CHAPTER 20 - Love Gun (1977)

“Love Gun” Album Notes:

Produced by KISS and Eddie Kramer. Recorded at Record Plant Studios, New York City, May 1977. Engineered and mixed by Eddie Kramer and Corky Stasiak. Some copies of the album have a misspelling of Ace’s surname. Aerosmith’s producer, Jack Douglas, was considered to produce this album prior to Eddie committing to the project.

20.01. I Stole Your Love

Paul Stanley played lead guitar on the first half of the song. Like other Paul Stanley songs, the vision of the composition would not change from the demo to the studio recording of the song.

20.02. Christine Sixteen

“Christine Sixteen” was Gene Simmons’ revenge on Paul Stanley for stealing his “Black Diamond” song title in 1974 and was written in early 1976 in Los Angeles. However, from its early stages the song was very different to the more sedate version that would be recorded by KISS for the “Love Gun” album. Essentially, the lyrics of the song’s verses and chorus would be transformed and refined: “I know what you’re doin’ / I know what you do with your hands / You like to practice / You’re waitin’ for the promised lands // Christine Sixteen / Christine, you’re young and sleek / Christine, you’ll find what you seek // You like them fancy / We musicians come and go / You’ve got your knickers / Take them off when the lights are low // And / Christine Sixteen, Christine / Magic in your mouth / Christine Sixteen, Christine / North and South.”

Gene demoed the song in Los Angeles with Alex and Eddie Van Halen, and the recording on the album would mimic the work done by the future Van Halen stars. Additionally, Gene would play some rhythm guitar on the KISS studio recording, and the piano part, though Eddie Kramer would try his hand at the part – Gene thought he played it too well. According to Gene, “As an afterthought, I again suggested putting in a Jerry Lee Lewis style keyboard part with a triad voicing, a simple one-handed pump. Again it was met with some negative comments; but once the keyboard part was put on it felt right. In the second chorus, I don’t know why it felt right, but I started talking over it. In a sense the guy sees the girl coming out of school and he’s obviously very anxious to have a go at her. After the song was mixed I played a version to Ace who didn’t react well to it at all” (Box Set liners). Gene would admit in another interview that he saw “that guy” as himself. Gene also later added the spoken word part of the song which replaced a section of the song: “I know she’s full of lovin’ / She’s got that look in her eye / She’s so ripe for the pickin,’ yeah / She knows what’s on my mind (Got to have her, I don’t know why).”

20.03. Got Love For Sale

Originally titled, “Have Love Will Travel,” which are the lyrics which form part of the song’s chorus, this song had developed out of Gene’s original lyrics for “Man Of 1,000 Faces.” That song dated to at least 1975, possibly earlier, and was on one prospective track list for possible use during the recording of “Dressed To Kill.” The first verse for that song had gone: “Condition’s red and 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.” This was ‘changed to the familiar “Your condition’s red, you can’t get to bed / Your eyes are full of tears / You’ve got headache, heartache, a pain you can’t take / I am who you have to fear.”

Part of the second verse of “Got Love For Sale” would be changed from the “Man Of 1,000 Faces” second verse from “I know you need me, I know you want me / ‘Cause I’m a living cross you bear / You’ve got to have me, can’t live without me / ‘Cause I’m the one and only, yes I am” to “You know you need me, I know you want me / ‘Cause I’m a living cross your heart bears / You’ve got to have me, can’t live without me / ‘Cause I’m the one and only, yes I am.”

20.04. Shock Me

Inspired by Ace’s electrocution in Lakeland, Florida at the beginning of the band’s 1976 “Spirit of ‘76 Part II” tour (Rock And Roll Over), Ace would finally make his long-awaited lead vocal debut. Ace inadvertently created a legend when he recorded the vocals lying on his back in the darkened studio to help him deal with his nerves. Ace recalled, “I didn’t lie on my back to hit high notes – I did it because I was nervous and I didn’t want anybody to see me sing. I made Eddie Kramer lower the lights and I laid down so he couldn’t see me through the glass” (Guitar World Legends #14, 1992). Ace is not particularly impressed by this first vocal effort in retrospect. While the song was Ace’s, Gene and Paul apparently helped clean the song up in terms of arrangement, though Gene has also contradicted that by saying, “When Ace brought ‘Shock Me’ into the band, he did that all on his own – we had nothing to do with the arrangements, and we knew immediately that it was a terrific song” (KISStory).

20.05. Tomorrow And Tonight

This song was simply Paul Stanley’s attempt to rewrite “Rock And Roll All Nite” and provide another anthem for the band. It would not be a successful repetition of the band’s earlier success and was never issued as a single, though Paul was proud of the song at the time. There is some suggestion that Paul may have played bass on this track.

20.06. Love Gun

“Love Gun” was written by Paul Stanley while the band were on the plane heading to Japan for their “Sneak Attack” tour in March 1977. The subject matter is very obvious, though there are some interesting similarities between Paul’s song and the Al Jackson Jr., Booker T. Jones, Donald “Duck” Dunn, Steve Cropper, and Carl Wells composition “The Hunter.” That song has a repetitive verse structure which contains the lyric: “I got my love gun loaded / Loaded with a-huggin’ and kissin’ / And when I pull the trigger / There ain’t gonna be no missin’ / Ain’t no use to hide / No there ain’t no use to run / Cause I got you in the sights of my.... / My love gun, my love gun, my love gun.” The music is dissimilar, though the song would be recorded by the likes of Albert King (whom Paul was a fan of, and whose V guitar Paul loved), Blue Cheer, Ike & Tina Turner, and, most notably in the context of Paul’s influences, Free. Between this song and Paul Stanley there is yet another connection: Eddie Kramer was an engineer on Blue Cheer’s 1968 album “Outside Inside,” which included the song. Booker T. Jones is better known as the leader of Booker T. & The MG’s.

When it came time for the band to record the song, no changes were made and the demo and recorded version sound nearly identical. Paul was very clear of his vision for the song and would play bass on the KISS album version. There is a certain amount of controversy about this song with Sean Delaney claiming that he actually co-wrote it: “Actually, I co-wrote ‘Love Gun’ (in front of witnesses). After I came up with the chorus line in the second verse, Paul says ‘I’m not going to give you credit on this one!’ And I said, ‘Fine Paul, whatever.’ Richie Fontana, who was the drummer for Billy Squier, who lives in New York, was there” (Steve Stierwalt, Jr., Sean Delaney Interview).

20.07. Hooligan

One of two songs Peter Criss brought to the “Love Gun” sessions. “Hooligan” would be a somewhat autobiographical piece written with Stan Penridge, which recounted Peter’s youth. In contrast to the material Peter had brought to the KISS album sessions previously, this song (along with “Love Bite”) would be his first true collaborative effort with Stan Penridge, which occurred while the two were in the studio. According to Stan, “That actually began in the studio in the midst of a conversation. Peter was talking about his grandmother. Can’t remember about what - but I remember him saying that she called him a ‘Hooligan.’ Five minutes later we were laying down rhythm tracks. I played bass and guitar. Peter sang and played drums. He was really playing that night. We left the Record Plant with two songs that evening” (Lynn I. Swanger).

20.08. Almost Human

Gene Simmons played rhythm guitar on this track, which fits nicely with his “Howling For Your Love” and “Man Of 1,000 Faces” horror inspired material. In this case the song’s title was inspired by a line from the 1928 Lon Chaney silent-movie, “West Of Zanzibar.” Chaney plays the character Phroso, who loses his beloved wife to ivory-trader Crane (Lionel Barrymore). When his wife tells him she’s leaving him for Crane he and Crane fight, resulting in Phroso being paralyzed from the chest down. Becoming known as “Dead Legs” Flint, Phroso creepily moves around by dragging himself with his hands. The movie spawn the classic line, “One minute you’re a fiend and the next... You’re almost human.” Jimmy Maelen plays congas on this track. Originally the song featured different lyrics including: “I’m almost human, baby / Please don’t run away / ‘Cause wherever you run / I’ll be a scream away / You’re so smooth and tender / A living breathing dream / Got to have you / So hungry for your scream.”

20.09. Plaster Caster

Famed in pop culture, Cynthia “Plaster Caster” Albritton was a groupie with a fetish for preserving in eternal plaster the male appendage of many notable rock personalities. This “hobby” had resulted from her being both an art student with an assignment to make a cast of something solid, and a young woman interested in losing her virginity and exploring her sexuality. However, KISS, and Gene Simmons in particular, was never immortalized in this manner, with Cynthia recalling, “They wanted people to believe they were in my collection. No way! I had to tell them at the time and Gene [Simmons] just kind of scowled at me. They had no idea that I felt that way before they wrote the song, believe me” (Mary Wisniewski – Triplefastaction, Velocity, Issue 1.2). Gene wasn’t concerned about taking an amusing concept and turning it into a song, but he might have been less than amused to not be on Cynthia’s list. Gene would also play rhythm guitar on the recording.

20.10. Then She Kissed Me

This song was originally recorded by the famed Brooklyn female vocal group The Crystals. It was released as a single in its original form as “Then He Kissed Me,” backed with “Brother Julius,” in August 1963 on Phil Spector’s Phillie label (Phillies 115). The song was the last of the groups hits, reaching #6 on the Billboard charts, before Phil concentrated more on another of his girl-groups: The Ronnettes. KISS had to extensively rework the lyrics to change the gender perspective of the song. According to Gene, the genesis of this song was that the band had originally goofed off with it during soundcheck in Switzerland during the 1976 European Tour.

20.11. Christine Sixteen (Single Mix)

There is a 2:52 single mix of this song, which actually runs 2:55. It only varies with a touch of compression and the fade out of the song starting somewhat earlier than on the album version, which runs about 3:09. Some singles were issued with the full album version. When released the single, backed with “Shock Me,” would manage to reach #25 on the charts.

20.12. Shock Me (Single Mix)

Compression is used to reduce the length of the “Shock Me” compression by some 10 seconds to 3:32 on the single, versus 3:45 on the album version. Additionally, the fade out at the end of the song is more drastic, also helping reduce the song’s duration by an additional second or two.

20.13. Love Gun (Single Mix)

Like other singles, compression reduces the song’s duration. The single is 3:05 rather than the 3:15 of the album version. When released as the second and final release in support of “Love Gun,” backed with “Hooligan,” the single would reach a disappointing #61 on the charts.

20.14. Hooligan (Single Mix)

Like other singles, compression reduces the song’s duration. The single is 2:50 rather than the 2:57 of the album version.

20.15. Have Love Will Travel (Demo)

As the title suggests, as a lyric, “Have Love Will Travel” later became “Got Love For Sale” on the “Love Gun” album. The demo is notable due to it being one of the three demos Gene recorded with Alex and Eddie Van Halen at Larrabee Studios in Hollywood, CA. Gene recalled, “I would usually go in and play all the instruments myself, but on this occasion I decided to call up the Van Halen brothers and ask them to come down and play. So both Alex and Eddie came down and played on ‘Christine Sixteen,’ ‘Got Love For Sale,’ and ‘Tunnel Of Love,’ which later wound up on my solo record. We cut it live as a trio and Eddie came up with some solos afterwards. I liked his solo for ‘Christine Sixteen’ so much that when the band recorded it for ‘Love Gun,’ Ace pretty much copied Eddie’s solo note-for-note” (KISStory).

20.16. Love Bite (Demo)

Peter’s demo writing was always very much connected with Stan Penridge, with whom he’d been musically involved since 1970. In fact, it was usually the case that Stan was the primary creative focal point, though Peter’s jazz influences introduced a vibe into the music that made the sound unique. This song was a demo recorded in early 1977 at the Record Plant by Stan Penridge, playing guitar and bass, and Peter on drums and vocals. It was intended for the “Love Gun” album, and was one of two contributions Peter would bring to KISS for the album, but it was not used due to the song’s rather strong subject matter and because it conflicted with another song starting with “Love…”

“Love Gun” would be slightly more sublime than “Love Bite,” which was rather more suggestive or explicit with the presentation of its innuendo: “I’ve been bit everywhere / But I’ve never been bit by a woman there // Love bite, feels oh so right / Love bite, leave your scar on me / Tonight!” With KISS’ fan demographics changing to the under-12 crowd, this would have left many a mother utterly frothing at the mouth and attempting to drive spikes into the hearts of the band members (For those who have seen the “Detroit Rock City” movie, imagine Jam’s mother’s response to such a song!). According to Stan it was written the same night as “Hooligan.”

20.17. Love Came To Me (Demo)

Dating from 1977, possibly even earlier, “Love Came To Me” was a development piece that, when demoed, heavily featured Gene’s gaggle of female backing vocalists. The demo runs some 3:45 and includes rough lead guitar work. Musically, this piece would eventually become “Love Is Blind,” notably the first verse, which only has minor differences to the later recording: “Your eyes had a welcome sign / Your lips said you’d be mine / You came and I knew it all the time / Oh, your name I don’t recall / I Never knew you at all / I was blind, but it was plain to see.”

20.18. Fourever (Demo)

“Fourever” and “You Wanted The Best” are almost symbiotic twins, apart from being written around the same time. Left only in very rough demo form, the song is almost an internal rallying call for the band at the time that things were starting to get difficult with the relationships between the members declining. The chorus: “We’re all for one, and one for all / Fourever, and ever / We’re gonna do it all together / Fourever, and ever / And ever, and ever.” The song also celebrates the band’s climb to the top: “After all is said and done / We know we’re number one / And we’re gonna keep on shakin’ the world, forever, and ever / We don’t care what they say / We’re gonna keep on rockin’ every day / We’re gonna show them what it’s all about, together / Together.” The demo runs 3:30.

20.19. Hooligan (Demo)

Clocking in at 2:11 in its original demo form, this track would be recorded by Peter, on drums and vocals, and Stan Penridge, guitar and bass, at The Record Plant in early 1977. Along with “Love Bite,” these songs would be the most material Peter had brought to an album session to that point. By the time the song was recorded for the “Love Gun” album, there would be rearrangement work and lyrical changes made to the original demo. Notable among the lyrical changes are what would become the second verse: “My mama, she said I was a black sheep / My baby, says that I was a creep / But deep down inside I will beat the clock / But truly I know how to use my jab.”

20.20. Love Gun (Demo)

Like Paul’s other demos, this version barely differs from the recording of the song the band would do. When KISS returned to the United States following the Japanese “Sneak Attack” Tour of early 1977, Paul headed into Electric Lady Studios to put down his song idea. Paul would play bass, guitar, and naturally sing both lead and backing vocals on the recording. He recruited drummer Steve Korff, who had been in the band The Planets, with whom KISS had sometimes played with during their 1973 club days. Paul’s “Love Gun” demos would mark his first experimentation with the e-bow guitar effect, which he would use overtly on parts of the guitar tracks on his solo album.

20.21. I Stole Your Love (Demo)

Like Paul’s other demos, this version barely differs from the recording of the song the band would do. What commonly circulates as a “demo” is simply the album song, albeit with the fade out starting earlier, making the song some 20 seconds shorter than the album version. However, there are some production differences in the overall sound of the song, indicating that the mix may be slightly different.

20.22. Sole Survivor

In the case of both 20.22 & 20.23, it is not clear whether Gene Simmons ever demoed these songs, which were written while the band were on tour in 1977, or whether they’re simply lyrical ideas. “I’m a sole survivor of broken hearts / I’ve got to go on I can’t let them tear me apart / I’ve tried to love, tried not to feel the pain / But when tears start flowing it’s hard not to give in again // So I’ve got to go on, tomorrow’s another day / I’ll find another girl who won’t be in my way / She won’t make me choose between my love and my work / And if she does she’ll be out in the cold // I’m a sole survivor of broken hearts / Sole survivor, can’t let them tear me apart / I love ‘em and leave ‘em but I can’t live without.”

20.23. Don’t Make Me Do It To Myself

“When it hurts and I feel the pain / I’m tellin’ you baby this is no game / Just follow my instructions to the letter / C’mon make me feel better / Make me feel better.” Simply a lyrical idea from one of Gene’s song books.

20.24. Sincerely

This song was mentioned in the KISS Army News Letter of Spring 1977. It’s not clear who this track was by, or whether it became another track on the album. It was included with a list of Gene songtitles.

20.25. See You Baby

On some proof copies of the full “Love Gun” cover, this enigmatic track title appears in place of what would later be “Then She Kissed Me.” Nothing else is currently known about this title.