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search A%3E%3C 9site:nu.sexytightass.comsearch A%3E%3C w A%3E%3C G Www esearchr Www h eysearchL Sexytightass % A%3E%3C E%0search2search% A%3E%3C Csearchi A%3E%3C 2searchc Li%3E%20%20%3Cli%20class asearchs A%3E%3C Li%3E%20%20%3Cli%20class e Li%3E%20%20%3Cli%20class ywww.xg70.comisearchht Sexytightass ssearch Www asearchssearchu Li%3E%20%20%3Cli%20class er Www h A%3E%3C %3search% Szh C www.xg70.coml A%3E%3C nm Li%3E%20%20%3Cli%20class dsearchK Www S Sexytightass h Www searcho Szh t Li%3E%20%20%3Cli%20class pp Www lsearchr Sexytightass bsearchnsearch nAmerica. In Japan, KISS broke attendance records previously held by The Beatles. KISS hysteria was in full effect. The group had two comic books released by Marvel, pinball machines, Mego dolls, "KISS Your Face Makeup" kits, Halloween masks, board games, and many other pieces of memorabilia. The group was never seen in public without wearing their makeup and their popularity was growing by leaps and bounds; the membership of the KISS Army, the band's fan club, was now in the six figures. Two more studio albums continued to fuel the KISS fire (November 1976's Rock and Roll Over and June 1977's smash hit Love Gun) before KISS released the sequel to Alive! in November 1977, titled Alive II which in addition to the three live sides contained a fourth side of new studio recordings. The first of many KISS greatest hits compilations, titled Double Platinum, was issued in April 1978 which included many remixed versions of their hits, non-hits, and "Strutter '78", a newly recorded version of the classic track from their first LP.

Going solo

KISS's popularity was at its peak, and nearly so were member tensions. In September 1978, all four members released solo albums simultaneously. Although all four records showcased the band members' very different musical influences (ranging from Criss' cover of Bobby Lewis' hit "Tossin and Turnin" to Simmons's eerily deadpan remake of "When You Wish Upon a Star" from the Walt Disney 1940 cartoon "Pinocchio"), Frehley's album was the most successful, spawning the only radio hit found on any of the records, Russ Ballard's composition "New York Groove", becoming a top 20 radio chart hit. Stanley's was said to be the most "Kiss-like" among the releases, and received more favorable reviews for that reason. Despite all of these albums making it into the Top 50 of the Billboard Album Chart, the massive preorder for these albums was soon followed by a just as enormous attempt to sell them back to the record company, followed by the subsequent discounting of these albums once sales had (very quickly) peaked. Kiss solo albums were the first Kiss albums to be seen in the "bargain bins" of many record stores of the time, and it was to be the first clear harbinger of KISS' waning popularity.

One month later, an NBC-TV movie produced by Hanna-Barbera hit the airwaves, titled KISS Meets the Phantom of the Park. The film was proposed to the band as a cross between A Hard Day's Night and Star Wars, though the final results fell far short of these expectations. Reviews were dreadful, even though the movie was one of the highest-rated TV movies of the year, and saw theatrical release outside the U.S. in 1979, under the title Attack of the Phantoms. Later interviews with band members would have them talk about their movie making experience with a mix of humorous embarrassment and regret as to the finished product, which was reportedly filmed completely out of proper frame by the cinematographer, resulting in much of what was supposed to be on screen missing from the final product.

The first KISS album of new material in two years, Dynasty, released in May 1979, continued their streak of platinum albums. The album contained what would become the biggest single in the history of the band, the worldwide smash "I Was Made For Lovin' You." The song, which combined elements of the KISS sound with disco, was a top ten hit throughout the world (although stateside, it only managed number 11) and stands as the most covered KISS song ever. This album, as well as the follow-up Unmasked, were recorded using ghost drummer Anton Fig (later of the Late Night with David Letterman band) at the request of producer Vini Poncia, who felt Criss's drumming skills were not up to par with what he wanted. The only contribution made by Criss to the album was his track "Dirty Livin'". The tour for Dynasty in 1979 saw once sold-out arenas being replaced with half to three-fourths filled venues, and even a two night homecoming in July 1979 at New York's Madison Square Garden did not see the usual full houses, leaving the New York Daily News to wonder aloud if this was to be "The Last Monster Mash." Although audiences were for the most part enthusiastic as ever, reviews of these shows were mixed, with visible tensions within the band taking their toll on the quality of the music. However, it was hardly noticed by KISS's new fan base, very much younger than previous audiences had been, with many pre-adolescent children in KISS makeup with their mothers and fathers (sometimes wearing the makeup themselves!) in tow at most concerts. KISS did little to dissuade this new fan base, donning colorful costumes that reupped their comic-book image for these younger fans. But the problems and disagreements within the band persisted and worsened.

Drummer Peter Criss, not happy with the change in the group's fan base as well as wrestling with his own feelings about the band's current direction, (not to mention his increasing substance abuse issues), left the band shortly after the May 1980 release of Unmasked. Criss does appear illustrated on the cover and also made an appearance in the music video for the song "Shandi", but did not contribute in any way to the recording of the album. Despite a slick, contemporary pop sound, Unmasked had the dubious distinction of being the first KISS album since Dressed to Kill to fail to go platinum. The tour to support Unmasked never reached the United States (save for a one-off show at New York's now defunct Palladium Theatre to showcase their new drummer Eric Carr). KISS's 1980 tour of Australia was one of the biggest in the band's history, as they played to sold-out crowds and enjoyed enormous popularity amongst the fans there.

For their next album, the band approached producer Bob Ezrin for a concept album, November 1981's Music From "The Elder", their first album recorded with Carr. It failed to go gold, and couldn't climb past number 75 on the charts.

Reaction to The Elder was harsh. The album contained medieval horns, strings, harps, synthesizers, and Gregorian Chant-style vocalizing. The album was presented as a soundtrack to a film that didn't exist, making it difficult (if not impossible) to follow the storyline. Although the band presented a mystical, prog-rock sound on the LP, their appearance took on an incongruous "new wave" look, with short and spiky hairdos, and simplified black-spandex costumes.

Ace Frehley, who had balked at the creation of this album from the start, did not actively participate in the album's creation. He "mailed in" his only contributions, the songs "Escape From The Island", and "Dark Light". KISS rarely performed any of the music from this album in their subsequent concerts.

Four leftover songs from a planned "heavier" album were combined with classic KISS material from the 1970s for the June 1982 release KISS Killers, a compilation album released outside the United States. (The signature lightning bolt "S" designs were changed to standard "S" for this release to alleviate the criticism from Germany and its neighbors. This was the first and last time that the cover art was altered this way, although KISS had altered its onstage logo lights for some time in deference to this controversy.)

Kiss soon made major changes to its business dealings, severing ties with their manager of nine years, Bill Aucoin, and cutting back on their unwieldy organizational tree. By this time, however, Ace Frehley had already decided to leave the band, but Gene Simmons and Paul Stanley wished to keep up appearances by including him in the original cover art of their next album, although Frehley did not play a note on it. Similarly to Criss, Frehley does appear in the music video for the song "I Love It Loud," despite not having played on the track. This album was October 1982's superior Creatures of the Night, the hardest album the band had released up to that point. Guitarists that had been called in to replace Frehley included Steve Farris, Bob Kulick (brother of soon-to-be permanent member Bruce Kulick) and Vincent Cusano, who would soon be known as Vinnie Vincent. Featuring tracks (believe it or not) co-written by Canadian singer/songwriter Bryan Adams and his writing partner Jim Vallance, Creatures of the Night fared better than Music From the Elder, yet it couldn't make it past number 45 on the charts. Unfortunately, the day after shooting the video for the song "I Love It Loud," Ace Frehley officially left the band and was replaced permanently by Vinnie Vincent in 1982 in time for the "10th Anniversary" tour. Vincent's hurriedly developed identity was that of an Egyptian ankh, although he would not need this persona for very long as it would turn out. While this tour didn't fare as well as others did in the United States, the band did go on to play for the largest crowds of their career, up to 137,000 fans in Brazil in June 1983. This series of shows would be the last KISS would perform in makeup until June 28, 1996.

Unmasking

Sensing it was time for a change, KISS shocked the music world by appearing without their makeup live on MTV. The publicity worked, as the September 1983 album Lick It Up became their first Gold record in four years. However, Vinnie Vincent was fired after Lick It Up and was replaced by Mark St. John. Animalize, released in September 1984, was just as successful, and the group had clearly recaptured their niche. "Heaven's on Fire" and "Thrills in the Night" became huge MTV hits, and the band continued to be a solid concert draw. St. John, however, was soon taken ill with Reiter's syndrome and left the band shortly into the 1984 Animalize tour. Bruce Kulick became KISS's new lead guitarist, and would remain with the group for the next 12 years.

For the rest of the 1980s, KISS turned out a series of best-selling albums (September 1985's Asylum, September 1987's Crazy Nights, the November 1988 compilation Smashes, Thrashes & Hits (which in addition to remixes of all of the selected tracks this compilation also featured Carr re-recording the lead vocal to "Beth," the signature song of his predecessor Criss), and the critically acclaimed November 1989 release Hot in the Shade sWww Sexytightass Szh A%3E%3C Li%3E%20%20%3Cli%20class Sexy Tight Ass KISS_: THE HOTTEST BAND IN THE WORLDe j p p Sexy Tight Ass Online Movie Affair lWww Sexytightass Szh A%3E%3C Li%3E%20%20%3Cli%20class Sexy Tight Ass KISS_: THE HOTTEST BAND IN THE WORLDe l Squirting Sexy Tight Ass Sexy Tight Ass