The Mosh Pit 3.05.10: KISS!

Posted by Dan Haggerty on 03.05.2010

This week in Dan Haggerty’s ongoing look at the history of metal, the year is 1974 and we look at the beginnings of Rush and KISS. Plus we look at the debut albums from Rush, KISS, and Judas Priest. Plus we have classics from Budgie, Montrose, Deep Purple, and the Blue Oyster Cult!

Welcome back everyone to our ongoing look at the history of metal, from the 60's all the way up this year. Just to make it as big as heavy metal demands, we're doing it one year at a time. Great albums to cover this week, but first feedback from the metal union and the rules so we know why things are so different in the 70's...




Queen! You would think the media in India would've made a bigger fuss about Freddie but somehow I never saw that all the years I was there! I've heard a lot of people say Freddie was the best frontman and lead singer, and despite not being a big Queen fan whatever I've seen has been extremely interesting. Now I do hope you're saving Priest for Sad Wings over Rocka Rolla... ~ Posted By: Cyber

I missed them too back in the day, a fact I certainly regret now. The thing to remember though is that the band has a vast catalog in variety, so picking the right albums might be key. Some are more mainstream or even have pop leanings while others are creative juggernauts (like Night At The Opera) while the first three pack a hard rock punch. It's worth the time though, as I truly believe anyone can find a Queen album they will like. As for Priest, they get a nod this week due to the debut album (which is pretty good if you give it chance) but the big discussion is coming with Sad Wings. Oh yea. Absolutely that is the week to get into Judas Priest!


Rainbow never seem to get a look in, I think the early albums are truly up there with the best. ~ Posted By: mark

Rainbow is easily overlooked today, and outside of us fickle hard rock and metal fans who keep a spotlight on the classics this is true even in metal. Further, even people who know Rainbow unfortunately get tied up into picking eras of the band, which is sad because both are great. Sure, one is harder and the other is more mainstream, but both are solid. Too much history in that band alone, not to mention the music. "Stargazer" is one of my favorite songs from the whole freaking decade actually. Don't worry we'll be covering Rainbow a lot starting next year!


Ground Rules


Why? So we are on the same page and hopefully have fewer questions.

1. The definition of what is metal will change for each decade as the genre has evolved slowly over 40 years. What was considered heavy in the 70's is vastly different than what we consider heavy today. I'll draw the line as we go.
2. If a group qualifies under rule one then their entire catalog is fair game.
3. There is a TON of history, information, and bands 40+years of music history. Not if, but when I don't cover something that you think should be covered drop me an email or hit the comment section.
4. I'm doing a decade recap every ten weeks – To add in things you and I think of after the fact.
5. Have fun. I'm doing this for fun because I love this stuff, and I hope your reading it for the same reason.




The History Of Metal: 1974





Working Men…

Hard rock and metal was certainly not just a phenomenon that was limited to England, Germany, and America. It was picking up new warriors as time went on and obviously some of that was from other countries as well. Canada would end up donating a number of people over the next 40 years, and even had already done so with the commercial end of the rock and roll race car that was Bachman Turner Overdrive. But this is the year the county sent its first goodwill ambassador to the music world for metal, hard rock, and most importantly progressive rock.

Rush started out innocuously enough. Several lads from Toronto put a band together to rip out some covers at the local school gym, church basements (true story – Makes me smile to think Alex playing a Zep tune in a church basement for some crazy reason), or where ever they could get the time of day at some local pubs. At this point, Geddy Lee, Alex Lifeson, and John Rutsey were the final incarnation of the band (a few minor shake ups took place earlier) and set about recording a single (a Bob Holly cover). It didn't go anywhere, so the band would pick up new engineer Terry Brown, form their own label Moon Records, and record their self title debut album.

Which also managed to go no where.

But, WMMS in Cleveland picked it up when the DJ liked "Working Man". She put it into rotation and soon people where calling in wondering if Led Zeppelin had recorded a new album. THAT created a buz that got the attention of Mercury Records who promptly signed the band and set about releasing that self titled debut properly under their distribution.

Rutsey then retired. A combination of health issues and a desire to not work the proposed touring schedule the band's new success would need with a real record deal. According to Lee, John just wanted to stick to the mainstream Zeppelin rock and was not excited with going in the direction they wanted – that is developing the "progressive" sounds found on "Working Man" – and certainly not committed to the rigorous touring the band was about to commence across America and Canada. The band was also a bit exasperated with the drummer as well, as the man was the bands lyricist and kept changing the songs between shows. When the band went to record their debut, he tossed the final version of the lyrics out because "they didn't cut it". This stuck Lee (as the singer) with the job of quickly coming up with lyrics. But with a combination of memory and improve he did just that.

The band set about auditioning new drummers. One such drummer was a clean cut tall guy who worked in farm insurance of all things. The band joked that he looked "to square" for their "rock look". Worse, the man towered over one sad little drum kit he brought. When he got down to business however, he ripped out some triplets and Lee's jaw literally hit the floor. He couldn't believe the speed, the precision, or the volume the man got out of that small drum. According to Alex, Lee practically started to jump up and down and was ready to hire him right there on the spot despite other auditions. Alex wanted to at least give the other guys a chance but he knew it was over. When your bass player likes the other half of the rhythms section…

Neil Peart was given the job. As a bonus, not only did Peart dig the progressive music that the band wanted to explore more, but Neil was also well read and in short order Lee thankfully handed lyrical duties over to their new drummer.

The rest is, as they say, history.



The Knights In Satan's Service?

Where Rush was a working man's band that loved to play music live, another band was getting ready to jump out of New York and their credo was also focused on the live show. Only difference was that this band was hell bent on making it all about the show, much like Alice Cooper (in spirit not content) that when you saw them live it would be an event. Basically, it was going to be Vegas meets rock and roll.

Music would never be the same.

Kiss started as a rock group called Wicked Lester out of New York with Gene Simmons and Paul Stanley. The group actually had a label deal (Epic) and recorded an album which never saw the light of day. By 1972 the guys decided something needed to be done so they scrapped the band to start over. After seeing an ad placed by drummer Peter Criss, they auditioned and signed him on. Criss had been part of a previous band simply called Lips from which came the idea came from Stanley to use the name Kiss.

The style of music gelled quickly, as the band decided that something heavier was in order to really go for it, so the guys tapped Sade, New York Dolls, and Alice Cooper - Especially for theatrics and look. They returned to Epic records to score an album deal for their new band and were promptly rejected. The label liked the band's new look even less.

By the time 1973 started, the group auditioned then hired on lead guitarist Ace Frehley. It was then that the group changed their name to KISS as Frehley came up with the logo.

You know, it just occurred to me, the person who inspired the name of the band, and the other who came up with the logo for it, is no longer in the group. How wild is that?

Anyway, the name has been rumored to mean "Keep It Simple Stupid" or even "Knights In Satan's Service", but the reality is the mundane version. Fun fact in that the logo is changed in German releases from the lightning bolts to a backwards "Z" to avoid an unflattering comparison to the Nazi SS comparison. Either way, the new formed KISS started to hit the clubs and perform (first show only had three people – ouch). As they went they kept adding make up, costumes, and theatrics to the show. Eventually they put together a demo which was picked up by newly created Casablanca Records.

Their new label did well by the band and got them distributed through parent partner Warner and also heavily advertised the band's debut album. They even scored appearances on Dick Clark's show and The Mike Douglas Show.

Unfortunately, sales were lukewarm at best and as if to add insult to injury, a performance for label Warner by the band was hated by the executives. That resulted in Warner refusing to distribute the band's album. At the same time Casablanca was in serious financial trouble already. Despite heavy promotion of the new acts they signed, like KISS those bands didn't pay off with large enough sales to bring a return.

The band would return to the studio in 1974 to punch out their sophomore album, Hotter Than Hell, which lacked the promotion nor distribution of the debut and promptly bombed. That's unfortunate because really it's the better album. The band was called off their tour by the beginning of 1975 to record a new album stat to help get more music out. The label got involved which is why the darker sophomore album leads into the cleaner and more radio friendly Dressed To Kill. This did a little better, in part thanks to the band getting by on word of mouth due to their reputation as a huge live act. In a year word was out that KISS put on a show, which included such outrageous stuff as spitting blood, breathing fire, guitars bursting onto flame, and other such eye candy.

Casablanca was still deep in the hole and ready to declare bankruptcy. KISS knew if they lost the label, they lost their contract and likely their careers were sunk. They got one more album, and in a move that is actually sheer brilliance they decided to capitalize on their most popular feature – Their live show. So they put together a double live album simply called Alive! that captured the band at their loud and raw theatrical best. Their stripped down rock and roll was unleashed live with explosions, exploits, and heavier than the originals on the albums.

It was a monstrous success. It redefined the idea of a live album. It helped the band redefine the idea of the live show. Its multi-platinum sales saved Casablanca Records.

It saved the band's career and they never looked back.

With make-up, without make-up, with or without the original band members, re-re-re-releases of material in various box sets, Gene Simmons ad nausea, the merchandizing hell, and everything we love to hate, or hate to love about KISS is certainly true. But it is also three and a half decades of hindsight. Back in the beginning KISS was one hell of a story and truly one hell of a band.




The Debuts
These are the debuts from groups not ready for the limelight but presented for posterity!

	Judas Priest - Rocka Rolla You can damn well bet your jean jacket full of band patches that we'll be dedicating a lot of space to this band REAL soon. Judas Priest is nothing short of an institution and frankly, after Sabbath the most essential band to the heavy metal kingdom. That being said, the band's debut album is not the time to get into this as the album doesn't realize the impact the metal Gods would have on music. This is a tough rock album with hints of greatness that was written before the band fully realizes their second guitarist, and while a good album it certainly isn't a classic. In fact, songs like "Never Satisfied" and "Dying To Meet You" are quite ahead of their time and are amazing examples of heavy metal to come. It's actually a nice bridge from the Sabbath and Purple metal to what Judas Priest was about to unleash in two short years. Good times indeed but shit was about to get real… real fast!
	KISS - KISS This one is a little tough to review, because in some ways I think it's one of the top KISS albums simply because the no nonsense groove and naïve "going for it" simple rock and roll structures played loud and proud. In many ways, this is the most honest music the band would put together until the 90's. But when you get down to brass tacks, the hook and power is not up to what is coming so the first wheel does come off a little square. Color me crazy, even though the band would do better this decade and next I still hold a ton of respect for this thing even if I play it rarely. It probably helps the essential songs ended up being done on their live albums. Bah! Don't listen to me. It's worth picking it up for "Cold Gin" and "Strutter" alone.

Spotlight Albums
Noted for history even if it doesn't make the cut



Montrose - Paper Money




The whole reason I started this section was for albums that I didn't care for as much as everyone else and thus thought the album should be mentioned for posterity sake if not historical. After all, this is a history feature and a really want to cover everything in a positive manner, as long as it matters. In fact I'm only planning one truly bad review but I think the album warrants it exactly for historical reasons. Well, that and I've received a lot of (mostly) good feedback from people who liked my take on it. Or at least were entertained. I'm not going to give it away but I'm sure you metal heads and stalwarts of this column can figure out which album I'd call out as truly one of the worst in the genres history.

Montrose's second album falls into this category. It is an album a lot of people like but I just can't get into. I understand why, tossing it on the player and working the computer here it is a fine album. And really, a few tracks are real good. But to just sit and listen to it I can't help but just wish to put in the band's self titled debut. Certainly a few songs rock well, like "Underground" and the title track, while "I've Got The Fire" could have showed up on the first album and proudly kicked some ass.

Historically, this would be the swansong for singer Sammy Hagar, who would be fired by Montrose due to creative conflicts. Sammy says Montrose had a huge ego and couldn't abide an emerging equal in his band, Montrose says Sammy wanted to run the show so he gave him an opportunity to go and do just that. Well, at least they get along today and even have done a few performances for old time's sake. From here Sammy was off to a notable solo career until another band in the 80's ended up doing the same thing to their singer and asked him to join…



Roger Glover - The Butterfly Ball and the Grasshopper's Feast




Beginning life as a John Lord idea, this soundtrack to a tale is indeed the kind of thing up the alley of a man who does think like a composer. But he was unable to finish the project so Glover (taped to produce it) took it over. And really, it is a soundtrack that features psych rock, hard rock, progressive moments, and hell, it's kind of all over the place. But it also shows the raw potential of one of Deep Purple's more forgotten band members in Glover who does hold his own in a band filled to the brim with names who are essential rock royalty everywhere in the world but Cleveland.

Ahem… don't' get me started.

But for our purposes the real interesting fact about this project is the band Lord and Glover used. They taped many guest singers including a little known band whose members they liked (and were impressed with) that toured with them. That band was called Elf. Their lead singer, one Ronnie James Dio, would go on to no small success in heavy metal. Here is the period that he would become acquainted with Richie Blackmore who was soon to work on a project of his own.

As for the album, it's a combination of symphony, progressive music, hard rock, rock, psych, and hippie ideas, mostly a mish mash that you can only wave your hand at and call a soundtrack (of course). This certainly isn't heavy or anything, but worth mentioning because historically it's significant. Gillan is on his way out, new blood on the way in, and Blackmore is getting restless and eyeing that band called Elf for a side project called Rainbow.




The Top Metal Albums From 1974
Whether it's a trip down memory lane or new to you, here is some great albums to check out



Deep Purple - Burn




Gillan is out of the band, the growing stress and turmoil between him and Blackmore hitting the breaking point. Glover is out as well. Thus ended the much vaunted and loved (if not immortal) MK II of Deep Purple. But long live the king as the rest promptly hire on Glenn Huges and a young greenhorn by the name of David Coverdale to split vocal duties while Huges would also take care of the bass. Yes, Coverdale of Whitesnake fame got his start here. With those two splitting or harmonizing up front (and a source of new tension incidentally) Deep Purple begins what will essentially be the shorter MK III period.

Such drama aside, Burn is a damn fine album that finds Purple bringing more blues and a little funk to their sound, something that would be expanded upon even more as the 70's continued (much to the chagrin of traditional fans and certainly Blackmore who would soon become dissatisfied with the bands direction). But the band is a unit here pumping out a few brilliant classics, like "Burn" which roars with renewed life, and certainly "Lay Down, Stay Down" scorches the rock landscape with new vigor. At the same time the band gets funkier with caustic tracks like "Sail Away" which really predicts the direction to come with soul and blues shooting into the bands vision.

Really, in many ways the beginning of the end of 70‘s Purple, the writing was on the wall for Blackmore and the band would pursue this sound that honestly the singers would do better in solo efforts later. But for now, the band still burns brightly and this is a solid classic.



KISS - Hotter Than Hell




Darker than the debut (or the albums to follow), and certainly murkier in production and tone. Where the band's first album is that patented seven ways from Sunday basic rock and roll with heavy emphasis on being loud and catchy, this one gives a little back for a ground and pound idea of capitalizing on the idea of being evil. Or, better put, the way Gene went about pretending to be a hint of evil because it was good PR. Even that cover shows a (calculated) attempted to be foreign and edgy. The music doesn't actually reflect that fact all the way, but the tone and muscle does.

Frankly, this album is less friendly (for KISS) which makes it one of their more metallic albums. "Got To Choose" has a bite over melody that endears to the punter while the Ace penned "Strange Ways" shows the versatility that makes the lead guitarist the unrecognized (until the four solo platters coming) hero of the band's axe lick regiment. Although Gene does deliver on his "Let Me Go, Rock and Roll" that really does bring the best of both worlds together. And really, it's the guitars that really stand out. These songs are less bouncy and more plodding, the band becoming the first institution this side of the ocean to really push the power chords up front and make then dominate the show. Although, this is KISS so while you get tons of guitar it is a happier party version of Black Sabbath at the end of the day, the band turning those long guitar sludge fests into bouncy affairs. Although it's the moments when the album grinds slower and churns a little that grabs the ear.

Stylistically different but yet so KISS, this album really shows how the band can capture peoples attention for how they contributed to music, even if the concert favorites or radio hits didn't come from it. Maybe that's why I like it. It's a solid place to go for KISS that hasn't been killed or threaten to be targeted dumb party rock. Sometimes it just a matter of being able to enjoy an album for what it is and having the luxury to do so.



Queen - Sheer Heart Attack




Carried on the back by many a metal punter and hard rock fan thanks to the much loved but hard to imitate "Stone Cold Crazy", that one basically being May and Freddie releasing the inner mosh pits living in their heads, Queen shot back with an album a little less heavy but certainly more creative. In fact, really, for the discussion of heavy the writing is on the wall as that form of music will slowly fade now to a texture or moment in songs and not dominate as much of the vinyl space available. Not that that mattered since everything this band did this decade is for the most part too good to get caught up in semantics (the 80's is another issue). But here it is active if a little less so than the last two albums.

"Brighton Rock" and "Now I'm Here" also burn as heavy rockers that struts and rolls with the best. "Killer Queen" is the key song to bridge the band's first two albums to the next couple, tough yet seemingly warm and friendly. Man, and I hate to say this, but its great party rock that does the one thing most bands especially in the 80's failed horribly to achieve – Be smart. Somehow Queen manages to capture the essence of not being mainstream while obviously being totally mainstream. For that alone a proud shot of the expensive stuff must always be raised in tribute to the band.



Rush - Rush




Sadly, this album is easy to over look by, well… everyone. People who don't like Rush's style of music will skip this since it's Rush, while many Rush fans will skip it since they know Neil Peart isn't on this album and it lacks the bands later prog efforts. But the fact is this is still has some great classic rock and roll on it so fans of the band can find their favorite players (especially Lifeson who owns some of the leads and solos) still pumping on some 70s hard rock; but those who don't care for Rush but like old school hard rock would be advised to check this out as well, this runs against the rest of the bands catalog.

Now that I've gotten that out of the way, I'm going to get the one contradiction out of the way: "Working Man". This is the one song to foreshadow the direction the band would go in the future. Heavy hitting and teeth rattling (especially for 1974), this crunches along as a heavy bands answer to Styx's "Blue Collar Man". Alex delivers an amazing solo and the bridge from the solo back into the chorus should be a text book statement on the subject. In fact, one of the reasons Rutsey left the band was Alex and Geddy wanted to purse this songs direction more in the future while John wanted to stick with the arena/party rock.

The album opens up with "Finding My Way", and any person familiar with the band already can see that this Zeppelin-esque song is way different from the bands known muse. This just fades from silence into a roar on the back of a Lifeson riff, and then jumps into a great toe-tapping bar beat with big rhythms and power chords that singe. This song rocks and I would have loved to have seen Rush taken at least one stab at trying this kind of style once over their 20+ catalog career (save the covers album). Now I know that is a dream since the band wanted to go the direction they did. But still, there is a "what if" here that I would have loved to have seen (heard?) itched one more time since "Finding My Way" is one of several great songs on this album.

"In the Mood" is a boogie rocker that would do AC/DC or Tokyo Rose proud. It swings with a stylish groove that you can't believe is coming from this band, it's just a fun song. This same description also applies to "What Your Doing", another rocker that stops and struts with an attitude from down under; heavy on style and swagger with a healthy dredge of a dark stout beer.

Special mention has to go out to "Here Again". A good slow paced song that holds an Alex Lifeson solo that is a thing of beauty, full of grand majesty and incredible texture. No lie, this piece of incredible artist axe sliding firmly sits on my list of favorite moments from the man. That is saying something, because the man has a career of highlights. Absolutely amazing, and I would absolutely mark the hell out if they ever played this live just for the moment the spotlight hit Lifeson and let this one soar.

A damn fine album. Any fan of 70's rock should ignore the name on the cover and give it a spin. I think you'll be happily surprised at what comes back at you out of the speakers. Ultimately a great album I don't mind revisiting to this day.

Fun Fact: Lee says he still can do that shriek. He keeps it in the basement and promises to pull it out if ever needed again.



Budgie - In For The Kill





Sort of the illegitimate bastard child of Led Zeppelin and Sabbath, except the dirges are not as evil (but certainly grind) and the acoustic trips through the English countryside have been replaced by lonely journeys through a war torn outland time thankfully forgot. Nothing probably shows this better than the possessed by the devil hippie trip of "Hammer and Tongs" which does indeed successfully marry Zep to the damned four.

But there is a lot of caustic power here as well, the band predicting several genres of metal to come and likely a few to best be ignored. "Crash Course In Brain Surgery" is a great example and better known today for being covered well by Metallica on their famous EP. "Zoom Club" is a power rippled firebrand that stomps a mud hole in the competition as well.

Man, Budgie is one of those enigmas wrapped in a question you didn't know you had to ask. Like Blue Oyster Cult at this point, they really play hard rock and metal that exists outside of society and reflects a certain isolation for being something that should be highly influential but results may very. Except, where BOC gave us sci-fi and conspiracies to tickle the imagination Budgie created mystic trips through inner space. That and Budgie bruises and leaves marks on this one.



Blue Oyster Cult - Secret Treaties




The lost in space production of the black and white era nor the unfathomable X-Files alien conspiracy lyrics succeed in dragging down an album that is a dense playground of metal and muse. In fact, those end up adding to the charm, whatever demented vision Pearlman and co. have been shooting for is realized with a collection of tracks that blend into a whole tapestry of dense wonders. Left out and cold with the albums engineering forces you to bare the sterling shock of the instruments and contemplate the vision painted, those refusing to run from the steel getting a glimpse into ever unlocking moments and gems.

Part hard rock, part 70's metal, the band would eventually evolve their cold claustrophobic shades of grey for more progressive textures of primary colors, going from distant to immediate as the years rolled by, and turning in more rock friendly tunes that at times belied the depth of content we we're given. The very first thing that will grab your attention is the production. It is very cold and sterile; with the best analogy I could use would be the production for Metallica's …And Justice For All. Except the bass isn't buried, just another part of the clinical steel wash. It's a very jarring affect, and disarming for those use to having textures and bottom end rumble up their spine. But the distant steel sheen is a very honest sound that, once digested, leaves you alone with no illusions between you and the music. And it's when the music seeps into you and you get the nuances that it claims you. There is no just getting the rhythm with this album – You need to pick up all the instruments, each adding its own layers, parts equally interesting whose sum still manages to be more than those great parts. This includes the lyrics which range from irreverent to adventure to half-hints of a universe full of epic stories.

"Career of Evil" features one of many Patti Smith lyrics the band would use over their career, and is a wash of organ-scales and a heavy rhythm, and what is a great bit of story telling as the singer acts like a James Bond villain – Telling you exactly how he is going to run (ruin) your life. Although I never heard a Bond villain say "I'll do your daughter on a dirt road".

Another lyrical turn is the hard rocking "Dominance and Submission", the teasing sexual overtones in reference to a New Years Eve joyride, but actually another hidden journey into the history laden conspiracy that dots the bands content almost like the suggested stories themselves. A live crowd classic today, built upon those thumping power cords, bristling riffs, and cutting lead/solos, but mostly just a fun excuse to get carried along chanting "Dominance… And Submission!" Damn good song right there and a good exercise in the BOC mystic: Ostensibly a simple and catchy song on the surface that reveals amazing depth for those who dare to scratch the surface, the more you look the more you see.

And speaking of guitar work, another insider favorite of those card carrying members to the secret society is "ME 262", which incidentally is the name of the very German fighter plane featured on the album's cover.

And what can I say about "Astronomy" beyond the obvious. One of the big three songs from the band and the most covered. Another journey of subtle walls of rock with even more subtle analogies that acts as metaphors for life while embedding the Cvlt's mystique for hidden messages; winding and rhythmic, subtle but awash in flavor, arguably one of the bands most poignant stabs at minimalist grandeur and literally reaching for the stars with little effort. They succeeded.

This is a great classic album that almost turns a blind eye toward you with indifference, the natural reaction from the listener to do the same. But giving it a chance and allowing oneself to get lost within its passages is worth the time. It's a journey they will change you and your perception of music.



***


And through all of this, Blackmore was set to quit Purple and form a new band, Black Sabbath and Led Zeppelin are recording landmark albums, Alice Cooper would fly solo, KISS was recording heavy metal's first defining live album, and Scorpions was set to introduce the guitar shred to the English language.

But that is a tale to tell next year…