Kiss
Double Platinum

THE REVIEW

The Kiss are the first and greatest look-band of all time and, in general, the most spectacular and theatrical rock entity ever to exist: if someone thinks they are, instead, a poor copy like Marilyn Manson, then they may as well divert their attention from what follows, dedicating themselves to things probably more thrilling for them.

Alongside Alice Cooper (born Vincent Furnier), the Kiss were the first pioneers of that glam-street metal which gained a maniacal following in the States, in the true sense of the word. Not only heavy looks and flashy disguises, but also character choices by each member (following the footsteps of a glam-rock sacred monster like David "Ziggy Stardust" Bowie). This was the original line-up: Paul "Superstar" Stanley (guitars, vocals), Gene "Vampire" Simmons (Bass, Vocals), Ace "Space" Frehley (Guitars, Vocals), and Peter "Cat" Criss (Drums, Vocals). Concerning the sound: apparently raw, sparse, and "easy," but with strong hints of "fun‘n’groovy," which made the scorching live performances hot from their beginnings (as the chronicles of the time recount). Apart from studio works, it is the two live albums (of which the first, the legendary Alive, is an authentic concert holocaust) that fuel what will be known as "kiss-mania," a true mass phenomenon (what truly strikes is the fortunate combination of sound and look with a strong stage presence in the setup of increasingly overwhelming and majestic shows while the network of fan-clubs called "kiss-army" begins to grow and spread like wildfire).

It seems more than natural to review Double Platinum (1978), the first greatest hits of a band in full consecration. Of the 20 tracks (all extracted from the first 6 studio works) the standout, above all, small gems like "Cold Gin," "Firehouse," "100,000 Years," and two genuine jewels like "Black Diamond" and "Duce" (all included in the debut album Kiss), in which the two voices of Simmons (wilder and less gifted) and Stanley (melodic, powerful, and more technical) are already noticeable, most of the times either dialoguing or overlapping simultaneously. Inferior to the previous ones, the anthemic "Hotter Than Hell" (included in the eponymous album) becomes an anthem for many teenagers of the time, while flagship pieces (included in Dressed To Kill) like "C’mon And Love Me," "She," "Rock Bottom," and the first sensational hit entitled "Rock‘n’Roll All Nite" have the historic merit of having catapulted the group to the top of the US charts. Increasingly tough and hard, the Kiss display a more heavy sound in "God Of Thunder" and the famous "Detroit Rock City" (that is, the chronicle of a crazy car accident in what is known as the city of engines, furthermore dramatically foreshadowing what would happen years later to the "spatial" Frehley), although there is no lack of glamorous and expressive vein in "Do You Love Me" and the first orchestral ballad, entitled "Beth," composed and sung by Criss (who had to fight hard, even threatening to leave, to have it included in the album and released as the B-side of the single Detroit Rock City: to the drummer "cat's" surprise, radio deejays promote the B-side more than the A-side and inevitably give reason to the drummer, satisfied for having led and won his very personal battle against the rest of the band). Surely, in one way or another, the group is at the peak of success (the 4 songs are included in Destroyer). Decided to embark on an even nastier and more brutal sound, "I want you," "Calling Dr. Love," "Makin' Love," and the ballad "Hard Luck Woman" (included in Rock‘n’Roll Over) highlight an excessive force in the sound (less eclectic) and in the lyrics (practically monotonous: love or sex). The return to more catchy sounds, without being commercial, is present in "Love Gun" (from the homonymous album) which, in any case, does not tarnish the charismatic identity of the four masked ones and, above all, does not diminish in the least their fame which, at least in the USA, up until then, preceded them everywhere. To open the album and close this review, the song I consider the symbol of Kiss, revisited for the occasion: "Strutter 78."

Seriously recommended.

Filippo Guzzardi