentary track: That Paul was all for bringing Ace and Peter back into the fold, while Gene was rather reluctant. This should not come as any surprise to longtime fans of the band. Gene was the one most reluctant to record a new album after the Psycho Circus debacle – a debacle spurred by the absence of Ace and Peter on all but three cuts on the album – and on only one of those – Ace’s sole songwriting contribution to the album – did they play their assigned instruments (a session player filled in for Peter on the rest of the album, while Thayer played uncredited guitar solos). [And with the exception of noting that Sonic Boom’s relative quality made up for how shitty Psycho Circus was in my review of the former album, the only time I’d thought about Psycho Circus in recent times was when Vee referenced it in a recent post at Pink Wota – and in conversation she agreed with me that Psycho Circus was a lame album, too!]

Gene also falsely accused Ace – who in reality honored his five year contractual commitment and chose to step away and decompress before restating his solo career – of “shooting himself in the foot again” in his second book Sex Money KISS by not participating in what became the Alive IV: Symphonic KISS album. In short, Gene is out to make himself look good and the rest of his associates (at least the ones who aren’t willing to kiss his ass) look bad for the sake of his own ego:

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Despite a post-Hollywood, self-proclaimed “refocus” on KISS around the time of Revenge’s creation, Gene Simmons is still interested in putting his ego and interests ahead of the group. Granted, at times, he is willing to make himself the butt of a joke – witness his first Dr. Pepper Cherry commercial, in which his son Nick interrupts his characteristic bombast, as well as many of the setups portrayed in his A&E TV series – as long as it’s for a profit. It’s highly doubtful a blooper like this would have ever made an installment of KISSology, even as a hidden Easter egg:

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I am of completely mixed emotions about the band that first led me to want to pick up a guitar back in 1978. All of the classic-era albums are on my laptop and iPod, but only a few random tracks from the albums since then are there. I went AWOL from the KISS Army and started waving the Black Flag bars, but I still owe the band that much credit. But I will say without a shadow of a doubt that I will run, not walk, when Ace Frehley – the man who directly influenced my choice of instrument – comes around my neck of the woods on tour, as opposed to seeing KISS themselves live because I don’t want to see someone else wearing Ace’s makeup and playing his songs and solos.


NOTE TO LONGTIME READERS: Reviews coming of a few albums over the next week. I had to get this shit out of my system first. Thanks for your patience.

REVIEW: KISS “Sonic Boom”

Cover_sonicboom_front_small

KISS
Sonic Boom
(Kiss Records [North America]/Roadrunner [elsewhere])
Available as a 2CD/DVD set in North America and as a single CD elsewhere.

Rating: ★★★½☆

Kiss fans have had every right to be skeptical over the past decade or so. The band’s last studio album, Psycho Circus, was really a “reunion” album with Ace Frehley and Peter Criss that had very little Ace Frehley and Peter Criss on it. They embarked on a “farewell tour” at the turn of the century that turned out not to be a farewell after all. And – most damningly – after the reluctant-to-repeat-himself Ace Frehley chose to depart the band in order to decompress before resuming his solo career, Gene Simmons made the controversial decision to replace the influential guitarist with ex-Black & Blue guitarist and sometime Simmons lackey Tommy Thayer without initially telling the public. (Peter Criss, “the most miserable man on the planet” according to Simmons, was already on the shitlist of his ex-bandmates during the so-called farewell tour and was replaced by Eric Singer.) Follow all that up with Simmons claiming in his autobiography that there was no longer a market for a new Kiss studio LP, and it’s understandable to think why an album called Sonic Boom might easily be dismissed – like some fans who heard a leak of the album on the heels of the release of Frehley’s Anomaly album already did – as sonic bunk.

But in the wake of Paul Stanley recording a follow-up to his 1978 solo album (and touring behind it) and Frehley working on Anomaly since 2007, it probably doesn’t take an Einstein to presume that Simmons was full of shit when it came to the Kiss Army wanting new material rather than another repackaging of back catalog.

In advance press when the album’s recording was announced, Stanley – who took the producer’s chair for the project – boasted that the album would have no ballads or outside writers, and would hark back to the band’s “glory days” both musically and sonically. Similar claims (sans the no-ballads comment) had been made about Psycho Circus. Here we go again?
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