A solo album each, from Gene Simmons and Paul Stanley, had formed part of KISS' 1989 contract renegotiation with PolyGram records. However, with the band's activity during the period that followed this arrangement solo plans would never materialize for either of the core members of the band. Once KISS left their long-time record label in 2002 word started to seep into the public domain that these projects were once again possibilities. Gene had himself posted on his website in April 2002 that he had "just came back from putting down vocals on a new tune called 'Wait.' Very excited about it. In two weeks or so, will do a demo of another new song called 'All The Kids With Painted Faces'" (GeneSimmons.com) - never mentioning whether these were geared towards a possible KISS record or not.

With the number of extra-KISS projects he was already involved with, from books to magazines to lecture tours to clothing and more, it is not particularly surprising that Gene Simmons was the first to announce plans for a solo outing. In March 2003 Gene wrote on his website, "We also reviewed some of my plans for a Gene Simmons solo record. The record will not be recorded and released until sometime in the new year. But, I can tell you, I'm about as excited as I've ever been. For those of you who will be e mailing to find out info about the kind of record it's going to be, or what it's going to look like - wait 'n see" (GeneSimmons.com). By May '03 the first solid reports of Gene's solo venture were starting appearing in the press. Initially "Waiting for the Morning Light," "Black Tongue," "Dog," "Looking Out The Window," and "Asshole" would be mentioned as songs which would be recorded for the album. In what seemed to be a repeat of his 1978 outing, it appeared that Gene was going to utilize the services of a plethora of guest artists. "The bassist is also courting the likes of John Mellencamp, Axl Rose, and Trey Anastasio for guest vocals," (Billboard) would be some of the names dropped along with early reports about the album which was clearly at quite an advanced stage, even at this early point.

Of these early songs "the funky, acoustic guitar-laced 'Dog' recalls Warren Zevon's 'Werewolves of London' and the soulful, mid-tempo 'Waiting for the Morning Light,' a relationship song, is reminiscent of Daryl Hall. 'Looking Out the Window' is a sentimental, Beatles-inspired number that features lap steel. Another cut, 'Asshole,' is more of a straightforward, rock guitar-driven track" (Billboard). The last of these tracks would be one of the first to get full publicity, not only a result of the song's title. On May 28th the band Shirley's Temple announced that Gene would be recording their song "Asshole" for his album. The band had originally submitted a demo to Gene for consideration for his revived Simmons record label. According to Gene, "I'd like to say I wrote the song, but I did not. It came from a Norwegian group called Shirley's Temple. The rest of the material just didn't hold up. But this one song had something to it. And so what I did I rewrote some of the lyrics and rearranged the song. What I like about Asshole is, well first of all, it's going to test the boundaries of what the FCC allows" (Canoe.ca). Gene's revival of his record label had been very fruitful with the number of demos that had been submitted to him. While he really didn't like many of the artists enough to sign them he did find the opportunity of obtain material from these unknowns for his own use.

"Black Tongue" had an even more interesting story. While Billboard had reported that Gene planned on building this song around an unused Frank Zappa riff titled "Black Tongue" the history of the piece had already been distorted even from this early stage. That original riff had originally formed the basis of a Zappa instrumental "Black Napkins" which had been released in 1976 on Frank's "Zoot Allures" album. Even the title had been transformed with Gene suggesting that he was using "Frank's title 'Black Tongue'" (GeneSimmons.com). The piece had also had several live releases on Frank's albums. Gene hoped that "(Zappa's children) Dweezil, Ahmet, and everybody to play on it, and to take Frank's voice and create a brand new song. It's very dark, very sort of King Crimson, 'In the Court of the Crimson King'-kind of sound, with 7/8 time" (Billboard). It is likely that a bit of misinformation had occurred in referring to the piece as being base on an unused riff rather than a possibly unused (officially anyway) live recording of the piece. According to Gene, "When Frank was alive, he invited me over to his home and I sat around with his family, and he was very gracious. After he passed away, I asked his wife whether or not he had any unfinished songs, and [Zappa's son] Dweezil brought over a thirty-second tidbit of a piece originally called 'Black Tongue'" (Rolling Stone).

Gene would use parts of the live recording, including some of Frank's stage banter, and have Frank's widow Gail, sons Dweezil and Ahmet, and daughter Moon perform backing vocals on the song. Dweezil would also add guitar to the track. More amusingly, perhaps, is that Gene wasn't given the song (as one would expect). He licensed the piece from "Extraordinary Teamwork, a limited concern that allows music producers and artists to license unreleased music by FZ" (IdiotBastard). According to Gail Zappa, "those interested may license and incorporate the music into their own work, as long as Frank gets co-writing credit for the song or composition. There are other stipulations as well in the licensing agreement. These renewable licenses will get Zappa music to the public who may not have otherwise heard it. The first licensee in Gene Simmons, who is using sections of a live performance - including Frank's vocals - into a work he is calling 'Black Tongue'" (IdiotBastard).

"Waiting For The Morning Light" marked the long-awaited use of Gene's collaboration with the legendary Bob Dylan. In press during 2003 Gene recounted the writing of the piece, "we understood each other right away. He picked up an acoustic guitar, and we just tossed it back and forth, 'How 'bout this, how 'bout that?' And he started to strum, because he - at least with me - tended to talk and strum guitar at the same time. And as soon as I heard the first three or four chords, I went, 'Wait, wait, what's that? Do that again.' So I went and started to write a lyric around that" (Billboard). Originally written in 1991/2, Gene has happily admitted that this song would not be suitable for a KISS record. The music was written at Gene's guest house, and while Gene would write a lyric for the song and demo it he considered it an unfinished work in progress which was referred to as "Laughing When I Want To Cry," which would remain in the lyrics of the finished 2004 song. According to Gene, "what came out was kind of a Tom Petty/Traveling Wilburys song. I wanted him to write the lyrics, but he asked me to do it, so I did. The lyrics are okay, but they sure ain't Dylan" (Guitar School, 7/92).

Gene expands on the history of the song: "I wanted to write a song with Dylan. So, like most things I do, I bull headedly picked up the phone, tracked down his manager and said 'Hi, I'm that guy who sticks his tongue out and I wanna write a song with Dylan,' or words to that effect. The results could only be 'yes' and 'no.' Dylan said yes.... He came over to my house a few years back and we sat down and started throwing ideas around. Bob came up with a melody/chordal pattern.... I chimed in with a melody/chorus idea and voila, we had a song. Lyrics weren't written as yet.... I demoed the track with Tommy Thayer. Bob came down to visit and listen. When the demo was done, I asked Bob to write the lyric. He said no, why don't I write it. I have tried to write a meaningful lyric, but it has eluded me.... I've bumped into Bob a few times.... in Tokyo, while he was on tour and every time I ask him to write the lyric and he always says, 'Mr. KISS, you write it'" (GeneSimmons.com).

Another Installment Coming Soon...