Is there any man, woman, or child alive who would deny that Kisss, when they still wore their makeup, were a force to be reckoned with in the world of rock 'n' roll? Or that Paul Stanley, Gene Simmons, Ace Frehley, and Peter Criss (and, some would say, the late Eric Carr) were rock gods who shaped and molded the musical tastes and Halloween costumes of an entire generation?

Surely, any who would disagree with such statements define the very concept of a blasphemer!

Put simply, Kiss rock. And in the course of their many years of rocking, they've influenced more

than a few musicians.

Hence Kiss My Ass, the major-label Kiss tribute album.

I doubt if anyone who listens to Kiss My Ass is going to deny that the group who most manages to recreate a Kiss song in their own image is Toad The Wet Sprocket, who manage to turn "Rock and Roll All Nite" into their own. They totally change the arrangement to fit their sound, thereby giving the song a new life. Remarkably, it works. Give it a couple of listens, though, because, compared to the original version, it's a bit of a shocker. But itÕll grow on you.

Garth Brooks is liable to gain a few new fans through the album, too. Backed by the actual members of Kiss, Garth drops the country twang and lays down a version of "Hard Luck Woman" that ranks with Toad as the highlight of the album. Kinda makes you want to hear Garth do a full rock album. (And if you think the song sounds familiar but you can't quite put your finger on why, consider its similarity to Rod Stewart's "Maggie May.")

Gin Blossoms and Extreme both do pretty straight run-throughs of "Christine Sixteen" and "Strutter," respectively, neither changing the original arrangements a hell of a lot. Dinosaur Jr. make "Goin' Blind" their own pretty much only because no-one else could sound like J. Mascis doing a Kiss song. And although I'm not a really big fan of the Might Mighty Bosstones, their version of "Detroit Rock City" is still enjoyable, essentially because the arrangement is identical to he original (with some horns thrown in for good measure) and the original kicks ass.

Lenny Kravitz (aided by the mouth harp of Mr. Stevie Wonder) funk up "Duece," and the Lemonheads hark back to the sound of their own earlier, harder days with their rendition of "Plaster Caster." Anthrax ("She") and ShandiÕs Addiction ("Calling Dr. Love") do traditional hard rock versions of their individual choices, and Yoshiki does an orchestrated version of "Black Diamond."

It's worthy tribute album to a band worthy of receiving tribute. Some would argue that Kiss' glory days ended on the day they took off their makeup, and that may or may not be so, but this album is certainly a testimony to the great songs the band wrote and recorded during those times.

Reviewer:  Will Harris, courtesy of Flash Magazine.