![]() ![]() I can't say we were doing it to become popular, but it was a conscious effort we realized that anyone could just fuckin' scream. KENNY HICKEY It was a conscious effort to get more melodic. ![]() ![]() It was like, "If you don't do better, you're done." We didn't have to live up to Slow, Deep and Hard because as far as anyone was concerned, that record was a disaster. We're taking the heaviness of Sabbath and the melody of the Beatles, and that's kind of what Bloody Kisses was. ![]() We've all heard that said about Type O 10,000 times, but that's because it's true. Our backgrounds are based in the Beatles and Black Sabbath. I think pieces of that melody did exist on Slow, Deep and Hard - like on I Know You're Fucking Someone Else," so I think it was a natural thing. JOSH SILVER I see what you mean when you say "pop sensibility." But I think it was just a more melodic record. I felt it was more of a challenge to write songs and sing on key. At 30 years old, I became a different person, so I just decided to do what I wanted to do. But hardcore and rap are very similar - they take almost no fuckin' talent.ĭuring the Eighties, I'd go to CBGBs and L'Amour with my longhair Motörhead friends, and I could never admit that I really liked Duran Duran, Flock of Seagulls, Psychedelic Furs and shit like that. But with Bloody Kisses I wanted more of a challenge. WHAT PRECIPITATED THE SHIFT? PETER STEELE Most of the songs on Slow, Deep and Hard were leftover Carnivore songs. THE SONGS ON BLOODY KISSES HAVE MORE OF A POP SENSIBILITY THAN THOSE ON SLOW, DEEP AND HARD - AND PETER IS DOING MORE SINGING. 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 catalog, and one of the most elaborate revenge records of all time. By the time his well-publicized boner presumably receded, Type O had a certified platinum record on their hands. 1" and "Christian Woman" - not to mention Steele's fully erect appearance in (and on) the August 1995 issue of Playgirl magazine. 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.Īs 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. Video of Type O Negative - Christian Woman īorn in Alphabet City's long-gone goth clubs, the 73-minute opus featured infectious doom-pop epics ("Black No. Originally released on August 17th, 1993, at the tail end of New York City Mayor David Dinkins' "gorgeous mosaic" of race riots and unemployment, Bloody Kissesoffered both a response to the controversy that had enveloped Type O's debut and an enhanced pop sensibility. Or at least as almost serious as Type O could ever be expected to get.Īs 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 to international rock stardom. It has been updated for this publishing.Īfter burying Brooklyn, New York, under the dense power-dirge cacophony of 1991's Slow, Deep and Hard, and then recording most of the LP over again as a fake live set for 1992's The Origin of the Feces - complete with a cover of a rock song popularized by Jimi Hendrix and a close-up of vocalist-bassist-mastermind Peter Steele's rotten sphincter for the album art - Type O Negative decided to get serious. This story originally appeared in the 2009 "Top Shelf Edition" CD reissue of Bloody Kisses. ![]()
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