A Quick Look at Quicksilver Messenger Service

  

Quicksilver Messenger Service were a laid back twin lead guitar somewhat psychedelic folk-rock band from San Francisco in the late Sixties. Not a widely known band, they had modest commercial success having started later than their West Coast contemporaries, so were always a little behind. They do have a cult following. Folks who like them tend to focus on the early album, particularly the first two. The second album, a mostly live album, with Side One devoted to a long jam of Bo Diddley's "Who Do You Love", is widely regarded as their most interesting and best album. John Cippolina's guitar playing is praised by fans. 

The band's leader, singer, writer, and guitarist Dino Valenti was arrested for drug possession before the band recorded their first album. After his release from prison he recorded a solo album, Dino (1968), under the name Dino Valente, and then re-joined Quicksilver Messenger Service in 1970. Those folks who particularly like the early albums tend not to like the more folky and melodic albums with Valenti.  After two albums with Valenti, Cippolina left. Two more albums later, in 1972, the band broke up. All key members, including British keyboard player Nicky Hopkins who had played with the band from '69 to '70, recorded a "comeback" album in 1975, then broke up finally. The band's second guitarist, Gary Duncan, who had played on all albums bar one, renamed his own band Quicksilver in 1986 and released a string of mostly ignored albums. He may release more in the future. How much Quicksilver is related to Quicksilver Messenger Service is a matter of debate. 

Wikipedia: 

Quicksilver Messenger Service is an American psychedelic rock band formed in 1965 in San Francisco. The band achieved wide popularity in the San Francisco Bay Area and, through their recordings, with psychedelic rock enthusiasts around the globe, and several of their albums ranked in the Top 30 of the Billboard Pop charts. They were part of the new wave of album-oriented bands, achieving renown and popularity despite a lack of success with their singles (only one, "Fresh Air" charted, reaching No. 49 in 1970). Though not as commercially successful as contemporaries Jefferson Airplane and the Grateful Dead, Quicksilver was integral to the beginnings of their genre. With their jazz and classical influences and a strong folk background, the band attempted to create an individual, innovative sound. Music historian Colin Larkin wrote: "Of all the bands that came out of the San Francisco area during the late '60s, Quicksilver typified most of the style, attitude and sound of that era."

The band's members included John Cipollina, Gary Duncan, Greg Elmore, David Freiberg, Nicky Hopkins, and Dino Valenti. Valenti drew heavily on musical influences he picked up during the folk revival of his formative musical years. The style he developed from these sources is evident in Quicksilver Messenger Service's swing rhythms and twanging guitar sounds. After many years, the band has attempted to re-form despite the deaths of several members. In 2006, Duncan and Freiberg toured as the Quicksilver Messenger Service, using various backing musicians.

AllMusic: 

The band that became Quicksilver Messenger Service originally was conceived as a rock vehicle for folk singer/songwriter Dino Valente (b. Nov. 7, 1943, d. Nov 16, 1994), author of "Get Together." Living in San Francisco, Valente had found guitarist John Cipollina (b. Aug. 24, 1943, d. May 29, 1989) and singer Jim Murray. Valente's friend David Freiberg (b. Aug. 24, 1938) joined on bass, and the group was completed by the addition of drummer Greg Elmore (b. Sep. 4, 1946) and guitarist Gary Duncan (b. Sep 4, 1946). As the band was being put together, Valente was imprisoned on a drug charge and he didn't rejoin Quicksilver until later.

They debuted at the end of 1965 and played around the Bay Area and then the West Coast for the next two years, building up a large following but resisting offers to record that had been taken up by such San Francisco acid rock colleagues as Jefferson Airplane and the Grateful Dead. Quicksilver finally signed to Capitol toward the end of 1967 and recorded their self-titled debut album in 1968 (by this time, Murray had left). Happy Trails, the 1969 follow-up, was recorded live. After its release, Duncan left the band and was replaced for Shady Grove (1970) by British session pianist Nicky Hopkins. By the time of its release, however, Duncan had returned, along with Valente, making the group a sextet.

This version of Quicksilver, prominently featuring Valente's songs and lead vocals, lasted only a year, during which two albums, Just for Love and What About Me, were recorded. Cipollina, Freiberg, and Hopkins then left, and the remaining trio of Valente, Duncan, and Elmore hired replacements and cut another couple of albums before disbanding. There was a reunion in 1975, resulting in a new album and a tour, and in 1986 Duncan revived the Quicksilver name for an album that also featured Freiberg on background vocals.

Albums

    

Quicksilver Messenger Service (1968)

Debut album. Some regard it as their best. Pop-folk songs mingle with more extended instrumental pieces that focus on interplay between lead electric guitars, which was something of a thing for Sixties West Coast bands.  The music is pleasant with an airy California feel. Nothing really stands out, but it's an acceptable listen. "The Fool" is the standout track. Gliding silvery electric guitars in a trippy/folky extended piece. The Welsh band Man were clearly influenced by this. Yes. It's modestly lovely. I like it. 

Side one

1. "Pride of Man" – 4:08 (Hamilton Camp)
2. "Light Your Windows" – 2:38 (Gary Duncan, David Freiberg)
3. "Dino's Song"^[7] – 3:08 (Dino Valenti)
4. "Gold and Silver" – 6:43 (Gary Duncan, Steve Schuster)

Side two

1. "It's Been Too Long" – 3:01 (Ron Polte)
2. "The Fool" – 12:07 (Gary Duncan, David Freiberg)

• John Cipollina - lead guitar
• Gary Duncan - rhythm and lead guitar, vocals
• David Freiberg - bass guitar, vocals, viola
• Greg Elmore - drums

Wikipedia 
AllMusic: 9
Score: 5.5 

  

Happy Trails (Mar 1969)

Live album with at least one track ("Cavalry") re-recorded in the studio.  The side long riff around the Bo Diddly "Who Do You Love" song, doesn't quite work as well as it could. It's kinda limited, and perhaps reveals why these lads never made it into the big league, while their contemporaries such as the Grateful Dead and Jefferson Airplane, are household names, and even the minor league bands such as Big Brother and Moby Grape, are better known. 

Side one

No.	Title	Length
1.	"Who Do You Love Suite" I. "Who Do You Love (Part 1)" (Ellas McDaniel (Bo Diddley)) II. "When You Love" (Gary Duncan) III. "Where You Love" (Greg Elmore[note 1]) IV. "How You Love" (John Cipollina) V. "Which Do You Love" (David Freiberg) VI. "Who Do You Love (Part 2)" (McDaniel)"	25:22 3:32 5:15 6:07 2:28 1:49 5:51

Side two

No.	Title	Writer(s)	Length
2.	"Mona"	McDaniel	6:53
3.	"Maiden of the Cancer Moon"	Duncan	2:54
4.	"Calvary"	Duncan	13:31
5.	"Happy Trails"	Dale Evans	1:29

• John Cipollina – guitar, vocals
• Gary Duncan – guitar, vocals
• David Freiberg – bass, vocals, piano
• Greg Elmore – drums, vocals, piano, percussion

Wikipedia 

AllMusic: 10
Score: 4

    

Shady Grove (Dec 1969)

A more melodic (pop?) and appealing approach, with the added attraction of the sublime (if a little over used, a la Rick Wakeman) Nicky Hopkins on piano, makes this a lighter, more accessible, and more enjoyable album than the previous one. I suspect those who like Happy Trails are less likely to also like this one as much. I like it, and by the end I love it. Nicky Hopkins's psychedelic boogie, the 9 minute instrumental "Mad Shirt Grinder", is great fun, and refreshes the palate after the Grateful Dead-esque country dirge of "Words Can't Say". A somewhat mixed album, looking both forwards and backwards, though on the whole mostly quite entertaining and satisfying. 

Side one

No.	Title	Writer(s)	Length
1.	"Shady Grove"	P.O. Wands	2:59
2.	"Flute Song"	Denise (Kaufman) Jewkes	5:17
3.	"Three or Four Feet from Home"	John Cipollina	2:58
4.	"Too Far"	David Freiberg	4:23
5.	"Holy Moly"	Nick Gravenites	4:20

Side two

No.	Title	Writer(s)	Length
6.	"Joseph's Coat"	Cipollina, Gravenites	4:36
7.	"Flashing Lonesome"	Freiberg, Gravenites	5:21
8.	"Words Can't Say"	Freiberg, Jewkes	3:17
9.	"Edward, the Mad Shirt Grinder"	Nicky Hopkins	9:10

• John Cipollina – guitar, vocals
• Nicky Hopkins – piano, organ, celeste, harpsichord, cello
• David Freiberg – bass, vocals, guitar, viola
• Greg Elmore – drums, percussion

Wikipedia 
AllMusic: 5
Score: 5

  

Just for Love (Aug 1970)

Varied. Lively. Entertaining. The band's founding singer, Dino Valenti, who had been imprisoned for possession of marihuana so was not with them for the first three albums, now re-joined, and wrote all but one of the album's tracks. He has a somewhat reedy voice - fairly distinctive. The songs are mostly in a laid back Californian folk-rock style. An attractive, characterful, gentle album. It was a modest success. It is generally disliked by fans of the early Quicksilver. 

HeadHeritage review. 

All songs written by Jesse Oris Farrow (Dino Valenti), except where noted.

Side one

1. "Wolf Run (Part 1)" – 1:12
2. "Just for Love (Part 1)" – 3:00
3. "Cobra" (John Cipollina) – 4:23
4. "The Hat" – 10:36

Side two

5. "Freeway Flyer" – 3:49
6. "Gone Again" – 7:17
7. "Fresh Air" – 5:21
8. "Just for Love (Part 2)" – 1:38
9. "Wolf Run (Part 2)" – 2:10

• Dino Valenti – guitar, lead vocals, flute, conga
• Gary Duncan – guitar, backing vocals, bass, maracas, wood block
• John Cipollina – steel, slide and electric guitars, backing vocals
• David Freiberg – bass, backing vocals, guitar
• Greg Elmore – drums, percussion
• Nicky Hopkins – piano

Wikipedia 
AllMusic: 6
Score: 5

  

What About Me (Dec 1970)

Smooth, soulful, funky, laid back, and very attractive. The Dino Valenti version of QMS is different to the early version - it's more melodic, more focused, more professional, and perhaps more accessible and poppy, but the musicians have not lost any of their skills. This is a band moving away from the indulgence that led to the 25 minute yet very limited Bo Diddly jam, into something more controlled and engaging. I like this.  Perhaps a little more than the previous album, though its in the same garden summerhouse.  

Side one

1. "What About Me" (Farrow - Dino Valenti) – 6:43
2. "Local Color" (John Cipollina) – 3:00
3. "Baby Baby" (Farrow) – 4:44
4. "Won't Kill Me" (David Freiberg) – 2:32
5. "Long Haired Lady" (Farrow) – 5:55

Side two

1. "Subway" (Gary Duncan, Farrow)^[4] – 4:29
2. "Spindrifter" (Nicky Hopkins) – 4:38
3. "Good Old Rock and Roll" (Farrow) – 2:30
4. "All in My Mind" (Duncan, Farrow) – 3:48
5. "Call on Me" (Farrow) – 7:36

• Dino Valenti – lead vocals (except on "Won't Kill Me"), guitar, percussion
• Gary Duncan – guitar, backing vocals, bass, percussion, organ
• John Cipollina – guitar, percussion
• David Freiberg – bass, backing vocals, lead vocal on "Won't Kill Me", guitar
• Greg Elmore – drums, percussion
• Nicky Hopkins – piano (except on "What About Me", "Baby Baby", "Subway", and "Call on Me")
• Mark Naftalin – piano on "What About Me", "Baby Baby", and "Call on M

Wikipedia 
AllMusic: 6
Score: 5.5

  

Quicksilver (1971)

Some of the light and magic has gone from the band. This feels quite ordinary and mundane compared to the previous two Dino Valenti albums.  The songs are not as much fun, the band feels like its just going through the motions (and key members Cipollina and Hopkins have left), and Valenti sounds less confident. It feels dated for 1971. It's the album I've least enjoyed or respected for far, yet others seems to like it. 

All songs written by Dino Valenti except where indicated.

Side one

1. "Hope" – 3:01
2. "I Found Love" (Gary Duncan) – 3:56
3. "Song for Frisco" – 4:58
4. "Play My Guitar" – 4:38
5. "Rebel" (traditional, arranged by Dino Valenti) – 2:02

Side two

1. "Fire Brothers" (Duncan) – 3:12
2. "Out of My Mind" – 4:34
3. "Don't Cry My Lady Love" – 5:13
4. "The Truth" – 6:58

• Dino Valenti – guitar, vocals, flute, percussion
• Gary Duncan – guitar, vocals
• Mark Naftalin – organ, piano
• Mark Ryan – bass
• Greg Elmore – drums, percussion

Wikipedia 
AllMusic: 8
Score: 3

   

Comin' Thru (1972)

Beefy with blues and funk, like a cross between Steve Miller and Blood, Sweat & Tears. It has that smooth West Coast feel, but is perhaps a little too mainstream and ordinary for my taste. Lacks distinction. But, fair enough, it is an attractive and acceptable listen. They are a band that should be better known. 

Side one

1. "Doin' Time in the U.S.A." (Gary Duncan) – 4:15
2. "Chicken" (Traditional, arranged by Dino Valenti) – 4:03
3. "Changes" (Valenti) – 4:15
4. "California State Correctional Facility Blues" (Valenti, Duncan, Greg Elmore, Chuck Steaks) – 6:10

Side two

1. "Forty Days" (Valenti, Duncan, Elmore) – 5:31
2. "Mojo" (Valenti) – 5:34
3. "Don't Lose It" (Duncan, Valenti) – 5:57

• Dino Valenti – vocals, guitar, congas
• Gary Duncan – guitar, vocals
• Chuck Steaks – organ
• Mark Ryan – bass
• Greg Elmore – drums

Wikipedia 
AllMusic: 5
Score: 4

   

Solid Silver (1975)

The reunion album. This is pleasant, though feels more like a compilation album of early Seventies West Coast music than an album by one band. There's some Eagles, Grateful Dead, Jefferson Airplane, and themselves in here. It's OK. Quite professional and attractive, but it carries little weight, and is not really distinctive enough to stay in the memory, even though all the key members of the band are playing here together. 

Side one

1. "Gypsy Lights" (Gary Duncan) – 3:40
2. "Heebie Jeebies" (John Cipollina) – 4:15
3. "Cowboy on the Run" (Dino Valenti) – 3:13
4. "I Heard You Singing" (David Freiberg, Robert Hunter) – 3:48
5. "Worryin' Shoes" (Valenti) – 3:25

Side two

1. "The Letter" (Valenti) – 4:06
2. "They Don't Know" (Duncan) – 3:54
3. "Flames" (Cipollina, Valenti) – 4:20
4. "Witches' Moon" (Valenti) – 2:59
5. "Bittersweet Love" (Valenti, Duncan) – 4:23

• Gary Duncan – electric and pedal steel guitars, vocals
• John Cipollina – electric and Hawaiian steel guitars, vocals
• Dino Valenti – guitar, vocals
• David Freiberg – bass, vocals
• Greg Elmore – drums

Wikipedia 
AllMusic: 7
Score: 3.5 

Gary Duncan revived the band as Quicksilver in 1986 using his own band. No other original members were involved. 

Discography

Quicksilver Messenger Service (1968)
Shady Grove (1969)
Just for Love (1970)
What About Me (1970)
Quicksilver (1971)
Comin' Thru (1972)
Solid Silver (1975)

Best album list 

* BestEverAlbums

Happy Trails (1969)
Quicksilver Messenger Service (1968)
Quicksilver (1971)

That's the only list I've found.. 

Summary 

A pleasant and moderately attractive band of no real importance or significance. Part of the potpourri of late Sixties West Coast bands.  The gentle, laid back, somewhat hippie vibe of the band is part of the appeal. Get stoned and listen to the band jamming on Bo Diddly, or getting more melodic with Dino. It's nice stuff. 

Voice/Musicianship (15%)

The singing is soft, casual, and non-distinctive until Valenti's albums from 1970 on. The band are professional. Nicky Hopkin's especially so, though tends to overdo his part, rather like Rick Wakeman. The two lead guitarists weave together nicely, but I'd take Man's Spunk Rock over QMS's Bo Diddly every day of the week. You can see the influence, but what those Welsh boys do is way more exciting.

Image/Star quality (5%)

No.

Lyrics/Music (20%)

Sadly they didn't write any stand out tracks. But the songs are OK and likeable.

Impact/Influence (10%)

Well they clearly influenced Man. Not sure about anyone else, as they were the same as the other West Coast bands, but not as well known.

Popularity (5%)

They do have a cult following.

Emotional appeal (5%)

Relaxing.

Authenticity (15%)

Yeah. Give them that. They were true to themselves. It's just that most of it sounded like your friends' scratch band.

Art (5%)

They just played nice music.

Classic albums/songs (5%)

Their fans like the Happy Trails album and some may consider that a lost classic. But, no.

Originality/Innovation (5%)

No. 

Legacy (10%)

No.

Total: 100

29/100

***

Kitchen Table Music Blogs

Best Of The Best

A Quick look at Kiss

 

Kiss are hugely popular. Their image is part of the appeal. It is a love it or hate it image (or more accurately, sneer or laugh at it), which presents them as something of a juvenile comic band. It brought them attention, but even the band tired of it, much to the disappointment of their immature fans. 

Their music has not really caught my attention. But they are a big selling band, so I'm having a quick look into their albums, singles, and videos. . 

Wikipedia: 

Kiss (commonly styled in all caps) was an American rock band formed in New York City in 1973 by Paul Stanley (vocals, rhythm guitar), Gene Simmons (vocals, bass guitar), Ace Frehley (lead guitar, vocals) and Peter Criss (drums, vocals). Known for their face paint and stage outfits, the group rose to prominence in the mid-1970s with shock rock–style live performances that featured fire-breathing, blood-spitting, smoking guitars, shooting rockets, levitating drum kits and pyrotechnics. The band went through several lineup changes, with Stanley and Simmons remaining the only consistent members. The final lineup consisted of Stanley, Simmons, Tommy Thayer (lead guitar, vocals) and Eric Singer (drums, vocals).

With their makeup and costumes, the band members took on the personas of comic book-style characters: the Starchild (Stanley), the Demon (Simmons), the Spaceman or Space Ace (Frehley), and the Catman (Criss). During the second half of the 1970s, Kiss became one of America's most successful rock bands and a pop culture phenomenon. The band's commercial success declined during the early 1980s; however, it experienced a resurgence in 1983 when the band members began performing without makeup and costumes, marking the beginning of the band's "unmasked" era that would last until 1996. The first album of this era, 1983's platinum-certified Lick It Up, successfully introduced the band to a new generation of fans, and its music videos received regular airplay on MTV. In response to a wave of Kiss nostalgia in the mid-1990s, the original lineup reunited in 1996; at this time, the band resumed using makeup and stage costumes. The resulting 1996–1997 reunion tour was the band's most successful, grossing $143.7 million. In January 2019, Kiss began its final worldwide tour, and the band retired after performing its final show in New York City in December 2023.

Kiss is regarded as one of the most influential rock bands of all time,[1][2] as well as one of the best selling bands of all time. Kiss has also earned 30 Gold albums, the most of any band from the United States. Kiss has earned 14 Platinum albums, three of which earned multi-Platinum status.[2] The four original members of Kiss (Simmons, Stanley, Criss, and Frehley) were inducted into the Rock and Roll Hall of Fame in April 2014. Kiss was ranked by MTV as the ninth-greatest metal band of all time,[3] placed tenth on VH1's "100 Greatest Artists of Hard Rock" list,[4] was ranked as the third "Best Metal and Hard Rock Live Band of All Time" by Loudwire magazine,[5] and was placed sixteenth by the British magazine Classic Rock on their "The 50 Best Rock Bands of All Time" list.

AllMusic: 

Kiss was a force of unrivalled rock and roll power, going through many chapters since first taking over the world as sleazy hard rock superheroes in the '70s. Rooted in the campy theatrics of Alice Cooper and the New York Dolls, Kiss' early days found them decked out in outrageous costumes and makeup, with a stage show that captured the imaginations of thousands of kids. Their music is commercially potent mix of anthemic, fist-pounding hard rock driven by sleek hooks and ballads powered by loud guitars, earworm melodies, and sweeping strings. It's a sound that laid the groundwork for both arena rock and the pop-metal that dominated rock in the late '80s. In 1983 the band went unmasked, resulting in the platinum-selling LP of the same name, but re-applied the makeup ten years later. Since then, the Rock & Roll Hall of Famers have remained a potent live draw and have sold over 75 million records worldwide, with highlights arriving via influential efforts like Alive!, Destroyer, Rock & Roll Over, Love Gun, Dynasty, and Lick It Up.

KISS: A Critical Summary

KISS, formed in New York City in 1973, are one of the most commercially successful and visually recognizable rock bands in history. Built around the core members Gene Simmons, Paul Stanley, Ace Frehley, and Peter Criss, the band fused hard rock with theatrical spectacle—face paint, elaborate costumes, pyrotechnics, and exaggerated onstage personas—to create a brand as much as a musical act.

Musically, KISS have often been viewed as straightforward rather than innovative. Their sound draws heavily from 1970s hard rock and glam rock, with simple riffs, anthemic choruses, and a focus on hooks over technical complexity. Albums like Destroyer (1976) and Love Gun (1977) contain enduring rock staples, but critics frequently note that their songwriting rarely pushes stylistic or lyrical boundaries. The band’s emphasis on accessibility and repetition has led to accusations of formulaic output, especially during their prolific late-1970s run.

Lyrically, KISS are unapologetically hedonistic. Songs center on sex, partying, rebellion, and rock-and-roll mythology, often in exaggerated or cartoonish terms. This approach helped them connect strongly with teenage audiences but also reinforced the perception that the band prioritized image and attitude over depth or introspection.

Culturally and commercially, KISS’s impact is undeniable. They pioneered a modern model of rock branding, turning merchandise, mascots, and identity into a massive revenue stream. Their success demonstrated that spectacle could rival—or even outweigh—musical sophistication in building a fan base. At the same time, this commercial focus has fueled criticism that KISS function more as an enterprise than as artists driven by creative risk.

Critically, KISS have long been polarizing. Many reviewers have dismissed them as shallow, overhyped, or cynical, while fans celebrate their honesty, energy, and commitment to entertainment. Over time, critical reassessment has acknowledged that while KISS may not be innovators in the traditional sense, they were innovators in presentation, marketing, and audience engagement.

In sum, KISS occupy a unique place in rock history: not revered for artistic depth or technical mastery, but for their ability to turn rock music into a grand, populist spectacle. Their legacy lies less in redefining the sound of rock and more in redefining how rock could be sold, staged, and mythologized.

Background

Kiss emerged in 1974, a vibrant and varied time in rock music, with album releases such as Van Morrison's powerful live It's Too Late To Stop Now,  Brian Eno's extraordinary rich and original debut solo Here Come The Warm Jets, the stunningly influential electronic masterpiece by Tangerine Dream: Phaedra, Steely Dan's jazz-rock triumph Pretzel Logic, Big Star's power pop milestone Radio City, J.J. Cale's sublime laid-back country Okie, Bowie's Diamond Dogs, Sparks' Kimono My House, Sheet Music by 10cc, Rock Bottom by Robert Wyatt, 461 Ocean Boulevard by Eric Clapton, the funky AWB by The Average White Band, War Babies by Hall & Oates, Crime of the Century by Supertramp, Natty Dread by Bob Marley, Autobahn by Kraftwerk, June 1, 1974 by Kevin Ayers, etc, etc. A wonderful year. On the rock front were ordinary releases by Foghat, Deep Purple,  Humble Pie, Grand Funk Railroad, Aerosmith, Geordie (Brian Johnson),  Lynyrd Skynyrd, Robin Trower, Nazareth, 

Of particular interest are releases by Sweet, Alex Harvey, Slade, and New York Dolls as potential influences on Kiss. 

Wicked Lester 

Simons and Stanley - the key members of Kiss - were in a band, Wicked Lester, before they formed Kiss. They recorded an album which wasn't released at the time, and still hasn't been officially released, though a bootleg has come out. Kiss did use some of the songs that Simons and Stanley wrote and recorded for Wicked Lester. 

  

The Original Wicked Lester Sessions (1972)

The album is quite funky and rocky. Not bad at all. Should have been released. 

There is no official track list - these are the usual songs that appear on bootlegs. 

"Love Her All I Can" (2:28) Stanley
"Sweet Ophelia" (2:56) Barry Mann/Gerry Goffin (originally recorded by Barry Mann)
"Keep Me Waiting" (3:04) Stanley
"Simple Type" (2:33) Simmons
"She" (2:54) Coronel/Simmons
"Too Many Mondays" (3:27) Barry Mann/Cynthia Weil (originally recorded by Barry Mann)
"What Happens in the Darkness" (2:59) Tami Lester Smith (originally released by Infinity)
"When the Bell Rings" (3:11) Austin Roberts (singer)/Christopher Welch (originally released by Newport News)
"Molly" (aka Some Other Guy) (2:23) Stanley
"We Want to Shout It Out Loud" (2:04) Allan Clarke/Terry Sylvester (originally released as "I Wanna Shout" by The Hollies)
"Long, Long Road" (4:28) Stanley

• Paul Stanley (Stanley Eisen) – lead vocals, guitar
• Gene Simmons (Gene Klein) – lead vocals, bass
• Ron Leejack – lead guitar, banjo
• Brooke Ostrander – piano, horns
• Tony Zarrella – drums, percussion

Wikipedia 

AllMusic: -
Score: 4

Selected recordings

   

Kiss (1974)

A decent early 70s rock album. On a par with others made that year. Sales of the album are generally considered to have been slow initially (and have not really taken off since - despite the group's later fame, the album was given  Gold in 1977, but no sales awards since); the album sold 75,000, which, while par for a debut , is not the sales expected of an album supported and toured.  

The opening track, Strutter, has an early Seventies rock-boogie feel, displaying the influence that The Rolling Stones had on much mainstream rock at that time. There is also a straight ahead stomping glam rock sound, which carries on through much of the album, particularly on the second track, "Nothin' to Lose", coupled with pop-oriented backing vocals, along with heavy bass, straight-ahead driving drums, and strident eclectic riffs, which puts Kiss into a glam rock or early glam metal (or pop metal) category. There are elements of The Stones served through the glam sleeze of The New York Dolls, plus the stomp of Slade, the theatrical power of  Alex Harvey, and the entertaining and melodic pop rock of Sweet. 

The band are competent and professional both as a unit and as individuals, without anyone standing out as unique or interesting or particularly skilled. The ending of the last track Black Diamond with its deliberate slowing down is par for the course for the sort of boundary pushing that was happening in albums at the time, though is slightly unusual for a rock album. So, credit for that - the boys can be musically playful. 

The album is widely regarded as one of the band's best, sometimes the best; and is considered to be in itself a solid, grooving rock album. A number of the songs became staples of the band's live act.  

 

Side one

No.	Title	Writer(s)	Lead vocals	Length
1.	"Strutter"	Paul Stanley, Gene Simmons	Stanley	3:10
2.	"Nothin' to Lose"	Simmons	Simmons, Peter Criss, Stanley	3:26
3.	"Firehouse"	Stanley	Stanley	3:18
4.	"Cold Gin"	Ace Frehley	Simmons	4:21
5.	"Let Me Know"	Stanley	Simmons, Stanley	2:58

Side two

No.	Title	Writer(s)	Lead vocals	Length
1.	"Kissin' Time"	Kal Mann, Bernie Lowe	Simmons, Stanley, Criss	3:52
2.	"Deuce"	Simmons	Simmons	3:05
3.	"Love Theme from Kiss"	Stanley, Simmons, Criss, Frehley	instrumental	2:24
4.	"100,000 Years"	Stanley, Simmons	Stanley	3:22
5.	"Black Diamond"	Stanley	Criss, intro by Stanley	5:11

• Paul Stanley (Starchild) – rhythm guitar, vocals
• Ace Frehley (Space Ace) – lead guitar, backing vocals
• Gene Simmons (Demon) – bass, vocals
• Peter Criss (Catman) – drums, vocals

Wikipedia 

AllMusic: 9
Score: 4.5 

  

Hotter Than Hell (1974)

A blues rock opener, in the style of Free and  derivative bands. "Going' Blind" is a slow, dark piece, leaning in the direction of Deep Purple and Black Sabbath (dark as Sabbath, rocky as Purple). It's a varied album. Quite attractive, though perhaps not developing a distinctive sound. It sounds similar to the rock albums I list above - all of them decent albums, but none particularly noteworthy. On the whole I like this album a little more than the first. Production is crisper (at least on the 1997 remaster), aligning with the pop-orientation of the band, and the songs are varied and lively.  
As with the first album, it sold enough to touch the lower ranks of charts, but was not a big seller.  A number of the tracks continue to be played live, and it is generally liked and respected by critics and fans. 

Side one

No.	Title	Writer(s)	Lead vocals	Length
1.	"Got to Choose"	Paul Stanley	Stanley	3:54
2.	"Parasite"	Ace Frehley	Gene Simmons	3:01
3.	"Goin' Blind"	Simmons, Stephen Coronel	Simmons	3:36
4.	"Hotter than Hell"	Stanley	Stanley	3:31
5.	"Let Me Go, Rock 'n' Roll"	Simmons, Stanley	Simmons	2:14

Side two

No.	Title	Writer(s)	Lead vocals	Length
1.	"All the Way"	Simmons	Simmons	3:18
2.	"Watchin' You"	Simmons	Simmons	3:43
3.	"Mainline"	Stanley	Peter Criss	3:50
4.	"Comin' Home"	Frehley, Stanley	Stanley	2:37
5.	"Strange Ways"	Frehley	Criss	3:18

• Paul Stanley – vocals, rhythm guitar
• Gene Simmons – vocals, bass
• Ace Frehley – lead guitar, backing vocals
• Peter Criss – drums, vocals

Wikipedia 

AllMusic: 8
Score: 5

  

Dressed to Kill (1975) 

It's an OK album. Last track, "Rock and Roll All Nite", is quite catchy and poppy. 

Side one

No.	Title	Writer(s)	Lead vocals	Length
1.	"Room Service"	Paul Stanley	Stanley	2:59
2.	"Two Timer"	Gene Simmons	Simmons	2:47
3.	"Ladies in Waiting"	Simmons	Simmons	2:35
4.	"Getaway"	Ace Frehley	Peter Criss	2:43
5.	"Rock Bottom"	Frehley, Stanley	Stanley	3:54

Side two

No.	Title	Writer(s)	Lead vocals	Length
6.	"C'mon and Love Me"	Stanley	Stanley	2:57
7.	"Anything for My Baby"	Stanley	Stanley	2:35
8.	"She"	Simmons, Stephen Coronel	Simmons, Stanley	4:08
9.	"Love Her All I Can"	Stanley	Stanley	2:40
10.	"Rock and Roll All Nite"	Stanley, Simmons	Simmons	2:49

• Paul Stanley – vocals, rhythm guitar
• Gene Simmons – vocals, bass
• Ace Frehley – lead guitar, backing vocals
• Peter Criss – drums, vocals

Wikipedia

AllMusic: 9
Score: 4

   

Alive! (1975)

Influenced by Slade Alive! (1972), this double live album was the breakthrough for Kiss. While it's not an a par with the Slade album for production (it sounds murky), for energy and excitement and rawness, nor for sheer fun, it is the best album the band have done so far, and I can see why it was popular with the people who became Kiss fans. It does convey rock excitement, albeit in a rather predictable way which kinda diminishes the excitement a bit. The band are a decent rock band, and they do generate a good rocking atmosphere. It's a shame the songs are not a bit better, and the singers don't have much character in their voices (there's no Noddy Holder here), and the musicians  don't do more than play out the music and riffs as they should. 
A decent album, for sure, but Slade Alive! it aint! 

Side one

No.	Title	Writer(s)	Lead vocals	Length
1.	"Deuce"	Gene Simmons	Simmons	3:32
2.	"Strutter"	Paul Stanley, Simmons	Stanley	3:12
3.	"Got to Choose"	Stanley	Stanley	3:35
4.	"Hotter Than Hell"	Stanley	Stanley	3:11
5.	"Firehouse"	Stanley	Stanley	3:42

Side two

No.	Title	Writer(s)	Lead vocals	Length
1.	"Nothin' to Lose"	Simmons	Simmons, Peter Criss	3:23
2.	"C'mon and Love Me"	Stanley	Stanley	2:52
3.	"Parasite"	Ace Frehley	Simmons	3:21
4.	"She"	Simmons, Stephen Coronel	Simmons, Stanley, Criss	6:42

Side three

No.	Title	Writer(s)	Lead vocals	Length
1.	"Watchin' You"	Simmons	Simmons	3:51
2.	"100,000 Years"	Stanley, Simmons	Stanley	12:12
3.	"Black Diamond"	Stanley	Criss, intro by Stanley	5:47

Side four

No.	Title	Writer(s)	Lead vocals	Length
1.	"Rock Bottom"	Stanley (intro: Frehley)	Stanley	3:08
2.	"Cold Gin"	Frehley	Simmons	5:21
3.	"Rock and Roll All Nite"	Stanley, Simmons	Simmons	3:37
4.	"Let Me Go, Rock 'n' Roll"	Stanley, Simmons	Simmons	5:09

• Paul Stanley – vocals, rhythm guitar
• Gene Simmons – vocals, bass
• Ace Frehley – lead guitar, backing vocals
• Peter Criss – drums, vocals

Wikipedia

AllMusic: 10
Score: 5

  

Destroyer (1976)

The band followed up the attention-getting Alive! with this clean and poppy rock album that immediately became their most popular and commercial, and is widely regarded as their peak. It's a sold, likeable pop-rock album. Though, to be fair, not one that holds much interest for me. I'm OK to listen to it while it's playing, but there's nothing new or exciting or interesting here that will tempt me to reach out and select this album to play for pleasure now I've heard it a few times. God of Thunder appears to be an influence on Lordi's awesome Hard Rock Hallelujah.  

Side one

No.	Title	Writer(s)	Lead vocals	Length
1.	"Detroit Rock City"	Paul Stanley, Bob Ezrin	Paul Stanley	5:17
2.	"King of the Night Time World"	Stanley, Kim Fowley, Mark Anthony, Ezrin	Paul Stanley	3:19
3.	"God of Thunder"	Stanley	Gene Simmons	4:13
4.	"Great Expectations"	Gene Simmons, Ezrin	Gene Simmons	4:24

Side two

No.	Title	Writer(s)	Lead vocals	Length
5.	"Flaming Youth"	Ace Frehley, Stanley, Simmons, Ezrin	Paul Stanley	2:59
6.	"Sweet Pain"	Simmons	Gene Simmons	3:20
7.	"Shout It Out Loud"	Stanley, Simmons, Ezrin	Paul Stanley, Gene Simmons	2:49
8.	"Beth"	Peter Criss, Stan Penridge, Ezrin	Peter Criss	2:45
9.	"Do You Love Me"	Stanley, Fowley, Ezrin	Paul Stanley	3:33
10.	"Rock and Roll Party"	Simmons, Stanley, Ezrin	instrumental	1:25

• Paul Stanley – vocals, rhythm guitar
• Gene Simmons – vocals, bass
• Ace Frehley – lead guitar, backing vocals
• Peter Criss – drums, vocals

Wikipedia

AllMusic: 9
Score: 4.5

   

Rock And Roll Over (Nov 1976) 

Leans more into rock and metal than Destroyer. Perhaps a bit too much like New York Dolls, and the clone of Rod Stewart's Maggie May is a bit embarressing, but all in all quite listenable. 

Side one

No.	Title	Writer(s)	Lead vocals	Length
1.	"I Want You"	Paul Stanley	Stanley	3:04
2.	"Take Me"	Stanley, Sean Delaney	Stanley	2:56
3.	"Calling Dr. Love"	Gene Simmons	Simmons	3:44
4.	"Ladies Room"	Simmons	Simmons	3:27
5.	"Baby Driver"	Peter Criss, Stan Penridge	Criss	3:40

Side two

No.	Title	Writer(s)	Lead vocals	Length
6.	"Love 'Em and Leave 'Em"	Simmons	Simmons	3:47
7.	"Mr. Speed"	Stanley, Delaney	Stanley	3:18
8.	"See You in Your Dreams"	Simmons	Simmons	2:34
9.	"Hard Luck Woman"	Stanley	Criss	3:35
10.	"Makin' Love"	Stanley, Delaney	Stanley	3:14

Wikipedia

AllMusic: 8
Score: 5

  

Love Gun (1977)

This is simple commercial stuff, but that's OK. It's not my thing, but I can listen to it and enjoy it. There's room for this kind of stuff. And if you hear it when you are young and impressionable, it's of course going to make an impression on you that is likely to remain for the rest of your life. 

Side one

No.	Title	Writer(s)	Lead vocals	Length
1.	"I Stole Your Love"	Paul Stanley	Stanley	3:04
2.	"Christine Sixteen"	Gene Simmons	Simmons	3:14
3.	"Got Love for Sale"	Simmons	Simmons	3:29
4.	"Shock Me"	Ace Frehley	Frehley	3:49
5.	"Tomorrow and Tonight"	Stanley	Stanley	3:40

Side two

No.	Title	Writer(s)	Lead vocals	Length
1.	"Love Gun"	Stanley	Stanley	3:18
2.	"Hooligan"	Peter Criss, Stan Penridge	Criss	3:01
3.	"Almost Human"	Simmons	Simmons	2:49
4.	"Plaster Caster"	Simmons	Simmons	3:27
5.	"Then She Kissed Me"	Jeff Barry, Ellie Greenwich, Phil Spector	Stanley	3:02

• Paul Stanley – vocals, rhythm guitar
• Gene Simmons – vocals, bass; rhythm guitar 
• Ace Frehley – lead guitar, vocals
• Peter Criss – drums, vocals

Wikipedia

AllMusic: 9
Score: 4

 

Kiss: Ace Frehely (1978)

All four Kiss members released a solo album with the same style album cover, and same style title. This one by the band's lead guitarist is widely considered the best of the four, and even appears in the top ten of some lists of the best albums by Kiss.  It comes across like Suzie Quatro does New York Dolls (well, maybe that's an unfortunate turn of phrase). Anyway, good time music that has no pretentious on being serious. By 1978 this kind of stuff was really old fashioned, but it seems folks were still buying it in basket loads. . 

Side one

No.	Title	Writer(s)	Length
1.	"Rip It Out"	Frehley, Larry Kelly, Sue Kelly	3:40
2.	"Speedin' Back to My Baby"	Frehley, Jeanette Frehley	3:37
3.	"Snow Blind"		3:55
4.	"Ozone"		4:43
5.	"What's on Your Mind?"		3:28

Side two

No.	Title	Writer(s)	Length
6.	"New York Groove" (Hello cover)	Russ Ballard	3:03
7.	"I'm in Need of Love"		4:39
8.	"Wiped-Out"	Frehley, Anton Fig	4:13
9.	"Fractured Mirror" (instrumental)		5:26

Ace Frehley – lead and backing vocals, lead, rhythm and acoustic guitar, guitar synthesizer, bass
Additional personnel:-  Anton Fig – drums, percussion

Wikipedia

AllMusic: 
Score: 3.5

  

Unmasked (1980) 

Generally regarded as the weakest of the Kiss albums. It's typically commercial, professional, and weak material. It's less rocky than the early albums, but in keeping with the broader musical direction the band had been going  in. 

Side one

No.	Title	Writer(s)	Lead vocals	Length
1.	"Is That You?"	Gerard McMahon	Paul Stanley	3:59
2.	"Shandi"	Paul Stanley, Vini Poncia	Paul Stanley	3:36
3.	"Talk to Me"	Ace Frehley	Ace Frehley	4:00
4.	"Naked City"	Gene Simmons, Vini Poncia, Peppy Castro, Bob Kulick	Gene Simmons	3:49
5.	"What Makes the World Go 'Round"	Paul Stanley, Vini Poncia	Paul Stanley	4:14

Side two

No.	Title	Writer(s)	Lead vocals	Length
6.	"Tomorrow"	Paul Stanley, Vini Poncia	Paul Stanley	3:18
7.	"Two Sides of the Coin"	Ace Frehley	Ace Frehley	3:16
8.	"She's So European"	Gene Simmons, Vini Poncia	Gene Simmons	3:30
9.	"Easy as It Seems"	Paul Stanley, Vini Poncia	Paul Stanley	3:24
10.	"Torpedo Girl"	Ace Frehley, Vini Poncia	Ace Frehley	3:44
11.	"You're All That I Want"	Gene Simmons, Vini Poncia	Gene Simmons	3:04

Paul Stanley – vocals, rhythm guitar, lead guitar 
Gene Simmons – vocals, bass
Ace Frehley – vocals, lead guitar, acoustic guitar
Peter Criss – drums (credited, but does not play)

Additional personnel
Anton Fig – drums
Vini Poncia – keyboards, percussion, backing vocals, producer

Wikipedia

AllMusic: 
Score: 4

   

Music From The Elder (1982) 

The band's most ambitious, boldest, most interesting, and yet least liked album. On the whole I think Kiss fans just want familiar and simple rock music. They don't want prog stuff or concept albums. To be fair, this is not the best prog or concept album you're likely to hear. As with much of Kiss, it comes across as a dumbed down copy of what was happening in the early Seventies - and feels more like Spinal Tap's Stonehenge meets a budget Andrew Lloyd Weber, with a bit of Tommy thrown in for good measure, than something by Yes or Jethro Tull. Nevertheless, for me, it's the most interesting, if perhaps not the most enjoyable, of the output by Kiss.

1997 Remastered Version

No.	Title	Writer(s)	Lead vocals	Length
1.	"Fanfare"	Stanley, Ezrin	instrumental	1:22
2.	"Just a Boy"	Stanley, Ezrin	Stanley	2:25
3.	"Odyssey"	Powers	Stanley	5:37
4.	"Only You"	Simmons	Simmons, Stanley	4:17
5.	"Under the Rose"	Carr, Simmons	Simmons	4:52
6.	"Dark Light"	Frehley, Fig, Reed, Simmons	Frehley	4:19
7.	"A World Without Heroes"	Stanley, Ezrin, Reed, Simmons	Simmons	2:41
8.	"The Oath"	Stanley, Ezrin, Powers	Stanley	4:32
9.	"Mr. Blackwell"	Simmons, Reed	Simmons	4:53
10.	"Escape from the Island"	Frehley, Carr, Ezrin	instrumental	2:52
11.	"I"	Simmons, Ezrin	Stanley, Simmons	5:04

• Paul Stanley – vocals, rhythm guitar
• Gene Simmons – vocals, bass
• Ace Frehley – vocals, lead guitar, bass 
• Eric Carr – drums, backing vocals

Wikipedia

AllMusic: 4
Score: 5

 

Creatures Of The Night (1982)

Cool cover. Probably the best Kiss cover. The band had been having problems. Internal tension had caused the original drummer and now the original lead guitarist to leave. Their previous album, The Elder, had not sold well, and had been poorly received. This is a return to rock, with a leaning on heavy metal and some Black Sabbath with a bit of late Deep Purple thrown in. It had a mixed reception at the time (though is now quite well regarded). And it did not get the band back into the sales they had achieved during their peak. The guitar work is still generic, though it is crisper and more professional than with Ace Frehely. And the drums are more professional and expansive. But the music is still stuck somewhat in the past. This stuff has been done before, and Kiss are doing nothing new or better. 

Side one

No.	Title	Writer(s)	Lead vocals	Length
1.	"Creatures of the Night"	Paul Stanley, Adam Mitchell	Stanley	4:02
2.	"Saint and Sinner"	Gene Simmons, Mikel Japp	Simmons	4:50
3.	"Keep Me Comin'"	Stanley, Mitchell	Stanley	3:55
4.	"Rock and Roll Hell"	Simmons, Bryan Adams, Jim Vallance	Simmons	4:11
5.	"Danger"	Stanley, Mitchell	Stanley	3:54

Side two

No.	Title	Writer(s)	Lead vocals	Length
6.	"I Love It Loud"	Simmons, Vinnie Vincent	Simmons	4:15
7.	"I Still Love You"	Stanley, Vincent	Stanley	6:06
8.	"Killer"	Simmons, Vincent	Simmons	3:19
9.	"War Machine"	Simmons, Adams, Vallance	Simmons	4:14

• Paul Stanley – vocals, rhythm guitar on tracks 1, 3, 5 & 7, producer
• Gene Simmons – vocals, bass (except tracks 1, 5 & 7), rhythm guitar on "War Machine", producer
• Eric Carr – drums, percussion, bass on "I Still Love You", backing vocals
• Ace Frehley – lead guitar (credited, but does not play)

Additional musicians

• Vinnie Vincent – lead guitar on tracks 3, 5 & 9; all guitars on tracks 2, 6 & 8
• Robben Ford – lead guitar on "I Still Love You"; all guitars on "Rock and Roll Hell"
• Steve Farris – lead guitar on "Creatures of the Night

Wikipedia

AllMusic: 8
Score: 4

  

Lick It Up (1983)

The band unmasked for the first time, and slowed down the decline in sales. A firm rock album though with an Eighties feel. Quite clean and stadium orientated with more of an eye on commercial appeal than Creatures. 

Side one

No.	Title	Writer(s)	Lead vocals	Length
1.	"Exciter"	Paul Stanley, Vinnie Vincent	Stanley	4:10
2.	"Not for the Innocent"	Gene Simmons, Vincent	Simmons	4:22
3.	"Lick It Up"	Stanley, Vincent	Stanley	3:56
4.	"Young and Wasted"	Simmons, Vincent	Simmons	4:05
5.	"Gimme More"	Stanley, Vincent	Stanley	3:43

Side two

No.	Title	Writer(s)	Lead vocals	Length
6.	"All Hell's Breakin' Loose"	Eric Carr, Stanley, Simmons, Vincent	Stanley	4:34
7.	"A Million to One"	Stanley, Vincent	Stanley	4:17
8.	"Fits Like a Glove"	Simmons	Simmons	4:04
9.	"Dance All Over Your Face"	Simmons	Simmons	4:16
10.	"And on the 8th Day"	Simmons, Vincent	Simmons	4:02

• Paul Stanley – vocals, rhythm guitar
• Gene Simmons – vocals, bass 
• Vinnie Vincent – lead guitar, backing vocals
• Eric Carr – drums, percussion, backing vocals

Wikipedia

AllMusic: 7
Score: 3.5 

  

Crazy Nights (1987)

The bulk of the band's unmasked Eighties albums are widely regarded as poor. This is an example.  I like the title song, which was a hit single in the UK. It's acceptable Eighties pop-rock. The rest of the album is also quite acceptable, and on the whole not a lot different to other Kiss material.  Clean, well produced, commercial pop-rock. Lead guitar by Kulick (who joined in 1984 for two tracks on Animalize) is sharp. Not sure why it's disliked so much. 

Side one

No.	Title	Writer(s)	Lead vocals	Length
1.	"Crazy Crazy Nights"	Paul Stanley, Adam Mitchell	Stanley	3:47
2.	"I'll Fight Hell to Hold You"	Stanley, Mitchell, Bruce Kulick	Stanley	4:10
3.	"Bang Bang You"	Stanley, Desmond Child	Stanley	3:53
4.	"No, No, No"	Gene Simmons, Kulick, Eric Carr	Simmons	4:19
5.	"Hell or High Water"	Simmons, Kulick	Simmons	3:28
6.	"My Way"	Stanley, Child, Bruce Turgon	Stanley	3:58

Side two

No.	Title	Writer(s)	Lead vocals	Length
7.	"When Your Walls Come Down"	Stanley, Mitchell, Kulick	Stanley	3:25
8.	"Reason to Live"	Stanley, Child	Stanley	4:00
9.	"Good Girl Gone Bad"	Simmons, Davitt Sigerson, Peter Diggins	Simmons	4:35
10.	"Turn On the Night"	Stanley, Diane Warren	Stanley	3:18
11.	"Thief in the Night"	Simmons, Mitch Weissman	Simmons	4:07

• Paul Stanley – vocals, rhythm guitar, keyboards
• Gene Simmons – bass, vocals
• Eric Carr – drums, percussion, backing vocals
• Bruce Kulick – lead guitar, backing vocals

Wikipedia

AllMusic: 3
Score: 4

  

Smashes, Thrashes, and Hits (1988)

Useful compilation mostly of the band's later material, which also includes two new songs so the fans would buy it as well as their parents. 

No.	Title	Writer(s)	Original album	Length
1.	"Let's Put the X in Sex"	Stanley, Child	previously unreleased	3:48
2.	"Crazy Crazy Nights"	Stanley, Adam Mitchell	Crazy Nights	3:45
3.	"(You Make Me) Rock Hard"	Stanley, Child, Warren	previously unreleased	3:26
4.	"Love Gun" (remix)	Stanley	Love Gun	3:31
5.	"Detroit Rock City" (remix)	Stanley, Ezrin	Destroyer	3:45
6.	"I Love It Loud" (remix)	Simmons, Vincent	Creatures of the Night	3:48
7.	"Reason to Live"	Stanley, Child	Crazy Nights	3:59
8.	"Lick It Up"	Vincent, Stanley	Lick It Up	3:53
9.	"Heaven's on Fire"	Stanley, Child	Animalize	3:19
10.	"Calling Dr. Love" (remix)	Simmons	Rock and Roll Over	3:38
11.	"Strutter" (remix)	Stanley, Simmons	KISS	3:18
12.	"Beth" (Eric Carr vocal)	Criss, Penridge, Ezrin	Destroyer	2:46
13.	"Tears Are Falling"	Stanley	Asylum	3:54
14.	"I Was Made for Lovin' You"	Stanley, Child, Poncia	Dynasty	4:29
15.	"Rock and Roll All Night" (remix)	Stanley, Simmons	Dressed To Kill	2:56
16.	"Shout It Out Loud" (remix)	Stanley, Simmons, Ezrin	Destroyer	3:07

Wikipedia

AllMusic: 8
Score: 4.5 

  

Hot In The Shade (1989)

I include this because Rolling Stone have it listed in their Top Ten Kiss albums. Despite the single "Forever", being the band's biggest US hit, the album didn't sell well. It is fairly boring. 

 

Side One

No.	Title	Writer(s)	Lead vocals	Length
1.	"Rise to It"	Paul Stanley, Bob Halligan Jr.	Stanley	4:08
2.	"Betrayed"	Gene Simmons, Tommy Thayer	Simmons	3:38
3.	"Hide Your Heart"	Stanley, Desmond Child, Holly Knight	Stanley	4:25
4.	"Prisoner of Love"	Simmons, Bruce Kulick	Simmons	3:52
5.	"Read My Body"	Stanley, Halligan	Stanley	3:50
6.	"Love's a Slap in the Face"	Simmons, Vini Poncia	Simmons	4:04
7.	"Forever"	Stanley, Michael Bolton	Stanley	3:52
8.	"Silver Spoon"	Stanley, Poncia	Stanley	4:38

Side Two

No.	Title	Writer(s)	Lead vocals	Length
9.	"Cadillac Dreams"	Simmons, Poncia	Simmons	3:44
10.	"King of Hearts"	Stanley, Poncia	Stanley	4:26
11.	"The Street Giveth and the Street Taketh Away"	Simmons, Thayer	Simmons	3:34
12.	"You Love Me to Hate You"	Stanley, Child	Stanley	4:00
13.	"Somewhere Between Heaven and Hell"	Simmons, Poncia	Simmons	3:52
14.	"Little Caesar"	Eric Carr, Simmons, Adam Mitchell	Carr	3:12
15.	"Boomerang"	Simmons, Kulick	Simmons	3:30

• Paul Stanley – vocals, rhythm guitar
• Gene Simmons – vocals, bass
• Eric Carr – drums, vocals
• Bruce Kulick – lead guitar, backing vocals

Wikipedia

AllMusic: 4
Score: 3

    

Monster (2012)

I've skipped straight to the band's final album, via a few dips in the MTV Unplugged and other albums.  This is full of energy, and comes across as more professionally played and produced than most of the Kiss output. It feels somewhat dated in 2012, but then the nature of Kiss is that their sound has always been dated. I think that's what people like about them. Yes, this is pure Kiss. Indeed, I might have liked their early albums a little more if they played like this. This is honest to goodness straight no pretentions rock music played with surprising energy by seasoned professionals. One of their best albums, but the only ones listening would be the band's ageing and declining fan base. 

No.	Title	Writer(s)	Lead Vocals	Length
1.	"Hell or Hallelujah"	Paul Stanley	Stanley	4:07
2.	"Wall of Sound"	Stanley, Gene Simmons, Tommy Thayer	Simmons	2:55
3.	"Freak"	Stanley, Thayer	Stanley	3:35
4.	"Back to the Stone Age"	Simmons, Thayer, Stanley, Eric Singer	Simmons	3:01
5.	"Shout Mercy"	Stanley, Thayer	Stanley	4:04
6.	"Long Way Down"	Stanley, Thayer	Stanley	3:51
7.	"Eat Your Heart Out"	Simmons	Simmons	4:06
8.	"The Devil Is Me"	Simmons, Stanley, Thayer	Simmons	3:40
9.	"Outta This World"	Thayer	Thayer	4:29
10.	"All for the Love of Rock & Roll"	Stanley	Singer	3:21
11.	"Take Me Down Below"	Simmons, Stanley, Thayer	Simmons, Stanley	3:24
12.	"Last Chance"	Stanley, Simmons, Thayer	Stanley	3:05

• Paul Stanley – vocals, rhythm guitar
• Gene Simmons – vocals, bass
• Tommy Thayer – lead guitar, vocals
• Eric Singer – drums, vocals

Wikipedia

AllMusic: 6
Score: 5

Main (studio) album Discography

• Kiss (1974)
• Hotter than Hell (1974)
• Dressed to Kill (1975)
• Destroyer (1976)
• Rock and Roll Over (1976)
• Love Gun (1977)
• Ace Frehley (1978)
• Gene Simmons (1978)
• Paul Stanley (1978)
• Peter Criss (1978)
• Dynasty (1979)
• Unmasked (1980)
• Music from "The Elder" (1981)
• Creatures of the Night (1982)
• Lick It Up (1983)
• Animalize (1984)
• Asylum (1985)
• Crazy Nights (1987)
• Hot in the Shade (1989)
• Revenge (1992)
• Carnival of Souls: The Final Sessions (1997)
• Psycho Circus (1998)
• Sonic Boom (2009)
• Monster (2012)

Music and Promo Videos (random selection)

* C'mon And Love Me (Promo 1975) 
* Deuce (live 1975)

* Hard Luck Woman (Promo 1976) 
* Detroit Rock City (Live promo - 1976)

* I Was Made For Lovin' You (1979 - dir: John Goodhue) 

* World Without Heroes   (1981 - dir: Bruce Gowers) 
* Lick It Up (1983 - dir: Martin Kahan) 
* Tears Are Falling (1985 - dir: David Mallet)
* (You Make Me) Rock Hard (1989 - dir: Rebecca Blake) 
* I Just Wanna (1992 - dir: Paul Rachman)
* Modern Day Delilah (2009 - dir: Wayne Isham)

Links 

* Setlists 

* KissOnline 

* KissAsylum - fan website which seems to be more about merchandise than fan forums and info, but does have links to individual band members websites. 

* Kiss interview 1979 

** Article about the interview. 

Best Albums Lists

Ultimate Classic Rock 
1. Destroyer (1976)
2. Creatures Of The Night (1982) 
3. Kiss (1974) 
4. Hotter Than Hell (1974) 
5. Ace Frehley (1978) 
6. Love Gun (1977) 
7. Rock And Roll Over (1976) 
8. Dressed To Kill (1975) 
9. Revenge (1992) 
0. Lick It Up (1983) 

Rolling Stone 
1. Kiss (1974) 
2. Alive! (1975) 
3. Destroyer (1976) 

4. Love Gun (1977) 
5. Hotter Than Hell (1974) 
6. Dressed To Kill (1975) 
7. Creatures Of The Night (1982) 
8. Rock And Roll Over (1976) 
9. Alive II (1977) 
0. Hot In The Shade (1989) 


Louder 
1. Destroyer (1976) 
2. Alive! (1975) 
3. Alive II (1976) 
4. Kiss (1974) 
5. Creatures Of The Night (1982) 
6. Ace Frehley (1978)  

7. Dressed To Kill (1975) 

8. Rock And Roll Over (1976) 
9. Love Gun (1977) 

0. Hotter Than Hell (1974)

 

Summary 

[Note: Aspects which go toward final score are given a rough percentage figure of how much that aspect may have influenced the overall score. However, some bands may well exceed that percentage, particularly if their main focus is in that area.]

Voice/Musicianship (15%)

Acceptable musicianship - quite average and unremarkable. Became more professional over the years, especially when new members replaced the original drummer and lead guitarist. I'd welcome some character in either the voices or the guitars. [6]

Image/Star quality (5%)

They have a naff image. [0]

Lyrics/Music (20%)

Very derivative and unexciting. Nothing here. But acceptable. [8]

Impact/Influence (10%)

A number of bands liked and copied the presentation and noted the merchandising. But other than that, this is a derivative run of the mill band. [1] 

Popularity (5%)

Hugely popular during their peak, and retained respectable sales. [3] 

Emotional appeal (5%)

Nope. Perhaps a bit of excitement and fun. [1]

Authenticity (15%)

Nope. They are clearly just about the money. But they remained true to themselves, so credit for that. [2]

Art (5%)

I kinda like the costumes. [1]

Classic albums/songs (5%)

Nope. Fans like Destroyer (or Alive!, or the first album), but away from the fans the albums are quite ordinary. [0]

Originality/Innovation (5%)

While taking ideas from Slade, Sweet, NYD, and Alex Harvey, the band made their image their own as no-one had done it as completely before. [2]  

Legacy (10%)

The music is nothing, but the image and the merchandising made an impression that has lasted. [2] 

Total: 100

26

Conclusion: 

The band are an acceptable and largely unambitious everyday rock band, influenced by Rolling Stone, New York Dolls, Slade, Sweet, and Alex Harvey. The gained attention through their stage performances and theatrical style, particularly their comic make up, and ate notable for their successful marketing of Kiss merchandise. The albums are listenable, but unremarkable - other than for being fairly consistent over several decades, and maintaining sales (albeit much lower once past their peak) 

***

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