Literary gremlins are a pain, though this page also allows me the scope of enhancing and restoring material cut from the
final manuscript of the "KISS & Related Recordings Focus." Song-title entries noted in red are
corrections; those in orange are
enhancements/clarifications; those in Grey are dubious additions I didn't want to include in the
book, but feel should mention; and those in green are additions. At this point I can't decide
which annoys me more, red or green?
A second 3:19 version of this recording does exist which essentially starts the song from the first chorus omitting the first verse. There are slight lyrical and arrangement differences between the two recordings with the shorter version having a better stereo-like separation. Following the second chorus there is a short acoustic guitar solo. This version makes the lyrics more discernable for the second verse: "I know (I know), ooh, you can't run slow now / You've got to (got to) move baby / Get up and go / Well I said there'll be no (be no), no now / No relaxin' on the road, no baby / 'Cause once they catch you / Then that jail gonna be your home, whoa!"
I said, "While the song was written by Paul Stanley, what it sounded like is unknown to anyone but those who played it, or heard it the show or the recording of the show." It appears that my thought didn't make it to my fingers while typing, let's try: "While the song was written by Paul Stanley, what it sounded like is unknown to anyone but those who played it, or heard it at one of Rainbow/Wicked Lester's few live shows, or have been lucky to have heard the recording of at least one show known to exist (but not circulate)"...
Clarification, this title was a written song, however it is not clear whether it was ever demoed by Gene...
Clarification, this title was a written song, however it is not clear whether it was ever demoed by Gene...
Clocking in at 3:17, Gene's early demo of this song features the "Group With No Name" on backing vocals. There are some minor lyrical arrangemet changes, notably on the first break with "And baby, baby, you can have me absolutely / For..." being sung instead of "Oh baby, you can have me absolutely Won't you give me..." In Addition, the girls sing "True Confessions" on the chorus with Gene alternating "Won't you give me" and "And all I need is."
Written prior to KISS, Gene would record a 2:35 demo of this track around the same time as "True Confessions" and "Burning Up With Fever." Very little would change between the demo and Gene's 1978 recording, though the second line of the song would be changed from "* Don't know if I'll ever find it, but now…" to "I don't have any doubts about that fact."
The radio single mix reduces the length of the song by 20 seconds to 3:02. The reduction is a result of the shortening of the introduction to the song and starting the fade-out earlier. Instead of beginning with a single riff followed by the riff combined with Peter's cowbell, the song begins with a single measure of the riff/cowbell, followed by Peter's drum roll, prior to Gene singing. This edit work cuts 15 seconds off the introduction of the song.
The second repetition of the chorus, following the guitar solo, is also deleted. Quite a strong echo effect has been added to the song, noticeably on the introduction and vocals. This version is similar, but not quite the same, as the "Smashes, Thrashes & Hits" remix. The album version of the song ends on "Yeah, they call me (Dr. Love) / They call me Dr. Love (calling Dr. Love) / I've got the cure you're thinkin' of (calling Dr. Love) / Love, love, love, (Dr. Love) / Love, love, love, love, (calling Dr. Love) love Dr. Love / (Calling Dr. Love) / I've got the cure you're thinkin' (Dr. Love) / I've got the cure you're thinkin' (calling Dr. Love) / Oh-aw, I've got the cure you're thinkin' of (calling Dr. Love) / They call me Dr. Love (Dr. Love) / They call me Dr. Love (calling Dr. Love) / I've got the cure." Reducing the time, the single edit starts the fade-out earlier cutting the final six lines of the song.
The radio edit of this song has a duration of around 3:04 making it close to a minute shorter than the album version. The introduction riff seems to have more echo effect added to it while the guitar riff between the first chorus and second verse is cut in half. The scale section in the break leading to Ace singing "C'mon, grab a hold of my rocket" is also reduced, in this case by the third scale being removed. Ultimately, the song is shortened by the fade-out beginning during the first repetition of the "Baby's on her knees, baby wants to please" line.
While the original 1975/6 version of "Bad, Bad Lovin'" would split into two distinctive songs, one becoming "Calling Dr. Love," the remaining part would become a full song in its own right. This 3:27 demo features Gene almost speaking the lyrics with female vocalists singing the chorus, which is essentially all that remains from the 1975 version. With a sax solo and wolf-whistle, it's clear what's on Gene's mind: "Bad girl, always treat me so mean / The baddest girl I've ever seen / But I love her what else could it mean / Black nails and she's looking so bad / The baddest girl I've ever had / And she knows how to give it to me so bad / So bad, yeah."
See 26.04. This song has been dated by Gene as being from around 1982 rather than the expected 1978. However, it is possible the the recycling machine was in action in 1982 with Gene using an older idea for a new recording.
At 2:54 this radio edit simply cuts the extended "demonic" introduction from the song.
This 3:20 edit simply starts the fade-out of the song earlier during the repetitions of "fallin' down, down, down."
Silbermond are a female-fronted German pop/rock band. This song would be the band's first single released in March 2004 which would also feature a 3:15 "longer rock mix" of the song. This single would enter the German charts at #56. The band would shoot a video for the song which would feature guitarist Thomas Stolle wearing a KISS T-shirt in honor of the collaboration with Paul Stanley. Paul wrote the music while the band wrote the lyrics.
Recently, Gene who was responding to a question on his website suggested that he, not Ace, played bass on this recording. Since the book lists Ace as being the bassist, as is the case with Ace's other songs on "Unmasked," Gene has previously commented: "Ace sometimes played bass, too. He played bass on '2,000 Man' and 'Torpedo Girl.' And I didn't always play bass. I played guitar on 'Almost Human' and a few other songs. The idea here is that, even though it says Gene Simmons, bass; Paul Stanley, guitar; Ace Frehley, guitar and Peter Criss, drums, everybody does whatever has to be done because it's still called KISS. We don't play the game of giving credit to every tambourine player and background vocalist. That's nonsense" (Jeff Kitts - Guitar World Magazine, 1997). Gene would later confirm on his website that he'd been in error about that track... This is part of the problem of writing about KISS when the members contradict themselves so frequently!
Typo, brain fart or the like: "Following numerous rumored lineups, the band would solidify with: Peter (Drums & Vocals), Mark Norton (Bass), Mark St. John (Lead Guitar), and Michael McDonald (Lead Vocals)." Duh, it's Michael Norton on bass as obviously Mark Norton is Mark St. John's real name.
This title was a written song, though the title probably dated further back from 1982, however it is not clear whether it was ever demoed by Gene...
31.32. Time and Space (Dan Hartman, 1978)
Vinnie plays 12-string rhythm and second guitar solo on "Double-O-Love" and the guitar solo and background vocals on "Time And Space," which would be the third single released from the album in some markets (it wouldn't chart, though Vinnie appears on the covers of some of the singles which came with picture sleeves). The other guitarist on the album would be G.E. Smith, later the Saturday Night Live band leader. Vinnie would tour with Dan for promotion for the album. Both tracks would be released on Dan's hit record "Instant Replay." Dan, a Connecticut native like Vinnie, had been a member of the Edgar Winter Band. Vinnie also appears in the video for one of the singles from the album, "This Is It."
Gene Simmons is quoted in "Behind The Mask" stating that some other guy (not Paul Stanley) played bass on the track and it sounded fine so they left it...
Robben Ford also plays the guitar solo on this song. He'd done work on four tracks, but the band would only use his contributions to this track and "I Still Love You."
At 3:59 (listed on the US label as 3:49) the single version of this track is shorter than the 4:34 album recording, mainly a result of cutting the instrumental (repetitions of the song's central riff) introduction by some 17 seconds. As a result the song begins with the riff immediately prior to Eric's first drum roll removing some 7 measures.
A re-recording of the earlier demo with Goran Edman on vocals, this version of the song sees both lyrical changes and a stronger acoustic guitar atmosphere. The tempo of the song is also slower than the Jeff Scott Soto version. This demo would run 3:49.
At 4:00, the re-recording of this song with Goran Edman on vocals, would be shorter than the version recorded with Jeff Scott Soto. The song would also feature more prominent guitars.
Running 4:49, this demo is the most atmospheric of Vinnie's "Guitars From Hell" demos.
This title was a song written around the time of "Hot In The Shade," however it is not clear whether it was ever demoed by Gene...
It should perhaps have been mentioned more about the rewriting of the song from Russ' original form. While Gene was immediately taken by the chorus, as being what summed everything up so well, one, in particular, of the original verses would not have worked well within a KISS context: "Love your friend and love your neighbour / Love your life and love your labour / No, it's never too late to change your mind / Don't step on snails, don't climb in trees / Love Cliff Richard but please don't tease / It's never too late to change your mind." While that chorus may have "said it all" it would also be changed from "God gave rock 'n roll to you, gave rock 'n roll to you / Put it in the soul of everyone / God gave rock 'n roll to you, gave rock 'n roll to you / Save rock 'n roll for everyone" to "God gave rock and roll to you, gave rock and roll to you / Gave rock and roll to everyone (oh yeah) / God gave rock and roll to you, gave rock and roll to you / Put it in the soul of everyone."
The second part of the second verse would be changed from "And if you're young and you'll never be old / Music can make your dreams unfold / How good it feels to be alive" to "You can take a stand, or you can compromise / You can work real hard or just fantasize / But you don't start livin' till you realize (I gotta tell ya)." Argent's original version would be a top-20 hit for them.
The edit version of the song is timed at 3:53 and would be released as a single from the soundtrack. This version of the recording would also be used for a promotional performance video used to support the single and soundtrack. The video would be filmed in Los Angeles, California, July 27-28, 1991 and was directed by Mark Rezyka. It would be produced by Joseph Sassone for Mark Freedman Productions. The editing is simply a matter of chopping out material from the track: The extended introduction to the song is cut by 38 seconds resulting in the track beginning with the main chorus riff. After the harmonizing section that follows the guitar solo the ending section of the song is altered to remove some 13 seconds of the guitar work and have the song resume by going directly into the chorus refrain. Paul's "I know life sometimes can get tough" rapp remains intact at the end of the song, but the fade-out begins immediately following Paul's final "Rock and roll!" which removes a few more seconds of the original track.
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 he would use a backing tape which 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 the 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 referencing the popular American television show in the song.
The date of the recording of this track is March 1993, not 1994 as mentioned. Typo.
The version of this song appearing on the CD single for radio play would simply have the "fucker" in "mother-fucker" muted out. This would be the final Union single released.
Released in October 2003 on Rolando's debut album "Pasos," Bruce is featured on guitar on this power ballad and will be in the video shot for the song. For the track Bruce lets his Carlos Santana vibe take over to compliment the feel of the material. Rolando is a Puerto Rican pop artist whom Bruce has known for several years having jammed with him during a KISS Expo in Puerto Rico in 2001. Rolando also had a track, "Christine Sixteen," included on the KAOL II "Creatures Of The Net" KISS tribute album.
This track is a Buzz Osborne (King Buzzo) recording from the Bob Kulick produced KISS tribute which is due for release from Koch Entertainment on April 27, 2004. Titled: "Spin The Bottle: KISS Tribute," Bruce Kulick guests on lead guitar on the track. Amsuingly, as a member of the Melvins, Buzz also had a version of this song included on the seminal "Hard To Believe" KISS tribute released in 1990. The Melvins also released "solo" albums which played on the packaging style of KISS' 1978 releases. The band were also nearly involved with KISS' "KISS My Ass" tribute in 1994, and were originally slated to record "Goin' Blind." The band have also covered "Love Theme From KISS" and part of "Living In Sin" on their 1989 Ozma album. The Melvin's recording recording of "Goin' Blind" would turn up on their 1993 album "Houdini" (Atlantic 782532-2/4).
Eric actually toured with Montrose, a version including Ronnie, vocalist Keith St. John, and bassist Ricky Phillips, in 2003 into 2004. During the summer of 2003 Eric, Ricky and Ronnie would go into the studio and lay down several tracks, probably around 10, though without a vocalist. According to Ronnie in 2004, "I'm now working on bringing 10 of my favorite singers together to each contribute lyrics and vocals to some incredible 'Power Trio' tracks that Ricky Phillips and Eric Singer and I recorded live in the studio last summer. The tentative title will be 'Ronnie Montrose and Friends - 10x10' and the complete list of singers will be listed here as soon as everyone is on board... I've contacted many of my friends, and am very excited to bring this assemblage of talent together on one project" (RonnieMontrose.com).
Eric teams with Vivian Campbell (Dio, Def Leppard) and Lemmy (Motorhead) on this single cover recording included on the "Ash Wednesday" OST released by Koch Records. This track, though with Samantha Maloney on drums, would be released on a new Bob Kulick produced KISS tribute is due from Koch Entertainment on April 27, 2004, titled: "Spin The Bottle: KISS Tribute." Other artists/songs due to appear on that album include: Detroit Rock City (Dee Snider) / Love Gun (Tommy Shaw, Stevie Lukather on guitar) / Cold Gin (Mark Slaughter) / King Of The Night Time World (Chris Jericho / I Want You (Kip Winger) / God Of Thunder (Buzz Osborne) / Calling Dr. Love (Page Hamilton) / Parasite (Doug Pinnick) / Strutter (Phil Lewis) / I Stole Your Love (Robin McAuley).
A Gene written song, not clear whether it was demoed.
58.32. Judgment Day (Gene Simmons, 1993)
58.31 & 32 are Gene Simmons song title ideas.
According to one of Gene's lyric notebooks, "Within" was rewritten on February 26, 1998.
According to one of Gene's lyric notebooks, this song may have originally have been titled, or have been constructed out of a lyrical idea titled "Roar Of Greasepaint."
59.42. Damn, I'm Good (Gene Simmons, 1998)
59.43. I Turn To Stone (Gene Simmons, 1998)
59.44. Radioworld (Gene Simmons, 1998)
59.45. Never Gonna Leave You (Gene Simmons, 1998)
Additional song/lyrical ideas written by Gene Simmons, and at least refined/considered for use/recycling, during the "Psycho Circus" album sessions. Naturally, some ideas date from earlier pieces.
59.47. Jump Me (Paul Stanley, 1997/8)
59.48. Picture This (Paul Stanley, 1997/8)
59.49. Crave (Ace Frehley, 1997/8)
59.50. Cracked In 2 (Paul Stanley, 1997/8)
59.51. Twin Lies (Gene Simmons, 1997/8)
59.52. Realm (Paul Stanley, 1997/8)
59.53. Stuck On You (Peter Criss, 1997/8)
59.54. Temptation Temptation (Gene Simmons, 1997/8)
59.55. Amazon Train (Ace Frehley, 1997/8)
59.56. A Matter Of Fact/A Matter Of Time (Paul Stanley, 1997/8)
Songs-titles which were rumored, in January 1998, to have been under consideration for use on the "Psycho Circus" album. Since these have never been mentioned by any of the band members in interviews, or such, they are considered unsubstantiated and were not included in the book.
This track was once known as "Laughing When You Want To Cry," a lyric which is still incorporated in the piece, which Gene co-wrote with the legendary Bob Dylan back in 1992. According to Gene, "Bob came up with the chords, most of them, and then I took it and wrote lyrics, melody, the rest of it.... We understood each other right away. He picked up an acoustic guitar, and we just tossed it back and forth, 'How 'bout this, how 'bout that?' And he started to strum, because he -- at least with me -- tended to talk and strum guitar at the same time. And as soon as I heard the first three or four chords, I went, 'Wait, wait, what's that? Do that again.' So I went and started to write a lyric around that" (Billboard.com).
It was originally suggested, in a Billboard magazine article in June 2003, that this song was an unused Frank Zappa riff and vocal which Gene originally wanted Frank's sons Dweezil and Ahmet to appear on. Regardless, Gene would be the first licensee for Frank material from Extraordinary Teamwork which manages the licensing of Frank's music. The piece linking the music would be clarified the following month by a Zappa website printing a Gail Zappa quote: "The first licensee in Gene Simmons, who is using sections of a live performance" (Idiotbastad.supanet.com). By the terms of the license Zappa will have to be given a co-writing credit on the song. According to Gene, "it's very dark, very sort of King Crimson, 'In the Court of the Crimson King'-kind of sound, with 7/8 time" (Billboard.com). While Dweezil would play guitar on the recording, both Gail and Ahmet would appear on backing vocals. However, the suggestion that the riff was previously unused was incorrect. The riff had originally been a part of Frank's "Black Napkins" instrumental which had been released on several of his albums, including "Zoot Allures" (1976). It is the live performance part(s) which is apparently unreleased.
Written by Gene Simmons and Bag, who just happens to be signed to Simmons Records.
This is a song by the Norwegian band Shirley's Temple, written by guitarist/vocalist Frank Tostrup, which Gene purchased for use on his solo. The song was originally released as the title-track of the band's September 2002 EP on Capitol/EMI and would also become the title of Gene's album. The band were inspired by KISS and have recorded a cover of "God Of Thunder" for a Norwegian KISS tribute due in 2004 while the rest of their future seems undecided. Gene would make minor lyrical changes to the song changing "But you got a personality / Just like a bucket of pee" in the first verse to "But you've got a personality (yeah) / Just like a bucket full of pee." In the chorus "Dumb as a sheep… Asshole" would be changed to: "You look like a sheep (ba-baah)... Asshole." The second verse would be changed from "You've really got no shame / You disrespect my name / Does lying make you feel alright? / Then tell me, how do you sleep at night?" to "You know you've got no shame / And you've got such a stupid name / And one day you'll finally shut your trap / 'Cause you are the cream of the crap." Additionally, a third verse would be omitted completely: "Your humor value reaks / I'll bet your self-esteem is weak / One day you'll get it in your life / 'Cause you're the cream of the crop." Shirley's Temple provide the backing music for Gene's recording.
Originally written by Scott Van Zen and Gene, this song dated from the post-Revenge era, and may have been an offshoot of an earlier demo, "Island Of Lost Souls." Gene would play a demo of this song during his "Speaking In Tongues" tour of Australia and re-record the song with Richie Kotzen on lead guitar. He'd borrow the instrumental part of the song from the song "7&7" recorded by the band "Love." Nicholas Simmons also appears on the track on backing vocals.
Written by Gene Simmons and Bag, who just happens to be signed to Simmons Records.
Both Eric Singer and Bruce Kulick would participate in the recording of this track. It is likely that this song also dates from at least 1997 with Gene's "Weapons (Of Mass Destruction)" having made it onto at least one prospective song list for the recording of "Psycho Circus."
A song from another band that submitted a demo to Simmons Records, this recording features Gene's partner Shannon Tweed and her mother on backing vocals.
Both Eric Singer and Bruce Kulick would participate in the recording of this track. "Sweet & Dirty Love" is the "Sweet & Dirty" which dated from "Psycho Circus" (and before). "Sweet & Dirty" was originally the result of Gene recycling an older demo, in this case, the core riff and some lyrics from the 1976 demo "Jelly Roll," for use on a then current song. Gene has kept part of the first verse but changed the perspective. Yes, comparrisons between the song's riff and Queen's "Tie Your Mother Down" can be made - both songs date from around the same time...
Written by Nina Singh and Mark Addison from the band "Kitty Gordon" from Austin, Texas. This song was originally released as "Somebody Beautiful" on the band's 1999 debut EP "Seven." It was included on the band's full album "Weather."
Originally written in 1977 by Gene and Bob Kulick. Part's of the song would be updated while Gene was recording the song, "The song's bridge came to Gene when he was working on overdubs in the studio. His father had passed away two years earlier, and the lyrics deal with his feelings towards his father's passing. Gene's daughter Sophie and two of her friends sing backingvocals" (KISS Kollector).
Written by Gene, originally with a more country flavor, for Shania Twain.
Yes, Gene cover's the somewhat classic (for those of us who are European) Prodigy track. Dave Navarro, guitarist for Jane's Addiction, plays some lead on the recording, which would be the last track recorded for the album. The track is also the only song on the album prodced by Overseer. This song was originally released in March 1996, from the Prodigy's third album, abd was a major European wide #1. There are some similarities, in style and structure (not content) between the song and some versions of "Carnival Of Souls."
67.15. Asshole (Sheep Edit, 2003)
Radio edits which simply have the "Ass" in "Asshole" bleeped out with beeps or sheep sounds. These edits were issued on the early radio single for the song which includes the album track.
(Originally published as entry 67.04) The title of a track mentioned early on (June '03) for inclusion on Gene's solo album. It's not clear at this point whether the song was recorded, or whether it simply had a title change...
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 l ines: "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."
Originally released only as a bonus CD in the lunch box version of the audio book for "Sex Money KISS." Gene didn't mention specific recording details this song on the packaging.
The original pre-release mix of this song tracked in at 3:09. While Gene was tinkering with the final versions of the songs he'd tack on the song's chorus and add to the introduction riff of the song for the album version of this song. That work would add 17 seconds to the final version. Gene would also beef up the bass sting pull between the chorus and verse.
At 3:46 this pre-release mix of the song is over twenty seconds longer than the album version. Gene would do some cutting and pasting on the track: The first verse would be changed from "And here I'm all alone / Sitting by the telephone / And I wonder why, I wonder why, I wonder why / I keep laughing when I wanna cry / And I wonder why" to "And here I'm all alone / Sitting by the telephone / And I'm wide awake all through the night / Keep waiting for the morning light." Gene also tightens up the arrangement of the song by removing 10 seconds of the harmonizing at the start of the song.