CHAPTER 49 - Psycho
Circus (1998)
“Psycho Circus” Album Notes:
Produced by Bruce Fairbairn.
Recorded at One On One Studios and A&M Studios in
49.01. Psycho Circus
The preconceived
(some might say contrived) concept that served as the basis for KISS’ reunion
album. “Psycho Circus” was more about the whole marketing concept behind the
album and the commercial tie-ins that included: a 3-D tour, comics and
magazine, and other licensing opportunities. Early on it was decided to gear the album towards the “Psycho Circus”
theme. The marketing tie-in was the brainchild of manager Doc McGhee and
started making press in late-1997.
The title track was written
by Paul Stanley and Curt Cuomo, though Bruce Kulick and Bob Ezrin helped Paul
demo the song prior to the recording sessions. According to Bruce Fairbairn,
“Getting in Paul’s car and listening to a demo of that. We didn’t have an
opener for the record. We didn’t have anything that was going to start things
off. And he just looked at me and said, ‘check this. This is it...’ We both sat
there and looked at each other and started to laugh. Because that was it” (KISS
Online w/ Bruce Fairbairn). With the extended introduction KISS finally had the
animal circus introduction that mirrored one that the Beatles had once used.
For the track Paul was attempting to write a big visual track, similar to “King
Of The Night Time World.” Paul played lead guitar on the track, and Bruce
played bass on the song in addition to the demo.
49.02. Within
“Within” was a left-over
from the “Carnival Of Souls” album session and probably dated from late-1995 at
the earliest though its history stretched back to 1993/4. This song has one
definite extra-KISS performance on the “Psycho Circus” album, though not one
that dated to the album sessions: Bruce Kulick appears on the track during the
backwards introduction to the song. Gene had simply pulled that section from
the original demo rather than try to recreate it. According to Bruce Fairbairn,
“That weird heavy guitar sound that comes in. It was realizing what that guitar
sound was. It appeared in one of Gene’s demos. And it was so exciting when we
brought it in the studio and made that happen. Just that sound.... and the
thing that thing has.... That’s not like anything I’ve really heard from KISS
before” (KISS Online w/ Bruce Fairbairn).
49.03. I Pledge Allegiance To The State Of
This song was written at
Curt Cuomo’s house. Curt contributed the melody and bridge. When Paul thought
he had a completed song he took it to Holly Knight for a bit of final
polishing. Paul played bass on the chorus and lead guitar on the track.
49.04. Into The Void
The only song on the
“Psycho Circus” album on which Peter Criss would drum. It is also the only
track on the album to feature all of the members of the band, though Ace would
also play rhythm guitar. Gene would suggest that he and Paul did some work on
the song, something that Ace vehemently denied: “I can’t fuckin’ believe that
on ‘Into The Void’ Gene had the balls to say that he wrote the chorus on that
song - Unfucking believable! Unfucking believable.... Fuckin’ Gene to insinuate
that ‘Into The Void’ wasn’t not a enough song that him and Paul Stanley had to
rearrange it and make it better. It’s one of the best songs on the fuckin’ record.
And I can fuckin’ play you the original demo with different lyrics and it’s
almost the fuckin’ same song” (Ace Bash ‘02).
Unfortunately, in an
interview with Roger Lotring Ace admitted that Gene had some input, following
the rejection of his original “Shakin’ Sharp Shooter” demo: “Gene said to me,
‘Why don’t you rewrite the lyrics and write something about space, about
yourself.... y’know, like you’re in a black hole, or you’re in the void.’ I
said to myself, ‘Yeah, ‘Into The Void,’ that sounds good’” (Prime Choice). Ace
also admits other minor assistance with the track: “Everybody’s got a little
input in it. Paul helped me rearrange the song, musically; Gene came up with
the title; Peter played a great drum track. We rehearsed it in just a small rehearsal
studio. In the afternoon, we went over to the studio we were tracking in, and
we did three or four takes. We ended up keeping the first take, which I loved,
because the first take always has spontaneity” (Prime Choice).
Karl Cochran comments on the
song’s transformation: “As far as the basic song structure, almost nothing was
changed from what Ace and I wrote. I have the original demos that were cut in
Ace’s studio, and basically it’s the same song. Ace just changed the title of
the song after the demo was done, which Gene had mentioned to him”
(morbid-sounds.de). Even with the changes the song very nearly didn’t happen
for the album with producer Bruce Fairbairn being unsure that Ace could get the
song fixed in time to record it the next day. Ace would still be finishing the
final verse in the studio as the recording commenced. Regardless, the song was
credited as being written by Ace and former Ace Frehley Band member Karl
Cochran. Once recorded Ace was unhappy with the mix which Bruce did of the song
and insisted on remixing the track himself, to make the song more raw, with the
guitars and drums higher in the mix.
49.05. We Are One
Written by Gene Simmons, Gene would play some guitar on the track while
Paul would play bass and acoustic guitars. Gene would do several rewrites on
this song before it reached an arrangement which he was satisfied with. Minor
lyrical changes would take place with verses being moved around.
49.06. You Wanted The Best
Written by Gene Simmons. Gene commented, “It’s interesting, ‘You Wanted
The Best’ is the first time we’ve all sung together. The lyrics talk about a
time when everyone in the band was bitching at each other in the press. With
family, there’s always a mixture of affection and bickering. Listen, we’re
really servants of the people. Ultimately we have to brush aside our internal
differences for the greater of the whole, the greater good, which is the fans.
The least we owe them is to shut up, get up on stage and put out” (KISS PR).
This song started out life in 1977 called “Just Give Me Love” though Gene would
drastically rework the song to make it the story of the band members. According
to Gene Simmons, Tommy Thayer would play lead guitar, including the guitar solo
on this track. Tommy has commented that the guitar may have been Ace.
49.07. Raise Your Glasses
The “Advance” album would cut the drum
introduction on this song by 5 beats for some odd reason, but was otherwise
identical to this album version which was written by Paul Stanley and Holly Knight.
49.08. I Finally Found My Way
Written by Paul Stanley and Bob Ezrin, Paul nearly didn’t feel that the
song was suitable for use on the album. The only inspiration for this song was
for Paul and Bob to try and write something which was perfect for Peter’s voice.
Peter was flattered by the song while being disappointed that his own material
was rejected, especially with his own ballad having a similar message to the
one Paul and Bob had delivered. According to Bruce Fairbairn, “We had listened
to a couple of things that Peter had written for this record, but they weren’t
appropriate, so Paul and Bob Ezrin got together and wrote a song for Peter with
his voice in mind. This is a great song and a beautiful piece of music. Peter
weighed in and took on the personality of the song even though he didn’t write
it” (Craig Thullner – Professional Sound, Dec. 1998). Peter suggested that he
and Paul both sing the bridge. Bob would also play the Fender Rhodes on the
track, as he had done at the demo stage with Paul. Paul would play bass on this
track while Gene isn’t even on the recording.
49.09. Dreamin’
One may very well wonder if
Paul Stanley listened to Alice Cooper’s “I’m Eighteen” prior to writing this
song and it was hardly surprising when Alice’s publishing company, Six Palms
Music Corp, sued Mercury Records, Paul and co-writer Bruce Kulick. In the
Initially the band and
producer were generally unimpressed with the song since it really didn’t jump
out of the speakers in demo form. Gene saw that it had possibilities and
rearranged the piece turning it into the form recorded for the album. Gene’s
notes suggest that he removed the bridges and used a breakdown section as a
verse while refining the melody of the verse. This, according to Bob retained
all of Paul’s original work but took the song from “good” to “special.”
49.10. Journey Of 1,000 Years
Written by Gene Simmons, this track would become the final song on the
album. According to Bruce Fairbairn, “KISS can get away with having an intro
and an outro on their albums, and this one has a perspective.... and a sense of
theatre.... If anybody can pull it off, it’s KISS. It can use different
elements and tricks that may be hokey and over the top to someone else, but
KISS can get away with it” (Tom Harrison - The Province). It would be for that
reason that the “Psycho Circus” solo would be tied back, using strings, into
the end of the song to bring the whole album together.
49.11. In Your Face
Originally released as the
Japanese album bonus track, this song was written by Gene Simmons for Ace
Frehley to sing. It would turn up on special CD singles in the
49.12. Space Fever
“Space Fever” would be a
song that Peter was writing prior to the “Psycho Circus” recording fiasco,
which he thought would be a good song for Ace. According to Peter, “I actually
just told him about it and he loved it, so we’re going to write some stuff
together. It’ll be very cool because we’ve never done that before. It’s
amazing. It’s like we’re kids again” (Go Figure, 1997). Nothing ever came of
the song or the collaboration idea.
49.13. I’m Back
Song written by Paul
Stanley for the “Psycho Circus” album which would not be used.
49.14. I Wanna Rule The World
During the chaotic “Psycho
Circus” sessions nearly 20 songs would be recorded for use for the album. This
Gene Simmons composition was written with Ace Frehley in mind. It was, however,
not used. According to Gene, the song “was very Mott The Hoople, crossed with a
bombastic John Bonham beat. You British like the heavier stuff, but we
purposely left out a lot of the heavier ones because the record as it stands
makes a much stronger musical statement”(Classic Rock, 1/99)....
49.15. Psycho Circus (Weapons Of Mass Destruction)
As had been the case where
Gene Simmons had once suggested a song-title for “Black Diamond,” which Paul
then borrowed to write, and Paul had suggested “Christine Sixteen” which Gene
proceeded to write, with the pre-conceived ‘concept’ for the KISS reunion album
both Gene and Paul would write title tracks for the album. Only Paul’s song
would be used.
“Psycho Circus (Weapons Of
Mass Destruction)” was Gene’s version of the title track which was a very much
darker piece than Paul’s song. It would see Gene dealing with lyrics
concerning, as the title suggests, weapons of mass destruction in a biblical
sense: “Born in the ashes of ruin, at the birth of your kind.” Bruce apparently
played bass on the demo. According to Gene, “I convinced him [Ace] to come down
to the demo studio to try and sing ‘Weapons [of Mass Destruction]’. I still
have the demo. It didn’t work” (Simmons, Gene – Sex, Money, KISS).
49.16. Shakin’ Sharp Shooter
Written by Ace and Karl
Cochran this song would become “Into The Void,” with a little bit of suggestion
from Gene Simmons. According to Ace, “Originally, when I played that song, it
was rejected. And I thought the guitar riff was great; I thought the music to
the song was great, but Paul and Gene and the producer rejected it because they
didn’t feel it was strong enough, and it wasn’t so much in tune with the themes
of the other songs” (Prime Choice).
49.17. Hope
Along with another song,
“Hope” would be a tune written by Peter Criss for the KISS reunion album in
1998. According to co-writer Mike McLaughlin, “I originally wrote the music
back in around ‘97 and sent it to Peter, and he liked it and wrote the melody and
lyrics. We went in an recorded it with the intention of using it for the
‘Psycho Circus’ album. But the rest of the band rejected it. Peter and I were
both really bummed cause we both loved this song, so it just seemed natural to
bring this one back for the new CD” (JG). Peter considered the song to be an
excellent piece of work, naturally a ballad, which was written in a similar
vein to the song Bob Ezrin and Paul Stanley eventually gave him to sing. As the
title implies, the song was about Peter facing the numerous challenges in his
life in a positive manner....
49.18. Life &
An Ace Frehley and Anton
Fig collaboration, this song was written around the time of the “Psycho Circus”
sessions.
49.19. Together
Written by Peter Criss and
Tommy Thayer, this songs was one of Peter’s only contributions to the “Psycho
Circus” album, though it had been mentioned as a song written on the road back
in 1996. With Tommy not only being the band’s tour manager and involved in the
business side (recently Box set), he has an association with Peter Criss going
back to Peter’s guest appearance on the 1986 Black ‘N Blue album “Nasty Nasty”
in addition to being the standby Ace Frehley at certain gigs on the Farewell
Tour....
49.20. You Make It Hard For Me
Written by Sebastian Bach
(ex-Skid Row) and Ace Frehley, this song was intended to be included on the
Psycho Circus album, having apparently made it so far as to attain the approval
of producer Bruce Fairbairn. As the title would suggest, there is some sexual
innuendo reminiscent to KISS’ own “(You Make Me) Rock Hard” from the “Smashes,
Thrashes, and Hits” album released in 1988. Unfortunately, the song would get
scratched from the album. Sebastian recalled, “something happened and it wasn’t
on there. I talked to Gene Simmons and I asked him what happened and he said he
didn’t want any songs about sex on the new record because he had done so many
songs like that. I thought Gene would have loved that, but, I was wrong. Maybe
that’ll come out on Ace’s solo record if he does one”
(ballbusterhardmusic.com).
Ace and Sebastian would
write the song in early January 1998 prior to the album sessions starting.
Sebastian would reportedly state: “Dream come true # 8,648: I spent the last 2
days writing songs with the most talented guitarist in history, Mr. Ace Frehley
of KISS. Ace invited Richie Scarlet, myself & Anton Fig to come up for a
couple of days & work on brand new songs. Anton Fig has been one of my
favorite drummers on the planet ever since I heard ‘Rip It Out’ on the first
Ace solo album, and his grooves these last 2 days knocked me on my ass. He is
so nice as a person that any intimidation I may have felt was immediately put
to rest. I was extremely honored to write music with these consummate
professionals. Ace has tons of new songs and I’ve never seen him in such a
creative state of mind! Our songwriting styles clicked like a lock blade knife
& we came up with tons of ideas that Ace is tightening up as we speak.
Pinch me I’m dreaming right? You all know that Ace has always been my favorite
guitarist, songwriter & live performer, & he’s probably the funniest
alien that I’ve ever hung with. To jam with these guys was one of the
highlights of my life & we’re meeting up later this week to do it all
again!” (RMAK, Jan. 1998). It would seem likely that parts of song, if only the
title, were based on a song with the same title Ace that had written with Marty
Kupersmith in 1985. Sebastian also has connections with other members of Ace’s
solo bands having used Richie Scarlet as his guitarist for his “Bring ‘em Bach
Alive” album. See also “Ace Frehley post-KISS” section.
49.21. Sweet & Dirty
“Sweet & Dirty” was the
result of another case of Gene recycling an older demo. In this case, the core
riff from the 1976 demo “Rotten To The Core,” would be used on a then current
song. Lyrically, the song would borrow parts of the verse of the original
“Jelly Roll” demo. Considering that 19 songs were recorded for the “Psycho
Circus” album, with only “In Your Face” and “It’s My Life” so far being
released from that 9 track over-flow selection, the quality of the original
demo would make this an interesting song though how the riff was interpreted is
unclear as are any lyrics for the song.
49.22. Justice For All
Ironically written by Peter
Criss with Gene Simmons in mind this was another track which would be discarded
at an early stage. With some of the political problems facing the band
throughout the recording of the album it may have had subtle over-tones about
how Peter felt about the 1996/8 “Reunion” financial structure of the band. This
would be another contribution rejected from the album sessions.
49.23. Body And Soul
Another discarded Paul song
from the “Psycho Circus” album. While Paul thought that the song was great it
didn’t blend with the overall tone of the album and was not used. Bruce
apparently played bass on the demo.
49.24. You Are Mine
Another Gene composition
for the album. Not clear if it was demoed or recorded. Of all of the
interesting notebooks Gene auctioned off during the Butterfield’s/EBay auction
of 2000, one piece included a note which listed this song among possible tracks
and the following: “Negotiated the following deals: Drums – Kevin Valentine,
$125,000; Gtr – Tommy Thayer, $20,000; A&M overdubs, $1,000 per day.”
Whether those salaries are what they actually got paid is another matter.
49.25. I Only Come Out At Night
49.26. I Had A Dream
Additional Gene
compositions for the album. Not clear if these were demoed or recorded.
49.27. Psycho Circus (Single Edit)
This would be released on
some of the singles for the track and was simply an edit which removed the
circus introduction to the song. This chopping would cut nearly 1:30 off the
length of the track.
49.28. Raise Your Glasses (Collector’s Mix)
Essentially, even with the
misleading title, this track is Paul’s 24-track demo which he recorded with Bob
Ezrin.
49.29. Within (Edit)
During October 1998 it was
for a short time planned to release “Within” as the second radio single from
“Psycho Circus.” As a result a limited number of CD-R acetates of the track
were produced with a 4:08 edit version of the track which cut around a minute
from the track. The plans were soon dropped in favor of releasing “You Wanted
The Best.”
49.30. We Are One (Edit)
Another single release
which would cut nearly a minute from the track.
49.31. Untitled Song
49.32. Untitled Song #2
Jesse and Gene would
co-write three songs only of which one would be used on the “Psycho Circus”
album.
49.33. Carnival Of Souls (Version #2)
While this song was a
left-over from the previous studio album’s writing sessions it would be tried
out for the “Psycho Circus” album so see if it would work with the “Reunion”
album’s pre-planned theme. However, the song would again be discarded with Gene
using the 24 track recording during his “Speaking In Tongues” lecture tour.
49.34. It’s My Life
One of the additional tracks recorded for “Psycho
Circus,” this song which had been in KISS’ catalog for nearly twenty years,
would again find itself excluded from a KISS album for which it was recorded.
Ace Frehley would play some guitar on the recording and share some of the
vocals. By the time the song was released on the box set, it would be subtitled
“Original Version.” Perhaps it had been intended to be called the “Originals
Version,” since the song had first been recorded in 1982 during the “Creatures
Of The Night” album sessions without the involvement of either Ace Frehley or
Peter Criss.
49.35. Starchild
49.36. Damn, I’m Good
49.37. Radioworld
49.38. Never Gonna Leave You
49.39. Thank You And Good Night
49.40. I Turn To Stone
49.41. Eternally
49.42. Roar Of Greasepaint
49.43. Shadows
Rewritten by Gene 2/28/98. Chorus: “And shadows are
fallin’ over me / Drownin’ out my misery / Or drownin’ me in misery / And shadows
are fallin’ / shadows are fallin’ / Down, down, down.”
49.44. It’s Gonna Be Alright
49.45. Everyday Above Ground
Entries 49.35-49.45 are additional song/lyrical ideas
written by Gene Simmons. They were at least refined/considered for by Gene
use/recycling during the “Psycho Circus” album sessions. Naturally, some ideas
date from earlier pieces as complete songs or lyrical ideas. The titles come
from one of Gene’s lyric books that dates from the 1996-8 period. Some of these
have been demoed and were listed for inclusion on Gene’s demo box set.
49.46. Night Screams (Gene Simmons)
49.47. Jump Me (Paul Stanley)
49.48. Picture This (Paul Stanley)
49.49. Crave (Ace Frehley)
49.50. Cracked In 2 (Paul Stanley)
49.51. Twin Lies (Gene Simmons)
49.52. Realm (Paul Stanley)
49.53. Stuck On You (Peter Criss)
49.54. Temptation Temptation (Gene Simmons)
49.55. Amazon Train (Ace Frehley)
49.56. A Matter Of Fact/A Matter Of Time (Paul Stanley)
49.48-49.56 are song titles that were rumored in
January 1998 to be material that was under consideration or written for use on
the “Psycho Circus” album. Since these have never been mentioned by any of the
band members in interviews, or such, they were totally unsubtantiated and are
nothing more than internet rumors.
Psycho Circus “Live EP” Album
Notes:
Special live tour EP
released with a special repackaged version of the “Psycho Circus” album. This
package, using the standard 10 track version of “Psycho Circus” as disc 1, and
the six tracks as a live disc 2, was released in
49.57. Psycho Circus
49.58. Let Me Go, Rock ‘N Roll
49.59. Into The Void
49.60. Within
49.61. 100,000 Years
49.62. Black Diamond