The Wanderer Psycho Circus Review
Review by: Kenneth J. Souza

I managed to get a review copy of "Psycho Circus" from Mercury and ran this review in our weekly e-zine "Organized Chaos." The review will also appear in next week's edition of The Wanderer, a weekly newspaper which I edit.

PSYCHO, SURE KISS
By Kenneth J. Souza

For the first time since the pop-infused sounds of "Dynasty" in 1979, the recently-reunited four-man KISS lineup has returned to the studio to lay down a collection of newly-penned tracks. The highly-anticipated "Psycho Circus" faces the difficult task of inviting comparison to such impressive efforts as "Destroyer" (1976), "Rock and Roll Over" (1976), and "Love Gun" (1977) -- a trio of solid, melodic rock albums that were often imitated but seldom appreciated.

Ironically, the band's decision to reunite for a major tour in 1996-1997 led to this inevitable recording session which remains something of a double-edged sword for the group. Some of the same die-hard fans who pleaded for a reunion of the original foursome are sometimes quick to criticize anything that doesn't sound exactly like "Detroit Rock City," "Rock and Roll All Nite," or "Love Gun." Well I, for one, neither expected nor wanted a "Destroyer II."

Keeping that in mind, I was ready to approach the release of "Psycho Circus" with an understanding that this was a new album from a group of old friends who have each been influenced by other bandmates over the years and ever-changing trends in rock music. Upon first listening, I was stunned at how the album not only celebrates these differences, but also manages to provide a solid, coherent work which serves as a nice coda to the band's 25-year history.

To be sure, there are a few missteps here and there, and the song selection is sometimes uneven, but that's not uncommon even for some of their classic '70's offerings. I sense the band was keenly aware of the scrutiny that would be focused on this release, and the resulting collection is both for and of the fans ... with songs that evoke the live experience ("Psycho Circus," "I Pledge Allegiance") and express gratitude for support of the recent reunion tour ("You Wanted the Best," "We Are One").

Produced by Bruce Fairbairn (the man responsible for Aerosmith's latest sessions), the album is slickly polished but still retains the crunch and thump of the band's live assault. I was surprised at how well all the instruments stand out, especially the bass and drums, which are often drowned by vocals and guitar; and yet none of the signature power chords from Paul Stanley and Ace Frehley are diminished in the mix either.

To provide a better and more accurate critique, following is a song-by-song breakdown of the entire album:

PSYCHO CIRCUS (5:30) -- The title track, first single, and what is destined to become the show opener for the forthcoming tour, this track boasts a wailing lead vocal courtesy of Paul Stanley (the first of many highlights) and one of the catchiest choruses since "Love Gun." Terrific bass and drum rhythms build to an uptempo crescendo of guitars and crashing chords. Ace Frehley's guitar solo is simple yet tasteful, and it sounds like a blend of Gene Simmons, Peter Criss and Paul Stanley on backing vocals. Easily one of the best tracks on the album with lyrics that capture the essence of both the KISS live show and the carnival/circus theme.

WITHIN (5:10) -- Gene Simmons' first contribution is a Jekyll/Hyde number that opens like something The Beatles might have done circa "Revolver" (with reversed guitar and drum effects) and then kicks into a rocker reminiscent of "Unholy." Great guitar work throughout with a respectable vocal turn from The Demon. Like the other two Simmons tunes on the album, this track seems to be more of a throwback to his 1978 solo album than his more recent KISS fare.

I PLEDGE ALLEGIANCE (3:32) -- Another Paul Stanley lead vocal which is classic KISS from the get-go. The infectious chorus reminds me of "Hide Your Heart," only faster, and the opening guitar lick blends shades of both "Shout It Out Loud" and "Flaming Youth." The promo package lists the title as cited, but I've also seen references to a subtitle ("To the State of Rock and Roll") on some websites. I prefer the shorter title. Like many tracks here, the lyrics are pure KISS kitsch -- but after 25 years, that1s what we've come to expect.

INTO THE VOID (4:22) -- The sole Ace Frehley contribution is also one of the album's standout numbers. The Space Man's vocals are top-notch, his guitar work is superb, and this is clearly one of his finest moments since "Shock Me." The track has the exuberance and raw energy of Frehley's great underrated "Trouble Walking" album and is a perfect showcase for another melodic, tasteful solo. It's also great to hear Stanley and Simmons providing backup vocals here, something that was sorely lacking on all of the pseudo-pop Frehley's Comet stuff.

WE ARE ONE (4:41) -- Gene Simmons' second number is an odd offering which opens with a clean electric guitar strum (almost acoustic-like) followed by mid-tempo bass and drum tracks. The song sounds like it was meant to be done wholly acoustic, but the band opted for electric guitar instead. The jury's still out on this one -- sometimes Gene's stuff will grow on me with repeated listenings. I like the line referring to seeing fans in the audience with KISS makeup on ("I see my face looking back at me"), but despite the lyrics this track and Peter Criss' ballad (see below) seem out of place on the album.

YOU WANTED THE BEST (4:15) -- Taking a cue from the band's concert-opening mantra, this Simmons-penned tune provides a chance for each member to trade off on lead vocals -- a first for KISS. Clearly a distant cousin to "Rock and Roll All Nite" and "Shout It Out Loud," this track was conceived to be performed live and it doesn't disappoint. Peter Criss' driving drum pattern is a variation on "Rock and Roll All Nite," and the vocals are strong and vibrant, putting it in the running for the second best track on the album.

RAISE YOUR GLASSES (4:14) -- The weakest of the four Paul Stanley contributions, this track follows in line with the celebration/reunion theme, but falls short of becoming a rousing show-stopper. Good vocals and guitar work here, but the chorus seems forced and lackluster. I'm guessing it was an attempt to do an updated version of "Cold Gin," but it pales in comparison to that KISS mainstay.

I FINALLY FOUND MY WAY (3:40) -- Here it is ... Peter Criss' lone ballad to counterbalance the hard rock a-la "Destroyer." Co-written by Paul Stanley and Bob Ezrin (who produced "Destroyer"), the song is well-done but seems too contrived when compared with the rest of the album. It's certainly not in the same league as "Beth," and it puts the brakes on an otherwise upbeat session. I would have preferred something more along the lines of "Hard Luck Woman" with mid-tempo, acoustic guitar than this big studio production (which can't be performed live without a tape). With the polished, orchestrated Ezrin sound of "Beth" and the many Alice Cooper tracks he produced ("You and Me," "I Never Cry"), the song is reminiscent of Peter Criss' "I Can1t Stop The Rain" from his 1978 solo album.

DREAMIN' (4:12) -- Speaking of Alice Cooper, this fourth Paul Stanley offering has a guitar lick which sounds very similar to "Eighteen." Another fine vocal showcase from Stanley, this is the one track that sounds most like some of KISS' more recent work before the reunion tour. Topped with a strong and catchy chorus and featuring another superior guitar solo (which I suspect was played by Paul and not Ace), this is sure to be the album's great hidden gem.

JOURNEY OF 1,000 YEARS (4:47) -- The set closes with another Beatle-inspired Gene Simmons composition, replete with a drum pattern similar to "Tomorrow Never Knows" Ð has Gene been wearing out his copy of "Revolver" lately? The track includes a mesh of styles with orchestration and piano blending with guitar. Although quite a departure for the group and the overall direction of the album, I like this grand finale. Stylistically, it's similar to "Man of 1,000 Faces" from Gene's 1978 solo album and has the feel of "Seduction of the Innocent" from "Carnival of Souls."

Overall, I think "Psycho Circus" is everything you could expect from the reunited KISS. My only criticism would be that I would have liked more input from Ace and Peter (maybe two tracks each) and, in turn, a longer running time (the ten tracks combined don't break the 44-minute mark). But there's plenty here to satisfy old and new fans alike, and several crowd-pleasers that will mix nicely with KISS classics during the upcoming tour.

[This review originally appeared in the FREE weekly e-mail magazine ORGANIZED CHAOS. To subscribe, send a message to: local@ultranet.com.]

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