Kiss/Argentina 09.15.1994 Complete

South America in 1994 was the biggest mass-produced period of masterpieces in the 90s. A new transcendent live album has been added to the collection! It will be released as a transcendent master 2CD unearthed through unique routes! This work is engraved with the performance “Buenos Aires, September 15, 1994”. It is a bit misleading to call it a superb audience recording. It is undoubtedly a spatial recording made 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 intriguing quality, let’s first look at the position of the show. Let’s explore the overview of the activities at that time. 1994, April 2nd + 19th: North America #1 (2 performances), July 30th “NASHVILLE 1994”, August 27th – September 16th: South America (8 performances) ←★Coco★, October 21st: Phoenix performance 1995, January 24th – 31st: Japan (5 performances) ←※ BUDOKAN 1995 2ND NIGHT, February 3rd – 13th: Australia (12 performances), June 16th – August 9th: North America #2 (26 performances) ←※ Official KISS UNPLUGGED {November “CARNIVAL OF SOULS” production begins}, December 15th: Hollywood performance This was KISS in 1994/1995, the final stage of the no-makeup era. Among them, the “South America” ​​leg produced a large number of masterpieces. The Buenos Aires performance of this work was also one of those acts. Let’s focus more on the dates. Details of the “South America” ​​leg: August 27th: Sao Paulo performance * September 1st “SANTIAGO 1994 PRE-FM MASTER” * September 3rd “BUENOS AIRES 1994: DAT MASTER” * September 5th “OBRAS STADIUM 1994 1ST NIGHT: SOUNDBOARD” * September 8th: Mexico City performance * September 14th: Buenos Aires performance * September 15th: Buenos Aires performance ←★This work★ * September 16th: Buenos Aires performance Superb sound recorded by people involved, away from the audience… And so it goes. Despite only eight performances, there are three superb soundboards. This is the fourth live album following that. A total of five performances were held in Buenos Aires, of which only “BUENOS AIRES 1994: DAT MASTER” was held at a different venue, the River Plate Stadium. “OBRAS STADIUM 1994 1ST NIGHT” and the final three days were “Estadio Obras Sanitarias (commonly known as “Templo Del Rock”).” This work is the middle day of three consecutive performances and the third of four “Estadio Obras Sanitarias” performances. This work, which conveys such a show, has an ultra-thick sound that is like a soundboard. As mentioned above, it is supposed to be a spatial recording with a microphone, but its 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 soundboard. A full set that has been significantly replaced from the three-part series. Of course, genuine soundboards have already been mass-produced from the “South America” ​​leg, but this work is still a masterpiece worthy of permanent preservation. The key is the set list. 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 reconfigured into a completely different set. The selection is different from the Japanese performance “DEFINITIVE BUDOKAN 1995,” so let’s compare them and organize them together. 70’s 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 80’s 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: “★” indicates the three major South American soundboards, and “＊” indicates “DEFINITIVE BUDOKAN” This album features songs not heard on the 1995 SOUNDBOARD MASTER. This authentic live album captures the scorching South American atmosphere. The show’s climax is also fantastic. While the intimate sound and vocals seem unnaturally distant, the cheers are still clearly audible. Particularly interesting is the then-hyped comeback “She.” As soon as the song ends, a chorus of “Soy Kissero” erupts, and Paul seems overcome with emotion, choking up for words. Then, as if responding to the vibe, the Mexican folk song “La Bamba” unfolds, followed by a storm of “Black Diamond.” This is a truly superb experience of a full, passionate South American show. “1994 South America” ​​is known for its intense soundboard rush. Despite the immediate aftermath, this live album offers a superb sound, unexpected set, and scorching hotness that will be hard to miss. This is a new, exclusive album, recorded by a staff member through a unique route. A superb audience recording of the “Buenos Aires, September 15, 1994” performance. A super-thick sound, like a soundboard recorded by a band official. Experience a superb full set that is different from the three most recent South American soundboards: “SANTIAGO 1994,” “BUENOS AIRES 1994,” “OBRAS STADIUM 1994 1ST NIGHT,” and “DEFINITIVE BUDOKAN 1995.” Estadio Obras Sanitarias, Buenos Aires, Argentina 15th September 1994 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