Kiss - Allphones Arena, Sydney (2015) Ex. Bootleg

(U.S 1973-Present)

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The godfathers of rock, KISS, announced they were touring Australia in October, 2015 as part of a 40th Anniversary World Tour.

The six-concert tour took off in Perth on October 3, then moved to Adelaide, Melbourne, Sydney, Brisbane and Newcastle.

The band’s latest show, "The Spider", featured a giant computer-controlled monster arachnid hanging over the stage as part of a 43-tonne set with 900 pyrotechnics and 400,000 watts of sound.

Supporting them were super group 'The Dead Daisies', featuring Richard Fortus from Guns ‘n’ Roses and John Corabi from Motley Crue.

Only two members of the original KISS lineup remain: Paul Stanley, 63, and Gene Simmons, 65, alongside percussionist Eric Singer, now on his third tour of duty in the band, and lead guitarist Tommy Thayer, who joined in 2002.

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Concert Review 1

As for Kiss, what can you say that hasn’t been said a hundred times before? There are so few bands these days so self-aware and so gloriously over the top that somehow the well-worn cliché of their performance always manages to suspend disbelief and exceed expectations. As a veteran of just two Kiss shows two decades apart tonight just seems so much more than I could have imagined, or remember. Sure it’s cheesy, sure Paul’s sincerity, which is overwhelming at times seems too much, but in the context of the show it all makes perfect sense.

From Stanley’s pouts and ruffling of his glorious mane, to Simmons’ evil stares and fire-breathing antic Kiss has finally got to that point in their career 40 years on where the parody has become part of the enjoyment of the show. And whilst die-hards may moan about the face-paint worn by Tommy Thayer and Eric Singer – those guys are both an integral part of the spectacle.

Opening with the band descending from ‘The Spider’ the huge stage set the band has brought over to Australia for the first time – almost an update of the old Alive II staging – it’s gloves off; and as the riff from ‘Detroit Rock City’ hits with smoke and lasers and all manner of pyrotechnics in play its going to be a glorious visual as well as aural experience.

Tonight the set-list was spot on, bringing back as it does a slew of mid-period Creatures of the Night material -  starting with the title track and adding a rather fine ‘I Love it Loud’ and ‘War Machine’. It’s a welcome surprise interspersed at it is with the vintage: ‘Deuce’ ad ‘Do You Love Me’ (always a favourite that one!) and the newer ‘Psycho Circus’ and ‘Hell or Hallelujah’.

Gene Simmons

Of course it’s the set pieces that steal a lot of the thunder – from Gene’s blood spitting bass solo, during which he flies back up to the belly of the spider; to his fire-breathing during  ‘War Machine’ and Paul’s flying fox visit to the cheaper seats during an impeccable ‘Love Gun’ . But tonight every song had its pyrotechnic accompaniment, and the big screens reflect on the past forty years with some cool shots from the archive.

Closing the main part of the show the much-loved ‘Black Diamond’ still takes some beating. The encores of course were unforgettable: ‘Shout It Out Loud’ giving way to ‘I Was Made for Loving You’ before ‘Rock and Roll all Nite’ and several tons of white confetti  closed the set, and opened up the Australia leg of the World Tour. [Review taken from therockpit.net]

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Paul Stanley

Concert Review 2

We wanted the best and, oh man, did we get the best!

As any one of the near-capacity crowd of twenty-thousand who packed into Sydney’s Allphones Arena last night can attest, the power of a KISS show is still immense even after forty years.

Or, perhaps it’s because they've had four decades of experience playing stadiums and arenas – think of that, how many other bands can lay such a claim? Other than the Rolling Stones, not many at all – that Paul Stanley, Gene Simmons, Eric Singer and Tommy Thayer know what it takes to grab an audience by the scruff of the neck, buffet them with heavy guitars, thumping drums, flame bursts, lasers, smoke bombs and some of the greatest rock anthems ever written, and send them home happy.

If you were in the audience last night, and you didn't enjoy the show, which ran for a pleasing two hours, you’re either lying to yourself or you hate rock music. KISS know what their fans want, and they deliver in spades. The new spider stage – something you have to see to believe – is the centrepiece of a spectacle that is unrivalled in rock today, and will probably never be topped in the annals of rock music history…except maybe the next time KISS tour.

Of course, Australia has always been a happy hunting ground for KISS, stretching way back to the 1980 tour dubbed Kisteria, but Australians are notoriously fickle when it comes to performing artists not from these shores. Big overseas acts have been roundly panned and abandoned here. Not so, KISS. Despite line-up changes over the years, and a switch from face paint to being unmasked, a few farewell tours, and some more line-up changes, the band still draws a crowd.

It was the band’s third show in as many nights, having played Melbourne twice, and singer Paul Stanley, who’s voice is, let’s face it, not what it used to be, could probably have done with more of a break between performances. His voice was wearing thin towards the end, but the ample supply of Gene Simmons-sung numbers – including ‘War Machine’, ‘I Love It Loud’ and a pulsating ‘God Of Thunder’ sung from the Allphones rafters – saved the show from disaster.

Look, everyone knows that Stanley’s voice isn't what it once was. The people in charge of the tour should have recognised that three shows in a row might not have been the smart move. Stanley was searching hard for the high notes late, and not always finding them. It was a situation that could easily have been avoided. A day or two off and Stanley would've been fine. It’s just as well that KISS aren't playing tonight.

Aside from Stanley’s voice giving up the ghost late, this was a powerful show. I love the new set list that includes a more even split of songs sung by Stanley and Simmons (and Eric Singer’s ‘Black Diamond’ was as good a vocal performance as there was all night) simply because there are some great Gene songs that didn't always get a look in. The afore-mentioned ‘War Machine’, for example. That is a brilliant song to hear live!

Just as you would expect, all the old favourites were there – ‘Detroit Rock City’ to open, as the Spider Stage lowered the band from the rafters to the stage, ‘Lick It Up’, ‘Love Gun’, ‘Deuce’, ‘I Was Made For Lovin’ You’, ‘Shout it out Loud’ and the memorable confetti-soaked show closer, ‘Rock and Roll All Nite’ – and all sung with a searing, hard edge. As good rock should be!

‘I Was Made For Lovin’ You’ may sound disco-tinged on a record, but on the stage, it’s as heavy a song as the band has in their catalogue. ‘Love Gun’ is even more bombastic live than on the record (and was sung by Stanley after taking a flying fox across to a B-stage in the middle of the arena), and everything from Creatures of the Night is titanium-tough. Even ‘Hell or Hallelujah’ from KISS’s most recent release, 2012’s Monster, is epic. It’s going to be a classic, Stanley tells us. And, having heard it live a few times now, I don’t doubt it.

Then there was the flame, smoke, fireworks and laser lights that, nightly, transform KISS from being a normal rock band to one of the can’t-miss Bucket List performs in the history of rock. Gene’s blood spitting and fire breathing isn’t new, but it’s a It’s an assault on the senses in the very best sense of the world, and I remain convinced that the band’s arsenal of things that go BOOM! Is bigger than some small country’s!

For guys who are getting on in age, they move so smoothly around the stage, despite doing it in platform heels, clad in gear that, whilst it looks good, probably isn’t hugely practical for what they do. Gene must sweating like a machine beneath his body-encasing armour, but he never shows it. His on-stage act, whilst perhaps bordering on comical/pantomime at times, is a highlight.

Paul Stanley is the ultimate showman. The way he commands an audience is beyond impressive, as is his ability to move around the stage like he’s gliding a few inches above it. He’s definitely the ying to Simmons’ Yang, and the two as an on-stage force are just about unparalleled in rock. You think of great on-stage combinations – Jagger and Richards, Axl and Slash, Bono and The Edge, Springsteen and Clemons – and realise that Stanley and Simmons are right up there. 

Special mention to Tommy Thayer and Eric Singer on guitar and drums. They’re brilliant musicians – and, by all accounts, brilliant people, too – and KISS fans should thank them for their service rather than comparing them to their predecessors. After all, without their efforts in the wake of well-publicised issues with Ace Frehley and Peter Criss, there’s a very good chance that KISS wouldn’t exist today. For mine, Singer is a better drummer than Criss ever was.

KISS! You’ve delivered another epic. Can’t wait to see you again!  [Review by Kitch at blogkitch.blogspot.com.au]

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The Party Never Ends For Kiss

(Rolling Stone Article, Nov 2015, p31) 

"More than four decades after forming, the legendary rockers return to Australia"

When  KISS  first  toured Australia in 1980, they were, says frontman Paul Stanley, "prisoners of the hotel", such was the pandemonium surrounding the band. "It was amazing to be front page news every day and to meet some incredible people and some equally incredible women," he titters. Thirty-five years on, Kiss are returning once again this month, bringing with them their 'spider' stage production. Stanley checked in ahead of the tour to reflect on the band's career.

You've been doing this for 42 years. Is there anything left for you to learn about playing live?

I'm pretty good at it. But that doesn't mean I enjoy it any less. What happened with time is I cherish what I do that much more. So to be up on stage, I don't know how much I have to learn at this point, but I savour what I've created and what the fans give back.

Is there an era where you think the band was at the peak of their powers creatively?

People tend to see that initial surge as the high point, and quite honestly I think we've eclipsed that. I believe that Sonic Boom [2009] or Monster [2012] are as good as anything we've done, it's just that anything that's classic has to go through a period of time. "Psycho Circus", "Lick it Up", those are now classics, but they weren't classics when they came out. So in terms j of firing on all cylinders, we've never fired ! on more efficient cylinders than we do now.

2015 marks 40 years since the Kiss Alive tour. Is that hard to process?

It's hard to digest it. Forty years is a lifetime, and to think that I'm doing today what I did then, nothing's really changed. This has been my life. If 40 years is a lifetime, well, it's been mine.

Any plans to follow up the 'Destroyer' and 'Love Gun' reissues with more from your back catalogue?

We'll see. At the moment the plate's full, but tomorrow the phone may ring and someone will say, "Why don't you go in and remix Rock and Roll Over?" Who knows. Each day brings a new surprise.

So there's no strategy? That seems odd for a band like Kiss.

No, none.

For all the adoration Kiss receives, is there anything you don't think you get enough credit for?

I get all the credit I need from the people who count. And the people who don't give credit don't count. If you deny the truth, then why would I waste my time? I only have time for the people who share my beliefs. I'm not here to make converts. [Interview by Rod Yates]

This post consists of MP3's (320kps) sourced from Drac Ulla at bootlegsworldwide with thanks. Limited artwork is compensated by loads of tour photos and stage shots.  The quality of this concert is quite remarkable for a bootleg and the recording has been more than likely sourced from the main mixing board.  I only wish I had made the effort to go to their earlier Melbourne concert at the Rod Laver Centre and would be interested in hearing from anyone who might have attended.

Track Listing

CD1

01. Intro

02. Detroit Rock City  

03. Deuce

04. Psycho Circus

05. Creatures of the Night

06. I Love It Loud

07. War Machine

08. Do You Love Me

09. Hell or Hallelujah

10. Guitar and Drum Solos

11. Calling Dr. Love

CD2

12. Lick It Up

13. Bass Solo

14. God of Thunder

15. Cold Gin

16. Love Gun

17. Intro: Black Diamond

18. Black Diamond

19. Shandi

20. Shout It Out Loud 

21. I Was Made for Lovin' You 

22. Rock and Roll All Nite  

Kiss Link (248Mb)

KISS - Live Unauthorised Vol 2. (1993) Ex. Bootleg

(U.S 1973-Present)
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Other titles for this bootleg are:
'Kiss Destroys Anaheim - Part 1 (1976)' and 'Kiss Live In Anaheim' (1976).
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Kiss is an American rock band formed in New York City in January 1973. Well known for its members' white and black face paint and flamboyant stage outfits, the group rose to prominence in the mid to late 1970s on the basis of their elaborate live performances, which featured fire breathing, blood spitting, smoking guitars, shooting rockets, levitating drum kits and pyrotechnics. Counting the 1978 solo albums, Kiss has been awarded 28 gold albums to date, the most of any American rock band. The band has sold more than 40 million albums in the United States, of which 20 million have been certified by the RIAA and their worldwide sales exceeds 100 million albums. The 1973–'80 original lineup of Paul Stanley (vocals and rhythm guitar), Gene Simmons (vocals and bass guitar), Ace Frehley (lead guitar) and Peter Criss (drums) was the most successful [extract from wikipedia].

The Kiss Destroyer tour of 1976 resulted in quite a few bootleg LPs, the headbangers' August 20, 1976 show at Anaheim Stadium in Southern California gave us Kiss Destroys Anaheim, Parts 1 and 2. Instead of putting out a two-LP set, the illicit Idle Mind Productions (a prominent bootlegger of the 1970s) chose to release two separate LPs. On both LPs, the sound quality is OK--not fantastic, not terrible, but OK. Though Kiss Destroys Anaheim, Part 1 doesn't have the quality of a soundboard recording, one gets the impression that the bootlegger taped the show using a high-quality portable stereo recorder that he/she managed to sneak into Anaheim Stadium. This LP wouldn't win over an audiophile, but even so, performances of gems from Destroyer (including "Shout It Out Loud" and "Do You Love Me?") as well as "Firehouse," "Cold Gin" and "Black Diamond" capture the excitement of the Destroyer tour. Kiss Destroys Anaheim, Part 1 isn't the ideal document of that tour, although collectors were glad to acquire it anyway.
A year and maybe the big breakthrough after Alive sold huge amounts during 1975. August 20 1976 Kiss played perhaps the largest audience in the 70s. Prior to this gig extended the effects in the form of a larger light rig and a big firework display followed the final Encores. AMI-mounted single-camera video recordings with close-ups for 2 large video screens placed in the arena. Besides the well-known video footage, circulated "Black Diamond" with this recording, great stuff! Perhaps the most famous Kiss Boot existing is Destroys Anaheim that was first released in the 70s and then in a number of re-releases on vinyl edition. The best CD version can be found in Kiss - Kartoon CD Box, released by Godfather Records in its entirety. The rarity, however, is the colored vinyl releases, and today an expensive purchase. Not to forget the re-release on Blue vinyl that do not have the same value to collectors. [extract from kissbootleg.com]
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Angel Stadium of Anaheim (originally Anaheim Stadium and later Edison International Field of Anaheim) is a modern-style ballpark located in Anaheim, California. It is the home ballpark to Major League Baseball's Los Angeles Angels of Anaheim of the American League, and was previously home to the NFL's Los Angeles Rams (now St. Louis Rams). The stadium is often referred to by its unofficial nickname The Big A. The stadium can seat up to 40,000 patrons (see pictured right - 1980)
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The following is a rather raunchy interview with Gene Simmons published in Rolling Stone April, 1977 (#236) during their Alive II tour (while they were passing through London).
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With Kiss shows being compared to the Normandy invasion, the lords of cartoon metal are caught on the run in Detroit. Before the decade is over, they will become the biggest live band on the planet.
Gene Simmons, dressed in a blue bathrobe in his hotel suite, asks, "Would you like to see my collection?" He pulls about 20 Polaroid snapshots out of a suitcase and drops them on the desk in front of me. Each is a groupie posed in a spread shot or other equally imaginative position. The bodies range from beautiful to grotesque. "Names, dates and places are written on the back," he says. "Those are just for this tour."
"You must have strange diseases," I finally say.
"Never."
"Did you ever do it with anyone famous?"
Humming "We've Only Just Begun", he walks into the adjoining room. Star Stowe, the February Playboy foldout, and a Bunny friend of hers emerge giggling from the bathroom. Stowe wears black panty hose with holes ripped in them, skimpy blue-jean shorts and a Kiss T-shirt a couple of sizes too small. I recognise her from a Polaroid.
After a few minutes of distressed discussion, Simmons dismisses them with a curt, "Why don't you do what females are best at doing?" They immediately quiet down, so presumably that is what he thinks they are best at doing.
"We're not a great band," Simmons says, turning his attention back to me. "The musicianship is average, maybe even below, but in a year we're going to be the biggest band in the world. Two hundred million Americans out there don't appreciate subtleties. They want to be sledge-hammered over the head with clear issues and no pussyfooting. Remember, it was mass culture that created rock & roll. Our tastes coincide with theirs." - Charles M Young, Rolling Stone Magazine
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This post consists of a rip (320kps) taken from my Australian 'Joker' CD release and includes full album artwork for both the CD and earlier vinyl bootlegs listed at the start of this post.
Note: I also have the Kiss Unauthorised Live Vol 1 release (taken from a different concert), however, I refuse to post it on my blog as it is one of the worst bootleg recordings I've ever come across. If you come across it, then don't even bother - its utter crap!
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Track Listing
01 - Hotter Than Hell
02 - Nothin' To Lose
03 - Introductions
04 - Cold Gin
05 - Shout It Out Loud
06 - Do You Love Me?
07 - Rock and Roll All Nite
08 - Firehouse
09 - Black Diamond
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Band Members:
Paul Stanley (vocals and rhythm guitar)
Gene Simmons (vocals and bass guitar)
Ace Frehley (lead guitar)
Peter Criss (drums)
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Kiss Link (74Mb)
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Kiss - Killers (1982)

(U.S 1973-Present)
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In the light of my previous post which featured the record label Casablanca, I thought I would dedicate this post to their most successful band Kiss.
Kiss was formed in New York City in January 1973. Well-known for its members' face paint and flamboyant stage outfits, the group rose to prominence in the mid to late 1970s on the basis of their elaborate live performances, which featured fire breathing, blood spitting, smoking guitars, shooting rockets, levitating drum kits and pyrotechnics. Kiss has been awarded 24 gold albums to date, the most of any American rock band.
The 1973–'80 classic lineup of Paul Stanley (vocals and rhythm guitar), Gene Simmons (vocals and bass guitar), Ace Frehley (lead guitar and vocals), and Peter Criss (drums, percussion and vocals) is the most successful. With their makeup and costumes, they took on the personas of comic book-style characters: Starchild (Stanley), The Demon (Simmons), Spaceman or Space Ace (Frehley) and Catman (Criss). The band explains that the fans were the ones who ultimately chose their makeup designs. Paul Stanley became the "Starchild" because of his tendency to be referred to as the "starry-eyed lover" and "hopeless romantic." The "Demon" makeup reflected Simmons's cynicism and dark sense of humor, as well as his affection for comic books. Ace Frehley's "Spaceman" makeup was a reflection of his fondness for science fiction and supposedly being from another planet. Peter Criss' "Catman" makeup was in accordance with the belief that Criss had nine lives because of his rough childhood in Brooklyn.
Because of creative differences, both Criss and Frehley were out of the group by 1982. The band's commercial fortunes had waned considerably by that point
The 1980's 'Unmasked' barely achieved gold certification, and the band toured exclusively outside the United States for the first time in their career that year. 1981's Music from "The Elder" fared even worse—it failed to gain any certification and the band did not tour behind it at all. The album, released in November 1981, was off the charts by February 1982.
That month, Phonogram Records (the parent company of Kiss's label, Casablanca Records) requested that Kiss record four new songs, to be included in an upcoming greatest hits album called 'Killers'. Phonogram requested hard rock songs specifically, in contrast to the progressive rock style of Music from 'The Elder'.
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Numerous outside songwriters and session musicians were employed for the writing and recording of the four new songs on 'Killers'. Songwriter and musician Mikel Japp, who co-wrote three songs on Paul Stanley's 1978 solo album, co-wrote "Down on Your Knees" with Stanley and Bryan Adams. Adam Mitchell, another outside songwriter, was brought in by producer Michael James Jackson.
Despite being pictured on the album's cover art (from the photo-session for "Music From The Elder"), lead guitarist and co-founder Ace Frehley did not participate at all in the production of 'Killers'. He had essentially ended his active involvement with Kiss in late 1981, although he would not officially leave the group until the end of 1982, after the release of this compilation. His replacement for the 'Killers' sessions was Bob Kulick, who had previously subbed for Frehley on a handful of studio tracks on 1977's 'Alive II'. However, whereas Kulick had been asked to mimic Frehley's playing style when recording for 'Alive II', he was permitted to employ his own techniques for Killers.
Due to the large volume of Kiss live albums and greatest hits albums already available domestically, Phonogram decided to issue the album outside the United States. The album sold in moderate numbers, reaching #21 and #27 in Australia and Japan, respectively. None of the singles released from the album, however, charted in any country [extract from wikipedia]
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Album Review
A superb collection of vintage 70s rockers from this glam metal quartet, includes "Nowhere To Run" and "Detroit Rock City."
1981's 'The Elder' was such a bomb worldwide that Kiss' record company outside the U.S., Casablanca/Phonogram, demanded that the band immediately assemble another greatest-hits package to prove to their befuddled fans that they were still a heavy metal group, not experimental prog rockers. Since a greatest-hits set was issued just four years prior in the form of the double LP Double Platinum, the band decided to include four brand-new tracks along with some hits, under the title of Killers (a single album). The new tracks ("I'm a Legend Tonight," "Down on Your Knees," "Nowhere to Run," "Partners in Crime") resembled the Kiss of old more than anything the band had released for a few years by this point (again, guitarist Bob "Alive II" Kulick subs for Ace Frehley). The only hits on Killers that hadn't already appeared on Double Platinum were "I Was Made for Loving You," "Sure Know Something," and "Rock and Roll All Nite (Live)"; the rest were repeats ("Love Gun," "Detroit Rock City," "God of Thunder," "Cold Gin," and "Shout It out Loud"). Killers didn't accomplish what the record company hoped it would -- re-establishing Kiss as chart-toppers -- but it did show their fans outside the U.S. that the band meant business again.
The Australian and Japanese versions of Killers include a slightly different track listing. The release in Japan featured two additional tracks not found on the LP as released in all other countries: "Escape from the Island" (Frehley, Eric Carr, Ezrin) and "Shandi" (Stanley, Poncia). Additionally, the version released in Australia (both LP and Tape) also included "Talk to Me" (Frehley), and "Shandi" (Stanley, Poncia). The version of "Shout It Out Loud" found on this release features the single mix that has all the vocals in the center channel, whereas the original Destroyer version features Paul Stanley on the right channel, and Gene Simmons on the left. It also fades about 10 seconds earlier than the album version [review by Greg Prato]
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This post consists of a rip (320kps) taken from Cassette Tape and is flawless. The tape itself is in brilliant condition considering its age and plays perfectly. As this is an Australian release, the two additional tracks "Talk To Me" and "Shandi" are included. However, when I first came across this compilation, I was a little disappointed that it did not include the live classic "Let Me Go Rock and Roll" which pairs nicely with the live version of "Rock And Roll All Nite" that was included.
So I have taken the liberty of including it as a bonus track and have altered the CD artwork accordingly. Full Artwork for Vinyl, CD and Cassette Tape has therefore been included.
This collection of Kiss tracks provides a good sample of their work spanning almost 10 years of their career but I must say that their first double live album is my all time favourite Kiss release.
Note: This particular compilation is a must for all Kiss fans as it contains 4 tracks previously unreleased on any of their studio albums.
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Track Listing
01. I'm a Legend Tonight
02. Down on Your Knees
03. Cold Gin
04. Love Gun
05. Shout It Out Loud
06. Talk To Me*
07. Sure Know Something
08. Nowhere to Run
09. Partners in Crime
10. Detroit Rock City
11. God of Thunder
12. I Was Made For Loving You
13. Shandi*
14. Rock and Roll All Nite (Live)
15. Let Me Go Rock and Roll (Bonus Live)
* Track only included on Australian release.
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Kiss were:
Gene Simmons – bass guitar, lead vocals
Paul Stanley – rhythm guitar, lead vocals
Ace Frehley – lead guitar, backing vocals
Peter Criss - drums
Bob Kulick – lead guitar on all new (1982) songs.
Eric Carr - drums on all new (1982) songs.
Anton Fig - drums on "I Was Made For Lovin' You" and "Sure Know Something"
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Kiss Killers Link (128Mb) New Link 11/01/2023
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Various Artists - The Casablanca File (1975)

(Various Casablanca Artists 1974-1975)
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Casablanca Records was an American record label started by Neil Bogart, who partnered with Cecil Holmes, Larry Harris, and Buck Reingold in 1973, and based in Los Angeles. The label was formed after all of them had left Buddah Records and secured financing by Warner Bros. Records to start the venture. Casablanca had become one of the most successful labels of the 1970s, signing and releasing albums by such acts as Kiss, Donna Summer, The Village People, Cher, and Parliament featuring George Clinton. The label's film division, Casablanca Filmworks, had hits with the movies 'The Deep' and 'Midnight Express'.
In 1977, PolyGram Records acquired a 50 percent stake of Casablanca for $15 million, and then in 1980 it purchased the other 50 percent. Also in 1980, one of the label's biggest acts, Donna Summer, left for another record company as she and Casablanca could not come to terms on her musical direction in the new decade. That same year, Polygram pushed Bogart out of Casablanca due to what it viewed as the label's overspending and accounting irregularities. In the early 80s, with Bogart no longer heading the label, Casablanca had hits with acts Lipps Inc and Irene Cara, but it did not have the same level of success it had in the 70s. The label was eventually shut down with some of the artist roster and catalog absorbed into sister label Mercury Records [extract from wikipedia]
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Kiss (Selftitled, Dressed To Kill, Hotter Than Hell)
In only four short years, Casablanca had become a blockbuster record company due to KISS, arguably the most sensational live act in rock music at the time. Ray D’Ariano, who was based in Casablanca’s New York office, noted: “The disco thing was so huge and at the same time, we had this phenomenon going on with KISS. Totally nothing to do with disco, totally nothing to do with anything”. The team behind KISS was instrumental in the innovative marketing of the group. Bill Aucoin, who managed KISS through his own Rock Steady management company, and Joyce Bogart-Trabulus, who co-managed the group with Aucoin, ensured that KISS was constantly breaking new ground. Aucoin even copyrighted the band’s make-up in the Library of Congress. 1978 brought a rock music “first” to fruition when each member of KISS released a solo album simultaneously (however, not very strong albums in my opinion).
Astor records (Astor radio corporation) became the sole distributor of Kiss in Australia at the time. Their first single release in Australia was from 'Hotter than Hell' LP: "Let Me Go Rock N Roll"/ "Hotter than Hell". Then came Australia's first Kiss LP release 'Hotter than Hell' and similar to the USA the blue boghart label (see pictured at the bottom of this post) was used for these early records.
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The second record was there selftitled album 'Kiss', sadly no singles were released from this LP in Oz. In that same year, 'Dressed to Kill' was released and featured singles "Rock N Roll All Nite"/"Getaway" and "C'mon Love Me"/"Getaway". All these singles and LPs didn't make the charts and did poorly in sales. Which is extremely tough to find for KISS collectors as they rarely appear at local garage sales and alike. In the same year, Kiss featured on this Australian Casablanca sampler compilation called 'The Casablanca File'.
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Greg Perry (One For The Road)
Greg was one of major staff writers for Invictus/Hot Wax and co wrote most of the hits of Chairmen of the Board, Freda Payne etc. This his first solo album was originally released on Casablanca in 1975.
Greg is one ot the most impressive new progressive soul talents to emerge in years," reads Cashbox and his debut album tor Casablanca 'One For The Road' was reviewed as a "stunning/perfectly tasteful, high voltage blend of the Shaft/Superfly and Philly sound breakthroughs."
Listen to "I'll Be Comin' Back" and "Variety Is The Spice Of Life" and you'll understand why these reviews are worthy. This album is now regarded as one the best soul albums of all time.
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James & Bobby Purify (You & Me Together)
They were an R&B singing duo and 'Bobby Purify' was actually two different singers. The first was James's cousin, Robert Lee Dickey, who adopted the Purify name for performing, and sang on their early records. The second Bobby, was vocalist Ben Moore, who replaced Dickey in 1971 when Dickey suffered health problems.
James and Bobby's new album 'You and me Together' produced by Don Schroeder and Tommy Gogbill for the Casablanca label, marked the first time the duo had recorded together since their earlier string of hits including the classic "I'm Your Puppet" and what an album to come back with; they've come up with a brand new hot disco sound that will knock you out, so be warned!
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Fanny (Rock And Roll Survivors)
When you ask people to name the very first all-female rock band ever, THE GOGO'S, THE BANGLES or THE RUNAWAYS might come close to the truth. But the real answer would be FANNY. Formed in the late sixties, led by the two sisters, June and Jean Millington, they sounded like a real rock band. From that moment on, it was cool and accepted for women to play rock music. As there was no competition back in these days, FANNY were quite unique and on their own, so to speak.
'Rock 'n' Roll Survivors' their fifth and latest album is unquestionably their best to date. With the addition of Patti Quatro (Suzi's sister) Fanny are, in their own words, much "harder", "heavier", "tighter" and "funkier" than any of the previous Fanny incarnations. Check out the hot single "Butter Boy" and the Jagger/Richard "Let's Spend The Night Together" and you'll see what they mean.
As a final album, Fanny's 'Rock & Roll Survivors' is not as bad as the reviews of the time made it out -- specifically in the United States (in the U.K. the album was received quite well, both critically and commercially). For instance, it does contain their most successful charting single with "Butter Boy," which reached number 29 in the Billboard Hot 100. That said, it does reveal a band struggling to maintain its identity in the midst of tremendous pressure. For starters, founding member and guitarist June Millington left before the album was recorded, as did drummer Alice de Buhr. Bassist Jean Millington replaced her sister with former Detroiter Patti Quatro, sister of Suzi, and drummer Brie Brandt (who left immediately after the recording and was replaced by Cam Davis for the band's final tour).
Patti began to take over the role as band leader. Although this didn't last too long. As Jean was one of the founding members of FANNY, she wasn't too happy with this situation of course. Early 1975, Cam left the band and Patti followed shortly thereafter. FANNY called it quits and the story was over.
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Parliament (Up For The Down Stroke, Chocolate City)
Parliament (aka Funkadelic) was a funk, soul and rock music collective headed by George Clinton. Their style has been dubbed P-Funk. Collectively the group has existed under various names since the 1960s and has been known for top-notch musicianship, politically charged lyrics, outlandish concept albums and memorable live performances. They had a large cult following.
Parliament first recorded for Invictus Records in 1970, and after a hiatus in which Clinton focused on Funkadelic, Parliament was signed to Casablanca Records and released its debut album 'Up for the Down Stroke' in 1974 and a followup LP 'Chocolate City' in 1975. Notable members to join during this period include keyboardist Bernie Worrell, bassist Bootsy Collins, guitarist Garry Shider, and The Horny Horns.
They have been lauded as America's top purveyors of a kind of Soul Music that picks up where Sly leaves off. A reviewer said of a recent concert "The group must have hit those special notes that Sly discovered in "Dance To The Music" because the effect was just that, you had to move." Listen to their two albums on Casablanca "Up For The Down Stroke" and their brand new L.P "Chocolate City" and you'll agree.
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Hugh Masekela (The Boy's Din' It)
Hugh Masekela has an extensive jazz background and credentials, but has enjoyed major success as one of the earliest leaders in the world fusion mode. Masekela's vibrant trumpet and flugelhorn solos have been featured in pop, R&B, disco, Afropop and jazz contexts. He's had American and international hits, worked with bands around the world, and played with African, African-American, European and various American musicians during a stellar career. His style, especially on flugelhorn, is a charismatic blend of striking upper register lines, half valve effects, repetitive figures and phrases, with some note bending, slurs and tonal colors. Though he's often simplified his playing to fit into restrictive pop formulas, Masekela's capable of outstanding ballad and bebop work.
One of the Superstars and vital spokesmen in our society, has come up with an absolute blockbuster of an album for his debut on Casablanca records; with 'The Boy's Doin' It', Hugh has returned to his roots. Produced by himself and Stewart Levine, the album was recorded in Lagos, Nigeria using local musicians to capture the ethnic feel — and it works, full of primeval rhythm, it is a beautiful musical experience and can only enhance Hugh's standing as a leading musical innovator.
No other work during Hugh Masekela's long and fruitful career blended all of his interests -- jazz, funk, pop, Afrobeat, and R&B, plus a little Latin and a lot of disco -- into such an exciting mixture as 1975's The Boy's Doin' It, his first record for Casablanca. Influenced by Kool & the Gang as well as the growing tendency for Latin artists (like Joe Bataan) to cross over toward contemporary dance trends (and labels), Masekela recruited a few veterans from the Ghanian high life band Hedzoleh Soundz -- with whom he'd worked with on one album before. Recorded in Lagos, Nigeria and dedicated to Fela Kuti, The Boy's Doin' It has six extended jams, each of which does an excellent job of playing off deep grooves against ensemble vocals and catchy hooks, with plenty of room for Masekela's own trumpet and every note polished to a fine '70s sheen. It didn't matter what type of music fan you were: pop, disco, funk, world music, and any but the most hidebound jazz purist could get into these tracks.
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Gloria Scott (What Am I Gonna Do)
"I really love to sing hearty songs — songs I can live and experiences I can identify with." says Gloria. Gloria Scott's debut album on the Casablanca is full of such songs and the title track "What Am I Gonna Do?" captures the feel perfectly. A glorious Barry White production which is bound to launch Gloria into stardom where she belongs.
One of the greatest soul records of all time, and an album that we'd never part with! Gloria Scott only ever recorded this one full LP, but that's more than enough, as the whole thing's a masterpiece, produced by Barry White with the best of his 70s approach, and featuring songs written by lesser-known White protege, Tom Brock! Nearly every single cut's a classic, a mixture of deep soul, mellow soul, and slight traces of funk, all gliding effortlessly together with White's stone cold production, and Gloria's instantly captivating vocals.
For newcomers to the album, this album was released in 1974 in limited quantities on vinyl, and to date is vocalist Gloria Scott's only album (no one knows what happened to her either). As the only album she recorded, it failed within the US, but for some reason developed a cult following in Europe, and strangely enough, in Japan. In fact, the Japanese audience was sizable enough that the first ever CD release of this happened only within Japan.
So what does the music sound like - well, think of some old school Diana Ross, slowed down even more and layered with a luscious jazz and blues ambiance. Its stripped down, almost acoustic, and yet every track manages to sound different and unique. My personal favorite is "Its Better to have no Love" which best exemplifies the kind of superb songwriting that was present back in the 1970s. "A Case of too Much Lovemakin" was actually a minor R&B hit within the US in 1974 - but ask anyone who followed music back in that year about Gloria Scott and they'd go "Who?"
I love obscure, rare releases such as this one. Gloria Scott created an instant classic, and it holds up just beautifully. I'd suggest you get your hands on this as soon as possible. I think Mary J Blige possibly has this album though, as almost EVERY song on this album sounds like it could have inspired almost all of the best songs in Blige's catalog. Either way, this LP is a must-have.
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This post consists of a mp3 (320kps) rip taken from my vinyl which I acquired when it was first released - and yes, it was the inclusion of the relatively unknown band Kiss that drew my attention to the album. Full album artwork is included.
The remaining tracks never really excited me at the time but on reflection, there are some good Disco and Funk tracks on this record sampler also.
And so, in the infamous words of that well known actor who put the city of Casablanca on the map - Play It Again Sam !
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Track Listing
01 - I'll Be Coming Back (Greg Perry)
02 - Do Your Thing (Bobby & James Purify)
03 - Ride On (Parliament)
04 - Strutter (Kiss)
05 - Two Timer (Kiss)
06 - Beggar Man (Fanny)
07 - Testify (Parliament)
08 - Hot Down In Chile (Danny Cox)
09 - Too Much Love Makin' (Gloria Scott)
10 - The Boy's Doin' It (Hugh Masekela)
11 - Let Me Go Rock 'N' Roll (Kiss)
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The Casablanca Link (84Mb) New Link 24/10/2015
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