CHAPTER 16 - Dressed
To Kill (1975)
“Dressed To Kill” Album Notes:
“Dressed To Kill,”
originally intended to be called “KISS At
16.01. Room Service
Written by Paul Stanley
during the studio sessions. What needs to be said about a song which is so
obviously about life on the road? Paul summed up the lifestyle that the road
had provided: “We had cassette players next to our beds, we listened to rock
music, we had girls around us all the time, we hung out at the Rainbow club, we
either ate room service or in diners” (KISStory).
16.02. Two Timer
Written by Gene Simmons
very early during the studio sessions for the follow-up to “Hotter Than Hell.”
16.03. Ladies In Waiting
This Gene Simmons
composition would certainly seem to be a somewhat cynical road song, though,
like most of the material quickly written by the band for “Dressed To Kill,” it
is hardly surprising that the members would look to their recent grueling year
of touring for inspiration. However, Gene had noted this title for possible use
during 1974. Typically “Gene” lyrically, the whole band would work on the
arrangement of the song during the recording sessions.
According to Gene, “I had
an original idea for a song about Ladies In Waiting, the double entendre of the
old English phrase; ladies in waiting were high-classed women and sometimes
used to describe prostitutes, but in either case, women of pleasure” (Box Set
liners). While Gene’s conception of what an English “Lady In Waiting” (usually
higher-class servants, to women of nobility, but servants, nonetheless) may be
inaccurate, he wrote the lyrics to the song while the band was rehearsing the
music. The recording of this song also features Gene playing guitar.
16.04. Getaway
Another Ace contribution to the band’s material,
which would be given to Peter to sing. This song would be the B-side on both of
the singles released in support of the album: “C’mon And Love Me” and “Rock And
Roll All Nite.”
16.05. Rock Bottom
While the song is credited
to both Paul Stanley and Ace Frehley, it is really anything but a collaboration
between the two primary KISS guitarists. Instead it is a patchwork, taking an
almost “classical” instrumental piece Ace had written and bonding it onto the
beginning of a song Paul had written. According to Paul, “The instrumental at
the beginning is Ace and I playing. And once again, it was that idea of
starting something off soft and then going into something much crunchier” (Box
Set liners). This helped make the “Dressed To Kill” album longer! The acoustic introduction
would add
16.06. C’mon And Love Me
The first KISS song to
feature Paul Stanley on lead guitar, on the first part of the songs
introduction. This song has very much of a “road” sense to its lyrics. Written
in less than an hour, this song dates from the period from the end of the
“Hotter Than Hell” tour into the “Dressed To Kill” studio sessions. It was
inspired by a Moody Blues song, “Question,” and the way the band, according to
Paul, “were hitting some of the chords, in an almost symphonic kind of way”
(Box Set liners).
16.07. Anything For My Baby
Paul Stanley wrote this song
so fast during the “Dressed To Kill” album sessions that it doesn’t even
feature a guitar solo. According to Paul, “We were going for song content and
not really thinking about elaborating on it musically, whether that meant solos
or any other filler” (Box Set liners).
16.08. She
This song had been
considered for recording on the previous studio album, “Hotter Than Hell.”
However, the lack of songs during the “Dressed To Kill” sessions somewhat
forced the band to dig into older material. Once all of the elements that made
the Wicked Lester recording so odd were removed, the basic essence of the song
was allowed to be displayed. It should not be too surprising that a KISS
version of the song was finally recorded, especially when the band was short of
material for the album. The song had been a part of the band’s live repertoire
for so long, surviving when other Lester material had been discarded, that KISS
had already given the song its own stylistic stamp. Ace would make part of the
song his own, borrowing part of the solo from The Doors’ “Five To One” for the
guitar solo (Sharp, Ken – Goldmine), which is essentially just an Am pentatonic
scale. This in turn would be borrowed by earl Jam for their “Alive” solo.
What’s worth borrowing once is certainly worth borrowing twice! For further
details, refer to the “Rainbow/Wicked Lester” section.
16.09. Love Her All I Can
While this song had been
considered for recording on the previous album, the lack of songs during the
“Dressed To Kill” sessions somewhat forced the band to dig into older material.
Very little would change, either in the arrangement or lyrics of the song, when
recorded for the album. An additional solo section would replace some of Paul’s
vocal harmonies. For further details, refer to the “Rainbow/Wicked Lester”
section.
16.10. Rock And Roll All Nite
As was commonplace with
many songs credited to both Gene Simmons and Paul Stanley, “Rock And Roll All
Nite” was a hybrid of two separate ideas. Paul had written a chorus at the
Continental Hyatt Hotel in
The song would be a result
of Neil Bogart’s suggestion that the band needed to write an anthem, a song the
“fans could rally behind” (Box Set liners), similar to Sly and the Family
Stone’s “I Want To Take You Higher.” With the replacement of the chorus with
Paul’s “I wanna rock ‘n roll all nite, and party every day,” the song’s
transformation was complete. Paul felt that the song was more than just an
anthem, even though it was “based on the idea of us needing an anthem or
rallying cry for our fans. I felt that ‘rock and roll all nite and party every
day’ really captured that, and when Gene had put his verse to it I thought that
very much was what Kiss was about” (Rolling Stone).
16.11. Rock And Roll All Nite (Radio Single Mix)
The single version of the
song features a 2:29 mix, which shortens the song due to some compression and
starting the fade-out earlier than on the album version.
16.12. Always Near You
This title appeared on a
song list dating from around 1975, Gene had at least written this piece though
not necessarily demoed it. Refer to the “Gene Simmons Solo Album” section for
details on the song with the same title that he recorded in 1978.
16.13. Back Where You Belong
16.14. Two Bits
16.15. All It Takes
16.16. Daddy Longlegs
16.17. She One Of The Boys
Songs 16.13-16.17 are
titles that appeared on a song list dating from around 1975. Gene had at least
written these pieces though not necessarily demoed them.
16.18. Seduction Of The Innocent
Not necessarily a song or
demo Gene had come up with by 1975, but at least a song title and a riff. Gene
would keep numerous notebooks with lyrical ideas, full songs, phrases, and
possible song titles. This song title would become a fully realized song some
twenty years later.
16.19. Dressed To Kill
A song, not necessarily
demoed, by Gene written around the same time as “Burning Up With Fever.” The
title, however, was used to replace “KISS At Midnight” as the title of the
band’s third studio album.
16.20. Wet And Wild
A song title, not
necessarily written or demoed, noted by Gene for possible use. A “demo” of the
same title would later be erroneously attributed to Eric Carr.
Television Session Notes:
Tracks 16.21-16.24 were
four songs recorded live at NBC Studios in Burbank, CA, on April 1, 1975 for
the “Midnight Special.” This television appearance was one of the few
promotional attempts to keep the band alive during the “Dressed To Kill”
period.
16.21. Deuce
16.22. She
16.23. Black Diamond
“She” included Ace’s guitar
solo. “Deuce” and “She” would be broadcast on the show on July 11, 1975 (show
#124). “Black Diamond,” with a repeat of “Deuce,” was broadcast on November 28,
1975 (show #141). Amusingly, while KISS was not present at the second of these
broadcasts, the show would be hosted by Helen Reddy of “I Am Woman” fame, who
had also been featured in the same show as KISS’ earlier appearance in July.
16.24. C’mon And Love Me
The only track from the
“Midnight Special” recordings that was never broadcast (Gooch, Suhs – KISS
Alive Forever).
16.25. Man Of 1,000 Faces (Demo, 1975/6)
First demoed in a 3:08
format, Gene has dated this song to late 1975, though it was probably written
earlier. The song was even briefly considered for use on the “Dressed To Kill”
album. According
to Gene, “Neil wanted us to do a song called ‘Man Of a Thousand Faces,’ which I
had written and had around for a long time, and everyone gave him a weird look
and said that this was a little more serious, and that we should just stick to
the rock and roll thing” (Headliners). The song perspective would
originally be a second person “He,” rather than first person, and the second
and third verses would be different lyrically. Gene would recycle parts of the
original version of this song into “Got Love For Sale,” notably the “Your
condition’s red, you can’t get to bed” lyric. “You’re a victimless crime, it
happens all the time” and “You’ll jump off the roof if I say” would be
recycled, being used in “Tunnel Of Love.”
One early form of the
lyrics for the song illustrates it as a source of later recycling, being
written around the same time as “Almost Human”: “Condition’s red, you can’t get
to bed / Your eyes are full of tears // Headache, heartache, a pain you can’t
take / That’s not the end to all your fears // I’ve got to tear your heart
apart / I’ve got to finish anything I start / Because I haven’t got a heart //
You’re a victimless crime, it happens all the time / You’ll jump off the roof
if I say / I’m gonna take your love away, gonna force you to stay / You
wouldn’t have it any other way // I know you need me, I know you want me /
Cause I’m a living cross you have to bear / You’ve got to have me, can’t live
without me / Cause I’m the one and only yes I am // I’m the man of 1,000
faces.”
16.26. Burning Up With Fever (Demo, 1975/6)
Originally a 4:22 demo this song was demoed by Gene at the same time as
other tracks, including “Man Of 1,000 Faces.” Little of the arrangement would
change when Gene later recorded the song for his solo album. A demo for this song turned up on a tape that
includes a session recorded at Larabee Studios in Los Angeles in January 1975 (Suhs, Jeff – KISS
Magazine “Inside The Vault) that is different than this late-1975 version. Gene had wanted this song recorded during
the “Rock And Roll Over” sessions, but the band didn’t get a chance to use it.
16.27. Rock And Rolls Royce (Demo, 1975/6)
Another example of the
transitions Gene’s ideas undergo in the song writing process. This 2:53 song
initially recycled the part of “Drive Me Wild,” which had been replaced by
Paul’s lyrics; however, the song would undergo further development and become
“Love ‘Em And Leave ‘Em” on “Rock And Roll Over.” The original second verse
contains parts of “Drive Me Wild”: “So I give you my number / You say you’ll
see me tonite / Baby you just have to remember / Check with me if it’s alright
/ You wanna be in the driver’s seat / Well if you do it’s alright with me /
Just hop into my Rock and Rolls Royce / Cause I’m not just one of those boys.”
Musically, the verse
arrangements were similar, but without there being a chorus, it is very clear
that this was a development piece. The free-form guitar solo indicates that Ace
may have contributed. Parts of the guitar structure of the song would become
“Sweet Pain” on the “Destroyer” album while the riff in the chorus would be
used on “Burn Bitch Burn.” Waste not, want not.
16.28. Doncha Hesitate
Refer to the “Box Set”
section for further details. This song was written by Paul Stanley.
16.29. Star Lady
16.30. Much Too Young To Know
Pentagram were a band from Arlington, Virginia, whom
Gene and Paul investigated as possible signings to Casablanca Records in
1974/5. However, the urban legend goes that Paul had apparently wanted to
purchase the band’s song “Star Lady,” written by Bobby Liebling (Pentagram’s
vocalist) and Randy Palmer. Gene, also, had been interested in using another of
their songs, “Much Too Young To Know.”
This KISS connection has grown into a statement of
fact over the years. What is apparently true is that Gene and Paul did indeed
check out the band at rehearsals, and were not impressed. According to Geof
O’Keefe, “I do not remember anything about KISS wanting to buy any songs… I
honestly do not recall any discussion that KISS wanted to pay 10 thousand
dollars for a song, now I would think I would remember that and when I talked
to Randy about it, who basically wrote the song then brought it to Bobby who
did some re-arranging and changed a few lyrics on it. Randy says he does not
recall anything about this, now you would think Randy would remember something
about being offered 10 thousand dollars for his song. About 6 months ago I
asked Greg Mayne about it and he said he vaguely remembers Gordon mentioning
hypothetically what if KISS doesn’t want to work with you but wants to use one
of your songs? And Bobby said no way. Nobody ever put an offer on the table of
20 thousand bucks, I mean we needed new guitars, we needed new amps, we needed
new drums, we needed new equipment (maybe Bobby thought exactly that and he
would not be the one to end up getting all the money or possibly any of it?
Just a thought, talk amongst yourselves - Dale). I mean we had 80 songs, so
giving up 2 songs would not have been a big deal to me. 20 thousand bucks at
the time in ‘74/75 that was A LOT of money! I very much doubt that was ever a
serious offer from KISS, I think our manager Gordon, who knew KISS from his
journalist days hypothetically saying what if I can sell some of your material?
Maybe Bobby took that as a serious offer?” (Ramshead.org).
16.31. True Confessions
Clocking in at
16.32. See You Tonite
Written prior to KISS, Gene would record a
16.33. Anything For My Baby (Demo)
16.34. Rock And Roll All Nite (Demo)
Demos for both of these “Dressed To Kill” songs were
recorded at Larrabee Sound Studios in