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Alive II Tour

The Alive II Tour was a by the band , undertaken from November 15, 1977, to April 2, 1978, in support of their second live album, , which had been released the previous month. Comprising 56 performances across and in two legs, the tour extended the momentum from Kiss's preceding and showcased the band's signature theatrical spectacle at its height. Following the release of —a double album blending live recordings from earlier tours with five new studio tracks—the Alive II Tour featured an evolved production emphasizing Kiss's arena-rock prowess, including hydraulic platforms, rising risers during solos, and pyrotechnics. The setlist drew heavily from recent albums such as (1976), (1977), and the live cuts on . The tour highlighted Kiss's commercial dominance in the late 1970s, with average attendance exceeding 13,900 per show and significant merchandising revenue, particularly during a profitable five-night stand at Tokyo's Budokan Hall in early 1978 (March–April), which generated over $250,000 in profit. Key venues included multi-night residencies at in and the Capital Centre in , underscoring the band's draw in major U.S. markets. However, underlying band tensions—exacerbated by relentless touring and recording schedules—surfaced during this period, foreshadowing the solo album releases in 1978 and a temporary after the tour's conclusion at Budokan, followed by a post-tour filmed performance at Magic Mountain Amusement Park in , on May 19, 1978, for the made-for-TV movie Kiss Meets the Phantom of the Park. Overall, the Alive II Tour represented the zenith of Kiss's original lineup's live energy and visual bombast, solidifying their status as rock's premier spectacle act before stylistic shifts in the disco-influenced era.

Background

Album Context

Alive II, the second live album by American hard rock band , was released on October 14, 1977, by , coming shortly after the band's [Love Gun](/page/Love Gun) studio album and its supporting . This double album captured the height of Kiss's popularity in the mid-1970s, building on the breakthrough success of their 1975 live release Alive!, which had propelled them to arena headliner status. The live portions of were recorded during the band's 1977 tours, primarily at three shows from August 26 to 28, 1977, at The Forum in , during the , with the additional track "I Want You" from their April 2, 1977, performance at Nippon Budokan in , , during their earlier Japanese tour. These recordings were enhanced with overdubs in to refine the raw energy of the performances and present Kiss as a dominant stadium rock force. To differentiate the album from a straightforward live document and provide fresh material, side four featured five new studio tracks: "All American Man," "Larger Than Life," "Rocket Ride," "Any Way You Want It," and "Take Me." Producer Eddie Kramer, who had previously worked on Alive!, oversaw both the live captures and studio sessions, emphasizing a polished yet explosive sound that amplified the band's theatrical rock spectacle. Alive II achieved strong commercial success, peaking at No. 7 on the chart on January 7, 1978, and remaining on the chart for 33 weeks. The album was certified by the RIAA on November 28, 1977, and reached double status on February 26, 1996, indicating over 2 million units sold in the United States.

Tour Planning

The Alive II Tour was announced in late October 1977, shortly after the release of the album on , positioning it as a direct extension of the preceding to leverage the momentum from the live recordings captured during that earlier run. This strategic move aimed to sustain Kiss's peak popularity by offering fans an opportunity to experience the high-energy performances featured on the album in person, with the live tracks serving as a teaser for the impending shows. Planning included a decision to prolong the tour into 1978, incorporating international expansion with a series of dates in to pursue record-breaking attendance and broaden the band's global footprint beyond . The North American portion concluded on February 3, 1978, in , after which Kiss proceeded to Tokyo's Budokan Hall for five sold-out performances from March 28 to April 2. Logistical preparations emphasized efficiency following the extravagant stage elements of the , with rehearsals held in the area from November 1 to 10, including a dress rehearsal on November 9 at Stewart Air Force Base in Newburgh for promotional filming tied to an documentary. Adjustments to the involved selective use of hydraulic platforms and rigs to mitigate setup delays and technical issues encountered in prior outings, such as collapsed structures that had caused performance interruptions. To enhance bill appeal on select U.S. dates, Kiss selected opening acts including , , and , whose emerging sound complemented the headliners and drew diverse crowds. Internal band dynamics factored into preparations, as growing tensions over Criss's reliability—stemming from frustrations with his behavior and creative input—prompted contingencies like backup arrangements for his drum segments.

Tour Itinerary

1977 Leg

The 1977 leg of the Alive II Tour began on November 15, 1977, at The Myriad in , , serving as the official launch following the October release of the live album . This North American phase emphasized large arena performances across the and , building momentum for the band's growing popularity during their peak commercial period. The itinerary focused on major markets, with the tour structure designed as a two-leg effort to sustain high-energy shows while incorporating new production elements tied to the album's live aesthetic. The leg opened in the Midwest and South, featuring consecutive dates such as November 17 at McNichols Arena in Denver, Colorado; November 19 at Taylor County Coliseum in ; and November 22–23 at Joe Freeman Coliseum in San Antonio, Texas. It continued through key stops in (November 26, Assembly Center); (November 27, Kemper Arena); and (November 29, Veterans Memorial Arena), before heading north to (November 30, Civic Auditorium), and St. , (December 2, ). These early performances averaged capacities near arena limits, underscoring Kiss's draw in secondary markets. By December, the tour reached high-profile East Coast venues, including three sold-out nights at in from December 14 to 16, which highlighted the band's hometown dominance with nightly crowds exceeding 19,000. Additional December highlights encompassed December 19–20 at Capital Centre in (attendance of 17,561 on the 20th); December 22 at The Spectrum in Philadelphia, Pennsylvania; and December 31 at Greensboro Coliseum in . The leg maintained momentum into early 1978 with shows like January 8 at Richfield Coliseum in Cleveland, Ohio; January 13 at Civic Arena in Pittsburgh, Pennsylvania; and January 15–16 at in , , where back-to-back performances filled the venue to capacity. Support acts varied by date, with opening select early shows, including December 9 at in ; December 11 at in , ; and December 12 at in . served as the opener for other dates, such as the run and November 19 in Abilene. The overall leg comprised approximately 40 shows in arenas, achieving an average attendance over 15,000 per performance and setting the stage for the international extension without overlapping into later phases.

1978 Leg

The 1978 leg of the Alive II Tour resumed on January 3 at the in , extending the momentum from the preceding 1977 dates with a focus on arena performances across the . This phase encompassed approximately 24 shows, shifting from domestic markets to larger international venues as Kiss aimed for broader global reach. Key U.S. stops included double nights at on January 15–16 and Olympia Stadium in on January 20–21, alongside performances in cities like and , where the band played to enthusiastic crowds in major coliseums. One notable U.S. concert occurred on January 8 at in , where performed despite a severe snowstorm that dropped 5 to 10 inches of snow with heavy drifting, stranding fans and complicating travel but underscoring the devotion of their audience. Support acts for select U.S. dates included , a Boston-based , helping to build energy for Kiss's elaborate headline sets. The leg concluded overseas with five consecutive performances at in , Japan, from March 28 to April 2, featuring no opening acts to emphasize the headlining spectacle and drawing capacity crowds that highlighted the tour's international breakthrough, equaling the record of five set by in 1966. The tour's live activities concluded with a special filmed performance on May 19, 1978, at Magic Mountain Amusement Park in , for the TV movie Kiss Meets the Phantom of the Park.

Box Office Data

The Alive II Tour generated an estimated gross of over $10 million from its 1977 activities, including partial tour dates, while the full tour across and contributed significantly to Kiss's overall annual income of $10.2 million that year. Key performance metrics included an average attendance exceeding 10,500 per show over the tour's 52 dates, with sold-out status achieved for approximately 70% of performances; this encompassed all five consecutive nights at Tokyo's Budokan Hall, each at full 12,000 capacity. Specific highlights featured sold-out double-headers at venues like on January 15–16, 1978, though exact grosses for those dates remain undisclosed due to limited era-specific reporting. At in December 1977, the three-night stand averaged over $140,000 per show in gross revenue (equivalent to approximately $650,000 in 2025 dollars), reflecting the band's peak drawing power. The tour established Kiss as one of the top-grossing acts of 1977–1978, with overall attendance figures 22% higher than their prior tours, though comprehensive itemized data beyond select venues is scarce owing to the period's reporting practices.

Performance Elements

Set List

The Alive II Tour featured a standard 17-song set list that debuted several tracks from the recently released Alive II album while drawing heavily from earlier Kiss material to showcase the band's high-energy rock sound. The show typically opened with "I Stole Your Love," a new studio track from Alive II receiving its live premiere, followed by a sequence blending fast-paced rockers and mid-tempo numbers: "King of the Night Time World," "Ladies Room," "Firehouse," "Love Gun," "Let Me Go, Rock 'n' Roll," "Makin' Love," "Christine Sixteen," "Shock Me," "I Want You," "Calling Dr. Love," "Shout It Out Loud," "God of Thunder," "Rock and Roll All Nite," "Detroit Rock City," "Beth," and closing with "Black Diamond." This structure emphasized core hits like "Detroit Rock City" and "Shout It Out Loud" alongside newer additions, promoting the double album, whose live recordings were captured during previous tours in the Los Angeles area and included every live track from Alive II such as "Detroit Rock City," "King of the Night Time World," and "Shock Me"; the tour's setlist featured all of those tracks. Compared to the preceding , the Alive II set list introduced modifications to refresh the performance while maintaining familiarity, notably replacing "Take Me" and "Hooligan" with "King of the Night Time World" and "Let Me Go, Rock 'n' Roll" to incorporate more dynamic Destroyer-era material. The overall runtime averaged 90-100 minutes, balancing high-energy rockers like "" and "God of Thunder" with ballads such as "" for pacing. Song leads were distributed to highlight each member's vocal style: handled six tracks including "I Stole Your Love," "," and "Shout It Out Loud"; led five such as "God of Thunder" and "Calling Dr. Love"; took three, notably ""; and performed one, "." Variations across the tour's approximately 52 dates were minimal, with the core set remaining consistent to support album promotion, though occasional substitutions occurred in later shows, such as swapping "Calling Dr. Love" for "Hotter Than Hell." International legs, including the March 1978 Japanese dates, largely mirrored the U.S. set list without major song changes.

Stage Production

The Alive II Tour's stage production built on Kiss's reputation for theatrical rock spectacles, utilizing hydraulic risers to elevate band members like during his solo and and during theirs, creating a towering, dynamic presence in arenas. The overall setup reached impressive dimensions, spanning over 80 feet in width to accommodate the band's elaborate movements and effects, with catwalks extending toward the audience for closer interaction. This design was captured in the iconic photo inside the album, taken during a soundcheck on August 19, 1977, where all hydraulic lifts and were activated simultaneously to illustrate the production's scale—though such a full barrage was not replicated in actual performances. Pyrotechnics formed the core of the visual drama, with more than a dozen cues per show featuring explosions, fireballs emerging from the stage floor, and signature gimmicks such as Simmons' fire-breathing and blood-spitting, Frehley's rocket-launching guitar during his solo, and Criss' elevating and levitating . These elements, integrated seamlessly with the transitions, emphasized Kiss's innovation in blending rock performance with theatrical effects, setting a benchmark for late-1970s arena tours by introducing comprehensive stage theater to mainstream concerts. The production was streamlined from the preceding for logistical efficiency while maintaining its bombastic intensity, including adaptations like enhanced backdrops for the Japanese leg to suit larger venues. Lighting and audio systems were customized for arena-scale delivery, with expansive rigs illuminating the chaos of and risers, and an upgraded system ensuring clarity amid the high-decibel onslaught—advances influenced by producer Eddie Kramer's expertise in capturing live energy, as seen in the tour's recorded performances.

Notable Events

Key Performances

The five consecutive sold-out performances at Tokyo's from March 28 to April 2, 1978, exemplified the tour's international breakthrough, attracting approximately 55,000 fans and significantly elevating 's global profile in . These shows featured the band's signature high-energy delivery, with the standard tour including staples like "" and "" that resonated strongly with the enthusiastic audiences. In , delivered three sold-out nights at on December 16, 17, and 18, 1977, capturing the raw intensity of their fanbase in a series of shows renowned for their electric atmosphere and communal fervor. recordings from these performances, particularly the December 17 date, have become highly valued among collectors for preserving the unfiltered crowd energy and extended solos that defined the era. The double-header at on January 15 and 16, 1978, showcased at the height of their production spectacle, with elaborate stage effects and amplifying the band's style. These outings were particularly noted for vibrant crowd participation, especially during the anthemic "Shout It Out Loud," where fans joined in synchronized chants that underscored the tour's communal spirit. Collectively, these performances cemented 's status as an unparalleled live act, with enduring bootlegs from venues like the Inglewood Forum on , 1977, continuing to circulate and affirm the tour's lasting appeal to fans and archivists.

Incidents

During the Alive II Tour, the band encountered several operational challenges that tested their endurance, though none resulted in cancellations. One notable disruption occurred on , 1978, at in , where a severe blizzard known as the "Blizzard of '78" battered the region with heavy snow and high winds, stranding and crew at the venue overnight and complicating travel logistics for both performers and fans. Despite the weather delaying arrivals and reducing some spectator turnout due to road closures, the concert proceeded as scheduled, showcasing the tour's commitment to its itinerary amid one of the Midwest's harshest winters on record. Internal band dynamics added further strain, particularly involving drummer , whose increasing substance use and desire for creative autonomy contributed to growing tensions within the group by late 1977. Criss and guitarist formed a faction seeking more input on songwriting and arrangements, contrasting with the vision of co-founders and , which occasionally impacted morale during the grueling schedule. These issues, while not halting performances, highlighted the personal toll of the tour's intensity, as Criss's unreliability prompted informal contingency measures like backup musicians on standby, though the band avoided public disruptions. The tour's 52 documented performances across and demonstrated remarkable resilience, with no major halts despite these pressures, underscoring Kiss's professional rigor in delivering high-energy shows over five months. Occasional technical hiccups, such as delays in pyrotechnic effects like Ace Frehley's during early legs, were managed on-site without derailing the production, reflecting the crew's preparedness for the elaborate stage setup.

Reception and Legacy

Contemporary Reviews

Contemporary reviews of the Alive II Tour and its accompanying album highlighted the band's emphasis on theatrical spectacle and high-energy delivery, often praising the visual and auditory while critiquing the musical substance as derivative or simplistic. Critics frequently noted the tour's appeal to a young audience drawn to the show's bombast rather than innovative songcraft, positioning Kiss as entertainers akin to their peers. The tour's live recordings, captured during the 1977 leg and released as the album, received mixed coverage in . Reviewer John Swenson critiqued the performances for mimicking the stage antics of and the Who, yet conceded the and crowd engagement conveyed through the tracks. Overall, press coverage from 1977-1978 leaned positive on the tour's entertainment value and commercial draw, balancing spectacle-driven highs against artistic critiques.

Commercial Success and Modern Impact

The Alive II Tour played a pivotal role in driving sales of the accompanying double live album Alive II, which earned double platinum certification from the RIAA for over 2 million units sold in the United States. This commercial momentum underscored Kiss's status as a premier live act during their 1977-1978 peak, with the album's success reflecting the tour's high-energy performances that captivated audiences across and . The tour's financial achievements further solidified Kiss's stature, generating substantial revenue that enabled the band's ambitious individual solo album releases in 1978. Beyond immediate earnings, the tour entrenched Kiss's influence on production, particularly through their pioneering use of elaborate and stage effects, which set a standard for spectacle-driven concerts in subsequent decades. Performances at Tokyo's Budokan Hall, where Kiss broke their own attendance records with five sold-out nights, exemplified this global reach and inspired other rock acts to expand international touring with similar theatrical flair. In the late , the tour's excess—marked by explosive visuals and bombastic shows—foreshadowed challenges as rock evolved amid the disco era, yet it funded creative ventures like the solo projects that briefly diversified the band's output. In contemporary assessments, the Alive II Tour is frequently regarded as the of Kiss's original lineup , lauded for its unfiltered intensity and raw execution in remastered reissues from the onward, including high-definition editions that preserve the era's sonic punch. Bootleg recordings from tour dates remain widely traded among enthusiasts, offering glimpses of the unvarnished live vigor that official releases sometimes polished. The tour's cultural footprint endures through its appearance in the 1978 Hanna-Barbera television film Kiss Meets the Phantom of the Park, filmed during a California stop, which encapsulated the flamboyant, over-the-top ethos of rock stardom.

Personnel

Band Lineup

The Alive II Tour (1977–1978) featured Kiss's original lineup of on lead vocals and rhythm guitar, on bass and vocals, on lead guitar and vocals, and on drums and vocals, a configuration that had remained stable since the band's formation in early and their self-titled debut album release in , representing the peak of their onstage synergy prior to the 1978 solo album project that foreshadowed internal fractures. This quartet delivered high-energy performances characterized by elaborate personas—, , , and Criss as the Catman—while sharing vocal duties across the setlist, with Stanley leading on approximately six tracks, Simmons on five, Frehley on three, and Criss on one. Paul Stanley served as the primary frontman, handling lead vocals and on key songs such as "," "Shout It Out Loud," and "," while engaging the audience through charismatic crowd interaction and embodying the persona with dynamic aerial lifts that elevated him above the stage during segments like the finale. His performances, though occasionally strained by vocal hoarseness from the tour's demanding schedule, maintained an energized presence that anchored the show's theatrical flow. Gene Simmons provided basslines and lead vocals on tracks including "Deuce," "Calling Dr. Love," and "God of Thunder," where he showcased his signature fire-breathing and blood-spitting effects to amplify the character's infernal theatrics, contributing to the tour's reputation for explosive spectacle. His high-energy delivery on songs like "Ladies Room" and "Let Me Go, Rock 'n' Roll" added a intensity that contrasted Stanley's soaring style. Ace Frehley handled lead guitar duties and vocals on three songs, notably "" and "[Shock Me](/page/Shock Me)," during which his extended solo culminated in a dramatic rocket-launch effect on his guitar, symbolizing the Spaceman persona and providing a reliable highlight amid the tour's chaotic elements. Frehley's contributions emphasized his growing confidence, with the rocket gimmick serving as a fan-favorite pyrotechnic moment. Peter Criss rounded out the rhythm section on drums and provided vocals on "Beth," his signature ballad, while delivering an elevating riser solo during "God of Thunder" that incorporated Catman theatrics despite personal health struggles that left him sounding fatigued by later sets. His performances maintained the band's driving backbeat, though exhaustion was evident in moments like the acoustic intimacy of "Beth."

Production and Crew

The Alive II Tour was overseen by manager , who coordinated the 52-show schedule spanning the and from late 1977 to early 1978, managing logistics and contingencies to ensure smooth execution amid the band's demanding performance demands. Aucoin, in collaboration with choreographer Sean Delaney, directed the tour's production elements, including hydraulic risers for dramatic entrances and exits, steam effects from stage totems, and sequenced to enhance the arena-scale spectacle. Sound engineering for the tour drew on expertise from , the producer and mixer who had previously captured the band's live sound for Alive! and produced the Alive II album's live recordings from prior tour dates and select performances during the Alive II Tour, focusing on arena acoustics to amplify the raw energy of performances. Lighting director responsibilities fell under custom rigs that supported brighter, synchronized illumination for key moments like drum solos and finales, contributing to the tour's theatrical intensity. The road crew handled transportation and daily setups of the elaborate , including pyrotechnic integrations for effects and elevated platforms. provided essential label support under Aucoin's guidance, integrating tour promotion with album tie-ins such as merchandise inserts and advertising campaigns to drive attendance and sales synergy.

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