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tracks as well as Kiss standards like " Strutter ," " Calling Dr . Love ," " Cold Gin ," " Shout it Out Loud ," " God of Thunder ," " Love Gun ," " Black Diamond ," " Detroit Rock City ," and " Rock and Roll All Nite ." Demos and outtakes include fare like Stanley ' s power-popper " I ' m a Legend Tonight ." With its blend of catchy riffs and melody , the song wouldn ' t have been out of bounds for Cheap Trick . " Down on Your Knees " was another collaboration with a pre- " Cuts Like a Knife " Bryan Adams . Simmons ' tracks include " Legends Never Die " with its chiming acoustic guitars . The song was later recorded by Plasmatics frontwoman Wendy O . Williams . Outtake " Betrayed " began as a crunchy Vinnie Vincent demo from his earlier band Warrior . The straight-ahead rocker is repurposed by Kiss with Stanley ' s gibberish verse lyrics as a placeholder , setting up a stinging chorus . An 80-page hardback book is loaded with photos . A number of promo pictures feature Frehley in the lineup , while Vincent appears with his ankh makeup in concert photos , including dramatic shots alongside Simmons and Stanley atop a tank during " War Machine ." An oral history of the album ' s place in " Kisstory " is recounted through interview quotes by the band , producer Michael James Jackson , and others , including the departed Frehley . Stanley describes the difficulty in finding a new guitarist and the compromises involved in choosing their studio collaborator Vincent for the lineup .
The set is dedicated to the late Carr , who is quoted speaking with pride about his involvement with the band ' s revitalized effort . Simmons describes the band ' s goal to be crowned as the loudest band in the world . Kiss encountered zealous fans and equally zealous detractors during the album ' s tour , with the latter especially present during travel through the southern states . Evangelistic protesters would shout that Kiss was promoting satanism . Simmons had been a theology student and recalls correcting one protester on his use of scripture . Extras include two sets of 8x10 color portraits , a newspaper with track-by-track notes and additional band interviews , a concert program , color posters , stickers , an iron-on transfer , a replica backstage pass , a press kit , glow-in-the-dark guitar picks , embroidered patch , pinback buttons and more . Leave it to Kiss to assemble a shock-and-awe level of fan-pleasing goodies for their faithful Kiss army .
– Jeff Elbel
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IGGY POP Every Loser
( Atlantic )
Every Loser , the 19th solo album from Iggy Pop comes after a decade of experimentation . His previous album Post Pop Depression certainly felt influenced by the passing of his most famous collaborator David Bowie as well as the rest of the original Stooges lineup . The baroque textures of that album were certainly warranted and fitting for a man entering his seventies . This new album , complete with album art by punk rock icon Raymond Pettibone , snaps him out of this mode , reverting Iggy back to his punk rock beginnings with the Stooges as well as his 1990s-era role as punk rock godfather to a new generation of loud and proud bands . Working with the same team that helmed Ozzy Osbourne ’ s 2022 comeback , Patient Number 9 ( producer / guitarist Andrew Watt as well as Chad Smith on drums and Duff McKagan on bass ) finds the man reborn . Opening the set with “ Frenzy ,” all bathroom humor , crunchy power cords , and a vibe that recalls Nirvana ’ s “ Breed ” was a great call . The audio equivalent of a double shot espresso , “ Frenzy ” sets the table for Iggy ’ s loudest album since 2003 ’ s Skull Ring . “ Strung Out Johnny ” finds Iggy in a more New Order-meets-Sisters Of Mercy mood , with Iggy ’ s baritone delivering an instantly haunting melody . Signing with Atlantic Records finds the legend with a huge cast of collaborators like Travis Barker and the late Taylor Hawkins on drums , while Stone Gossard , Dave Navarro , and Josh Klinghoffer help bring the six-string fury . In the age where anyone can release an album themselves , signing to an old-school major label might just be the most punk rock flex possible . Like all great punk records , Every Loser never outstays its welcome , and the whole thing flies by in under forty minutes of uncut , glorious bacchanalia .
Appearing 3 / 10 at Salt Shed , Chicago . – Andy Derer
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