CHAPTER 41 - Revenge
(1992)
“Revenge” Album Notes:
“Revenge” was produced by
Bob Ezrin. Recorded at Rumbo Recorders, Track Records, Cornerstone Recorders,
41.01. Unholy
“Unholy” would be the first
Gene Simmons written single in nearly ten years and according to Gene would be
based upon parts of Wicked Lester’s “Keep Me Waiting” which had been written by
Paul Stanley. One of the tracks co-written by Vinnie Vincent, Gene recalled,
“When Vinnie Vincent and I teamed up to take the song to the next level, he
suggested a number of changes, including some great lyrical ideas, that did in
fact make the song better” (Box Set Liners). As far as subject matter is
concerned the song is straight forward according to Gene: “The premise of the
song, at least in my opinion, is.... look I can say to you, ‘hey, go break a
leg,’ and somebody taking that literally will say, ‘does he want me to break my
leg’? No! So, sweetheart, that means ‘good luck.’ But the song is even more
specific.... the song says, in essence, ‘yes, there is evil in the world,’ and
I play the character; I’m Unholy. The truth is, we’re all a little bit Unholy.
But the premise of this little play is, you think I’m bad? Well, look at you
guys; you send your children to war to serve bastards and whores. I haven’t
been here forever; you created me.... Would there be a devil if human beings
didn’t exist? Whether or not there are guys who are red with horns and pointed
tails.... I think we created all of that. We create that every day of our lives
by the way we treat each other” (Lesniewski, Karen – KISS Collectors Network
3/93).
Jesse Damon from Silent
Rage, who was involved in the recording of demos with Gene, sang backing vocals
on the album recording of the song. A video was filmed for the song at Southern
Bay Studios in Carson, CA. Directed by Paul Rachman and produced by Maddhatter
the video apparently featured an ultrasound of Gene’s daughter, Sophie.
41.02. Take It Off
Another of the somewhat
ironic tracks in the KISS catalog, this song would be written with another of
Alice Cooper’s guitarists, Kane “Rambo” Roberts. Paul would call Kane to get
together for a song writing session, and it would be there that this song
evolved. Like many songs this piece would be refined with input from Bob Ezrin,
though ‘refined’ may seem to be an amusing word with the context of the song.
According to Paul the premise of the song is basic: “‘Take It Off’ was a song
that was started early on in the project. I don’t know what the scene is over
here right now in the
Bob would also challenge
Bruce during the recording of the album. According to Bruce, “our producer (Bob
Ezrin) pulled a real psychological trick on me when it came time to record my
leads. He told me he wanted me to solo from my balls without any pre-planned
fancy stuff, and then informed me he didn’t think I could do it. I’ll tell ya,
that got me so mad it lit a huge fire under my ass, which is exactly what he
wanted to happen! If you listen you won’t hear any two-handed tapping tricks on
‘Revenge.’ I just found a suitably nasty tone for each solo and then went
straight for the throat” (Nick Bowcott, 1992). This would also be a song to
feature Jesse Damon on backing vocals. Kevin Valentine would play drums on the
track.
41.03. Tough Love
This song started out with
a Bruce Kulick riff and a Paul Stanley title, chorus, and theme and was, as
described by Bob Ezrin, “as nasty and hard as it sounds” (Strike #26).
According to Bruce, “it started out with some sort of low riff thing that I had
and then we all worked on it, and new stuff developed from it. Paul had the
title idea, the chorus, the theme. I was happy that everybody liked and worked
out. It’s kind of ominous, but not deathlike or anything like that, tough I
guess” (KISS Crazy #12). Lyrically, the song would start with the “I’m gonna
take you down” lyric and develop from that point. Paul analyzes the song thus:
“‘Tough Love’ is just basically a one on one kind of thing and saying to
somebody we have a special kind of relationship that’s not just the norm, but
we do things that other people think are kind of taboo. We like to do the
things that others fantasize, and for me love is more than just soft, you know,
give me tough love, give me love with a little more edge to it” (BBC, 1992).
This would also be a song to feature Jesse Damon on backing vocals. Bruce
Kulick played bass on the recording.
41.04. Spit
Apart from being notorious
for it’s use of the Spinal Tap-ish lyric “the bigger the cushion, the better
the pushin,’” this song would be Gene’s humorous look at what could almost be
described as sexual addiction. Gene has taken quite a few hits about the use of
that lyric though has defended himself along the lines of, “nothing is sacred!
I wasn’t aware of it – even though I f**ked Nigel’s girlfriend when they were
away on tour” (Kerrang #392). According to Gene the song does have a message,
“it doesn’t say ‘look how big my cock is,’ it says ‘I need a whole lot of women
to keep me satisfied.’ It’s in keeping with rock and roll traditions that go
back to Good Golly Miss Molly” (Hit Parader, 8/92).
Written by Gene, Scott Van
Zen, and Paul. Scott had written songs with Ken Tamplin prior to his
involvement in the KISS camp, many of which had been included on Ken’s “Axe To
Grind” (1990) album which featured Mark St. John on one track. Additionally,
Scott had originally registered the writing of the whole song attributed only
to himself in 1991. This indicates that Gene and Paul may have made some changes,
substantial or not, to an existing piece – not an uncommon action in the
songwriting business. However, according to Gene, “I had the basic song
written, but Paul felt that it really didn’t have a chorus” (Kerrang #392).
Most importantly, the song recycled some of the lyrics from Gene’s demo with
Aerosmith’s Joe Perry, “Mongoloid Man.” Gene would at least get away with
having Paul sing the Spinal Tap lyric after the song had gone through a dozen,
or so, rewrites. The song would also introduce Bruce playing part of the “Star
Spangled Banner” in his solo, a piece which would become Bruce’s performance
piece on the tour in support of the album. According to Bruce, “there was a
lyric in it that was something about setting me free, and that was right before
the solo, that was the original lyric. So my idea when thinking about the solo,
you know Hendrix being someone I’ve always loved and am really into, so I
thought, ‘Wow, how about playing the Star Spangled Banner for as second,’ and I
was really hoping everybody would like the idea – and they did! So even though
the lyric changed, so it wasn’t set up like before, but I still think it’s
kinda cool” (KISS Crazy #14).
41.05. God Gave Rock ‘N’ Roll To You II
The version of “God Gave
Rock ‘N Roll To You II” which would be included on the “Revenge” album would be
different from the one used on the “Bill And Ted’s Bogus Journey” soundtrack.
It would simply be a remix of the 1991 recording done to bring the sonic
qualities of the recording in line with the rest of the album. According to
Gene, “‘God Gave....’ is the first track we cut for out next album with Bob
Ezrin. The rest is smokin’!” (KISS Crazy #11). That the song had already been
released on an album was a moot point to Gene who commented, “we liked the song
and wanted to put it on our record because KISS fans would like the song – so
why shouldn’t they find it on a KISS album rather than another company’s
record?” (Kerrang #392). During the promotion of the movie song and single the
band would use the piece as a pointer to the direction that they were going to
be taking on the album. Paul was less enamored with the inclusion of the song
on the “Revenge” album commenting, “it’s not one of the strongest tracks on the
album. It’s a good track, but there’s stuff on the album that leaves it in the
dust” (Kerrang #377). However, since the song had been a massive hit in
41.06. Domino
In some ways “Domino” can
be considered a companion track to both “Christine Sixteen” and “Deuce.”
According to Gene, “This song started out with a bass lick, much as ‘Deuce’
did. Once I had the meter down, I started writing rhyming words, but without a
melody – so it was almost a rap. Then I talked the song through with the lick,
and the melody just came naturally. The melody that came to me was the bass
lick, so I just shadowed my melody with the lick on guitar” (Guitar World,
8/92). Gene has also admitted to trying to copy “Deuce” with this track, though
the song borrows more than a little from the song “Nasty Nasty” which Gene had
written with Tommy Thayer and Jamie St. James for the 1986 self-titled Black ‘N
Blue album. It would be the spoken part of the song which would be reminiscent
to “Christine Sixteen.”
Originally demoed by Gene
and the band Silent Rage (which included ex-White Tiger drummer Brian Fox) who
were signed to his $immons Records, the song would undergo some changes during
the recording process. The original first verse went: “Here’s an introduction,
her name is Domino / Never had confession, if you really wanna know / Ain’t the
virgin Mary, love her, I confess / Got my hesitations, she kisses like the kiss
of death / Loves lots of money, back’s against the wall / Calls me ‘Sugar
Daddy,’ ‘cause she knows she’s got me by the balls.”
Bob Ezrin would change the
key of the solo so that “it feels like it’s got more energy” (Box Set Liners).
Gene would also play rhythm guitar on the track. Jesse Damon recalled how he
got involved songwriting with Gene and his band demoing material with him: “We
demo’d many songs for Gene & KISS. It started when he was writing for ‘Hot
In The Shade’ CD, and Silent Rage was also in writing mode, so that meant
plenty of time in our studio. Gene would come to our studio with new song
idea’s, and pay us to demo his new idea’s. It was a good learning experience!
He’d have an idea on tape with him singing or humming the melody line, and
playing a guitar riff or guitar part to it, or he’d come in and play it live
for us. Then we’d make it into a full band song demo. It continued through to
the next album. That’s when he approached me, and asked if I would like to song
write with him for KISS, of course I said YESSSSSSSSS!” (JG).
41.07. Heart Of Chrome
According to Paul, “I
wanted to have the absolute best songs for this album” (KISS Crazy #12). Enter
Vinnie Vincent who had provided a musical and lyrical injection into the band a
decade earlier. Without a doubt Vinnie’s contribution then had led to KISS regaining
some of the ground they’d lost during the years of experimentation. Bob Ezrin
would round out the writing of this song, especially since Vinnie would depart
during the writing of this song without it being completed. According to Paul,
“it’s always very interesting to realize that there really are no secrets if
there’s two people involved. Should you do something, you must realize that the
other person has the power to expose it. There’s nothing sacred that goes on in
the bedroom if one person chooses to divulge it, that’s basically what the song
is about. It’s about being betrayed and telling the other person “I’m still
gonna be able to get one up on you and show you” (BBC, 1992). This would also
be a song to feature Jesse Damon on backing vocals.
41.08. Thou Shalt Not
Gene’s ode to “don’t point
your finger at me.” According to Gene the song is essentially, “‘My Generation’
meets ‘go fuck yourself” (Metal Hammer 5/92). This song would be co-written by
Jesse Damon from the band Silent Rage who was signed to $immons Records. Jesse
Damon recalled, “when it came time for writing the lyrics, the story line used
was written with some real life experience about Gene, and some biblical theme
to coincide with the rest of songs on ‘Revenge.’ The music was written first,
from several writing sessions I had with Gene, over at his house” (JG).
However, the song’s subject matter is not the direct result of any overall
experience of Gene. Jesse Damon would sing backing vocals on the album
recording.
41.09. Every Time I Look At You
Irreverently referred to as
“The Pussy Song” this would be another of Paul’s power ballads geared towards
radio play in the same way “Forever” had been on the previous studio album.
Paul probably wouldn’t like the term “power ballad” since that has negative
connotations for him: “To me, a power ballad is an up-tempo song that’s been
slowed down to make it sound like a funeral dirge. We wanted something more
down to earth” (Kerrang #392). According to Paul, “when Bob Ezrin and I wrote
‘Every Time I Look At You,’ we were thrilled by how it turned out. I remember
he and I went to
41.10. Paralyzed
“Paralyzed” dated back to
the “Hot In The Shade” sessions for Gene and at the time had not reached a
condition suitable for use on the album and was only fully written by 1991. By
the time that “Revenge” was being recorded the song would be completed with
input from Bob Ezrin. There is an alternative version of this song that
circulates in collector’s circles which has an extended mumbling break section.
The extended recording is sources from the Argentine cassette and vinyl release
of the album. This song was originally demoed by Gene and members of Silent
Rage.
41.11. I Just Wanna
The full title of this song
was originally “I Just Wanna Forget You” which was eventually shortened.
Written by Paul Stanley and Vinnie Vincent this would be one of Paul’s favorite
songs on the “Revenge” album and would also serve as a radio single and video
for promotion of the album. The song would be one of the earliest tracks
completed and recorded for the album. It would also be one of the first tracks
heard by the public. In early April 1992 Los Angeles record station KQLZ-FM
caused the ire of KISS’ record label by playing an advance copy of “I Just
Wanna” nearly a full month before the debut single from the band’s album was
due to be released. In the case of the debut single, it was intended to be
“Unholy” for most markets, not “I Just Wanna.”
By April 13, PolyGram had
issued a ‘Cease & Desist’ order against the radio station playing the song
which was apparently an early mix and not the final album version. This would
also be a song to feature Jesse Damon on backing vocals. The opening riff bears
more than a passing similarity with Eddie Cochran’s “Summertime Blues.” The
video for this song would be filmed in
41.12. Carr Jam 1981 (Instrumental)
While “Carr Jam” was
recorded by Ace Frehley and Eric during the “Elder” sessions in 1981 as
“Heaven,” and would be used by Frehley’s Comet as “Breakout,” the track
included on “Revenge” would have a lot of work done to it. Initially Gene would
try to develop the instrumental into a song with lyrics and a melody line but
“we never quite finished it. It never came out good enough” (Kerrang #377), and
quite simply it wasn’t working. He would eventually give up and settled for having
Ace’s guitar parts removed and replaced by Bruce. According to Gene, “we wanted
to have Eric Carr play with us one last time” (KISS Crazy #13).
Paul adds to the history of
the song being included on “Revenge” commenting, “our producer, Bob Ezrin, was
going through our old tapes right when we started work on this album.... He
came across the great drum solo that Eric had done right after he joined the
band. We didn’t even know it existed! When we heard it, we figured it had to be
incorporated into the album in some way. We figured that song was a fitting way
to end an album that’s dedicated to Eric Carr’s memory” (Hit Parader, 8/92).
This comment would indicate that neither Gene or Paul had much to do with the
original recording of “Heaven,” which is quite likely since Ace, Eric, and
sometimes Bob were jamming out material at the time without Gene and Paul.
There is a further irony that Eric Carr had wanted the recording during his
tenure in the band, but that it would only surface following his death.
41.13. Do You Wanna Touch Me Now (Out-take)
This song was written by
Paul Stanley, Bob Ezrin, and Skid Row guitarist Dave “The Snake” Sabo and was
recorded for the “Revenge” album. It was listed for inclusion on the album
quite late towards the end of 1991 well into early 1992, but was eventually
left off the album. In an interview Paul would comment that the song was left
off because “as good as the song is, we didn’t need it. It’s a very cohesive
album that didn’t need any more dynamite in it” (Kerrang #392). Paul would hook
up with Snake following a conversation with Nikki Sixx who put Snake on the
call with him. When Skid Row came to
The song would be refined
in the studio with input from Bob Ezrin who described the song as “a genuine
grinder” (Strike #26). Bruce has suggested that the song had some issues, which
resulted in it not being included on the album: “It’s a very good song, it just
somehow didn’t end up on the album, because we didn’t need another song…
Certainly it was done for the record, but then it just…, you know, that one
didn’t get finished completely… We had a riff. That’s one part that they wanted
to change, and it frustrated us. So part of why it didn’t wind up on the
record, because everything on ‘Revenge,’ we were very very proud of, and we
felt we made it as good as it could be. And that song was like 85% there, and
it was just missing something” (LF Magazine).
41.14. Unholy (Demo)
This demo recording times
in at
41.15. Laughing When I Want To Cry (Demo)
Gene has happily admitted
that this song would not be suitable for a KISS record, still it was an
interesting collaboration between him and the great Bob Dylan. The music was
written at Gene’s guest house, and while Gene would write a lyric for the song
and demo it he considered it an unfinished work in progress. According to Gene,
“what came out was kind of a Tom Petty/Traveling Wilburys song. I wanted him to
write the lyrics, but he asked me to do it, so I did. The lyrics are okay, but
they sure ain’t Dylan” (Guitar School, 7/92). Gene expands on the history of
the song: “I wanted to write a song with Dylan. So, like most things I do, I
bull headedly picked up the phone, tracked down his manager and said ‘Hi, I’m
that guy who sticks his tongue out and I wanna write a song with Dylan,’ or
words to that effect. The results could only be ‘yes’ and ‘no.’ Dylan said
yes.... He came over to my house a few years back and we sat down and started
throwing ideas around. Bob came up with a melody/chordal pattern....I chimed in
with a melody/chorus idea and voila, we had a song. Lyrics weren’t written as
yet.... I demoed the track with Tommy Thayer. Bob came down to visit and listen.
When the demo was done, I asked Bob to write the lyric. He said no, why don’t I
write it. I have tried to write a meaningful lyric, but it has eluded me....
I’ve bumped into Bob a few times....in Tokyo, while he was on tour and every
time I ask him to write the lyric and he always says, ‘Mr. KISS, you write it’”
(GeneSimmons.com).
41.16. If You Could See Through My Eyes (Demo)
Paul co-wrote “If You Could
See Through My Eyes” with Warrant’s lead singer Jani Lane though according to
Paul they were both left with a half-completed recording, “Jani and I started
writing when they were working the ‘Cherry Pie’ album.... we got together and
started a song that was really good, so someday maybe” (KISS Crazy #12). This
collaboration had occurred in late-1990/early-1991 and pre-dated the band’s
recording of “God Gave Rock ‘N Roll To You II.”
41.17. You’re My Reason For Livin’ (Demo)
An unused track dating from
the “Revenge” era, this song would finally be released in demo format as part
of Gene’s audio CD lunch-box for “Sex Money KISS” in 2003. According to Jesse
Damon, the song demo was “recorded sometime between 1991-93. Around 10 years
ago. I absolutely thought it was a smash hit, not our demo, I mean the song
itself, the chorus ‘You’re My Reason For Livin,’ say’s it all” (JG). Whatever
the case the song is stylistically similar to material Gene would later record,
notably “Journey Of 1,000 Years” for the “Psycho Circus” album and can be seen
as being a latter-day “Great Expectations.” Running to 4:23 this very
atmospheric piece is keyboard laden before becoming acoustic with Silent Rage
serving as Gene’s backing band. While the piece does become a full blown
electric piece it includes some great lyric lines: “Can’t feel the pain / And
that’s a start / But the first time I saw your face / Was the last time I saw
my heart.”
41.18. Rain Keeps Fallin’ (Demo)
This demo was an early
version of a song that became more relevant during the period leading up to the
“Carnival Of Souls” writing sessions. Several different lyrical versions of the
song exist dating from around 1991 when the song was first demoed by Gene and
members of Silent Rage prior to the “Revenge” sessions. This demo was released
on a bonus CD with Gene Simmons’ “Family Jewels” Collector’s Edition DVD in
December 2006.
41.19. Hold On (Demo)
Simply the title of a song
demoed by Gene and members of Silent Rage during the “Revenge” era. Little else
known about the song.
41.20. Rotten To The Core (Demo Version #3)
This song, or at least
title seems to be one that Gene was both never able to let go of or never
developed to a point where he liked the arrangement, structure, or song enough
to push for a full band recording. What arrangement changes made to the 1992
version of this song are not clear, though it would be demoed by Gene and
members of Silent Rage prior to the “Revenge” sessions.
41.21. Never Gonna Leave You (Demo)
Simply the title of a song
demoed by Gene and members of Silent Rage during the “Revenge” era. Little else
known about the song.
41.22. Love Is Blind (Demo Version #2)
Another case of recycling
with this song originally dating back to 1977. According to Gene, “I recorded that song on
the road (possibly Chattanooga, Tenn) about 1977. I used a click track for
drums, one electric guitar and one bass. I sang all the vocals and harmonies”
(GeneSimmons.com). This song would be demoed by Gene and members
of Silent Rage prior to the “Revenge” sessions.
41.23. City Burn (Demo)
Simply the title of a song
demoed by Gene and members of Silent Rage during the “Revenge” era. Little else
known about the song.
41.24. Everybody Needs Somebody (Demo)
According to co-writer
Jesse Damon, “This was the first song Gene and I wrote together, it was in the
running as a song for a possible KISS Album, but didn’t make it. I liked it so
much, years later I recorded it, and put it out on my solo CD! When we wrote
the song, it came together very easy. I remember it taking only a couple
sessions to write it, and knew this was a good experience for both Gene and I. I
thought to myself this is the beginning of a great writing relationship” (JG).
Jesse would release his recording of the song on his “The Hand That Rocks” solo
album in 2002.
41.25. Thou Shalt Not (Rough Mix)
This song would originally
be demoed by Gene and members of Silent Rage, though when Bruce Kulick
performed the song a KISS Expos in 1996 the backing tape he used was markedly
different to the “Revenge” album version. Apart from lacking many of the vocals
the song’s second verse was different: “Well, the son of a bitch must be crazy
/ He’s tellin’ me I’m gonna go down / I said, “this ain’t no Wheel Of Fortune,
you ain’t the son of God / And I sure as hell don’t give a damn” / And it sure
looks like you want my soul to keep / I’ve got miles to go, before I sleep...”
No doubt there would have been problems with lyrics that could be construed as
referencing the popular American television show in the song.
41.26. Tough Love (Rough Mix)
Another rough mix Bruce
used for Expo performances. This one lacks any vocals.
41.27. Heart Of Chrome (Rough Mix)
Of 41.25-27, this rough mix
is really the roughest that Bruce used for Expo performances. This one lacks
any vocals.
41.28. Every Time I Look At You (Scat
Vocals)
Running 4:52, this recording sees Paul pretty clear
of the direction he wants to take with the overall vocal melody, and includes
many key lyrics such as "by the light of day" in the first verse and
the chorus transition "I got lost along the way" in the verses, but
little else on the other verses. The song has the basic chorus: "Every
time I look at you it's easy to see / Every time I hold you the things I never
told you, seem easy to see / You're everything to me." Musically, the
track is lacks the later lead and orchestral over-dubs. Musically the arrangement
is already nailed.
41.29. Heart Of Chrome (Instrumental)
This 4:04 version misses the original introduction
riffs, but is essentially the same bed-track used on 41.30.
41.30. Heart Of Chrome (Scat Vocals)
Very little of the verses has been figured out,
except "I'm gonna give it to ya / give it to ya/ Ooh!", but the
chorus is the basic blue print for that used on the album: "Hey, baby /
I'm gonna stick it in your heart of chrome / Hey, baby / I'm gonna stick it in
your heart of chrome / Your heart of chrome." Paul has the vocal melody
figure out on this 4:14 track. As would be expected there are no lead and
backing-vocal over-dubs. Gene and Paul have some silliness during the
instrumental breakdown, notably at 3:21.
41.31. I Just Wanna (Instrumental)
At 4:13 this instrumental sounds even more like its
inspiration song. Without the over-dubs many of the nuances of the music are
more apparent.
41.32. Take It Off (Instrumental)
41.33. Take It Off (Instrumental 2)
Slightly slower tempo than
41.32.
41.34. Take It Off (Scat Vocals)
41.35. Tough Love (Instrumental)
41.36. Tough Love (Scat Vocals)
41.37. Thou Shalt Not (Instrumental)
41.38. Crown Of Thorns (Demo/Title)
Mentioned in some fanzines
as a possible song title for the then forthcoming “Revenge” album. It is
possible that there was some confusion with Paul’s involvement with Jean
Beauvoir’s band of the same name.
41.39. Domino (Single Edit)
Simply replaces “she’s got
me by the balls” with “she’s gotta have it all” in attempt to become radio
friendly.
Television Session Notes:
Tracks 41.40 & 41 were
filmed in
41.40. God Gave Rock And Roll To You II
41.41. Unholy
Two takes of each song were
performed, though Paul forgot some lyrics during one take of “God Gave…”