#paul nevison

[rolandrockover]

Hotter to Hold You

Crazy Nights is an extremely ambiguous album.

In the past, I would probably have laughed at myself for saying something like that, but I would have been just as perplexed as I was secretly wondering what I could have meant by that. And of course I'm making anything but a secret of the fact that I mean the not inconsiderable number of self-references to their early classic albums. And considering Crazy Nights, that is indeed a bit crazy (1).

It's not about anything special, no riff rip-off or melody theft, but a well-defined shunting zone within their songwriting. You could take a quick look at the opening and main riff of I'll Fight Hell to Hold You (1987) , which moves within such a zone, albeit at a slightly different pitch, as the Sabbath-esque ending after the gong, in Hotter Than Hell (1974). And which, well, makes I'll Fight Hell to Hold You's riff sound more than a little like a somewhat simplified version of the Hotter Than Hell riff (2) .

And at the very least Paul and Bruce must surely have been aware of that.

Kiss are such a toy box thing. Full of colorful toy blocks. As a child, you love playing with them and you are able to build simple, yet tangible structures such as houses or towers with them. But let's say someone has spent their whole life playing with these building blocks, and as a result has come to specialize in building more sophisticated and complex stuff. Of course, Kiss have added far more and newer blocks to their assortment over the years, but they have never parted with the old ones.

And you can see that because they're still all over the place.

Side Note:

(1) I consistently exclude No, No, No from this calculation. But maybe Deuce and Nothin' to Lose are buried deep inside somewhere, waiting in vain for help.

(2) Similar to what Gene did on Hot in the Shade (1989) with Betrayed, based on Black Diamond (1974) two years later.

I' ve fought hell to highlight the links:

Hotter Than Hell (1974)

I Fight Hell to Hold You (1987)

[metalsongoftheday]

Wednesday, March 15: UFO, “Electric Phase”

R.I.P. Pete Way (1950-2020), Paul Raymond (1945-2019)

Lights Out was only slightly more focused than UFO’s previous two records, but the combination of Ron Nevison’s tight production and streamlined writing on a handful of key tracks, along with the addition of Paul Raymond on keyboards and rhythm guitar was enough to break the band in the US and make some headway in the UK.  As a track, “Electric Phase” wasn’t dramatically different from No Heavy Petting, as it was slightly lurching and vaguely Sabbath with the crunching guitars, but Nevison brought more clarity to the proceedings, and Michael Schenker was getting more confident as a player with each record.  Phil Mogg’s vocals had their usual swagger, but he too hadn’t yet fully developed into the lovable hooligan who frequently punched his way through the late ‘70s. There was a distinct heaviness to the track that stood apart from the band’s most famous material, but “Electric Phase” was full of personality and showed how UFO was building towards their legacy.

[aristocratslog]

Hot Mother from Lucy Knox on Vimeo.

A mother and her daughter are going through a very stressful time together. They hope that their stay at a spa hotel in the mountains will help relax the situation. But the isolated retreat becomes the setting for a physical and psychological nightmare.

Written & Directed by Lucy Knox Produced by Evie Mackay & W.A.M. Bleakley

Cast Alison Bruce as Naomi Erana James as Sofia

Ballantyne Haines - Receptionist Culain Walsh - Receptionist Kissing Woman - Jami Loyola Kissing Man - Mark Loyola Tourist Mother - Melia Lamourette Tourist Son - E-hsin Lamourette Fire Fighter - Barry Robertson Fire Fighter - Keegan Gilder Fire Fighter - Dee Pinomi

Crew Director of Photography - Adam Luxton Editor - Paul Rowe Composer - Evelyn Ida Morris Sound Designer - Maxwell Scott Production Designer - Leigh Stockton Costume Designer - Sarah Voon Hair and Makeup Designer - Nikki Millina Casting Director - Stu Turner Focus Puller - Bayley Broome-Peake Set Dresser - Poppy Serano Sound Recordist - Ant Nevison Boom Operator - David Peterson Gaffer North Island - Jimmy Bollinger Gaffer South Island - Tim Beck Production Assistant - Amanda Robinson Set Builders - Hamish Knox Set Builders - Highbury Builders Set Builders - Jimmy Averi Set Builders - Brad Ropati Caterers - Maruia Springs & Ripe Deli Colourist - Clare Burlinson Post Production Facilities - Park Road Post Flame Artist - Simon Deighton Graphic Design - Daniel Imsland Cameras Provided by - Panavision New Zealand

Thank you: Matt Noonan Miranda Harcourt James Hunt & Taxi the dog

[davepopephoto]

Hot Mother from Lucy Knox on Vimeo.

A mother and her daughter are going through a very stressful time together. They hope that their stay at a spa hotel in the mountains will help relax the situation. But the isolated retreat becomes the setting for a physical and psychological nightmare.

Written & Directed by Lucy Knox Produced by Evie Mackay & W.A.M. Bleakley

Cast Alison Bruce as Naomi Erana James as Sofia

Ballantyne Haines - Receptionist Culain Walsh - Receptionist Kissing Woman - Jami Loyola Kissing Man - Mark Loyola Tourist Mother - Melia Lamourette Tourist Son - E-hsin Lamourette Fire Fighter - Barry Robertson Fire Fighter - Keegan Gilder Fire Fighter - Dee Pinomi

Crew Director of Photography - Adam Luxton Editor - Paul Rowe Composer - Evelyn Ida Morris Sound Designer - Maxwell Scott Production Designer - Leigh Stockton Costume Designer - Sarah Voon Hair and Makeup Designer - Nikki Millina Casting Director - Stu Turner Focus Puller - Bayley Broome-Peake Set Dresser - Poppy Serano Sound Recordist - Ant Nevison Boom Operator - David Peterson Gaffer North Island - Jimmy Bollinger Gaffer South Island - Tim Beck Production Assistant - Amanda Robinson Set Builders - Hamish Knox Set Builders - Highbury Builders Set Builders - Jimmy Averi Set Builders - Brad Ropati Caterers - Maruia Springs & Ripe Deli Colourist - Clare Burlinson Post Production Facilities - Park Road Post Flame Artist - Simon Deighton Graphic Design - Daniel Imsland Cameras Provided by - Panavision New Zealand

Thank you: Matt Noonan Miranda Harcourt James Hunt & Taxi the dog

[artwalktv]

A mother and her daughter are going through a very stressful time together. They hope that their stay at a spa hotel in the mountains will help relax the situation. But the isolated retreat becomes the setting for a physical and psychological nightmare. Written & Directed by Lucy Knox Produced by Evie Mackay & W.A.M. Bleakley Cast Alison Bruce as Naomi Erana James as Sofia Ballantyne Haines - Receptionist Culain Walsh - Receptionist Kissing Woman - Jami Loyola Kissing Man - Mark Loyola Tourist Mother - Melia Lamourette Tourist Son - E-hsin Lamourette Fire Fighter - Barry Robertson Fire Fighter - Keegan Gilder Fire Fighter - Dee Pinomi Crew Director of Photography - Adam Luxton Editor - Paul Rowe Composer - Evelyn Ida Morris Sound Designer - Maxwell Scott Production Designer - Leigh Stockton Costume Designer - Sarah Voon Hair and Makeup Designer - Nikki Millina Casting Director - Stu Turner Focus Puller - Bayley Broome-Peake Set Dresser - Poppy Serano Sound Recordist - Ant Nevison Boom Operator - David Peterson Gaffer North Island - Jimmy Bollinger Gaffer South Island - Tim Beck Production Assistant - Amanda Robinson Set Builders - Hamish Knox Set Builders - Highbury Builders Set Builders - Jimmy Averi Set Builders - Brad Ropati Caterers - Maruia Springs & Ripe Deli Colourist - Clare Burlinson Post Production Facilities - Park Road Post Flame Artist - Simon Deighton Graphic Design - Daniel Imsland Cameras Provided by - Panavision New Zealand Thank you: Matt Noonan Miranda Harcourt James Hunt & Taxi the dog

[mikeladano]

#1009: These are Crazy, Crazy, Crazy, Crazy Nights

#1009: These are Crazy, Crazy, Crazy, Crazy Nights

RECORD STORE TALES #1009:  These are Crazy, Crazy, Crazy, Crazy Nights   I got my first Kiss albums in September of 1985, the first few weeks of school that year.  The band’s newest album Asylum was released September 16.  I was just learning about Kiss and spent the next year collecting all their albums.  All of them from the debut to the new one were in my collection in some way within two…

[spacefoxy-irl]

The unreleased Crazy Nights tracks

And how different the album’s vibe would have been if they had been included.

Time Traveler was recorded during the Crazy Nights sessions but was more aimed towards a Paul Stanley solo album which he scrapped in favor for ‘Smashes, Thrashes and Hits’.

"I just felt really bad that Ron Nevison didn't like the song 'cause then it would have been on "Crazy Nights". But I couldn't control that. And the demo that is out there in bootleg form is pretty good. We did it at Electric Lady with Eric Carr, and it's a full-blown KISS track practically. I actually came up with that riff backstage on tour early on, "Asylum", I think. That's what happens. Paul didn't mind as much; I felt pretty bad about that."  -Bruce Kulick

"The song wasn't good at the time, so it didn't get on the album."  -Eric Carr

The more fleshed out version can be found on Gene’s Vault but.. I ain’t got thousands of dollars to throw around. Even to hear Eric sing this.

All in all what I can take away from this is, Ron Nevison had an idea for a more lighthearted album (with a lighter tone to it too) instead of what these tracks brought to the table. They were trying to emulate bands like Bon Jovi with this album, who were super popular at the time. Which is kinda funny cause IMO New Jersey (which came out a year after Crazy Nights) is much heavier.

[a-moment-of-life]

Volta [Director’s Cut]

The relics of Ghana's colonial past still occupy large stretches  of the coastline.  Towering from the cliffs, former slave forts are the grim sentinels of a brutal past.

Stolen from their homes and categorised as mere merchandise, these dark dungeons would have been the final vision hundreds of thousands of enslaved men and women saw before being loaded onto slave ships and transported to the far flung corners of Europe's rival empires.

200 years after the end of the transatlantic slave trade,  children in Ghana are once again becoming slaves…this time in their own country.

Lake Volta, Ghana: the world's largest man-made lake sustains thousands of lives - but its fishing industry is too often built on the backs of vulnerable children. Most are younger than 10. Many are trafficked against their will. The overwhelming majority suffer abuse and work long hours in life-threatening conditions.

Henry, a Compassion centre director, is fighting the practice. "We teach our young people about their rights." he says. "We teach them to look out for each other and report any time they suspect a child would be trafficked or abused. I know that when these young people grow older, we will be free of child traffickers forever."

CREDITS Director/Editor: Paul Nevison Producer: Janine Daly, Jessica King Production Assist: Stacy Kennedy

Cinematography: Bjorn Amundsen Camera Assist: Caleb Ware

Composer: Brett Anthony Shaw Additional Music: Ryan Taubert Sound Design/Mix: Ryan Pribyl Voiceover: Jesse Miti Colourist/Titles: Matt Fezz Stills: Helen Manson

Special Thanks to: Compassion Ghana Henry Amanor The Labolabo community Nathan Metz

[mybolivia]

Compassion: Bolivia

Compassion: Bolivia on https://www.my-bolivia.com/compassion-bolivia/

Compassion: Bolivia

Likes: 22 Viewed: 1095 source

[luissescribano]

View this post on Instagram

A post shared by luiss.escribano (@kissarmystars)

#kisstory BRUCE SONG STORIES HOT IN THE SHADE Rise To It Stanley/ Halligan "Rise To It," the opening track on 1989's Hot In The Shade (also known as HITS), starts with a slide acoustic guitar played by Paul Stanley. This taste of some swampy Delta blues doesn't last very long, but for a band known for power chords and screaming vocals it certainly makes the listener ask what's up? Well this nod to the blues, which is such a part of rock 'n' roll, establishes the band's desire to explore and acknowledge where it's been, who it's influenced by, and where it's going. Once the track fully kicks in, you know you're in the land of KISS. Enter the Demon, sliding on the bass into the big drums from Eric Carr, while harmonic dive-bomb chords and riffs from yours truly set up the song perfectly. Paul's melodic vocals give him room to build into the exciting pre-chorus, followed by the catchy sing-along of the "Rise To It" chorus. A hint of the intro blues slide guitar part becomes the creative foundation of the music. It's a swampy, ZZ Top vibe combined with testosterone from Stanley and company. Repeat the formula and then we're off to the bridge, where Paul's powerful wail sets up my fiery solo, which uses many tricks of the whammy bar and harmonics. It all sets up a big drum beat breakdown from Eric before settling back into the chorus out, with Paul having some wild fun with his voice over my outro guitar leads. The track establishes that meld of rock, blues, and sing-along vocals so special to KISS. After not hearing this track in quite some time, I was pleasantly surprised by the attitude and conviction of a band with much to prove. Crazy Nights was the last full album from KISS prior to HITS, and it was produced by the famous Ron Nevison, who tailored the songs for radio and MTV. Was HITS a reaction to it, or a continuation? Track one says it wants to be its own animal, and look out if you think otherwise. KISS was a band that was evolving and searching throughout the '80s, but with a new decade on the cusp of arriving, hits 15 tracks served notice KISS was going to be in the game, fangs sharp and ready to kill. www.kulick.net(Courtesy of Jason Gallinger) https://www.instagram.com/p/Bq2hagzhrf3/?utm_source=ig_tumblr_share&igshid=1a2xln35rlqal

[rolandrockover]

Take Off the Night

Lately I've been thinking more and more about Paul's compositional skills and the evolution of his arrangements, starting of course with the first six Kiss studio albums (1974-1977), and with a clear focus on his first solo album from 1978, and looking upwards from there. But also looking backwards from Carnival of Souls (1997) and Revenge (1992), which both I personally consider to be his creative zenith. And I can tell you it's a bit wild what parallels there are between Carnival of Souls and Hot in the Shade, for example (1).

Ignorantly, I hadn't considered Crazy Nights in any way relevant in that perspective yet. A circumstance that has changed today, so now the one thing that seemed largely unlikely to me has finally come: The day on which I'd present Revenge and Crazy Nights (1987) together in one entry, and I have to get over that first.

But wait a minute, you could read something about those two together here just the other day. And yes, that corresponds to the facts, but that was only about songs from Crazy Nights and Unmasked, and Revenge was only mentioned in passing (2). Today, on the other hand, it's about a joint intersection of Turn on the Night and Take It Off, and why shouldn't that be the case, because after all, Crazy Nights contains quite a few references to the first three studio albums, too, and by that I'm only referring to Bang Bang You (3). But again, this one is not exactly completely inconspicuous, but rather forms a highlight in the chorus of Take It Off.

And to get to the point at last, with Turn on the Night we have that little accented playful rhythm motif that dances vividly back and forth in the verses, providing the necessary balance as Paul dances on the tightrope at dizzying vocal heights, and which also harmonizes beautifully with Bruce's soloing. On Take It Off, it's not exactly hard to find in the guitar chorus, the way it gloriously commands attention with passion in its rather soaring nature. Or rather, that's how it appears, because basically they're both almost the same, just staged completely differently.

I can't say whether this makes Revenge a little crazier, I must admit, but aren't all Kiss albums anyway?

Side Note:

(1) Oh, I'll be happy to talk about that another time.

(2) Perhaps it was just an omen or something.

(3) Which is by no means the only song on Crazy Nights with cross-references to Kiss klassiks from the 70s.

Turn on the Night (1987)

Take It Off (1992)

[metalsongoftheday]

Friday, December 17: UFO, “Hot N’ Ready”

R.I.P. Pete Way (1950-2020), Paul Raymond (1945-2019)

For a few golden years, UFO opened their concerts with the rowdy charge of “Hot N’ Ready”, and it was such an awesome kickoff that the band stuck with it for a little while after Michael Schenker left.  The track captured UFO’s sozzled alchemy in full, with Schenker’s elegant lead giving way to a barroom stomper of a riff, while Phil Mogg goaded and swaggered with a grit and confidence that almost convinced everyone he was a bigger star than he actually was.  Pete Way’s insistent bass thump grounded the proceedings, leaving Andy Parker to swing with greater flexibility and finesse than he was usually given credit for (including by this listener).  “Hot N’ Ready” was the sort of no-frills fun hard rocker that made the late ‘70s a reference point to so many future megastars, embodying the guts of that era and holding up far better than anyone might’ve expected.

[garudabluffs]

Track 8 from their sixth album “Lights Out” released in 1977 copyright Chrysalis Records. The album received excellent reviews and was their most successful, reaching No. 23 on the Billboard chart. Paul Raymond from “Savoy Brown” joined the band on keyboards and rhythm guitars, replacing Danny Peyronel, who left after several tours to promote their previous album “No Heavy Petting.” This was their first to feature new producer Ron Nevison, who had engineered albums for “The Who” & “Bad Company.” He would remain with the band for their next two albums and also produce for the “Michael Schenker Group.” It was their first album to use orchestral arrangements on several songs. As with all their albums, it was a major influence on the British heavy metal bands that followed.

Written by Michael Schenker & Phil Mogg and produced by Ron Nevison. Featuring: Phil Mogg – Lead vocals Michael Schenker - Lead guitars Paul Raymond – Rhythm guitars & keyboards Pete Way – Bass Andy Parker – Drums Special Guest: Alan McMillan – Horn and string arrangements

“Oh, there's been too many times and I can't go back Night bars, guitars, rundown motels like shacks What it mounts up to, I don't want it at all Lost you, and I want you today Misty green and blue Love to, love to love you Misty green and blue Love to, love to love you To be somethin', to be near you Don't say that you'll never know Love to, love to love you Half the time it could seem funny The other half's just too sad These westbound moons only rise and fall Lost you and I want you today Misty green and blue Love to, love to love you Misty green and blue Love to, love to love you To be something, to be near you I don't know where I'm goin' to I've tried and I need you to stay, yeah, yeah”

UFO - Love To Love - 12/8/1978 - Capitol Theatre (Official)

Phil Mogg - vocals Paul Chapman - lead guitar Paul Raymond - rhythm guitar, keyboards Pete Way - bass Andy Parker -drums

Oh it's been too many times and I can't go back

Night bars, guitars, rundown motels like shacks

What it mounts up to I don't want it at all

Lost you and I need you to stay today

Misty green and blue Love to love to love you

Misty green and blue Love to love to love you

To be something, to be with you

I don't know where I'm going to

Love to love to love you

Oh every night and day

Half the time it could seem funny

The other half is just too sad

This west bound moon's they rise and fall

Lost you and I need you to stay

Misty green and blue

Love to love to love you

Misty green and blue

Love to love to love you

To be something, to be with you

I don't know where I'm going to

Lost you and I need you to stay, hey.......    

[freakscircus]

Paul Nevison

[lesterplatt]

SPEAK WE'RE LISTENING from Salomon Ligthelm on Vimeo.

Direction: Salomon Ligthelm Script: Kylie Beach, Salomon Ligthelm, Paul Nevison Score: Ryan Taubert Sound: Defacto Sound (defactosound.com) & Ryan Taubert Graphics: Nathaniel Redekop Lighting: Daniel Gooden Production Assistant: Jessica Yount Projection Assistant: Zachery Macquade Additional Cinematography: Jakub Blank Voice Over Talent: Rob Ricotta

[innervoiceart]

Ten Years Gone (Remastered)

Provided to YouTube by Atlantic Records 

Ten Years Gone (Remastered) · Led Zeppelin 

Physical Graffiti 

℗ 2013 Atlantic Records 

Guitar, Producer: Jimmy Page Drums: John Bonham Bass   Guitar: John Paul Jones Vocals: Robert Plant Engineer: Ron Nevison Writer: Jimmy Page Writer: Robert Plant