Kiss has consistently showcased their musical prowess by delivering unforgettable opening tracks for each of their 20 studio albums. Iconic lead-off songs like "Strutter," "Detroit Rock City," and “I Stole Your Love” have not only gained immense popularity but have also become essential elements of the band’s electrifying live performances. These tracks set the tone for the albums and highlight the group’s ability to captivate audiences from the very first note.

Writing the opening song often posed challenges for the band. Paul Stanley shared in their 2003 book Behind the Mask, “The hardest part for me in writing for an album is crafting the first song, understanding its theme, and determining the overall direction of the album.” He noted that the first song written tends to become the album’s signature track, shaping its identity and essence.

Stanley has demonstrated remarkable skill in composing these pivotal introductions, achieving 18 signature openings throughout his career, while his founding partner Gene Simmons has penned only two. Below is our ranked list of Kiss’ most impactful album-opening tracks:

20. “Crazy Crazy Nights”
From: Crazy Nights (1987)

Regrettably, Crazy Nights fell short of expectations, as Kiss shifted away from their established sound to pursue a Bon Jovi-inspired keyboard-driven pop metal style. While the opening track is less guilty of this stylistic deviation than other songs on the album, it still lacks the punch and grit that fans had come to expect from the band. The track feels somewhat lifeless and affected, failing to capture the raw energy that defined their earlier work.

19. “Is That You?”
From: Unmasked (1980)

In an interesting contrast, Unmasked is often regarded as an underrated gem among Kiss albums, showcasing a more organic blend of catchy pop hooks and rock instrumentation compared to Crazy Nights. However, the opening track “Is That You?” doesn’t quite mesh as seamlessly with the rest of the album. The song starts with an audacious jab at estranged drummer Peter Criss, who didn’t participate in the album, setting a somewhat controversial tone for the record.

18. “Hate”
From: Carnival of Souls (1997)

After reconnecting with his darker persona on 1992’s Revenge, Gene Simmons aimed to steer Kiss into the grunge music scene with 1997’s Carnival of Souls, despite Paul Stanley’s reservations. While the album’s production tends to sound muddy and outdated, some tracks manage to shine through. The opening song “Hate” stands out as one of the stronger offerings on the album, though it eerily resembles the earlier hit “Unholy,” which we will discuss shortly.

17. “The Oath”
From: Music From ‘The Elder’ (1981)

Interestingly, Kiss did not initially plan for “The Oath” to serve as the opening track for their widely criticized medieval concept album, Music From ‘The Elder’. The album’s first track was meant to be the intricate classical instrumental “Fanfare.” However, the label insisted on starting with a more familiar sound. “The Oath” is indeed peculiar and captivating, as Stanley narrates a young warrior’s journey to find courage, delivering his lines with an intriguing falsetto over a driving progressive rock backdrop.

16. “Psycho Circus”
From: Psycho Circus (1998)

Although the decision to record Kiss’ alleged reunion album without significant contributions from original members Ace Frehley and Peter Criss raised eyebrows, Simmons and Stanley managed to successfully revitalize their classic sound with the epic title track “Psycho Circus.” This opening number provided a nostalgic yet fresh take on their storied career.

15. “Hell or Hallelujah”
From: Monster (2012)

In their last two studio albums, Kiss returned to their rock roots, abandoning gimmicks and external songwriters in favor of pure, unadulterated four-piece rock and roll. “Hell or Hallelujah” from 2012’s Monster exemplifies this return to form, making a strong case that this straightforward approach should have been the band’s enduring strategy from the outset.

14. “I’ve Had Enough (Into the Fire)”
From: Animalize (1984)

Following two successful albums produced by Michael James Jackson, Kiss faced a critical juncture with 1984’s Animalize, as Paul Stanley took over production duties. During this time, Gene Simmons focused on his film career and label responsibilities. Stanley and drummer Eric Carr expertly guided the band into a more aggressive sound, embracing borderline speed metal on tracks like “Under the Gun” and the electrifying opener “I’ve Had Enough (Into the Fire).”

13. “King of the Mountain”
From: Asylum (1985)

With the success of Animalize‘s hit single “Heaven’s on Fire,” Kiss solidified their comeback in the ’80s, and the arrival of guitarist Bruce Kulick helped stabilize the once-volatile lead guitar position. Feeling secure in their status, Kiss embraced a revival of their ’70s sound for Asylum. The opening track “King of the Mountain” allows both Carr and Kulick to shine, as Stanley belts out lyrics about overcoming challenges and obstacles.

12. “Exciter”
From: Lick It Up (1983)

After the impressive contributions of then-guest guitarist Vinnie Vincent on the 1982 comeback album Creatures of the Night, he officially became a full-time member for 1983’s Lick It Up. This album presented a brighter, more accessible sound, marking a significant step in the band’s commercial resurgence with its irresistible title track. “Exciter” effectively sets the tone for the album, featuring a surprise guest guitar solo from Rick Derringer.

11. “Rise to It”
From: Hot in the Shade (1989)

Recognizing the missteps taken with Crazy Nights, Kiss aimed to return to their core sound with 1989’s Hot in the Shade. Although the album is somewhat bloated and lacks polish, they kick off strongly with the infectious and lively “Rise to It.” The accompanying music video features Simmons and Stanley briefly donning their iconic face paint, marking one of the first moments of the band reconnecting with their storied legacy.

10. “Creatures of the Night”
From: Creatures of the Night (1982)

In 1982, Kiss faced significant challenges, having lost two original band members and witnessing their commercial decline, which prevented them from touring behind their previous albums. Nevertheless, they emerged fiercely with Creatures of the Night. With a thunderous, drum-heavy sound crafted by Eric Carr and producer Michael James Jackson, the title track serves as a powerful mission statement for the band’s resurgence.

9. “I Was Made for Lovin’ You”
From: Dynasty (1979)

“I Was Made for Lovin’ You” stands as one of the most polarizing tracks in Kiss’ extensive catalog. This song marked one of the band’s early ventures into chasing popular musical trends, in this case, the disco wave. While Dynasty struggles with internal band conflicts and overall quality, this particular track remains a brilliantly composed and irresistibly catchy anthem that has endured for over 40 years.

8. “Room Service”
From: Dressed to Kill (1975)

While Kiss may have been running low on creative ideas for Dressed to Kill, their third studio album released within just 13 months, the opening track exudes undeniable charm and energy. “Room Service” captures the essence of life on the road, celebrating the rock and roll lifestyle and the temptations that accompany it, making it a memorable and spirited entry in their discography.

7. “Unholy”
From: Revenge (1992)

When Kiss removed their makeup in 1983 with Lick It Up, Gene Simmons appeared to lose his footing. His discomfort was evident in early videos, where he struggled with his performance without the persona of spitting blood and breathing fire. The glam fashion of the decade didn’t suit him, and he humorously remarked that he looked “like a football player in a tutu.” However, he found his artistic footing again on the Bob Ezrin-produced Revenge, particularly with the thunderous and dark opening track “Unholy.”

6. “Modern Day Delilah”
From: Sonic Boom (2009)

A decade after the near-miss of Psycho Circus, Kiss made a triumphant return with their self-produced and self-written album Sonic Boom. “Modern Day Delilah” served as a nearly flawless reintroduction to the band, featuring an instantly recognizable riff and blistering guitar work from new guitarist Tommy Thayer.

5. “Strutter”
From: Kiss (1974)

As one of the earliest compositions by Stanley and Simmons for their debut album, “Strutter” effectively establishes the foundation for Kiss’ signature sound, combining a gritty, Rolling Stones-esque main riff with glam-infused vocals. This song not only captures the essence of their early style but also showcases the band’s potential for greatness right from the start.

4. “I Want You”
From: Rock and Roll Over (1976)

Feeling that the production on their previous album, Destroyer, had become overly elaborate, Kiss opted to record Rock and Roll Over in an abandoned theater. This choice successfully infused the album with a raw, live energy that resonated throughout the tracks. The opening song, “I Want You,” became a staple in the band’s live performances, showcasing Stanley’s powerful vocals and solidifying its place in their storied history.

3. “I Stole Your Love”
From: Love Gun (1977)

Kiss seemingly perfected their post-Alive! formula with their final golden-era album, 1977’s Love Gun. The opening track “I Stole Your Love” features Stanley delivering a narrative akin to the Stones’ spiteful “Under My Thumb,” over a blistering guitar riff, marking it as one of the band’s most exhilarating concert-opening songs.

2. “Detroit Rock City”
From: Destroyer (1976)

After breaking into the mainstream with Alive!, Kiss enlisted renowned producer Bob Ezrin to elevate their studio work. The resulting album, Destroyer, features some of their most diverse and enduring songs, including “Do You Love Me,” “God of Thunder,” and the unexpected hit “Beth.” The album’s opening track, “Detroit Rock City,” kicks off in grand style, showcasing their evolved songwriting skills and frequently serving as the opening anthem for their concerts throughout their storied career.

1. “Got to Choose”
From: Hotter Than Hell (1974)

While Destroyer is undeniably excellent, one might argue that Kiss was even more unique and innovative before Bob Ezrin refined their sound. The first three albums encapsulated a certain magic that they never fully recaptured. Hotter Than Hell exemplifies this, filled with dark grooves, progressive rock influences, and audacious musical moments like “Goin’ Blind” and “Strange Ways.” The opening track “Got to Choose” is a perfect representation of this era, featuring a powerful, lurching sound complemented by unexpectedly sweet group vocals.