The only real problem with KISS is that they didn't die in a plane crash during their 1977 Japanese tour. If they had, they'd be hailed as some of the greatest entertainers in pop history, yea even among the most innovative and influential artists of modern times. Alas, 'twas not to be. They didn't die a horrible death and are now merely rich and bloated chumps that get some begrudging respect when pressed. (But they still put on an entertaining and exciting show, as anyone who has seen them will testify.)
If ever there was a touchstone for fuelling the imagination of a 15-year-old boy leaving his youth of cartoons and toys behind him, what better gateway musical drug than the superheroic theatrics of KISS and the big n' bold songs of Destroyer? Peppered with classics and not a weak track in the set, the album plays strong and doesn't overstay its welcome.
It's easy to forget the visual and game-changing impact that the group initially had. In those heady days of their slow but steady rise to global fame, this album, produced by none other than living legend Bob Ezrin (Alice Cooper Group, The Wall, etc.) distills and crystallizes the many pleasures of KISS in grand cinematic technicolor.
It's easy to forget the visual and game-changing impact that the group initially had. In those heady days of their slow but steady rise to global fame, this album, produced by none other than living legend Bob Ezrin (Alice Cooper Group, The Wall, etc.) distills and crystallizes the many pleasures of KISS in grand cinematic technicolor.
It may not be the album you call your favorite, but if any was to be considered their (cough) masterpiece, this is the one, and the first one any newbie should acquire.
In closing, Ace Frehley is perhaps the coolest individual of all time, though admittedly his presence is muted on this album.
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