Barely 7 years old, I have little or no direct recollection of Kiss' music having an impact on me when Destroyer was released. In fact, reading through the song lineup right now, I only recognize the titles of two songs, and frankly I'd be hard-pressed to hum the melody to either of these two. However, I can still today, as I could then, tell you each of the member's names and match the "face". I can also recite verbatim the entire commercial for Connect Four a Milton Bradley game. Why you ask to both? Marketing. "Pretty sneaky sis."Before hitting play to song #1, I will offer up my respect and simultaneous disdain for rock music's marketing geniuses. Acts whose fame and popularity is leagues beyond what I feel is their musical merit. This respect is sent from my brain, the part of me that sees Rock as a business. I'll have 495 future blogs; ample time to elaborate on the likes of Madonna and Lady Gaga--Acts that have not only squeezed more juice out of their lemons than anyone else, but who've also patented 11 different ways to extract liquid from the rind. My brain recognizes this as genius and marvels at the business acumen.
My heart however, my inner "artist", feels cheated by this, betrayed. I have great respect for the marketing genius of Kiss, but before I listen to the music, I'll admit my heart is not in it.
Detroit Rock City: The first single released from the album, written about a fan who died on the way to one of their concerts. It's about 90 seconds before the music starts (exposition intro). OK, it's a rocker, but I can't shake the "Spinal Tap" mockumentary out of my head. The car crash at the end--necessary?
King of the Night Time World: I actually thought this was a stronger song than DRC.
God of Thunder: This is just the kind of shlock-rock song that a band in concert would normally put on stupid costumes for...oh wait. You know, I promised I'd listen to every song from the 500 albums full through, but this one is testing me. Must... hold... on...
Great Expectations: Ah, cleanse my palate with some piano. A tune that sounds almost Bowie-esque. Their producer Bob Erzin (Alice Cooper referred to him as their George Martin) needs to be credited for his contribution to the writing of the music, along with the overall complexity and shine of this song as well as most of the album.
Flaming Youth: After a song like this, I always sarcastically ask "What was the name of that one?" It's good marketing to repeat the name of your product over and over again, but after awhile the consumer catches on.
Sweet Pain: Feh... not painful, but not really sweet either.
Shout it Out Loud: Hey, I remember this one! I'm fighting off the urge to clap my hands over my head stadium style.
Beth: Every hard rocking band needs a slow ballad. Beth started off as the B side to the single DRC, but quickly became the biggest hit on the album. Erzin introduced the band to string arrangements, choirs, and via Beth, introduced Kiss to their first top 10 song. As a piano player, I've received many requests over the years to play this. I now feel compelled to learn it. It's worthy.
Do You Love Me?: No, No I don't. Not this song.
Outro: A minute and a half of sound effects, akin to the Beatles #9, but very very distant cousins.
While I don't feel at all wrong about my preconceived notions of Kiss, I also leave this album with elevated respect for their music, their infectious energy, and their producer. I'll add a piano ballad to my collection, while longing for the 3rd grade and my shoe box full of Kiss trading cards (wondering just how much money they'd be worth if I still had them.. damn).
Next Up - #495 Husker Du- New Day Rising (1985)
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