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Monster
 
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Monster

8 Oct. 2012 | Format: MP3

8.99 (VAT included if applicable)
Buy the CD album for 7.95 and get the MP3 version for FREE. Does not apply to gift orders.
Provided by Amazon EU Srl. See Terms and Conditions for important information about costs that may apply for the MP3 version in case of returns and cancellations. Complete your purchase of the CD album to save the MP3 version to your Amazon music library.
Song Title
Time
Popularity  
30
1
4:07
30
2
2:55
30
3
3:35
30
4
3:01
30
5
4:04
30
6
3:51
30
7
4:06
30
8
3:40
30
9
4:29
30
10
3:21
30
11
3:24
30
12
3:05
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Product details

  • Original Release Date: 1 Jan. 2012
  • Release Date: 8 Oct. 2012
  • Label: UMC (Universal Music Catalogue)
  • Copyright: (C) 2012 Simstan Music Ltd., under exclusive license in the United States to Universal Music Enterprises, a division of UMG Recordings, Inc.
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 43:38
  • Genres:
  • ASIN: B009HS4LK6
  • Average Customer Review: 4.2 out of 5 stars 84 customer reviews
  • Amazon Bestsellers Rank: 46,612 in Albums (See Top 100 in Albums)

Customer Reviews

Top Customer Reviews

By Mr Blackwell TOP 500 REVIEWER on 11 Oct. 2012
Format: Audio CD Verified Purchase
...but is it a monster success or a frankenstein failure?,thankfully its not the latter but it may not be the former either,having had this for a few days and after several listens,i'm not convinced it will be(ultimately) regarded as better than SONIC BOOM.As usual with Kiss its a pot pourri of re hashed riffs and licks paying homage to the likes of Humble Pie/Zeppelin/Stones etc and on occassion themselves.

Where Sonic Boom ,(for me), scores higher,it was much more cohesive and yes commercial,the tracks were mostly instant hits and stuck with you.This disc on the other hand has a more constricted soundscape,most tracks less instant,not as immediate in the sing along, stick in your head ethos,which may pay dividends eventually,right now i'm not quite sure.

As with the previous disc,this has a great opening one,two, with lead off single 'Hell Or Hallelujah' storming out the speakers with its riff reminiscent of 'I Stole Your Love' which they based on Purple's 'Burn', Gene's short but sweet 'Wall of Sound' follows along perfectly.

There are a couple of standouts namely Tommy Thayer's 'Out Of This World' which is arguably the best track on the album(although why he had to sing about that 'theme',the haters will have a field day,talk about setting yourself up),maybe he should be allowed more tracks in future,'Stanley's 'Long Way Down' with its 'Yardbirds influenced guitar? is another high point,while Eric's moment 'All For The Love...' has a great groove and could have been written for the original Catman circa 75/76, although its disapointing to note that it appears to be similar to a track with the same title from little known band the Tuff Darts,check it out on you tube,see what you think.
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By Kingcrimsonprog TOP 1000 REVIEWER on 10 Oct. 2012
Format: Audio CD Verified Purchase
Monster is the twentieth official studio album by the legendary American Rock band Kiss, it was released in 2012, around fourty years after the band's inception, it was produced by Paul Stanley and Greg Collins and it is their second studio album with the Stanley/Simmons/Singer/Thayer line-up (although Singer and Thayer have both been involved with the band in different capacities for years and years).

Monster follows up the 2009 Sonic Boom album, which was seen by a great many fans as a return to form, or reaffirmation of the band's quality and as probably one of the band's best efforts since the Seventies. A large part of the album's success was in deliberately using equipment and tones that they would've used in the Seventies, as well as concentrating on the Hard Rock part of their signature sound and not filling the album up with experiments, strings, choirs or ballads. Monster is very much constructed in the same vein as Sonic Boom

Throughout their history the band have also made some questionable decisions with regards to hiring outside writers to contribute to the albums instead of band members, and with Monster, the band are making a big deal out of the fact that the band sat down and wrote all the material themselves.

The material that the band came out with has everything you'd expect from a Kiss album that's mission statement is pure hard Rock. If it wasn't so enjoyable it would almost seem like a cynical textbook run through of how to write and structure good Rock music.
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Format: Audio CD
With ‘Monster’, Paul Stanley – in the producer’s chair for the second time in a row -continues to draw Kiss back to their essence and even manages to improve on 2009’s long-overdue return to form, ‘Sonic Boom’, with an exciting, high energy set of heart-pumping rock and roll.

‘Monster’ ends up sounding even more like a 1970s Kiss record than its predecessor, but with just enough subtle 21st century flourishes to prevent it from sounding like a museum piece. Writing credits stay within the band with lots of co-writing between members stopping it from falling into the Stanley vs Simmons trap that made their 80s releases both schizophrenic and disappointing. All the band members sing and back one another once again, as they did on ‘Sonic Boom’ an in their heyday.

The pace is relentless with no interruptions from ballads or arty indulgences. It has the onslaught of ‘Destroyer’ combined with the simple rock and roll drive of ‘Dressed to Kill’. And – finally – Kiss find the courage to put out an album without an obligatory third rate attempt to rewrite ‘Rock and Roll All Nite’!

The best moments are, as is often the case, provided by Stanley’s writing and vocals (even if he sounds older and croakier). But Simmons is not far behind and the other two convincingly capture the spirit of the long departed original members with some bravura singing. Tommy Thayer is even a co-writer on three quarters of the album.

‘Hell or Hallelujah’ serves as a great ‘modern’ Kiss 4x4 opener, smashing into ‘Wall of Sound’ followed by another Stanley highlight and slight style update in ‘Freak’. An affirmation for the outsider, it could easily have imploded into naffness, but manages to become one of the most infectious tracks on the album.
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