Background
The originator of the song is Stephen Coronel with Gene Simmons contributing the words and lyrics at an evenings rehearsal with Wicked Lester. The song was originally called "She Walks By Moonlight" because of a line in a movie Hondo where, as Simmons said:
"'I want your daughter.' 'You may not have my daughter.' 'Why not?' 'She walks by moonlight.' And that's the first line of the song. I didn't even know what it meant, I just loved the sound of it."
The line "she's no good" was changed to "she's so good". The Wicked Lester's version of the song length is 3:07, while the Dressed to Kill version is 4:08 long. Also, Kiss version lacks the congas and flute. Congas were played by session musician Jimmy Maelen.
Ace Frehley's solo in the song is based on Robby Krieger's solo in The Doors' song "Five to One", it starts in the same key and tempo; and is copied by Mike McCready of Pearl Jam on their song "Alive".
"She" is one of only three Kiss songs taken from Wicked Lester existence, with others being the Hotter Than Hell's "Goin' Blind" and the other one Dressed to Kill's "Love Her All I Can". "She" and "Love Her All I Can" were intended to be on Hotter Than Hell album, but the band already had enough material for the album.
Read more about this topic: She (Kiss Song)
Famous quotes containing the word background:
“In the true sense one’s native land, with its background of tradition, early impressions, reminiscences and other things dear to one, is not enough to make sensitive human beings feel at home.”
—Emma Goldman (1869–1940)
“I had many problems in my conduct of the office being contrasted with President Kennedy’s conduct in the office, with my manner of dealing with things and his manner, with my accent and his accent, with my background and his background. He was a great public hero, and anything I did that someone didn’t approve of, they would always feel that President Kennedy wouldn’t have done that.”
—Lyndon Baines Johnson (1908–1973)
“Silence is the universal refuge, the sequel to all dull discourses and all foolish acts, a balm to our every chagrin, as welcome after satiety as after disappointment; that background which the painter may not daub, be he master or bungler, and which, however awkward a figure we may have made in the foreground, remains ever our inviolable asylum, where no indignity can assail, no personality can disturb us.”
—Henry David Thoreau (1817–1862)