1973's "A Charlie Brown Thanksgiving" is an adorable, animated classic that makes me want to eat popcorn, toast, and jellybeans every year! It's one of the few holiday treats that suit older audiences as well as younger ones.
Here's the basic synopsis: Peppermint Patty invites herself, Marcie, and Franklin to Charlie Brown's house for a wholesome Thanksgiving dinner. The problem: Charlie has to go to his Grandmother's house at 4:30. AND he doesn't know anything about cooking a turkey and cranberry sauce. With the help of Linus, Snoopy, and little Woodstock, Charlie tries to make meals for Patty and her guests, only to realize that food alone isn't thankful...his friends and family are. Watch out for Snoopy, the Peanut Gang's favorite dog! In this feature, he wrestles with a beach chair, puts a tablecloth on a pool table, and marches in Pilgrim garb!
This is a DVD I highly recommend, as well as "The Great Pumpkin" and "A Charlie Brown Christmas."

1998's "Psycho Circus" is a loud and exciting rock recording fueled by the reunion of the band's four original members. What makes this album a success is that it captures Kiss's original flavor, but doesn't emit the staleness of a "retro" album. While providing a live atmosphere not heard since "Alive!" and "Rock and Roll Over," the music carefully incorporates the imaginative atmosphere of "Destroyer." A number of tracks feature a tolling bell, sliding violins, and a tearful piano, as well as the group's stalking bass, tumbling guitars, and throbbing drums. Meanwhile, the record's mysterious concept is set beneath the glittering big top.
"Psycho Circus's" opening track invites spectators into a glorious rock spectacle never before seen on earth. Both "I Pledge Allegiance" and "Raise Your Glasses" are Kiss's own proud anthems; they are songs that celebrate how the band overcame numerous obstacles. The surreal "Within" seems to be surrounded by swirling clouds of stars and smoke. "We Are One" is an incredible acoustic salute to the Kiss Army. The explosive "You Wanted the Best" is one of the few tracks ever to feature solo vocals from all four players. In "Into the Void," Ace Frehley takes his time to express the frustration he felt when he first left Kiss. In the tender ballad "I Finally Found My Way," Peter Criss comes full circle in his search for love and companionship. In a way, this song is a conclusion to the trilogy Criss started with "Beth" and "Hard Luck Woman."
I am happy to say that "Psycho Circus" is worth buying, as well as "Alive IV." You are welcome to the show!

1983's "Lick it Up" was an album that unleashed a new Kiss. After putting away the Kabuki makeup and sparkling rhinestones, the band adopted a much more aggressive metal sound, one that Kiss experimented with on "Creatures of the Night." Such a musical formula became a double-edged sword; it placed Kiss back in the limelight, but blended too well with the decade's hair movement.
Supported by Vinnie Vincent's squealing guitar and Eric Carr's fierce drumming, Paul Stanley's vocals repeatedly soar by a few octaves. Meanwhile, Gene Simmon's rugged vocals combine bestial growls and screeches. As for the song's themselves, they discuss typical subjects associated with glossy hair bands: groupies, drugs, cars, and social disorder. "Exciter," "Gimme More," and "Fits Like a Glove" display the most sexually shocking material ever written. It's no surprise that this CD would eventually be targeted by Tipper Gore and the PMRC. "Lick it Up" is a catchy pop single that invites hungry fans into a forbidden world of bliss. "All Hell's Breakin' Loose" is an anthem that glows red-hot with rebellion; while pumping their fists into the air, the band members use this tune to tear down society's oppressive institutions. "A Million to One" can best be described as a sequel to "I Still Love You" from "Creatures of the Night"; in a dramatic fashion, Paul curses a woman who left him in order to pursue another gentleman. "Dance All Over Your Face" is also an anti-woman song, only this time Gene is the one who fumes; he takes his anger out on an unnamed ex-lover who cheated on him.
Overall, "Lick It Up" is worth listening all the way through. It's a perfect holiday gift for anyone missing the Headbanger's Ball.

It's quite unfortunate that this 1982 album was released during Kiss's worst years. Drummer Peter Criss left the band in 1979 and was replaced by Eric Carr. Then, just before "Creatures of the Night" was assembled, Ace Frehley quit; his position as lead guitarist was filled by Vinnie Vincent. Even though Frehley's face is on the album cover, he didn't play a note on the track list. As a result of these changes, "Creatures" was the poorest selling album in Kiss's career. That's a shame, because "Creatures of the Night" is an underrated gem.
The CD's aggressive rock sound is much more in the heavy metal vein than in Kiss's previous efforts. With earth-shaking drum beats and a race car guitar, the music is fueled by a generous injection of male testosterone. The album's famous single, "I Love it Loud" is the quintessential Kiss anthem; its masculine chorus is as disciplined as a band of marching U.S. soldiers. Another excellent track is "Rock and Roll Hell," a song about an outcast who clutches his dream of rock & roll stardom while sinking below the poverty line. "I Still Love You" is an agonizing, 6-minute ballad about a shattered relationship and the painful emptiness that results from it. While tracks like "Creatures of the Night," "Keep Me Comin'," and "Danger" allow Paul Stanley's vocals to soar, "Saint & Sinner," "Killer," and "War Machine" mark the return of Gene Simmons's signature snarl.
The 1980's was a decade when heavy metal ruled MTV. If you miss The Headbanger's Ball, "Creatures of the Night" is worth buying; it will whet your appetite for the band's non-makeup collection, including "Lick It Up," "Animalize," "Crazy Nights," and "Asylum."

1979's "Dynasty" was said to be Kiss's first unfocused project in their career. After listening to this CD, I can honestly agree with that claim. At a time when Rod Stewart and Michael Jackson were joining the disco craze, "Dynasty" was intended to announce the "return" of Kiss, since the band members briefly separated to record their own solo projects. Unfortunately, the 9 tracks appear to be scrambled together in a hurried fashion; the lyrics and chorus hooks are shallow and predictable. The music itself is stale, at least when compared to 1976's "Destroyer" and "Rock and Roll Over." Also, "Dynasty" was the last album to feature all four of the group's original members; after recording two tracks, Peter Criss quit after a ghost drummer replaced him.
"I Was Made for Loving You," "Sure Know Something," and "Dirty Livin'" all feature the flashing, pulsating beats of disco. Every one of these hits could have easily been played in Studio 54. Ace Frehley's performances of "Hard Times," "Save Your Love," and the Rolling Stones' "2,000 Man" clearly reflect his degenerated attitude towards the group. Even Ace's tone of voice sounds defiant and rude. Sadly, he would be the next member to leave Kiss. "Charisma" and "X-Ray Eyes" are the only two tracks sung by Gene Simmons. In both songs, Gene's demonesque snarl has completely disappeared.
If you enjoy collecting Kiss's landmark albums, "Dynasty" may take getting used to. Upon listening to this CD, you will sense the backstage tensions between Peter, Paul, Ace, and Gene. The band would soon become fragmented, and future line-up changes would threaten Kiss's future.

1976's "Rock and Roll Over" is another excellent masterpiece of hard rock by Kiss. While making this a studio recording, the band captured the energy of "Alive!" by performing in an empty concert hall. Unlike the somewhat symphonic "Destroyer," which came out the same year, this record was conceived under the direction of Eddie Kramer. Kramer was the same producer who tweaked the sonic tunes of the "Alive!" record. A majority of "Rock and Roll Over's" tracks bear sexually-charged lyrics that undoubtedly reflect the band's decadent excesses. Naughty tunes like "Take Me," "Calling Dr. Love," "Ladies Room," "Mr. Speed," and "Makin' Love" are a little bit more explicit in declaring Kiss's unsafe love of groupies. A favorite track listeners can look forward to is Peter Criss's "Hard Luck Woman," a sweet and sad acoustic ballad about a broken relationship; this particular song was meant to be a follow-up to "Beth."
"Rock and Roll Over" is definitely a CD worth having in a rock collection. This record marks a period when Peter, Paul, Ace, and Gene were united into one unstoppable team.

In 1976, one year after the band's musical monster "Alive!" was unleashed upon the world, Kiss recorded "Destroyer" under the direction of Bob Ezrin. Ezrin was a contemporary producer who orchestrated Alice Cooper's "Welcome to my Nightmare." Under his control, the band's famous rock & roll edge was given a small, symphonic touch. As a result, the record provides an imaginative atmosphere that wasn't present in Kiss's previous works; the CD appears to be set in a barren wasteland on a sweltering planet. In a distant part of the universe, Peter, Paul, Ace, and Gene stomp onto volcanic rocks in their 7-inch heels; armed with guitars, a bass, and two drumsticks, these four men go on a quest to conquer the galaxy.
The album's opening number, "Detroit Rock City," is a first-person narrative told by Paul Stanley; he adapts the role of a restless rock fan who dies in a car crash after driving on the wrong side of the road. "King of the Night Time World" is a thrilling march across the stars. Then, Gene Simmons roars out his demonesque vocals in the fiery "God of Thunder." Ace Frehley performs "Great Expectations," a song which I personally felt was a little bit corny. While being supported by a tender piano and an operatic church choir, the lyrics' innuendoes are incredibly shocking to hear. "Flaming Youth" is an energetic anthem for any American teenager living in a repressive household. "Shout it Out Loud" is another Kiss party tune that is now recognized in every show they play. And, of course, let's not forget the album's incredible single, "Beth." Co-written and sung by Peter Criss, it's a tearful ballad that deals with the painful separation he and his wife endured when he toured with the group. Bob Ezrin's classical experimentation is quite prevalent here; "Beth's" soothing background includes a few violin strings, trumpets, french horns, one flute, one oboe, and a couple of other woodwinds.
"Destroyer," as a whole, is a must-have Kiss record. Not only are the songs familiar to rock fans, but they mark another chapter in the band's 30-year history.

Ah, yes! "The Wizard of Oz." What can I possibly say about this 1939 classic that hasn't been said already? Perhaps I can comment that despite being a children's musical, the film's characters and script can be enjoyed by viewers of all ages. The songs (including "Somewhere Over the Rainbow," "Ding-Dong! The Witch is Dead," and "If I Only Had a Brain") carry a unique wit that sparkles like a pair of ruby slippers! Although the film debuted in theaters during Hollywood's Golden Age, the movie's content successfully stands the test of time. It teaches kids to value what they have while encouraging adults to follow the Yellow Brick Road!
Based on the book by L. Frank Baum, "The Wizard of Oz" stars a young Judy Garland as Dorothy Gale, a farm girl who dreams of finding a place where she won't get into trouble. Later, when a violent tornado tosses her house into the enchanted land of Oz, Dorothy starts to miss Kansas and the love given to her by her Auntie Em and Uncle Henry. In order to return home, Dorothy (and her dog Toto) must journey to the Emerald City and ask the mysterious Wizard of Oz for help. Along the way, she forms a friendship with a klutzy Scarecrow (Ray Bolger), a sentimental Tin Man (Jack Haley), and a Cowardly Lion (Bert Lahr), all of whom want the Wizard to grant their wishes. Meanwhile, the four heroes are chased by the cackling Wicked Witch of the West (Margaret Hamilton), who wants to avenge the death of her sister, the Wicked Witch of the East, and steal Dorothy's magical slippers. Audiences will be astounded by the movie's lavish scenery, stunning costumes, and crisp cinematography. "Wizard of Oz" is Hollywood's labor of love, one that watchers can now treasure on DVD!

1975's "Alive!" is more than a Kiss album; it's a piece of hard rock history! Almost 30 years ago, Paul Stanley, Gene Simmons, Ace Frehley, and Peter Criss were teetering to the brink of financial ruin. After enduring moderate album sales and negative criticism, the band was nearly bankrupt. Basically, Kiss chose to record their live shows because it was much cheaper than performing in a studio. However, "Alive!" revolutionized the music industry by making live recordings a legitimate form of entertainment. And, of course, the CD was certified Gold in less than 2 months. The members of Kiss astounded audiences by combining their streetwise attitude with sparking rhinestones, comic book makeup, and explosive pyrotechnics. Like Alice Cooper before them, Kiss shocked and amazed rock & roll fans with an over-the-top spectacle. It's a formula that inspired all metal acts that followed, including the Gwar, Marilyn Manson, and Rob Zombie.
"Alive!" is a collaborative masterpiece that resulted from Kiss's blood, sweat, and tears. Recorded in Michigan, Iowa, Ohio, and New Jersey, this record features energetic versions of Kiss's previous hits: such songs include "Deuce," "Rock and Roll All Nite," "Got to Choose," "Firehouse," "Hotter than Hell," and "Black Diamond." Standing before an enormous crowd of screaming admirers, Paul, Gene, Peter, and Ace applied every ounce of their energy into their performances. Listeners will be amazed at Peter's drum solo alone; during the song "100,000 years," he fearlessly pounds the skins for 7 MINUTES! What also makes "Alive!" worth having is how it was mixed; every sonic detail was slightly altered in New York's Electric Lady Studios. This insured that the clapping and shouting of the fans would never drown out the music.
Now that "Alive!" has been digitally remastered, the sound is crisper and cleaner than ever before! As a rock fan, I can guarantee that this album is worth having. Even if today's buyers never get the opportunity to watch a Kiss show, this CD will help them sense the incredible spirit of past concerts. I recommend you purchase this as well as 2003's "Alive IV."

Britney fans, beware! The Lunachicks are invading your backyard! 1995's "Jerk of all Trades" is a playful yet fierce package of hyperactive alternative rock. What makes this album different from the band's two previous efforts (Babysitters on Acid and Binge & Purge) is that the sound is quite polished; like 1997's "Pretty Ugly" and 1999's "Luxury Problem," "Jerk of All Trades" displays irresistable pop anthems for high school girls. However, this album is NOT for kids. The CD's overall content is as looney as a Saturday morning cartoon yet emits the choking odors of flatulence and halitosis.
"Drop Dead" is a wild opener that can easily be blamed for America's suicide statistics; in just one song, a victim gets hit by a car, cracks his own skull, AND swallows too many pills. "Fingerful," which is accompanied by lingering drums, is about fetishism, which the group pushes to the most absurd level. What other song involves people getting aroused by smelly socks, crooked teeth, and Lucky Charms? "F.D.S" is the perfect insult track to scare away obnoxious losers. And of course, the band members assault listeners with, "great green globs of greasy grimy gopher guts, mutilated monkey meat, chopped up little birdie's feet. French fried eyeballs rolling down the dirty street." Pretty gross, ain't it? Well, there's much more! "Butt Plugg" is one minute and twelve seconds worth of deranged, skull-bashing rudeness. The record's anti-beauty anthem, "Bitterness Barbie," dismembers America's iconographic doll of perfection. Where else can a Barbie doll bear clogged pores, vericose veins, and little bits of flab on her arms and legs?
Not all the tunes are made to disgust the public. "Edgar" is a crude yet playful pop single about Theo's kitty cat. "Light as a Feather" encourages lonely teens not to win popularity by playing Truth or Dare. "Insomnia" is excellent in describing any annoying night of endless tossing and turning. All the while, the lyrics are supported by a restless guitar riff. "Dogyard" is probably the least successful song on "Jerk of all Trades." The tune's rhythm ticks like an alarm clock and is mindnumbingly repetitive. The lyrics, meanwhile, appear as if the song was put on the list at the very last second. "Spoilt," which graphically discusses the horrors of war, bears an echoing chorus that's soaked in blood and acid rain. "Fallopian Rhapsody" is perhaps the most serious track of all; here, the ladies decry the tragedy of unwanted pregnancy while demanding better abortion rights.
If you are a fan who gets a kick out of shallow MTV acts (including Christina Aguilera and Mandy Moore), than "Jerk of All Trades" isn't for you. The album is REAL rock & roll from REAL women who won't ever compromise themselves. I guarantee that you'll enjoy this record whether you ride in a shopping cart, wrap yourself in toilet paper, or both!