#lick it up

[newblvotg]

[bobcronkphotography]

I Love It Loud

MiniKISS rocking it hard in Newport, Oregon.

Bob Cronk

[masterworm]

You want to polish my Boots darling?

Lick them and rub yourself against them? You want that don't you?

[angelbambisworld]

Gene...Baby...Pookie bear...Sweetheart...No. Just no.

[vvikissmars]

My love>>

[spacedoutman]

•❀.•❤•.¸✿Girlboss super slayy✿¸.•❤•.❀•

✎ (❁ᴗ͈ˬᴗ͈) ༉‧ ♡*.✧

[vintage-tech]

See, I remember when KISS Meets The Phantom Of The Park was broadcast on TV in 1978. Especially how I was not allowed to watch it because I was "grounded" from the television that night... a trumped-up charge because my family didn't want to watch it. Sure, I could have bought this and finally seen it, but I did not do that.

The Wikipedia page says that for years after this came out, the band would not allow anyone who worked for them to mention it.

[rolandrockover]

Kiss & Metallica Pt. 1 of 5 - The Thing That Should Not Be For the Innocent

Today we're turning the tables and taking a look at a song by someone else that might have been inspired by our favorite band for a change.

And as it's not hard to guess, Metallica's The Thing That Should Not Be from Master of Puppets (1986) and Kiss' Not For the Innocent from Lick It Up (1983) are on the agenda for today. So beware, dear conservative friends of Rock & Metal facts carved in stone, some of you might not enjoy this. Just put your dusty manuals aside for a moment and open your ears, and maybe also better your mind, and I for my part will do what I can.

And just to lay the cards on the table, I'd like to say with an experienced ear and a firm will that Hetfield, Ulrich or Hammett must have used Not For the Innocent's intro and verses as well as its fundamental atmosphere as a blueprint for The Thing That Should Not Be (1).

Just listen to Metallica's psychedelic Swamp Blues loop intro, dripping and oozing with ominous negative energy, like a harbinger just before a real disaster breaks out in order to unfold relentlessly. Once you recognize the emotional aspect of it, you can easily say pretty much the same about Kiss' version of this theme, albeit far more minimalist musically, but always punctual and stingingly accurate with their deliberate evil premonition before some really bad dudes show up that nobody can do anything about.

Furthermore, I would like to point out that I see here less a rip-off or a swipe, at least not an unrestrainedly obvious one as Stanley and Simmons have often and only too gladly demonstrated, but rather an exaggeration of a comparatively simple scheme that concentrates on its own excesses.

So if Kiss have always been comfortable with the comparison to Elvis on steroids, then in this case Metallica could easily be seen as something like Kiss being exposed to an atomic bomb explosion and then mutating into a grotesquely muscular super monster. And that's only in relation, because the similarities I'm referring to have little to do with melodies or lyrical content, but mainly structure and mood, where one still remains fairly unmistakably the product of the other.

Whatever, those who have been exposed to this comparison in the past have generally reacted in a very polarizing way, to put it mildly. There were those who jumped on it and couldn't ignore the parallels thereafter, and the others, well, I can still hear their booing and crying. You know, the people using their ears usually heard it, the ones with an attitude much less so. And in my experience, these were usually the Metallica fans who strictly adhered to those rules, which include (among presumably many others), that Metallica are just not the biggest Kiss fans in the world (rule no. 13, article 1, § 3). And whatever else (2), but in this respect, they hardly differ in any way from most of the Kiss-obsessed.

I mean, you don't have to necessarily be someone's biggest fan to recognize something in their music to make use out of it, do you? As if it was a shame.

Maybe I'll even turn it into a six-parter, who knows?

Side Note:

(1) Oh, there was a highly sensitive reaction to this one, and it was torpedoed for all it was worth by precisely those who were expected to do so.

(2) Other discrepancies related for example to James Hetfield's Lovecraftesque lyrics and having nothing at all to do with Kiss, but in my opinion that's also just as flimsy, as if one would accuse a retelling of a story or a reinterpretation of a painting of using different words and different colors without addressing the content. And oh, there was more, but what can you do about it?

The Thing That Should Not Be (1986)

Not For the Innocent (1983)

[heavymetal]

Released today back in 1983..

Lick It Up is the eleventh studio album by American rock band Kiss. Before its 1983 release, the band members appeared on MTV without their trademark make-up. It was the first public appearance without make-up by the band, and their first for Mercury Records, where they had been signed following their departure from Casablanca Records. The album was certified platinum by the RIAA for selling over a million units in the US.

[newblvotg]

[loveherallican-blog]

"Lick It Up Live 4K" - Kiss Rocks Vegas

[yourwetdream605]

[krumpkin]

Kiss - Formed In New York City In 1973 By Paul Stanley, Gene Simmons, Ace Frehley And Peter Kriss 😁

Here's a couple of tracks I like , enjoy 😎

[rock-and-roll-hell]

March 3, 1984

Lick It Up Tour

Tower Theater ‐ Upper Darby (Philadelphia), Pennsylvania

[animalb0y]

Kiss, 1983.

[rolandrockover]

On the Wall

A Gene double feature.

In case you were expecting to read something about riff rip-offs, melody borrowings or swipes of whatever kind here, you've come to the wrong place, because today it's all just about feelings, and not much more than… feelings.

I mean, emotions should never be underestimated or given too little importance, because they form the undeniable essence of our being as we all know, and beyond that inextricably linked to our physical health, so why not listen to them from time to time?

And while we're at it, why don't we just give heed to this very specific feel in Gene's vocals that I've picked up in two songs from two quite unrelated Kiss albums that have a very specific degree of kinship. And so that you can all empathize diligently, I should probably reveal I'm talking about And on the 8th Day from Lick It Up (1983) and Monster's (2012) Wall of Sound the whole time, and what better way to do that than with another colorful little story.

And in addition, I feel a little bit in that end-time mood that you know from Lick It Up's desolate stylized music videos; where sporadic flames blaze from every other corner, and the visibly heated air is interwoven and permeated by glowing sparks, and the one or other skull adorns the sidewalk.

It is precisely this setting in the first place that lends Gene's rumbling growl in And the 8th Day's verses their full raison d'être. Both elements together convey to me the vibrant impression of a reinvigorated veteran and contemporary witness to a bygone era that has risen to legendary status, reciting the saga from the final chapter of the book Genesis of Rock first-hand and with a raised fist, just before he heads back to the battlefield.

The transitions to the chorus of Wall of Sound, on the other hand, feel a little like great-uncle Gene narrating, indulging in his own nostalgia and elevating it to a cozy, fondly remembered epic. The stories and the emotions he conveys are one and the same, just from a different, mellowed perspective passed on to a post-post whenever generation.

Now you are free to decide which of the two you prefer to listen to. Gene the matured and battle-hardened warrior who couldn't always win every battle, or Gene the good-natured grampa in front of the fireplace, who tells the kiddies sitting around him how wild things used to be.

For my part, I enjoy listening to both of them from time to time.

By the way, the highlighted links do not come out of the ashes, but from me:

And on the 8th Day (1983)

Wall of Sound (2012)