发信人: whitesnake(maya)
整理人: kgb(2001-02-17 17:50:05), 站内信件
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KANSAS (USA)
John Elephante: keyboards, vocals
Kerry Livgren: guitar, keyboards
Rich Williams: guitar
Robby Steinhardt: violin
Dave Hope: bass
Paul Ehart: drums
This band hails from Topeka in Kansas. During the course of their career
they gigged solidly, once even opening for the Doors. In 1974 Don Kirschner,
a US rock-show presenter and record-company owner, heard them and signed
them up for his newly formed label.
Kansas’s first release was Kansas which was produced by their now in-
house producer Jeff Glixman. Their third album contained the number many
people see as their all-time classic, ‘Carry on Wayward Son’, which
topped the US charts and even crept into the lower end of the British
listing. In 1977 Kansas released their definitive LP, Point of No Return.
It was followed by the obligatory live album which annoyed many fans for
its self-indulgence, a facet particularly seen in long and ultimately
boring instrumental passage.
Solo albums from Kerry Livgren and original vocalist Steve Walsh came
next though both sounded similar to Kansas. Monolith produced an American
hit single, ‘People of the Southwind’, and Audio Visions saw a much
heavier approach instead of their over-the-top pomp sound. The line-up
became unsettled for the first time when Walsh left and he was replaced
by John Elephante. Vinyl Confessions did well in the US charts and the
album was full of typical Kansas mini-epics. In 1984 the band placed
themselves in a state of temporary suspension from all live and recording
work.
But there was still life to come. Walsh returned after his band Street
collapsed and, with Ehart and Williams of old, plus ex-Street bass man
Billy Greer and guitarist Steve Morse, provided a combination that gained
good reviews. It was very much Kansas of old and the newer sound of
Street. The mix continued with the 1988 set.
Kansas (Kirshner) 1975
Song for America (Kirshner) 1976
Leftoverture (Kirshner) 1976
Point of No Return (Kirshner) 1977
Masque (Kirshner) 1977
Two for the Show (Kirshner) 1978
Monolith (Kirshner) 1980
Audio Visions (Kirshner) 1980
Vinyl Confessions (Kirshner) 1982
Power (MCA) 1986
In the Spirit of Things (MCA) 1988
KAROLINE (France)
Serge Tafini: vocals
Jeff Castaldi: guitar
Vincent Bommarito: bass
Daniel Aprosio: drums
Very heavy French singing metal à la AC/DC and Motorhead. Karoline’s
first and only album is indispensable for the metal-freak. The band
have now disbanded.
Karoline (WEA) 1980
KAT (USA)
The great Kat, as she is wont to be known, assaulted the thrash scene from
her New York homebase, claiming to be something of the high priestess of
speed metal. Her oafish approach and lumpen material proved otherwise. Not
a highly recommended artefact and something rather approaching the comical.
Worship Me or Die (Roadrunner) 1987
KEEL (USA)
Ron Keel: vocals
Bryan Jay: guitar
Marc Ferrari: guitar
Kenny Chaisson: bass
Dwain Miller: drums
Formed by leader Ron Keel from the ashes of his previous outfit, Steeler.
Keel (the band) thrust raw Aerosmith aggression with Kiss-type ‘shout-it-
out’ anthems to form a bracing sound which hasn’t been heard this
successfully since Starz cut Violation. Their debut LP is exceedingly raw,
giving it appeal, whilst The Right to Rock produced by Gene Simmons of Kiss
blows the lid in a total no-holds-barred show of aggression.
With Vertigo, Keel found themselves in the major record arena but, as with
MCA, to follow, it never happened. Their 1986 album was produced by Gene
Simmons, and also featured, among others, Joan Jett, Gregg Giuffria and
Michael Des Barres. Commercial success did not come, and the band split in
1990. Keel decided he would form an all-female backing band for himself.
Chaisson joined with vocalist Dave Fefolt (ex-Masai) and guitarist Jim
McMillan (ex-Britton).
Lay Down the Law (Shrapnel) 1984
The Right to Rock (Vertigo) 1985
The Final Frontier (Vertigo) 1986
Keel (MCA) 1987
Larger than Live (Mountain Castle) 1989
KICK AXE (Canada)
George Criston: vocals
Ray Harvey: guitar
Larry Gillstrom: guitar
Victor Langen: bass
Vile Brain Gillstrom: bass
Penetrating full-fronted noise boys produced by Quiet Riot producer
Spencer Proffer. The quality of their debut album promised much in
the future but, like so many bands, the initial set is not followed
by something substantive. When Harvey left, the band continued as a
quartet.
Vices (Pasha) 1984
Welcome to the Club (Pasha) 1985
Rock the World (Roadrunner) 1987
KIDD GLOVE (USA)
Paul Sabu: vocals, guitar
Jeff Steele: bass
Bobby Sandstrom: keyboards
Mike Baird: drums
After the collapse of Sabu (the band) and a career in production/
engineering, the talent of Paul Sabu once again emerged in the
glorious melodic hard rock of Kidd Glove. Signed to Morocco
(Motown’s offshoot label) the band disappeared as quickly as they
arrived but they left a fantastic record full of harmony and great
songs.
Kid Glove (Morocco) 1984
KILLER (Belgium)
Shorty: vocals, guitar
Spooky: vocals, bass
Double Bear: drums
Loud power heavy metal with no frills or fancies.
Ready for Hell (WEA) 1981
Wall of Sound (Lark) 1983
Shock Waves (Mausoleum) 1983
KILLER (Switzerland)
Mark Broman: vocals
Crown Kocher: guitar
Many Maurer: guitar
Beat Kofnehl: bass
Ali Allemann: drums
AC/DC clones and good at it. They caused quite a stir with the original
cover of their first album which depicted a dead woman sprawled across
a bed in suitable Euro-HM macabre fashion.
Ladykiller (Bellaphon) 1981
Thriller (Bellaphon) 1982
Stranger than Ever (Rockport) 1984
KILLER DWARFS (Canada)
Russ Dwarf: vocals
Bryce Dwarf: guitar
Angelo Dwarf: bass
Darrell Dwarf: drums
A very ordinary debut set was followed by a vastly improved second. Time
has erased the dumbness of their name. In 1988 the band toured the UK as
special guests of Iron Maiden, establishing themselves as strong rockers
with a tremendously energetic live performance, courtesy, in the main,
from vocalist Russell Dwarf. Both albums on Epic indicate an acute sense
of brain and brawn, mixing melody with tough riffs.
Killer Dwarfs (Attic) 1983
Stand Tall (Maze) 1986
Big Deal (Epic) 1988
Dirty Weapons (Epic) 1990
KILL FOR THRILLS (USA)
Gilby Clarke: guitar
Jason Nesmith: guitar
Todd Muscat: bass
David Scott: drums
Los Angeles-based sleaze/biker band with familiar and much utilized hard
rock sound. There is nothing exceptional here, just the same three chords
twisted by the likes of Law and Order, Alice in Chains and Salty Dog. Debut
album produced by Vic Maile (Motorhead) and Ric Browde (Poison).
Dynamite from Nightmare Land (MCA) 1990
JOHN KILZER (USA)
Incredibly talented singer/songwriter, operating out of Memphis. Music is
very much in the heartland tradition of John Cougar, Michael Stanley and
Jimmy Davis, but the perception of brilliance is much more apparent. Highly
recommended.
Memory in the Making (Geffen) 1988
KING COBRA (USA)
Mark Free: vocals
David Michael-Phillips: guitar
Mike Sweda: guitar
John Rodd: bass
Carmine Appice: drums
After leaving his (very) temporary position in Ozzy Osbourne’s band,
Carmen Appice returned to California and formed a brand new outfit with
four peroxided unknowns. Produced by Spencer Proffer (of Billy Thorpe,
Quiet Riot and Kick Axe production fame), King Cobra’s debut LP is one
of the best American metal albums of 1985. But the band developed a
smoother and more radio-orientated sound with the second album, showing
domination by guitar synthesizes. EMI let them go when sales were not
forthcoming. They were back to a small label, but by now only Appice
and Phillips remained of the original set-up. When John Sykes tempted
Appice away, to join his group Blue Murder, the end was nigh. Mark Free
went on to join Signel, Johnny Rod to WASP and Mick Sweda to the Bullet
Boys.
Ready to Strike (Capitol) 1985
Thrill of a Lifetime (EMI) 1987
III (MFN) 1988
KING DIAMOND (Denmark)
King Diamond: vocals
Andy la Rocque: guitar
Pete Blakk: guitar
Hal Patino: bass
Snowey Shaw: drums
Formed by vocalist King Diamond in April 1985 from the ashes of Mercyful
Fate who had, by then, splintered, with some members preferring to follow
a commercial rock path (see Mercyful Fate) and Diamond to pursue his
obsession with the occult and satanism. Fatal Portrait set the scene,
helping to define the bluster and brawn of early Mercyful Fate but with
considerably more expertise, particularly in view of Diamond’s blown
credibility with regard to his knowledge of the occult. It addition the
band has been hit by a succession of changing line-ups, and his most
successful record appears to have been the consummate Them, a stab at
conceptualism first explored on the 1987 album Abigail. Dark, doomy and
no doubt heavily influenced by Black Sabbath, King Diamond’s market
penetration appears to have been somewhat impeded by ever-changing times
and amongst others factors, the unpredictable resurgence of ace horror
rocker Alice Cooper.
Fatal Portrait (Roadrunner) 1986
Abigail (Roadrunner) 1987
Them (Roadrunner) 1988
Conspiracy (Roadrunner) 1989
The Eye (Roadrunner) 1990
KINGS OF THE SUN (Australia)
Jeff Hoad: vocals
Glenn Morris: guitar
Anthony Ragg: bass
Clifford Hoad: drums
Exceptionally talented Australia group whose abrasive but melodic sound
conjures up comparisons with Heaven, Noiseworks and some Rose Tattoo.
Good use of melody and raunch, delivered with precision and vigour.
Kings of the Sun (RCA) 1988
Full Frontal Attack (RCA) 1990
KINGDOM COME (USA)
Lenny Wolf: vocals
Danny Stag: guitar
Rick Stier: guitar
Johnny B. Frank: bass
James Kottack: drums
Organized primarily as a solo venture by ex-Stone Fury, German-born
vocalist Lenny Wolf. The band took on the Kingdom Come tag when its
musical approach outgrew its initial parameters. It was signed to
Polygram records by A&R guru Derek Shulman (ex-lead vocalist of
Gentle Giant and also responsible for deveploping the careers of
Bon Jovi, Cinderella and Dan Reed Network), who helped forge an
alarming sound almost identical to Led Zeppelin. Industry curiosity,
and a careful marketing strategy, boosted interest in the project
to such an extent that the debut LP shipped gold (500,000 sales),
propelling Kingdom Come into huge-buzz status. Almost immediately
a backlash ensued, when the record was recognized and criticized
for being a virtual carbon copy of every major Led Zepplin riff.
Vocalist Lenny Wolf’s inability diplomatically to handle negative
criticism signalled the band’s downfall, and they eventually
disbanded after the release of a second flop (by the debut’s
standard) album. By then, however, the band had already modified
their sound, steering clear of Zep comparisons. As for Wolf, the
screaming Robert Plant histrionics were conspicuous by their absence.
An obsolete but somehow intriguing distraction.
Kingdom Come (Polydor) 1988
In Your Face (Polydor) 1989
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我苦、我悲、我惨！
神啊，赐予我力量吧！
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