Check out Decibel's "Hall of Fame" with Type O Negative “Bloody Kisses”
The latest inductee: [No. 65]
The making of Type O Negative’s “Bloody Kisses”
After burying Brooklyn under the dense power-dirge cacophony of 1991’s Slow, Deep and Hard and then recording most of the album over again as a fake live set for 1992’s The Origin of the Feces—complete with Jimi Hendrix cover and a close-up of bassist/vocalist/mastermind Pete Steele’s rotten sphincter—Type O Negative decided to get almost serious. Or at least as almost-serious as Type O could ever be expected to get.As such, Steele (who was still working for the NYC Parks Department), guitarist Kenny Hickey, drummer Sal Abruscato and producer/keyboardist Josh Silver descended upon Systems Two in Brooklyn to record the album that would propel them into the bright lights and big titties of international rock stardom. Originally released on August 17, 1993, at the tail end of New York City Mayor David Dinkins’ “gorgeous mosaic” of race riots and unemployment, Bloody Kisses offered both a response to the controversy that had enveloped Type O’s debut and an enhanced pop sensibility.
Born in Alphabet City’s long-gone goth clubs, the 73-minute opus featured infectious doom-pop epics (“Black No. 1,” “Christian Woman”), sarcastic hardcore screeds (“Kill All the White People,” “We Hate Everyone”), bizarre noise interludes (“Fay Wray Come Out and Play,” “Dark Side of the Womb,” “3.0.I.F”) and a cover of Seals & Crofts’ “Summer Breeze” that somehow managed to be both lush and beefy. As the band spent two years touring with the likes of Mötley Crüe, the Exploited, Queensrÿche and Danzig, the album went gold on the strength of “Black No. 1” and “Christian Woman”—not to mention Steele’s fully erect appearance in (and on) the August 1995 issue of Playgirl magazine.
By the time his well-publicized boner presumably receded, Type O had a certified platinum record on their hands. Sandwiched between a photo of two green lesbians in the throes of simulated passion and that unforgettable slogan/warning “Don’t mistake lack of talent for genius,” Bloody Kisses remains the diamond in Type O’s extensive back catalogue, and one of the most elaborate revenge records of all time. —J. Bennett
Full site article: http://www.decibelmagazine.com/hall-of-fame/typeonegative/
I have this shirt, since I am a mom I sadly can´t wear it. I hide it in my carpet, but it does good, to know that it is there.
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Athough I love "Slow, Deep and Hard", the difference between that and Bloody Kisses is night and day. I remember reading somewhere that Pete considered SD&H to be more of a demo than their first album. I like the fact that they mentioned the Jimi Hendrix cover on Origin of the Feces, "Hey Pete" originally called "Hey Joe", is my favorite cover, loved how he changed the gun to an axe...CLASSIC!!! It's also my favorite Hendrix tune and Crosstown Traffic of course, thanks again. (-)
ReplyDeleteI have that issue of Decibel. If you would like me to scan the article and send it to you I would be happy to do it. Just let me know.
ReplyDeleteI still have this issue, it's got some great pictures of Peter and a great interview where he's comparing himself with Rasputin at one point.
ReplyDeleteWell publicized boner..thats funny! Bloody Kisses is definitely a mixture of musical styles. I think it shows Peters contradictive personality with songs going from love to anger, fast to slow. Carnivore should have made Decibel's list. also a very good underrated band. I think Bloody Kisses gave them their Goth label, unfortunately, as soon as you label a band it also limits their audience. I dont think a lot of people realize how rock Type O Negative could be.
ReplyDeleteThank you for posting the cover, featuring yet another handsome photo of Pete. This one has very good lighting. Never noticed how nicely shaped Pete's nose was before.
ReplyDeleteThe article looks interesting, and I like it that it was written with the kind of humor Pete seemed to enjoy himself. Their odd way of assessing TON's music and Peter's career shows noble effort.
It seems as if the metal crowd enjoyed/enjoys Pete's work more often and publicly than the gothic crowd. The goths seem to gravitate toward electronic dancebeats (i.e. Collide, Diary of Dreams, Bauhaus) a bit more than slower dirge, heavy metal or faster hardcore music. Though nobody really meant to do it, the press did label TON as 'Gothic', and may have hurt their CD sales but not their concert ticket revenue. The same gothic crowd that refused to hear/play TON at a club showed up for TON shows every time dressed in full black on black regalia. Ah, the fond memories...
Hi Darcie - I have a .pdf of this file that I got off the net somewhere. I just emailed it to the gmail address so hopefully you received it. I'll bet you've probably received a few copies by now but let me know if you still need it.
ReplyDeleteGreat post....Thank you for sharing :)
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