Kiss Albums (29)
'Alive: The Millennium Concert (2000)'
Release Date 12/21/2008
Tracks 17
Label Mercury
See Album Tracklist and Review
'Kiss Symphony: The Single Disc'
Release Date 10/7/2003
Tracks 16
Label Sanctuary
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What The Critics Say
The two disc version of Kiss Symphony: Alive IV gets cut down to a single disc making the overlong and under-rehearsed live recording only a little bit easier to take. The one-off show with the Melbourne Symphony Orchestra seems like a great idea but a muddy mix, unoriginal orchestration, and an especially bad night for Gene Simmons' vocal chords make for an unwieldy listen even with half the muck removed. Without the quirky contributions of Ace Frehley, the band sound more pompous and bloated than ever (he' replaced by Black 'n' Blue guitarist Tommy Thayer who sacrilegiously assumes the role of the Spaceman). Track selections seem based on song popularity rather than performance quality since the stumbling embarrassment of "Goin' Blind," is included while a more inspired "Sure Know Something," isn't. Just to make sure diehard fans don't pass it up, a rather thin studio version of the Ramones' "Do You Remember Rock and Roll Radio," that wasn't on the double disc gets stuck on as a bonus track. It's from the more appealing We're a Happy Family: A Tribute to the Ramones and seeing how the rest of the album is better served by the visual spectacle of the DVD, there's no real reason to pick this up. ~ David Jeffries, All Music Guide
'Kiss Symphony: Alive IV'
Release Date 7/22/2003
Tracks 21
Label Polygram
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What The Critics Say
Since the 1996 reunion tour was a blockbuster success, Paul Stanley and Gene Simmons decided to keep Peter Criss and Ace Frehley around for a little while longer -- long enough to record a full-fledged reunion album, Psycho Circus. Anyone expecting a stylstic breakthrough from a reunited (allegedly revitalized) Kiss would be unfamiliar with the band's history. Throughout the years, the only real change has been in the guitarists and drummers; the band's sleazy, big, dumb pop-metal has remained the same. The problem is, it's the kind of music that sounds more convincing when it's performed by a young, hungry band who makes records on the cheap. That way, the albums really sound as sleazy as the men who make them. As the band pushes 50, Kiss no longer sound young, hungry or sleazy -- they sound like professional dirty old men. And since they're professionals, they can turn out some catchy hooks when called upon, but Psycho Circus ultimately feels worn-out, more of a huge advertisement for an impending tour than a full-fledged record. Certainly, they're crafty enough to toss out a few anthems to please fans ("I Pledge Allegiance (To the State of Rock & Roll)," "You Wanted the Best"), and that may be enough to appease fans longing for an album by a reunited Kiss, especially since Frehley is a better, more charismatic guitarist than anyone else that has floated through the band. But cynics (i.e., anyone who isn't a hardcore fan) will probably view it as pandering. Which raises an interesting question: who is more cynical, Kiss for writing fan-baiting rock & roll anthems simply to sell records, or the reviewers who call them on it? ~ Stephen Thomas Erlewine, All Music Guide
'Carnival of Souls: The Final Sessions'
Release Date 10/28/1997
Tracks 12
Label Mercury
See Album Tracklist and Review
What The Critics Say
Before Gene Simmons and Paul Stanley reunited with Ace Frehley and Peter Criss, they recorded Carnival of Souls with guitarist Bruce Kulick and drummer Eric Singer, intending to release the record either in late 1995 or early 1996. Once the reunion took off, Carnival of Souls was shelved and Kulick and Singer were unceremoniously given their walking papers, the final chapter of their history erased from public record. Unsurprisingly, the unreleased album became a hot bootleg in collector's circles, paving the way for its official release in the fall of 1997. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
After sinking deep into this musical celebration, even the not-so-avid listener will surely know something more about Kiss, a classic rock icon of the '70s roaring back in vibrant and passionate form. This recording of a session done expressly for the program MTV Unplugged in 1996 brought together a special group for a remarkable, if unexpected, reunion. Throughout this record, you can feel the support and raw adoration of the audience present, certainly a mixture of long-time fans and new admirers. The members of Kiss got together to rock hard on their axes and crash big on the drums, bringing a renewed sense of freshness and excitement. Nearly rock & roll legends, they exceeded expectations and, given their newfound energy, charisma, and love for the music, their performance provided the catalyst for the beginning of a successful world reunion tour. "Coming Home" delivers a feverish and electric opening that gets the crowd on its feet in a hurry. Soon the emotion and presence of this group are brought back with startling grace and wisdom on "Plaster Caster," and the beautiful acoustic medley "Goin' Blind." The decades of Kiss, their costumes, and their wild stadium shows roll back in a heartbeat through the crashing tune "Do You Love Me." Perhaps one of the most bewildering tunes that really reflects the image of Kiss is the rocking blues tune "Domino." The crowd is really fired up now, next experiencing the charming and soulful power rock ballad "Sure Know Something." "A World Without Heroes" is very subdued and reflective. "Rock Bottom" is delicate and mysterious in the opening seconds, with a lush minor harmony delivered picking style on the acoustic. "Now it gets rough," expresses Stanley, grooving in a racy blues statement. "See You Tonight" is a romantic and pretty ballad delivered with sweetness, and the group sings, "I'll see you tonight/And if I can't, I'll cry, I'll cry/I see you tonight, outside." Then on comes the darker resonance of the band with "I Still Love You," expressing grave longing after a grueling breakup. "I got to make you see," is a gripping line in a haunting bridge section, before the shouted, emotional, sometimes painful chorus: "Girl, it seems the price I have of losing you/Will be my hell to pay/It makes me want to die/'Cause I still love you." The solo during the bridge is reminiscent of the chord structure of the Guess Who's "Undun." After this painful, depressing song, new breath is found with "Every Time I Look at You," a song of forgiveness, delivered with sincerity and the feeling of hope: "Every time I hold you/The things I never told you seem to come easily/'Cause you're everything to me." The bridge is brilliant and seems to elevate the melody to a gratifying level, before breaking into a chilling guitar improv, layered over with a shimmering string orchestra. "Beth" is the most heartwarming song of Kiss' power ballads: "Beth I know you're lonely/And I hope you'll be alright/'Cause me and the boys will be playing all night." Finally, a Kiss show wouldn't be complete without the ultimate party song, "Rock and Roll All Night," a tune still electric without electric guitars. ~ Shawn Haney, All Music Guide
What The Critics Say
Judged against Kiss' previous Alive! albums, Alive III doesn't hold up particularly well. Instead of relying on raw energy and ridiculous but dynamic showmanship, the band plays like the professionals they are, performing a competent set that never catches fire. However, if Alive III is judged against Kiss' late '80s and early '90s records, it holds up very well. By cutting away the filler that plagued their studio records, the band is left with a consistently entertaining batch of songs, served up with style. It might not be as exciting as the first two Alive albums, but Alive III provides more thrills than most of the group's records of the previous decade. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Despite coming off a monster ballad with Hot in the Shade's Michael Bolton-penned "Forever," Kiss was plagued by financial instability due to Simmons and Stanley's extravagance; worse, drummer Eric Carr succumbed to cancer in November 1991. But even with the grunge movement in full effect, Kiss was luckily recognized as a major influence on everyone from Trent Reznor to Lenny Kravitz -- their '70s legacy intact despite the band's often dubious choices in the '80s. And even though they, too, were on the brink of commercial extinction, being savvy businessmen first and foremost, Gene Simmons and Paul Stanley fully understood the lay of the land. Not only did they need to make a definitive record, they needed to completely re-invent themselves, visually and sonically. The first step was to secure hard rock veteran Eric Singer to fill Carr's shoes; next, the band rekindled its relationship with producer Bob Ezrin. Again, never ones to ignore lucrative business opportunities, Simmons and Stanley swallowed their pride and rejoined forces with former bandmate Vinnie Vincent. Together, they co-wrote Revenge's three centerpieces -- "Unholy," "I Just Wanna," and "Heart of Chrome." Bringing Vincent back to the Kiss fold ultimately proves to be the album's coup de grâce. Some of the cuts are excellent, delivered with conviction and panache, but for all the hype, the album is also tainted with filler. On the up tip, Ezrin's mongo-enormous production galvanizes the Kiss sound, making it fresh again. The band's promotional efforts would help propel the album's first-week sales sky high, culminating with a Top Ten Billboard chart entry, but indifference once again plagued the ensuing arena tour. ~ John Franck, All Music Guide
What The Critics Say
Realizing that their last albums weren't even close to being in league with their output from the '70s, Kiss made a conscious effort to get back on track with 1989's Hot in the Shade. The group began trying out new material, and was soon forced to issue a record in conjunction with an upcoming tour. Hence, Hot in the Shade is a slight improvement over its flat predecessors (Asylum, Crazy Nights) -- but not by much. The songwriting is still unfocused, but at least the keyboards that plagued Crazy Nights had thankfully been put away, and the production isn't as pop-oriented as most of their other '80s albums. The album did spawn Kiss' first Top Ten single in ten years with the syrupy ballad "Forever," but again, the group missed the mark by padding the album with lots of filler ("You Love Me to Hate You," "Love's a Slap in the Face," "Cadillac Dreams," etc.). Also included were a couple of obvious attempts at hit singles ("Rise to It" and the dreadful "Hide Your Heart"), and a track that sounds like a total ripoff of Def Leppard's "Pour Some Sugar on Me," titled "Read My Body." Drummer Eric Carr's only lead vocal on a Kiss record, "Little Caesar," is one of the album's few bright spots, but Hot in the Shade unfortunately proved to be Carr's last album with Kiss; he died from cancer in 1991. ~ Greg Prato, All Music Guide
