KISS-SONIC BOOM Review
Usually when a band makes a conscious attempt to recapture the vibe of an earlier period, it’s typically with mixed results. They usually walk the line between original and derivative, or inspired and lazy. They can really recreate that magic or sound completely contrived. With the new KISS album Sonic Boom, they’ve managed to be both completely derivative AND inspired.
If you’re looking for something groundbreaking, completely original and something you’ve never heard before, this ain’t it. If you’ve never liked KISS, this album isn’t going to do a thing to change your mind. However, if you ARE a KISS fan this album is likely to be an answer to your prayers. KISS has gone back and evaluated what has been most KISS-like about the albums of the past. And they have taken all those elements and crammed them into one album. The running commentary from the band during the recording process is this is a throwback to the mid-70’s era of KISS, but this album really plants it’s flag in ‘80’s KISS though plenty of the ‘70’s and 90’s are both well represented.
This is unabashedly a KISS album. Big, dumb, loud arena rock and roll fun. No social commentary or attempts at being “relevant” here. Just big silly anthems about bad girls, good times, great sex and standing up for yourself. Lyrics are cheesy and simplistic in that classic KISS tradition and clichés abound, but if you’re buying a KISS album it’s not Shakespeare you’re after to begin with.
MODERN DAY DELILAH- Strong album opener and one of the best songs on the album. It’s Paul’s best song and also one of the strongest riffs. Surprisingly, for a KISS album, Sonic Boom is short on big memorable riffs. Most of the hooks on this album come from the vocal lines and choruses. It’s not a big, big deal but it is a bit disappointing the riffs are a bit on the anemic side. But this tune is the complete package: big riff, great vocal hooks and plenty of that Paul Stanley swagger.
RUSSIAN ROULETTE- Finally Gene remembers that we actually WANT to hear him play bass and we love it. His bass is front and center for this sleazy bit of classic ‘80’s Gene. For years, he’s delegated the bass playing to others during recording sessions and it’s a great pleasure to hear him finally step up to the plate again. The opening riff reminds me heavily of “Love’s A Deadly Weapon” on 1985’s Asylum album.
NEVER ENOUGH- Here’s where the derivative thing turns negative. The very first thing that screams to mind when the verse kicks in is Poison, as in the band Poison. This is 1980’s hair metal all the way. Paul is one of the most versatile writers in the band, in my opinion. He can write in any style he wants at will. Why he wanted to channel the Crazy Nights style (one of the fluffiest and poppiest albums in the KISS catalog) I’ll never know. Weakest song on the album for me.
YES I KNOW (NOBODY’S PERFECT) - When they talk of the ‘70’s vibe of the album, this is the tune they are talking about. This drips with that Rock and Roll Over/Love Gun sheen. One of the best Gene tracks. I hear shades of “Love’em and Leave’em” and “Mr. Speed” on this one.
STAND- Only KISS could get away with a chorus this big and syrupy. I could hear this one playing in a Disney movie. Yet as grandiose and overly dramatic as this tune is, it’s guaranteed to get every fist in the arena up in the air. This is what KISS is all about...getting fists into the air and singing along in spite of ourselves. Paul and Gene do the classic vocal trade off during the verses, always a welcome touch on a KISS album.
HOT AND COLD-When you combine hot and cold, you get lukewarm. And that’s how I feel about this Gene song.
ALL FOR THE GLORY- Another one of the strongest songs, this one sung by drummer Eric Singer. Singer has never been the weak link in anything he’s ever done and this album is no exception. His drumming is stellar and his lead vocal debut is impressive. KISS has always managed to hire drummers with great singing voices and Eric is a highlight on Sonic Boom. One of the most memorable songs here.Tommy Thayer quotes a few licks from “Parasite” and “C’mon and Love Me” during his solo.
DANGER US- A Paul tune, sounding like it could’ve come from the early ‘80’s Killers era.
I’M AN ANIMAL- The best Gene tune and a big highlight. The biggest, meatiest and heaviest riffs on the album are to be found here. Giant and lumbering in the grand tradition of “God of Thunder” “War Machine” and “Unholy”. A favorite.
WHEN LIGHTNING STRIKES- This is Tommy’s tune on the album. His voice is surprisingly strong and he really takes this one by the horns vocally. The song is very enjoyable with great energy, though I found the music to be a bit on the generic side..very AC/DC-ish .
On Tommy’s playing overall on the album: I’m not going to get into the whole Ace Frehley vs. Tommy controversy here...that’s for another time. I’m just going to judge what’s on the album by its own merits. I will say this: The ghost of the Original Spaceman looms HUGE in Tommy’s playing on this album... He didn’t just drink from the Frehley well, he fell in and drowned. At times, it’s almost as if they just cut and pasted together pieces of the original recordings of Ace’s classic solos. I mean, Ace was a big influence in Tommy’s youth, he played the part of Ace for years in the tribute band Cold Gin and then has played note for note renditions of Ace’s solos with the real KISS since 2003. So I imagine a lot (a WHOLE lot) of “Ace-isms” have melted into his own personal style. But like I said, this album isn’t about creating something brand new, but about re-creating a vibe. To that end, Tommy has done a great job. His playing isn’t very original, but it’s solid, consistent and fits the spirit of the album.
YEAH- Paul closes the album up strong. Another big ‘80’s riff with a big arena “let’s all sing it now” chorus.
Is this the greatest KISS album ever? No, it’s not. But it’s a very fun and enjoyable album that’s been long overdue. And I think that has a lot to do with how this album is being received. I’m very curious to know how this album will rank overall on KISS fan’s lists once the novelty of the first KISS album in 11 years has settled down. This may very well be the last album of original KISS music we’ll ever get and it’s a great way to cap off an illustrious career. It’s not THE definitive KISS album but it does justify that age-old rule of show business : leave ‘em smiling and leave ‘em wanting more. This album does just that.
