KISStory

With this unfortunate decision executed, recording of Dynasty continued with an aura of disaray. Frehley, who wrote two new songs and re-recorded the Rolling Stones' "2,000 Man," exhibited a significant amount of musical growth and motivation. Stanley, with co-writers Poncia and Desmond Child, provided an equal amount of tracks including the album's two singles "I Was Made For Lovin' You" and "Sure Know Something." Unfortunately Simmons is notably absent from this album with only two songs featuring his demonesque talents, "Charisma" and "X-ray Eyes."

On May 23, 1979, Dynasty was released signing the return of the rulers of rock 'n' roll. The album hit #7 on the charts as "I Was Made For Lovin' You" exploded upon the world and became KISS' most popular single to date, outshining "Beth" from three years before. Although the top-10 hit "I Was Made For Lovin' You" made an unprecidented impact for the band, die-hard KISS fans scoffed at the disco-style nature of the song. Despite fans' dismay, Dynasty earned Double Platinum status while rehearsals were underway for KISS' upcoming tour.

In June, the Dynasty tour blasted off with much anticipation; it was the first time that KISS had been on the road in over a year. However, problems with Criss that began in the studio were now extending on the tour; he was not keeping up with the tempo on songs and was regularly sabotaging his vocal duties on "Beth." Tensions were reaching temperatures equivalent to a fever of 104 degrees and after the tour was completed, it became obvious to Frehley, Simmons, and Stanley that something would have to be done about Criss' behavior.

Sadly, the Dynasty album and tour signaled two tragic endings for KISS: the album was the last to showcase all four original members on vocals and the tour was to be the last which featured Criss on drums; his final performance was in November 1979.

Though Dynasty clearly has several high points, it is evident that the album's direction is misguided. Unfortunately, this musical misdirection would continue for several more KISS albums and threaten the future.

When KISS entered New York's Record Plant to record a follow-up to 1979's Dynasty, it became evident that problems within the band had clouded their judgement. The massive ear-shattering sound that had placed them on the rock 'n' roll map was absent. With producer Vini Poncia once again at the soundboard, tracks like "Tomorow," "Naked City," and "Talk To Me" were stripped of their pulse-pounding effect and polished with a pop sound that paled in comparison.

But the group had a greater dilemma: drummer Peter Criss, disenchanted with KISS and wanting to develop a solo career, was not cooperative throughout the Dynasty tour and suffered from the excesses of rock 'n' roll. Criss' personal problems grew to a potentially destructive level for the band and himself. Ace Frehley, Gene Simmons, and Paul Stanley came to the conclusion that KISS was too important to be destroyed by anything or anyone -- including one of its members. With regret, Criss was dismissed from KISS during recording of the new album. Anton Fig, who subtituted for Criss on Dynasty, took the mantle again on drums.

In May 1980, Unmasked was released and quickly earned Gold status. But the album's drastic musical change, its misleading title (the band had no intention of taking off the trademark makeup at the time), and an inappropriate comic strip-style cover alarmed long-time KISS fans who, subsequently, refused to buy the record. "Shandi," the album's only single, did little to ignite a fire for consumers who had devoured copies of the band's last top-10 hit, "I Was Mad For Lovin' You." As a result, Unmasked has the sad distinction of being KISS' first album since 1975's Dressed To Kill that had not attained Platinum status.

Soon after the release of the album, KISS held auditions for a new drummer. Though several popular musicians wanted to join the group, KISS wanted an unknown who was hungry, dedicated, and willing to sweat blood. They found what they were looking for in Paul Caravello, who impressed the band with his furious renditions of "Black Diamond," "Detriot Rock City," and "Firehouse." Promptly after Caravello was hired, he changed his name to Eric Carr and adopted the identity of the fox.

Shortly after Criss' departure from KISS was announced, Carr made his debut with the band at New York's Palladium. Since Unmasked was a failure in America, KISS decided to tour Europe and Australia. The "Aussie '80-'81" circuit consisted of the biggest-drawing concerts in KISS' career. A whole new slew of rabid fans devoured the vast amount of KISS paraphernalia that hit Australia like a tidal wave. With one out of every 14 Australians possessing at least one KISS record, the band reached new heights of prevalence hereforto unachieved in their home country.

Once Exrin was hired, he immediately discarded the demos that KISS had recorded. He suggested that the band expriment with a concept album -- a musical fable that would transcend the boundaries of the average rock 'n' roll album. Though most of the band was receptive to the idea, Frehley was adament about KISS returning to their heavy rock 'n' roll roots. Unfortunately, he was outvoted two-to-onw by Simmons and Stanley (Carr was not an original member and therefore had no voting power within the band's decision-making process) who decided to continue under Ezrin's direction. Simmons devised the story of "The Elder" and with Stanley, Ezrin, and other contributors (including Lou Reed and Tony Powers) created a musical masterpiece. With songs like "Odyssey" and "Under The Rose," the album tels the story of a young boy's desire to become a warrior battling evil that was threatening to destroy the universe.

After the basic tracks were recorded at Ace in the Hole Studios, Carr, Simmons, and Stanley relocated to Ezrin Farms to finish recording. Frehley, disgruntled that his colleagues were going in a musical direction he strongly disapproved of, stayed behind and contributed only one track to the album, "Dark Light," the Elder was completed without him.

In early October, press kits and advance copies of The Elder were made available to PolyGram Records (who has absorbed Casablanca Records some months earlier) and radio stations. Reactions were mostly negative and unsupportive; listeners didn't know what to make of the new KISS sound. More concerning that KISS' new look; short hair, and sleek, medieval-styled outfits projected a misguided image to the record-buying public.

Before the album was released, the track sequence was changed in most countries to emphasize "The Oath" and "A World Without Heroes" as potential singles. Despite this, The Elder did not sell and, to this date, is the only KISS album that has not earned Gold Staus. The band decided not to tour for the record and only promoted it through television and radio. KISS' performance on Fridays, a short run variety show, whas the only time the band performed material from The Elder live.

With The Elder's low sales and negative feedback, it became evident that KISS was suffering repercussions from musical experimentation represented by their last three albums. Long time fans expressed thier disappointment by not purchasing The Elder and now the band had no choice but to listen to what the fans wanted. Drastic measures were needed to begin healing the wound that had been opened several years before. And although KISS would survive, it would not be without further misfortune.

Their battle plan faced a critical setback; Ace Frehley, who had been KISS' lead guitarist since the band's inception had decided to leave the group and not contribute on the next studio venture. In hopes the spaceman would change his mind before KISS' next tour, the band hired several session musicians including Bob Kulick, Steve Farris, and guitarist/songwriter Vincent Cusano to subtitute for Frehley n the new album. Despite Frehley's absence, Simmons, Stanley, and Eric Carr entered the Record Plant in Los Angeles with a renewed enthusiasm and plethora of hard-edged, stellar material.

With machine-gun sounding guitars and thunderous drums, KISS created perhaps the heaviest material in the band's career. Tracks like "War Machine," "Keep Me Comin'," and "I Still Love You" ensured this new album would deafen the ears of anyone who listened to it. To prepare for Frehley's possible permanent departure, Auditions were held to find a new guitarist. Cusano, who wrote three songs on the album and was relatively an unknown musician, filled the void by taking up the identity of an Egyptian ankh and changing his name to Vinnie Vincent. though Vincent's recruitment was intended to be temproary, Frehley's refusal to return to KISS left Simmons and Stanley no choice but to employ him as the group's new guitarist.

Co-produced by Simmons, Stanley, and Michael James Jackson, Creatures Of The Night was released in October 1982. Television spots and a video for "I Love It Loud" told the music world that KISS was back with their long hair, studded-leather, and heavy-metal sound. Unfortunately, U.S. consumers had given up on KISS; they were irritatedby the band's previous albums that strayed away from the group's rock 'n' roll roots. though Creatures Of The Night eventually went Gold, sales were far from the million-selling mark that KISS had been used to. This was also the first time in KISS' career that concert attendence was severely poor; several dates during KISS' "10th Anniversary Tour" were outright failures, forcing the band to end the tour before completion.

KISS then moved the massive stage designed like a metallic battle tank to South America, where the band performed in front of the largest audiences in their history. Playing to crowds averaging 200,000 people, KISS was comforted with the fact that, though their popularity had declined in the U.S., their presence had grown infinitely around the world.

Upon their return home, KISS realized that a chapter in their career was over. It was time to remove the group's trademark makeup and move forward with a refreshed purpose. With its next studio album, the world was about to see a band with a new dimension. A new look. A new KISS.