KISS – Hotter Than Hell (Album Review)

Released in 1974, KISS' second studio album, Hotter Than Hell, stands as a crucial chapter in the band's early history. Arriving just eight months after their self-titled debut, this record captures a group eager to solidify their place in the hard rock music landscape; one driven by gritty raw energy that adds layers of authenticity to the unpolished production of this classic release. It is this rawness, however, that makes Hotter Than Hell a standout within KISS’ extensive catalogue for other than their live recordings, this is as authentic as you’re ever going to get.

Throughout the years, many have been divided over the band’s comic book personas, but rather than shy away from it, as they had in the mid-80s, Hotter Than Hell, with its manga cover art styling, not only amplified this gimmick but would have certainly stood out on the shelves of any record store at the time. As the world was far less connected in 1974 than it is in the modern era, I can’t help but wonder how many KISS fans would have thought that Hotter Than Hell was a Japanese import. I likely would have been one of them as I’ve often been fond of international releases from far-off lands that I may or may not have the privilege of visiting one day. It adds a sense of mystique to one’s music collection, even in the modern hyper-connected era. Regardless, the artwork for Hotter Than Hell, much like their music, tells a uniquely compelling story; one that would set KISS apart from many of their hard rock contemporaries.

Musically, while their debut album was steeped in glam rock theatrics, hard rock, and pop-infused melodies, Hotter Than Hell leans into a slightly more aggressive, hard-edged, style that not only incorporates all that was heard via the debut but builds upon that initial release with a series of memorable tunes and some incredible musical licks. As with their debut, Hotter Than Hell failed to set the charts on fire, most likely due to its lack of radio-friendly singles, but both albums continued to lay the groundwork for their explosive breakthrough in the years to come.

Speaking of explosive, the lossless Apple Music stream does sound rather good, even with the rawer production values. Granted, Hotter Than Hell will never be anyone’s idea of sonic perfection, but unlike the ’97 remasters, the Apple Digital Master offers a solid midrange and enough low-end to please most fans. Those who may have found the older CD remaster to be a little bright in the treble range will likely find the stream to be a thoroughly more enjoyable version of the album to listen to. The harshness has been dialled back and what you’re left with is an album that rocks!

Got To Choose is a hell of a tune to open the album with for it’s an attitude-infused mid-tempo groove-focus rock masterpiece. No, it isn’t one of KISS’ most popular tunes, but if the infectious melody doesn’t get you, Ace Frehley’s exceptional blues-infused guitar licks will.

Parasite is riff heaven and between Ace Frehley’s skilled writing and Gene Simmons’ raw and aggressive vocals, Parasite is not only one of the heavier tunes KISS ever recorded, but it’s one of the greatest rock numbers from the era.

Goin' Blind slows the album’s pace with a ballad-focused tune. Simmons knocks the vocals out of the park, but interestingly his vocal presentation differs from what we normally associate with him. The variance reminds me of Steven Tyler’s vocal delivery on Aerosmith’s self-titled debut. It isn’t bad, not by any means, but it is unique.

Hotter Than Hell exudes swagger and confidence, driven by gritty, distorted riffs and a stomping rhythm section, but isn’t quite the ideal title track. It works, yes, but it isn’t a standout. Part of my love/hate relationship with the tune is the chosen tempo. While I acknowledge that it was written with Free’s All Right Now in mind, I find it’s a little too slow and would like to have seen it sped up by a few beats per minute.

Let Me Go, Rock And Roll is a fast-paced number that embodies the rock and roll spirit of the era with its relentless rhythm and infectious energy. If nothing else, the driving bassline, dynamic guitar solos, and overall mix capture the rawness of KISS’ early, yet compelling, sound.

All The Way may be an album-only tune, one that is unknown to many who haven’t listened to the album, but despite being lesser known, All The Way delivers a punchy, straightforward rock feel with an edgy guitar sound that is KISS 101.

Watchin' You has an incredible introduction, for the dense layering of guitars and a powerful rhythm section enhance the tune and ensure the intensity of the record is maintained. The musical bed alone is such a standout that Simmons need not have written or recorded lyrics for Watchin’ You could have been instrumental gold, had it been recorded with that intent. It isn’t that the vocals detract from the song, however, it’s that the musical performance is so much stronger than Simmons’ vocal delivery.

Mainline shifts the tone as Peter Criss takes over vocal duties for the first time on the album. With a Southern rock influence, the laid-back vibe is a precursor to many of KISS’ most memorable tunes and this is no exception for the chorus and overall upbeat nature of Mainline will stay with you well after the album has played its final note.

Comin' Home, while not as heavy as many of the other tracks, does circle back to the band’s melodic roots and in that regard is a hidden gem. It is, unfortunately, one of the most sonically compromised recordings from the album and even though it’s thoroughly enjoyable, it could have been so much more had more spit and polish been applied during the recording and mixing of the song.

Strange Ways is an ideal closer with its slow and heavy pace that allows Criss’ vocals to shine. It also features Ace Frehley at his very best, as the band works through the track’s sludgy and psychedelic rhythm, leaving a lasting impression; one that will compel you to play the album again or sit in contemplation of the music that you’ve just heard.

Hotter Than Hell is a gritty, raw follow-up to KISS’ debut, capturing the band at a time when they were eager to push boundaries and continue to develop their signature sound. With darker themes, heavy riffs, and unfiltered aggression, this album showcases the band’s hunger to make their mark in rock music and while the production may lack the polish of later releases, the rough edges and intensity give Hotter Than Hell a visceral, authentic energy that resonates with fans and adds to its charm. This album’s unapologetic sound and commitment to raw expression have made it a cult classic and an enduring favourite among KISS’ early works and is worthy of inclusion in any music lover’s collection.

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KISS – KISS (Self-Titled) [Album Review]

Released in 1974, KISS, the self-titled debut from the iconic rock band, marked the explosive start of their journey to superstardom. Combining hard rock with glam elements, the album introduced the raw energy and attitude that would come to define the band and despite not being an instant commercial success, KISS laid the groundwork and established their incredible legacy with this release.

That legacy was the result of a collective band effort, for KISS as we know them today, or in 1974, wouldn’t have achieved their desired outcome had each member not brought their distinctiveness to the album. From Paul Stanley’s soaring vocals to Gene Simmons’ commanding stage presence and heavy bass lines to Ace Frehley’s inventive guitar solos and Peter Criss’ powerful drumming, they crafted a raw, yet melodic, hard rock style that set them apart from their peers.

As it pertains to the lossless Apple Digital Master, available via Apple Music, it’s stunning with a bold presentation that will envelop and reward you no matter what volume you listen to the album at. Every musical element is clear and defined, yet the mastering is anything but fatiguing. There’s plenty of mid to low-end, that is in many ways a prerequisite to any hard rock album, but it isn’t overly boomy. The result is that the stream is most certainly worthy of consideration as one of the best-sounding versions of this self-titled debut for it not only sounds right, but it rocks.

Strutter opens the album with an upbeat swagger and attitude. Combining a catchy guitar riff, a confident vocal delivery by Paul Stanley, and a full-fleshed rock and roll rhythm, Strutter was the ideal song to launch the album on as it embodies the rebellious spirit of rock and roll.

Nothin' To Lose is an infectious rock tune that is both edgy and playful. However, it is far from the strongest song on this debut and other than the catchy chorus, I remain confused as to why Nothin’ To Lose was chosen as KISS’ first single as there are so many better choices such as Firehouse.

Firehouse, with its heavy mid-tempo groove and killer bass and guitar riff, is one of the very finest songs KISS ever recorded.

Cold Gin, with its riff-heavy structure and gritty lyrics, make it a quintessential KISS song and as with Firehouse would have been a far better lead single than Nothin’ To Lose. Granted, it is unlikely that these songs would have charted much better, given the era’s styling, but they’re more representative of KISS.

Let Me Know is a little more laid-back than most of the other songs from the album, and while it isn’t in tune with KISS’ hard rock styling, it’s a solid album-only rock number.

Kissin' Time, originally missing from the very first pressings of the album, was recorded and added post-release in an effort to increase the band’s exposure after the song was released as a single. Given I usually dislike changes to the original tracking of an album, particularly the inclusion of bonus tracks tacked onto the end of a record, it would be logical to suggest that Kissin' Time is out of place. However, having never heard the original sequencing, and not being willing to try (even via a streamed playlist), it’s fair to say that I’m set in my ways and Kissin' Time is official canon; from my perspective, at least. As a reworking of the 1959 original, by Bobby Rydell, it’s fantastic, but let’s all agree that it isn’t the strongest song, even if it aligns with the fun-loving persona that KISS would cultivate over the years.

Deuce is a hard rock anthem driven by a pounding rhythm and killer riff and is one of Gene Simmons’ greatest penned and sung songs. Additionally, the dual guitars of Frehley and Stanley give the song its punch, while Criss’s drumming provides a relentless backbone. Between the raw energy and attitude of this tune, it’s one of the best songs in KISS’ extensive catalogue.

Love Theme From Kiss is a killer instrumental that showcases the strength of the band’s musicianship. Granted, it’s unlikely that you’ll seek this song out on its own, but as part of the album’s structure, the laid-back groove and melodic approach offer a reflective respite from the lyrical delivery heard throughout.

100,000 Years is bass guitar heaven and is the driving force behind the song’s heavy groove. It’s also one of Criss’ best drumming performances, with some killer guitar work from Frehley, and while Stanley’s vocal performance is dynamic, it is far from his best. The result is that 100,000 Years is musically interesting but is ultimately more akin to a demo than a fully-fledged recording.

Black Diamond starts delicately, but as soon as Criss enters the mix, on vocals, the song explodes. Criss’ raspy, soulful voice, delivers the song’s emotive punch, while Frehley’s blistering guitar tracking, particularly his solo, rips through the track with ferocity. No matter which way you look at it Black Diamond is an epic closer; one that would ultimately become a fan favourite and one of the very best songs KISS ever recorded.

KISS’ self-titled debut album laid the groundwork for their eventual domination of the rock world and while it didn’t rise to the top of the charts, the album introduced their unmistakable sound—a blend of hard rock, glam, and raw energy. With numerous standout tracks, the album remains a fan favourite and an essential piece of the KISS catalogue. Showcasing the band’s early chemistry, musicianship, and commitment to theatrical, larger-than-life rock, this self-titled debut defined their career for decades to come and is a must for any hard rock fan.

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KISS – Creatures Of The Night (Album Review)

Released in 1982, Creatures Of The Night marked a pivotal moment in the storied career of KISS. The band, facing challenges and lineup changes, unleashed an album that not only revitalised their sound but also solidified their status as rock and roll legends. With their last truly epic album being the 1979 release, Dynasty, KISS returned to their hard rock foundations with Creatures Of The Night; a sound that was refreshing at the time and is ultimately timeless even when appreciating the album some four decades after its initial release. 

Part of the appeal is due to the production of the album as Paul Stanley and Gene Simmons, along with co-producer, Michael James Jackson, were able to successfully capture the raw energy of KISS' live performances while maintaining studio precision. The result is a highly polished, yet edgy, production that allows each musical element to shine.  

While there is never any guarantee as to the sonic prowess and stature of remastered releases, the 2022 remaster of Creatures Of The Night is superb. Sure, some will complain that it isn’t as dynamic as the original analogue releases of the album, but in all honesty, it rocks! As such, it’s a fun, lively listen, that I could listen to on repeat for hours on end. 

While the lossless stereo mix is my preferred edition of the album, the Dolby Atmos mix, via Apple Music, is a little muddy in the low end and lacks instrument separation as a result. That said, on some tracks the surround mix does enhance the music, but the question that has to be asked is if it makes the album more compelling. The short answer is: No. The Atmos mix is fuller, less treble-focused, and as such reminds me fondly of the sound that I’d get from high-quality compact cassettes. That, of course, doesn’t mean that I dislike the surround option; anything but, I just find myself gravitating to the stereo mix more often as it simply sounds right.   

Creatures Of The Night serves as a powerful opener, setting the tone with its thunderous drums, blistering guitar riffs, and anthemic vocal delivery by Stanley. 

Saint And Sinner has a swagger about it that becomes infectious. While it’s a run-of-the-mill rock tune, the groove is catchy enough that you’ll find Saint And Sinner quickly becomes an earworm; an unlikely one, but one nonetheless. The guitar work, including Simmon’s bass, is some of the greatest on any KISS recording as it becomes the driving force behind the song.

Keep Me Comin’ is a killer tune that’s KISS 101. With soaring instrumentals throughout, compelling vocals, and an addictive harmonious chorus; what’s not to like? Yes, those who don’t like glam metal may find it to not be to their tastes, but rather than focus on influences and subgenres, I much prefer to rock out to this dose of raw, unbridled rock. 

Rock And Roll Hell is magical! That bass guitar entry is what bass guitar dreams are made of and I’m so glad that Simmons was the lead singer on this tune for it suits his style perfectly and simply wouldn’t have worked if Stanley had been the vocalist. Most interesting, however, is that Bryan Adams co-wrote the song with Simmons and Jim Vallance. While Adams is an accomplished rock star in his own right, he was still in his infancy when this song was written and it’s a masterpiece if there ever was one. 

Danger is fast-paced, adrenaline-fueled, and is one of KISS’ most relentless tracks as it relates to raw intensity. It’s a killer tune that continues to grow on you the more you listen to the album.

I Love It Loud has an interesting fade-out, similarly styled to The Beatles’ Helter Skelter. While it’s a recognised recording technique, and it works exceptionally well, I’m not entirely sure that it was necessary as it doesn’t add anything to the song. Subsequently, I feel it would have been better had this element been omitted, but that doesn’t change the fact that I Love It Loud is a quintessential KISS anthem, with a chanting chorus and thunderous rhythm, that makes it an instant classic.  

I Still Love You slows the tempo as it’s the only power ballad to be included on Creatures Of The Night. While many fans prefer KISS for their pure rock numbers, I must admit that I love a good power ballad and this is no exception for it not only works well within the album’s structure, but it’s perfectly suited to Stanley’s incredible vocal range.

Killer returns the album to its high-energy, riff-driven, sound that defines the album and is a quintessential B-side. 

War Machine closes the album with a bang and is so addictive that you’ll find yourself quickly playing the album again. The militaristic drumming and aggressive guitar riffs reinforce the overall theme and leave a lasting impression. While numerous songs could be declared as the best song in KISS’ extensive catalogue, War Machine is right at the top of any list for it doesn’t matter if you experience it via Creatures Of The Night, or in concert, you’re going to be blown away with the attitude of this incredible song. 

Creatures Of The Night was a much-needed return to form for KISS following the lacklustre Unmasked and the downright atrocious Music From “The Elder”. The impact from Creatures Of The Night reverberated through the 80s, influencing the glam and hair metal bands that followed but ultimately showcased that KISS still had it, along with the ability to evolve while staying true to their rock roots. Creatures Of The Night is, subsequently, a must-listen for both die-hard fans and those looking to explore the diverse landscape of 80s rock music.

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KISS – Dynasty (Album Review)

What a thunderous record! 

Okay, so in 1979, KISS had to contend with the monster that was AC/DC’s Highway To Hell but if there is one truth to be said it is that rock certainly wasn’t dead in the late 70s despite the disco boom. KISS certainly played into the disco rhythm with Dynasty, as it’s a little more pop-driven than their preceding output, thereby making it more accessible to a broader audience, but you’ve got to be listening with disco in mind to pick up on it otherwise it comes across as a rhythmic hard rock masterpiece. 

Dynasty has always divided fans and if nothing else it has kept the album at the forefront of the KISS back catalogue because of this divisive nature. Still, KISS were well and truly in their stride when they released Dynasty, their seventh studio album, and while others may disagree, I feel Dynasty is one of their best albums and one of the best records released in 1979. 

As to the quality of the recording, mix, and mastering; it’s astonishingly good! The soundstage is wide and immersive with a warm tonality and slight boost in the low-end while remaining crystal clear across the entire sound spectrum with just enough distortion to make Dynasty really rock. While this is one album that should be in every KISS fan’s vinyl collection, the lossless Apple Digital Master, on Apple Music, is the very definition of perfect. Don’t get me wrong, I love vinyl, but when a stream sounds this good it’s difficult to look beyond it for you never quite know what you’re going to get with used or new vinyl. A double-edged sword, yes, but it’s a serious consideration that each music collector must ponder as the cost of vinyl continues its upward trajectory. It is with this in mind that streaming, when done right, can be the perfect accompaniment to your physical music collection. The trick is to download albums to your device so that it plays seamlessly and is uninterrupted by the instability of the Internet. Doing so gives you a sense of having the record; a psychological anomaly perhaps, but one that allows me to feel as if the digital collection has more permanence.

I Was Made For Lovin’ You is iconic with Gene Simmons’ bass tracking rhythm, Anton Fig’s driving drum beat, Ace Frehley’s killer guitar licks, and Paul Stanley’s falsetto vocal. It’s a perfect (KISS) song and while some may point to its disco-driving groove, I class it as pure rock and roll. Admittedly, KISS didn’t help issues with the disco-style music video, but as a fan of both genres, I consider this merging to be nothing short of perfection. It was, after all, representative of the era. 

2,000 Man has too much of a Cheap Trick sound, particularly with regard to the vocal echo, for it to be fully KISS. Frehley does an adequate job on vocals, but I’ve never really been a fan of his vocal presentation, except perhaps on Hard Times, subsequently preferring Stanley and Simmons on lead vocals. Yes, KISS’s 2,000 Man is more rock and roll than the original Rolling Stones recording; but it was far from a stellar song from the Stones so it’s a wonder that KISS decided to cover it. 

Sure Know Something is rhythmic gold. While I’d suggest that it isn’t Stanley’s greatest vocal performance, it sure is compelling.  

Dirty Livin’ is the only Peter Criss song on Dynasty and what a killer tune it is. Criss’ vocal melds perfectly into the mix and is understated thereby allowing the music to take prime positions and therefore not allow the listener to be distracted by the lyrical intent. That said, it would be interesting to hear a mix with Criss’ vocal sitting atop the musical bed. Regardless, Dirty Livin’ is a great song that is worthy of inclusion here.

Charisma has a killer rhythm and is, without a doubt, one of my favourite KISS songs. Simmons recorded a masterful dreamy vocal performance and those guitar licks are utterly perfect.

Magic Touch is a solid rock tune but isn’t as strong as many of the other songs from Dynasty. It’s as if it’s missing something and that dip, mid-song, in tempo and drive takes the listener out of the mix somewhat. Magic Touch is akin to a highly polished demo but it just needed a little boost to make it great. It would be interesting to hear it sped up, just a little, to see if that shifts the song to a bolder, more KISS-like approach. 

Hard Times is a far better Frehley performance than that which was heard on 2,000 Man. The gruffness, and distortion, throughout the chorus in both his vocal and the accompanying musical backing make Hard Times a killer tune and one of the best KISS songs of all time.

X-Ray Eyes is a fun tune and is a perfect album track. However, you’re unlikely to seek it out on its own for it isn’t amongst Simmons’ greatest and I’d argue the tempo is a little too slow to be truly great and I would love to see an additional kick drum element placed in the mix. 

Save Your Love closes out Dynasty with a drilling rhythm that compels me to play the album again. Yes, as with a number of the songs on Dynasty, it may never make it to a compilation, but songs like Save Your Love are the backbone of KISS and ensure that the album is notable for more than a couple of killer tunes. 

From start to finish, Dynasty is hard rock at its very best. The firestorm of rhythm, followed by an incredible mix and lyrical styling makes this one of the greatest KISS albums of all time with memorable and engaging tunes. While we can all lament Gene Simmon’s suggestions that rock is dead, I find it hard to argue with his position when listening to classic KISS albums such as Dynasty for no musician makes hard rock music like this anymore. 

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