CHAPTER 1 - Peter Criss pre-KISS

 

 

01.01. Affection (Barracudas)

01.02. It’s Been So Long (Barracudas)

It had long been rumored that one of Peter’s earliest bands, The Barracudas, had recorded and released a single. Confirmation was not possible until Lydia Criss auctioned off personal belongings in 2004, including a copy of the single. Recorded in late 1966, this material was originally released on MFT Records (MFT-102) in early January 1967. Both songs were written by Carlos Cancel, the band’s lead guitarist, and arranged by Ted Eddy. The recordings are more from the 1960s “garage” school of sound than the later eclectic folk-hybrid that Peter recorded with Chelsea. Produced by Marty Craft.

 

01.03. Chicken (Barracudas, * Dubious)

01.04. No Use (Barracudas, * Dubious)

A second single from The Barracudas that was released in late 1967 or early 1968 on Delite Records (DE-502).  Both of these songs were also written by Carlos Cancel providing a link of sorts with the first Barracudas single. Like the first single, both songs were arranged by Ted Eddy and produced by Marty Craft. It is possible that all four of the Barracudas’ songs were recorded around the same time, but released in a disjointed manner, though Peter has suggested that he had nothing to do with these recordings.

 

Both Delite, and the earlier MFT Records, were small-scale local Brooklyn labels at the time, though Delite became much bigger, as home of Kool & The Gang, and eventually became part of PolyGram Records. An important caveat: When asked about this single, Lydia didn’t recall the titles or remember anything about it. However, since Lydia has already confirmed the first Barracudas single as having Peter involvement, it seems beyond reasonable doubt that this single is by the same band, but most likely after Peter departed.

 

01.05. Since I Fell For You (Sounds of Soul)

01.06. My Girl (Sounds of Soul)

01.07. Respect (Sounds of Soul)

Tracks 01.05-07 are covers recorded by the Sounds Of Soul during 1967. This was the band that Peter had left the Barracudas to join during the middle of 1967. All of the songs had been hits during the mid 1960s, and were probably representative of the sort of material that the band was performing. “Since I Fell For You” was written by Buddy Johnson and was a hit for Lenny Welch in 1963 reaching #4 on the US singles charts. “Respect” had been made famous by the arrangement that Aretha Franklin took to #1 in 1967, however the song had been written and originally recorded by Otis Redding. He only managed a minor hit with the song in 1965 when it reached #35 on the singles charts.

 

Aretha’s version has the distinct “R-E-S-P-E-C-T” break section, unlike Otis’ original. Sounds of Soul covered the Otis’ original arrangement. “My Girl” really needs no introduction, though it is somewhat ironic that Ace Frehley’s post-KISS band, Frehley’s Comet also covered this song – it wouldn’t make it past demo/rehearsal stage either. The song had been a #1 hit for the Temptations in 1965. All three of these songs were recorded on single-sided 10” acetate.

01.08. What Is A Man (The Vintage)

In January 1969 The Vintage won their section at a talent/variety show, “New Groove ‘69,” held at the Academy of Music in Brooklyn. As a result the band were awarded a recording session at Associated Recording Studios (7th Avenue in Manhattan) which resulted in this song. The Vintage included John Balsamo (bass), Pepi Genneralli (keyboards), and Joe Lucenti (guitar). Both Pepi and Joe had been members of Sounds Of Soul with Peter. It is likely that Pepi wrote this song.

 

01.09. The Gypsy (The Vintage)

Written by Pepi Genneralli, this song was mentioned in the band’s bio for the “New Groove ‘69” talent show. No recording of the song yet circulates. According to that bio, “The Vintage play acid rock, but with feeling, making this a very good year for acid rock. The difference is four good musicians... The Vintage is serious about joining the ranks of the professional musical groups, and are working on it full time.” By the end of 1969 Peter had placed an ad in Rolling Stone Magazine that resulted in him being recruited for a band that became known as Chelsea...

 

“Chelsea” Album Notes:

The Chelsea album was produced by Lewis Merenstein, who had also co-produced John Cale’s 1970 album “Vintage Violence.” Lew is most famous for producing Van Morrison’s “Astral Weeks” album in 1968. The Chelsea album was recorded at Electric Lady Studios and Vanguard Studios in New York City during 1971 and was engineered by Ron Johnsen. In addition to the guest appearance by John Cale, pianist Steve Loeb is also featured. The band’s guitarist, Chris Aridas, quit soon after the release of the album and was replaced by Stan Penridge.

 

Chelsea split up before recording the second album specified by their contract with Decca Records. Even though the album was not successful, it had wide distribution, being released in Australia, New Zealand, Europe, and at least promotionally in Japan. The MCA “Sound Conspiracy” (MCA Records 734837) artist sampler, released in 1971, compilation also saw wide distribution.

 

01.10. Rollin’ Along (Chelsea LP)

A 2:34 Brand/Shepley composition. The song is split nearly in half into two distinctive styles: the first acoustic and mellow, and the second electric and somewhat aggressive. “Rollin’ Along” is very representative of the lack of musical direction (or perhaps, “cohesiveness” is more appropriate) on the album. This song was simply titled “Rolling” on the New Zealand release of the album.

 

01.11. Let’s Call It A Day (Chelsea LP)

A 3:05 Brand/Shepley composition. This song also features strings arranged by Larry Fallon. Larry was a well-known producer and orchestrator who worked with the likes of Glass Harp (also signed to Chelsea’s label), The Rolling Stones, and Van Morrison. This song would simply be titled “Call It A Day” on the New Zealand release of the album.

 

01.12. Silver Lining (Chelsea LP)

The only song on the Chelsea album that was not written by Mike Brand and Peter Shepley. In this case, the song was written by guitarist Chris Aridas and bassist Michael Benvenga.

 

01.13. All American Boy (Chelsea LP)

A 3:55 Brand/Shepley composition. This song featured strings arranged by Larry Fallon.

 

01.14. Hard Rock Music (Chelsea LP)

Had there been a single released in support of the Chelsea album then the 5:10 “Hard Rock Music” probably would have been the song used. Apart from appearing on the album it was the sole track from the band appearing on the MCA “Sound Conspiracy” album. This sampler even saw release in Australia (Decca COP/S 4524) with a slightly altered cover, though nothing could help sell product that just didn’t stand out.

 

The back cover sampler details a brief bio on the band, which states: “Lewis Merenstein, who produces Van Morrison, Bill Rose, and Turley Richards, among others, produced this first album by the New York based group. The LP was recorded in part at the late Jimi Hendrix’s Electric Lady Studios. Backing the group on the album is John Cale, formerly of the Velvet Underground and now out on his own.” This song would simply be titled “Hard Rock” on the New Zealand release of the album.

 

01.15. Ophelia (Chelsea LP)

A 2:38 Brand/Shepley composition, this song would be promoted as a “calypso” sounding piece. That both pre-KISS bands that recorded albums, Chelsea and Wicked Lester, included songs with “Ophelia” in their titles is coincidental. As far as Chelsea’s song goes, it would be too easy to read Shakespearian “Hamlet” overtones from lyrics which go: “I thought I had you in the palm of my hand” and “how could you leave me I don’t understand.” In “Hamlet” Ophelia spurns the love of Hamlet at the request of her father. Hamlet then goes mad and Ophelia is asked to reconcile with him in hopes of restoring his sanity. Instead, Hamlet kills Ophelia’s father. That brief précis of Ophelia’s character in “Hamlet” does really not do the work justice.

 

01.16. Long River (Chelsea LP)

One of the two tracks to feature ex-Velvet Underground’s John Cale on viola. With both the Velvet Underground and Chelsea playing at the legendary Ungano’s club, on West 70th in Manhattan, and producer Lewis Merenstein’s connections to Velvet, it is likely that this is how the two parties became associated. The track is 6:41 and has more of a Creedence Clearwater Revival style.

 

01.17. Grace (Chelsea LP)

This 3:17 Mike Brand and Peter Shepley song features Steve Loeb on piano. Without being too subjective this is one of the stranger songs on the Chelsea album with an odd lyrical structure, vocal delivery, and maniac hysteria in the background of the song. The “good moves” part of the song has often amusingly been misheard as “good food.”

 

01.18. Polly Von (Chelsea LP)

This song is a traditional Anglo (with a suggestive Celtic past) folk song about love, pain, murder, and betrayal. It has been recorded by the likes of Frankie Armstrong, Harry Cox, and, most famously, Peter, Paul and Mary, on their third, and landmark, “In The Wind” (Warner Bros. WB-1507) album, which was released in late September 1963. That version of the song had an arrangement attributed to Peter Yarrow, “Noel” Paul Stookey, and Mary Travers – In other words, the group. This is much the same as the credit for the 4:48 arrangement on the Chelsea album: Chelsea’s version does not really vary much from the form that was popular on the folk scene of the 1960s: However, the Chelsea arrangement does change the song from third to first person and moves the chorus in parts and also skips a final verse. The Chelsea recording features strings arranged by Larry Fallon.

 

Differing arrangements have been presented for decades on the basic theme of the piece, and variations of the piece date back centuries, having appeared in print as early as 1772. Other titles for the piece, including variants and alternative titles include “Polly Vaughn,” “At the Setting of the Sun,” “The Shooting of his Dear,” “Young Molly Ban,” “Molly Banding,” “Molly Bawn,” and “Molly Bond” throughout most Anglo-speaking countries.

 

01.19. Good Company (Chelsea LP)

One of two tracks to feature John Cale on viola. “Good Company” is little more than a short 1:37 jam piece to close out the album. It is essentially the repetition of the same verse several times: “Good company makes me smile / Downright open all the while / Downright country all the time / Good company, yeah / Bound to make me smile.”

 

01.20. Red Greene (Chelsea Demo, 1971)

Also known as “Run Mr. Greene.” According to Stan, “Red Greene” and “Darling” show the beginnings of Lips and were improvised “one afternoon in 1970 sitting around and old Roberts tape recorder in my apartment in downtown Manhattan. A lot of our material came that way” (SP). Unlike the roughness of “Darling With The Stars Above,” this track is a complete song, though it too may be an arrangement of an older piece and thus a non-original composition. The subject matter is fun with the first verse going: “Well now, I’ve been (I’ve been) sitting here / Planning my escape / My wife’s (my wife) comin’ with a file in a cake (yeah) / And I’ve been (I’ve been) very thorough / I won’t make no mistake / Well I’ve even got my Eldorado parked outside the gate.” The track runs 4:25 and tells the story of a prison escape and the escapee’s attempts to avoid recapture.

 

A second 3:19 version of this recording does exist which essentially starts the song from the first chorus omitting the first verse. There are slight lyrical and arrangement differences between the two recordings with the shorter version having a better stereo-like separation. Following the second chorus there is a short acoustic guitar solo. This version makes the lyrics more discernable for the second verse: “I know (I know), ooh, you can’t run slow now / You’ve got to (got to) move baby / Get up and go / Well I said there’ll be no (be no), no now / No relaxin’ on the road, no baby / ‘Cause once they catch you / Then that jail gonna be your home, whoa!”

 

01.21. Darling (Chelsea Demo, 1971)

Also known as “Darling, With The Stars Above.” Like the previous track this was a rough home recording that was more of a jam session with a tape recorder running in the background and capturing the band warts and all. According to Stan, “Listen close and you can hear Nell and Lydia talking in the background, on Darling” (SP). The recording runs some five minutes and is heavy on the harmonizing and bass. It is very difficult to clearly make out any of the lyrics on currently circulating copies of the song.

 

The recording does start with the playful announcement, “Let’s do the oldie, but goodie,” suggesting that the song may have been a cover, or at least a song written some time previous to the period in which it was recorded. The song does have a very 1950s feel which is almost doo-wop in style.

 

01.22. You Make Me Feel (Chelsea Demo, 1971)

More of a jam piece, though the song is generally dark and moody with verses that go: “You, you make me feel / Make it like you want me to.... / Cry” and “You, you make me feel / Make it like you want me to.... / Die.” There is little more of substance to this piece that runs 3:05, though it is the best in terms of sound quality of the three post-album recordings. Peter and Stan used to play this song live following the demise of Lips in 1972/3.

 

01.23. Beck (Lips Demo)

The original 2:22 demo of what would become one of KISS’ biggest hits was originally titled “Beck” and was one of the first songs that Peter and Stan recorded alone. The song was almost a transcription of Chelsea guitarist Mike Brand’s phone conversations with his wife Becky who was continuously calling up and nagging when the band was rehearsing during pre-production for Chelsea's second album. According to Stan Penridge, “Beck was written, almost word for word, from Mike Brand’s responses to his wife’s constant calls that interrupted our rehearsals. It got to the point where I wrote down his remarks over a period of 3 or 4 days in what I called my ‘wizard book.’ It was merely a small notebook I carried to jot down silly sayings, sketch in, anything - to save ideas. If you look at the lyrics and view them as a hen-pecked hubby’s remarks to his nagging wife, you’ll see what I mean. Just pause after every sentence and pretend there’s a bitch at the other end of the line. You’ll catch it – I’m sure. Absolutely not responsible at all” (JG).

 

The title would be changed in 1976 due to pressures from both other members of the band, and producer Bob Ezrin, who just saw the possibility of confusion at the nickname. Essentially, while there would be revision to the song for recording by Peter in 1976, only the chorus was markedly different: “Won’t you wait an hour / And I’ll run right home to you / I know you love complaining / But Beck, what can I do?” When recorded in 1976, Bob Ezrin’s minor lyric suggestions (discussed in the “Destroyer” chapter) would get him a song-writing credit. Stan deleted a raunchy third verse from the song when he circulated this demo in the early 1990s.

 

To kill one long-standing legend: Lips never performed “Beck” for future Casablanca President Neil Bogart. According to Stan Penridge, “We never performed at Kama Sutra for Neil. That’s one of Peter’s stories. Bob Reno, VP at Kama Sutra, is the guy I contacted and the person we auditioned for. He’s the guy that paid for both 5-song sessions. He also gave me the masters after Neil passed on Lips later that month. Actually, ‘Beck’ is one of the only songs we didn’t perform for Bob Reno – or record during either session. At that point it was still a ‘joke song’ – or a novelty tune” (JG).

 

01.24. Baby Driver (Lips Demo)

While “Baby Driver” would be Peter Criss’ sole song-writing contribution for the “Rock And Roll Over” sessions in 1976, like much of the material he brought to the band, the song was well rooted in his musical past. The song had first been demoed by Peter, Stan Penridge and Michael Benvenga in 1971/2 during their RCA recording sessions. According to Stan, “the session date was 2/22/72,” though this seems a bit out of date with the band already being on their last legs at that point. Benvenga was soon to depart the band to do session work (with the likes of John Lennon). Regardless, the song was inspired by Michael Benvenga’s car. According to Stan, “I wrote about Mike Benvenga and his Alpha Romeo Spider and the grudge he held against Pete and I” (JG).

 

01.25. Don’t You Let Me Down (Short Version)

01.26. Dirty Livin’

01.27. You’re My Woman

01.28. Don’t You Let Me Down (Original Version)

Tracks 01.24-28 would be the only recording of Lips as a quartet with Peter Criss (Drums/Percussion/Vocals), Stan Penridge (Guitars/Vocals), Michael Benvenga (Bass/Vocals), and John Amato (Rhythm Guitar). John was a session player used specifically on this session at RCA Studios on February 22, 1972, according to Stan Penridge.

 

01.29. Don’t You Let Me Down (Lips Demo)

Running to 3:28 this is the common, if not only, version of the track to circulate in collector’s circles. The song would later be recorded for Peter Criss’ 1978 solo album. There is little change between this demo version and the 1978 recording lyrically. This song dated earlier than any session involving Peter Criss, with Stan originally recording the song at a folk writer’s workshop.

 

01.30. Don’t Let The Blues Surround You (Lips Demo)

A demo from Lips’ second recording sessions. The band would consist of Peter Criss (Drums/Vocals), Stan Penridge (Guitars/Vocals), and Michael Benvenga (Bass/Vocals). This song is sometimes referred to, by parts of its lyrics as, “Love Love Love” in the chorus: “Oh baby, don’t let the blues surround you (Don’t let the blues surround you) / When you love then you’ll never feel alone / Love, love, love, love, love / Love, love, love, love, love / Love, love, love, love, love.” The track would run to 3:45.

 

01.31. Hooked On Rock And Roll (Lips Demo)

While this song would be recorded in 1978 by Peter Criss the, original version would be substantially different lyrically to the later version, though the essential substance of the song would not change: “Well now the boy could play like no one you’d ever saw (yeah) / Played in a band that practiced all day long / He told his mama that schoolin’s gotta go / I’ve seen cases like this before / Your boy’s been vaccinated with a Victrolla needle / He’s hooked on rock and roll / Oh yeah, yeah, right // Well now mama asked the doctor, what is there something I can do? / Doc said, ‘No you can’t cure his soul / Once it’s infected with the blues’ / Well now most I found you’ve traveled ‘round and your boy’s cut from that mold / He’s been vaccinated with a Victrolla needle / He’s hooked on rock and roll / Oh yeah, yeah, right.” The track runs to 3:18. This song also dated earlier than any session involving Peter Criss with Stan originally recording the song at a folk writer’s workshop.

 

01.32. I’m Gonna Love You (Lips Demo)

Tracking in at 2:49, the most noticeable difference between the original Lips demo and Peter’s version would be the arrangement with the second verse being changed from “And I’m gonna love you / Rain or come shine / Saying that you need me / Around you all the night / ‘Cause I really love you and it’s true / I’m gonna love you / Rain or come shine (love you).” On Peter’s recording a new second verse would be written and parts of the original second verse would be used as the final verse.

 

01.33. That’s The Kind Of Sugar Papa Likes (Lips Demo)

There would be only very minor lyrical changes between the original 2:39 demo and Peter’s 1978 version.

 

Tracks 01.29-33 were the second batch of songs demoed by Lips, during a session paid for by Kama Sutra records. While it is not know when precisely these demos were recorded, they were recorded as a group at Bell Sound Studios. According to Stan, “A few weeks later we did another five... Little did we know that eight years later Neil would be president of Casablanca records, and most of these sessions would later be released on Peter's first solo album” (SP).

 

 

Brand & Shepley, the core songwriters – A pre-Chelsea tangent....

 

Chelsea, it would seem, were formed in 1969, following the demise of another band, The Van Goghs. The Van Goghs had primarily been a cover band playing the club/college scene of Rhode Island and Massachusetts. The band included Peter Shepley and Bill Gannon on vocals, Greg Morrison on guitar, Steve Fales on bass, Randy Smith on drums, and Roy Nelson on rhythm guitar. While the Van Goghs had been active in the period 1965-9, Peter would only join the band as an additional vocalist in the Spring of 1968 when Bill was suffering from some vocal issues: While these would later be resolved, Peter simply came in to supplement the band’s sound. The band would record one track in New York City with Peter, “Bubble Gum Tree,” which was not written by the band and was similar to the sort of adventure experienced by Paul Caravello’s Cellarmen, who would record music for publishers. Indeed, the Van Goghs didn’t hear the track for the first time until they reached the studio!

 

Prior to joining the Van Goghs, Peter Shepley had been in a band called “The Others” while a student at the University of Rhode Island. One of the most popular bands in the area at the time, the band was comprised of Peter, Mike Brand, John Costa on bass, Mike Patalano on drums, and Jim DeStout on guitar. Jim’s father acted as the band’s unofficial press agent. The band released three singles and opened up for acts including The Loving Spoonful and the Byrds. However, John Costa departed the band in late 1965, following the recording of the band’s first single, and was replaced by Bob Johnson. Johnson would be the only member of the band not studying at the University of Rhode Island; he was a student at nearby Brown University.

 

01.34. I Can’t Stand This Love, Goodbye (The Others, 1965)

This song is not as obscure as it might seem. It was covered by members of the punk band The Damned on their one-off Naz Nomad and The Nightmares “Give Daddy The Knife, Cindy” project in 1984.

 

01.35. Until I Heard It From You (The Others, 1965)

The first “The Others” single (RCA Victor 47-8669) that was released in September 1965. While “I Can’t Stand This Love, Goodbye” was written by Peter Shepley and Mike Brand, “Until I Heard It From You” was a cover of an Otis, Northern, and Briggs composition. These tracks had had their copyright registered on December 10 (USCO: RE-631-978) and August 27, 1965 (USCO: RE-632-015), respectively. This material is very different from the folk the band would also perform, with “I Can’t Stand This Love, Goodbye,” being a guitar driven 1960s pop/rock track that runs 2:07.

 

01.36. I Got A Feeling (The Others, 1965)

Written by John Costa and Mike Patalano, this song was recorded for the RCA Sessions in June 1965, but was never used.

 

01.37. Lonely Street (The Others, 1965)

01.38. I Remember The First Time I Saw You (The Others, 1965)

The second single (RCA Victor 47-8776) released in December 1965. Peter Shepley and Mike Brand wrote “Lonely Street”, while John Costa wrote the B-side. “Lonely Street” was recorded at RCA Studios in November 1965, while the B-side was a left-over from the June sessions. John Costa left the group following he first session, so it is likely that his replacement, Bob Johnson, played bass on the A-side.

 

01.39. My Friend The Wizard (The Others, 1967)

01.40. Morning (The Others, 1967)

The final “The Others” single (Jubilee 45-5550) released in April 1967. “My Friend The Wizard” was originally titled “Off To See The Wizard” and was written by Peter Shepley and Mike Brand, as was the B-side, “Morning.” Copyright registrations appear for “Off To See The Wizard” (USCO: RE-671-914 - September 26, 1966) and “Morning” (USCO: RE-671-915 - September 26, 1966). These songs were recorded in November 1966.

 

A description of these recordings seems rather different to the sort of material with which the two would later be involved. According to Vernon Joynson, in his book “Fuzz Acid & Flowers,” the material “couples smooth harmonies with upbeat dance rhythms, and is backed by a harmonious folk-rocker. Their second, ‘The First Time I Saw You’ is a pleasant pop rock song, coupled with a chiming pop-ballad. Their final effort, ‘My Friend The Wizard,’ features a more psychedelic sound and the uncompiled ‘Morning’ is a dreamy harmony ballad. The consistently high quality of their garage-pop output, blending Beatles and Byrds influences with mellow harmonies, surely indicates there’s more to be heard.” The material recorded by The Others could also be described quite differently by someone not from that particular musical era: And you thought Chelsea was “different”?

 

Regardless, this early core partnership of Mike Brand and Peter Shepley would provide the basis for Chelsea as they formed in 1969. With the addition of Michael Benvenga, who had been in the popular Brooklyn band The Wall, Peter Criscuola and Chris Aridas completed the band’s lineup. Peter “Cris,” of course, had been in bands such as Nautilus and Sounds Of Soul/Brotherhood immediately prior to joining Chelsea. Concerning his entry into Chelsea, Peter has commented, “I put an ad in the Village Voice and found the other guys who called me and asked me to be their drummer” (Kerrang #226). Presumably, they auditioned him first.

 

One other item that is interesting, in contrast to statements Gene Simmons has made, is that Peter had already shortened his name from Criscuola. In his autobiography, “KISS and Make-Up” (Three Rivers Press, 2001), Gene states, “his name was Peter Criscuola, and we shortened it to Peter Criss” (p.68). Sadly, this is incorrect. Peter had been credited on the Chelsea album’s rear cover as “Peter Cris” in 1970, so had shortened his surname long before Gene Simmons came into his life. Additionally, a “KISS” press release, dating to around April 1973, states: “KISS consisting of: Paul Stanley, Gene Simmons, Ace Frehley, and Peter Cris has been able to do in 4 months what it’s taken other years to achieve. They demand, and receive total audience surrender.” That the spelling of “Cris” in this press release could be a typo is possible, but one needs to consider who wrote the band’s early press: Gene. Fred Kirby, writing a review in an August 1973 edition of Variety Magazine would use the spelling “Peter Criss.” What’s in a name?

 

The history of Chelsea has been discussed extensively in the KISS Album Focus, though after signing a two-record deal with MCA/Decca Records in 1970, the band would only release their debut album. Because of the call dates of the record it is easy to date the release of the album in 1971. But that is not the end of the story of the members of Chelsea.

 

01.41. Death Rattle and Roll (Session)

During 1972/3, allegedly, Peter Shepley and Mike Brand recorded an album for Dick James Music (DJM). The completed album would hit a stonewall after costing some $100,000 to produce, but eventually Shepley/Brand signed with Paramount Records through Louis Ragusa, who had moved from DJM to Paramount. According to one source, “He believed in something, maybe just the fact that he had invested so much in the project. He made the main promotion guy listen and he liked it.” Unfortunately, before the album could be released, Paramount closed its record division.

 

What were the recordings? Apparently, Brand/Shepley had transformed their sound from folk to a more mainstream rock. The album, titled “Death Rattle and Roll” remains unreleased, if it even exists at all. It was allegedly recorded at the Record Plant, Bell Sound, and Electric Lady Studios in New York City. More importantly to the story of KISS, Peter Criss returned to the fold with his prior band-mates and “played on a number of tracks.” Gene Simmons and Paul Stanley would also allegedly do session work on tracks on the record dating this to the period between Peter hooking up with them and the transition into KISS. This means that there are possibly other recordings, apart from “Lyn Christopher,” on which the three appeared prior to KISS. No song titles are currently known. Note: Like “Molimo,” take this information with a pinch of salt since it has yet to be confirmed by Gene, Peter, or Paul. One thing that is clear is that Shepley/Brand obtained another recording-related credit following their history with Chelsea, one which did get released.

 

01.42. Whatever Happened To Superman? (Captain Freak & The Lunacycle Band)

01.43. I Wouldn't Pull Your Toe (Captain Freak & The Lunacycle Band)

"Leon Russell meets Captain Beefheart" produced by... Mike Brand and Peter Shepley along with Howard Boggess and March! Track 01.42 was written by Robert Lewis, Frank Lipsius, and Steven Sugar; Track 01.43 by Howard Boggess. The continuation in the attempt to figure out what happened to Brand/Shepley post-Chelsea. This single on Phil-L.A. of Soul 366 dates from 1974. Certainly not pertinent to KISS, but an interesting tangent for the author. How Shepley and Brand became involved, or the extent of their involvement, remains a mystery at this point.

 

What is odd that there is a second version of this single with a new A-side and different recording of song on the B-side.

 

01.44. 20th Generation Sad (Captain Freak & The Lunacycle Band)

01.45. Whatever Happened To Superman? (Captain Freak & The Lunacycle Band)

Released on Jamie Records 1397. Produced by Jon Dorn and Howard Boggess. Engineered by Joe Fein. One dating suggests this was released around 1971 and "20th Generation Sad" had been recorded by Howard Boggess himself as the B-side on Jamie Records 1396. 01.44 was written by Howard Boggess and Mickey Lee Lane. The B-side is essentially the same song as on the other version, only with horn (sounds like a tuba!)/piano accompanyment and no additional backing vocals. As a result, it is not clear which came first, though this second single lacks any mention of Shepley and Brand.