Kiss ~ Crazy Nights (album review) ... Not so crazy nights on what might be mistaken for a Paul solo album!

Style: hard rock, heavy metal
Label: Mercury
Year: 1987
Home: New York

Members: Paul Stanley ~ vocals/rhythm guitar/keyboards
Gene Simmons ~ vocals/bass
Eric Carr ~ drums/b. vocals
Bruce Kulick ~ guitars/keyboards/bass/b. vocals

Additional: Phil Ashley ~ keyboards

Adam Mitchell ~ guitar
Tom Kelly ~ b. vocals 

Here are my immediate thoughts, from the notes I took as listening to Crazy Nights over multiple spins & days: I don't want keyboards on a Kiss album; this has to have outside songwriters; Kiss has lost their balls; no, Gene, no, no; I'm so sorry, Bruce, you are in this drek; is this a Paul Stanley solo album in disguise with his backing band being Kiss? I shall elaborate a bit, though you are likely either nodding in agreement or say I'm being too harsh. That's what the comment space is for. I read everything & respond. "Here's a little song for everybody out there," Paul states to open the album. That should be a hint that this is not going to be Kiss as we know them & love them & want them, but instead a continuance on their self-destructive path to make music for the masses, but not for their fans, while even then the masses can do better with other big hair bands. Its such diminishing returns for Kiss in the '80's.  They started with a misstep in Unmasked in 1980, yet were musically if not commercially strong with Music From "The Elder", Creatures Of The Night, & Lick It Up, then there is a fast decline to the pits of Hell with Animalize, Asylum & 1987's Crazy Nights. So, 4 out of 7 albums in my book I can't honestly recommend outside of a track here or there. Essentially, there's Kiss in the '70's & then Kiss after Lick It Up. These are different beasts. One should be rejoiced in. The other should be handled cautiously. I imagine a level of Dante's inferno where you are stuck wearing covid-19 masks, its always windy & rainy, & you constantly hear post-Lick It Up Kiss with non-Ace Frehley tracks from Unmasked for quasi-relief. I have elsewhere called late '80's Kiss a neutered Kiss. No balls. No guts. No growl. No beast. Kiss light. If Kiss had been done on the Donny & Marie Osmond show, i.e. wholesome family entertainment. Crazy Nights keeps the trend going. I seriously can't believe Kiss thought this was a good album, or that to continue on the path of playing bland '80's rock was the way to keep going. Not to mention pushing the keyboards high in the mix just makes me ask about their sanity even more. What were they thinking? Keep keyboards in the background, as Kiss is a guitar/bass strong band. End of story. Its thus ironic when Paul sings "Nobody is going to change me / cause that's who I am / these are crazy crazy nights" in "Crazy Crazy Nights", cause change is exactly what this album is about. Changing into something even farther from the Kiss mold. This is thus the most meaningless phrase ever sung by Paul in his dire rush to sound relevant ... rush into a brick wall. How far can you go with this sound? How did Kiss even make it through these years without falling apart? Too big to fail is likely the cause. The only thing I can say good about this album is Paul sings really really well & few songs I thought were catchy. But, you shouldn't describe Kiss as catchy. That's like describing Barry Manilow as headbanging or Nirvana as heavy metal. Speaking of Barry Manilow, is it just me, or does "Crazy Crazy Nights" have a melody line that sounds like a Broadway musical? Only Barry Manilow gets to do Broadway songs in my book. Sorry, Paul.Gene Simmons's "No, No, No" is not one of his strongest moments on record. Actually, he doesn't have any strong moments on this album, to the point where I had to look up if it was really him singing. Yet, I do want to give kudos to Bruce Kulick who goes crazy on this track. The song sounds perfect for the stage with an extended solo & flashing lights. Yet, it would be perfect with different vocals. Stop singing it weakly, Gene, like you're trying to be Barry Manilow. Give this a growl. This album badly needs some growling! Gene's "Thief In The Night" has an interesting riff and lead guitar part, & it sounds like its trying to growl ... but we need a better bass line & less of the backing vocals & a less tinny guitar. This is an interesting song & I mention it because it was recorded by Wendy O. Williams, produced & with bass by Gene, on her 1984 debut solo album WOW. Guests on the album included Paul, Ace, & Eric Carr. Her version will clobber you with throaty vocals, powerful drums that would make Eric blush, & a thick ass guitar. Gene then he did this version. Its amazing how one can turn a dirty ass song into something that might be sung in church. A Mormon Church, no less. Gene, oh, Gene, no, no, no. Just so many no's for Gene on this album. Of note, the lead guitarist on Wendy's version is Michael Race, who played on Creatures Of The Night on 4 songs instead of Ace, including the title track. Ah, but that was back when Kiss kicked ass! This album and others of the era by Kiss, which I remember being promoted when I was young, are the reasons I never got into Kiss as a boy. "Reason To Live" was the big MTV hit. Big as in, I guess, MTV had nothing else to play of value. If I heard this at the time I would have passed on it. I likely did & doing the same in my 40's.

Wendy O. Williams ~ WOW (album review) ... Never argue with a chick with a chainsaw in a bikini!

Style: hard rock
Label: Plasmatics Media
Year: 1984
Home: New York

Members: Wendy O. Williams ~ vocals
Michael Ray, Micki Free ~ guitars
Mitch Weissman ~ piano
Gene Simmons ~ bass/b. vocals

Guests: Eric Carr, T.C. Tolliver ~ drums
Ace Frehley, Paul Stanley, Wes Beech ~ guitar

When folks talk about the music of W.O.W. its usually her work with the 70's punk outfit the Plasmatics. But, some of us are appreciative of the experiment but not so much the music & recommend live videos of the Plasmatics but W.O.W.'s later solo hard rock. It's not just because I prefer hard rock over punk, but while the Plasmatics might have the better visuals the hard rock is far more user friendly listenable music. For those who have only heard the Plasmatics this may be a surprise listen. WOW presents a very different frontwoman along with more tame, more commercial & tighter arrangements under her. The hard rock present here might be the best arranged & produced music of her career but its not the most inspired or original, either compared to the Plasmatics or other rock bands of the time. I'm reminded of the bland end of Joan Jett with a bit of Patti Smith punk in your face effrontery. It's certainly New York edgy in that vague thing called a New York sound. Certainly, W.O.W. might be the best face of punk rock & should be up there with the Sex Pistols. If she was still alive she might be. She certainly was far more talented & her later vegetarian activism shows a caring heart beyond just social rebellion. Many might see her as a performance gimmick, re: cutting guitars in half on stage with a chainsaw wearing next to nothing, but WOW should show differently. WOW should show that given the opportunity she was interested in doing more & being more than a one gimmick wonder. WOW is the first of two solo releases following the break-up of the Plasmatics. Most noteworthy about this album is that in the producer's chair is Kiss songwriter/bassist/vocalist & general social beast Gene Simmons in his first non-Kiss production role. Simmons spotted W.O.W. hosting a heavy metal video show & had been enamored of her attitude, not too dissimilar from Kiss's early years to shock & rock, & took the Plasmatics along as an opening act. Simmons writes a lot of the songs here ... wherein lies the problem. Simmons might be known for many things, good & bad, but not necessarily as one of rock's great songwriters. Kiss is full of clichés, unmemorable songs & weak anthem rock of little depth. For all the hits there's also a lot of blandness held together with the sheer energy of the band. He brings that cliché, no depth anthem blandness to WOW. W.O.W. is a very socially minded performer but is singing songs with the least amount of social awareness of her career. At many times the result even sounds too close to Kiss, particularly in the backing vocal chorus approach typical of the Kiss attack. "It's My Life" was even co-written with Kiss frontman Paul Stanley. But, there's a enjoyable factor in here. It may not be as outlandish or avant-garde as the Plazmatics but their outlandishness ruled over listenability. So many of the songs are typical of the era but for lack of creativity they are perfectly constructed ... wondering if Simmons is a good imitator or a good creator. It helps that for once W.O.W. has some skilled musicians behind her including the rest of Kiss with Eric Carr, Paul Stanley & Ace Frehley ... though for good measure former Plasmatics T.C. Tolliver & Wes Beech are brought in for cameos. The Plasmatics were never able to go beyond sloppy even though at times their experimentation was well worth hearing. Simmons could be the potential man to take things to the next level but he doesn't mold the music to W.O.W. Though, the problem may also be that Simmons wasn't exactly a big league successful producer for anyone outside Kiss & thus he isn't used to thinking outside the box. Today he might create a very different album that is much closer to W.O.W.'s vision than a female fronted Kiss. Though, while the music may fail on some level W.O.W. actually is pulled up by it & does her best singing, considering she's not really a singer & can use a little push & prod which Simmons gives her to his credit as a producer if not a songwriter. Its worth hearing where she takes her voice. "Thief In the Night" is a surprise with some whispered singing totally out of form for W.O.W. that gets taken up a notch with the oddly named "Opus in Cm7" that features singing in a strained voice. One wouldn't even recognize W.O.W. particularly given the piano background of this later song. Thus, on some level, WOW is as experimental as the Plasmatics, just going in different directions, so for those hesitant to listen because it's not the Plasmatics it just takes a change in perspective of what experimental means. Those who like the Plasmatics probably won't like WOW, for all valid reasons, but those who want the more listener friendly W.O.W. this is a good starting point. If one really wants the best of W.O.W. then create your own comp album drawing from a little bit of everything from her entire career. It's a box set long overdue. Of note is a line in "Bump & Grind" where W.O.W. sings "Do you want to fucking grind with me?". The answer undoubtedly is yes. It's hard to say no to a nearly naked woman holding a chainsaw.

Wendy O. Williams & the Plasmatics ~ Metal Princess (EP) (album review) ... Royally torturous!

Style: punk, shock rock, heavy metal, hard rock, punk, live
Label: Stiff Records
Year: 1981
Home: New York City

Members: Wendy O. Williams ~ vocals
Richie Stotts ~ guitar
Jean Beauvoir ~ bass/keyboards
Wes Beech ~ rhythm guitar/keyboards
Joey Reese, Tony Petri ~ drums

NYC's punk rockers the Plasmatics were not so much famous for their music as they were their singer Wendy O. Williams & the controversy she stirred up on stage, including: destroying & blowing things up such as automobiles & televisions, mohawked Williams strutting around in near nudity, simulating sex on stage & the climactic moment of every show when she would cut a guitar in half with a chainsaw. It was sex & shock rock at its obnoxious underground best. Though, the G.G. Allin-esque punk rock tended to leave much to be desired both musically & lyrically, while Williams was more of a shouter than a singer. In 1984 Williams went solo with an album featuring all of the then members of Kiss. She'd release two more solo albums before retiring & working in a health food store taking to animal activism & healthy eating with as much controversy as her music. She was finally success in committing suicide in 1998. But, before Gene Simmons the producer was on the horizon, the Plasmatics had just released their second album when the Metal Princess EP came out. It's creation was instigated by producer/writer Dan Hartman who'd worked with .38 Special & James Brown & had became enamored with the Plasmatics wanting to do something with them. The EP came at a time when the record label also wanted new material to cash in on the growing popularity of the band but timing was pre-mature for a full-length. It probably was not what was expected by the label nor fans as it leaned far more to hard rock/metal than Plasmatics had done before, plus had some of the most cohesive songs & the best vocals by Williams on any album. It also introduced two new members behind the keyboards & drums, though the attention is always & completely on Williams with the band going through many line-up changes before its day was over that few will notice outside the wild stage show. Metal Princess features the tracks: "Lunacy", "Doom Song", "Black Leather Monster", "12 Noon" & live versions of "Sex Junkie" & "Masterplan". The guitar solos aren't fancy & the songs still retain shock value over unique arrangements but for over the top headbanging one really doesn't need any more than the basics. "Lunacy" is a highlight with its Randy Rhoads wannabe riffing falling behind some of Williams best singing, or for once as close to real singing as she could do. Halford comes to mind as a similar vocal equivalent at times. "Doom Song" also demonstrates an openness to experiment & getting moody in a way that the Plasmatics hadn't done before with its church organ opening, but the whole album is an ongoing experiment, such as in the Cramps-esque stomp "Black Leather Monster" or with the Blondie sing-song approach in "12 Noon". On one hand it shows the band pulling out all the stops but on the other greatly over-represents them. The least interesting tracks are the two live cuts from the previous tour which don't just suffer from low production but also are the chugging punk music that the Plasmatics had been churning out & pales in comparison to the neater hard rock of the new studio recordings. Though, in this context these unimaginative songs actually come out sounding better as they are one more example of variety. This little under-rated & oft-forgotten album, as EP's often do, ends up showing the range of the Plasmatics. The next step is a video to see the chainsawing in action. After that pop culture junkies only need to continue.