Casablanca - 1974
7.5/10
As stated on the review for Kiss, it’s the only album that really has no filler, doesn’t aim for anything specific, and is just a great reflection of heavy riffs of the time meeting their influences. So when Hotter Than Hell hit the scene later that same year, Kiss’s trend of “some are great, some are too fluffy” began. What it boils down to for each album is this; how much of it really is filler, and are the filler songs any good? The sophomore album is a good case study. While having some of the most doom-ridden numbers they ever created, there’s some slight awkwardness between that aim and the softer, power-pop oriented kicks.
That’s a lot, I know, and I find it easier to just break it down bit by bit for the majority of their ‘70s albums following the debut. Let’s first observe the heavier tracks. “Parasite” is always a great galloper that rides on speedy rhythms and deep distortions, giving way as a supplement to the slower “Watchin’ You,” “Hotter Than Hell,” and “Strange Ways.” All three of these channel the heavier energy of “Parasite,” yet, I’d struggle to call them all great. The title track is loads of fun, as corny as it is, but “Strange Ways” feels far too out-of-nowhere with no hooks, and even “Watchin’ You” is a bit on-the nose despite its stronger musician dynamics. It could be worse, but these two songs are a bit rough.
On the other hand, I feel like Hotter Than Hell has some spots that are great by accident. The ballad “Goin’ Blind,” despite being somber and easy, still has a hard bass punch with the same distorted lead guitars. I really hope Gene Simmons lives to 93 specifically because of this song (if you know you know). “Got To Choose” is another example, an opener that’s rather cheery, but still has that counteract of a crushing bottom with the Frehley-Simmons layering. Even “All The Way” is an obvious filler, yet unlike the album’s closer, it’s actually pretty fun. The main riff, used in the opening gets caught in my head all the damn time. More proto-doom, if you ask me.
This leaves us with the only songs that I think are not only good, but good on purpose (alongside with the aforementioned “Parasite”). First, “Let Me Go Rock ‘N Roll” is nearly a proto-speed metal charger that gets me amped every time, letting the drums shine sharper than ever. “Mainline” gives Peter Criss the vocals again, being a far better power-pop number than his other fronted “Strange Ways,” with some of the strongest poetic flow and neat toppings. And last but not least, my favorite song “Comin’ Home.” Nothing more than a pop tune with heavy flavors, and more poetic flow can be found here; that’s all I could really ask for. I recommend the unplugged version of this tune from the 1996 unplugged live album as well.
You have to hand it to a band that leaves so much to think about with so much air and such simple writing, for the most part. My conclusion? Hotter Than Hell is Paul and co. attempting something a bit more defined, but suffering from consistency shortcomings and slight awkwardness in the filler tunes. Thankfully, most of this is good, with only a few stinkers, but some of the good songs don’t seem like they were good for the right reasons. Worthwhile album, but an obvious step-down from the perfect debut. If nothing else, the primal charm, mostly from production, is still present.
No comments:
Post a Comment