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First tagged "hard rock" by DARTHTATER
More Detail Information tags: kiss(24), classic rock(21), hard rock and heavy metal(18), rock(10), gene simmons(8), paul stanley(8), glam rock(4), detroit rock city(3), metalmike(2), 1970s(2), heavy metal, hard rock
Product Description
kListing">Track Listing
- Strutter
- Nothin' To Lose
- Firehouse
- Cold Gin
- Let Me Know
- Kissin' Time
- Deuce
- Love Theme From Kiss
- 100,000 Years
- Black Diamond
Product Details
- Amazon Sales Rank: #6445 in Music
- Released on: 1997-07-15
- Number of discs: 1
- Formats: Original recording reissued, Original recording remastered
- Original language: English
- Dimensions: .31 pounds
Editorial Reviews
Album Description
2006 Japanese singular book emanate of a manuscript classical in a deluxe, miniaturized LP sleeve reproduction of a strange vinyl manuscript artwork.
Amazon.com essential recording
Kiss's self-titled entrance manages to concurrently paint what stone & hurl in a 1970s was all about, and mount adult as a classical recording but sounding dated. That's a singular trick, even for Kiss (whose efforts after, oh, 1977 didn't do many some-more than step water), and one that should be appreciated even as listening to a manuscript brings behind misty-eyed visions of high school. (It doesn't matter if we were in high propagandize in a '70s, something about this manuscript only screams late adolescence.) Kiss is, of course, congested full of songs that would turn unison favorites (most of this manuscript appears on Alive!) and classics--who hasn't listened "Strutter" or "Deuce"? It's a chunk of pure, sheer stone & roll. While this isn't generally thought-provoking stuff, it's tenable that stone ever should be. --Genevieve Williams
Customer Reviews
Most useful patron reviews
10 of 10 people found a following examination helpful.
A Diamond in a Rough
By Clay Davis
The good thing about this manuscript is a comprehensive soreness and probity of a prolongation and composition. Ironically, there's a arrange of ignorance to a sound of this album. This was approach before garage bands were walking into top-level studios and churning out critically-acclaimed (and fast forgotten) "masterpieces". This manuscript is a opposite kind of masterpiece. The songs aren't on a turn of a Beatles or Led Zeppelin, though there are some familiar hooks here and there. Ace Frehley is no Eric Clapton, Gene Simmons is positively no Paul McCartney and Paul Stanley is no John Lennon. But a guitar personification is efficient and a singing fits. Peter Criss is flattering considerable on this album, mixing his large rope jazz chops with a true brazen kick required for a tough stone album. Simmons has some good "walking" drum lines and Frehley's guitar solos are indeed definitely tasteful. So for element that is so definitely "adequate", how can we give it 4 stars and call it a masterpiece? A integrate of reasons. For starters, a element still binds up, which, thirty years later, is definitely a feat. Frehley's "Cold Gin", sung by Simmons, is a good stone song. The straight-ahead stone and hurl balance "Nothin' to Lose", sung by Simmons and Criss, brings to mind what competence have happened if a Beatles and Cream had tangled together (with Little Richard on piano). "Deuce", another Simmons strain with weird lyrics about what appears to be a stretched relationship, comes off with a undone appetite that roughly dares we not to puncture it. Paul Stanley's "100,000 Years" is both assertive and PROgressive during a same time, permitting Peter Criss plenty event to work a 6/8 beat, that is his specialty as a roots R&B and jazz drummer. "Let Me Know", a strain sung by Simmons and Stanley is usually plain fun. And a cinmatic "Black Diamond", that closes a album, is as stately as a steel balance in 1973 could be. If a strain like a instumental "Love Theme" seems obscure, know that a fuller - and improved - chronicle is accessible on front one of a Kiss boxed set underneath a pretension "Acrobat" (It should've been enclosed in it's full chronicle on this album.). Another reason for my slow affinity of this manuscript is a exposed prolongation value. You can hear each instrument perfectly. There's nothing of a sharp studio necromancy we're used to today - usually a hold of reverb here and there for flavor. It's one of a few stone albums that truly sounds like 4 guys in a room personification music. You can roughly see them tripping over cables and dull bottles as they shake out these tunes in a room with egg bin stranded to a walls. It's tender and real. It didn't take Kiss prolonged to arise over this sound, though small of what they did when their prolongation options widened had a same forceful probity of this album. As a rope progressed, their lyrics seemed hyper-focused on passionate innuendo and their songwriting - generally in a late '80's and '90's - lacked this clarity of integrity. This manuscript is a aristocrat of all garage rope albums, from a time when we plugged in your guitar and incited your amp adult shrill to get a good twisted sound - and we usually went for it. It's got a wonderful, inspired atmosphere. Get it.
14 of 16 people found a following examination helpful.
IT CHANGED MY LIFE
By carlos canales
With this manuscript i detected that song was my passion.All of a manuscript is a prominence (one of a best debuts in Metal History) and a remastered book is an inmense alleviation over a bad sounding strange recording.
Already on a entrance KISS had a possess sound.A brew of complicated steel and groove, elementary compositions though not uncomplicated sounding.Any rope would wish to write so noted pieces with so small notes! The pairing of Simmons and Stanley as singers and categorical composers is a pushing force on this, though we should not disremember a plain imput by Criss and Frehley.Kiss went on from here to aloft blurb sucess though a energy of this manuscript was unmatched.
Highly recommended, essential album.
11 of 13 people found a following examination helpful.
Anytime is KISSin' time, USA--and a universe too.
By Daniel J. Hamlow
KISS's 1974 entrance is still a freshest, KISSest, and many potent. But why?
Is it since it includes such good famous classics as "Strutter," "Deuce," "Cold Gin," and "Black Diamond"? Yes, that's partial of it. "Strutter," "Kissin' Time," and "Black Diamond," a latter a usually one sung only by Peter Criss here--he does have a solo bit in "Kissin' Time"--are my faves.
Or still, was it when all 4 of them were a joined team, with nothing of a attrition that would rip a strange foursome detached with a entrance of Unmasked? Yes, that's also partial of it.
On a special note to "Kissin' Time," this is some-more than usually kissing a girl/guy--it's about celebrating KISS and their music. A startling number, entrance this early in their career, though after scarcely 30 years in a business, and wherever they sole albums so did sold-out torpedo shows--it's still "Kissin' Time." From a opening lines, "Come on Detroit, arise adult San Diego, Milwaukee, Miami, put your dual lips together and kiss," to a chorus, "Anytime is kissin' time, USA. So provide me right, don't make me fight, we will stone and hurl tonight." And celebration everyday. Oops, that's dual some-more albums down a road.
"Black Diamond" gets a special arise out of me due to Peter Criss's manly vocals, a energy chords entrance after a "woooo, black diamond" line, Ace's burning guitar solo after a final line is sung, and a absolute chords that gradually turn psychedelically twisted and slowed down during a end.
For a makeup era, this outranks classics like Destroyer and Rock And Roll Over. In terms of KISS albums overall, it's still in my Top 5 KISS albums. And since not? After all, this is where it started--right here!
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