Official KISS Album and Tour Magazine Article
By KELLY MICHAEL STEWART and CHRIS ALEXANDER
After the myriad KISS compilation albums, concert staples and international chart-topping favorites, there still exists a staggering array of material—some of it forgotten, dismissed, undervalued or just plain ignored. And while any list of any kind will always be subjective, we two card-carrying KISS ARMY members have picked our own dream lineup of KISS songs that some may call filler, but we think are absolutely killer…
“Love Theme from KISS” (KISS, 1974): This actually started off as a different song with vocals called “Acrobat,” which was a staple of the band’s early live shows. But when the time came to record it, producers Kenny Kerner and Richie Wise suggested they rework as an instrumental and retitle it. Despite it not being a ballad—or actually a love song—“Love Theme from…” was a popular moniker at the time, and they though they could capitalize on that trend. In the end, they wound up with one of their more unusual songs, which got lost on an iconic debut album filled with KISS favorites.
“Comin’ Home” (Hotter Than Hell, 1974): A rarity in the KISS canon, this is one of the few songs co-written by Paul Stanley and Ace Frehley. “Comin’ Home” was also one of the first tunes that wasn’t part of their earlier demo material, and is a testimony to the life on the road they had just started out on.
“Goin’ Blind” (Hotter Than Hell, 1974): Gene Simmons wrote “Goin’ Blind” with his friend and former Wicked Lester bandmate Stephen Coronel in 1970, but it first appeared as a KISS track here. The song marked a departure for the band, and was the closest thing to a ballad on KISS album up to that point. Despite being one of the strongest songs on Hotter Than Hell, “Goin’ Blind” never made it into the band’s ’70s live set list, so for many years—until Unplugged—it remained somewhat forgotten.
“Strange Ways” (Hotter Than Hell, 1974): Frehley wrote it, Peter Criss sang it and it just might be the best damn song on Hotter Than Hell. The production of that classic platter is muddy and distant, marring some of the material, but that works in the lumbering “Strange Ways’ ” favor. Heavy, dark, with a purring Criss vocal and a blistering one-take solo that stands among Frehley’s best.