Is KISS to be seen as a band or a corporation? Makeup first, songs later? Many see it that way, but is that fair? We might be slightly biased since the band graced the cover of American Songwriter in early 2023, but in our view, hits like “I Was Made for Lovin’ You,” “Rock and Roll All Nite,” “Detroit Rock City,” and “Beth” hold their own up there with any of the enduring classic rock songs of the rock-happy 1970s.
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KISS was built for a giant stage. Blood, bombs, fire. Members flying, levitating, smashing stuff. Nothing about this band is subtle. Whether the makeup is on or off, KISS has one goal: They want their fans to have a good time. Makeup and merchandise might have been enough for the couple years in the late ’70s when they were the biggest band in the world. But to make it half a century? The songs have to be there. Casual fans might enjoy a little fleeting titillation from the firebombs; but arenas consistently full of Kiss Army acolytes would be impossible with the anthems to provide the soundtrack. Let’s look at some KISS cuts overshadowed by an outsized band.
1. “Strange Ways” from Hotter Than Hell (1974)
“Strange Ways,” from the band’s sophomore release, leans on one of KISS’ heaviest, most grinding guitar riffs. It written by lead guitarist Ace Frehley, but sung by drummer Peter Criss since Frehley was famously bashful about singing lead on his earlier contributions (which also include KISS classics “Cold Gin” and “Parasite“). Criss also sang and co-wrote KISS’ biggest radio hit, the ballad “Beth.” But he sounds more at home on this doomy dinosaur rock track. And not for nothin’: the guitar solo in “Strange Ways” might be Frehley’s best.
Well, it’s a strange place
That you’ve been livin’ in
And it’s a strange line
You’ve been deliverin’
I think I like it
But I’m not really sure
Don’t wanna fight it
Just wanna feel some more
2. “Mr. Speed” from Rock and Roll Over (1976)
In 1979, disco-era KISS produced one of the band’s biggest hits, “I Was Made for Lovin’ You.” But three years earlier, singer/guitarist Paul Stanley turned in “Mr. Speed,” which sounds a bit like KISS listening to Lynyrd Skynyrd. “Calling Dr. Love” and the follow-up ballad to “Beth,” “Hard Luck Woman” (which was covered by Garth Brooks…so, country KISS!), are also on Rock and Roll Over, so it’s understandable “Mr. Speed” tends to get ignored. But the band benefits greatly from Eddie Kramer’s production throughout the album—and on “Mr. Speed” they end up sounding like a good old-fashioned rollicking Southern rock ’n’ roll band.
Yeah you know, I got the kind of lovin’ that you need
The kind of lovin’ that you need
I’m so fast, that’s why the ladies call me Mr. Speed
Mr. Speed
3. “Larger Than Life” from Alive II (1977)
Could there be a more perfect song title for “the Demon,” Gene Simmons? Eddie Kramer, who engineered The Beatles, Bowie, Hendrix, and countless other rock luminaries, again makes KISS shine on their second live double album. But the band only had enough new live material recorded for three sides of Alive II, making it necessary to head back to their old stomping grounds of Electric Lady Studios in New York City and record a few new tunes. Simmons’ contribution, “Larger Than Life,” would go down as perhaps the most sinister, swaggering song of his career. (And no, “God of Thunder” doesn’t count, that’s a Stanley-penned tune!)
You can’t believe your eyes
What you heard were not lies
I’m too much to hold
I can’t be bought or sold
I’m far more than a man
I’m gonna make you understand
I’m larger than a life-size man
[RELATED: American Songwriter January/February Cover Story: KISS Forever and Ever]
4. “Unholy” from Revenge (1992)
Vinnie Vincent—fired from the band in 1984—patched things up with Simmons enough to write one of the heaviest and most interesting KISS songs to be release since their ’70s heyday. Simmons truly sounds like the Demon on “Unholy.” He sounds inspired more than anything, which he hadn’t been (about music, at least) for some time—maybe old tensions between him and Vincent stirred the God of Thunder awake. Drummer Eric Singer and lead guitarist Bruce Kulick match the intensity of the snarled vocals. The bellowing chorus is huge, and like most KISS songs, built for the arena.
I was there through the ages
Chained slaves to their cages
I have seen you eat your own
I’m the cycle of pain
Of a thousand-year-old reign
I’m suicide and salvation
The omen to nations
That you worship on all fours
I’m the infection and famine
That’s knocking at your door
That’s why you’re feeling so
Unholy
Oh, I was created by man
Yeah, I’m the lord of the flies
You know I’m unholy
5. “Thrills in the Night” from Animalize (1984)
Paul Stanley produced Animalize, and it’s a very “Paul” record. First single “Heaven’s on Fire” sounds huge as it opens with Stanley’s pinched wail. “Thrills in the Night,” too, is classic Starchild. The pre-chorus melody is one of Stanley’s best: Ooh, and she’s walking around like a mystery / Ooh, there’s a woman that nobody sees / Livin’ inside.
Stanley’s tale describes a woman bored by the 9 to 5 grind who shows her true self at night. It’s a song made up of three great parts very distinct from one another: A broken down, desperate verse; a building pre-chorus where the subject of the song is coming to life; and the release of the anthemic chorus where the girl is unchained from her day job. Mark St. John (1956–2007) is the lead guitarist on Animalize, the only album he appears on. A rare form of arthritis ended his run with KISS at the beginning of the Animalize Tour; he passed away in 2007.
Early morning, as she wakes from her sleep
9 to 5 is the day that she’ll keep
Ties her hair up and her blouse buttoned tight
Gets her work done as she waits for the night
All the people, tell me what would they say
If they knew her, how she hides it away
Locked inside, there’s the start of a flame
And the feelings that she never will tame
Photo by Fin Costello/Redferns
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