Kiss / NY,USA 05.10.1992 Complete

In 1992, KISS overcame tragedy and delivered their final, no-makeup masterpiece, "REVENGE." This otherworldly live album lets you experience the action. This work permanently preserves the "May 10, 1992 Brooklyn performance." It's a superbly direct audience recording from the legendary club "L'Amour." The "REVENGE Tour" not only features the official live album "ALIVE III," but also the three major soundboards: "DEFINITIVE DETROIT 1992 SOUNDBOARD," "CLEVELAND 1992," and "DAYTON 1992." However, this album differs significantly from those classics. To explain the situation, let's first look at the band's activities at the time and examine its position. {"REVENGE" completed in March} April 23rd - May 10th: North America #1 (13 performances) ←★Here★ May 16th - 18th: UK (3 performances) {"REVENGE" released on May 19th} May 20th - 26th: UK (5 performances) September 27th / September 30th: Rehearsal ←※REVENGE TOUR DRESS REHEARSAL, etc. October 1st - December 20th: North America #2 (55 performances) ←※Official ALIVE III, etc. A different-dimensional sound that sounds like a soundboard This is KISS in 1992. The official "ALIVE III" and the three soundboards were all the final "North America #2", but this Brooklyn performance was the beginning. It was the concert on the final day of "North America #1". This work, which conveys such a show, is a transcendent, different-dimensional recording. It's a DAT master brought to me through a unique route, and it's supposedly an audience recording... but I've never heard an audience recording like this! In one word, it's "just like a soundboard," but it's on a different level from the cases I've mentioned so far. The extremely thick core on has an incredibly close, intimate feeling... no, there's a sense of contact, and the separation that makes each note stand out and the extremely fine details are extraordinary... This kind of description might make it seem the same as always. How can I convey the awesomeness of this sound? Well, try playing the most amazing soundboard you have. Preferably one that's directly connected to the mixing desk, and it doesn't have to be KISS. And now, if you mentally adjust the toms of the sound you're hearing a little lightly... yes, that's the sound of this work. You're probably internally reproducing the sound of "this isn't an audience," but that's certainly what it feels like. A club gig completely different from the three major SBDs Such a different dimensional spatial sound is depicted as a "North America # 1" club gig, which is different from the three major soundboards of "North America # 3" mentioned above. Let's organize the full set by comparison. 70's Classics (5 songs + 4 songs + 6 songs) KISS: Deuce / Strutter / 100,000 Years (★) / Firehouse / Cold Gin (★) DESTROYER: Shout It Out Loud / I Was Made For Lovin' You (★) / God Of Thunder (★) / Detroit Rock City Others: Love Gun / Parasite / Calling Dr. Love (★) / I Stole Your Love (★) / I Want You / Rock And Roll All Nite No Makeup Era (3 songs + 4 songs) REVENGE: Unholy / Take It Off / God Gave Rock 'n' Roll To You II Others: Heaven's On Fire / Lick It Up / Tears Are Falling / I Love It Loud *Note: ★ indicates songs that were not even heard on the "North America #2" soundboard masterpiece "CLEVELAND 1992". ...And so on. While "North America #3" was roughly split between the '70s and no-makeup eras, this release from the early part of the tour features more of the '70s. Perhaps because it was determined that "REVENGE" hadn't yet taken hold, there were still a few new songs. The "KISS MY ASS Tour" from 1994 onward also saw an increase in classics, but the selection was different, allowing for repertoire not heard on the soundboards of South America and Japan performances, such as "Strutter," "100,000 Years," and "Take It Off." This was the last "Bruce Kulick/Eric Singer" lineup from the no-makeup era. This definitive album features the start of "North America #1," a super-thick, direct sound. A miraculous recording that makes the distinction between audience and soundboard meaningless. This is a transcendent audience recording from the "May 10, 1992 Brooklyn performance." The DAT master, delivered via a unique route, produced a super-thick sound that could be mistaken for a direct-to-desktop soundboard. Beyond the close contact, there is already a sense of contact, and the sense of separation that stands out for each sound and the details that are too fine are abnormal. This is the definitive board of the early "REVENGE Tour", different from the sound boards including "CLEVELAND 1992". L'Amour, Brooklyn, NY, USA 10th May 1992 ULTIMATE SOUND Disc:1 (45:34) 1. Intro 2. Love Gun 3. Deuce 4. Heaven's On Fire 5. Parasite 6. Shout It Out Loud 7. Strutter 8. Calling Dr. Love 9. I Was Made For Lovin' You 10. Unholy 11. 100,000 Years 12. Take It Off Disc:2 (54:30) 1. God Of Thunder 2. Lick It Up 3. Firehouse 4. Tears Are Falling 5. I Love It Loud 6. I Stole Your Love 7. Cold Gin 8. Detroit Rock City 9. I Want You 10. Drum Solo 11. God Gave Rock 'N Roll To You II 12. Rock And Roll All Nite Paul Stanley - Guitar, Vocals Gene Simmons - Bass, Vocals Bruce Kulick - Guitar Eric Singer - Drums, Vocals