CHAPTER 61 - Peter Criss post-KISS

 

“Out Of Control” Album Notes:

Produced by David Wolfert and Peter Criss. Recorded at RCA Recording Studios, New York City, March - July 1980. Engineered by Leanne Ungar, cover art by Todd Schorr.

 

61.01. By Myself

Written by Peter Criss, Stan Penridge, and David Wolfert. This song would be released as Peter’s debut post-KISS single but would not chart. This song would be Peter’s declaration of independence: “By myself, starting over again / By myself, looks like this time / I’m on my own, starting over again.” Reaction to the album would be cool: “KISS’ ex-drummer, who poured out his heart in ‘Beth,’ has a gift for writing and delivering sensitive ballads. ‘By Myself’ and ‘Feel Like Letting Go’ follow in the aforementioned tune’s path” (Billboard, 9/27/80). While radio reaction to the single was negative or non-existent, Peter would eventually perform this song live with his Criss band in the early 1990s.

 

61.02. In Trouble Again

Written by Peter Criss and Stan Penridge.

 

61.03. Where Will They Run

Written by Peter Criss and Stan Penridge. The soprano sax solo on this song would be performed by George Young.

 

61.04. I Found Love

Written by Peter Criss, Stan Penridge, and David Wolfert. This song would be released as the B-side to “By Myself.” This song had originally been written by Peter and Stan in 1979.

 

61.05. There’s Nothing Better

Written by Peter Criss and Stan Penridge, this track would become a 3:32 song on the album. The song’s arrangement would be tightened up with minor lyrical changes and the insertion of a full second verse, “Baby, right from the start / I gave you my heart / Like a dream come true / There’s nothing better than you,” prior to the guitar solo.

 

61.06. Out Of Control

Written by Peter Criss and Stan Penridge. With the recording of the album, whose title Peter has suggested very well summed up the state of his life at the time: “I have to admit that I was out of control. I was working with Stan Penridge and I was doing loads of drugs so I was totally out of my f**ckin’ mind” (Kerrang #226). For the album version of this song minor lyrical and arrangement changes would result in it growing to 4:19. For example, the first verse would change from “There’s all kind of ladies / That could make you feel good / Some sure can do it / And some just look good / I’m really not braggin’ / ‘Cause I’ve been with them all / But since I’ve met you honey / I don’t need them no more” to “There’s all kind of ladies / That’ll make you feel good / Now some sure can do it / And some think they could / Now I’m really not braggin’ / ‘Cause I’ve been with them all / But since I’ve met you baby / I don’t need them no more.”

 

61.07. Words

Written by Peter Criss and Stan Penridge.

 

61.08. You Better Run

Peter chose to cover the Young Rascals hit “You Better Run” as one of the harder-edged songs on his album. This song had originally been included on their “Groovin’” (Atlantic 8148) album released in July 1967. The album reached #5 on the US charts. The single backed with “Love Is A Beautiful Thing” (Atlantic 7-2338), which had originally been released in 1966, reached #20 on the singles charts. While this would later be covered more successfully by Pat Benatar, Peter’s version showed that he did at least still have some intention of rocking. The vibe of the Felix Cavaliere and Eddie Brigati compositions, which made the Rascals/Young Rascals so popular in the beginning, came through well with Peter’s vocal style and delivery. Felix would also work with the then unknown Vinnie Cusano on projects during the 1970s after the demise of the Rascals.

 

61.09. My Life

Written by Peter Criss, David Buskin, and David Wolfert. David Bushkin would also sing backing vocals on the album and was a folk artist in his own right.

 

61.10. Feel Like Letting Go

Written by Peter Criss and Stan Penridge.

 

61.11. As Time Goes By

Peter’s recording of this song barely counts as a cover since it’s only 0:14 in duration. Only one line from the song is used as an outro piece on original copies of Peter’s 1980 solo album, where he can be heard quietly whispering, “You must remember this, A Kiss is still a Kiss,” no doubt as a poignant reminder of his past (but then recent separation from the band). According to Peter the inclusion of this brief vignette was strictly to “bust Gene’s balls” (Firehouse #55). “As Time Goes By” was written by Herman Hupfeld and sung by Dooley Wilson in the classic 1942 Humphrey Bogart film “Casablanca.”

 

61.12. Could It Be Love (Out-take, 1980)

In late 1995 Stan “Doc” Penridge offered for sale the master acetates of Peter’s solo recordings at RCA Recording Studios in New York City during March to July 1980. Not only would this two-disc set include the familiar recordings released as Peter’s first post-KISS album “Out Of Control,” but there would be two out-take songs, fully completed but not used on the album at the time of its release in 1980. This song was one of those tracks, and it is interesting that it was not used when it fit very well with the sound and style of the rest of the album. It is one of the more rockin’ songs recorded by Peter at the time rather than the mostly mellow reflective material issued on the album. This fully completed track runs 3:33.

 

61.13. You’re My Girl (Out-take, 1980)

This full studio recording is the second unreleased recording from Peter’s solo recordings at RCA Recording Studios in New York City in 1980. What makes the song different is the calypso, almost light reggae feel, which provides an interesting contrast to the rest of the material on the album. It is hardly surprising that it was left off the album because of this style clash, not to mention a soppy chorus: “‘Cause you’re my girl / You’re my girl / You’re my girl / And I love you.” It is likely that this song was written by Stan Penridge, and may date from a corpus of material he originally published in 1978, including titles such as “Baby, I Love You Again,” “How Many Kisses Will Do,” and “Baby, I Need Your Lovin’ Tonight.” The completed track runs 3:53.

 

61.14. Could It Be Love (Demo, 1980)

Compared to the polished version that circulates, this 3:12 recording is obviously a demo. One would think, on listening, that Peter had hired Gene’s “Group With No Name” due to the falsetto backing vocals and harmonies. Unlike the finished version, which is guitar heavy, the impetus is very much on the harmonies and piano on the demo. There are minor lyrical arrangement changes.

 

61.15. You’re My Girl (Demo, 1980)

Where the fully recorded version of this song would have a calypso/reggae feel, the demo has strong keyboards that don’t quite attain that feel. The demo runs to 4:05, and the most noticeable difference can be found in the first verse: “Baby, I’m standing on the side of the stage / Thinking maybe, that I could be a star some day / Is it crazy to feel this way / That I could be a star some day / But together / Honey, together / Baby, together / We’re gonna make it okay.” Other lyrical and arrangement changes are minor.

 

61.16. I Found Love (Demo, 1980)

The demo version runs 2:58 and completely omits the bridge: “Baby ‘til the day I met you / Honey, I was lost / And I can’t forget you now.” This indicates that this may have been the original format written solely by Peter and Stan prior to producer David Wolfert’s involvement in the project.

 

61.17. In Trouble Again (Remix)

Any differences between the remix and album versions of this song are minor, structurally, with the remix being 3 seconds longer. However, the piano is lowered in the mix and some drastically labored lead guitar over-dubs are added in the transition from chorus to verse. Peter and Stan would secretly remix the album when unhappy with the work being done by the producer.

 

61.18. Feel Like Letting Go (Remix)

Just 7 seconds shorter than the album version, the mix of the strings is adjusted and the synthesizers are nearly removed from the mix.

 

61.19. Out Of Control (Remix)

At 4:11 the remix is some 10 seconds longer than the album version. This is a result of the introduction of the song being extended. Sonically, the guitars are brought up in the mix and there are additional guitar over-dubs on the choruses. Instead of fading out over the repetition of the “Out Of Control” lyric, the song simply fades out over the music and lead guitar.

 

61.20. Where Will They Run (Remix)

This version of the song is 10 seconds shorter than the album version at 3:42. The differences are minor, though the song ends with a different lyric, “I will beware / I mean like, this place’s so strange / I’m just lookin,’” rather than, “I’m just lookin’ / I mean like we’re moving 100 miles.... an hour / Down the street.” An interesting thought is that the changed lyric refers somewhat obtusely to Peter’s “Baby Driver” song from 1976.

 

61.21. Words (Remix)

Even with the 20-second difference in track length being explained by a decreased tape speed, the other audio differences between this and the album version are very minor. Simply put, the fade-out on the album version starts some 10 seconds earlier than on the remix.

 

61.22. There’s Nothing Better (Remix)

Running 3:36, this remix is 7 seconds longer than the album version and has lead guitar over-dubs added to the end of the song along with the fade-out starting later, two measures after the seventh repetition of “There’s nothing better / Than you and me.”

 

Tracks 61.12,13,17-22: These tracks are the last rough mixes that Stan Penridge did for the original version of "Out Of Control." Aspects of the album were later changed when a different engineer was brought in by Casablanca. According to Stan, "it is infinately more 'Out Of Control' than out of control" (SP). Also, the additional material that was eventually added to the album served "to round out the sound" (SP).

 

61.23. Budweiser Radio Spot (Version 1)

Produced by the D'Arcy-Mac Manus and Masius advertising agency. The date is not clear, though DAMM merged with Benton & Bowles in November 1985, resulting in a name change to the firm. While the backing track is probably generic studio musician work, with no suggestion of Peter “playing,” the guitar sound on this radio jingle is very similar to that on Peter’s “Out Of Control” album, suggesting that it may be Stan Penridge playing. That suggests a 1980-2 window, apart from the reel code BB81-4. The reel was distributed by Genesis Recording with one 60 second and one 30 second spot from both Peter and the Bus Boys. This “long” version has a nice, though brief, guitar solo.

 

61.24. Budweiser Radio Spot (Version 2)

Running 30 seconds this quick spot features the main verse and ends with the chorus: “This Bud's for you, there's no one else who does it quite the way you do (the way you do) / So here's to you, for all you do you know the ‘King of Beer’ is coming through // For all you do (For all you do) / This Bud's for you (This Bud's for you) / This Bud's for you”

 

“Let Me Rock You” Album Notes:

Produced by Vini Poncia. Recorded at Conway Recording Studios, LA, CA, Spring 1982. Engineered by Bob Schaper and Phil Moores (Assistant), cover photography by Trevor Brown. For 16 years this album remained unreleased in the USA, this was rectified in April 1998 with the release of the remaster.

 

61.24. Let It Go

Written by Tommy Faragher, Davey Faragher, and Brie Howard in 1982, it would appear that Peter was the first to record this song.

 

61.25. Tears

Written by Vincent Cusano and Adam Mitchell, this song would be the sole single issued from Peter’s album, being released in Japan, some European markets, and Australia and New Zealand in July 1982. During the late 1980s Peter would mention that Vinnie was once again writing for him, though no material ever came of this publicly.

 

61.26. Move On Over

Written by Vini Poncia and Peter Criss, this song would be one of only two on the “Let Me Rock You” album that Peter had a paw (hand) in writing.

 

61.27. Jealous Guy

A cover of a somewhat lesser-known John Lennon song. With the comparisons laid down between KISS and The Beatles, and the influence on the members of KISS that that band had, it is surprising that this is the only Beatles-related song ever covered by a member of the band. The song was originally released on John’s most successful commercial album, “Imagine” (Apple 3379), which was released in late 1971 (the release dates vary from September to later). The song was released as a single in the US, backed with “Give Peace A Chance” (Capitol CAP-44230) in 1988. Peter’s version of the song would be released as the B-side of his “Tears” single.

 

61.28. Destiny

Written by Charlie Midnight, Cash Monet, and Jeff Schoen. Both Monet and Schoen were songwriters who often appeared on other artist’s albums as session players.

 

61.29. Some Kinda Hurricane

One of two songs written by Russell Ballard that would be used on Peter’s “Let Me Rock You.” Originally recorded by Russ Ballard, this song had also been covered by David Wolff on his 1980 “Aura” album (Buddah BDS-5725). Russ’ original was released in the UK (Epic EPC-4985) on February 4, 1977. Backed with “You Can Do Voodoo,” from his 1974 self-titled album, it was produced by Phil Wainman. Peter’s version differed only very slightly from Russ’ version, though was the more slickly produced of the two. The outro section’s lyrics are more developed on Peter’s version.

 

61.30. Let Me Rock You

The second of two songs written by Russell Ballard that Peter recorded. This song had been written by Russ in 1979.

 

61.31. First Day In The Rain

Written by Billy Idol guitarist Steve Stevens in 1981. Steve would also guest on lead guitar on the track.

 

61.32. Feel Like Heaven

Written by Gene Simmons. This would be one of the few Peter solo songs to get performed live, in this case being part of Balls Of Fire’s set in the summer of 1986 during Peter’s short tenure with that band. Peter’s version differs markedly from Gene’s “piss flaps” demo which usually circulates – it includes no vulgarity!

 

61.33. Bad Boys

Written by Peter Criss and Jim Roberge. This would be one of two songs that Jim and Peter collaborated on during 1982, but the only one that would be recorded for the album. Jim Roberge had a tenuous KISS connection, having played keyboards, and co-written two songs, on Tommy James’ 1980 Millennium album, “Three Times In Love.” One of the songs, “Halfway To Heaven” would be released as the B-side to the “You’re So Easy To Love” single which was written by Joey Grecco (Joseph Angelo Greco). The single would reach #58 on the charts in May 1981. Jim would also play keyboards on Peter’s album.

 

61.34. Jenilee

There are few out-takes from Peter’s 1982 album “Let Me Rock You” apart from several demo versions of songs included on the album. However, “Jenilee” was co-written by Peter and Jim Roberge; they had also collaborated on “Bad Boys.” Two 2:13 arrangements were tried on the song, alternatively with piano and guitar accompaniment. The subject matter, of course, is toward Peter’s then newborn daughter, and the song is a really touching piece: “When I look into your eyes / How they sparkle like wine / I know that you were sent from high above // I will always love you baby / You can count on me / Cause you’ll always be.... / My Jenilee.”

 

61.35. Rock And Roll Survivor

While Peter Criss and Stan Penridge had recorded additional material and remixed the entire “Out Of Control” album in 1980, few demos circulate from the sessions of Peter’s second post-KISS solo album. “Rock And Roll Survivor” is one of the few to make it into circulation and sees Peter singing more in a Bob Seger style, reminiscing about his rock and roll lifestyle: “When I was a young man, playing in a young band / I knew the freedom, of living in a new land / But now that I’m older, and the feeling’s getting colder / And I’m getting tired, of looking over my shoulder.” In some ways the title of this 4:28 demo would have been an appropriate album title for Peter’s second post-KISS album, and would have made more of a link with the first album! It is not clear who wrote the song, though one Steven Michael Seltzer wrote and registered the copyright of a song with the same title in 1982.

 

61.36 Bad Boys (Demo)

At 3:34 the demo version of “Bad Boys” is 12 seconds longer than the album version. Lyrically, there are only minor changes between the demo and the album recording, with one additional repetition of the chorus at the end of the song. However, stylistically, the song has a very different feel, with prominent slide (at the beginning of the song) and acoustic guitars with piano accompaniment.

 

61.37. Bad Boys (Demo Version 2)

This second demo version is 10 seconds shorter than the album version. In terms of arrangement the two versions are nearly identical. Minor lyrical differences include “I been to places that would bring the devil to his knees” replacing the original “I’ve been to places that could bring the devil to his knees.”

 

61.38. Let Me Rock You (Demo)

This “demo” version is the same length as the album version of the song but has an additional repetition of the doo-wop at the beginning of the song. Minor lyrical differences include “When your life seems much too bad” being changed to “If your life seems much too bad” on the album version.

 

61.39. First Day In The Rain (Demo)

61.40. Tears (Demo)

61.41. Jealous Guy (Demo)

61.42. Let It Go (Demo)

61.43. Some Kinda Hurricane (Demo)

61.44. Destiny (Demo)

On tracks 61.39-44 there are no differences between these “demo” versions and the album versions of the songs. The “demos” seems more like tracks which have been manufactured by lowering the treble and bass rather than being legitimate.

 

61.45. Feel Like Heaven (Demo)

Minor differences between the demo and album version include the lack of backing vocal call outs during the bridge of the song (“around you” and “hesitate”). There is also an additional “c’mon” added between the first chorus and second verse. This version also has an extended second chorus prior to the guitar solo: “Feel like heaven / Feel like heaven / I can make you / Feel like heaven (uh-huh) / I can / Feel like heaven / I can make you / Feel like heaven / You know it’s gonna / Feel like heaven / C’mon.”

 

61.46. Tell Tale Valentine

61.47. Run For Cover

61.48. Times Of Our Lives

61.49. Blame It On Love

Songs 61.46-49 were recorded early 1984. Peter handles lead vocals on 61.46 & 61.49 with Stan singing the other two. These demos were recorded soon after “The Desperate Men” became “The Alliance.”

 

61.50. Baby, Hold On

Following the failure of his “Let Me Rock You” album, Peter dropped from sight before re-emerging in 1983/4 with a new project with Stan Penridge. Following some limited live performances the Penridge/Criss Alliance set up in Nashville in early 1985 to record a series of demos. While Peter’s involvement in the band would soon cease, severing his relationship with Stan Penridge, this would be one of the songs for which he would record lead vocals. Produced and written by Stan “Doc” Penridge, the 4:17 demo would be recorded at Cinderella Studios in Madison, Tennessee. Peter Criss sings lead vocals and plays percussion. The studio band consisted of Stan Penridge (Vocals, Guitar), Alan Woody (Bass), Benny Harrison (Synthesizer, Keyboards, Vocals), and Tony Mercadante (Guitar, Vocals). The song was neither a rocker nor soft, building more off traditional R&B energy and style. This song dated from a batch of compositions Stan had written in 1979.

 

61.50. Never Met A Woman

Peter would sing with Stan on this 2:50 demo. During the whole recording process of the “Alliance” demos Peter’s involvement was minimal since he left the sessions after the recording of the rhythm tracks. Additionally, Stan had auditioned and organized the band two months prior to Peter arriving. This song features a sax solo.

 

61.51. Forever With You

This synthesizer-heavy 3:40 demo has less Peter involvement than “Baby, Hold On” with his role being reduced to backing vocals and percussion. The “Alliance” demo sessions would see the end of Peter and Stan’s personal relationship when Peter essentially quit the band. According to Peter, “the band I had a few years ago with Stan though was really the straw that broke the camel’s back. I knew then that it was cool if the two of us just stayed in a room and wrote songs together, but in the real world there’s no way we belong together. We don’t belong on the road or in a band because we’re just bad influences on each other, drugs wise” (Kerrang #226, 1989). The material recorded by the Alliance is essentially the only original music Peter was involved in until 1989.

 

61.52. Get Off My Back

61.53. (Why Won’t You) Dance With Me

61.54. You Can Have Me Baby

61.55. Dreaming

61.56. Private Dreams

61.57. Make Your Next Stop My Heart

Peter’s involvement in Balls Of Fire would be a particularly unhappy period of his life, and tracks 61.52-61.57 do not represent the whole corpus of material the band performed. It is not clear whether Peter was ever part of any studio sessions with the band to record originals, though the band had a demo to give Peter’s manager which got him involved in the first place. Regardless, by the end of 1986 he was no longer a member the band. Several live shows from the band’s early performances do circulate and should be noted for the inclusion of “Feel Like Heaven” and Peter’s refusal to perform a drum solo.

 

Track 61.52 was introduced on the recording of the band’s June 30, 1986 show at The Whiskey as being a song the band had written together. The band would only play 7 shows. To some extent the band’s demise was hardly surprising, but with the quality of the material, which did show promise, the band might well have had half a chance, even with Peter’s then waning name power. The band would initially replace Peter, but would not make it much further down the path to success. Guitarist JP would go on to work with Scott Tyler, but for the most part the band member’s sank into obscurity. Vocalist Jane would write “Sex Machine” with Desmond Child in 1989, but after 1990 she would disappear from the music scene.

 

61.58. Best In The West

Peter would sing backing vocals on this track from the Gene Simmons-produced Black ‘N Blue album in 1986. Jamie St. James recalled, “I actually got Peter Criss to come into the studio to sing on the Nasty Nasty record, and Gene and Peter hadn’t talked in years, years and years. And Peter was actually scared to come in, but I talked him into it, and of course, once he gets to the studio, not much singing happened. Him and Gene just sat and talked and went on and on for hours. But it was kind of cool to see those guys unite and think, hey, I got those guys back together again a little bit. Peter is on there on a song called ‘Best In The West.’ His voice is in there. He’s solo not just backgrounds” (Popoff, Martin – Hardradio). See also “Gene Simmons extra-KISS” and “Tommy Thayer pre-KISS” sections.

 

61.59. Take It Off

Peter would sing backing vocals on this track on this KISS-related album. The album, the third by King Kobra and the first with their then new lead vocalist, would be produced by the band’s drummer Carmine Appice and released on Carmine’s Red Rocker record label in 1988; Co-produced by David Michael-Philips and Alex Woltman; additional co-producer on “Take It Off” would be Elliot Solomon.

 

King Kobra lineup in 1988 consisted of David Michael-Philips (Lead, Rhythm and Bass Guitar; Backing Vocals; Acoustic & Slide Guitars), Carmine Appice (Drums, Percussion, Backing Vocals), Johnny “Boy” Edwards (The Voice), Jeff Northrup (Lead & Rhythm Guitars, Backing Vocals), and Larry Hart (Bass Guitar). Peter Criss is credited via the King Kobra Khoir, though he only sings backing vocals on the one track. Peter’s wife Debbie would be in the video for the song. This “Khoir” included Johnny Rod (KK, then WASP), Steve Sachi, Mark Olden, Bryson Jones, Peter Criss, Sarah Appice, Bob Spinella, and Dave Flynn. King Kobra is somewhat better known for the personal life of original lead vocalist Mark Free who underwent a sex change operation in 1995 becoming Marcie Free. He’d recorded the band’s first two albums and left the band by 1987. See also “Gene Simmons extra-KISS” section.

 

61.60. The Days Of My Greasepaint

Between leaving Jane/Balls Of Fire in late 1986 and the formation of The Keep in late 1989, Peter had been publicly quiet. While he had made guest appearances on albums by Black ‘N Blue and King Kobra, he was concentrating on family and writing his infamous (non)book “A Face Without A KISS.” At the end of this period Peter started getting active musically again and wanted to be in a traditional rock band with bass, rhythm guitar, and lead. “The Days Of My Greasepaint” was a song which Peter wrote while working on his book in 1988, inspired by some of the experiences he was recounting and revisiting during that process. Along with the book, the exercise was apparently therapeutic to Peter.

 

61.61. Love For Sale

Written by Peter Criss and Kevin Russell, according to the original 1990 copyright registration. The Keep marked Peter’s return to rock following several years away from being in a band. Peter was clear about his vision for a new band: It was going to be a male rock band. Following numerous rumored lineups, the band would solidify with: Peter (Drums & Vocals), Michael Norton (Bass), Mark St. John (Lead Guitar), and Michael McDonald (Lead Vocals). “Love For Sale” would eventually be released on Mark St. John’s 1999 EP, credited to himself and Peter.

 

According to Mark, “At the end we were bouncing these songs, some from his past, some from my past, and we did some new ones and we recorded about 10 of them. I think we spent like $13,000 - $14,000 at Sound City recording doing a demo. The demo was going to be our chance to send to the record companies to try and get a record deal and do this little thing we were doing, and this was before he did all these other Peter Criss projects. This was the first one and it wasn’t called Peter Criss, it was essentially my band and his band. I had my brother playing bass and I think Michael McDonald was singing, we auditioned a lot of people” (Mark St. John: The KISS ASYLUM Interview).

 

61.62. Between The Lines

Written by Peter Criss, Mark St. John, and Rick Delong, according to the original 1990 copyright registration. By the time it was recorded for Mark’s 1999 EP, it would be credited to just Mark and Peter. The Keep would perform live just once, on May 2, 1990 at a drum clinic at Guitar Center music store in Lawndale, California.

 

61.63. Do Ya Know What I Mean

By the time that most fans heard that Peter Criss and Mark St. John had gotten together in a band, they’d split up. However, invariably referred to as Tree or The Keep, the project would provide the metamorphosis for Criss to emerge. This demo was one of a group of 10 recorded at Sound City Recording Studios in Los Angeles. Completing the lineup of the band was Michael Norton (Mark’s brother) on bass and Michael McDonald on lead vocals. What makes this whole era amusing is that Michael McDonald’s real name is David Donato (who also had a very brief tenure in Black Sabbath in early 1984 before being replaced by Glenn Hughes), which essentially means that the band was really the original lineup of White Tiger with a new drummer. This song, however, would not be one of the original songs that would be written by Mark and Peter, in fact it would be the only song (to circulate) that had Peter on lead vocals.

 

The original version of the song, written and recorded by Lee Michaels, was a Top-10 (#6 - A&M 1262) hit in 1971 and can be found on his “Fifth” album (One Way 33644). Peter would re-record the demo in 1991 with his new band, CRISS, though the arrangement of the song would not differ. Two Keep versions of this recording, which run 3:03 and 3:05 respectively, circulate and differ mainly by the amount of lead guitar over-dubs.

 

61.64. Been A Long Time

Also simply known as “Long Time.” This demo runs 3:14 and seems to be the least developed of the Keep demos to circulate: “Hey Baby, how ya been / I hear you’re back in love with him / Don’t you know that he’s bad news / I want you bad, you need the blues / Remember when we were one / And everybody was having fun / Now I’m alone and it’s not right / I need you baby, need your lovin’ all night.”

 

61.65. All Night Long

When the Keep started shopping their demo around the response was universally negative. By 1991, music meant grunge, but Mark recalled that the rejections took a nastier cut: “All the companies would send us this little letter back and every letter would be the same: ‘We really like what you are doing, but at this time we are looking for something different.’ It would be a turn down, every one of them. But it would be like a patronizing thing. And I am thinking, ‘Oh my God.’ I had to tell Peter, you know, I passed up a lot of offers to play in other bands and make money and quite frankly the whole situation has put me way back and I gotta go out and work” (Mark St. John: The KISS ASYLUM Interview). This demo runs 4:42 and includes what could be considered a humorous reference to a 1978 Peter Criss song in the chorus: “Every time I see your face in the daylight, oh.... / The lights run up and down all over your face / All night long, tossin’ and turnin’ / All night long, I can feel it burnin’ / All night long.”

 

Tracks 61.61, 61.62, and 61.65 were included on one demo tape circulated by Peter and Mark. Simply labeled “Peter Criss,” the tape detailed that the songs had been produced by Peter Criss, arranged by Mark St. John, recorded by Angelo Arcuri and Bret Newman, and mixed by Bill Dooley and Allen Abrahamson.

 

61.66. Donna

The title of a song written by Phil Naro, which he and Peter worked on during their time writing and working together in 1990/1. Nothing came of the song at the time, though Phil released a recording of the song on his “Glass Mountain” album (Z Records ZR-1997070) in 2002.

 

61.67. Love For Sale (Version #2)

Following the transformation of The Keep into Criss, the band would re-demo this song with the new lineup. Phil Naro would sing lead. There would be minor lyrical modifications to the song. This song would be performed live by the Criss band with vocalist Philip Bardowell, who had replaced Phil Naro.

 

61.68. Blue Moon Over Brooklyn

Written by Peter Criss and Philip John Sampognaro (Phil Naro) in late 1990. The original demo for “Blue Moon Over Brooklyn” would be sung by Phil Naro, even though the subject matter of the song was very much a result of the passing of Peter’s mother in early 1991. The song’s sound was also harder, and faster, than the version eventually recorded by Criss in 1994, and the verses would be different to those recorded for the album. The first verse: “Searchin’ high and low / Lookin’ for answers I couldn’t find in my own mind / On that winter’s night / There wasn’t a soul in sight, but me (oh, yeah) / I started to scream and shout / My tears cried out / How could it be, why me?” The second verse: “The moment came so clear / I felt a kiss come through the air / And what I’d do? / As though the world had stopped suddenly / And lingered everywhere.”

 

61.69. Do Ya Know What I Mean (Version #2)

Another song dating from 1989/90 with Mark St. John, albeit a cover, which Criss re-recorded, again with Peter singing lead. There would be some slight lyrical arrangement changes to the song, with the loss of a whole verse while the first verse would grow: “Been forty days since I don’t know when / I just saw her with my best friend / Do you know what I mean? / Lord, do you know what I mean? / I just saw her yesterday / I just saw her, had nothing to say / Do you know what I mean? (ha, ha) / Good God, do you know what I mean? / I just saw her yesterday / I just saw her, had nothing to say / Do you know what I mean? / Oh, good God, do you know what I mean.” The Criss demo lacks the schizoid lead guitar work of Mark St. John with more basic guitars and drums very high in the mix and runs 3:03.

 

61.70. Between The Lines (Version #2)

The final of the three Mark St. John era songs re-recorded by Criss. Again, this would be sung by Phil Naro. Like the others, this song would have arrangement changes. There are two slightly different Criss recordings of this track which, run 5:15 and 5:20, respectively. The differences between the two are primarily in relation to the levels of production each had reached, but in essence they are very close in character.

 

61.71. Wait For The Minute To Rock ‘N Roll

Written by Peter Criss and Philip John Sampognaro (Phil Naro) in late 1990. “Wait For The Minute To Rock ‘N Roll” was one of the five songs recorded for the first CRISS demo in 1991. Produced by Bob Dooley, the songs would be recorded at A&M Studios in Los Angeles. The song itself would be a mainstay in the live band’s set list for quite a while, usually being the set closing piece, with different lead singers. The demo runs 4:28.

 

61.72. No, I’m Not Afraid

Another of the early Peter Criss and Phil Naro collaborations during the first line-up of CRISS. This song would be copy written with a second group of Criss/Naro collaborations in May 1991. A power ballad, this sort of material is something completely alien to the type of material one would expect from Peter. Complex, with plenty of time changes, the demo would be sung by Phil and has a plaintive chorus: “No, I’m not afraid, to turn and walk away / I won’t let you kill what’s inside of me / No, I’m not afraid, you can’t make me stay.” Phil would recycle the song as “Surrender (In The Name Of Love),” which forms part of the lyrics at the beginning of the song. This would be released on the European version of 24K’s “Pure” album in 2000.

 

According to Phil, “The song was only an idea back in the Peter Criss days and I decided to actually finish the song with Mladen. There is a whole 7-song recording with Peter that him and I did” (melodic.net). Mladen was a guitarist, notable for his work with Von Groove and Triumph, working with Phil on a variety of projects, and his input on Phil’s recording of “Surrender (In The Name Of Love)” would get him a co-writing credit on the 24K recording. Phil has also recorded the song with Mark St. John for Mark’s 1999 EP. Criss’ original demo of the piece runs 4:57. This song would be performed live by the Criss band with vocalist Philip Bardowell, who had replaced Phil Naro.

 

61.73. Bad People Burn In Hell

One of the earliest Criss/Naro collaborations during the first line-up of CRISS, this song would be a mainstay of the band’s live set, though it would undergo transformation from the original demo form, which had Phil singing the lead vocal. With copyright first registered in May 1991, the song’s content was very much built around the negativity Peter had in his personal life at the time. According to Peter, “It’s a very true song. That song is saying, you know, you got a choice – Heaven or Hell” (Oh Yeah! #14).

 

61.74. Spread The Words

Also known as “Spread The Word,” this track would be another of the early Criss songs written by Peter and Phil Naro. This song would be published through BMI (Work #1748679).

 

61.75. First One To Admit It

Also known as “1st To Admit It,” this track would be another of the early Criss songs written by Peter and Phil Naro. This song would be published through BMI (Work #1397980).

 

61.76. All In This Together

Also known as “We’re All In This Together,” this track would be another of the early Criss songs written by Peter and Phil Naro. This song would be published through BMI (Work #1626858). Phil’s involvement with Peter would end after around 7 months when Phil had to return to Toronto when one of his children became sick.

 

61.77. Live Life

Written by Mark Montague, and performed by Criss at their debut concert on November 10, 1991. Initially sung by Philip Anthony.

 

61.78. Surrender

Written by Ray Carrion, and performed by the band at their debut concert on November 10, 1991. This song is different to the one (“No I’m Not Afraid” which became “Surrender (In The Name Of Love)”) written by Phil Naro and Peter.

 

61.79. You’re The One

Performed by the band at their debut concert on November 10, 1991, Peter and Ray would share lead vocals on the song.

 

61.80. Without You

Written by Ray Carrion, this song was based on acoustic guitar and grand piano.

 

“The Cat EP” Album Notes:

Produced by Dito Godwin and Peter Criss. Co-produced by Mark Montague. Engineered by Michael Carnevale. Recorded at Track 24 Recording Studios, California, in July 1993. Drums recorded at Brooklyn Studios. Additional musicians on the EP are Dito Godwin, Wayne Johnsen, and Doug Shawe.

 

61.81. The Cat

Written by Peter Criss, Mark Montague, Kirk Miller, and Mike Stone, this 4:32 track from the Cat EP is a somewhat biographical look at Peter’s life and the use of his nine lives. This song would include a little humorous dig at Gene and Paul: “Listen to this one now.... / Gene and Paul went up the hill / To fetch a pail of water / Gene fell down and broke his crown / And Paul came tumbling over (yeah).”

 

61.82. Show Me

Written by Mark Montague, Mike Stone, Peter Criss, and Phillip Bardowell. The writing credits help date the song to the early era of Criss when Phillip was lead vocalist for the band. Released both on the EP and full album, this would be the only Criss track to have a video made for it. The video would be directed by Mark Zykoff and produced by Randy Sanders and is a combination concept/performance piece filmed at Max Sound Studios. The mix of the song is different on the EP with there being vocal harmonizing at the start of the song.

 

61.83. Good Times

Written by Peter Criss, Kirk Miller, and Mark Montague, this song was about Peter’s divorce from his second wife, Debbie. During 1991 Peter’s life had been hit by a series of personal disasters. In January his mother passed away and almost immediately he was hit with an imposter scandal that made national headlines. An American mass tabloid ran the headline “KISS Star Hits The Skids” (Star, 1/8/91), which was “followed by the wrenching details of how Peter Criss, a former drummer for the once wildly popular glam-rock band, had become a homeless alcoholic, panhandling for nickels and sleeping on the floor of the men’s room at the Santa Monica Pier” (People 1/21/91).

 

According to Mark St. John, “Peter was going through hard times with his wife Debbie. I think they were going through a separation or whatever” (Mark St. John: The KISS ASYLUM Interview) around the time of the imposter scandal, but regardless of the timing of events, Debra would leave Peter for his lawyer. Mark Montague later recalled, “I actually went to court with him a few times for that trial there. It really never went to trial. They went to court twice and then the Star gave in and gave him a settlement but that’s true. The lawyer who handled that case ended up – his wife divorced him for this guy” (Angela Monger). Even Peter summed up the miserable time: “I was 25 pounds overweight and my mother had died. It was a very bad time, the press were crawling all over my house” (Sunday Herald Sun). With all of that according to Peter, “my wife fell in love with my lawyer and left me” (Sunday Herald Sun).

 

The struggle which Peter endured during this period of his life would have a rejuvenating effect on Peter, who recalled, “After my wife left me, I adopted a ‘screw everyone’ attitude, got an apartment in Hollywood, and lived, and ate music. That’s all I wanted to do” (Sunday Herald Sun). The loss of his wife would be summed up in the lyrics of the song: “I’m coming home to an empty house / Where my wife and child would meet me (yeah) / Now there’s another man, living there / So there won’t be no one there to greet me.” Like the other songs that would also appear on “Cat #1” the mix of this original version is slightly different.

 

61.84. What You’re Doin’

Written by Peter Criss, Mark Montague, Mike Stone, and Kirk Miller. This would be the second of the EP tracks to not be re-released on the full “Cat #1” album the following year.

 

61.85. Beth

Included on both the EP and the album would be an acoustic recording of the song that was Peter’s claim to fame. Backed with “Bad Attitude” and “Blue Moon Over Brooklyn,” the song would be released as a CD-Single in Europe in 1998. There would be some very minor lyrical changes to the song, though the arrangement would remain the same as it had always been. Like the other songs that would also appear on “Cat #1” the mix of this original version is slightly different.

 

“Cat #1” Album Notes:

Tracks 61.86-96; Produced by Dito Godwin and Peter Criss with Mark Montague. Recorded at Track Records and Cherokee Studios, Los Angeles, California. Engineered by Michael Carnevale. Additional musicians on the album are Dito Godwin, Wayne Johnsen, and Doug Shaw, Stephen Presley, Ed Kanon (Peter’s drum tech), and Ace Frehley.

 

61.86. Bad Attitude

Written by Peter Criss, Mark Montague, and Ray Carrion, this song provided the only single ever released from Peter’s “Criss” project. It is also one of three tracks Ace Frehley guests on. He recorded his parts during March 1994. The first song off the album, “Bad Attitude” dated from the very day that Mark Montague joined the band without an audition. He recalled that when he and Peter just started jamming that the song was already part of an idea he had at the time. According to Mark, “Actually at that time it was called ‘Bad Reputation’ and I started playing the chorus of it and Peter is like ‘Man, that’s great. I got this thing about the Star Magazine and they wrote all these bad things about me in the paper,’ and he went on and wrote the rest of the song. The lyrics for the verses, the pre-choruses, stuff like that. And that was it. From that point on we started playing everyday” (Angela Monger).

 

61.87. Walk The Line

Written by Peter Criss and Mark Montague. Ace Frehley made a guest appearance on lead guitar on the track. Mark recalled, “Peter’s drum tech picked up Ace at the airport, Peter and I went to see him at his room, then we had Italian food! So we then went into the studio and the Ace-man went wild! He played solos on three songs” (KISS Exciter 4, #57).

 

61.88. The Truth

Written by Mark Montague, Peter Criss, and Chris Tosetti. According to Peter, this song was a political point of view: “Mark and I were getting really anti-establishment and it was so great, it felt like the old days.... It felt like when Vietnam was going on and I was really getting this shit in my blood again just about society and about the system again, and it was really bugging me and I dared never to do anything against that. It was always a rule, you don’t write political songs, it’s just not cool. But, at the time, it was very cool because there’s a million bands, like, Rage Against the Machine, a lot of bands were doing it and I got into it. I said okay, if I can finally write the way I truly feel about things, like the song ‘The Truth,’ and the other stuff, then, yeah, let’s do this” (Steve Gerlach).

 

61.89. Bad People Burn In Hell

Yet another track on the Criss album to feature a strong message. Even though the song had dated back to the early 1990s, the message was still relevant to Peter. Considering all the negativity going on in Peter’s life at the time the song was written, it can be seen as being lyrical therapy and anger management.

 

61.90. Strike

Written by Peter and Mark Montague, this would be another of the political tracks on the album. With lyrics such as “Gotta see the money / How will you know it’s real / They’ll say they love you / Behind your back they’ll steal / Hey big brother don’t you have a mother / To wash the blood from your hands / You gotta say, ‘no way / I ain’t gonna play that game,’” it is clear where this piece is directed.

 

61.91. Blue Moon Over Brooklyn

As was the case with the original Criss/Naro demo for this song Peter ended the piece with the drum intro to “Strutter.” However, in the years between the song being written and recorded, the style and arrangement would be changed. Ace Frehley made a guest appearance on lead guitar on the track. The revamped version of this song would see it transformed from rocker to ballad. While the song had long been a part of the band’s live set, the subject matter resulted in it being toned down.

 

61.92. Down With The Sun

Written by Peter Criss and Mark Montague.

 

61.93. We Want You

Written by Ray Carrion and Mark Montague, this song had been Criss’ attempt at an anthem with which they would usually close their live sets. It had been performed by the band at their debut concert on November 10, 1991, and thus dated from the earliest era of the band.

 

61.94. Beg, Borrow And Steal

Performed live during 1995, no other details are known about this song. Several of the post-”Cat #1” songs were demoed, but these tapes do not currently appear to circulate. Peter would sing the song during the band’s live performances.

 

61.95. The Shooter

One of the heavier songs written by Criss, this song is sometimes referred to as "My Reality," in collector's circles, because of the chorus. It would be performed extensively during the 1995 tours and was slated for inclusion on the second Criss album. Written by Peter and bassist Mark Montague, the song would be released in 2005 on Mark Montague and Mike McLaughlin's "One Of A Kind" project along with some other Criss era songs.

 

61.96. Seeds

The tentative title for the second Criss album, this song was slated for inclusion on the album. Sometimes referred to as “Hear No Evil.”

 

61.97. Zig Zag

Also known as “Fallout” and published via BMI as work #5421665. Another of the final songs written by the Criss band, which was played live, and considered for use on the second album that was never recorded. Jason and Peter share the lead vocals.

 

61.98. Leave Me Alone

Available on several live bootlegs from 1995. Tracks 61.95-98 were demoed by Criss following the conclusion of the Summer tour in 1995.

 

61.99. Adalyne

While this song (BMI work #5388148), also known as “Hey Adalyne,” certainly got played live by the final incarnation of the band, it might also have been considered for use on the never recorded second Criss album. Co-written by Criss’ final vocalist, Jason Ebs, but also attributed to Mike McLaughlin and Mark Montague, the song was demoed in some form. According to Jason, “I co-wrote “Adalyne” and “Zig-Zag.” We played them live a few times, and did some recordings of them as well. They haven’t yet been released, and it’s too bad because they’re kick-ass songs” (JG).

 

61.100. I’m In A Band

Attributed to the whole Criss band, it is not known whether this song was ever performed live, though it was demoed and published as BMI #6335941.

 

61.101. Shut Up

Attributed to the whole Criss band and Eddie Rogers, this song was performed live by the final incarnation of the band, demoed, and published as BMI #6330367. Sometimes referred to as “Caught Between A Rock And A Hard Place” or “Don’t Look Down.” During live performances of this song Peter would sometimes use it for his drum solo. Eddie Rogers was a drummer who would replace Peter in Criss as it transitioned to become “Skoff” when Peter rejoined KISS for the reunion. Mark had worked with Eddie in the early 1990s prior to linking with Peter.

 

61.102. Trash

A cover of a New York Dolls song, this track could be seen as an homage to Peter’s late-friend Jerry Nolan. This song was mentioned as a possible inclusion for the second Criss album. The song was originally released on the Doll’s self-titled debut album in 1973.

 

61.103. U Gotta Know

Written by Peter and bassist Mark Montague, the song would be released in 2005 on Mark Montague and Mike McLaughlin's "One Of A Kind" project along with some other Criss era songs.

 

61.104. Golden Arm

Written by Peter and bassist Mark Montague, the song would be released in 2005 on Mark Montague, Barbara DeGennaro, and Mike McLaughlin's "One Of A Kind" project along with some other Criss era songs.

 

61.105. Bohemia

61.106. Cat Nap

61.107. Crossroads

61.108. Doesn't Get Better (Than This)

61.109. Faces In The Crowd

61.110. Fallin' All Over Again

61.111. Hope

61.112. Last Night

61.113. Reason For Living

61.114. Space Ace

61.115. What Does It Take

61.116. Whisper

BMI song publishing registrations from late-2005 due to appear on a Peter Criss solo album. Tracks 61.105-107, 61.109-113, and 61.115-116 written by Peter and Mike McLaughlin; Track 61.108 written by Peter, Charlie Kipps and Mike McLaughlin; Track 61.114 written by Peter and Mark Montague. Peter reported on his website in February 2005 that he was working with Tom Perkins and Charles Kipps (as co-producer), and former Criss bandmates Mark Montague (bass) and "Angel" McLaughlin (lead guitar) on material for a solo album at Nutmeg Studios. Has Paul Schaffer on keyboards and Will Lee on bass on some tracks.