74 of 83 people found the following review helpful
on August 25, 2012
There are alot of negative reviews for this disc which was rumoured to be a double disc event. For a 35th Anniversary reissue, this is not at all worthy of that moniker. It is a disappointing revist to say the least. Bob Ezrin approached KISS about this remix because he wanted to do something for its 35th. But the thing about Ezrin's recording is that so much of it was premixed during the making of it and many of the tracks were recorded "wet" (meaning that there was no way to EVER alter its effects, etc). So, from the get-go, this project had many limitations, as he notes in the cd booklet. There are differences, however. For examples, an omitted background vocal from the archived tape of "Detroit Rock City" makes its debut along with an added effect to the end of the last verse. Also, Ace's stinging feedback intro to "King..." isn't as prominent. The piano is more upfront in "Great Expectations" . And there are other such differences throughout. Then there is "Sweet Pain" with a different solo (I, myself, was hoping that the different solo was going to be an Ace Frehley outtake) and louder harmonized gang vocals folowing the guitar part. Overall, the mix is more present. The piano agumentations on some songs is not as noticable (eg, Detroit...) and in the process it sounds more "band" like because it sounds more like just the four guys. The opposite approach could have produced a KISS Symphony version . The drum sound (as noticed in the beginning of "Shout...") is tighter, with less air.
With all of the differences, however, this release is "nothing new" and the lack of fanfare is most distressing. Diehard fans will notice the differences but those who are just coming to the band will not even be able to appreciate them. So, for a 35th Anniversary, this really is targeted at diehards. If this present disc had been accompanied with a second disc of demos and outtakes, then there would hardly have been any negative reviews. The Remix is great for what it is. The packaging is good (although they SHOULD HAVE altered the color of the back to match the front artwork). The black disc even has a faux record label. There is so much that is good about this issue. But the complaints are valid. The bonus track is the original solo to "Sweet Pain"? THAT doesn't qualify for an Anniversary acknowledgement. KISS has just rejoined Universal Music Group. They have nearly all of KISS' recorded stuff. There is plenty that they could have included. A live DVD or cd would have been SOMETHING. A stripped bonus disc would have been SOMETHING. A symphony remix as a bonus disc would have been SOMETHING. But what they have issued--great as it may be sonically--is unremarkable in value. I have bought this album in several formats numerous times. I don't regret buying this version, either. BUT all of it was unnecessary. Want to revisit something? How about a remix and remaster of Hot In The Shade? Some of the 80s percussive things on that disc, particularly "Read My Body" need an exit. How about a guitar-dominant remix of Unmasked? What if you release a version of The Elder with Ace's guitar parts present? There's a lot that could be remixed and remastered in the KISS World. BUT--and it's a big one--do it with determination. I'm not knocking Ezrin's remix. The disapointment is not with this issue's sonics. It's with its packaging, what it does not do because of what it does not include.
Bottom line is that completists and die hards will buy it. New fans won't appreciate the differences. And most will feel cheated.
142 of 178 people found the following review helpful
on August 21, 2012
This is garbage. Gene and Paul had nothing to do with it because they don't own the masters of their original studio albums anymore, so this was done totally by Ezrin. Yes everything is remixed marginally, so if you've been listening to Destroyer for decades you will notice slight differences. But where is the bonus stuff? This was originally advertised as a two disc set with demos, live stuff etc. None of that made it, not even the already-released demos that appeared on the 2001 KISS Box set, let alone stuff like "None of Your Business" (sung by Peter) that was demoed at the time. Where is all the live stuff? There are countless Destroyer-era concerts professionally recorded. Also, the blurb about this cover being the original 1975 Ken Kelly painting is bogus. The original 1975 rough image that was rejected by Casablanca for being "too violent" is available on the web, it's the one that is seen in KISStory and on the KISS My A## DVD. This version is a modern repainting of that, done by Ken Kelly in the last ten years. It's signed "1975" which is another fabrication. Seems that nothing KISS does these days isn't surrounded by lies and false advertising? To sum it up, this is a massive wasted opportunity. See the excellent "Deluxe Edition" series for how this SHOULD have been done - a second disc full of live stuff, rare demos, working mixes etc. Not this ca$h-grab that ultimately, with the exception of one previously-unheard guitar solo, offers nothing. Also : there are glitches in the mastering of this, there are several pops and clicks and errors which have been discussed in length on the KISS forums. There is a glaringly obvious bad edit in the intro to "Flaming Youth" that makes the whole song skip a beat. This is garbage.
26 of 31 people found the following review helpful
on August 23, 2012
It is cool to see this CD get some kind of treatment after all these years. Granted, there is not a heck of a lot to hold your hopes on. The remix is not bad, but it does take away a lot of the mysticism and allure from the original. The Original version was kind of dark and had a muddy sound that was really different for its time. When I was a kid i would stare at the cover all day and just listen in awe to the darker vibe of Kiss. Very, very different from the straight, clean sounding 'Dressed to Kill' which was their prior studio effort. These songs were longer, more adventurous and the album as a whole had a great flow to it. A lot of that (in fact most of that) can be attributed to Bob Ezrin and his more artistic approach to producing. The layers he created, the effects, the orchestration and slower songs all made this album the perfect showcase to go with the bands image and show. What an album for its time. A true classic.
Then there is this. It isnt over the top different, but just enough to make it slide more to the 'rock' style of Kiss. Some of that darkness is lost a little but it really doesn't do it much harm either. I still would prefer the Original version easily over this. BUT be forewarned that myself and most others writing negative stuff grew up on this album. We worshiped it. Knew all the words to all the songs, had posters on our walls and this album was the reason for that. We probably have all heard this 1000+ times. So a bias is definitely there. Why change a masterpiece that holds so many memories? Well, really, after 35 years why not.
My biggest disappointment is that it didnt go a little further with content. As with many others, we have probably all bought this album 15 times since 76 on 4 different formats, so adding some unique and unheard tracks or takes would have been nice. They know all the diehards will buy it anyway but we hate just completing our collections. We want, and deserve a bit more than this after so many years. It fact, this just feels like they are sticking their toes in the water. Surely a double CD, Limited, w/DVD would have been more of a celebration of this classic, than this single CD w/o even a bonus track. A previous song with a different solo hardly gets the heart beating for diehards. There is plenty of space on the CD that could have been used and made us feel a little better about the whole thing. Face it, not many new fans are coming to the table at this point and most will buy the original. For us, who spend another 10 bucks on a CD we have heard 1000 times, its light. Plus, that hiccup before 'Sweet Pain', as others stated, is inexcusable. Major oversight.
I do, however, believe that the booklet and notes by Ezrin are nice, and I do believe blowing the dust of this classic doesn't hurt as a teaser for the new CD coming out in the fall. Ezrin deserves another paycheck from this CD as he made it great to begin with. He did not ruin this by any means and in fact, some of the tracks do have an element of added energy from the boost in technology. I just still have to stay true to the original.
Hey, at least its not another best of. It has its qualities and isn't a terrible reissue. It just is not essential and not a proper homage to such a classic release.
10 of 12 people found the following review helpful
on August 21, 2012
I'm in agreement with earlier reviewers who lament the lack of bonus materials on this release. Sure, having "Sweet Pain" with a different solo is nice, but there were LOTS of additional songs recorded for "Destroyer" that could have been - and were originally rumored to be - included on this package. A "Deluxe Edition" a la recent Def Leppard releases would have been a truly spectacular 5-star item. I'll enjoy the vinyl version of "Destroyer," especially with the original artwork, but this will be the fifth time I've purchased this album now: 1976 vinyl, 1982 cassette, 1986 CD, and 1998 remastered CD. *sigh* Fool me once, shame on you, fool me five times...well, you get the picture. Still a classic album by the hottest band in the world...but it could have been REALLY special, and this just isn't.
ETA: I can confirm that 1) the vinyl DOES include the "skip" at measure 4, beat 1 of "Flaming Youth" (and wow, what a numbskull mistake to have on the final mastered copy!), and 2) the vinyl DOES NOT include the second version of "Sweet Pain." Beautiful, 180 gram LP, nice liner notes, but the track listing is for the CD only! That, combined with the unforgivable mistake at the beginning of "Flaming Youth," makes me really shake my head with regret.
3 of 3 people found the following review helpful
KISS had something to prove after the runaway success of "ALIVE!" and they pulled out all the stops for "Destroyer." First off, they hired Bob Ezrin, who was responsible for forging the chaos of Alice Cooper into a multi-platinum band. They also had never made any bones about the fact that they didn't just want to be stars, they wanted to be MEGA-STARS, so there aren't too many risks involved. (With the exception of recording the strings on "Beth," perhaps.) They were - thanks to "Alive!" - crowned one of the hardest, greatest working live bands in the world, now they wanted to make it clear they could lay it down on record as well.
So into the studio they went, and out popped a semi-conceptual album about each member of the band. There's Paul the Love God ("Do You Love Me?"), Gene the Demon King ("Sweet Pain," and "God Of Thunder"), Ace the rocker ("Detroit Rock City") and Peter as the sentimental love cat ("Beth"). Ezrin's touch is obvious in the opener "Detroit Rock City's" car/radio/crash sound effects, and of course the squealing kids that pop up in "God Of Thunder." Layering the production with keyboards and overdubs also brought out the best in the band's compostional skills.
Between Ezrin and KISS, "Destroyer" finally shows off the band's musical muscle. Criss' playing in "D.R.C." is standout, and the band gets crunchy on "Do You Love Me?" On the other hand, things gets a little too obvious with "Flaming Youth," which sounds cribbed from Alice Cooper's Department of the same territory, and "Shout It Out Loud," tries way too hard to be "Rock And Roll All Night Pt 2." Save those minor missteps and you have one fine rocking album. "Destroyer" was polished enough to give us long suffering fans the dose of KISS we'd always known they were capable of, gave the band some of the critical respect that was due them, and perpetuated the KISS course to rock domination that they had worked so hard to attain.
11 of 14 people found the following review helpful
on August 21, 2012
So here it is...
I've been waiting, (like so many others out there) for Destroyer to come out once more!
What hit me first, while listening to the songs was the much louder, cleaner and airier feel to the tracks.
A lot of small stuff comes through, like Peter's bass drum kicking on "Detroit Rock City", enormous bass sound on "God Of Thunder", and in my opinion a nice suprise...the acoustic guitar on "Beth", which you can here throughout the entire song! Nice one! Bob Ezrin did a very professional job on Destroyer, and sort of brought the album to our technological era, without polishing it too much or taking away the organic feel. A '76 version ready for the next years...so to speak. The '75 cover has a bigger impact than the original painting, and looks amazing as LP. Happy that amazon was selling Resurrected also in vinyl form. Bless the black circle!
The CD booklet is thick, very informative with an old stylish layout. Photos are interesting, but nothing really new.
Very unfortunately is the fact that, the "lost treasures" were kept to a ridiculously minumum. "Sweet Pain" with lost guitar solo/harmonies was included as track 6 and therefore made part of the original set. I don't think there was need to add the original "Sweet Pain" version then as a bonus(???)track. The lost "Beth" vocals (hahaha), which I'm sure many of us including me, thought/hoped to be an entire verse, bridge or at least some more words, turned out to be a second ahaaaaaaaa harmony, which was mixed into the middle of the song following the second chorus.
Really?? Probably the same ahaaaaaaaa Peter sang at the end, just copied.
Well, I am giving Resurrected 4 stars. Four members that changed the musical landscape, an album that belongs into the annals of hardrock music, and one of the best album covers of all time! Besides that the price, at least for the CD is fair enough.
6 of 7 people found the following review helpful
on September 4, 2012
So I got to finally listen to it on a REAL stereo and not from crappy YouTube and barely passable PC speakers. So I have a first hand experience now. And better for it!
According to the booklet liner notes Ezrin worked with a hard drive copy of the multi-tracks. He thanks the archiving community for their work. So I guess this is the modern way to archive things. So he did not actually work with a huge 16 track reel of tape, but a digital copy of the very same tracks.
He makes it clear he wanted to stay true to the original tracks and only tweak them and gives them a modern massage so to speak.
He admits to adding a few things that were necessary to keep the album true to its original form.
He talks about how they would use up to two stereo masters running in sync with the multi-track tape to create a third tape that was to be the final stereo master and also used to make the masters for vinyl, cassette, and 8-track pressing. The synced stereo masters were used with sound effects on them or to have two songs flow into one another.
He states the stereo masters news/dishes/car start/intro into `Detroit Rock City' the truck sounds during the song along with the car and truck crash between it and `King Of The Night Time World' were nowhere to be found and are gone.
So to start off the album he had to use a stereo master of the intro, I'm guessing a CD copy of it. So the start of the album is no different than any original copy of it. But during the song he added newly created truck sounds that are nothing like the original. They are much more muddy, much deeper bass and nowhere near as detailed as the original. Also the car crash sounds linking `Detroit' & `King' some there are also newly created and different.
The only other things added according to Ezrin are the omitted vocal in Beth and Ace's solo in `Sweet Pain'. Other than those things he stayed true to the original recording.
So the entire album now has a drier sound to it, nothing near as wet as the original release. The only reverb and echo in the multi tracks is what was recorded direct to tape during the actual recording.
So I can only guess he added reverb and echo to vocals, guitars and entire songs on the fly while the 16 multi-track tape was running as they created the final stereo master. So those `on the fly' added reverbs and echo sounds do not exist here.
It's like getting and hearing basic raw master tracks before a lot of effects were added in the final process.
`Detroit Rock City'
So as I stated above the album starts off the same as any other time you sat down to listen to it. Once `Detroit' starts you realize it's something different. Paul's voice is cleaner, more clarity and without the deep hall echo.
The rhythm guitar parts have more clarity and in some cases more oomph, harder hitting but not extremely. The added truck sounds are strange so much deep bass they are almost non-discernable.
When the guitar lead starts all the way through the second harmony part its almost out of place because the hall effect is recorded directly on the track making it stand out `wet' in a `dry' land but still works. But here is where you realize just how much Ezrin added his own idea of depth and presence he thought the album should have. The final polish if you will. The drums are slightly more present here but not by leaps and bounds.
`King Of The Night Time World'
Then the added car crash parts lead into `King Of The Nighttime World' getting around the same treatment as `Detroit' but sounds more like the original than most of the other songs minus the reverb and hall depth.
Paul's voice once again comes straight through. The guitars have a slight sound change but very minimal here.
`God Of Thunder'
Benefits a lot here from it's previous form. More bass LFE and a little harder hitting but still not as much as I would like and not as much as an impact as the Alive II version. Because of the tweak to me it softens the heavier impact going into the pre-chorus as the original. It sort of takes on a level heaviness throughout and the slight build up to the chorus is less and just remains a level field from start to finish.
Not positive but it seems Ezrin's kids mumbling and such there may be some additions and frequency tweaks there too.
My least favorite song on the album since day one. Gene's voice has more clarity as well as the boys choir does too. Their harmonies are much more audible now and not so muddy. I hear orchestra instruments here and there that are more noticeable possibly Ezrin bumped their volume to bring them more forward.
Much of the same here as well. Drums have been enhanced as well as some guitars. The little accent leads throughtout the song are dry and don't have the same effect as we're used to.
I edited out the remarks regarding the 'glitch' in the intro to the song as it is no longer valid due to Mercury-Island records having corrected the problem in the latest CD pressings.
Same treatment here too, but some added stuff. The women's harmonies are bumped up or added in the song right after the lead. Ace's lead here is just terrible and non-imaginative at all. Does not fit the song well at all. This is not a shining moment for Ace. I guess the story of Ace telling Bob and the band 'That's good enough I have a card game to go to' holds true. Here is where I wish Ezrin would have left the `Dick Wagner' version and had Ace's version as the extra track but it's just the opposite.
`Shout it Out Loud'
Now here's where things start to change drastically. Gene's bass is a monster now. Much more LFE low frequency boost almost overwhelming with the volume cranked. You can almost mistake it for a newly recorded bass track but it's not. It takes on a deeper bass more muddy sound. The drums are slightly more pronounced as well but nowhere near the bass guitar. The ending sounds strange because I'm used to that abrupt ending with echo and the echo is not there just a dry kachunk!
Here the acoustic guitar is brought back in and more forward and can be heard here and there but not a dominating force throughout. As in `Great Expectations' some of the orchestra instruments get LFE tweaks along with some being brought more forward in the mix I had not noticed so obvious as before.
`Do You Love Me'
Gets a massive LFE bass drum treatment and thumps so much more here than ever before along with the snare too. This is what I wished Ezrin could have done with the drums in `Shout It Out Loud' even though it sounds good as it is I think `Shout' would just devastate if he could have tweaked it the way he did `Do You'. The bells/chimes at the end of the song come through so much more and more upfront than before.
`Looks Like We Gonna Have Ourselves A Rock `n Roll Party'
I think this track originated on the hard drive. Ezrin tweaks it some as well. The mix is slightly different. Seems he fades it differently than the original. It disappears into the left speaker. Also the reverb, phaser effects are non-present. But still retains some direct reverb.
`Sweet Pain' (original)
Not much more to say here. Doesn't seem Ezrin did much here or touched it at all, sounds very much like the original 1976 mix. Wagner's solo has a lot of reverb on it and sounds as it does on the original release.
Basically the entire album has had frequency tweaks along with bringing certain instruments more to the forefront.
I think Ezrin did a good job without trying to re-invent the wheel. He had a good idea I'm just not sure how it will fly with hardcore and casual fans.
I have read some of the casual fans reactions on the web and they are not forgiving. Saying to save your money and it's not worth it and so on.
Ezrin noted that there was some clowning between tracks that were there on the hard drive but he decided to leave them out to keep the flow of the album intact. Those would have been great for a second disc added. I have `Shout It Out Loud' demo or rough mix with them laughing afterward so I have an idea what he's talking about.
So I'm not saying rush out and get this right away, my curiosity was raised enough I couldn't resist and I don't feel ripped off or anything like that. I agree with some of the web posters though it could have been a much bigger package and an ultimate proper 35th celebration of the album with added demos and maybe even things we've never heard before but it is what it is.
This Saturday night I watched `KISS Meets The Phantom Of The Park' once again and noticed something that had slipped by me before. The night scene where the band and Melissa are gathered at the pool and Peter is singing `Beth'. The small vocal `AaaaAaah' that Ezrin added to Resurrected is there in this acoustic `Beth' version in the movie. If you listen the track it's not the acoustic demo short version that we've all heard before but sounds to be the actual track with all instruments removed except the acoustic guitar and Peter's voice. Now I have seen this movie hundreds of times and I know I caught that extra vocal but I never put two and two together till hearing `Resurrected'.
In the movie especially seeing it when your young you just think it's an alternate version of `Beth' made for the movie and nothing more.
So hopefully this has given you some kind of insight into what it's all about and help you make the decision whether to get it for yourself at some point.
It's a different fun new modern update experience of the album especially if you have been listeing to the original mix since 1976 and etched into your brain.
5 of 6 people found the following review helpful
on October 2, 2002
A glossy collaboration with producer Bob Ezrin, Kiss came into the prime of their popularity with "Destroyer." A stylishly produced collection of 70's hard rock, the album is often praised by critics and fans alike. In truth, while the production value is one of the highest of the band's career, about half of the songs on the album are really of special distinction. The album opener, "Detroit Rock City", is one of the finest songs written by Paul Stanley featuring a fairly complex arrangement and a "cinematic" intro filled with the sounds of a driver taking the road. The song's climax includes the sound effects of a massive auto collision before segueing into the less interesting "King of The Nighttime World." Another Stanley composition, "God of Thunder" is performed by Gene Simmons and has actually become a Simmons staple in live shows. The studio track, with it's slow serpentine rythym and the filtered voices of children at play, evokes images of Disney's "Night on Bald Mountain." On "Great Expectations", Simmons' vocal doesn't really fit the blandness of the music and the inclusion of a boys choir just seems silly and odd. "Flaming Youth", on the other hand - a rare collaboration between Simmons, Stanley and guitarist Ace Frehley - is a great 70's rock song and deserved to be featured prominently in live performance but, to my knowledge, never has been. Simmons' "Sweet Pain", an homage to sadism, is pretty uninteresting. "Shout it out Loud", however, with it's call-and-response vocals and fist-in-the-air chorus, probably sounds a lot better than it has a right to. The mega-hit from "Destroyer", Peter Criss' tender "Beth" is just beautiful. The song is a classic ballad and there's just no getting around the potency of it's union of words and melody. Stanley's "Do You Love Me" probably best represents the overall tone of the album - It's very simple, probably over-produced, but there's enough there to keep you interested. No Kiss fan would be without "Destroyer" in his or her collection, as the album represents an important turning point in the band's direction. But based on the strength of the music alone, "Destroyer" gets a good, solid C-plus.
3 of 3 people found the following review helpful
on December 1, 2012
Some famous albums that have received the remix treatment can come off great. I think about Iggy and the Stooges' "Raw Power," which got even more power on the 1997 Iggy remix, and even if there was a fair amount of clipping, it was really an occupational hazard in making the album deservedly heavier. The Beatles' catalog that got an upgrade in 2009 made us rediscover the music all over again, because it all sounded so fresh and vibrant. And Derek and the Dominoes' "Layla" didn't lose any of its integrity when it got remixed in 1990.
Then there are the clunkers. Remember when Ozzy's "Blizzard of Ozz" and "Diary of a Madman" had their drums and bass parts re-recorded? Yeah, I heard a collective "Blecch" when those came out.
This year, it was learned that Bob Ezrin was going to remix "Destroyer," which is on my top five list of greatest albums ever made (two other Kiss albums -- "Alive!" and "Kiss" -- are on the list, too), and I was apprehensive. Do you really want to tinker with greatness, even if you're one of the greatest producers in rock history? And after 35 years of listening to the same mix, was I going to be disappointed?
But I was happy to give this a listen, and I liked what I heard. While it doesn't replace the 1976 classic, it definitely complements it.
Here, you'll find significant differences. A lot of things have been cleaned up, little touches and nuances that will become evident to those who have listened to the original "Destroyer" religiously. They include boosted and/or added vocals from the original sessions (most apparent on the chorus to "King of the Night Time World"), and more elements that either haven't been noticed or were otherwise buried sonically. On "Beth," for instance, you hear more of the acoustic guitar in the intro, and on "Detroit Rock City" and "King of the Night Time World," the vocals seem more layered. Also, on "Great Expectations," the part where Gene Simmons sings "I'm a million miles away" has been fixed.
Some things I didn't like, though, such as the "You gotta lose your life in Detroit Rock City" line that's been added to "Detroit Rock City" here, and the "Get down!" line on the final chorus (you heard them on the "Double Platinum" version, too). An alternate guitar solo is put onto "Sweet Pain," and it doesn't have the same fluidity as the Dick Wagner solo on the original mix (that mix is included here as a bonus track). The intro to "Flaming Youth" has a bit of a tempo gaffe. And the boosted boom in the car crash at the end of "DRC" really wasn't necessary, as the impact on the original was lurid enough.
What's kinda cool here is the restored cover. It was considered too graphic for its time -- the burning city in the background apparently got the brass at the record company antsy -- but is more notable for the members' "Alive!" costumes, and the "blue" cover is presented in the booklet so you can compare. (That is, unless you got the MP3 version, which I'd advise against, because Ezrin penned the liner notes; there are rare photos including Ezrin in a top hat and tux with the Kiss members in the studio; and they made the CD look like an actual LP, with the original Casablanca label and both sides of the disc in black.)
The thing about Ezrin's productions is that he brings an atmospheric element to them all. Listen to Alice Cooper's "Alice Cooper Goes to Hell," and you'll best experience the ominous, doomy vibe that became Ezrin's signature sound. Then there's Lou Reed's "Berlin," Peter Gabriel's first album, Pink Floyd's "The Wall" and even Kiss' ill-fated "Music from the Elder," all of which had an ethereal quality to them, an other-worldly vibe that both comforted and scared you. That was especially true of "Destroyer," which brought Kiss' image to superhero (maybe even demigod) status based not just on the costumes, but the themes within the music.
I think he did this as a labor of love, to go back and say, "If I could have had the time to do things a little better, what would I have done?" He deserves a pat on the back from me. While it doesn't erase the original from my mind -- nothing ever will -- Ezrin's 2012 remix is something to balance it off, and acts more as something for the die-hard Kiss fan to study and hopefully enjoy.
I know there are a lot of folks out there who won't like this version, and that's their right. But keep in mind, a lot of Kiss fans didn't like the original album when it originally came out either, and it grew on them as time went on. (Some could say the same about "Music from the Elder," which is less a fiasco in terms of Kisstory but more a curiosity that deserves to be revisited. I leave that for another debate, though.) I'd say give this a listen with an open mind and don't be so quick to judge it by the changes made. It still rocks, and it just might make you want to "Shout It Out Loud" even louder.
2 of 2 people found the following review helpful
on November 17, 2010
This album is generally acknowledged by most Kiss fans as their best and most consistent effort containing new tunes and I'll agree with them. Kiss albums in the main are usually infused with a couple of good rocking tunes but also contain a lot of filler,cheesiness and cringe inducing moments. The songs you need to avoid on this album unless you like overblown 70's rock opera orchestration are "Great Expectations" and "Sweet Pain" but we will allow them the obligatory power ballad and top 10 hit "Beth".I personally have always hated "God of Thunder" but a lot of people believe this is one of their signature tunes and Gene Simmons using it in the past for his bass solo and blood spitting at live gigs may be part of the reason - listen to this track and make up your own mind.On the other songs the band stick to their own brand of 70's glam metal party tunes and the best of these I believe are "Detroit Rock City" and "Shout It Out Loud" but the others have their moments too.
In my opinion if you want a Kiss "Best Of" or an introduction to the band take it from someone who religiously bought every Kiss album as it came out up until the disaster of "The Elder" I would purchase Kiss Alive 1 and download your favourite tracks from this album and "Rock and Roll Over" and you should be rewarded. Avoid anything after 1980(some of "Creatures Of The Night" and "Unplugged" may be an exception) at all costs unless you are a fan of 80's type excessive hair metal,turgid love ballads and laughable lyrics.They have done themselves a bit of a disservice by continuing on so long past their use by date although the Reunion and Farewell Tour were great from a purely nostalgic point of view but it should have ended there and only have themselves to blame about being viewed as a novelty act by some but don't let this dissuade you from this very good album when they were at their peak.