KISS Sets Off Multiple 'Sonic Booms'ClassicMetalRevisited.com
I wasn’t too keen on writing a review for “Sonic Boom.” The last time I reviewed a Kiss studio album (“Psycho Circus”) it went all wrong, dreadfully wrong! It is because of that farce that I was desperate for Kiss to not call it a day with that album being their final studio recording (“Nothing Can Keep Me From ‘Puking’ On You,” from the “Detroit Rock City OST,” and “Do You Remember Rock And Roll Radio,” from the Ramones Tribute, don’t count even if the latter is an excellent recording). What was wrong with “Psycho Circus?” Musically, little, I still like the songs that I liked then, and despise the ones that I didn’t. It’s simply a matter of what it represented, the falling apart of the band within and fakery, rather than the ghost players (which isn’t particularly surprising). I also hated the merchandising tie-in which seemed to be more important than anything else, even if it was stupid (IMO). Whatever, ten years later Paul Stanley decided that Kiss would make a new studio album. I fell to my knees and offered thanks. For nothing else, “Psycho Circus” will not be the final Kiss album. Thank you.
Invariably, comments have been made by the band about what the album would sound like. Gene: “If you’re a fan of our stuff from about 1977, you’ll feel right at home.” Paul told contact music in late 2008, “It’s going to be very much a vintage, classic, 70s Kiss album without much regard to what’s happened since then; it’s back to the roots.” Well, the album is, and it isn’t. While the band may have recorded it in analogue, rather than digital, you know modern techniques have been used. There seems to have been an approach to record the album in a more vintage manner, but is that enough to make it “classic sounding?” Probably not. Is drawing elements from Kiss’ long career enough to make it “classic sounding?” You betcha, and that’s where the home-run is hit. It’s not “Love Gun,” but the audio fingerprint takes you on a trip through “Psycho Circus,” “Revenge,” “Crazy Nights,” “Asylum,” “Creatures of the Night,” “(Music From) The Elder,” “Love Gun,” “Rock And Roll Over,” and more. The band combines the best elements from throughout their career, adding new flourishes, in order to create a vibrant beast.
Consider the definition of “classic” anyway. Albums like “Animalize” are now 25-years old. “Revenge” came out 17 years ago. “Rock And Roll Over,” thirty-three. Kiss’ classics encompass more than just the originals era, even if that remains the band’s most productive, important, and historic period. To deny 1983-96 is to deny a broad body of work, and the blood and sweat that went into it, without which the “Reunion” wouldn’t have been as successful as it was. So, back to “Sonic Boom…” The approach was changed, with control being handed firmly to Paul. And by that decision Kiss will succeed or fail by their decisions, without some familiar like Bruce Fairbairn being used as a scapegoat (in perception, rightly or wrongly). Paul has apparently been the decider, a role he is well suited for, and for the most part it seems to have worked. Bringing back Michael Doret to design the album’s cover ties nicely in the retro effort, and his resulting effort has certainly resulted in numerous heated discussions! However, “It’s the music...”
The album’s lead-off single and track, “Modern Day Delilah,” is built on a “War Machine” type riff with touches of “Heart Of Chrome” thrown in for good measure. Paul’s vocals have an urgency attached to them, and the song craft reminds me of material such as “Tears Are Falling.” Part of the solo, however, could have been lifted off the cutting-room floor from the “Elder” sessions. Gene’s prominent backing vocals lift this out of the excellent into realm of fabulous. There’s a crunch and roughness that is surprising on this sort of song. “Russian Roulette” throws that “Gene” demonic bass sound in your face, and it’s a welcome return resulting in images of Gene thrashing his bass, even if it turns out to be Bruce Kulick performing! With “Animalize” era metaphors such as “out of the frying pan, into the fire” and “drawn to the flame,” it’s appropriate that this song recycles a song title from that period. There’s some great attitude that comes across, particularly the AC/DC “Thunderstruck” ahs.
“Never Enough” may end up in the “Dreamin’“ category of Kiss songs, for being rather too close to another artist’s material, in this case Poison’s “Nothing But A Good Time.” That also sums up the song pretty well, a Paul Stanley positive thought PSA. In that way it feels like a late-1980s hair metal anthem and is certainly powerful even if Paul’s vocals are rough in part. Another positive on this one is that Tommy’s solo didn’t have me immediately thinking of Ace.
Gene dips back into the recycling machine with “Yes I Know (Nobody’s Perfect)” which borrows part of the title and some lyrics from one of his best 1980s circulating demos (“Nobody’s Perfect”). In the latter case, lines such as “Yes I know, I’m just like all the rest,” “strike while the iron’s hot,” and “bring this boy to his knees” all come from the circulating demo. Very Gene, so it’s nothing new, just fun for Kiss-geeks to note. This very 1970s sounding song probably goes the furthest as being successful in being a “classic” sounding Kiss song, which could have been at home on “Rock And Roll Over.” The downside is that I think the guitars should be more forward in the mix with a touch more crunch. It’s a bit of a cheesy song, but it’s very Kiss. Tommy provides one of the most Ace solos on this song.
“Stand” attempts to be epic in an almost “God Gave Rock And Roll To You II” way. Unfortunately, when we reach the chorus, I almost expect Paul to break into the “Raise Your Glasses” chorus, so it gets a negative strike in my book for sounding too close to “Psycho Circus” material. Gene and Paul trade off lead vocals and the harmonizing on this song which is cheese factor 10, with plenty of Paul Stanley positive reinforcement call-outs. Whatever the case, the song is simply trying to be a positive anthem, and for that it is successful, an “I” for the 21st Century. “Hot And Cold” is a bastard child of the classic Gene demo “Rotten To The Core,” from which the verses are purloined. The chorus was apparently comes from somewhere else, as it really doesn’t feel like it belongs on this song, but seems familiar. By my count, this is the sixth time Gene’s tried to get “Rotten” onto an album, so after more than 33 years he’s finally managed it! Eric’s backing vocals are prominent on this one, which delves in parts to Gene’s “Lick It Up” era sound. While we hear it live, this is a reminder of the positives that Eric Singer brings to the band.
Eric also makes his official lead vocal debut on “All For The Glory.” He’s sung live, and on the recordings, but it’s nice to hear his rasp on a Kiss album. While the official song writing credits are not currently available, the song must come from Paul’s positive thinking library. The “All for one, one for all” part of the chorus makes me think of Psycho’s “We Are One,” but this track is rollicking musically rather than contrived. I must admit really liking the solo. I’m just relieved that they didn’t put Eric in front of the mic on a ballad since that would simply have been far too calculating, even for Kiss. “Danger Us” is a powerful rocker from which I can’t draw too many previous Kiss-era comparisons. And that makes it something of a stand-out, even if lyrics like “I don’t want my candy sweet” make me think of the writing style of a certain former Kiss member (with the initials VV). This song gets another plus for the solo which isn’t too “Ace.”
Proving he won’t just recycle unreleased material, Gene re-writes “Feel Like Heaven,” previously released by Peter Criss on his seldom heard “Let Me Rock You” album (1982) as “I’m An Animal,” using a title that early Frehley’s Comet also had for one of their songs. The verses are nearly the same, though the song is given a tough “War Machine” meets “I Love It Loud” feel, with guitar work that would appeal to Vinnie Vincent, though with somewhat less numerous notes. Gene obviously likes the “crystal ball” idea since it’s been present in his demos such as “It’s Gonna Be Alright” and “I Wanna Rule The World.” The section leading into the solo seems to be a rewriting and melding of parts of “She” with solos from the song “Love Gun” and some of Bruce Kulick’s “Asylum” pieces.
Bringing the band back to a four vocalist album “When Lightning Strikes” debuts Tommy Thayer in a far more acceptable manner than having him sing “Shock Me” on stage. The attempt to legitimize him in Ace’s guise continues with this electrically charged piece. It’s actually a decent enough song, with a rhythm track straight out of the AC/DC school of chords. Tommy’s voice seems more comfortable than Bruce’s effort on “Carnival of Souls” or his early solo efforts. Tommy’s backing vocals throughout the rest of the album are also beneficial to the overall product, but this track has a bit of a “filler” feeling to it, even with Gene and Paul’s backing efforts. Perhaps I’m being unfair and simply can’t get over the dislike of Tommy wearing Ace’s face and clothes. What can’t be denied is what Tommy has brought to the band, for more than a decade, and for that he should be thanked. Album closer “Say Yeah” is an appropriate statement. “Shout It Out Loud?” No, just “Say Yeah!” Unfortunately, it has a Paul Stanley 1998 feel to it, which automatically docks a point in my book. But it’s another fantastically crafted pop song, with elements reminding me of “Animalize” (Hot!) and even “Tonight You Belong To Me.”
Even with the different styles of material presented on the album there’s an overall unity that hasn’t been present on a Kiss album in decades. There’s a confidence in that Paul is presented how he sounds now, without studio trickery. It’s almost as if he’s challenging you: “Take it or leave it, it’s me.” And I’m glad they didn’t try and make him sound like something he’s not, they must have paid some attention to the feedback about the “re-recordings.” Hell, fans would be screaming bloody murder if they had, so they’re in something of a no-win situation. At least it seems honest. The album doesn’t attempt to be anything by hairy gorilla music that you can sing along to and forget today’s problems. I still feel that the real Tommy Thayer has not arrived. Perhaps playing Ace for so long he’s forgotten how he sounded on the “Black ‘N’ Blue” albums when he had more of his own style. Paul and Greg Collins should be commended for capturing the band in this way. Gene should be congratulated for his efforts on the album. Eric is solid and reliable as ever. Geeks like me can overanalyze it, but that’s really little more than a waste of time for something that should be savored.
