Published on May 23, 1979, under the Casablanca Records label, a record company founded by Neil Bogart, one of the key figures behind Kiss’s global success, along with Bill Aucoin, the band’s manager from 1973 to 1982.
A controversial album, released at a time when works by Donna Summer and Village People (both also signed by Casablanca Records) were emerging, setting trends in the flourishing “Disco” genre.
Kiss had just released their four solo albums due to clear issues within the band, triggered by excesses, musical differences, and a lack of commitment from Peter Criss (Drums) and Ace Frehley (Guitar), the latter dominating sales with his solo album.
What can we listen to?
Dynasty presents a superior level of production to its previous works, the responsibility of Vini Poncia, the album’s producer, who infused a ‘Pop’ sound into Kiss. From our personal point of view, Vini, along with Bob Ezrin (Producer of successful Kiss albums like Destroyer), were the producers who managed to add a technical ‘twist’ and elevate the band to a higher level.
We can hear a wealthy and successful band, on the verge of taking different paths (with the exception of Paul Stanley and Gene Simmons). Compared to previous works, we appreciate a ‘softer’ sound, directed towards commercial appeal. The record label’s goal was achieved, as thanks to the worldwide success of ‘I Was Made For Loving You’ Kiss managed to reach and captivate new audiences, mostly drawn in by the sound of ’79, that is, ‘Disco.’
We label it as ‘Controversial’ due to its commercial sound. Imagine coming from heavier works like, for example, ‘Love Gun,’ and then hearing a sound more oriented towards harmonies and glamour. Even the band’s attire left much to be desired for their more purist followers.
Are we really listening to Kiss?
In part, yes, as all band members are credited, and they all collaborated. However, the drum sound offers entirely new elements, with a level of precision that had never been heard from them before. This is thanks to Anton Fig, who actually played on all the songs except ‘Dirty Livin’ (a song performed and played by Peter Criss).
Additionally, we observe that each member has a distinct contribution. We hear separate songs that eliminate the collaboration of all four members, a departure from their previous works. This is not bad news, as thanks to this, we can hear Ace Frehley’s voice for the first time in three songs, and it’s the album where he sings the most. He gained confidence due to his previous solo album, breaking records in sales.
Among other important factors to highlight, we appreciate a vocal level from Paul Stanley at one of his best moments. Possibly, Dynasty has been one of the works that demanded the most from him, and one of the contributors to his gradual vocal wear. The melodies throughout the album are noteworthy, as they become quite memorable in practically every song he interprets. Likewise, the choruses present a higher level.
Something that impresses us is the clarity of Gene Simmons‘ bass, which stands out in all the songs, especially in ‘Sure Know Something.’ Despite Gene only singing in two songs, his contribution is perfect, providing the album with a balance of vocal textures.
We can hear Peter Criss playing and singing only in ‘Dirty Livin’,’ despite being the minimum expected from the drummer, he collaborates exceptionally, adding variety and presence to the album with a raspy and characterful voice.
