When KISS played their debut concert at the Coventry in Queens, New York, on Tuesday January 30, 1973, they already had plenty of original material from which to constuct their set. Most of their songs had been worked on during late-1972 before Ace Frehley's addition to the band in late-December. Lydia Criss has been adamant that Ace had joined the band by Christmas 1972. During those first two sets the band would perform "Deuce," "Watchin' You," "Love Her All I Can," "She," "Simple Type," "Keep Me Waiting," "Want You Beside Me" (aka "Life In The Woods"), "Baby, Let Me Go" (aka "Let Me Go, Rock 'N Roll"), "Firehouse," and "Black Diamond." "Deuce" had been the first original that Paul "Ace" Frehley had played with the band at his audition (followed by "Firehouse"). Gene has insisted that when he booked this gig it was under the name Wicked Lester, though print advertising for the show clearly denotes KISS. Regardless, few people came to see the band and the audience consisted mainly of those connected to the band, including Peter's wife and Gene's girlfriend. Paul recalled, "there were literally five people in the place. I'll tell ya, there's nothing like playing 'Strutter' [Ed. Note that "Strutter" wasn't performed at the first gig, though the point Paul is making is clear] for a bartender and four barmaids" (Guitar World Legends #14). However, KISS were at least doing what Gene and Paul had always wanted - to play sets of original material rather than the covers they'd ended up having to include in sets and on the Wicked Lester album. That the band's first three shows (1/30-2/1) weren't well attended is hardly surprising since they were booked during the middle of the work week (Tues/Wed/Thurs), rather than popular Fri/Sat schedule. With a lack of audience these first shows would allow the band to transition from rehearsal loft band to venue stage in an easy manner.

    The band certainly didn't look like KISS at this point, with makeup guises and costumes. In the beginning the band had done a certain amount of visual experimentation from the basic plain mime "white" face to the more "street" glam look similar to the New York Dolls. For the first show Paul would wear jeans and a sports jacket over his Mom's glitter shirt; Ace a white turtle-neck and jeans; Peter, a blue shirt and red pants; and Gene brown bell-bottoms and white sailor-suit top. Of the four only Gene would be wearing any substantial amount of makeup, having a coat of white-face with black "splotches" around the eyes looking more like a whore who'd been crying. This was nothing like his later "demonic" design. The band's club era marks the true transition from Wicked Lester to KISS as 4 Wicked Lester songs, two each written by Paul and Gene, would appear in the set list. Throughout the year the set would be refined and by December "Simple Type" and "Keep Me Waiting" would be dropped. Three of the songs, "Deuce," "Firehouse," and "Strutter," had also been performed by the final version of Wicked Lester during an audition showcase for Epic Record's A&R President in November 1972. Two dates would be booked for Gene, Paul, and Peter to play showcases for Epic, on November 20 and 28, 1972. It's not clear whether both dates were used or simply one.

    With KISS only playing sporadically throughout 1973 more attention would be paid to the band rehearsing and refining new material. At the occasional shows the band were able to book new material would be dropped into the set. One early addition would be a cover of the Moody Blues' "Go Now," which Paul Stanley has commented was regularly performed by KISS during their club days. Furthermore, he has suggested that the was recorded in some lower form by the band. This could mean that it was recorded live, or as a very rough demo. The band would never properly record the song having never transformed it properly into an acceptable KISS arrangement. It is possible that the song was recorded rough during the Bell Sound Studios demos sessions prior to the recording of the first album, though this is conjecture. It is interesting to note that the original version of the song was one of the earliest Moody Blues songs, well before key member Justin Hayward became involved in the band...

    When KISS recorded their demo in March 1973 Eddie Kramer chose the five songs which would be recorded during the demo session. To his ears these 5 songs represented the best, or at least stand-outs, of the 15 songs he heard when the band had auditioned for him at their rehearsal loft. These were the songs which had reached a certain level of maturity with both their arrangements and execution, though Eddie wasn't exactly blown away with the band musically. According to Eddie Kramer, "they weren't really good musicians at all in those days, as good as a unit they became, but certainly in the early stages Ace really impressed me. Ace was the sound of KISS, more so that the others. He lent a certain over-the-edge, over-the-top kind of feel" (KISS This, 1/94). It is apparent that the songs they chose to record were the core KISS songs to that point (and some might argue even to this day), within the limitations of the studio time they had available: "Deuce," "Strutter," "Black Diamond," "Watchin' You," and "Cold Gin."

    Three of the songs on the demo had been performed live at the band's debut concert, and it is likely that the others had also been in sets at the few shows played between January 31 and March 13, when the demo was completed (KAF). Since the band had played shows at the Daisy on March 9-10, it would seem most likely that the demo was recorded from Sunday March 11 to Tuesday March 13, however the gaps in KISS' show schedule leave open the possibility that the demo was recorded during February or early March, with the finished reel being completed on the 13th. Regardless, KISS would perform a 15 song private showcase for Eddie Kramer at some point prior to his agreeing to engineer their demo. Also present at this showcase would be Ron Johnsen and his wife Joyce. Ron recalled, "when the band started to play, we all had to put cotton in our ears because it was so unbelievably loud. Joyce ended up passing out - she just collapsed and fell right down on the floor" (KISStory).

    Other material would be added to the band's repertoire during the year including "Strutter," "Let Me Know," "Acrobat," and "100,000 Years." Some of these songs are listed on the reel recording displayed in KISStory from a show at the Daisy which included "Firehouse," "Life In The Woods," "Simple Type," "Acrobat," "Deuce," "100,000 Years," and "Black Diamond." The date of the recording has caused some confusion, but it is now believed to have been recorded in June (KAF) due to some of Paul's stage commentaries.

    Regardless, after the band's debut shows at the Coventry, the Daisy, located in Amityville, Long Island, would be the second venue where KISS would play. Owned by Sid Benjamin, according to Paul, it "was no bigger than a living room. We played for 60 people who thought we were out of our minds. They came back the next night to see if we were really what they remembered. We'd sit in the office answering the phone: 'There's an amazing band called KISS playing tonight - you've got to see them!'" (Faces Metal Muscle #1, Spring 1986). From early on in their career KISS were willing to do whatever it took to get people to come to their shows and hype themselves. By the time KISS played the Daisy, the evolution of the makeup had continued. By early March Ace was now simply using his silver eye design without the rest of the white facial makeup. Paul would still be very glammed out with more facial rouge and eye-liner. During the early phase of experimentation the band used zinc-oxide cream which was easily available from pharmacies, though later they'd use clown white by Stein or Max Factor. As shown in Lydia Criss' famous photograph of the band with Sid at the Daisy (KISStory p. 26) Gene and Peter are using the full white face designs which are approaching their final form. Only Paul remains the New York "doll." The Daisy would be the real proving ground for the band through June 1973.

    This early self-promotion was not limited to answering phones. The band would send out fake press-releases to try and garner interest. These press-releases did work. According to Sean Delaney, "Gene had sent us a phony press release and press packet. Listing all the places they had been playing and reviews of their performances. All were bogus. I remember laughing and telling Bill, 'if they have gone to this extent to get our attentions, let's go see them'. And we did" (JG). As the year progressed the band would start to play shows with other bands. In order to gain a fan base KISS needed to play shows with other bands so in May 1973 they played a gig opening for The Brats and Queen Elizabeth (which featured Wayne/Jayne County) at the Bleecker Street Loft in Greenwich Village. While the two bands would only appear on three bills together the final of these, on July 13th 1973 was the first "Rock And Roll Ball" showcase KISS had put together.

    The Brats were one step ahead of KISS at the time, having played their debut gig at the Hotel Diplomat, opening for the New York Dolls, on March 16, 1973. With connections to the Dolls and Alice Cooper they were part of the more legitimate glam scene and benefited from resources KISS lacked. Part of this was a result of the band having some "names" involved in the group. The Brats had formed in 1972 by guitarist Rick Rivets. He had, more importantly, co-founded the New York Dolls with Johnny Thunders and Arthur Kane in 1971. After leaving the Dolls in February 1972, being replaced by Sylvain Sylvain, Rick started looking to put a new band together. The Brats would contain similar elements to the Dolls and in general to the glam scene of the early 1970's with their platform shoes. The Bleecker Street loft was actually the Brat's rehearsal loft which was rented by their bassist David Leeds. For a short time in early 1973 the band's lineup included Ron Blanchard on guitar, though he soon left to form the band Rags (this band would also play with KISS opening for them at their final shows at the Coventry in December 1973). The band would add Anton Timps on lead guitar during the summer of 1973 but his initial tenure in the band would last just over a year. In contrast with KISS, the Brats played a mix of originals and covers at the time.

    Wayne County, on the other hand was the transsexual (later Jayne County) lead singer of the punk band Queen Elizabeth. Wayne was part of the Max's Kansas City scene and also played with the Dolls. Gene recalled one of the early gigs, "we played with The Brats and Wayne County in The Loft, 52 Bleecker Street. We were not the headliners, we were third on the bill. And I'd have to say, without being too humble about it, that we chewed them up and spit them out - although we didn't know it at the time. And we just came out and we came off like a British band, like Sabbath meets-The Who-meets something, I don't know what. And it wasn't planned. It was just that those songs were in us. And we were not even aware that we looked different. It's like the makeup, we never think about it. And then afterwards we saw photos of us and we looked at them and said, 'wow, we thought they looked weird, look at us!'. We looked like we just landed from Mars. And we had the platforms then too. March '73" (KISS PR, 1/28/93). The whole way the band operated, even at this early stage of their career, set them apart from their peers.

    During the year the band would under-go a visual evolution as their makeup designs developed. By March 1973 Gene, Peter, and Ace would have their basic make-up designs in place, though they'd still be performing in street clothes. By the late Spring Paul had finally added his "star" design and the costumes were coming together. He'd initially try the design out using Maybelline waterproof eyeliner, though "it would crack because it's only meant to draw a line around your eye, not a star" (Guitar World Legends #14). Gene would usually play in a black T-shirt, either with a KISS logo or skull and cross-bones design, with black leatherette pants. He'd sometimes use a black biker jacket. Ace would also play with a black KISS T-shirt though also had a black custom shirt with a gold spread eagle-wings design sewn on the front. During the final club shows of December 1973 he'd wear a black T-shirt with "ACE" designed in sequins. Paul, when he kept a shirt on would often wear a black T-shirt, though also wore a biker jacket with the pants he'd made for himself. Peter would dress for comfort often wearing basic loose tops (black tank tops), later with blue jean shorts over black tights. One of the bands on stage at the Coventry that December night would be Flaming Youth, which would later provide some inspiration for a KISS anthem...

    The final club shows in August 1973 marked the end of the band's club era, though they would play two final dates at the Coventry in December. With recording contract in place the band settled down to record their debut album for Casablanca records. The band would play their industry debut show at the Academy of Music on December 31, 1973 opening for Teenage Lust, Iggy And The Stooges, and Blue Oyster Cult. Appearing first on the bill left the band with a very short opening set which was comprised of: "Deuce," "Cold Gin," "Nothin' To Lose," "Firehouse," "Let Me Know," "100,000 Years," and "Black Diamond." This set would start to form the core of what would become the standard set for the much of the band's first tour. More importantly, the band had undergone a transformation in their visual appearance and stage show presentation.

    Migrating out of the clubs the band replaced the spider-web backdrop they'd been using with the now (in)famous KISS logo. However, the spider-web backdrop would still get occasional use at venues where the logo couldn't be used properly. This would be the case at the band's press concert at the Filmore East in January 1974. This first KISS logo was nearly 10' wide and 4' tall and was first used at the Academy of Music show on New Year's Eve. Lydia Criss recalled the use of the KISS sign for the first time, "it was actually a surprise. KISS didn't even know it. Bill Aucoin just said I have a surprise for you, and he wasn't going to tell them. When they got on stage (they were the opening act) the headliner was saying, 'what the hell is going on here, this fucking logo that's huge, who do these guys think they are'. Even I was amazed when I saw that thing light up. It was huge" (Firehouse #60). It would be that sort of outrageousness which would set KISS apart from other bands, not only how the band performed. Other effects added to create the first stage show was a levitating drum riser for Peter Criss. The idea for this effect had been Peter's, who simply didn't want to be a drummer hidden in the back of the stage.

    Peter would also be provided with pyrotechnically charged drum sticks which would prove rather too dangerous as the band's first tour progressed. A revolving fire-engine light was added to augment visually the "Firehouse" song. Most importantly, it would be at the Academy of Music show were Gene first breathed fire for a paying audience. Much of the credit for the visual core components of the KISS stage show needs to be given to Sean Delaney, since they simply didn't exist until Bill Aucoin and Sean got involved with the band. According to Lydia Criss, "that was all basically, from what I remember, Sean Delaney's idea. I mean I'm sure everyone in KISS had their own input as far as what they wanted. They might have added things, but Sean was the one that originally came up with all the fire breathing and blood spitting and that type of stuff" (Firehouse #60).

    According to Lydia Criss, Gene had practiced the fire breathing trick during the band's rehearsals during the Autumn of 1973, but never in front of a proper audience. Gene had learned how to breathe fire from a magician, Amaze-O who had been summoned to Bill Aucoin's office to demonstrate the technique to the band. Since there was already a levitating drum kit for Peter, it was down to one of the other three members to take on this trick. Gene seems to have ended up with the task be default with Ace and Paul more quickly opting out, though as with much of KISStory there are several versions of the story: 1) Gene volunteered; and 2) Gene got the effect by default.

    The first performance of the fire-breathing was not particularly successful. According to one contemporary review of the New Year's Eve show, it "almost proved disastrous as the hair of bass guitarists/lead vocalist Gene Simmons, weirdest in make-up, caught fire. A roadie quickly covered it without a note being missed" (Kirby, Fred - Variety 1/2/74). That roadie would be one Sean Delaney who was much more to the band than simply a "roadie." Sean was Bill Aucoin's room-mate and became involved with the band at the same time as Bill during August 1973. He immediately made an impact working with the band developing their stage presence. According to Sean in an interview with Steve Stierwalt, Jr., "prior to me there was no KISS. There was a band that had no show, no choreography. And really no makeup. I put the blood in Gene's mouth… With Paul, I taught him how to swish his ass... I developed the live shows, the stage-acts, and the personas of the guys" (KissFreaks). Modestly, Sean rates his importance to KISStory: "I am the man that choreographed the entire band and show from the very beginning. That means when I met Gene, he did not move like a demon, or did Paul prance and dance like a She-He. Their hair was not tinted black nor did they have a SHOW. All that came out of my imagination…" (JG).

    During late-1973 Sean and Bill would start video-taping KISS' rehearsals as a tool to aid the development of the band visually. According to Gene, "we would do our stage act, and he would stand off to the side, stopping us at certain points… and when he made a suggestion, he could show us exactly what he meant on the tape. We could see out act coming together and our poise growing" (KISS & Make Up). After that first show Sean would also have a new role: Fireman. According to Lydia Criss, "and after that he had Sean Delaney on the side of the stage every single show ready with a wet towel in case it happened again" (Firehouse #60).

    Because of the band's club shows the whole of the KISS debut album had been performed live by mid-1974: "Strutter," "Deuce," and "Firehouse" were first performed (live) in November 1972 during a private showcase performance for Epic A&R; "Nothin' To Lose," first performed during the middle of 1973; "Cold Gin," was probably included in set lists from March/April 1973, and was certainly performed at the band's New Year's Eve show at the Academy of Music; "Let Me Know," first performed during the middle of 1973; "Love Theme From KISS," performed as its original component part of "Acrobat" from the middle of 1973; "100,000 Years," first performed during the middle of 1973; "Black Diamond," performed at the band's first show in January 1973; and "Kissin' Time," which is listed last on for this group of songs from the first album, was never a part of KISS' catalog until they recorded it with Kenny Kerner and Richie Wise in April 1974 for Casablanca Records PR hype. While it was released as a single, the band were against it being added to the debut album, though it was added on pressings issued in the summer of 1974 onwards. This song would be performed live several times during May/June 1974 while the single and kissing contest promotions was "active." It was quickly abandoned once there was no further reason for the band to play it. Added to the band's set throughout the year would be a bass solo spot for Gene and drum solo spot for Peter (usually following "100,000 Years").

    The band's makeup and costumes had solidified towards the end of 1973 with two major exceptions: 1) Peter's appearance on the first album's cover; and 2) Paul's two shows performed with him wearing a "bandit" guise. Paul's appearance for the two January 1974 shows, only one of which was for the public, was apparently the result of his being unsure that the "star" makeup was right for him.