Unless this page gets really really (really!) long there'll never be a "3rd Edition" of this work in print, as the author/compiler is done doing that stuff, so everything
that gets enhanced, clarified, added, and dare I say it "corrected" shall be made available on this page. As the focus, no
pun intended, of the KISSFAQ changes, many of the details found here, and in the other book corrigendums, will be
incorporated into the the website. As is the case with any manuscript, there were some sections that were felt had not
reached their full potential, not that detailing KISS' recording history is a task ever completed.
The format of this corrigendum is as follows: Entries highlighted in RED are corrections; Those in ORANGE are clarifications/enhancements; those in GREEN are new additions; and those in GREY remain dubious inclusions, whether they're new additions or clarifications for existing song entries. The numbering format follows from that of the 2nd Edition book.
Notes on Chapter 6: Vinnie Vincent Pre-KISS
More Mr. Vinnie Cusano...
06.71. Magic (1981)
Written by Vinnie, Pete French, and Carmine Appice, this song is a companion of 06.48, "Drum City Rocker (The Ballad Of Drum City Surfer Girls)," which was recorded for Camine's 1981 album. Pete French was the singer in later versions of Carmine's Cactus, who had once also included Wicked Lester guitarist Ronnie Leejack...
Notes on Chapter 10: Tommy Thayer Pre-KISS
Tommy Thayer's pre-KISS recording history dated to the early 1980s when he emerged in the band Black 'N Blue. While that band was soon connected with KISS, and Gene Simmons in particular, Tommy worked with several other notable artists.
10.153. Good And Evil (1984)
Song recorded for the first Black 'N Blue album, but not used.
10.154. Promise The Moon (1986)
According to Tommy, this "was a song that we recorded for the 'Nasty Nasty' album that never made the final cut for the record" (TommyThayer.com).
Notes on Chapter 14: KISS (1973)
14.10. Kissin' Time
This recording was not included on the original release of KISS' debut album. "Kissin' Time" was recorded at Bell Sound Studios in April 1974 with Kenny Kerner and Richie Wise again producing. It has long been known that part of Neil Bogart's early music career was at Cameo/Parkway records, both as a recording artist and later as a vice-president. Bobby Rydell had originally recorded "Kissin' Time," a Kal Mann and Bernie Lowe composition, in 1959, on the same label with which Bogart would later be involved. The song was released both as a single, backed with "You'll Never Tame Me," and peaked at #11 on the singles charts, becoming the single that introduced the then 17-year-old Rydell to the world and becoming one of his signature pieces. The song also saw release on his debut album, "We Got Love" (Cameo C-1006, 1959). Unlike often rumored, this song was never originally titled "Twistin' Time."
KISS, along with Kenny Kerner, Richie Wise, and Neil Bogart, had to drastically rework the song from its original form that included such un-Rock 'N Roll lyrics such as : "They're smoochin' all over, even in St. Lou," "So treat me right, a-don't-a make-a me fight," and "They're kissin' in drive-ins, you too, Baltimore." Pure bubble-gum and steeped in the time that it was originally recorded, it would have clashed too much with KISS' leather-clad style. KISS' rework of the song took some 20 minutes and was built around what was then the band's stage introduction: "Put your two lips together and KISS." That Neil Bogart had a promotional tie-in had very little to do with the song. Promotion and hype were king, and that is what Neil Bogart was extremely talented at. Paul, Gene, and Peter shared the lead-vocals on the verses.
On release the song didn't reach anywhere near the success of the original song hitting only #83. To the annoyance of the band, who hadn't liked the idea in the first place and were really just pressured into doing the song, the song was included on later pressings of the debut KISS album. The song fared somewhat better on the Cashbox charts, reaching #79 on June 22 after five weeks on the charts. The band performed the song live for a short period while the single and promotion were active, and then dropped it from the set.
According to Ken Sharp's interview (Goldmine Magazine, 11/20/98) with Gene this song was written by Gene for the debut album, but was not used. The song had a style similar to "Hard Luck Woman." The song was certainly considered for use on the "Hotter Than Hell" album and was demoed at Larabee Studios in Los Angeles in mid-1974 (Jeff Suhs).
Notes on Chapter 15: Hotter Than Hell (1974)
15.15. High And Low
For some odd reason, the song title was missing from this entry header. Oops...
Notes on Chapter 24: Gene Simmons (1978)
It is interesting to note that Gene's solo album was originally intended to be titled "Man Of A Thousand Faces." According to Gene, the band all decided to include the KISS logo on the covers because it would strengthen the group image and allow each of the members to pay homage to the band that had allowed them to do solo albums in the first place. To the more cynical Gene's comments suggest that Neil Bogart dictated what the albums would be called due to the possible relationship between the band, the music, the image, and the promotion possibilities!
The introduction to "Radioactive" was written by composer/arranger Ron Frangipane. According to Gene it was, "based on some things that he's heard on the album, mainly 'Radioactive,' and the piece sounds kind of like the themes from Jaws, the Exorcist. It's basically strings, lots of brass, and uh, Janis Ian... singing in Latin... The latin says something like, 'I see no evil, I hear no evil, it's not around me at all,' but underneath her is Sean (Delaney) doing a kind of deep voice growl" (Rock Magazine).
Additionally, according to Gene, Joe Perry only plays guitar on the choruses with Steve Lacey playing the solo...
Notes on Chapter 28: Dynasty (1979)
Some "Dynasty" material has already been described in the book. However, during 1978/9 Gene Simmons was working with the boy-band Virgin (who were managed by Bill Aucoin), producing an album that was never released. At the same time Gene was demoing material with Virgin drummer Chuck Billings. Chuck, and Virgin's guitarist, Tom Moody, were also present at the KISS Magic Mountain, Valencia show for "KISS Meets the Phantom of the Park" along with teen-idol Leif Garrett (who Chuck would later have a band with). Tom would also help out on rhythm guitar on a couple of the 4 or 5 songs Gene and Chuck recorded - one, whose title is currently unknown, was later recorded for a KISS album...
28.21. I Have Just Begun To Fight ('79 Demo)
While this song is often described as being an "Asylum" demo it was originally demoed in early 1979. The original demo is far superior to the generally circulating piece in terms of quality and runs 3.30.
28.22. Reputation ('79 Demo)
A prototype of the more common 1982 version that runs 3.04. Unlike the later version this track has more in common with Gene's 1970s demos in terms of style.
Notes on Chapter 33: Creatures Of The Night (1982)
33.18. Not For The Innocent (Demo)
Running 4.34, this early demo has strong similarities with the "Creatures Of The Night" style, with a somewhat brutal vocal delivery by Paul. That's right, Paul. While Gene sings some of the verses, Paul handles the majority of the song including some verses and the chorus. Gene sings the first verse, which is the same as the "Lick It Up" album version; Paul the second verse. While the verse is the same as the album version, the second repetition of "Kick you when you're down" is not present. Paul then launches into the chorus: "We're not for the innocent / We're not for the innocent / Yeah, we're not for the innocent / Let the beast run wild."
Gene's third verse is slightly different: "I've been damned, I've been cursed / I've been guilty and abused (Ooh yeah) / Spit in the hangman's face / I'll hang him with his noose / We're a habitual threat, I've got you in my claws." From this point in the song (1.40) Paul takes the rest of the vocals. Following a two repetitions of the chorus Vinnie provides a very 1982-Vinnie-like guitar solo that lasts 25 seconds. Following the solo there is no "Better lock up your daughters / We're comin' to your town / Better pray we're not around" reprise. With the song essentially ending on repetitions of the chorus before Paul finally sings, "We're coming, coming to get ya!" It's clear that the song was tightened up for the "Lick It Up" album sessions.
Notes on Chapter 35: Animalize (1984)
Some of this stuff just missed the deadline for going to print. Unfortunately.
35.12. Thrills In The Night (Rehearsal)
This instrumental runs 4:57, nearly 45 seconds longer than the album version, and features scat vocals. There are no proper vocals as such throughout the song. There are sections where it appears that Mark is working out some lead parts for the song, notably during the solo section. The piece ends with the music just falling apart...
35.13. Get All You Can Take (Rehearsal)
Running 3:59 this instrumental varies very little from the album's music track. There are no vocal attempts whatsoever, and it is probably more apt to describe it as being a studio rehearsal. In the case entries 35.12 and 35.13, it's sad that the sound quality is so poor...
35.14. Under The Gun ("Demo")
The supposed "Under The Gun" demo runs 3:38 which is ~23 seconds shorter than the album version. On the face of it this would be a substantial time difference. However, listening to it makes it obvious that it's highly sped up - Paul Stanley ain't no chipmunk! Once the song is slowed back down to the album track's length it is simply a very poor quality copy of that track. It matches the final album mix of the song - completely - though it is a very poor quality copy of that track...
35.17. Thrills In The Night (Rehearsal 2)
While the "Lick It Up" tour concluded on March 17, 1984, it is clear that the band were already in the studios by late-April/early-May, rather than the generally accepted June date. Most of Paul's songs were in forms nearly identical to the album versions by the end of the month. An early S.I.R. rehearsal of "Thrills In The Night" starts off with a bit of guitar and drum warm-up. Following a false start, the band performs a 4:39 instrumental version of the song. This rehearsal includes a full guitar solo that is somewhat similar to the album version following a basically similar structure. However, it lacks many of the scales and whammy-bar effects. It's also nearly 10 seconds longer than the album version of the song. After the solo the instrumental continues through the final verse and what would have been two repetitions of the chorus before breaking down. Mark plays some lead over the final two chorus repetitions, similar to on the album.
Following the attempt, Paul comments, "I have to live with it overnight, 'cause I'm not sure. I can't quite sing and play at the same time." Regardless, the arrangement was essentially nailed even though the timing would indicate that the arrangement was somewhat fluid at this point. The full track runs 5:31 including the discussion. Amusingly, this practice comes off a rehearsal tape that recorded over some Wendy O. Williams material. Part of "Thief In The Night" and all of version of "Opus In Cm7" survive. These mixes appear to be different from the Wendy's albums with the drums being absolutely massive in the mix, akin to the "Creatures Of The Night" sound...
35.18. Under The Gun (Instrumental)
A full 4:00 rough mix of the song. It's essentially the final arrangement, with some basic lead work at the beginning of the song and the full guitar solo. Vocally, it only includes the "Under The Gun" chorus refrains and Eric shouting "Fire!"...
35.19. Get All You Can Take (Instrumental)
Running 3:46, this rough mix lacks lead guitar work, but like the previous song has some vocals on the verses...
35.20. Heaven's On Fire (Rough Mix 1)
In essence, this song had been "done" since the middle of May, with this rough mix of the song dating from 5/16/84. However, the arrangement was tightened up with the removal of a second solo. On this earlier mix Mark's basic first solo is followed by a return to the basic chorus, "Whoa-oh, Heaven's on fire / Whoa-oh." This is in turn followed by a second solo section similar to the first. This mix runs 3:31...
35.21. Heaven's On Fire (Rough Mix 2)
This rough mix dates from 5/25/84 and sees the song reach the 3:17 arrangement that would be included on the album. As noted in entry 35.20, the song's arrangement was shortened with the removal of a second solo...
35.22. Under The Gun (Lead Dubs)
By the last week of May the basic music tracks for Paul's songs had essentially reached the point of completion. A 21 second clip with Mark's raw solo overdub on the end of "Under The Gun" is nearly identical to the final version, though "raw" is a compliment to how this attempt sounds. It's followed be 6 additional repetitions of the end of the song without any guitar overdubs. These have a different drum pattern to the album version of the song, with metronome-like timekeeping being present in the space where the ending guitar solo would be placed...
35.23. Thrills In The Night (Instrumental)
"Thrills In The Night" also underwent shrinkage in arrangement during May. An early mix of the basic track from 5/16/84 runs 4:45, though it seems somewhat plodding. This mix doesn't have any lead guitar overdubs since and only has vocals during the chorus sections, with the "Thrills In The Night" refrain being repeated...
35.24. Thrills In The Night (Rough Mix)
This late-May mix of the song saw the tempo increased resulting in a 4:28 instrumental. This rough mix has the full vocals throughout the song. It's also very evident from this mix that Eric's drums, notably the cymbals, are very much lost in the mix...
35.25. Get All You Can Take (Instrumental)
This later mix sees Paul scatting the vocals. The 3:43 instrumental is complete, except for the lead guitar overdubs, and the full chorus vocals are in place...
35.26. (I've Had Enough) Into The Fire (Instrumental)
Continuing the efforts to flesh out the lyrical application this late-May instrumental version of "(I've Had Enough) Into The Fire" is similar to entry 35.35. Paul again scats the song's verses though the "I've had enough" parts on the choruses are present. Melodically, Paul seems unsure about where the song is going at this point. This song runs 3:53...
35.27. Thrills In The Night (Lead Dubs)
By the end of May work was being done on lead guitar overdubs. Mark St. John was working on the overdub at the start of "Thrills In The Night." Lasting only 30 seconds, the attempt is slightly off in terms of timing prior to Paul's vocals beginning. The attempt fades out during the first verse...
35.28. Get All You Can Take (Lead Dubs)
This 35 second piece is a rather raw attempt at "Get All You Can Take." The attempt seems awkward, though there are similarities (in parts) to the final version. Four additional basic tracks follow where St. John doesn't attempt a solo, leaving that one attempt the only on from this tape for that song. Rather than an overdub, it seems like more of a practice piece with Mark getting a feel for the timing...
35.29. (I've Had Enough) Into The Fire (Lead Dubs)
Mark makes a 45 second attempt at the solo for "(I've Had Enough) Into The Fire." This solo attempt has elements that display his musical style better than what was used on the album. There are some similarities between parts of this and "Baghad," an instrumental he'd release on his solo EP...
Notes on Chapter 39: Hot In The Shade (1989)
39.26. Something Wicked This Way Comes
While Doro would record "Something Wicked This Way Comes" for her Gene Simmons produced album, the song had originally been under consideration for KISS' use on the "Hot In The Shade" album the previous year. It was later cut from the album, but was included in track-listings distributed in PR material. The song was written solely by Gene. With Gene's later writing, both on "Carnival Of Souls" and the general theme of "Psycho Circus," the song shares a title with Ray Bradbury's gothic novel which is about a diabolical carnival, led by mysterious ringmaster Mr. Dark, that visits a small Illinois town.
Gene's dark and brooding demo of the song runs 5.44 and differs very little from the arrangement used by Doro on her released version. However, some of the female perspective would be changed. In Gene's original: "She pulls the trigger, but I'm the bullet / Comin' out of the gun."
39.27. Street Legal (Gene Simmons Demo)
It's not clear whether this song was ever considered for "Hot In The Shade." It's probably more likely that this was one of numerous Gene demos from the period that were simply ideas put on tape with no clear purpose. The song shares similarities with "Christine Sixteen," though the "I don't care how old you are... / You're old enough for me" lyrics might have been too creepy being sung by a 40 year old man...
Notes on Chapter 49: Psycho Circus (1998)
The "Psycho Circus" era isn't the mess people assume it to be. Little Peter or Ace, perhaps...
49.20. You Make It Hard For Me
"You Make It Hard For Me" has long been known as a title of a song that Ace wrote with Sebastian Bach prior to the start of the KISS "Psycho Circus" sessions. The song was demoed by Ace, Bas, Richie Scarlett, and Anton Fig. At the time it was apparently close to making the album, but was eventually cut. According to Sebastian, "I talked to Gene Simmons and I asked him what happened and he said he didn't want any songs about sex on the new record because he had done so many songs like that" (ballbustermusic). As the title would suggest, there is some sexual innuendo reminiscent to KISS' own "(You Make Me) Rock Hard" from the "Smashes, Thrashes, and Hits" album released in 1988, though the lyrics ("You got a funky butt, long legs too / You kinda look like a slut / You make me come too soon") are a bit more direct. It is also ironic to hear the suggestion that Gene didn't want the song on the album for sexual reasons (especially when fans were being sold the line that producer Bruce Fairbairn was in ultimate control of what was recorded for the ablum, but that's another aside)...
At the time it was easy to accept Sebastian's comment blaming Gene for the lack of the song's inclusion on the album. It was known that a lot of music had been written and had not made the album, not just Ace's material. Unfortunately, when I was researching the "KISS & Related Recordings Focus" book I came across a copyright registration for a song with this title credited to Ace and Marty Kupersmith. Marty had been a member of Jay & The Americans (a band with ties to Paul Stanley's Uncle Joe band) and had written "We Got Your Rock" in 1983 - it soon found itself to Ace and turned up on his first post-KISS solo album.
From the Frehley/Kupersmith copyright it was noted that the song was written in 1985. Marty had copy-written the song (PAu-1-829-029) in early 1994 - correctly noting Ace's co-writing contribution. So, it would seem that the 1998 song borrowed at least the title from the 1985 composition. Additionally, Marty had released his version of the song on his 1997 album, "It'll Come To You" (and that was what I missed at the time, duh that it was an album title). This release of the song could go some way to explaining the song's absence from "Psycho Circus" and further Ace interest. So after that long discourse, what does it all mean?
Not much. There's another Ace song out there, though he doesn't perform on it. It's pretty "Ace" in its tongue-in-cheek humor. Maybe the 1998 version will suface for a comparrison with this song... Marty Joe Kupersmith's recording: Produced by Thomas Jeffereson Kaye. Bass by Armando Campean; Rhythm guitar & vocals by Marty Joe Kupersmith; Lead guitar by Jumpin' Jack Sherman; Drums by Rick Shlosser.
Along with another song, "Hope" would be a tune written by Peter Criss for the KISS reunion album in 1998. According to co-writer Mike McLaughlin, "I originally wrote the music back in around '97 and sent it to Peter, and he liked it and wrote the melody and lyrics. We went in an recorded it with the intention of using it for the 'Psycho Circus' album. But the rest of the band rejected it. Peter and I were both really bummed cause we both loved this song, so it just seemed natural to bring this one back for the new CD" (JG). Peter considered the song to be an excellent piece of work, naturally a ballad, which was written in a similar vein to the song Bob Ezrin and Paul Stanley eventually gave him to sing. As the title implies, the song was about Peter facing the numerous challenges in his life in a positive manner...
Notes on Chapter 51: The KISS Box Set (2001)
In the book only the specifically "newer" tracks were detailed, leaving-out some of the other material included on the box. In hindsight, all of the songs, including some of the odd errors in the book should have been detailed.
51.18. I Want You (Soundcheck)
This track is noted as being a "Soundcheck" recording from August 1977. However, both it and the original mixed version for the abandoned "Rock And Roll Party In Tokyo" album feature an identical guitar flub right after Paul shouts "is" during the intro to the song. That same "flub," which sounds like a miscue on a guitar or feedback effect, is present low in the mix of the "Alive II" song. The "Rock And Roll Party In Tokyo" and "sound check" versions also have the same Ace guitar solo screw-up during the second solo. This solo is cut from the "Alive II" version along with Paul's audience interaction rap. What does any of this indicate? It would seem highly plausible that "I Want You" on "Alive II" is from the Japanese show recorded earlier in 1977 and mixed with the same audience as the rest of "Alive II." Furthermore, it would seem quite logical, from that point of view, that the "sound check" version on the "Box Set" is simply the recording without the audience over-dubs. For details refer to the "KISS Alive II" section.
51.27. Got To Choose (Unplugged)
The sixth song perfomed on the night of the "Unplugged" filming/recording, this song would be tacked on to the end of the Japanese and vinyl versions of the album. Since there was only one take of the song, this is it. For further details refer to the "MTV Unplugged" section.
51.28. Childhood's End (w/ coda)
The "coda" restored to the end of this song is the instrumental that became known as "Outromental." While it was originally intended for the "Carnival Of Souls" album to end with the untitled instrumental, in a manner similar to the "Rock And Roll Party" teaser on "Destroyer," it was left off the album for some reason. The best guess for its omission is that it was not credited as appearing some 30 seconds following the end of "I Walk Alone." However, it was included on some advance copies of the album. It adds 1:06 to the track-length, though this is some 13 seconds shorter than the teaser version that lacks the fade-in effect. For details refer to the "Carnival Of Souls" section.
51.29. Rock And Roll All Nite (Live)
Rather than the credited New Year's show in Vancouver, British Columbia, Canada, that was supposed to become KISS "Alive IV," this song was actually recorded earlier in the year and given the studio over-dub treatment. It is likely that the song, and others, were recorded during the "Psycho Circus" tour earlier in the year, or in the studio during the summer. It would be part of KISS' lip-synched performance at the MGM Grand in Las Vegas, on October 29, 1999, for Pixelon's iBash event. Also performed at the mini-show were "Shout It Out Loud," "Detroit Rock City," "Love Gun," and "God Of Thunder." The week after the Pixelon event the band would announce the BC Place Stadium show for December 31, 1999.
51.30. Stop, Look To Listen (Paul Stanley Demo)
It is more likely that this song dates from 1970 than the quoted 1966. Refer to Paul Stanley pre-KISS section for further details.
51.31. Detroit Rock City (Edit)
The whole "cinematic" introduction to the song is simply cut with the song starting with the car crash. As an edit it is not as bad as the hatchet job the 7" single version was, but is worse than the "Double Platinum" remix. With the following track being the live version, the transition is adjusted from what would have led directly into the studio version of "King Of The Night Time World."
51.32. King Of The Night Time World (Live)
This song certainly was not recorded live in August 1977 at the LA Forum. Since this song wasn't performed on the "Love Gun" tour, or during the visit to Japan in early 1977, it would seem likely that this song should be placed in the same category as "Hard Luck Woman" and "Tomorrow And Tonight" - As being a studio "live" or soundcheck recording with audience overdubbed.
51.33. Nowhere To Run (Remix)
Rather than coming from the "Killers" album this track is the 1989 remix by Steve Thompson and Michael Barbiero.
51.34. Creatures Of The Night
Remastered from the 1985 mix, rather than the original 1982 mix, unlike the final two "Creatures" songs that come from the 1982 mix. There has been some debate concerning the source of the other two songs, but the lowered drums in the mix is clear.
51.35. War Machine
Memories are clouded about the genesis of this song, as noted with Gene's liner notes. Jim Vallance has commented that he and Bryan Adams submitted both "War Machine" and "Rock And Roll Hell" to KISS via Michael James Jackson in July 1982. However, he was unclear on whether the song had been started from scratch by him and Bryan. In the case of this song Gene has an equal share as Bryan and Jim, indicating that he made more contributions to the version KISS recorded than "Rock And Roll Hell." What seems likely, from the time-line, is that Gene and Bryan, who had been writing with Eric Carr ("Don't Leave Me Lonely") worked on the piece with Jim Vallance later putting his two-cents in. This seems to make sense considering the context of Gene's comments. The three of them never worked together in person.
51.36. Unholy (Edit)
This track should correctly be identified as an "edit." Eighteen seconds of the song are cut from the introduction with this version simply beginning with the riff. This reduces the track-length to 3:25. Jesse Damon, from the band Silent Rage who had been involved in the recording of demos with Gene, would sing backing vocals on the album recording of the song.
51.37. Psycho Circus (Edit)
It's highly improbable that Ace and Peter performed on this song, though Paul's lead guitar work is noted. This song should also be correctly described as an "Edit" since it omits the "circus" introduction of the song reducing the track-length to 4:51.
51.38. Into The Void
The only "Psycho Circus" track on the box set correctly credited in terms of "players."
51.39. Within (Edit)
This song should have been described as a "Radio Edit." For a short time, in October 1998, KISS had planned to release "Within" as the second radio single from the "Psycho Circus" album. As a result a limited number of CD-R acetates of the track were produced with a 4:08 edit version of the track which cut around a minute from the track. The plans were soon dropped in favor of releasing "You Wanted The Best." On the "Box Set" version of the song, the full backwards introduction is simply cut from the song resulting in a track length of 4:28. Tommy Thayer and Kevin Valentine should also have been credited, since Ace and Peter don't perform on the song.
51.40. I Pledge Allegiance To The State Of Rock 'N Roll
Again, the credits are incorrect suggesting any involvement by Peter Criss and Ace Frehley. Paul would play bass on the chorus and lead guitar.
51.41. Nothing Can Keep Me From You
Chronologically, this track should have followed "It's My Life," since it was recorded after the "Psycho Circus" sessions. Regardless, and for some odd reason, the performance credits were skipped. They should have read: Paul Stanley - Vocals; Bruce Kulick - Bass; Steve Ferrone - Drums.
Notes on Chapter 55: Paul Stanley extra-KISS
55.15. China Rain
China Rain was Randy Jackson's post-Zebra band, which included Ronnie Snow, Brian Tichy and Teddy Cook. Zebra had once opened for KISS during the "Creatures Of The Night" tour in February 1983. Paul Stanley is rumored to have written songs with/for the band, though by the time China Rain's debut album came out in 1991 only various collaborations with Marc Slaughter, Jack Ponti, and members of Skid Row were included. Both Paul Stanley and Bruce Kulick are thanked in the albums liner notes.
Notes on Chapter 61: Peter Criss post-KISS
More than half of Peter's post-KISS recordings have never been officially released...
61.01. By Myself
61.02. In Trouble Again
61.03. Where Will They Run
61.04. I Found Love
61.05. There's Nothing Better
61.06. Out Of Control
61.08. You Better Run
61.09. My Life
61.10. Feel Like Letting Go
61.11. As Time Goes By
61.12. Could It Be Love
61.13. You're My Girl
61.14. Could It Be Love (Demo)
61.15. You're My Girl (Demo)
61.16. I Found Love (Demo)
61.17. In Trouble Again (Remix)
61.18. Feel Like Letting Go (Remix)
61.19. Out Of Control (Remix)
61.20. Where Will They Run (Remix)
61.21. Words (Remix)
61.22. There's Nothing Better (Remix)
61.23. Let It Go
61.25. Move On Over
61.26. Jealous Guy
61.28. Some Kinda Hurricane
61.29. Let Me Rock You
61.30. First Day In The Rain
61.31. Feel Like Heaven
61.32. Bad Boys
61.33. Jenilee (2 Versions)
61.34. Rock And Roll Survivor (Demo)
61.35. Bad Boys (Demo)
61.36. Bad Boys (Demo Version 2)
61.37. Let Me Rock You (Demo)
61.38. First Day In The Rain (Demo)
61.39. Tears (Demo)
61.40. Jealous Guy (Demo)
61.41. Let It Go (Demo)
61.42. Some Kinda Hurricane (Demo)
61.43. Destiny (Demo)
61.44. Feel Like Heaven (Demo)
61.45. Baby, Hold On (The Alliance)
61.46. Never Met A Woman (The Alliance)
61.47. Forever With You (The Alliance)
61.48. Get Off My Back (Balls Of Fire)
61.49. (Why Won't You) Dance With Me (Balls Of Fire)
61.50. You Can Have Me Baby (Balls Of Fire)
61.51. Dreaming (Balls Of Fire)
61.52. Private Dreams (Balls Of Fire)
61.53. Best In The West (Black 'N Blue)
61.54. Take It Off (King Kobra)
61.55. The Days Of My Greasepaint
61.56. Love For Sale (Demo)
Typo, brain fart or the like: "Following numerous rumored lineups, the band would solidify with: Peter (Drums & Vocals), Mark Norton (Bass), Mark St. John (Lead Guitar), and Michael McDonald (Lead Vocals)." Duh, it's Michael Norton on bass as obviously Mark Norton is Mark St. John's real name.
61.57. Between The Lines (Demo)
61.58. Do Ya Know What I Mean (Demo)
61.59. Been A Long Time (Demo)
61.60. All Night Long (Demo)
61.62. Love For Sale (Version #2)
61.63. Blue Moon Over Brooklyn
61.64. Do Ya Know What I Mean (Version #2)
61.65. Between The Lines (Version #2)
61.66. Wait For The Minute To Rock 'N Roll (Demo)
61.67. No, I'm Not Afraid (Demo)
61.68. Bad People Burn In Hell (Demo)
61.69. Spread The Words (Demo)
61.70. First One To Admit It (Demo)
61.71. All In This Together (Demo)
61.72. Live Life (Demo)
61.73. Surrender (Demo)
61.74. You're The One (Demo)
61.75. Without You (Demo)
61.76. The Cat
61.77. 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. The mix of the song is different on the EP with there being vocal harmonizing at the start of the song.
61.78. Good Times
61.79. What You're Doin'
61.81. Bad Attitude
61.82. Walk The Line
61.83. The Truth
61.84. Bad People Burn In Hell
61.86. Blue Moon Over Brooklyn
61.87. Down With The Sun
61.88. We Want You
61.89. Beg, Borrow And Steal (Demo)
61.90. The Shooter (Demo)
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.
61.91. Adalyne (Demo)
61.92. I'm In A Band (Demo)
61.93. Shut Up (Demo)
61.94. Zig Zag (Demo)
61.95. Seeds (Demo)
61.96. Trash (Demo)
61.97. 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.
61.98. 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.
61.100. Cat Nap
61.102. Doesn't Get Better (Than This)
61.103. Faces In The Crowd
61.104. Fallin' All Over Again
61.106. Last Night
61.107. Reason For Living
61.108. Space Ace
61.109. What Does It Take
BMI song publishing registrations from late-2005 due to appear on a Peter Criss solo album. Tracks 61.99-101, 61.103-107, and 61.109-110 written by Peter and Mike McLaughlin; Track 61.102 written by Peter, Charlie Kipps and Mike McLaughlin; Track 61.108 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...
Notes on Chapter 66: Eric Singer extra-KISS
66.37. We're An American Band
(p562) Um, "Grand Fuck Railroad" should read "Grand Funk Railroad." Yes, Mr. Freud. Really.