I received a copy of Psycho Circus yesterday, July 25, 1998 and immediately felt compelled to pen a quick Thought Vault to add to the cyber-frenzy of advance reports. Since I only heard it about six times, and roughly within a five hour span of time, this reaction essay should be taken lightly. I am offering my immediate reaction mainly out of genuine excitement; the emotional charge of getting a new Kiss album (since Dynasty {with the exception of the woefully misguided Barnacle of Shoals}, I have charged my local retail outlets to get each new album the first day of its release) will drive one to great lengths to talk up the band. The adrenaline that soared through my veins upon ripping open the evelope the cassette came in and jamming it into my stereo was unreal. Actually, it was surreal- to first hear a new/old Kiss album in 1998 (or at least one touted as such) was something I will always remember. The Eric Singer-loving Byron Fogle stopped by to hear it too, and I gauged the same reaction in him. It's a great thing. Without further ado, here is my early take on Kiss' Psycho Circus
Bottom Line: Don't worry, Kiss fans. There's not much to bash, but let me warn you: Don't expect classic Kiss, but do expect solid outings, in one way or another, by the four original members of Kiss. Not together, but separately. Yes, this album has very much a punch-clock feel, as if each member was tracked down and asked to contribute, and the results were put together in a value pack. On the other hand, while it certainly lacks a cohesiveness, the record contains easily as much enthusiasm and positive energy as any early Kiss album or the tragically overlooked Asylum. It doesn't smack of the obsequious approach, either. That is where I feel Revenge and that 1995 studio mistake after it fail; Kiss tried method acting in the studio making those two records, and assumed unfitting musical roles to appease what was left of the rock scene at the time. Psycho Circus is a very honest record in the sense of the four original Kiss members doing what their hearts have inspired them to do, and isn't a concerted effort to adapt to a trend.
General Sonic Impressions: The production is definitely a cursing and a blessing. In short, Paul suffers from it while Gene benefits. The dynamic duo of former Megaforce recording artist Ace Frehley and former Decca Records performer Peter Criss, aren't impacted too much in either direction. Overall the record has a distinctly Aerosmith-like sound, which was taken to the top of the charts in rock-n-roll's last heyday era on Pump, and even Get a Grip. The snare drum (who played drums? Peter? Nah, definitely not. Kevin February the 14th? Not sure!) is damp and is without variance in every hit, leading me to be believe that it was sampled.
The Center Ring
"Psycho Circus" - This song will be the enduring classic of the album. While I am not a big fan of Barnum and Bailey related themes (metal clowns W.A.S.P. tried the circus thing in 1986, and other less "stellar" acts have tried to use the concept from time to time), this song works for me on many levels: Paul's vocals are strong and full of his style and conviction. Speaking of themes, this song marks the first time Paul has ever written directly from the perspective of his stage persona, and it is the core of a problem I think fans will have with his material. Every song from Paul on this album makes you think he graduated from a twelve-step recovery program. They are all full of lyricisms that speak of salvation and victory through rock-n-roll. Sure, it must be a wonderful thing to be Paul, but this song writing tactic comes off as corny, and a parody of rock-n-roll and even Kiss. His songs are made for the stage, as he undoutedly wrote them seeing filled arenas and stadiums in his head. However, this quasi-theatre approach does not hold up alone on your stereo at home or in your car, where nary a giant Kiss logo or a flashpot is to be found. I don't know if those of you working in the yard in Perth, Australia, hanging on the beach with a Walkman in Rio, cruising down Interstate 95 in America, or home alone in Nagoya, Japan will appreciate what Paul is conveying.
The folley of his chosen subject matter is that his songs attempt to directly put into words the magic of Kiss. He speaks in a way that mortals can understand. But as fans, we understand the bond we have with Kiss and its members and it is intangible; putting it into words never does it justice. Good intentions aside, Paul is doing this all over this album and the results are not positive. In fact, it is the lyrics to his songs that provide the cringe factor on this album. The world of Kiss is fantasy land, and I have always accepted it. However, the band's music has never really reflected this too much; it has always been sort of a "sacred area" where tunes covered anything but speaking directly of the band's magic. On the other hand Gene Simmons has dabbled in the power-conveying approach through the years, but he has always laced it with sex, and spoke of himself and his character for the most part. And, mind you, it was twenty-plus years ago! For Paul to be doing this stuff now he comes off as out of place. He speaks of things that do not need to be spoken of. We as fans understand the Kiss aura, as we feel it, and need not speak of it blatantly. As Gene said (growled) in Kiss Meets The Phantom Of The Park: "No need to use thy voice, your mind speaks to us!"
In spite of his lyric writing in this title cut (his first since the near-perfect Love Gun), I firmly believe Paul has penned a classic, using some of his time-tested writing techniques. The verses and chorus are in the "Strutter" and "Hide Your Heart" zone, which is perfect for his vocal range. Paul delivers his parts in his stage rap voice, which is a nice touch. His addressing of his makeup is a Kiss first, although the reference teeters on the edge of being corny.
Grand Finale: Elephant Parade. Live this song will be a set highlight, a cornerstone segment of the next show. With the exception of the band's singles and "War Machine," Kiss hasn't had a new set highlight song in ages; this one is tailor-made for the job and it fits tight.
"Within" - Gene makes his Pyscho Circus debut (I honestly don't sense his presence on the title cut) with a number that immediately lets you know that fans will not get the same old Demon on this outing. So far initial reports have targeted this tune as being....well, crap, but I disagree. As a definite potential bad point, COS-isms are here, and more so than anywhere else on this record. However, the grungier guitar parts are balanced by Gene's stright-forward, yet melodic delivery of his somewhat obtuse words, which speak of "within" as being a place for people who strive to achieve. Fans, let this one grow on you, for there is definitely not much in the way of immediacy here but validity abounds.
Grand Finale: Tiger Through a Hoop. This is the sleeper of the album.
"I Pledge Allegiance" - I have major problems with this one. I love Aerosmith about as much as a root canal, and this song is a double one, without Novocain. The drums and their beat are positively Aero-'80s, and my hero Paul speaks more of rock-n-roll saving his soul, etc. Wasn't this approach bad enough with Queen? Anyway, I like the guitar sound on this one, and Paul's vocal delivery is excellent- let's face it, the guy could sing the phone book and make it sound good.
Grand Finale: Popcorn. This may appear hypocritical, but the driving AC/DC reminiscent guitars are redeeming. This song could work live as well.
"Into The Void" - Ace gets his bone thrown to him to do a song and produces one that while most definitely not the savior of the album (it doesn't need saving or redemption by way of sounding like classic Kiss), really is a great Ace/Kiss moment. Ace's performance (his fingers and vocal chords) is top-notch. While great, this rocker is no "Shock Me," "Rocket Ride," "Hard Times," or even "Torpedo Girl." It is more in line with Ace's solo material, but performed with the vigor of his early Kiss tenure. It kicks, and I swear Gene played on it! As for Peter Criss, I don't think he is aware this song exists.
Grand Finale: Human Cannoball. Ace makes the most of his apparently restricted status on Psycho Circus mostly with this number. Kiss fans and Ace (pea) nuts will both be satisfied. I cannot envision this one being played throughout the entire next tour, but can see it achieving "Christine Sixteen" and "Take Me" status, getting brief airings.
"We Are One" - Gene can really be perplexing -- here's a guy who loves his Demon character, and recently spat blood and fire, flew, and pounded his chest in arenas and stadiums the world over, and then he writes stuff like this. It may all be confusing, but I don't care! This song will definitely throw everyone for a loop with its pure pop production. Think Natalie Merchant. This is a white bread, feel-good mid tempo jangle fest' that will make Kiss fans scratch their heads instead of banging them (as if!). And I love it! This is one of my favorites. A point about the style and lyrics: Gene seems to be tapping into the "Great Expectations" vein, as he vaguely puts across an idea that he, the rest of the band, its fans, and Doc McGhee all share a special bond. I am not one hundred percent sure about this, as the words can also easily be interpreted as just your garden-variety love stuff. Either way, this song is a writing achievement, and just may have been made possible by the completion of Carnival of Singer's "Childhood's End." This could easily be covered by any upstart pop group and become a massive hit. But, since its Kiss, it will be probably eyed as a curiosity and not much else. It also would not out of place being piped through The Gap of Aeropostale, but definitely not The Body Shop.
*The line "we are one" is also used in the title track. Who thought of it first -- Paul or Gene?*
Grand Finale: Elephant Parade.
"You Wanted The Best" - Ah, the song where all four Kiss members get a line or two. A first. Perhaps a last too, and not just because Kiss is way past the twilight of their career recording wise. The cornball factor is high here, but easier to digest then most of Paul's contributions. Ace's solo is my favorite on the album. Paul reprises his English/Australian accent (last seen and heard in the 1980 Inner Sanctum special) here at the end in some open mike tomfoolery. More raw guitar here makes this one a production highlight. This one is just plain odd as it has no counterpart in the entire Kiss catalog.
Grand Finale: Cotton Candy- Surprisingly good, and you never thought you would like it as much as you do.
"Raise Your Glasses" - "It's My Life" rewritten! When everyone hears this please think of "It's My Life," for its main chords are now a major part of this one. The solo also borrows heavily from the unused by Kiss 1982 or so gem. Finally! I always wanted to hear it on a Kiss album, and I now I have, but it is saddled with a god awful chorus! We are talking Cher circa 1989. We are talking infomercial. We are talking commercial jingle. This is weak. An album low point. However, as you may have already determined, I love the rest of the song. There is good development, and no matter how cheesy it may be, a pre-chorus is always a nice change of pace in a Kiss song.
Grand Finale: Popcorn, but with a good flavor.
"Finally Found My Way To You"- Peter gets his moment in the spotlight, and it was no easy thing -- a lot of work went into this heart warmer, and I am happy to announce that Criss once again has produced evidence that when put to the test, given the song, and provided with the proper talent to work with he is a crooner of the highest order, and it upsets me to see this obvious natural talent go to waste. Ah, what the heck...... I like when his drums go in the air.
This song is a hybrid of the Eagles ("Desperado") and a couple of early to mid-Eighties ballads whose exact names I can't place, so instead I will provide reference points: Bonnie Tyler ("Total Eclipse of the Heart"), Jack Wagner ("All I Need," actually in the later half of the decade), and a song featured in the sitcom Family Ties that became a runaway hit around 1985-6. No, this song is not completely original, but when Peter sings, it is simply beautiful. It choked me up the first time around. Really. As Peter said on ABC's 20/20 in 1979, "It's kind of personal, but it's true." Polyscam hopefully will release this as a single, or at least get it on a soundtrack. It could be one of the biggest Kiss hits ever. Notable musical touches are violins, which give it a touch of Revenge's Aerosmith-esque but still valid "Every Time I Look at You." When Paul pops up in parts to sing it is classic, but merely icing -- Peter takes the cake here. That settles it, I am definitely writing a huge Thought Vault on Out of Control.
Bottom Line: A very gentle Elephant Parade. The Cat tiptoes through the jungle taming the wild beasts on this one.
"Dreaming" - Who knew that Paul liked Def Leppard so much? Not me. The Flying Love Gun apes a little of rock's past (the Leps, Krokus ["Screaming in the Night"}, and Stevie Nicks) and talks of winning -- again! Coming soon from the Starchild from Kiss Books -- Self-Help Through Non-Witty and Slightly Embarrassing Lyrics. However, like every other Rose Tattooed song on here, there is lot to love as well, i.e. vocals, and twists in arrangement. Reportedly this song was co-composed by the jelly hating (view Kiss Konfidential for more) Bruce Kulick. Paul sings in a mightily vintage manner here.
Grand Finale: Elephant Parade, but with a couple of beasts that look to be on too much control medication. Potential power. I think it will grow on me.
"Journey of 1,000 Years" - Following in the heretofore untracked steps of Kiss or related solo songs with titles featuring numbers ("100,000 Years", "Two Timer," "Man of 1,000 Faces," "2,000 man," "Two Sides of the Coin," "Twomorrow," (hee hee) etc.) This song is a standout for its oddness. I need more time for this one.
Grand Finale: A lot of clowns squeezing into a small car -- many surprises in this one. Stands alone from the rest of the record.
Do not expect the 1970s. Do not expect the '80s or '90s. Do not expect a re-establishing approach like the 1996-97 tour was. Do not expect a Kiss catalog bookend, a consumate collection of career-defining songs. Do not expect a sound that seems to be one step past Dynasty or Unmasked. Expect a solid, yet slightly disjointed album that is chock full of curiosities. In this regard, it is tantamount to being the first disc from the band's inevitable box set. If you are a Kiss fan who craves the group's spirit, which is usually independent of who plays what, expect to be satisfied, for that is perhaps the only bit of continuity here; there is nothing comparable to Psycho Circus in the Kiss catalog. That's a good thing, though. The album stands up on its own merit without being attached to another time.
Past Kiss Thought Vaults That May Be Worthy of A Read Right Now:
Prognosis for a New/Old Kiss Album - Did Kiss follow my formula for what makes a classic album? It seems like it! Read for yourself!
Kiss Alive II: a Big, Spaced-Out, Patriotic Masterpiece? - Does it really matter who plays on Kiss albums? I say yes, and no as well!
Author's Note: I apologize for the lack of visuals this time around, but given the nature and subject matter of this particular Thought Vault, I did not have time to gather anything. My next installment will mark a return to photo form.
Thanks for the recent spate of mail -- Ron Responds will appear next time as well.