Paul Stanley’s first solo album was released in September 1978 with a sister album from all the other members of the band released on the same day. Many people think the solo albums came from Ace and Peter wanting to break out on their own, but actually, the solo albums were suggested to the band in their 1976 contract that they signed with Casablanca. It made several references to solo albums, and how if each member of the band made one it would add to the total numbers of albums required by the group's contract; also worded in the contract is that Casablanca could request solo albums, but not demand them of the members. Surprisingly, Paul Stanley was the first one to work on his solo album. He began working with Bob Kulick on demos while the finishing touches on Double Platinum were being made. The first four songs of the album were recorded at Electric Ladies Studios, whereas the last five songs were recorded in LA at the Village Recorder.   I bought all four solo albums at the same time, but I played Paul's first when I got home. It saw more action on my turntable that summer than the other three combined. Fun Fact: Of all the solo albums only Paul’s is all original songs!

Jeff

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   Between the years 1976-1978, Kiss had become a massive part of my life, but like many Kiss fans, the solo albums were the beginning of my starting to explore other bands. Surprisingly (to me), I don't remember in which order I bought the albums, but I DO remember loving this album from the start. I was a Paul fan from the beginning of my fandom, in terms of persona, songwriting, voice, everything, so I probably would have looked favorably on his album regardless, but I do consider it one of the very best “Kiss” albums in their entire catalog. I have always been frustrated that select songs from Paul's, Gene's and Ace's albums (I don't want to get started on how much I dislike Peter's) didn't make up the follow-up record to Alive II. What could have been.

Kip

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   I hadn’t listened to this in years, but when I did, I found myself tumbling and tuning (like the old Batman show transitions between scenes) to the past that was 1978. As I recall I couldn’t afford all four of the solo albums, but I knew which one I was going for. As it turns out I chose well. For myself Paul Stanley is KISS. He wrote the best tunes. He had the best voice (Peter Criss a close second), and most importantly he looked the coolest.

Mark

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1. Tonight You Belong To Me (Paul Stanley) A+

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   Perfect choice for the first song! This is by far the strongest track on the album. It is just Paul Stanley perfect ear candy. I consider this the third song in Paul Stanley’s trilogy of slow acoustic openers to brilliant rockers; the first being "Black Diamond" the second being "I Want You", and then he closes with “Tonight…”, in my opinion this is the most haunting of his openers. When I listen to this, I always step into a time machine of summer of 78. When this album came out this song spoke to me emotionally because I had just broken up with my high school sweetheart. I can’t tell you how many times I’ve blasted it in my Mustang cruising around town.  I think the lead guitar work on this song is exceptional from Kulick. It was interesting in researching this album I came across an interview with him and he said he was channeling Dick Wagner for that lead, maybe that’s why I like the lead so much. I’m definitely a Dick Wagner fan. Great song, wouldn’t change a thing!

A+

Jeff

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   An opener, written in similar fashion (acoustic into electric) as I Want You, this song is a giant leap forward, in terms of songwriting, instrumentation and production in comparison to recent Kiss albums. Inspired, as were a number of songs on this release, by an on-again/ off again affair, “TYBTM” was the perfect opener for his album. Featuring the pretty acoustic guitar intro and his breathy vocals, it quickly explodes into a classic rocker. When the electric riff kicks in, I remember thinking, “THIS is how a Les Paul through a Marshall is supposed to sound!” Featuring the immense talents of Bob Kulick, the entire album, sans one song, showed immense growth from just few brief years earlier. Paul Stanley consistently lamented the production on their glory year albums, so he seemed bound and determined to get what he was “hearing” in his head. Manned by serious studio players, this song works on so many levels. I remember reacting to the short drum fill that led into Bob's first solo on this song. It's dramatic, punchy, super well played and man, could Paul sing. Just a gem of a song and a terrific way to open the album and it even has a big ending rather than a fade out to put a bow on it. Great song.

A+

Kip

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   What a great intro! Super slick 12 string acoustic guitars and Paul waxing poetic. I’ve always loved songs that start mellow then kick in to a great heavy guitar riff. And this one is perfect. The guitar tones are so crunchy and chewy it makes me want to dip them in chocolate and mouth them down. I must say Paul is such a great guitarist. His feel and tone are so rock and roll. No frills, no BS, just plug-in and crank it up! Bob Kulick is Paul’s secret sonic weapon as I see it. He plays all the right stuff and has great feel. What a band Mr. Stanley has with him for this track! Steve Buslowe on bass and Ritchie Fontana on drums. Great tune with a sing along chorus. The production sounds great. I love it!

 

A

Mark

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2. Move On (Paul Stanley, Mikel Japp) B

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   This song hasn’t aged as well for me. I liked it better when it first came out, but when I listen to it now: it’s the “Rouge” girls that have not aged well. I think it would have been a better song without their answering chorus of “move on”. I know what Stanley was going for here and he was a big fan of Desmond Child & Rouge, but I think it would have sounded better with his vocals as the chorus. The “you gotta move on” that is sung at the close of the track gets on my nerves fast. Also, I would like to hear the song with the guitars bumped up a bit more in the mix. Love the bridge at 1:08, best part of the song!

B-

Jeff

 

    Paul was really good at track order on albums, especially in presenting those he had written, and this one is no different. Following the grandiose opener, this one is much more a straight forward, story song, rocker. Presented as a sort of personal mantra in terms of relationships, this one really powers along, but still has a groove (one that was totally lost in the breakneck pace in which it was presented on the Dynasty tour.) The breakdown in the middle shows a sophistication that would have never been used in a regular Kiss song, which by this time, really seemed to have a “wham, bam, thank you ma'am” pace. Not a classic, but a nice bridge from the big opener to the moodier third track. A solid piece.

B

Kip

   Mmmmm yeah! The section that stands out for me is the quiet bridge section that parentheses the first solo. “The time is at hand, the day is upon us. There’s no need to say goodbye” I love that pivot point. So brilliant, sudden and melodic. And when it kicks back in it’s like a slingshot for the soloists to fly freely. Boy that sure sounds like Ace squeezing those strings in the first solo… probably not though… The back ground vocal give this jam a soulful vibe that I dig. Great tune.

A

Mark

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3. Ain't Quite Right (Paul Stanley, Mikel Japp) A

   This is the first song that broke the mold of “This could have been a Kiss Song”. I still like this song to this day, it has a classy sound with a hint of Beatles dashed in. It doesn’t remind me of any other Stanley tune. Very unique track. Back in the day it was a great song to put on a girls’ cassette playlist. Great lead work on this, Kulick captures the right quiet vibe the song needed.

A-

Jeff

   Another song that would have never appeared on a Kiss record because of the restrained riff and sophisticated bass lines, it did however show a writing style that would be repeated on the “Sure Know Something” track from Dynasty. Delivered in a thoughtful, storytelling style, the song would have fit comfortably on the radio in the late 70's. Relationships, especially those that WEREN'T working, seemed to be a theme of the time and this one fits that bill. The slinky bass throughout really gives the song movement and sophistication that was definitely not a trait of Kiss songs of this period. It later features a classy, restrained guitar solo that quickly makes it evident Ace isn't playing on this. I am a big fan of Ace's playing, as I think he has a very distinct, recognizable style, but restrained and/or classy wouldn't define it. This isn't the type of song that I usually favor, but I'm guessing Paul was really proud of this one.

A-

Kip

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   Speaking on soul… Mr. Stanley’s singing is oh so right! I love the minor direction of this one. And oh my goodness, that guitar solo by Kulick is worth the price of all four solo albums! I listened repeatedly immersing myself in sweet deep waters of soulful emotion. Swimming among unknown pillars contemplating the mysteries of musical action and reaction. The arpeggios at the end just slay me!  And when it’s over… I miss it…

A+

Mark

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4. Wouldn’t You Like to Know Me (Paul Stanley) B-

   Paul’s Raspberries’ influenced song is OK, just not great. Most of this song just doesn’t connect with me. The best part of this song comes in at 2:06 “Let’s Go!” that lead is perfect, then that clean break to the rhythm guitar at 2:21 is beautiful. Other parts of the song are just weak for me, especially the refrain. 

C

Jeff

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   I really wasn't a fan of where Kiss went next with Dynasty, but this one absolutely showed where Paul was leaning. An unabashed pop fan, Paul found a nice balance between the straight ahead rock vein of Kiss and the wimpy bubble gum of Unmasked on this one. Featuring a jangly, jarring guitar, the song again follows a young man's pleas for unrequited love, but with some kick. The verses are pop, but the chorus features the same sort of “look at me” vibe as did “Do You Love Me?” from Destroyer. This is a solid, decent song, but I think it is most important for foreshadowing where Paul's heart lay in the late 70's and where he wanted to steer Kiss. That was a rather bad road for many Kiss fans. Great sound and production on this song! I've always found the first four tracks, that were recorded in New York, sonically superior to the rest.

B

Kip

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   This is a straight ahead 70s rocker. No fillers or additives. The rhythm section is cooking on this one. Fluid bass lines and in the pocket drumming make this gem shine.

B

Mark

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5. Take Me Away (Together as One) (Paul Stanley, Mikel Japp) B+

   I love this song because it isn’t a Kiss song. It is a beautiful change of pace for Stanley. This is a hauntingly powerful piece he wrote with Michael Japp. Once again, I have a strong emotional attachment to this song due to my break up situation, the words to this just matched so much of my feelings and the spectral melody of the tune reverberated with my soul. Thanks Paul, I treasure this song. The dynamics of Carmine Appice’s drumming…it works so well on this tune. This probably one of the longest Paul Stanley tunes clocking in at 5:32. Never feels too long for me, my second favorite from this album. You can hear more Jeff Glixman’s production on this tune than on any of the others. This song evokes early Angel to me in sound and style.

A+

Jeff

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   This song really follows a trope that was characteristic of the time: have your epic be the last song on the first side and have it basically follow the build up, almost out of control middle and slow coming down pattern that was fashionable as a supposed metaphor for the act of sex. For 12 year old me, I just thought the acoustic guitar in the opener sounded great. :) By far the longest piece on the album, this one features both Paul's growth as a songwriter and a vehicle to show off the ridiculous talents of his studio band. The middle, bombastic build up is the beginning of what I hear as sonically inferior to the earlier tracks. It feels like they followed the Deep Purple facetious mantra of wanting everything louder than everything else and that results in a loss of dynamics in what should be the MOST dynamic part of the song. This is the only song that features a “guest star,” as Carmine Appice plays drums on this one, or at least the ridiculous overplaying on the outro. This one is representative of the time and is a solid ending to the first side. From the first listen, I always felt like I should like this more than I ultimately did.

B+

Kip

   

This may sound bizarre-o, but I would love it if Dream Theater would cover this.That would make me very happy. The beginning arpeggiation concept is rather familiar, but I’m listening back from 45 years in the future, so I’ve heard this progression before. No matter, there’s a reason it gets used. It just works. Not my favorite tune from this record, but I still enjoyed it. It’s a bit bombastic for me, and it seams to distort on the recording. It’s probably just me or it’s the way I remember vinyl sounded back in the day when the last song on a side distorted.

C

Mark

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6. It's Alright (Paul Stanley) B-

   This would fit perfect on Rock and Roll Over or Love Gun. Has a little “Mr. Speed” happening in the guitar work and vocals. It rocks like only Paul Stanley can! Still resonates with me today, turn it up!

B

Jeff

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   Again, Paul's track selection works, as this is a strong side two opener. Another straight ahead rocker similar to the earlier “Move On” this one probably affirmed the most accurately that Paul's sounded the most like a Kiss record. (Did anybody else react “duh” to those assertions, since he wrote most of their songs?) This one would have worked live for Kiss, as it probably has the fewest moving parts or subtle accents, features that would be washed out in the mountain of volume that was a Kiss show. It's also one that invites full throat listener accompaniment, another plus for being played live. A bit of a throwaway, ultimately. Again, the production is a weakness here.

B-

Kip

   This tune is kinda meh for me. Dream theater should not do this one! Still great guitar tones and the band is raging as well. But, meh…

C-

Mark

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7. Hold Me, Touch Me (Think of Me When We're Apart) (Paul Stanley) D

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   Boy, I really don’t like this song. I actually think the melody is good, it’s just the way Paul sings it. He lowered his voice and sings it like John Travolta who has been given a polished song, but can’t carry a tune, yet still hope it’s a hit. This song should have been given to Air Supply and probably could have been a hit for them. This song is only here because Paul wanted a Top 40 hit song, but he performed it so feebly with his poorest vocal performance ever. Even worse than "Odyssey"! That’s bad! This is probably my least favorite Paul Stanley tune ever.

D

Jeff

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   On first listen, 35 years ago, I honestly thought they had rushed these albums out so fast that they accidentally included a David Soul song. Seriously. All of this is a miss for me. The production sounds like a demo; I thought until I bought this on cd years later that my original vinyl must have been warped. That warble is awful. The strings sound amateurish. The acoustic riff sounds like something a first time player would create. And then Paul started singing. Where is my Starchild?? Overly effeminate, a lisp. And the song is a paint by numbers 70's easy listening ballad. Just awful. First failing grade I have ever given on one of these reviews.

F

Kip

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   I can’t help it, and I don’t mean any disrespect to Paul, but when I listen to this one I imagine the scene in Grease where Olivia Newton John is at the slumber party and she’s in her white night gown strolling through the garden singing “hopelessly devoted to you”. You know the part. Just imagine Paul’s face Photoshopped on top of hers singing “hold me” through this scene. I know, I know I’m a moron, but wouldn’t that be funny? Besides that, the songs OK in sappy strolling in your white nighty kinda way.

C

Mark

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8. Love in Chains (Paul Stanley) A-

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   Paul ends this album off with two strong songs! Anything would have sounded good after the last dude. This song kills it from very get go, love the lead work at the beginning! That busy opening lead stuff would become so common in the 80’s and kinda bug me, but here it really works because it’s short and fast. I like how during the refrain they left some air around Paul’s vocals and kept the swagging guitar, simple but powerful, in the background. If you pay attention most of the guitars throughout this album have real punch to them being for being doubled during production. Strong tune to blast from the old car stereo! I like that he does the answering background vocals himself rather than using the Rouge girls.

A

Jeff

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   Even Paul must have heard the pap in the previous song, as this is by far the hardest rocking song on the album. Not a particularly strong piece, but power chords, a screaming, tasteful lead into the first verse; Now this is more like it. Again, I hear a distinct difference in the production here as opposed to the first four songs and definitely not for the better. I think Jeff uses the term “brick walled” for just shoving every level to the red line and this suffers from that practice. This sounds like a side 2 Kiss song from that era, as it feels like it was hurriedly written and not completely fleshed out. Not a classic, but fitting for their style. A palate cleanser after the previous awfulness.

B-

Kip

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This more to my liking. It’s has a kind of Hendrix or maybe Frank Marino vibe to it with the E7#9 chordal riff just after the start. Nothing wrong with that. I have a sneaking suspicion that Snake from the ‘Riverbottom Nightmare Band’ is doing all the lead work on this one. I don’t blame him Snake’s an A list talent. Great call Paul. Great call.

A

Mark

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9. Goodbye (Paul Stanley) A-

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   I thought this song breaks fresh from the "could of been a Kiss track" too. Love the guitar melody of the refrain played over the intro. Special shout out to Craig Krampf on drums and Eric Nelson on bass. Excellent work boys! I like the bridge at 2:55 and wished it would have been longer allowing with more work from Bob Kulick with a chance to show off his stuff then a bass solo over some drums then kick back into the song. I'm always armchair producing. Great last song!

A

Jeff

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   A solid album ender, both in lyrical content and title. The production is better in the verses here than the chorus, but the nod to the bells in “Do You Love Me” on guitar is a nice touch. This was a song I would purposely drop the needle on for repeated listens. A solid song and an effective bookend to the strength of the opening track. This song felt like it was developed, though according to Paul, it was finished up quickly due to necessity of another track. Never the less, a strong concluding track.

A-

Kip

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   I don’t really like comparing artists music with one another but, the intro sure sounds kinda Rush to me. That’s cool, any Rushism is good by me. I dig this tune. It make me happy, it makes me smile. A really good closer for an excellent album. Thanks Paul! Peace.

B

Mark

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