5: "Let Me Know" by Kiss (from the 1974 album Kiss) lyrics
It might have been in the spring of 1984 that I got my first Kiss albums on vinyl, courtesy of one of my older brother's friends. For several months, I had been playing and re-playing the same handful of songs that some classmates had taped for me off selected sides of the Alive! and Alive II double-albums. Those tapes were pretty much all I listened to for quite a while back then. When my brother's friend heard that I had become a Kiss fan, he offered his old LP's to me, telling me that he had planned on throwing them out anyway. I still remember the day he brought them over. If I recall correctly, he wrapped them up in brown paper and included a handwritten note to me about "carrying on the tradition" or something like that. When I unwrapped the package, I found Double Platinum, Destroyer and the eponymous first album Kiss. It was a good haul, for sure. I had heard a few of the songs from the scraps of the Alive albums I had on tape, but I was really looking forward to hearing the rest of the material right off the LPs. Up to that point, I had spent a lot of time in record stores at the mall, staring at Kiss album covers and wondering what the songs on those albums sounded like, but now thanks to my brother's friend, I would get to experience the albums for myself. Incidentally, I recently learned that my brother's former pal is now some kind of evangelical minister. Wow.
Kiss is just a fantastic album and in a lot of ways, I think I liked it so much when I was younger because it was just so different from what I had heard from the band up to that point. The album has an unusually heavy and dark glam sound with some pretty prominent elements of late 1960's and early 1970's pop. In my opinion, there isn't a single bad song on the whole album. Even "Love Theme from Kiss" rocks. But as much as I liked the album as a whole years ago, a couple of the songs would become all-time favorites as time went on. "Let Me Know" was one of those songs. I'm not really sure what Paul was shooting for when he wrote this particular tune. I know that both Gene and Paul have referred to themselves as "frustrated Beatles fans" on a number of occasions and I think this kind of shines through in the "catchy" feel of "Let Me Know." One of the great things about the track is that Paul and Gene share lead vocals on this one, so it isn't easily pegged as a "Gene Song" or a "Paul song." The song has some great, classic "Ace" solos and ends with what I think of as one of the best codas in rock.
I used to listen to this song over and over again when I was 10 or 11 years old and I would imagine that I was in a Kiss cover band (I actually thought that I had created the concept of a Kiss cover band back then). One of the songs I imagined my "band" playing was "Let Me Know" and I had the whole video for the song figured out in my mind. To this day, I still picture those scenes I dreamed up every time I hear the song.
4: "The Ocean" by Led Zeppelin (from the 1973 album Houses of the Holy) lyrics
I am guessing that I got Houses of the Holy on vinyl around the summer of 1989 or so. I was working at a fast food restaurant and there was a record store down the street that I would visit on breaks and after work. I think Houses of the Holy was probably one of the last Zeppelin albums that I bought and I put it off for as long as I could because I figured my parents would be upset about the album cover. I really don't think it ever became an issue, though.
I had mixed feelings about some of the songs on Houses of the Holy. I was already well-acquainted with many of the songs on the album, mostly because I had listened to the soundtrack for The Song Remains the Same and watched the film version of the performance so many times. To me, the studio tracks from Houses of the Holy just didn't rock as hard as the respective live versions from The Song Remains the Same. Of course, D'yer Ma'ker had received a lot of local airplay as part of the "Get the Led Out" blocks that were featured on Dayton's WTUE back in the late '80s/early '90s and that song was a favorite of mine for quite a while. But "The Ocean" was kind of like a "new" song to me when I finally picked up Houses of the Holy. John Bonham's weird "rap" at the beginning of the track caught my interest early on and I think that intro kind of fueled my appreciation for the song, because I always turned the stereo volume up really loud to hear the rap and then when the main riff kicked in, it was all just too good to turn down. The hard, driving riff of "The Ocean" is, in my opinion, one of the best and most underrated guitar riffs of all time. It's really something of a surprise that I haven't heard a lot of accomplished rock and metal guitarists cite this song as one of the "greats." The rhythm section meshes unbelievably well with the riff throughout the song and Robert Plant's vocals are simply amazing, including his vocalizing throughout the song's huge and multifaceted second guitar solo. The second guitar solo is, by the way, one of my absolute favorite solos of all time. It is without a doubt some of Jimmy Page's best work. (For a long time, I had always thought of this piece as incredibly complicated until I recently came upon a nifty YouTube tutorial that shows how to play the main solo. It really impressed me to see someone play this solo so effortlessly.) I remember reading something about the production of "The Ocean" – possibly in Hammer of the Gods – which portrayed the production of the song as needlessly excessive and over-the-top. To me, there's nothing terribly flashy or pretentious about the song. In my opinion, "The Ocean" is just a perfect song in every respect.
3: "The Unwelcome Guest" by Billy Bragg and Wilco (from the 1998 album Mermaid Avenue) lyrics
As I mentioned earlier, I absolutely love the Mermaid Avenue albums. I have felt a strong connection to the albums since I first heard them back in 2001 or so. I heard the first volume shortly after a trip to San Francisco and I remember how "California Stars" really struck a chord with me because Thomai and I had enjoyed such a wonderful time there. I played the album quite a bit and I was really impressed with the entire album as a complete work for a while. But as my political awareness and world view began to change, I felt particularly drawn to Woody Guthrie's sentiments in "The Unwelcome Guest."
The song took on a new meaning for me in 2004. My friend Bert passed away in August of that year and his wife put together a very nice and simple memorial gathering. The gathering occurred at a funeral home instead of a church and the "ceremony" was largely secular in nature, with little to no discussion of religion and the like. Instead, people just took turns telling funny and happy stories about Bert. In between segments, Bert's wife would play some of his favorite songs. I remember leaving the service and thinking a lot about things – as one might tend to do after a funeral service – and I started thinking about what song I would want to be played at my funeral. (Oddly enough, this is exactly the kind of topic that Bert and my other friends and I would discuss over lunch back in the good old days.) It wasn't long before I came up with "The Unwelcome Guest" as my "funeral song." It is an emotionally powerful song and I hope that when I'm gone, the people I know and love might hear this song and think fondly of me. I think of Joe Strummer's rendition of "Silver and Gold" in a very similar way.
2: "Dazed and Confused" by Led Zeppelin (from the 1969 album Led Zeppelin) lyrics
Led Zeppelin, kind of like Houses of the Holy, was one of the last Zeppelin albums that I added to my collection. I think I got Led Zeppelin as a used LP by 1989 or so. I really wanted a complete collection of Zeppelin albums on vinyl, as I preferred LPs to cassettes back then. I can't really remember why it took me so long to buy the LP other than the fact that maybe I wasn't that familiar with a lot of the songs on the album because the local classic rock station didn't play many cuts from that particular album very much up to that point. Now, I had already heard the live version of "Dazed and Confused" on the soundtrack for The Song Remains the Same and I was pretty well enamored with Jimmy Page's use of the violin bow in the solo. The half-hour live version of the song was monolithic and fabulous in its own right, but I found the original studio version to be stunningly hard-hitting. It quickly became one of my all-time favorites. In fact, I used to "count down" my favorite songs of the week every Friday night during my early high school years. I would write the titles of 10 or 20 of my favorites in descending order and play them all back to back. It sounds weird, but it passed the time when I was a lonely 15 year-old.
Robert Plant's soulful vocals are angry and bluesy at the same time as they lapse into Page's winding and dreamy solo. The violin bow is also present, but with a slightly different sound (probably because the original version was performed with a Telecaster – I think – and what sounds like some heavy fuzz whereas the performance on The Song Remains the Same features a Les Paul and what sounds like comparatively minimal distortion). In any case, the solo captures a very distinct and innovative "early Page" guitar sound that includes hints of the "vintage" sound of edgy, pre-metal rock. There are some wild twists and turns to the solo, including a positively blinding stretch of licks before the band snaps into the riff to bring the song full circle. It's really a phenomenal accomplishment in sound.
1: "Black Diamond" (Live) by Kiss (from the 1975 album Alive!) lyrics
Well, this is it. Back when I made my original "20 Favorites" compilation in 2002, "Black Diamond" was my number one favorite. The truth is that this has been my absolute favorite song for many, many years. I have previously mentioned that my first Kiss tapes were collections of songs from selected sides of Alive! and Alive II. A friend of mine had an older brother who had these albums as LPs, and after some prodding and begging from me, I eventually ended up with side three of Alive II (minus "I Want You," for some reason) A short time later, I was able to cajole some selections from Alive! off the same guy. The Alive! tape included all of side one of the LP and just half of side three. Side three cut out about halfway through "100,000 Years," right in the middle of Paul working the crowd after Peter's long drum solo. For years and years, I wanted to hear the rest of the Alive! album but I could never really find anyone else who had a copy to share. I really liked the studio versions of "Black Diamond" from the Kiss and Double Platinum LPs, but I was curious about how this great song would sound live, especially as part of the monumental Alive! album. It would be years before I got to hear it, but it was well worth the wait.
My folks weren't so hot on Kiss, so when I was a kid, I did not have the opportunity to buy albums directly from record stores. By the time I reached high school, I was pretty crazy about Kiss and I was able to hook up with folks who would loan me their albums so I could tape record them. One time, a guy loaned me The Originals (a triple LP re-release of the first three Kiss albums), Love Gun and Alive II and I taped most of them over the course of a day or so. It was like scoring an instant record collection. Also around this time, I came upon folks who were actually willing to sell me their Kiss LPs and that was absolutely a big deal. This was before I ever landed a part-time job, but I did have a small amount of cash that I had been squirreling away for years and years and the Kiss albums seemed like the best way to spend it. But it was kind of like buying stuff on the black market because prices were high and sellers weren't interested in negotiating. I ended up with some good stuff. One girl even gave me her copy of Dynasty, complete with the original poster intact and that was pretty darn cool. Then again there were jerks like the guy who wanted $25 or $30 for a beaten up copy of Kiss (which I already had anyway) and a 45 of "Lick it Up." He thought for sure that I would pay and he was pretty pissed when I turned him down. I think that in the course of a few months, I had paid around $40 for my entire collection of Kiss LPs, which was almost the entire wad of cash that I had been hoarding since I was in grade school. The money went fast, but I still think it was well spent. I still have all those old LPs.
I remember finally landing a complete copy of Alive! on LP for some ungodly amount of money from a junior in my Health class (the class was for sophomores only – Go figure.) I remember the day I brought my copy of Alive! home and played it for the first time. It was pretty exciting for me to finally have the complete album for myself. And really...Alive! is still my favorite album of all time to this very day. That night, I remember listening to the album alone in my room and getting to the point in "100,000 Years" where my tape had cut off for so many years and when the song kept going, it was like reaching some kind of invisible boundary and finally breaking through. "Black Diamond" followed "100,000 Years" and it was every bit as great as I had expected.
There are so many things that really do "it" for me with this song. Paul's soft introduction is kind of like an intriguing prologue for a sad tale. The tale itself is told by Peter Criss once the song really gets going and it is this particular performance that always drives it home to me that Peter is more than just a drummer. He is, in fact, a very talented songwriter and a phenomenal vocalist and his passionate singing really shines through on this track. Gene's backing vocals work well, too.
Years ago, a friend wanted me to make a compilation of songs featuring some of my favorite guitar solos and I included the live version of "Black Diamond" because of the multifaceted solos that showcase Ace Frehley's signature licks. Paul's rhythm work is pretty good as well, including some bridge-like licks.
One thing I had wondered after years of listening to the studio versions of the song is how Kiss would end the live version of "Black Diamond", because the original version features a gradual slowing of the track (with a single power-chord coda) and the Double Platinum remix just loops back into Paul's intro with a fade-out of the track. In the live version, the power-chord ending is included, but it is punctuated nicely with the stage pyrotechnic explosions, ultimately creating a bombastic ending to an epic performance. The live version of "Black Diamond" off the Kiss album Alive! is truly – once and for all – my favorite song of all time.
I have burned my entire collection of favorite songs to CD as a 2 disc set called XXV Favorites. The front cover artwork for the jewel case is a detail of Frida Kahlo's 1933 painting "My Dress Hangs There." The disc labels feature larger detail images from the same painting and the back cover work is an old sepia-tone photograph of Frida Kahlo and Diego Rivera. Ask me nicely and I might share a set with you.
