Welcome to Dissected, where we disassemble a band’s catalog, a director’s filmography, or some other critical pop-culture collection. It’s exact science by way of a few beers. This time, we follow the legendary career of KISS, from their 1974 self-titled debut to their most recent (and likely final) effort, 2012’s Monster.
KISS are one of the most successful rock bands — and brands — of all time.
Founded in New York City by Gene Simmons, Paul Stanley, Ace Frehley, and Peter Criss, KISS became a cultural phenomenon in the 1970s. Songs like “Rock and Roll All Nite” and “Detroit Rock City” would become perennial FM staples, but perhaps even more recognizable than the band’s music is its appearance.
The makeup will forever be KISS’ defining trait: the Starchild (Stanley), the Demon (Simmons), the Spaceman (Frehley), and the Catman (Criss). The band’s original lineup struck a shocking image, capturing the imagination of young fans at the time and befuddling their parents (who ended up buying the records for their kids nonetheless). As an example of this dichotomy, Criss claims that photographer Joel Brodsky wanted to put balloons behind the band during the photoshoot for the first KISS album cover, thinking the band were literal clowns.
Meanwhile, across the pond, young Norwegian children collected KISS trading cards despite having never heard the band’s music, attracted to the demonic makeup of Gene Simmons, which would become the primary influence for the corpse paint of black metal.
KISS’ massive commercial reach is one of the most remarkable feats in the history of the music industry. Not only did the band churn out album after album from 1972 on, but it toured relentlessly while making a point to hit smaller markets. As immortalized in the 1999 film Detroit Rock City, KISS shows were worth making a journey for, and the fact that the band would play podunk towns as well as big cities expanded the KISS Army tenfold.
Being the wise business men that they are, Simmons and Stanley parlayed the music with merchandising, with KISS action figures and collectibles becoming as ubiquitous as their records. Meanwhile, the band deftly surfed the rock trends of the times, always privy to what the masses were consuming. The band’s early Detroit-influenced hard glam rock led to disco metal, then to conceptual pieces like the unprecedented four “solo” albums experiment and Music From “The Elder”. Then, when hair metal took off in the 1980s, KISS went “unmasked” and took off the face paint for the MTV cameras.
But running a band as a business also took an interpersonal toll. Criss would exit KISS in 1980 (replaced by Eric Carr), and for various reasons that amount to a saga unto itself, Ace Frehley was no longer actively participating in the band by 1982, opening up a revolving door of guitarists (including Vinnie Vincent, Mark St. John, and Bruce Kulick). The original KISS lineup would eventually reunite in 1996 and stay together for several years, though the four piece would again fall apart by 2003.
Financial disputes, addictions, and personal disagreements are at the crux of the disconnect, which, as of now, remains unreconciled. KISS have just embarked on the final leg of their “End of the Road” farewell tour (tickets available here), Simmons and Stanley are joined by Tommy Thayer on guitar and Eric Singer on drums — this latter-era lineup being responsible for the band’s final two studio albums. Sadly, all signs point to Frehley and Criss not appearing during the final December 2023 gigs at Madison Square Garden.
We can only hope all parties can put aside their differences and make that final reunion happen. Because the career of KISS — one that has brought so much joy to so many fans on an international scale — is one worth celebrating, and everyone who’s donned the makeup has had a part in it.
So, as the end draws nigh, we decided to do some celebrating ourselves, exploring all of the different eras of KISS to rank the band’s 20 studio albums from worst to best (we’re not including the 1978 solo LPs released under the KISS banner). There’s certainly enough here to rock and roll all nite (and for at least a few days). See how our ranking panned out below.
–Jon Hadusek,
Senior Staff Writer
20. Carnival of Souls: The Final Sessions (1997)
Licking It Up (Analysis): Carnival of Souls: The Final Sessions, the band’s 17th studio LP, represents a striking departure from the classic KISS sound as they attempted to jump on the grunge bandwagon. It was released in 1997, which was a weird time for music in general. Earlier in the decade, grunge had unceremoniously bumped glam rock out of the spotlight. Apparently, it was as good a time as any for KISS to get experimental again (let’s not forget about 1979’s Dynasty). While KISS definitely has a signature sound, they were always a little more eager to try the genres of the day on for size than other rock artists like AC/DC… for better or worse.
From the very first notes of “Hate,” it’s evident that Carnival of Souls treads on unfamiliar ground. It awkwardly lands somewhere between Helmet and ’90s Anthrax in style exuding a gritty, dirge-like sound — in stark contrast to the glam and hard rock that had defined KISS in the past. Gene Simmons and Paul Stanley’s vocals are darker and angrier, and Bruce Kulick’s guitar work delves into more dissonant and aggressive tones. Lyrically, the album expresses themes of inner turmoil and anger, reflecting a more introspective approach. KISS without makeup or a sense of humor begs the question: Is it really even KISS?
Loving It Loud (Best Song): “Hate” features a brooding atmosphere with chugging guitar work by Kulick while Simmons’ grainy vocals and deep bass lines as “The Demon” blend with the darker sound. Simmons conveys a sense of inner conflict and anger as the lyrics expound about hate at the heart of man, and saints and sinners. It’s a little reminiscent of “Unholy” both lyrically and musically, which makes it more familiar territory for the band.
Skippin’ Time (Worst Song): Maybe it’s because Kulick is singing, maybe it’s the weird effects, but “I Walk Alone” just doesn’t feel anything like a KISS song. It’s true, most of this album comes out of left field, but this track is the worst offender. It’s a slow, mediocre, and cheesy pseudo-grunge song. Kulick certainly lends his expert lead guitar skills to the mix, which is the only thing keeping it going at all. – Colette Claire
Pick up Carnival of Souls here.
19. Hot in the Shade (1989)
Licking It Up: KISS’ 1980s output was a mixed bag for various reasons, with a couple of majorly strong efforts (Creatures of the Night and Lick It Up) coming in-between much less likable LPs (Music from “The Elder,” Animalize, Asylum, and Crazy Nights). Without question, the band capped off the decade with the worst of the bunch, Hot in the Shade.
Aside from the popularity of hard rock ballad “Forever” (co-written by Michael Bolton, which says a lot about where KISS were at creatively), Hot in the Shade didn’t fare well domestically or internationally. It was the final album with Eric Carr fully involved, too, since he died prior to 1992’s Revenge, and its bloated runtime and excessive amount of mediocre songs only poured more salt into the wound.
There’s barely anything here to get excited about, as the sequence is uninspired at best (“Rise to It,” “King of Hearts,” “The Street Giveth and the Street Taketh Away”) and excruciatingly corny and/or saccharine at worst (“Cadillac Dreams,” “Forever,” “Boomerang”). Most of the time, however, the songs simply blend together into an amorphous blob of desperate old-fashioned rock ‘n’ roll platitudes.
Sure, Hot in the Shade steered away from the keyboard-heavy focus of Crazy Nights, but it’s still a worse album.
Loving It Loud: None of the songs are particularly good, but if push comes to shove, “Rise to It” at least recaptures touches of vintage KISS’ infectious exuberance, sleek yet gutsy chants, and sweltering musicianship. Its deeply ingrained Southern rock coatings capture your attention as well, and the back-and-forth bridge (“I’ll give you fever/ Oh, I’ll give you chills/ Make you a believer/ Well, baby, baby, I’m going to break your will/ Yeah, yeah”) is fun.
Skippin’ Time: At the risk of sounding like a contrarian just for the sake of it, “Forever” truly is awful. It joins several other detestable ‘80s power ballads from previously kick-ass ’70s artists as a shamefully sugary ode. Essentially, Paul Stanley belts out romantic Hallmark poeticisms on top of overly produced and overwhelmingly trite playing. The acoustic guitar solo is decent, though. – Jordan Blum
Pick up Hot in the Shade here.
18. Crazy Nights (1987)
Licking It Up: More so than most KISS albums, Crazy Nights is the sound of the band unmistakably trying to keep pace with other ‘70s rockers who had remodeled their sound for the ‘80s – with a decidedly glossy sheen (namely, the integration of keyboards and a more pop-friendly production). Seeing/hearing what Ron Nevison had recently done for Heart (on their mega-hit self-titled album) and Ozzy Osbourne (The Ultimate Sin), KISS hired the veteran producer to try and replicate the same approach – in hopes of also scoring a blockbuster.
Crazy Nights certainly contains tunes that sounded perfect for mainstream rock radio circa 1987 – namely the anthemic “Crazy Crazy Nights” and the power ballad “Reason to Live.” And unlike previous attempts at softening their sound for the masses (namely Unmasked), Crazy Nights does feature some honest-to-goodness headbanger-friendly moments – especially “No No No.” But an obvious ploy to follow the likes of Bon Jovi, Mötley Crüe, and Whitesnake up the charts rather than dealing out some true heavy metal thunder ultimately makes Crazy Nights a disappointment. Interestingly, while the LP barely cracked the Top 20 of the US album charts (No. 18), it nearly topped the UK album tally (No. 4).
Loving It Loud: KISS always had a knack for penning rock anthems – “Rock and Roll All Nite,” “Shout It Out Loud,” “I Love It Loud,” etc. And on this album, they offered up another party-hearty tune with a custom-made sing-along chorus, “Crazy Crazy Nights” (notice the extra “Crazy” in the song’s title). Penned by Paul Stanley and songwriter-for-hire Adam Mitchell, the tune would also serve as KISS’ first-ever true hit chart single in the UK, also peaking at No. 4 like the album.
Skippin’ Time: The lyrically atrocious “Bang Bang You” could have easily received this unwanted award, but instead, let’s go with the oft-overlooked (for good reason) “My Way.” In case you were wondering, this was not a cover of the Frank Sinatra classic… which would have probably proven to be a better listen than this far-too-keyboard-sweetened turkey of a tune. In fact, this best-forgotten ditty probably would have fit better in a triumphant scene in either Stayin’ Alive or Fame rather than on a KISS LP. – Greg Prato
Pick up Crazy Nights here.
17. Monster (2012)
Licking It Up: Monster stands as KISS’ last studio album and a proverbial victory lap for one of the most successful rock acts of all-time. There wasn’t any reason for the band to take any risks at this point, nor did they. Rather, it’s a competent — if extremely safe — document of what is the final KISS touring lineup of Paul Stanley, Gene Simmons, guitarist Tommy Thayer, and drummer Eric Singer.
What hurts the album the most is its glaring stylistic similarities to 2009’s Sonic Boom. The songwriting was a tad sharper and more memorable on that LP — the first album recorded with both Thayer and Singer — and much of Monster comes off as a retread. Even Simmons admitted to it being more of the same. “Meat and potatoes,” he said of the album’s sound in a 2011 interview before comparing the band’s “consistency of message” to Santa Claus. “He’s not going to change his outfit and you know what you’re going to get: gifts.”
In a way, KISS have always operated with a keen sense of self-awareness that’s usually rooted in savvy business practices. There was no need to throw curveballs on their last album, as it certainly wouldn’t have pleased the band’s most dedicated fans (undoubtedly the target audience for this 20th effort). “Hell or Hallelujah,” “Long Way Down,” “All for the Love of Rock & Roll” — as cookie-cutter-KISS as these songs may be, they satisfied the reasonable, low-bar expectations that were in place at this juncture in the group’s career.
Loving It Loud: “Hell of Hallelujah” made sense as the album opener and lead single. Behind a beefy riff and soloing from Thayer, the Paul Stanley cut goes directly for the classic KISS sound and serves to remind listeners that Monster is just that: good ol’ fashioned hard rock n’ roll — “No Ballads,” as the CD hype sticker proudly declared. This song is a bit more brash and memorable than the others on the tracklist (“Back to the Stone Age” comes in a close second for its old-school Detroit-rock edge, a la MC5).
Skippin’ Time: Monster is almost purposefully derivative, but it’s also a pretty consistent offering all things considered. Just KISS being KISS; no surprises, no soft rock. However, Tommy Thayer’s one-off track “Outta This World” — on which he takes lead vocals — is among the weaker moments. While it follows in the KISS tradition of the guitarist contributing a song (Ace Frehley set a high benchmark in that regard), Thayer’s axework shines as usual, but his vocals and lyrics here — “You and me we’re like TNT/Light the fuse that’s inside of me” — sound more like someone impersonating KISS. – Jon Hadusek
Pick up Monster here.
16. Psycho Circus (1998)
Licking It Up: On Psycho Circus, KISS tried to have it many different ways at the same time. They tried desperately to keep up with the shifting tides in rock music by incorporating elements of psych-grunge and doom metal into the mix. And they tried to pay heed to their past triumphs with songs that skirted the edge of glam and swung between their twin poles of lust and rock. Almost none of it works. Their homage to their own vaunted past “You Wanted the Best” came off as a dull rewrite of their ’70s hits, and “I Pledge Allegiance to the State of Rock & Roll” is as goofy and groaningly awkward as its title.
Not helping matters is the inconsistency in messaging as this was supposed to be the group’s triumphant return to their full makeup look and original lineup. But, as they would be from here on out, guitarist Ace Frehley and drummer Peter Criss were given secondary status, playing on just a few songs. KISS couldn’t seem to find their footing within the contemporary rock landscape even as they were name-checked by the young guns and they kept selling their old records and new merch. That erratic, unsure state bled right into the music, turning what should have been a thrill ride into a house of horrors.
Loving It Loud: With such a low bar to clear, even the most minor of victories on Psycho Circus feel like world record crushing triumphs. “Raise Your Glasses” is that song. It’s a defiant anthem in the mode of Rush’s “Working Man” and Twisted Sister’s “We’re Not Gonna Take It” but shot through the filter of KISS’s sex god strut and cocksure attitude. An odd combination that Paul Stanley somehow makes fit together like a key in a lock.
Skippin’ Time: : Since 1976, KISS had been chasing the success of their highest-charting single “Beth.” They missed the mark every single time. Trying to replicate the formula on this album with “I Finally Found My Way” only brings more harm than good. Poor Peter Criss simply can’t hit the high notes that he once did and the music is simply wretched, a sound best relegated to crappy albums by televangelists instead of completely sinking what was already a wobbly album. – Robert Ham
Pick up Psycho Circus here.
15. Sonic Boom (2009)
Licking It Up: The first KISS album in 11 years at the time, the band’s 19th effort Sonic Boom proved that the band still had some firepower left in its arsenal. The LP features straight-ahead rock tunes that blend memorable melodies with solid riffage from lead guitarist Tommy Thayer, not to mention the driving rhythm section courtesy of Eric Singer and Gene Simmons. The album’s hard-hitting and energetic sound harkened back to the band’s ’70s heyday with tracks like “Russian Roulette,” “I’m an Animal,” and “Say Yeah.”
Sonic Boom didn’t reinvent the wheel, but after 18 albums, it really shouldn’t have to. The apparent power, energy, and unapologetic attitude made it clear that KISS could still deliver the goods. Indeed, fans were hungry after 10-plus years for a return to form. Thus, Sonic Boom stands as a testament to the enduring legacy of one of rock n’ roll’s most iconic bands and a reminder that KISS were very much alive and well even in 2009, when pop, indie rock, and hip-hop ruled the day.
Loving It Loud: “Modern Day Delilah” serves as the opening statement of the album, and it’s a powerful one. It could have just as easily been written in 1989 rather than 2009, and this only lends to its credibility as a true KISS song that should appear on any quintessential KISS playlist. It features Stanley’s signature smooth but raspy vocals and a catchy, hard-rocking riff at the opening, not to mention a killer lead guitar solo by Thayer.
Skippin’ Time: In keeping with the ’80s vibe of this record, KISS felt the need to throw in a cheesy, uplifting, mid-paced power ballad — in this case, the song “Stand.” While the positive vibe is nice and the guitar solo is just as killer as all the rest on this album, the chorus is kinda weak both musically and lyrically. This part of the ’80s very much should’ve stayed in that decade. – C. Claire
Pick up Sonic Boom here.
14. Unmasked (1980)
Licking It Up: Despite largely abandoning the disco flavor of its predecessor, Unmasked saw KISS doubling down on Dynasty’s AOR/pop-rock trajectory (thanks to producer/multi-instrumentalist/co-songwriter Vini Poncia). Actually, Paul Stanley famously confessed, “We lost some edge, and we lost our balls on [Dynasty] and Unmasked.” Likewise, Gene Simmons told Kerrang! in 1993: “It’s a shitty album. I’d be ashamed to play it for [my mother] or anybody else!”
That distinction, coupled with the fact that Anton Fig had fully taken the reins on drums (although Peter Criss is credited and pictured on the fittingly lighthearted cover), meant that Unmasked pushed KISS further away from their classic identity. It’s no surprise, then, that it was a commercial and critical disappointment in the United States.
Taken for what it is, however, the album has some solid hooks (“What Makes the World Go ‘Round?” and “Is That You?”) and vibrantly sophisticated arrangements (“Naked City,” “Torpedo Girl,” “Two Sides of the Coin”). As much as they might be the antithesis of hard rock and heavy metal, there are plenty of tight and pleasant harmonies strewn throughout the roughly 40-minute runtime, too.
Clearly, Unmasked is far from KISS’ best record, but it’s also far from their worst, and overall, it’s rightly been reassessed as somewhat underappreciated in recent years.
Loving It Loud: Naysayers be damned, “Naked City” is a highlight of Unmasked and KISS’ whole catalog. Melding intense guitar licks, bouncy rhythms (including melodic bass lines), glossy production, and warm yet haunting singing, it’s sinister, mournful, and bright. Even the lyrics are compellingly vivid and dramatic, so every element adds to what’s undoubtedly among KISS’ most mature and adventurous compositions. No one expected them to evoke Badfinger and Blue Öyster Cult, yet here we are.
Skippin’ Time: The early Beach Boys-esque spirit of “Torpedo Girl” makes it the strangest part of Unmasked, but “She’s So European” is easily the most embarrassingly adolescent and dumb. The title and chorus are downright cringe-worthy, and the central concept seems written from the perspective of a pre-teen boy fantasizing about a mysterious woman in a 1980s raunchy/coming-of-age romantic comedy. Frankly, its overwhelming lameness and lowest-common-denominator artistry means that it’s borderline unlistenable. – J. Blum
Pick up Unmasked here.
13. Animalize (1984)
Licking It Up: In Paul Stanley’s autobiography, Face the Music, he points to this era in which Gene Simmons was more preoccupied with other projects rather than truly fulfilling his KISS duties. As a result, his musical contributions were often below par, and it was Stanley who was forced to primarily “steer the ship.” And this started becoming evident with Animalize – the first-ever KISS LP to list the former Starchild as its sole producer.
While not as consistent as its two predecessors (Creatures of the Night and Lick It Up), Animalize did continue to further signify KISS’ comeback from the depths of the early ‘80s – spawning one certified KISS klassic, “Heaven’s on Fire,” as well as some of their heaviest non-make-up era compositions, “I’ve Had Enough (Into the Fire)” and “Under the Gun.”
Also, Animalize would serve as the one-and-only KISS album to feature guitarist Mark St. John, whose fleet-fingered shred skills were on display throughout. Additionally, Animalize signaled the first appearance of Bruce Kulick on a KISS album (on the tunes “Lonely Is the Hunter” and “Murder in High-Heels”) – albeit only as a session guitarist at this point. However, points absolutely have to be deducted due to the album cover shot being one of the most unimaginative and drab of KISS’ entire career.
Loving It Loud: MTV had snuggled up to KISS with their “Lick It Up” clip, and the love affair continued with the best track off Animalize, the Paul Stanley/Desmond Child collaboration “Heaven’s on Fire” (whose video combined scenes from what appears to be a party that borders on an orgy, along with clips of the band miming the tune on a stage). And even (gasp!) a death-defying closing scene that needs to be seen to be believed.
Skippin’ Time: As we will discuss in greater detail in a few entries, Gene Simmons was guilty of a few blatantly misogynistic tunes over the years – as detected by certain song titles or within song lyrics. And “Burn Bitch Burn” best represents the bottom of the barrel on Animalize. Although that said, Mr. Simmons should be given special credit for somehow out-Tapping Spinal Tap with the immortal phrase, “Oh babe, I want to put my log in your fireplace.” – G. Prato
Pick up Animalize here.
12. Asylum (1985)
Licking It Up: KISS adapted surprisingly well to the mainstream hard-rock trends of the 1980s, shedding their makeup and embracing the hair revolution with open arms. Their penchant for sexual innuendos and chunky, stadium-ready rock essentially laid the groundwork for glam metal in the decade prior, so it was a natural progression. However, the absence of a steady guitarist and a growing malaise in the songwriting department had become an albatross for the band by the time Asylum arrived in 1985.
Even the return of hair-metal song wizard Desmond Child — credited with co-writing five numbers following his contributions on Animalize — couldn’t conjure enough magic to bring the album up to the quality of Creatures of the Night or even Lick It Up. Only Paul Stanley’s hook-centric “Tears Are Falling” was released as a single, subsequently becoming an MTV hit, relegating the rest of the tracklist to deep-cut status in the vast KISS discography. That said, it’s worth noting that the guitar work of Bruce Kulick — playing on his first KISS album as a full-time member of the band — is outstanding throughout, almost to the point of upstaging the rather rote performances of his bandmates.
Loving It Loud: “Tears Are Falling” is admittedly catchy as all hell, even if the song is mostly just the hook on repeat (plus a sick shred solo from Kulick). That’s kinda what ’80s glam-metal was all about, and the song has the added benefit of being a shot of nostalgia for the MTV era.
Skippin’ Time: What’s up with all the cliches on this record? “King of the Mountain”… “Trial by Fire” … “Any Way You Slice It.” The last is the worst of the bunch, with the titular cliche delivered in a hammy way by Simmons in the chorus, such that the melody falls flat. Kulick does rip off a vicious solo, briefly injecting life into this husk of a song. – J. Hadusek
Pick up Asylum here.
11. Music From “The Elder” (1981)
Licking It Up: Music From “The Elder” was the height of creative hubris for KISS, and it came many years too late. Realizing how far their star had fallen in the US and dealing with a lot of internal drama, the band tried to shake things up by bringing Bob Ezrin in to develop a sci-fi / fantasy concept album that they could use as the soundtrack to a feature film. My Bodyguard star Chris Makepeace was conscripted to play the lead and a script was in the works before the whole project fell apart. The album, however, kept moving forward as KISS made a big swing for fences thematically and musically.
To call the album flawed may be generous, but there’s something to be said for the ambition of the group. When they found the sweet spot, they hit it firm and true. Even removed from the rough storyline that Gene Simmons concocted, “The Oath” and “World Without Heroes” (which included surprising co-writing credit by Lou Reed) are fantastic widescreen rockers and the instrumental “Escape From the Island” should have been the soundtrack to an action montage by now. Those strong moments are not nearly enough to keep this album fully afloat nor send it to the higher reaches of a list like this, but it would be foolish to dismiss it out of hand as a complete boondoggle.
Loving It Loud: The lyrics are pure Frank Frazetta fantasy tropes of swords and flames and glory, but the music for “The Oath” is triumphal and epic in the manner of titanic prog-metal groups like Iron Maiden and Running Wild. On its own, an odd turn for a band who preached the gospel of rocking and partying, but it works perfectly in the mix of a concept album about a grand battle between good and evil.
Skippin’ Time: The Elder was never going to work because there was no real conviction behind the story or the music. The band was playing a version of a Rush-like epic. Nowhere is this more evident than on “Odyssey,” an embarrassment that attempts to push the storyline along but grinds the proceedings to a halt simply because Paul Stanley can’t make lines like “On beams of neon light / You and I in winged flight” sound anything close to sincere. – R. Ham
Pick up Music From “The Elder” here.
10. Revenge (1992)
Licking It Up: KISS showed no signs of slowing down and growing old gracefully on Revenge, which marked the debut of drummer Eric Singer following Eric Carr’s death in November 1991.
While it wasn’t the return of the old-school KISS in full makeup, Revenge was still a welcome change for fans. A thunderous sonic storm, the album embraced a heavier, more aggressive sound than some of their previous efforts. Simmons’ snarling vocals on “Unholy” and Stanley’s soaring melodies on songs like “Take It Off” set the tone for an album that’s equally fierce and melodic. On “Take It Off,” Stanley’s charismatic delivery drives the song’s chorus along with an energetic rhythm, making it a standout on the album. Hard-rocking gem “Domino” is also notable with its infectious riffs and hooky chorus, exemplifying KISS’ ability to craft straightforward, no-frills rockers.
It is KISS, so of course there also had to be a hit ballad among all this heaviness. Their cover of the 1971 Argent song “God Gave Rock ‘n’ Roll to You” — or “God Gave Rock ‘n’ Roll to You II” as KISS dubbed it — was originally recorded for the soundtrack to Bill & Ted’s Bogus Journey but, luckily, it also made it onto Revenge. The band made this track their own while adding it to their stable of live hits.
Loving It Loud: “Unholy” immediately grabs you by the throat with Simmons’ menacing lead vocals and thundering bass lines, punctuated by the chugging guitar riffs and a dark, aggressive overall vibe, make “Unholy” one of the heaviest of the entire KISS catalog. This may seem like blasphemy, pun completely intended, to some KISS fans to not put “God Gave Rock ‘n’ Roll to You II” as the best song, but, technically, it is not a KISS song and fans of KISS’ heavier side will agree that “Unholy” is the superior track.
Skippin’ Time: While a sweet, acoustic driven ballad isn’t much of a deviation for KISS, “Every time I Look at You” feels out of place on this album especially with “God Gave Rock ‘n’ Roll to You II” being the clearly superior ballad. It’s an obvious attempt to garner a chart topper power ballad and it is reminiscent of a lot of similar songs that were popular at the time. Taken by itself, or maybe even released by another artist, it is an okay song, but it just doesn’t fit into the overall vibe of Revenge. – C. Claire
Pick up Revenge here.
