THIS DAY IN ROCK 'N ROLL HISTORY - KISS RELEASE THEIR FIRST ALBUM - BY SCOTT CARR

February 18, 2015 Scott Carr

February 18, 1974 - Kiss: Kiss is released.

"Hey world, we're Kiss and we want everyone here to come along with us......" were the first words that came from Paul Stanley's mouth after he strutted his way up to the microphone when Kiss made their national TV debut on Dick Clark's "In Concert." With that statement, Paul summed up the way Kiss envisioned themselves from day one. Coming from the same New York City streets that were walked by the likes of the New York Dolls and Ramones, Kiss were not content with being the kings of lower Manhattan or being the house band at CBGB's or Max's Kansas City, they had their eyes set on Madison Square Garden and beyond.

Practicing at Bleecker Street loft as a trio.

This month marks the 41st anniversary of Kiss' debut album, an album that introduced Kiss to the world but didn't exactly set that world on fire. Kiss emerged from the ashes of a band called Wicked Lester, which had featured Paul Stanley and Gene Simmons. Wicked Lester recorded an album for Epic records at Electric Ladyland Studios in 1972, but Paul and Gene split up the band shortly after the album was finished and the project was shelved. Wicked Lester was a hodgepodge of musical styles with no true vision or direction. Listening to the Wicked Lester recordings you can hear glimpses of what Kiss would become but it's buried underneath flutes and congas, sounding more like a Jethro Tull record than anything related to Kiss. Initially keeping the name Wicked Lester, Paul and Gene found drummer Peter Criss and began rehearsing as a trio, formulating a sound that was straightforward and in-your-face rock 'n roll. Guitarist Ace Frehley was added and in early 1973 the band officially changed it's name to Kiss.

First promo shot after Ace Frehley joins.

Kiss made their live debut on January 30th, 1973 at a small club in Queens, NY called Popcorn. From the beginning the band knew they wanted to have a theatrical show but at these early performances at the Popcorn club they wore very little face make up and had not incorporated any stage effects into their show. The band experimented with their image during these early shows eventually going from a New York Dolls androgynous look to a streamlined black leather and studs look with full face paint. By the time they played The Daisy Club in Amityville, NY in March of '73, the band were well on their way in developing their iconic alter egos.

Paul and Ace at the Popcorn Club (Coventry)

In March 1973 the band recorded a five song demo at Electric Ladyland Studios with Jimi Hendrix producer Eddie Kramer. This demo was a calling card to help the band secure management and a record deal. TV mogul Bill Aucoin approached the group in October with an offer to manage the band and a promise that he could obtain them a record deal within two weeks.. Bill made good on his promise and on November 1, 1973 Kiss became the first act signed to Neil Bogart's new label Casablanca Records.

Kiss quickly recorded their debut album at Bell Sound Studios in New York City. The recording and mixing of the record took less than three weeks and was produced by Kenny Kerner and Richie Wise. The original pressing of the album features nine songs including what would become some of the groups best known songs including Deuce, Strutter, Firehouse, Nothin' To Lose, Black Diamond and Cold Gin. Lead vocal duties were split between Stanley and Simmons with drummer Peter Criss also contributing lead vocals on a few songs. "Nothin' To Lose" was issued as the first single from the album in February 1974 but failed to receive support from radio. With initial sales of the album being sluggish it was decided by the label that the group should record a cover of Bobby Rydell's song "Kissin' Time" and release it as the next single. "Kissin' Time" was added to later pressings of the album and the single was promoted by a nationwide kissing contest dubbed "The Great Kiss Off" sponsored by local radio stations. On April 29th the band appeared on The Mike Douglas Show with the winners of "The Great Kiss Off" and performed the song "Firehouse." "Kissin' Time" did not improve album sales but the band continued to be a big concert draw. "Strutter" was released as the last single from the album in August at which time the band had already entered a recording studio in Los Angeles to begin work on their second album "Hotter Than Hell". At this point Casablanca lost their support from Warner Brothers distribution and the label was on the brink of bankruptcy. Kiss continued touring and making records and in September 1975 Casablanca released Kiss Alive as a last ditch effort to save the label and the gamble paid off. Kiss Alive was a huge success and Kissteria was officially in full swing.

Bell Sound Studios recording the first album.

Kiss has been through many changes in the forty one years since their debut album was released including several changes in the bands line up, different musical directions, taking their make up off in 1983 and then reuniting the four original members in 1996 and putting the make up back on. The reunion did not last long but Kiss has forged on with replacement members for Ace Frehley and Peter Criss and are currently touring the world on their 40th Anniversary tour. The original four members of Kiss were inducted into the Rock and Roll Hall of Fame last year but to the disappointment of long time fans the band did not perform together.

Even with all the changes the one thing that has remained consistent over the years are the songs the band created in a little studio in New York City in 1974. Over half the songs from their debut album are still performed in concert and remain fan favorites to this day. For an album that was considered a flop when it was originally released, it has certainly left its mark on the music scene and is a true testament to the strength of the bands early material.

Scott Carr is a guitarist who plays in the Columbus, OH bands Radio Tramps and Returning April. Scott is also an avid collector of vinyl records and works at Lost Weekend Records. So...if you are looking for Scott....you'll either find him in a dimly lit bar playing his guitar or in a record store digging for the holy grail.

Click here for the 12 Best Pencilstorm KISS Stories

Billboard ad promoting "Kissin' Time" single

This is all audio from KISS in 1973, includes the 1973 demos, the rehearsal from May and the show at Amityville, NY in June, The 1973 Demos have been released for quite some time now (featured on The KISS Box Set from 2001), Was produced by Eddie Kramer, The May 1973 Rehearsal was recorded on Gene's 2-Track Tape (according to some sources), The Amityville Show was recorded from an audience member, All tracks are in pretty good quality, I also added pictures from 1973 (and some of 1974 are in there as well).

Just a little something, something.

This is one of the earliest possible audio recording of a KISS concert! This is KISS as raw as you could get! Until now only Acrobat was available from the show, but the full show, 2 sets, appeared in the bootleg scene in the end of the 2013!

an alternate source from kissology Deuce 2. Cold Gin 3. Nothin' to Lose 4. Strutter 5. Firehouse 6. Let Me Know 7. 100,000 Years 8. Black Diamond 9. Let Me Go, Rock 'N' Roll

KISS performs for the first time on national television in 1974. As guests on Dick Clark's IN CONCERT!

KISS made their second TV appearance on 3-29-1974, they where only asked for a performance, but than their manager ask them if one of the members would like to be interviewed, so before Gene knew it he was in the studio being interviewed by a amazed audience and guests...

"Who is Lydia Loveless?" Filmmaker Gorman Bechard Plans on Finding the Answer.

February 7, 2015 Colin Gawel

Fans of the Reelin' and Rockin' movie series might recall our screening of the excellent documentary, "Color Me Obsessed, a film about The Replacements" by filmmaker Gorman Bechard. Well, as it turns out, the acclaimed film maker has set his sights on a new project featuring Columbus' own Lydia Loveless. He recently launched a Kickstarter campaign to help finance his forthcoming feature, "Who is Lydia Loveless?"

Click here for the Kickstarter page and all kinds of interesting info about the project.

Gorman was kind enough to answer a couple of my questions about "Who Is Lydia Loveless?"

Colin G. - Previously, your movies have focused on iconic underground acts with long histories like The Replacements / Archers of Loaf and so on. How does your approach to a project change when the subject is a younger artist just starting to make a dent in this big mean world?

Gorman - Well for one, I can capture the making of a record as it's happening. But I tend to approach every film differently. How can I turn the genre on its ear? The normal VH1 rock doc formula bores me to tears. In this case I really want to show Lydia at work, how she writes, records, tours, deals with the inherent sexism of rock & roll, etc. And I definitely want her amazing sense of humor to shine through. People will not only fall in love with Lydia and her music, they will have a good time doing so.

Colin G. - Was there a single moment or song when it suddenly hit you that you had to make this movie? What pushed it over the edge from a crazy idea to actually making it happen? Can you pinpoint it?

Gorman - It was the first time I saw her live. It was just her and Ben. She was singing Verlaine Shot Rimbaud. The line about "I just wanna be the one you love." She stepped back maybe 7 or 8 feet from the mic, yet her voice filled the room. I was awash with goosebumps. And right then and there I knew. It was definitely a crazy idea. I really thought I would not make another rock doc, at least for a while. But I thought about it a lot. Never really mentioned it to anyone, until the next time I saw her live. We were talking outside while she took a smoke break. And I just sort of asked. She said sure. It all came together as simple as that.

Colin G. - If you could wave a magic wand what is your best-case scenario for this movie? What story do you hope to tell? When and where would you like to see it premier?

Gorman - I hope to tell a completely entertaining story about a young artist breaking through. The struggles, the joys, all of it. I want the world to fall in love with Lydia, because she really is the future, the hope, for rock and roll. She has The Replacements gene. I hope to capture the brilliant chaos of her live set. Well, I guess the obvious place to premiere would be SXSW. But we'll see.

Colin G. - Thanks Gorman and good luck. I cannot wait to see this movie.

Don't forget to check out the Kickstarter campaign by clicking here.

Colin Gawel started Pencilstorm in his coffee shop and has spent his life playing with the rock band Watershed. To learn more about him or our other contributors please click here.

Colin Solo @ Natalie's Coal Fired Pizza - Thursday February 5th - 9 p.m.

February 4, 2015 Colin Gawel

Ah yes, February in Ohio is a splendid time. Endless gray skies and frigid mornings can add up to a severe case of wintertime blues. With this in mind, why not fire up those jumper cables, scrape the ice off your windshield and join me at Natalie's Coal Fired Pizza on Thursday February 5th for a solo show starting at 9 pm.

If you haven't been to Natalie's yet you are really missing out. Arguably the best pizza in town, along with a nice selection of craft beer and live music every night. It is a very popular location so advance reservations are highly recommended for this show.

Natalie's Coal Fired Pizza is located at 5601 North High Street, close to St. Michael Church in Worthington. Call 614 436 COAL for details or click here for the full website and menu.

Official music video for Colin Gawel's "Superior". The single was released on the EP-CD "Superior" by Mike Landolt's Curry House Records label. More at www.colingawel.com. Video produced by Palestra Creative (www.palestracreative.com).

Must-see Jerry Lee Lewis Documentary Helps Explain My Questionable Decision Making - by Colin G.

January 29, 2015 Colin Gawel

January and February are really hard times for a small business like Colin's Coffee. Holiday credit binges are coming due and people just do not like to venture out in the cold, snowy weather. This is the time of year to tighten the belt, save your pennies and eat lots of cheap, tasty Sam's Club pasta with bottom-shelf red sauce warmed up in the microwave....at least for me anyway.

Time to hunker down and just grind out some.....RING RING RING.

"Colin, wake up, Biggie is on the phone….."

"Uh, what, ok, yeah…..What? Is somebody dead? Why are you calling so late?"

"Jerry Lee Lewis is playing a Mississippi casino in nine days. There are only thirty tickets left. We have to go and we need to decide now. Are you in or are you out? I need to know right now. It's going to sell out any second. I will drive. It's The Killer for chrissakes. We saw Little Richard but we have never seen Chuck. We could make this happen. It's only 750 miles away. Come on, tickets are down to 23. We HAVE to do this. It's Jerry Lee Lewis….."

Are you in or are you out?

(cue dream sequence to this documentary…)

Jerry Lee Lewis - arrogant, opinionated & unquestionably the Real Deal. His music - uncompromising, self-assured & rooted deep in the sounds & culture of the Southern States of the USA. His personal life - full of both success & excess, in equal measure. All set alight by some of that Old Time Religion.

I'm broke, I'll have to find somebody to cover the shop and Owen has basketball that weekend but…I'm in. Damn you, Biggie. Damn you and Jerry Lee straight to hell. Pick me up at 3pm on Friday.

Click here for details on where to meet up. for the Watershed tour stop in Memphis.

They're Tearing Down Vet's Memorial, part one - by Ricki C.

January 28, 2015 Ricki C.

Awhile back, Brian Phillips sent me a link to a Veteran’s Memorial Auditorium website that lists every show that took place at the venue from the time it opened in 1955 onward, and it gave me the idea for this series.

They’re tearing down Vet’s Memorial.

You have no idea how much typing that sentence makes my heart hurt.

Vet’s Memorial was Ground Zero for rock & roll shows in Columbus, starting – for me, at least – in 1965 and stretching well into the 80’s, when it was supplanted by the Ohio Center over at the Convention Center. (The Ohio Center, by the way, was a toilet with absolutely ABYSMAL acoustics compared to Vet’s.)

Vet’s Memorial was my High Holy Temple of the Catholic Church of the Rock & Roll.

I saw Bob Dylan’s first electric tour there. I saw the Jimi Hendrix Experience, I saw The Doors, Janis Joplin, Cream, etc. I saw some less popular, less fondly remembered 1960’s acts – Vanilla Fudge, Iron Butterfly, Donovan – there. I saw The Turtles and they were fucking AMAZING. I saw Judy Collins, I saw James Taylor with Carole King opening. I saw Elton John in 1971 when he was still a rocker, before all the crazy outfits & sunglasses and his weekly singles off his monthly albums. I saw the two greatest rock & roll shows I have ever witnessed – The Who in 1969 and Bruce Springsteen & the E Street Band in 1978 – at Vet’s Memorial.

Speaking of the 70’s, I saw Bob Seger & the Silver Bullet Band, Aerosmith and Blue Oyster Cult there probably just about every year in the mid-to-late 70’s. (Plus perennial opening bands like Styx, Foghat and REO Speedwagon WAY too many times on their long, slow slog to the top of the classic-rock junkheap.)

Anyway, the idea of this series is that I will pick one show from each month and write about them throughout 2015. The shows will span the era from 1965 to somewhere around 1985.

SWEET / STYX / ERIC CARMEN – JANUARY 28TH, 1976

I chose this show partly to illustrate the diversity of triple bills you would get in the 1970’s, but mostly - oddly - because it was the only show I saw in the month of January on the entire Vet's calendar. It was also the only show I ever witnessed in which the bottom-billed act was clearly the best of the night. (The first time I saw Aerosmith, by the way, was at Mershon Auditorium on campus in 1973, bottom-billed to Robin Trower and Mott The Hoople. Aerosmith handily blew Trower off the stage that night, but really stood no chance against the rock & roll juggernaut that was Mott back in the day.)

Eric Carmen – formerly of Cleveland’s favorite sons, Raspberries – had just released his first solo album and was right back where he had started in 1972, bottom-billed and hungry. He had assembled a crack touring band from the best players Cleveland had to offer (a formidable pool of rockers in those mid-70’s days). They played a short, tight, hard set that was an improbable cross of power-pop and prog-rock. (Kinda like Yes when they still used to cover The Beatles’ “Every Little Thing.”) And man, did they ever NAIL Raspberries' two best songs: “Overnight Sensation” and “Tonight.”

Audience reaction to Eric Carmen? Nil. Nada. Zero. Zilch. The Columbus crowd couldn't have cared less. I was crushed.

Then Styx came out and did their patented Big Rock Show set of Broadway show tunes masquerading as rock & roll. (For those of you scoring at home, I consider Styx the Second Worst “Rock” Band of All Time, with only Kansas coming in below them.) Styx trotted out every Corporate Rock cliché of the day: fake operatic tenor vocals ala Queen from Dennis DeYoung; obligatory “lofty” sci-fi lyrics ala Led Zeppelin (in the truly abysmal “Come Sail Away,” the worst rip-off of The Who's "Won't Get Fooled Again" EVER); and generous helpings of truly ponderous, hopelessly overwrought synthesizer-laden heaviosity (to paraphrase Woody Allen).

Audience reaction to Styx? Of course, the crowd unabashedly loved them: hook, line and Arena Rock sinker. (Really, I should have seen classic-rock radio coming down the pike right at that exact moment.)

I had been looking forward to seeing Sweet live since back in 1974 when the Desolation Boulevard album ruled my turntable. I loved the Second Coming of The Who power-pop stylings of “Ballroom Blitz,” "The 6-Teens" and - especially - "Fox On The Run." Fuck Styx, THIS was how you rocked high-pitched operatic vocals: with lyrics about girls, girls and more girls and tearing up the local rock venue.

So of course Sweet came out blaring & blasting, trying to overpower & out-bombast Styx & their ilk, and succeeded only in completely burying their power-pop proclivities beneath a slab of Heavy-Metal Rawk Guitar Histrionics. Compounding that problem, they were hopelessly weak on vocals and couldn’t come anywhere close to reproducing the harmonies that had been crucial on their records. (You can say what you want about Chinn & Chapman as bubblegum schlockmeister producers, but man, did they know how to layer vocals for maximum effect.)

Audience reaction to Sweet? The Styx-worshipping masses started leaving about five or six songs into Sweet's set, and I really couldn’t blame 'em.

I remember very clearly walking out of Vet’s Memorial that cold January night and saying to my buddy Jeff, “Man, this Styx, Rush and Kansas crap has GOT to stop. There has to be something new and better out there somewhere.”

Punk-rock was amping-up just at that moment, but I had no way of knowing that then. God bless the future, and God bless The Ramones. – Ricki C. / January 25th, 2015.

THIS MONTH IN ROCK N ROLL HISTORY - UFO: STRANGERS IN THE NIGHT IS RELEASED, BY SCOTT CARR

January 26, 2015 Scott Carr

January, 1979 - UFO: Strangers In The Night is released.

No other decade has produced more iconic live albums than the 1970's: KISS ALIVE!, Cheap Trick At Budokan, Frampton Comes Alive, Aerosmith Live Bootleg, Thin Lizzy Live and Dangerous, AC/DC If You Want Blood, You've Got It, The Kinks One For The Road and the list goes on and on. The live album was looked at as a souvenir of a band's current tour and were often a better representation of a band's sound than their studio albums, even though in most cases live albums were not completely live. Live albums really connected with the fans and were big business in the 1970's. Live albums were also a quick way for a band to buy some time in between studio albums. Most bands were releasing a new studio record every six months, so a live album kept the bands name in the public eye while they worked on their next studio record.

When compiling a list of the greatest live albums of the 1970's, UFO's "Strangers In The Night" always makes the cut and is often considered the best of the bunch. Like most live albums of the era "Strangers In The Night" has it's share of studio trickery and blending of different shows but that does not take away from it's overall impact. The sounds coming from the grooves of this record are full of energy and deliver a perfect document of UFO in 1978.

By the time "Strangers In The Night" was released in 1979, UFO had been making albums for almost a decade. Their self titled debut album came out in 1970 and it's follow up - "Flying" - came a year later. At this point UFO went through a transitional period that would eventually lead to the addition of German guitarist Michael Schenker, formerly of The Scorpions. With 19-year old Schenker in the line up the band began moving away from their "Space Rock" style to a straight-forward rock sound beginning with 1974's "Phenomenon." A string of studio albums would follow, including "Force It," "Lights Out" and 1978's "Obsession." With an endless cycle touring and releasing five studio albums from May 1974 to June of 1978, UFO had increased their popularity with American audiences and became a big concert draw. UFO were one of the hardest-working rock bands in the business and the time was right for a live record.

"Strangers In The Night" is a tour de force of classic UFO songs and captures the band at their commercial peak. "Doctor, Doctor," "Only You Can Rock Me," Too Hot To Handle," "Lights Out," "Mother Mary," "Shoot Shoot," and "Rock Bottom" are all here, along with another half-dozen songs recorded at shows in Chicago, Illinois and Louisville, Kentucky during their 1978 American tour. Chicago had become a mainstay for UFO and they would often headline there in front of 15,000 fans. The bulk of the albums songs are taken from the Chicago show and all of the crowd noise comes from the Chicago show as well. The band recorded six shows in six days beginning with Chicago on October 13th and ending with the Louisville show on the 18th. A show in Columbus, Ohio was recorded on the 17th but there has been no material released from that show. Two tracks from the album - "Mother Mary" and "This Kids" - are studio recordings recorded at The Record Plant in Los Angeles, California with crowd noise from the Chicago show added. Guitarist Michael Schenker left UFO during this tour and refused to do any guitar overdubs for the record, not that any were needed, but Schenker has expressed disappointment in the takes that were picked for the final track listing and felt there were better performances. Schenker and vocalist Phil Mogg were at odds due to Schenker's alcohol abuse and erratic behavior on the road. After this tour UFO would officially split with Schenker and "Strangers In The Night" would serve as the swan song for the classic line up of UFO. Guitarist Paul Chapman was brought in as a permanent replacement for Schenker and the band would carry on recording several more albums. A reunion with Schenker in the early 90's was short-lived, the band was unable to recapture the magic they had in the 70's and once again went their separate ways. .

In 1998 "Strangers In The Night" was remastered and expanded to include two additional tracks from shows recorded in Cleveland and Youngstown, Ohio. The track listing was also revamped to represent the actual running order from the bands 1978 tour.

"Strangers In The Night" is not only considered UFO's crowning achievement, but one of the greatest live albums of the 1970's and beyond.

UFO continue to tour and make new records with guitarist Vinnie Moore, who has been with the band since 2003. Their latest album "A Conspiracy Of Stars" is set for release on February 23rd, 2015.

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Don't forget to check out the Kickstarter campaign by clicking here.

Are you in or are you out?