kiss destroyer tour setlist

 And everything was bigger than ever before: The new logo hanging over Peter's drum kit, the stacks of amplifiers on the stage, and the lightshow!  As seen in picture 1 (a rare look at the stage from above), the entire stage were encircled by Christmas lights hanging from a metal statue, or tree, standing on Gene's side of the stage (just out of the picture in picture 1), over the logo, to the two power pylons on Ace's side (on the extreme right!).  The power pylons on Ace's side, each had high voltage signs, and a KISS Army banner , and were of course a part of the light show. The apocalyptic design of the stage, was inspired by the album's cover.  Gene's side looked like a medieval castle, while Ace's side were designed to look like an alien planet, probably Jendell... his home planet ! 

Destroyer Tour:

1. Detroit Rock City 2. King Of The Night Time World 3. Let Me Go, Rock ’n Roll 4. Strutter 5. Hotter Than Hell 6. Nothin’ To Lose 7. Cold Gin (incl. Guitar solo) 8. Shout It Out Loud 9. Do You Love Me 10. Bass Solo/God Of Thunder (incl. Drum solo) 11. Rock And Roll All Nite

Encores: 12. Deuce 13. Firehouse 14. Black Diamond songs occasionally performed: Watchin' you and Flaming youth                                   

Rock And Roll Over Tour:

1. Detroit Rock City 2. Take Me 3. Let Me Go, Rock ’n Roll 4. Ladies Room 5. Firehouse 6. Makin’ Love 7. Cold Gin (incl. guitar solo ) 8. Do You Love Me 9. Nothin’ To Lose 10. Bass Solo/God Of Thunder (incl. Drum solo) 11. I Want You 12. Rock And Roll All Nite

 But enough about the stage design... on to the show: The intro invented on the last tour, had been slightly altered to the one we know now: "You wanted the best, you got the best... the hottest band in the world: KISS". Just as the word KISS were announced the big, improved logo would light up, revealing the band standing on top of the amplifiers. The band would enter the stage via the staircases during the opening chords of Detroit Rock City, while the stage was covered with dry-ice, and bombs were going off. Another new thing were several "lightning bolts" hanging above the stage. These were lightning bolt shaped pieces of wood, with light bulbs, that would flash in sequence to simulate a lightning striking during the opening! 

 After Cold Gin Ace would play his solo with the usual smoking guitar-effect. But halfway through the solo, Ace would leave the guitar in a rack on the stage, and leave, while the guitar made outer-worldly noises, thanks to an echo-effect! After a while a single spot would reveal Ace standing on the top of his amplifiers with a new guitar. Upon striking the strings of the second guitar, the guitar standing on the stage would burst into flame, and disappear via a trapdoor in the stage floor.

 Firehouse had been moved into the encores (during the Japan 1977 Tour Paul had a real KISS Firehelmet for the first time; see picture 5A) and so were Gene's fire breathing stunt. Nothing new there! And for the final song; Rock And Roll All Nite; the usual confetti storm would break loose, and Paul would smash his guitar...

To view the exact tourdates of the Destroyer and Rock and Roll over tours, go to the Tourdates page.

Many thanks to Jan Laursen for letting us use these pages. Here is the link to his website:

​ Destroyer Tour - 1976

Start Date: April 11, 1976

End Date: October 1, 1976

Countries: Belgium, Canada, Denmark, England, France, The Netherlands, Sweden, Switzerland, United States, West Germany

Opening Acts:   .38 Special, Artful Dodger, Blue Oyster Cult, Bob Seger & The Silver Bullet Band, Brownsville Station, Earth Quake, Ethos, Finch, Hammersmith, Hoa Bihn, J. Geils Band, Johnny & Edgar Winter, Kansas, Montrose, Moon Pie, Point Blank, Scorpions, Starz, Stray, Ted Nugent, UFO

Average Attendance: 11,073 (Does not include 5/4/76 gig or European tour.)

Line Up: Paul Stanley, Ace Frehley, Gene Simmons, Peter Criss

KISS had gone in a new direction for the Destroyer Tour , all the way to Europe ! For the first time ever they visited Germany , The Netherlands , France and more! Even though they were not happy with the attendance record (attendances mostly of below 5.000), it reminded them of their first tours. This was probably the reason they would not embark on another European tour until 1980. The American leg of the tour called The Spirit of '76 tour was allot more different than its predecessors. Glickman/Marks came in and replaced most of the original road crew and only one member, Paul Chavarria , was left of the original crew at the end of the tour.

After the tour was over, KISS embarked on a promotional TV appearance that made the KISS Army even bigger! Their legendary TV appearance at the 1976 Paul Lynde Halloween Special ! The band would hit the studio from September to October 1976 to record ' Rock And Roll Over' .

Stage - A brand new stage was designed for the Destroyer/Spirit Of '76 Tour by Mark Ravitz. It was to resemble the Destroyer album cover, an apocalyptic wasteland. Gene's side had a Monster of Frankenstein castle look with stitches on the ground and Ace's right side had moon surface craters . Eventually the whole production for the tour would cost $192,000.

Staircases - Two staircases were placed left and right of the drum riser, where Gene, Ace and Paul would come down from at the start of the show.

Towers - Two towers were placed on the stage, one "Castle" for Gene on the far right where he would perform his blood spitting bass solo, and one "Moon Tower" for Ace on the far right for his guitar solo.

KISS Logo - The biggest KISS logo used until now was created that had a metallic look to them.

Power Pylons - Three power pylons were added to the stage that were the lighting rig, according to stage's designer Mark Ravitz, they were inspired by power towers while he was driving around in New Jersey.

KISS Army Banners - Two KISS Army banners were installed on two power pylons.

Crystals - On the front in the center of the stage crystals were placed where Paul would do his solo before 'Black Diamond' .

Cat Statues - On Peter's drum riser two 6' tall "altar" cats with glowing eyes were placed.

Gong - A 40" gong was placed on Peter's drum riser he would hit after the end of his drum solo.

The model of the original Destroyer stage made by it's designer, Mark Ravitz.

Sketch for the Destroyer stage

          Many props were designed for the Destroyer stage that were eventually dropped:

God Of Thunder Machine - A giant Tesla Coil that was just too heavy to set up every day behind the drum riser and it worked only half of the time.

Tentacle Tree - A twisted parody of a tree. Placed upon a rotating platform on the stage right (left on picture) and supposedly was designed to spin around at great velocity, the whip like branches whirring into a blur. Never used beside one that stood still with thicker branches.

Giant Red Stake - A giant red stake that resembled a blood soaked Washington Monumen t. The stake was to rise up behind Gene's Gothic 'castle' just before his bass solo. Eventually a simpler version was used that looked more like a blood soaked tent.

Foam Rubber Buildings - They created foam rubber pieces representing buildings attached in front of the amps that would crumble just before the encores. It took the road crew too long too set it up and they had to clean the mess quickly when the band came back for the encores. It was dropped quick.

Crashing Car - At the end of 'Detroit Rock City' they wanted a real car to crash the stage that was hoisted high above the floor, this was scrapped because it was too dangerous for the band and the audience.

City Skyline - This prop was probably used the most and is seen very well on video at the Anaheim show . It resembled New York City's skylines with a thunder bolt with lights that would flash resembling a thunderbolt strike during the opening!

A 3D presentation of the KISS Destroyer stage

     Stage Props:

Fire Engine Lights

Fire Engine Siren

Fire Helmet

Hydraulic Drum Riser

Two Cat Statues On Drum Riser

Huge Cat Drum Riser Curtain

Giant KISS Army Banners

"Christmas" Lights Above Stage

Confetti Storm

Blood Spitting

Gene's "Castle"

Ace's "Moon Tower"

Dry Ice Smoke

Fire Breathing

Smoking & "Burning" Guitar

Paul Smashing Guitars

City Skyline Thunderbolt Sign

3 Lighting "Pylon Towers"

A good look at the drum riser cats and the "moon crystals" on the 1976 Destroyer tour.

Typical Setlist:

01. 'Detroit Rock City' 02. 'King Of The Night Time World' 03. 'Let Me Go, Rock 'N Roll' 04. 'Strutter' 05. 'Hotter Than Hell' 06. 'Cold Gin' 07. 'Nothin' To Lose' 08. 'Shout It Out Loud' 09. 'Do You Love Me?' 10 . 'God Of Thunder'

11. 'Rock And Roll All Nite'

12. 'Deuce'

13. 'Firehouse'

14. 'Black Diamond'

The Spirit Of '76 tour saw the second KISS tour-book come alive!

Special Shows / Happenings:

- The Americana, New York City, NY, May 1, 1976 -

This was during Ace's wedding reception, the band grabbed the opportunity to take the stage and use the instruments of the wedding band. They played just one and a halve song and Ace's new father in law asked the band to stop. Super 8MM footage of this event appeared as a hidden bonus video on the DVD box set KISSology 1 in 2006.

- Volkshaus - Zürich, Switserland, June 2, 1976 -

Casablanca held a dinner for the band in the hotel in Zürich, Peter Criss started ordering the most expensive bottles of wine and soon everyone followed foot. Road crew members Rick Monroe and Paul Chavarria went to their rooms and when they came back to the restaurant it had turned into a full out Hollywood movie brawl including chairs being thrown around! When Paul Stanley with a bloody nose flew out of the restaurant into Rick Monroe's lap and he asked what happened, Paul could only reply with that some guy hit him! Both Rick and Paul (Chavarria) than joined the fight, who won is not known.

- Stewart International Airport, Newsburg, NY, June 21, 1976 -

After the European leg of the tour, the band held dress rehearsals in Hangar E at Stewart International Airport in Newsburg, New York with the brand new Destroyer stage and costumes. For the European leg the band still used their Alive! tour costumes but the first American show on July 3, 1976 saw the debut of their new costumes.

- Richmond Coliseum, Richmond, VI, July 8 1976 -

During the show a fan threw a M80 firecracker on the stage that landed on Peter's drum riser and the blast nearly blew Peter off his drum stool and

left him with partial hearing for the rest of the show.

- Roosevelt Stadium. Jersey City, NJ, July 10, 1976 -

This was KISS's first headlining show in an arena. The in house crew recorded the show in black & white and the show appeared

many years later in the bootleg scene dubbed "the lost concert" .

- Peaches Record Store, Atlanta, GE, August 14, 1976 -

KISS made another promotional appearance at the Peaches Record Store.

KISS performs to their largest crowd in their history until than. A crowd of 42,987 people saw the band. The in house crew taped the show and its a great quality bootleg video to have. The show even got its own giant billboard to announce the show!

KISS getting their own personalized billboard!

- Hollywood, CA, October 19/20, 1976 -

After the tour was over the band embarked on a promotional appearance at the Paul Lynde Halloween Special . The band performed ' Detroit Rock City' , ' King Of The Night Time World' and 'Beth ' .

Backstage button that the band members gave to friends, family and others to gain access backstage!

KISS on the set of the Paul Lynde Halloween Special...

Picture of the stage before the show with the brand new Destroyer stage. Picture courtesy of Mark Ravitz

Destroyer Tour

• View history
• 1 On Tour: Spirit of '76/Destroyer Tour
• 3.6 September
• 4 Promotional Material

On Tour: Spirit of '76/Destroyer Tour [ ]

With the manner in which touring for the "Alive!" was concluded and the recording of the "Destroyer" album, the transition between the two eras is somewhat confused and convoluted. While the recording of the "Destroyer" album had been completed in January the band still had dates scheduled for touring in support of the "Alive!" album. Following the conclusion of the "Destroyer" sessions the band recommenced touring activities on Jan. 23. The first single from the new album, "Shout It Out Loud," was released in early March, so it is hardly surprising that it was the first song from the album to be added to the set list. When precisely is unclear, but it is most certainly present on the recordings available from the Miami and Philadelphia shows on Mar. 21 and 24 respectively. Following the conclusion of the "Alive!" tour in Springfield, MA, on Mar. 28, the band took a two week break to prepare for the next touring cycle. During that downtime, press reports appeared detailing a possible new KISS venture: That the band had formed its own film production company and was planning to acquire the rights to the 1964 musical "The Roar of the Greasepaint -- The Smell of the Crowd," the title of which had substantial allusions to the band's stage presentation. It's not clear how the class struggle plot of the story would have been adapted, and it may well be that this was a case of something being misreported.

The band was back on the road by Apr. 11, for another cycle of shows starting in Fort Wayne, IN. While there were several make up dates from the "Alive!" tour, the primary function of this brief touring cycle was to conclude the North American run of dates. The band also made a concerted effort in Canadian markets with opening act Hammersmith (who had released their "Late Night Lovin' Man" single via Mercury Records). Visually, there was not much changed from the "Alive!" tour. Costumes and staging remained the same, though musically the band had started to transition the set in favor of material from the new album. While out on the road "Destroyer" was certified Gold by the RIAA on April 22. This was the band's first studio album to receive a certification and provided all of the motivation required to move the business forward. By mid-April the reorganization of the set was in full swing. "Flaming Youth" is firmly established in the set while "God of Thunder" had also been added. A review of the Apr. 24 show in Ottawa provides the first known mention of the latter song being performed, though at that show Gene unfortunately also encountered another self-immolation event during his fire-breathing routine. "Detroit Rock City" was noted as being present in the band's set during their show in Winnipeg Arena on Apr. 28. However, it is likely that the set was mostly static for the full April run and that all of the songs had been performed (at least at some point) during the period. One date already on the future itinerary was a "School Spirit Contest" sponsored by Chicago's WCFL and Mars Candy company where the school (within a 100 mile radius of Chicago) submitting the most candy bar wrappers collection by Apr. 17 would receive a concert performed by KISS. The winner, River Trails Junior High in Mt. Prospect, IL, was announced at the winner on Apr. 20 with the concert taking place in the school's gym on May 4.

Other than Ace Frehley's wedding, the band was more concerned with their first proper international tour outside of the confines of North America, which was to commence mid-month. Based out of London, the band rehearsed at the famed Shepperton Film Studios in Middlesex on May 12, heading up to Manchester for the first show the following day. The European tour was in some ways a massive step backwards for the band, at least economically and in terms of scale, with their performance gross for the whole tour being a paltry $60,695. Compare that sum for 17 shows performed in Europe with the 12 North American shows in April grossing $181,000. While the venues were far smaller than those to which they had graduated to performing in at home during the prior year. The band had taken a step downwards in many ways during this trek, contrary to how Gene had initially envisaged the tour to take place. In a Feb. 1976 interview with Cleveland's "Scene" magazine he commented, "We keep getting great offers, but we're not going over until it goes over the edge... We really want to go over and do it right. The size of our show is such that we have to get large sums of money to go over there. We don't want to go over and half-fill a hall; we want to fill them all the way" (Scene, 2/12-18/76). While that strategy might have been a failure for the European market, the plan for Japan certainly worked in terms of scale: "We had great offers, in Japan especially, where the promoters were willing to pay all of our transportation, give us the presidential suite and the whole bit. The treatment sounded wonderful, but we wanted to wait just a little bit longer to make sure we're the biggest thing to ever come in there" (Scene, 2/12-18/76).

Most indicative of the band's lowly position in Europe, or lack thereof, was perhaps the band's Paris show being scheduled for 3p.m. in the afternoon, so that the rabble could be cleared out in time for Jerry Louis comedic engagement during the evening. Only the Frankfurt and Stockholm shows could be considered to providing engagement grosses anywhere comparable with what the band were earning back at home. The risk to promoters was also palpable, with guarantees as low as $1,000 being offered (Paris). At least the band could report shows in England being sold-out albeit to audiences under 3,000 patrons in most cases. EMI International reportedly spent some "$60,000 on promotion... a general theme being 'lock up your daughters, KISS is coming'" (Billboard, 5/22/76) in the U.K, resulting in "Destroyer" entering the local charts at #37 and rising to #22 soon afterwards. "Alive!" also skirted the charts, though for the U.K. the album was initially only available on cassette at the time of the tour with a LP release pending. "Destroyer" also charted in Sweden where the band's reception was far more positive than had generally been the case elsewhere.

The experience in Europe was humbling for the band. Paul recalled, "Nearly as soon as we landed, I hated it. We had become a big band in the United States. In England and the rest of Europe, we had to prove ourselves all over again. We were back at square one -- nobodies. Thank God for the fans. As we had seen back home when we started out, the fans in England were also rabid in their dedication to us. On the other hand, the food was horrible and the transportation archaic. The people who ran things were very stodgy. Merchants took perverse pride in the fact that you couldn't get dry cleaning back for a week. There was no air conditioning, and, if you pleaded, they might begrudgingly put one lone ice cube in a drink for you. These things were badges of honor to the older guard of the British Empire" (Face The Music). Whatever the case the band had at least finally had a taste of the other markets that were going to become increasingly important to them in the coming years. And, for that matter, they had at least finally toured outside of North America. Following a performance to less than 500 in Belgium on June 4, the band returned to the U.S. and continued the frenzied preparations for the proper "Destroyer" tour. Jules Fisher Associates, who had previously provided assistance to the band with their staging -- dating back to 1973 when Fischer acolyte Mark Ravitz designed both the spider-web backdrop for the band and built their original "KISS" logo -- were engaged to fully design the new stage set that would be used on the proper U.S. "Spirit of '76" tour. Matters were complex with the staging proving problematic as the crew and designers struggled with scale and technical challenges. At least the band's new costumes had been completed. The band had submitted their designs to Larry LeGaspi in April. The contract for their design and construction notes a cost of $4,775 for the set with Gene's unsurprisingly being the most costly at $1,575.

The $192,000 "Destroyer" stage production was impressive, not simply in comparison with what it replaced but as the quantum leap it represented for the band. The overall design was loosely based on the apocalyptic cityscape theme of the album's cover. Press features promoting the tour regularly described the band destroying a city during the show. Peter's drum riser was complimented with a pair of 6' tall "altar" cats, with glowing eyes, on either side of his kit and a 40" gong. Stairs on either side of the riser led to 10' elevated platforms with faux "crumble wall" fronting hiding the amps and multiple fog machines. At stage-left and right were additional platforms. Ace's raised platform was designed like a lunar landscape, in keeping with his "space" theme, and he would usually perform his solo in this location. Gene's platform was designed like a destroyed demonic Transylvanian castle atop which he'd perform his blood vomiting gimmick. The crumble effect was abandoned as too time consuming, but in essence KISS were going to destroy the stage with their show. Combined, all of the elements transformed the theatrical nature of the performance and gave it a setting versus the dated equipment of its predecessor. The stairs would remain a central theme for KISS stages throughout numerous iterations over the years.

The "God of Thunder" machine was placed directly behind the drums, but in front of the new KISS logo over which was flown the lighting truss. It was seldom used and as infrequently noted in reviews during the tour. Two manned follow spot towers were situated at stage-left and right, with a third toward the rear. According to Mark Ravitz, "The lighting towers had a shape to them and they were custom made. They had a certain shape to them styled after power towers in New Jersey. I was driving on some highway in New Jersey and they had all these electric lines going through the countryside and they were being held up by scaffold towers. The top of them had a certain shape so I played around with the base and gave that a little more of a dynamic shape so they had a little more drama." Other props included the stage tree, obligatory mirror ball and flown lightning bolts. Many of the elements of the stage were hidden, or not immediately obvious looking up from the concert hall floor. Again, Mark recalls, "Unless I'm looking to reveal something it was to be seen. The stage itself didn't have so much on it, but the KISS logo, that's big. You want to see all that -- that's upstage. Everything in front of that wants to be a little lower and not as prominent. The spike, the glowing spike for Gene, that was on stage but, unless it's lit up, you're not really aware of it. When it's time for each of those characters to come alive, the set pieces supporting them came alive. Otherwise they're dialed down and something else is highlighted. That's just theatrics."

It is perhaps more interesting and important is the professional transition that occurred following the conclusion of the European tour -- a process that would have been well in place well before the band departed. KISS had been preparing to take their business to the next level, on multiple levels. Foremost was the appearance of business/financial managers Glickman/Marks on the scene; with the band signing the legal instruments giving them control over their financial interests on May 5. Their involvement would mark a paradigm shift in the overall operation. Bill Aucoin was partnering with Ron Boutwell with the creation of Boutwell/Niocua (yes, that's "Aucoin" spelt backwards), which would control the merchandising and licensing of KISS product henceforth. The stage show being professionally developed is similarly obvious. All of these factors were indicative of a professionalization of the operation, and there were going to be causalities, namely members of the original road crew, many of whom had been with the band, and had shared the same (if not in some cases worse) struggles the band had faced, as early back as December 1973. There is an overriding theory that change is inevitable, and that the lack of change, or evolution, will result in stagnation and ultimately failure. Having reached a pinnacle the band knew that they had limitations, and most certainly that they were carrying excess baggage in certain areas of their operations. There was going to be nothing pretty about the change; and Mick Campise and Rick Stuart were also left out on the streets as the band prepared for the U.S. tour in a secluded hanger at Stewart International Airport in Newburgh, NY. Paul alludes to possible justifications, "Some of the tour managers were fired because Bill didn't think they were doing a good job; most were ousted because of jealousies within the band -- each member wanted the undivided attention of the road manager, or at least a sense of favoritism." No doubt there were new "voices" in the mix that had self-interest in moving things in new direction, or in the least separating the band from the past, severing those relationships and starting to exert influence and control. JR Smalling, so centrally important to the band for so long, recounted his less than ceremonial dismissal from the band's services following the conclusion of the European tour. Walking in to Aucoin's new Madison Avenue office, he thought he'd be wrapping up the business from the tour as he thought about the next road-cycle. Instead, he was let go. The roots of his dismissal had been cultivated during the European tour purportedly resulting from Peter requiring numerous cortisone shots for arm pain, in order to perform. According to Lydia, "When Peter found out what he had been taking, he was furious. Management denied knowing anything and JR was fired" (Sealed With A KISS). Were any of the changes made without the knowledge of the band? Unlikely, though in essence it was a matter of business with the adoption of a new package of people, who had people that they wanted in the roles. Or people that they felt were better suited to the new vision for the band. Business; and business is seldom kind when it comes to matters affecting the bottom line. Or business; in terms of getting rid of those who collectively may know "where the bodies are buried." That bottom line, by May 1976, was the sole concern of Glickman/Marks, on behalf of the band. They were looking at all aspects of the KISS business operation to determine where money was being lost, or revenue streams were not being maximized or exploited. That was their business, and the tentacles of their reach necessarily enveloped all areas of the operation.

That the road support staff were being pruned is not surprising. Many people had come and gone from the crew in two and a half years, but now a core was gone, or on their way out. Mike McGurl, Rick Munroe, Jay Barth and Craig Blazer followed at the end of the "Destroyer" tour. Peter "Moose" Oreckinto didn't even make it that far. That core had grown with the band, and had come from the same starting point and developed and refined their skills and operation parallel to the same for the band on the musical and performance side. It was a symbiotic relationship, but to the extent that the road crew had bled for the band there was never going to be a happy ending when business reared its unemotional head from whichever perspective. Overall, there had not been that much development to the KISS stage show from the time they first hit the national circuit in March 1974. Sure, things that broke or failed were replaced, repaired or improved, but the overall elements remained the same. Once the European tour had concluded, the planned summer tour stage was a completely different beast in its design and execution. No longer was it just a stage with a few gimmicks, it was a setting, and full production for an even greater visual experience for the attendee. Frankie Scinlaro, who had worked with Alice Cooper (and therefore a similarly sized stage production), was recruited as road manager.

The proper North American "Spirit of '76" summer tour was scheduled to kick-off in Richmond, VA on July 4, though that first date ended up having to be postponed until July 8, after initially being rescheduled for July 1. Ultimately, the first show in Norfolk, VA reported just 6,777 of 11,584 tickets being sold to mark the beginning of the band's new era. Overall, July saw the band tour venues filled to just 67% of capacity which while reasonable was certainly not keeping up with the aspirations for a whole new show and album. A second single from the album, "Flaming Youth," had stiffed on the charts reaching just #74 in early June (though admittedly the band hadn't been on the road in the U.S. at the time and it was more a matter of keeping something fresh for radio play). Its follow-up, "Detroit Rock City," fared even worse when it failed to chart at all. There was regional airplay in pockets where the band's popularity generally carried over from the "Alive!" period, but the band, album and tour were certainly not setting the world on fire. It was almost a case of too little too late when "Beth" changed both the band and record's success. The tour was in its final stretch by that point, but the unexpected success would pay dividends on the following tour. During the final shows of the tour the band's concert-filling performance certainly improved. August saw them performing to roughly 78% capacity. This trend of improvement continued into September, though the poor performance at Varsity Stadium skews the overall figure that would otherwise have grown to over 82% of capacity.

For every new way things were done for the summer tour it still operated in the old way with there being neither experience nor skill to necessarily take the production out on the road. Glickman/Marks knew that and engaged Robert D. Brown to follow the tour and conduct an overall business analysis of the existing tour processes. His task included examining the booking process, production, routing, expenses, ticketing, settlements, promotion and merchandising aspects of the tour. As noted in his report introduction, "the conclusions contained herein are the result of personally attending concerts in Baltimore and Knoxville (small indoor facilities); Indianapolis (large indoor facility); and Anaheim (outdoor/stadium) as well as watching entire set-up operation in Charleston, West Virginia. These on-set experiences were supplemented by conferring with numerous personal resource people throughout the entertainment industry." The report did not paint a pretty picture! In regards to the booking process, production, his findings are hardly surprising when looking at the band's itinerary for the period. They generally played 2-5 shows per week, often in travelling routes that were reminiscent of the city-hopping they'd experienced in 1974. One day a show in Baltimore, the next in Knoxville (525 miles travelled), the next in Charleston (back east 310 miles). Roberts commented, "too few dates were being scheduled per week often times with routing making little logistical sense. It seems the approach was simply to play as many dates and types of facilities as possible. The result was a shotgun approach to the market place lacking a viable game plan."

Roberts also found the number of different types of facilities being booked confusing and problematic. Since they differed in size they forced "constant production adjustments" trying to get the production scaled to different environments where only the 12-20,000 capacity venues ought to have been considered in relation to the band's popularity at that point. The stage show needed to be designed in a manner that was easily adjustable to all types of facilities on the tour, not one in constant need of tweaking for each engagement. Set-up and tear-down also needed to be streamlined. Unnecessary or unworkable elements needed to be jettisoned. One of the most important routing suggestions was to "book the tour in two to three week segments concentrating on a specific regional market." This would lower transport costs and time and allow a greater number of shows on a weekly basis. It would also offer "A system to control production expenses, drops more dollars to the bottom line. And, another plus, it's conducive to better moral for the band and a consistency higher level of performance." In essence, though, it was still all about the money. Keeping the band healthy and happy meant that they could be worked more efficiently during the week resulting in more dollars.

Touring expenses were found to be outrageous with there being far too much equipment being used and too many people travelling with the band. Roberts noted, "Your own rider dictates an astounding stagehand call for all shows, small and large facilities alike. It's over production in the classic sense." Even basics, such as overtime rules for facilities, or avoiding late check outs at hotels, needed to be taken into consideration in order to avoid the unnecessary outlay of funds. Simply put, Roberts recommended taking earlier flights and starting shows earlier if needed to avoid those costs. Simplifying the stage also meant that the number of trucks, people and equipment being transported could be reduced, providing savings. The driving factor for all of this analysis? A total performance gross of $1.5 million for the summer tour was reduced to a net of $340,000 after expenses and commissions/fees -- which certainly didn't mean that each band member received a check for $85,000.

Bill Aucoin had been cognizant of certain factors in touring as the band grew, particularly when it came to staying away from stadium shows wherever possible. According to Bill, the band didn't expect to rely on the venues of that scale during the tour. While there would likely have been challenges filling them on a regular basis, he felt that the "indoor show is fairer to the ticket buyer" particularly considering the challenges of presenting the band's show. More importantly, "The best concert sound can be gotten indoors and at a stadium most of the audience is too far away to really see the artists" (Billboard, 5/1/76). For a show on the scale of Anaheim, Eddie Kramer was retained to mix the sound and video projections were utilized. Economically, Aucoin felt that an act could make more from multiple arena engagements rather than a single stadium show, but remained receptive to the idea. He commented, "The staging effects are being designed to work in big stadiums. But in each market along the route, we are looking closely at the comparative advantages between local stadiums and arenas. We won't do an outdoors show unless it makes sense" (Billboard, 5/1/76). Economics also meant that booking stadium shows required the reservation of a rain-date, which in turn affected the routing of the tour and the ability to book other dates. When KISS performed at Anaheim Stadium on Aug. 20 they were joined by multiple opening acts, Ted Nugent, Montrose, and Bob Seger. Drawing a crowd of 42,987 the attractive package compared favorably with other bands: "50,633 was on hand for Rod Stewart and Faces, 47,760 saw the Beach Boys, and another 44,480 took in the Eagles" (Billboard, 5/8/76). An in-depth financial analysis identified poorly performing markets and probably indicated that the band had not yet attained a position where they could fill regularly stadiums, particularly with the subpar showings in Tempe and Toronto. The first stadium show, held at Roosevelt Stadium in early July only drew 13,867 patrons to a 35,000 seat venue, even with openers J. Geils Band, Bob Seger, and Point Blank on the bill. Even that show had been a near-miss, having only shifted 7,000 tickets by a week before it took place -- not helped by a murder at a recent show at the venue. While successful, Anaheim had underperformed 20% below maximum gross even with its impressive $437,653 gross. The $35,850 in merchandising gross for the show probably helped assuage any pain from the $112,000 unsold tickets, at least for the band -- they'd received a flat $100,000 guarantee for the performance anyway. Whatever the case, the tour did impress some: According to Elton John, "I've walked out of nearly every concert I've seen lately... Except for the KISS concert and Wings" (Lisa Robinson, 7/13/76)...

Members of the original KISS crew were not the only figures jettisoned during the "Destroyer" era, Commander-in-Chief of the KISS Army, Bill Starkey, was unceremoniously marginalized in May with the establishment of the official KISS Army fan club based in Woodland Hills, CA. Run by Jennifer Baker (who was also responsible for Elton John's fan club), who admitted knowing nothing about the band whatsoever when given the task. It seems improbable that the band's management ever had any intention of basing the KISS Army out of the mid-west or placing in the hands of a fan. In experienced hands the fan club was an unmitigated success grossing some $40,000 and growing to a membership of 5,000 in just months (Billboard, 5/29/76). In a June letter to Bill Aucoin, Ron Boutwell had to sheepishly admit, "if you recall our meeting in September of 1975, wherein you forced me to organize and manage a fan club, i.e. the KISS Army, my promise to you at that time was that we would do it and probably end up losing money, or at best, break even. However, the bottom line is that in spite of all my efforts, the fucking fan club has made money ...... too much goddamn money!" Boutwell was well positioned to profit from the partnership demanding a 50/50 split of net with the artists, and during 1976 the business rapidly expanded with not only merchandising KISS, but with other band such as Queen and the Sweet.

During the summer tour the band sold over $220,000 worth of merchandise at concerts, resulting in a net of $53,000. At that point the merchandising line was limited to tour books, 4 T-shirt designs, 3 posters, plus belt buckles and buttons. Things would rapidly escalate, but it utterly validated Aucoin's vision in turning to the obvious merchandising appeal of the band's image. According to Paul, "Bill Aucoin always saw the bigger picture. He could tell that we connected with our fans in a way that far exceeded the norm. He grasped the extent to which people would respond to us beyond the music: he understood the potential of merchandising" (Face The Music). All areas of revenue were ripe for growth, and Glickman/Marks immediately concerned themselves with the economic impact of the band's contract with Casablanca, even though the band had signed a revised one in May 1975 (which even then included the "key man" clause that would become critical years later). Their early proposals for a new contract with Casablanca included signing bonus and rising scale of advances throughout the 5 year lifespan of a contract ultimately resulting in a $2 million advance in the 5th year. The record company would pay an upfront cost of $50,000 advance for the recording of an album, or $5,000 per single, with two albums being expected per year. A sliding scale of royalties was recommended with the rate reaching 20% for 1,000,000 units and above. Casablanca would also be responsible for providing $1 million per year for advertizing and promotion. In essence, Glickman/Marks had a very good idea of areas that were ripe for the picking. Negotiations soon commenced with Casablanca, bolstered by the late-summer success of "Beth." Aucoin also expanded his commercial endeavors and split his operation into two, Rock Steady Productions and Aucoin Management to deal with the growth, along with the addition of artists such as Starz to his roster.

It could be argued that the loss of experience with the redundancies of the post-European tour period could be blamed on some of the seeming disarray expressed by Roberts concerning the summer tour. Still, there had been a quantum leap in the band's presentation as they attempted to take the next step in their public popularity as a touring act. In the pre-Destroyer period there were many of the same failings for the band on a financial perspective as noted in Roberts' report. There was also the perception of a "homebrew" ethos, where the crew approached each problem individually and solved it step-by-step rather than wholesale reinvention. Their expertise was certainly perfectly tailored to the show they had long been a part of developing and by April 1976 the operation would have been a well-oiled machine -- at that level -- and it was equally their show as much as the band's. For all of the challenges noted for the "Destroyer" tour, many would be directly handled on the following tour which had to take them into account as the band's popularity exploded with the success of "Beth." Still, for those who had departed the organization, it would be bittersweet to not be part of the culmination of the fruits of their labors. Whatever the case, while the band first stumbled and then recovered to secure their star status, they sold 420,092 of 571,812 tickets (73.47%) during the tour's 35 date main section, July 3 through September 12, grossing nearly $3 million. Soon after the conclusion of the tour the band started work on their next studio album, "Rock And Roll Over" (mentioned in early September as being titled "Rock And Roll Forever") while further changes to their operation were considered.

Set List [ ]

Tour dates [ ].

===== 11 - Allen County War Memorial Coliseum, Fort Wayne, IN 13 - Memorial Auditorium, Utica, NY 14 - Niagara Falls Convention Center, Niagara Falls, NY 16 - Auditorium, Bangor, ME 18 - Moncton Collesium, New Brunswick, Canada 19 - Halifax Forum, Halifax, Nova Scotia, Canada 21 - Montreal Forum Concert Bowl, Quebec, Canada 22 - Civic Center, Ottawa, ON, Canada 23 - Kitchener Auditorium, ON, Canada 24 - London Arena, London, ON, Canada 26 - Maple Leaf Gardens, Toronto, ON, Canada 28 - Winnipeg Arena, Manitoba, Canada  =====

===== 1 - The Americana Inn, Manhattan, NY **Ace's Wedding Reception 4 - River Trails Junior High, Mt. Prospect, IL **M&M contest concert 11 - Sheperton Film Studios, Sheperton, MDX, England **TECH REHEARSAL 12 - Sheperton Film Studios, Sheperton, MDX, England **REHEARSAL 13 - Free Trade Hall, Manchester, England 14 - Odeon, Birmingham, England 15 - Hammersmith Odeon, London, England 16 - Hammersmith Odeon, London, England 18 - Rosengarten, Mannheim, Germany 19 - Philippshalle, Düsseldorf, Germany 22 - Olympia Theatre, Paris, France 23 - RAI Congrescentrum, Amsterdamn, Holland 24 - Stadhalle, Offenbach, Germany 26 - Scandinavium, Gothenberg, Sweden 28 - Tivoli Gardens, Stockholm, Sweden 29 - Falkoner Theater, Copenhagen, Denmark 30 - Olympen, Lund, Sweden  =====

=====2 - Ludwigsburg, Germany **CANCELLED 2 - Volkshaus, Zürich, Switzerland 3 - Circus Krone, Munich, Germany 4 - MTV Grundighalle, Nüremberg/Fürth, Germany 5 - Musikhalle, Hamburg, Germany **TEMP HOLD DATE 6 - Open Air, Mannheim, Germany **TEMP HOLD DATE 6 - Ontmoetingscentrum, Harelbeke, Belgiume 20 - Hanger E, Stewart International Airport, Newburgh, NY **REHEARSALS  =====

=====1 - Richmond Coliseum, Richmond, VA **POSTPONED 2 - Freedom Hall Civic Center, Johnson City, TN **RESCHEDULED 3 - The Scope, Norfolk, VA 4 - Richmond Coliseum, Richmond, VA **RESCHEDULED 6 - Carolina Coliseum, Columbia, SC 8 - Little John Coliseum, Clemson, SC **CANCELLED 8 - Richmond Coliseum, Richmond, VA 10 - Roosevelt Stadium, Jersey City, NJ 11 - Cape Cod Coliseum, South Yarmouth, MA 13 - Baltimore Civic Center, Baltimore, MD 14 - Civic Center, Charleston, WV **POSTPONED 15 - Knoxville Civic Coliseum, Knoxville, TN 17 - Charleston Civic Center, Charleston, WV 19 - Freedom Hall Civic Center, Johnson City, TN 21 - Municipal Auditorium, Nashville, TN 23 - Rickwood Stadium, Birmingham, AL 25 - Municipal Auditorium, Kansas City, MO **TEMP HOLD DATE 26 - Municipal Auditorium, Kansas City, MO 28 - Kiel Auditorium, St. Louis, MO 29 - Kiel Auditorium, St. Louis, MO 31 - Comiskey Park, Chicago, IL **CANCELLED 31 - Toledo Sports Arena, Toledo, OH=====

===== 2 - Market Square Arena, Indianapolis, IN 4 - T.H. Barton Coliseum, Little Rock, AK 6 - Roberts Municipal Stadium, Evansville, IN 8 - Hara Arena, Dayton, OH 10 - Hirsch Coliseum, Shreveport, LA 11 - Tarrant County Convention Center, Fort Worth, TX 13 - The Summit, Houston, TX 15 - El Paso County Coliseum, El Paso, TX 17 - Tempe Stadium, Tempe, AZ 20 - Anaheim Stadium, Anaheim, CA 21 - Anaheim Stadium, Anaheim, CA **RAIN HOLD DATE 22 - Oakland Coliseum Arena, Oakland, CA 27 - Groves Stadium, Winston-Salem, NC **TEMP HOLD DATE 27 - Greensboro Coliseum, Greensboro, NC 29 - Fulton County Stadium, Atlanta, GA  =====

September [ ]

===== 1 - Notre Dame Center, South Bend, IN 3 - The Coliseum, Richfield, OH 4 - Civic Arena, Pittsburgh, PA 6 - Varsity Stadium, Toronto, ON, Canada 8 - Freedom Hall Coliseum, Louisville, KY 10 - Riverfront Coliseum, Cincinnati, OH 11 - Colt Park, Hartford, CT **CANCELLED 12 - Fairgrounds, Allentown, PA **TEMP HOLD DATE 12 - Springfield Civic Center, Springfield, MA=====

Promotional Material [ ]

• 2 Vinnie Vincent
• 3 Mark St. John

Kiss Announce Massive ‘Destroyer’ 45th Anniversary Reissue With Unreleased Demos, 1976 Concert

By Daniel Kreps

Daniel Kreps

Kiss will mark the 45th anniversary of their 1976 LP Destroyer with a massive reissue packed unreleased demos, alternate versions and a 1976 concert.

The 4-disc + 1-Blu-ray Super Deluxe version of Destroyer 45th , due out November 19th, features the remastered album — which boasted the band’s hits “Detroit Rock City,” “Shout It Out Loud” and “Beth” — along with 15 Destroyer -era demos from Paul Stanley and Gene Simmons, nine of which have never been released.

An additional disc collects the band’s single edits, outtakes and alternate mixes from the Destroyer sessions, while the fourth disc captures Kiss’ May 22nd, 1976 concert from Paris’ L’Olympia. The Blu-ray boasts the first-ever Dolby Atmos mix of the LP, overseen by engineer Steven Wilson.

The deluxe box also comes with plenty of Kiss ephemera from the era, including a Kiss Army membership card and reproduced newsletter announcing Destroyer , press photos, stickers, concert posters and more.

In addition to the deluxe box set, Destroyer 45th will also be available in a variety of formats including a limited edition yellow and red double colored vinyl, a 2-CD set with highlights from the bonus material and more. Check out Kiss’ site for preorder information .

Kiss is back on the road now following a slight detour after both Stanley and Simmons tested positive for Covid-19.

Destroyer 45th Track List

DISC ONE: Destroyer: Original Album Remastered 1. Detroit Rock City 2. King of The Night Time World 3. God of Thunder 4. Great Expectations 5. Flaming Youth 6. Sweet Pain 7. Shout It Out Loud 8. Beth 9. Do You Love Me?

DISC TWO Destroyer Era Demos PAUL STANLEY DEMOS 1. Doncha Hesitate 2. God Of Thunder And Rock And Roll 3. It’s The Fire* 4. Detroit Rock City* 5. Love Is Alright*

GENE SIMMONS DEMOS 6. Bad, Bad Lovin’ 7. Man Of A Thousand Faces 8. I Don’t Want No Romance* 9. Burnin’ Up With Fever* 10. Rock N’ Rolls Royce* 11. Mad Dog 12. Night Boy* 13. Star* 14. Howlin’ For Your Love* 15. True Confessions

DISC THREE DESTROYER:  Outtakes, Alternate Versions / Mixes, Single Edits

Editor’s picks

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1. Beth (Acoustic Mix)* 2. Shout It Out Loud (Single Edit) 3. Flaming Youth (Single Edit) 4. Detroit Rock City (Single Edit) 5. Shout It Out Loud (Mono Single Edit) 6. Flaming Youth (Mono Single Edit) 7. Detroit Rock City (Mono Single Edit) 8. Beth (Mono) 9. King Of The Night Time World (Live Rehearsal Instrumental)* 10. Do You Love Me? (Mono Instrumental)* 11. God Of Thunder (Early Instrumental Mix)* 12. Ain’t None Of Your Business (Instrumental)* 13. Detroit Rock City (Instrumental)* 14. King Of The Night Time World (Alternate Mix)* 15. Great Expectations (Early Version) * 16. Flaming Youth (Early Version)* 17. Do You Love Me? (Early Version)* 18. Shout It Out Loud (Alternate Mix)* 19. Ain’t None Of Your Business (Outtake)* 20. Beth (Take 6 – Instrumental)* 21. Beth (Instrumental)* 22. Do You Love Me? (Alternate Mix)*

DISC FOUR LIVE IN PARIS – L’Olympia – 22 May, 1976*

1. Deuce 2. Strutter 3. Flaming Youth 4. Hotter Than Hell 5. Firehouse 6. She / Ace Frehley Guitar Solo 7. Nothin’ To Lose 8. Shout It Out Loud / Gene Simmons Bass Solo 9. 100,000 Years / Peter Criss Drum Solo 10. Black Diamond 11. Detroit Rock City 12. Rock and Roll All Nite

BLU-RAY AUDIO:

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1. Detroit Rock City 2. King Of The Night Time World 3. God Of Thunder 4. Great Expectations 5. Flaming Youth 6. Sweet Pain 7. Shout It Out Loud 8. Beth 9. Do You Love Me? Bonus Tracks: 10. Beth (Acoustic) 11. Sweet Pain (Original Guitar Solo)

* previously unreleased

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Review: KISS Destroyer 45th Anniversary Super Deluxe Edition

On November 19, the 45th Anniversary Super Deluxe Edition of Destroyer , KISS’ quintessential album, is unleashed upon the world. UMe is releasing multiple versions: a Super Deluxe 4-CD + Blu-ray Audio box set, a standard double black vinyl, limited edition yellow and red double colored vinyl, a 2-CD set, and digital. I was fortunate enough to receive an advance copy of the Super Deluxe Edition of Destroyer . Read on for my thoughts on this album and whether or not it’s worth buying.

CD 1 includes the original album newly remastered at Abbey Road Mastering, while CD 2 features 15 demos from Paul Stanley’s and Gene Simmons’s personal archives – 9 of which are unreleased. CD 3 is packed with studio outtakes, alternate versions / mixes and single edits – most notably a brand-new stripped-down mix for “Beth (Acoustic Mix),” and CD 4 contains an electrifying performance from the band’s visit to Paris France at the L’Olympia on May 22, 1976. For the Blu-ray Audio disc, Steven Wilson was brought in to create a first-ever Dolby Atmos and 5.1 surround mix of the original studio album plus 2 bonus tracks “Beth (Acoustic Mix)” and “Sweet Pain (Original Guitar Solo)” the latter featuring Ace Frehley’s original recorded guitar solo that was not released on the studio album (this track is available on the 2012 Destroyer: Resurrected project.) 

Additionally, the Super Deluxe box features an extravagant array of collectable KISS memorabilia and ephemera, including a complete recreation of the original KISS Army Kit with the original folder and following items: 

• KISS Army newsletter Volume 1 – No 2 announcing Destroyer 
• 2x 8”x10” Destroyer Press Photos
• Discography Sheet 
• Gene, Paul, Ace & Peter Bio Sheet
• KISS Army Member Certificate 
• KISS Army Membership Card 

Also included in the Super Deluxe set: 

• KISS logo Iron-on
• KISS Army Sticker
• “Detroit Rock City” Bumper Sticker
• Destroyer Cover Sticker
• 11”x17” KISS on Westminster Bridge UK Poster
• 4 brand new 8”x10” Band Member Photos
• 8”x12” Destroyer Foil Flyer 
• 8”x12” Destroyer Canadian Flyer (super rare)
• 4x Band Member Trading Cards (newly created for this boxset) 
• 16”x24” KISS Over New York Skyline Poster
• 16”x24” KISS Halloween 1976 Concert Poster
• 2x 9”x12” Destroyer Tour Stage Blueprints on Transparent Vellum (never been seen before) 
• 16-page Destroyer 1976 Tour Program 
• Gotham Rock City News Volume 1 Newspaper that is a track-by-track interview with all 4 band members, Bob Ezrin and crew 
• 68-page hardcover book with extensive liner notes by Paul Elliott & Ken Sharp featuring interviews from Gene, Paul, Ace, Peter, then-manager Bill Aucoin, album producer Bob Ezrin, and many more about the album’s writing and production process, U.S. and European tours, photo shoots, promotional stories, band member memories from their TV appearance on The Paul Lynde Halloween Special , and an intoxicating amount of unreleased photos and imagery 

The entire contents are housed in a lift top- style box and features artist Ken Kelly’s original Destroyer cover art, arguably one of the most iconic album covers in rock, making this the ultimate KISS Destroyer souvenir.

SUPER DELUXE TRACK LIST: 

DISC ONE: 

DESTROYER: Original Album Remastered  

• Detroit Rock City
• King of The Night Time World
• God of Thunder
• Great Expectations
• Flaming Youth
• Shout It Out Loud
• Do You Love Me?

DISC TWO 

DESTROYER-ERA: Demos 

PAUL STANLEY DEMOS 

• Doncha Hesitate
• God Of Thunder And Rock And Roll
• It’s The Fire*
• Detroit Rock City*
• Love Is Alright*

GENE SIMMONS DEMOS 

• Bad, Bad Lovin’
• Man Of A Thousand Faces
• I Don’t Want No Romance*
• Burnin’ Up With Fever*
• Rock N’ Rolls Royce*
• Howlin’ For Your Love*
• True Confessions

DISC THREE DESTROYER: Outtakes, Alternate Versions / Mixes, Single Edits 

• Beth (Acoustic Mix)*2. Shout It Out Loud (Single Edit)
• Flaming Youth (Single Edit)
• Detroit Rock City (Single Edit)
• Shout It Out Loud (Mono Single Edit)
• Flaming Youth (Mono Single Edit)
• Detroit Rock City (Mono Single Edit)
• Beth (Mono)
• King Of The Night Time World (Live Rehearsal Instrumental)*
• Do You Love Me? (Mono Instrumental)*
• God Of Thunder (Early Instrumental Mix)*
• Ain’t None Of Your Business (Instrumental)*
• Detroit Rock City (Instrumental)*
• King Of The Night Time World (Alternate Mix)*
• Great Expectations (Early Version)*
• Flaming Youth (Early Version)*
• Do You Love Me? (Early Version)*
• Shout It Out Loud (Alternate Mix)*
• Ain’t None Of Your Business (Outtake)*
• Beth (Take 6 – Instrumental)*
• Beth (Instrumental)*
• Do You Love Me? (Alternate Mix)*

DISC FOUR LIVE IN PARIS – L’Olympia – 22 May, 1976* 

• Hotter Than Hell
• She / Ace Frehley Guitar Solo
• Nothin’ To Lose
• Shout It Out Loud / Gene Simmons Bass Solo
• 100,000 Years / Peter Criss Drum Solo
• Black Diamond
• Rock and Roll All Nite

BLU-RAY AUDIO: DESTROYER: *Dolby Atmos 48kHz 24-bit, *Dolby True HD 5.1 96kHz 24-bit, 

DTS-HD Master Audio 5.1 96kHz 24-bit, PCM Stereo 96kHz 24-bit

• King Of The Night Time World
• God Of Thunder

Bonus Tracks:

• Beth (Acoustic)
• Sweet Pain (Original Guitar Solo)

*Previously unreleased

DELUXE EDITION 2CD TRACK LIST: 

DISC ONE 

DESTROYER 

Original Album Remastered 

RARITIES 

• Beth (Acoustic Mix)*

LIVE IN PARIS – L’Olympia – May 22, 1976* 

 *Previously Unreleased 

DELUXE EDITION 2LP TRACK LIST: 

LP ONE 

Original Album Remastered  

Side One 

Side Two 

LP TWO 

Side Three 

Side Four 

*Previously Unreleased 

DOLBY ATMOS – STREAMING 

DESTROYER: *Dolby Atmos 48kHz 24-bit

Bonus Tracks: 

• Beth (Acoustic Mix)

* Previously unreleased

DISC-BY-DISC REVIEW

Disc 1: DESTROYER: Original Album Remastered

The first CD is the original Destroyer album, newly remastered at Abbey Road Mastering. Bob Ezrin’s production has never sounded so clear, especially while wearing headphones. Destroyer sounds more dynamic and vibrant than ever, making this the highest quality version of the album available to date. A superb way to kick off this comprehensive set celebrating KISS’ most iconic studio album.

Disc 2: DESTROYER-ERA: Demos

The second CD is where business starts to pick up. Most KISS fans are interested in unreleased material, and that’s exactly what we have here. There are five Paul Stanley demos and 10 by Gene Simmons. This is reflective of their approach to music: Paul is concerned with quality, while Gene seems to be focused on quantity. This doesn’t come as a shock, as Gene released a massive box set of unused material a few years back: The Vault . Some of these demos have appeared on other releases but most have not. I love the demos that are present, and, of the new ones, a few of my favorites include “It’s The Fire,” “I Don’t Want No Romance,” and “Rock N’ Rolls Royce.” It’s a wonderful collection of early versions of songs, as well as those that never came to fruition.

Disc 3: DESTROYER: Outtakes, Alternate Versions / Mixes, Single Edits

On the third CD, we’ve got a mix of intriguing and pedestrian material. The single edits and mono tracks don’t provide much value. Instead, I prefer the outtakes and instrumental tracks, especially “Beth” and “Ain’t None Of Your Business.” Almost all of the first eight songs are skippable, while the second half is where you’ll find the meat and potatoes. That said, I have no problem with the inclusion of the single edits and mono tracks. More is always better, but when it’s juxtaposed with more compelling material, it’s hard not to notice.

Disc 4: LIVE IN PARIS – L’Olympia – 22 May, 1976

This impressive set closes out with a CD capturing a live concert from 1976, with KISS in all its resplendent glory. It’s not a perfect recording, but it’s high quality nonetheless, and a few audio hiccups here and there lends authenticity to the anthropological nature of listening to this concert 45 years later. It’s a fun setlist that only runs for 12 songs, including solos for the band members. KISS is known for the energy and bombast of its live shows, so this is a fitting way to end this collection.

I should note that I don’t have access to the Blu-ray Audio version of Destroyer, which is included in the physical box set, but I look forward to giving it a listen in the future.

FINAL THOUGHTS

The Destroyer 45th Anniversary Super Deluxe Edition album is a spectacular set celebrating KISS’ definitive studio record. Finally, after many years of waiting, fans can enjoy a proper deluxe edition, replete with unreleased material, from both the studio and stage. Better yet, if you buy the box set, you get a wide assortment of goodies, including a 68-page book, filled with liner notes from band members and those involved with the creation of Destroyer. This book, which I’ve read, is filled with fascinating insights, stories, photos, hand-written notes, and more. The Destroyer 45th Anniversary Super Deluxe Edition is a veritable treasure trove for KISS fans to enjoy, and I highly recommend that all of you take this trip down memory lane. Regardless of whether you were alive in 1976 or are a newly minted fan, there’s plenty here for the KISS Army to enjoy.

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Kiss – ‘Destroyer: 45th Anniversary Super Deluxe Edition’ (2021) – Box Set Review (The Kiss Review Series)

With the album ‘Alive’ in 1975, Kiss finally broke through and were on their ways to be Rock Gods!! But their next album needed to make a statement. It needed to capture the band like none of their other albums had been able to do. Famed record producer, Bob Ezrin, was brought in to man the boards all based on the work he was doing with Alice Cooper. Kiss needed that same energy and success. And did Bob deliver? Oh hell yeah he did!! ‘Destroyer’ was released on March 15, 1976 and with songs like “Beth”, ‘Detroit Rock City” and “Shout it Out Loud”, Kiss was on top. They had made it! A now platinum selling artist, a massive touring act and they were starting to reach heights they only dreamed about. At first thought, the album was slow out of the gate until “Beth” was played on the radio…it was the B-Side to “Detroit Rock City” and then Bam!! Everything changed. To celebrate this pivotal album, Kiss delivered the 45th Anniversary Super Deluxe Edition Box Set and it is jammed pack with goodness. Gene Simmons and Paul Stanley have been paying attention to other band’s box sets and now they know how to put one of these together and it is stellar…mostly.

It is jammed pack with 4 discs of music. A remastered edition of the main album; 2 CDs of demos, rarities, outtakes and remixes as well as 1 Live CDs chock full of goodness from the Paris show on May 22, 1976. And you also get a Blu-Ray Audio of the main album and I can’t wait to turn this baby on in surround sound and hear all that Bob put in to these songs. But that is not all, not by a long shot. The box set is packed with an 68-page book, posters, stickers, photo cards and all sorts of information about the band…don’t believe me, look at the sticker from the front of the box set…

So sit back and let’s go through the box set in detail with a lot of pictures to show you the beauty of this set.

DISC ONE: ORIGINAL ALBUM REMASTERED:

First up is the remastered original album. And let me tell you it sounds fantastic. The car crash from “Detroit Rock City” is is crystal clear, the choir in “Great Expectations” soars and if you crank it up loud, it rocks out like never before. I will not go in to detail with this album as I have reviewed it before as you can click on the links below to see the full Kiss Review Series below. This is one of my favorite albums and favorite Kiss albums and I will say after listening to this remastering, it still is one of my favorite albums of all time!! I love the Casablanca label on the CD with Neil Bogart in the left side and the palm trees on the right. A classic label and I’m glad they brought it back for this set.

DISC TWO & THREE: DEMOS, RARITIES AND OUTTAKES:

Disc two is the prize here on the box set. It consists of Demos from the Destroyer era. You get 5 demos from Paul and 10 from Gene. Why does Gene have so many, simple. For ever one song Paul writes, Gene writes about 1,000 as he’ll write about anything because he figures the more he writes, at least something will stick out as good even if it is a song about him pooping. Paul is a little more meticulous in his approach. Paul’s good ones are “Doncha Hestiate” which was ready for the album, but the band just never got around to recording it. The other is his demo of the song he wrote “God of Thunder and Rock and Roll” which you guessed it, is the original title of “God of Thunder” which Gene sings. It is the same song, but Bob thought it fit better with Gene so they slowed it down and re-wrote the lyrics and now it is a Gene classic. But I really enjoy Pauls version as well. It’s a lot of fun. It’s the Fire is an unfinished song and has some similarity to “Love Gun” and then you get the early demo of “Detroit Rock City” before it was flushed out and had the story of the car crash added to it;. Another fave of mine. Lastly for Paul is “Love is Alright” which has no lyrics other than “Love is Alright” at the chorus. Very unfinished.

Gene’s songs are numerous. You do get three early versions of songs that would appear on his 1978 Solo album with “Man of a Thousand Faces”, “Burnin’ Up With Fever” and “True Confessions”. You get some that are on the Vault, but maybe as a different mix such as “Bad Bad Lovin'” which if you listen close you can tell that it would morph in to “Calling Dr. Love”. There is “Rock And Rolls Royce” which I think would become “Love ‘Em and Leave Me” off Rock & Roll Over. Then there is “Mad Dog” which its riff would be stolen and used for “Flaming Youth”. Lastly from the Vault is “Howlin’ for Your Love” which he has many versions, it is an interesting fun track. Then Gene has a bunch I’d never heard including “Night Boy”, “Star” and “I Don’t Want No Romance” which is so not a Kiss song, but not bad. Listen closely and it reminds me “Got Love for Sale” from the Love Gun album.

Disc Three is full of single edits both in stereo and mono, instrumental takes and various levels of completion for the songs on the album itself. You get an acoustic version of Beth which honestly, I already thought it was acoustic with the piano, but they basically add an acoustic guitar to this one and it is Dick Wagner on guitar, not Ace. The only non-album track is the song “Ain’t None of Your Business” which was written by Michael Des Barnes during his time with his band Monarch. Peter sang the song and it was recorded for the album and fully finished. The problem was it didn’t work with the feel and vibe of the album and left off. Peter got his big song with “Beth” so was all good.

DISC FOUR: LIVE IN PARIS – L’OLYMPIA, 22 MAY, 1976

The final CD is a live show from L’Olympia Theatre in Paris, France from May 22, 1976. It sounds like an audience recording as the sound is terrible. Voices are in and out, instruments sound muddy and simply awful at times and the crowd is loud sometimes. The one thing that sounds the best is the man that introduces the band at the beginning. He sounds perfect, then the band plays and disaster. With the band putting out these quality Soundboard Recordings, why the hell would they release something that sounded so bad. I don’t mind when it sounds like this when I buy a bootleg, but an official release should not sound this bad. I mean, we love to hear Ace play his solos because he is so sloppy at times which is his charm, but that sloppiness is taken to another level with this bad sound quality.

Take that out of the equation and the setlist is killer here for the time. Nowadays, this setlist would be boring, but back then, it is pretty awesome. I love that “Flaming Youth” is in the setlist and that Ace’s guitar solo is after “She” as Ace wasn’t singing yet and we don’t have “Shock Me” yet either. Two of my favorites are on here with “100,000 Years” and “Black Diamond” as I always love to hear those live.

BLU-RAY AUDIO:

I actually only recently got surround sound so when I did, the first album I played in it was the “Destroyer” 5.1 Surround Sound Mix and all I can say is DAMN!!! I have never heard the album sound like that. To hear “Detroit Rock City” and all the car sounds and crash sounds coming from all around you was such an immersive experience. The children in “God of Thunder” never sounded cooler and the choir in “Great Expectations” was even creepier. The guitars on it seemed to be in the rear speakers while everything else was in the front and it all just surrounded you in a giant hug as you felt the warmth of the familiarity of the album just wash over you. It was one of the best listening experiences I have had enjoying this album since the very first time I ever heard the album. You have to hear the album in this format.

68-PAGE HARD COVER BOOK:

The you get a hardback book with 68 pages of photos and stories about Kiss. You get some back stories on the band, the writing of the album, pre-production and recording sessions, naming the album, album design and artwork, the backlash from the album and the legacy of the album as well. If that wasn’t enough you get stuff on some of the famous photo shoots including the ’76 Photo Shoot and Empire State Building. You get descriptions on the Kiss Army Kit and how the album did around the world.

There are tons of photos and what I really loved seeing was each and every variant there is of the album from cassettes, to singles to albums. Really cool as a collector to see all the things we have to buy. But the photos are the ones you will spend so much time looking at all the detail of their outfits, stages and anything else you get obsessed about. At the end you even get a discussion on the famous Halloween Paul Lynde Special. They really did a great job with the book.

1976 ARMY KIT REPLICA:

The Kiss Army Kit is jammed packed with so much stuff. You get posters, stickers, a Kiss Army Certificate, Kiss Army Newsletter, Promo Pictures, Trading cards, iron-on, bios and so much more. It is a smorgasbord of goodness. Check it all out as it is pretty awesome.

‘ON TOUR’ PROGRAM REPLICA:

They also included a replica tour book which is great because this is one of the tour books I am missing from my collection as it is quite pricey and I mean pricey. I am not going to show every picture as we have enough so far…There are so many great pictures and live shots of the band. It was these types of pictures as a kid, I thought these guys were larger than life. The outfits were over-the-top, the stage was massive, it was all amazing to see.

AND ALL THE REST:

There was another envelope that contained a few more things. It was a solid black envelope with the Kiss logo (it is correct here, but on Creatures, I’m not sure if it is upside down or backwards or both).

That envelope included 2 more posters, plus 2 drawings of the live stage show mock-up but the prize is the 1st Volume of the Gotham City News (they do a second for the Creatures Box Set). It contains song-by-song account of the album and most of the bonus tracks. You get discussions from Gene and Paul as well as some of the song writers and some of the players on the albums or people working the boards. Really cool reading.

And believe it or not, that is it.

If you are a Kiss fan and a fan of this album, you can’t go wrong getting this box set. My Overall Score is a 4.5 out of 5.0 Stars as they check off everything. A remastered album, check…a ton of unreleased demos, rarities, outtakes, check….a live show that was unreleased (sort of), check…and a bunch of other goodies, check!!! What more could you want. Well, the reason it isn’t a 5.0 is that live show, come on guys, that show sounded like shit. I expect that from a bootleg, but not an official release by the band. Otherwise, that is my only gripe. Thanks for hanging out so long with me.

The Kiss Review Series:

• Wicked Lester and the Progeny Demo Sessions (Bootleg)
• Kiss – Kiss (1974)
• Kiss – Hotter Than Hell (1974)
• Kiss – Dressed to Kill (1975)
• Kiss – Alive! (1975)
• Kiss – Destroyer (1976)
• Kiss – “Flaming Youth” 45 Promo Single – Bonus Edition (1976)
• Kiss – “Beth” – 7″ Single – Bonus Edition (1976)
• Kiss – Special Kiss Album For Their Summer Tour (1976)
• Kiss – The Originals (1976)
• Kiss – Rock & Roll Over (1976)
• Kiss – “Calling Dr. Love” – 7″ Single – Bonus Edition (1977)
• Kiss – Love Gun (1977)
• Kiss – “Christine Sixteen” – 7″ Single – Bonus Edition (1977)
• Kiss – Alive II (1977)
• Kiss – Double Platinum (1978)
• Kiss – Paul Stanley (1978)
• Kiss – Gene Simmons (1978)
• Kiss – Peter Criss (1978)
• Kiss – Ace Frehley (1978)
• Kiss – Best of Solo Albums (1978)
• Kiss – Kiss Meets the Phantom of the Park Movie (1978)
• Kiss – Dynasty (1979)
• Kiss – “I Was Made For Lovin’ You” (1979) – 12″ & 7″ Singles (Bonus Edition)
• Kiss – Unmasked (1980)
• Peter Criss – Out of Control (1980)
• Kiss – Music From The Elder (1981)
• Kiss – Killers (1982)
• Kiss – Creatures of the Night (1982)
• Kiss – Lick It Up (1983)
• Kiss – Animalize (1984 )
• Wendy O. Williams – WOW (1984) (Bonus Edition)
• Kiss – Animalize Live Uncensored (1985)
• Kiss – Asylum (1985)
• Kiss – “Tears Are Falling” 7″ Single (Bonus Edition) (1985)
• Kiss – Creatures of the Night (1985 Re-Issue)
• Vinnie Vincent Invasion – Vinnie Vincent Invasion (1986)
• Black N’ Blue – Nasty Nasty (1986)
• Ace Frehley – Frehley’s Comet (1987)
• Kiss – Exposed VHS (1987)
• Kiss – Crazy Nights (1987)
• Kiss – “Crazy Crazy Nights” – 12″ Single (Bonus Edition)
• Kiss – “Reason To Live” – 12″ Picture Disc (Bonus Edition)
• Kiss – Chikara (1988)
• Kiss – Smashes, Thrashes & Hits (1988)
• Kiss – Hot In The Shade (1989)
• Kiss – “God Gave Rock And Roll To You II” (1991) – 12″ Picture Disc
• Kiss – Revenge (1992)
• Kiss – Alive III (1993)
• Kiss – “I Was Made For Lovin’ You (Live)” (1993) – CD Maxi Single (Bonus Edition)
• Kiss – Konfidential VHS (1993)
• Kiss – Kiss My Ass: Classic Kiss Regrooved (1994)
• Kiss – MTV Unplugged (1996)
• Kiss – You Wanted the Best, You Got the Best!! (1996)
• Kiss – Greatest Kiss (1997)
• Kiss – Carnival of Souls: The Final Sessions (1997)
• Kiss – Psycho Circus (1998)
• Kiss – The Second Coming Documentary (1998)
• Eric Carr – Rockology (1999)
• Mark St. John – Mark St. John Project (1999)
• Eric Singer Project – ESP (1999)
• Bruce Kulick – Audiodog (2001)
• Kiss – Kiss Symphony: Alive IV (2003)
• Gene Simmons – Asshole (2004)
• Kiss – Rock the Nation 2004 World Tour: Instant Live (Verizon Wireless Amphitheatre Charlotte, NC 7/28/04) (2004)
• Kiss – Rock the Nation Live! DVD (2005)
• Kiss – Alive! The Millennium Concert (2006)
• Paul Stanley – Live to Win (2006)
• Kiss – Kissology: Volumes 1 to 3 (2006-2007)
• Kiss – Jigoku-Retsuden (2008)
• Kiss – Sonic Boom (2009)
• Kiss – Monster (2012)
• Kiss – The Casablanca Singles 1973-1982 (2012)
• Kiss – Kiss 40 (2014)
• Kiss – Kiss Rocks Vegas (2016)
• Kiss – Kissworld: The Best of Kiss (2017)
• Kiss – Off the Soundboard: Tokyo 2001 (2021)
• Kiss – Off the Soundboard: Live in Virginia Beach July 24, 2004 (2022)
• Kiss – The Albums Ranked From Worst to First (2021)
• Kiss – Destroyer: 45th Anniversary Super Deluxe Edition (2021)
• Kiss – Creatures of the Night: 40th Anniversary Super Deluxe Edition (2022)
• Kiss – Creatures of the Night: 40th Anniversary 3-LP Deluxe Edition (Colored Vinyl) (2022)

The Bootleg Series:

• Kiss – ‘Accept No Imitations’ (Bootleg Series) – Album Review (ASYLUM TOUR)
• Kiss – Look Wot You Dun to Me (Bootleg Series) – Album Review (CRAZY NIGHTS TOUR)
• Kiss – The Summer of Satan: The Devils Ride Out! (Bootleg Series) – Album Review (DESTROYER TOUR)
• Kiss – Return to Capital Center (Bootleg Series) – Album Review (DYNASTY TOUR)
• Kiss – With Fire & Thunder (Bootleg Series) – Album Review (HOTTER THAN HELL TOUR)
• Kiss – Northhampton PA March 19th, 1975 (Bootleg Series) – Album Review (DRESSED TO KILL TOUR)
• Kiss – The Hottest Show On Earth (Bootleg Series) – Album Review (THE HOTTEST SHOW ON EARTH TOUR 2010)
• Kiss – All the Way to the Ball Room (Bootleg Series) – Album Review (Australian Tour 1995)
• Kiss – Kiss of Thunder (Bootleg Series) – Album Review (The Rising Sun Tour 2006)
• Kiss – Agora Ballroom 1974: The Cleveland Broadcast plus Bonus Cuts (Bootleg Series) – Album Review (THE KISS TOUR)
• Kiss – Hotter Than Hell: Radio Broadcast 1976 (Bootleg Series) – Album Review (ROCK & ROLL OVER TOUR)
• Kiss – The Tickler (Bootleg Series) – Album Review (LICK IT UP TOUR 1983)
• Kiss – Barbarize (Bootleg Series) – Album Review (ANIMALIZE WORLD TOUR 1984 – North American Tour)
• Kiss – They Only Come Out At Night (Bootleg Series) – Album Review (ANIMALIZE WORLD TOUR 1984 – EUROPEAN TOUR)
• Kiss – Black Diamond: Lafayette Music Room, Memphis, TN April 18th, 1974 – FM Broadcast
• Kiss – End of the Road: In Allentown 2020 (PPL Center, Allentown, PA, 4th February 2020) (End of the Road Tour)  –  Blu-Ray
• Kiss – ‘Monster Tour: Simpsonville 2013’ (Charter Amphitheatre at Heritage Park, Simpsonville, C – 13th August 2013) – Blu-Ray
• Wicked Lester – The Original Wicked Lester Sessions (Bootleg)
• Kiss – The Ritz on Fire (August 12, 1988, The Ritz, New York City. A radio broadcast – Crazy Nights Tour)
• Kiss – Kiss My Axe 1978: Live from the Los Angeles Forum in California, August 25, 1977 (Love Gun Tour)

Kiss – The Box Set:

• The Box Set (Part 1 of 6)
• The Box Set – Disc One 1966-1975 (Part 2 of 6)
• The Box Set – Disc Two 1975-1977 (Part 3 of 6)
• The Box Set – Disc Three 1976-1982 (Part 4 of 6)
• The Box Set – Disc Four 1983-1989 (Part 5 of 6)
• The Box Set – Disc Five 1992-1999 (Part 6 of 6)

Gene Simmons – The Vault:

• P art 1 – The Grand Opening
• Part 2 – Disk 1
• Part 3 – Disk 2
• Part 4 – Disk 3
• Part 5 – Disk 4
• Part 6 – Disk 5
• Part 7 – Disk 6
• Part 8 – Disk 7
• Part 9 – Disk 8
• Part 10 – Disk 9
• Part 11 – Disk 10
• Part 12 – The Bonus Disk
• Part 13 – The Best Songs of the Vault
• Part 14 – The Worst Songs of the Vault
• Part 15 – The Final Verdict

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18 thoughts on “ Kiss – ‘Destroyer: 45th Anniversary Super Deluxe Edition’ (2021) – Box Set Review (The Kiss Review Series) ”

See, here I was like, “Maybe I should finish that Kiss Destroyer review”. And then I read this.

And then I say, “Why bother, because SNOWMAN JUST WROTE THE ULTIMATE BOX SET REVIEW”. With great images to boot.

Now sue those movie guys over that clone movie idea.

Like Liked by 1 person

Thanks. It only took me about 15 months to write it, but its done. Wait a couple weeks then you can do yours as everyone will have forgotten about mine by then 🙂

I’m not going to sue, but I might actually go watch to see how bad it actually is.

I’ll never be able to top these photos. I just don’t have the patience!

Wow great write up and read man! Love the packaging on this as I only have the double vinyl reissue of Destroyer. Too bad that live show is unlistenable to me that is lol Thanks for sharing all of this….well worth the wait.

Like Liked by 2 people

My pleasure. After doing Creatures Box Set, I was like, you know…it’s time to do Destroyer. They were fun to put together.

Lot’s of work and it shows. Great job with everything.

Same here Deke. I only got the double vinyl reissue which I’m okay with.

Great and detailed review as usual Jon.

The double vinyl review will up soon as I have that one too!!

Very nice set, it was a bit more than what I’d care to spend on one album but they packed in the bells and whistles. Shame about the live set, I wonder why they decided to cheap out on that part of it. Seems like they have more than enough archive material to put something worthy in a super premium item like this.

Yeah, I don’t understand that one. A cool historic show, but pure crap. I have bootlegs better than that one.

That’s how to do a reissue.

• Pingback: Kiss – ‘Destroyer: 45th Anniversary 2-LP Deluxe Edition (Colored Vinyl) (2021) – Album Review (The Kiss Review Series) – 2 Loud 2 Old Music

Dang…you get your money’s worth with this package…that is awesome. I had the original album…staring at that front cover for hours.

• Pingback: Kiss – ‘Off the Soundboard: Poughkeepsie, NY Mid-Hudson Civic Arena, November 28, 1984’ (2023) – Album Review – 2 Loud 2 Old Music
• Pingback: Kiss – ‘Icon’ (2010/2023) – Album Review (The Kiss Review Series) – 2 Loud 2 Old Music
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Kiss launch Destroyer 45th anniversary super deluxe edition box set

The Destroyer super deluxe box features an "extravagant array of collectable Kiss memorabilia and ephemera"

Rock titans Kiss are celebrating the 45th anniversary of their biggest-selling studio album, Destroyer , by releasing it as a multi-disc super deluxe edition box set. The 4CD/Blu-ray box will be released via UMe on November 19.

The album will also be released on standard double black vinyl and limited edition yellow and red double coloured vinyl ,  as well as a double CD set, but it's the super-deluxe variant that'll get the pulse racing if you're a Kiss fan.

The first of four CDs includes the original album newly remastered at Abbey Road, while the second disc features 15 demos from Paul Stanley ’s and Gene Simmons ’s personal archives. The third CD is packed with studio outtakes, alternate versions, alternate mixes and single edits, while the final CD features a live recording of a show at L’Olympia, Paris, in May 1976. 

For the Blu-ray disc, king of prog remixes Steven Wilson has created mixes of the original album in Dolby Atmos and 5.1 surround sound, as well as two bonus tracks Beth (Acoustic Mix) and Sweet Pain (Original Guitar Solo). The latter features an Ace Frehley guitar solo that was not released on the original studio album (but did turn up on 2012's  Destroyer: Resurrected  project). 

The super-deluxe edition also includes a raft of Kiss ephemera, including a 68-page hardcover book with extensive liner notes by Classic Rock writers Paul Elliott and Ken Sharp. Full contents follow.

• Kiss Army newsletter Volume 1 – No 2 announcing  Destroyer 
• 2x 8”x10”  Destroyer  Press Photos
• Discography Sheet 
• Gene, Paul, Ace & Peter Bio Sheet
• Kiss Army Member Certificate 
• Kiss Army Membership Card 
• Kiss logo Iron-on
• Kiss Army Sticker
• Detroit Rock City Bumper Sticker
• Destroyer  Cover Sticker
• 11”x17” Kiss on Westminster Bridge UK Poster
• 4 brand new 8”x10” Band Member Photos
• 8”x12”  Destroyer  Foil Flyer 
• 8”x12”  Destroyer  Canadian Flyer (super rare)
• 4x Band Member Trading Cards (newly created for this boxset) 
• 16”x24” Kiss Over New York Skyline Poster
• 16”x24” Kiss Halloween 1976 Concert Poster
• 2x 9”x12”  Destroyer  Tour Stage Blueprints on Transparent Vellum (never been seen before) 
• 16-page  Destroyer  1976 Tour Program 
• Gotham Rock City News Volume 1 Newspaper that is a track-by-track interview with all 4 band members, Bob Ezrin and crew 
• 68-page hardcover book with extensive liner notes by Classic Rock writers Paul Elliott and Ken Sharp featuring interviews from Gene, Paul, Ace, Peter, then-manager Bill Aucoin, album producer Bob Ezrin, and many more.

The Destroyer 45th Anniversary super deluxe edition box set can be pre-ordered from the Kiss store . 

Kiss: Destroyer Super Deluxe Edition tracklist

Disc One: Original Album Remastered 1. Detroit Rock City 2. King of The Night Time World  3. God of Thunder 4. Great Expectations 5. Flaming Youth 6. Sweet Pain 7. Shout It Out Loud 8. Beth 9. Do You Love Me?    Disc Two Paul Stanley Demos 1. Doncha Hesitate 2. God Of Thunder And Rock And Roll  3. It’s The Fire* 4. Detroit Rock City* 5. Love Is Alright*  Gene Simmons Demos 6. Bad, Bad Lovin’ 7. Man Of A Thousand Faces  8. I Don’t Want No Romance*  9. Burnin’ Up With Fever*  10. Rock N’ Rolls Royce*  11. Mad Dog  12. Night Boy* 13. Star*  14. Howlin’ For Your Love*  15. True Confessions    Disc Three :  Outtakes, Alternate Versions / Mixes, Single Edits  1. Beth (Acoustic Mix)*  2. Shout It Out Loud (Single Edit) 3. Flaming Youth (Single Edit) 4. Detroit Rock City (Single Edit) 5. Shout It Out Loud (Mono Single Edit) 6. Flaming Youth (Mono Single Edit) 7. Detroit Rock City (Mono Single Edit) 8. Beth (Mono) 9. King Of The Night Time World (Live Rehearsal Instrumental)*  10. Do You Love Me? (Mono Instrumental)* 11. God Of Thunder (Early Instrumental Mix)* 12. Ain’t None Of Your Business (Instrumental)*  13. Detroit Rock City (Instrumental)* 14. King Of The Night Time World (Alternate Mix)*  15. Great Expectations (Early Version)* 16. Flaming Youth (Early Version)* 17. Do You Love Me? (Early Version)* 18. Shout It Out Loud (Alternate Mix)* 19. Ain’t None Of Your Business (Outtake)* 20. Beth (Take 6 – Instrumental)* 21. Beth (Instrumental)* 22. Do You Love Me? (Alternate Mix)*    Disc Four: Live In Paris – L’Olympia – 22 May, 1976*  1. Deuce 2. Strutter 3. Flaming Youth 4. Hotter Than Hell 5. Firehouse 6. She / Ace Frehley Guitar Solo 7. Nothin' To Lose 8. Shout It Out Loud / Gene Simmons Bass Solo  9. 100,000 Years / Peter Criss Drum Solo  10. Black Diamond 11. Detroit Rock City 12. Rock and Roll All Nite    Blu-ray :  *Dolby Atmos 48kHz 24-bit, *Dolby True HD 5.1 96kHz 24-bit,  DTS-HD Master Audio 5.1 96kHz 24-bit, PCM Stereo 96kHz 24-bit 1. Detroit Rock City 2. King Of The Night Time World  3. God Of Thunder 4. Great Expectations 5. Flaming Youth 6. Sweet Pain 7. Shout It Out Loud 8. Beth 9. Do You Love Me?  Bonus Tracks 10. Beth (Acoustic)  11. Sweet Pain (Original Guitar Solo)    * Previously unreleased 

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Online Editor at Louder/Classic Rock magazine since 2014. 38 years in music industry, online for 25. Also bylines for: Metal Hammer, Prog Magazine, The Word Magazine, The Guardian, The New Statesman, Saga, Music365. Former Head of Music at Xfm Radio, A&R at Fiction Records, early blogger, ex-roadie, published author. Once appeared in a Cure video dressed as a cowboy, and thinks any situation can be improved by the introduction of cats. Favourite Serbian trumpeter: Dejan Petrović.  

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• April 12, 2024 Setlist

KISS OF LIFE Setlist at KBS Music Bank, Seoul, South Korea

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