KISS – TEMPLO DEL ROCK 1994 3RD NIGHT (2CD)

　This work is engraved with the “Buenos Aires, September 15, 1994” performance. It is a bit misleading to call it a superb audience recording. It is definitely a spatial recording by microphone, but it was not recorded by the audience (audience), but by someone related to the band. Moreover, this is not just about words. The sound that flows out is also on a completely different level from a normal audience recording.

　Before we get into the quality of that, let’s start with the show’s position. Let’s explore the overview of the activities at that time.

●1994
・April 2nd + 19th: North America #1 (2 shows)
・July 30th “NASHVILLE 1994”
・August 27th – September 16th: South America (8 shows) ←★Here★
・October 21st: Phoenix show
●1995
・January 24th – 31st: Japan (5 shows) ←※BUDOKAN 1995 2ND NIGHT
・February 3rd – 13th: Australia (12 shows)
・June 16th – August 9th: North America #2 (26 shows) ←※Official KISS UNPLUGGED
{Production of “CARNIVAL OF SOULS” begins in November}
・December 15th: Hollywood show

●Details of the “South America” ​​leg
・August 27: Sao Paulo performance
*September 1 “SANTIAGO 1994 PRE-FM MASTER”
*September 3 “BUENOS AIRES 1994: DAT MASTER”
*September 5 “OBRAS STADIUM 1994 1ST NIGHT: SOUNDBOARD”
・September 8: Mexico City performance
・September 14: Buenos Aires performance
*September 15: Buenos Aires performance ←★This work★
・September 16: Buenos Aires performance

[Superb sound recorded by people involved, away from the audience]
… and so it is. Despite only eight performances, three superb soundboards were produced. This is the fourth live album following that. A total of five performances were held in Buenos Aires, of which “BUENOS AIRES 1994: DAT MASTER (Zodiac 585)” was held at a different venue, “River Plate Stadium.” “OBRAS STADIUM 1994 1ST NIGHT (Zodiac 589)” and the final three days were held at “Estadio Obras Sanitarias (commonly known as “Templo Del Rock”).” This work is the middle day of three consecutive performances, and is the third of four “Estadio Obras Sanitarias” performances.

　This work, which conveys such a show, has an ultra-thick sound that is like a sound board. As mentioned above, it should be a spatial recording with a microphone, but the core is super thick and there is no sense of distance at all. I can’t lie, so I won’t credit it as “SOUNDBOARD,” but the sound I hear is no different from a sound board.

[A full set significantly changed from the trilogy]
　Of course, authentic soundboards have already been mass-produced from the “South American” leg, but this work is undoubtedly a masterpiece worthy of permanent preservation. The key is the setlist. The three major South American soundboards mentioned above, “SANTIAGO 1994,” “BUENOS AIRES 1994,” and “OBRAS STADIUM 1994 1ST NIGHT,” were almost the same set, but on this day they were rearranged into a completely different set. The selection is different from the Japanese performance “DEFINITIVE BUDOKAN 1995 (ZODIAC 758),” so let’s compare and organize them together.

●70s Classics (16 songs)
・KISS: Deuce / 100,000 Years (★＊) / Cold Gin (＊) / Firehouse / Strutter (★＊) / Black Diamond
・ROCK AND ROLL OVER: I Want You / Calling Dr. Love / Makin’ Love
・Other: Love Gun / Parasite / Watchin’ You / I Was Made For Lovin’ You / Detroit Rock City / She (★) / Rock And Roll All Nite
●80s and later (9 songs + α)
・CREATURES OF THE NIGHT: War Machine (＊) / Creatures Of The Night / I Love It Loud
・REVENGE: Unholy (＊) / Domino
・Other: Tears Are Falling (★) / Lick It Up / Forever (★) / La Bamba (★＊) / Heaven’s On Fire
※Note: The “★” mark indicates the three major South American soundboards, and the “＊” mark indicates “DEFINITIVE BUDOKAN” A song that wasn’t available on “1995 SOUNDBOARD MASTER.”

[A real live album with a scorching South American vibe]
　The show’s climax is also fantastic. While the intimate sound and vocals are unnaturally distant, the cheers are still clearly audible. Particularly interesting is the comeback song “She,” which was much talked about at the time. As soon as the song ended, a sing-along of “Soy Kissero” swirled, and Paul seemed overcome with emotion, choking up for words. Then, as if responding to the vibe, they launched into the Mexican folk song “La Bamba” and then stomped into “Black Diamond.” This is truly a superb experience of a full, passionate South American show.

　Italy’s “1994 South America” ​​is known for its intense soundboard rush. Despite its immediate aftermath, this live album features a superb sound, an unexpected set, and a scorching hot atmosphere that cannot be missed. This is a new masterpiece recorded by staff through a unique route. Please enjoy the brilliance of this 2CD press.

Disc:1 (66:58)
1. Intro
2. Love Gun
3. Deuce
4. Parasite
5. Unholy
6. 100,000 Years
7. Cold Gin
8. Watchin’ You
9. Firehouse
10. I Want You
11. I Was Made For Lovin’ You
12. Calling Dr. Love
13. Makin’ Love
14. Domino
15. Tears Are Falling
16. War Machine

Disc:2 (56:32)
1. Lick It Up
2. Forever
3. Creatures Of The Night
4. I Love It Loud
5. Detroit Rock City
6. Strutter
7. She
8. Audience singing ‘Soy Kissero’
9. La Bamba (traditional)
10. Black Diamond
11. Heaven’s On Fire
12. Rock And Roll All Nite

Paul Stanley – Guitar, Vocals
Gene Simmons – Bass, Vocals
Bruce Kulick – Guitar
Eric Singer –  Drums, Vocals