Peter Criss’s journey within Kiss was marked by significant artistic growth, particularly during the recording sessions where his raw, feel-based drumming evolved under rigorous direction. While his earlier style was rooted in jazz, soul, and R&B, the demanding studio environment pushed him to refine his technique. This period of development wasn’t solely about his drumming, influenced by a new cocaine-induced style contrasting with his youthful jazzy R&B approach. It also extended to his songwriting contributions to the band, most notably with “Beth,” a song that would become a signature track for Kiss.
Despite Paul Stanley’s initial dismissal of “Beth” as a throwaway, Gene Simmons recognized its potential immediately. Simmons recounts hearing the song, then titled “Beck,” in a car with Peter and appreciating it from the first listen. It was Gene who suggested changing the title to “Beth” to avoid confusion with guitarist Jeff Beck and to give the song a more accessible and less ambiguous title. He also encouraged Peter to play it for producer Bob Ezrin, whose reaction would prove pivotal.
Ezrin saw the potential in “Kiss Beth Song,” appreciating its melodic qualities but suggesting lyrical and arrangement adjustments. He refined some lyrics, notably changing “Beck, what can I do?” to “me and the boys will be playing,” and developed the orchestral arrangement that would become a hallmark of the track. Ezrin’s vision was to transform the song from a specific story into a more universally relatable ballad, recognizing its radio-friendly appeal and championing its inclusion on the Kiss album.
The origins of “Beth” trace back to 1971. The song was initially inspired by Becky, the wife of Chelsea guitarist Mike Brand. Becky was known for frequently calling during band rehearsals, perceived by the other members as disruptive. The lyrics were born from these interruptions, capturing the essence of those phone calls. Peter Criss conceived the initial idea while commuting to New York City by train, later collaborating with Stan Penridge to fully flesh out the song. As with much of Peter Criss’s songwriting, the exact division of creative input between Peter and Stan remains somewhat unclear.
An earlier demo version by Lips, with a folkier sound, exists but lacks the polished balladry of the final recording. The original lyrics, reportedly quite negative, were softened to create the more sentimental and memorable version of “Beth” that fans know today. Peter Criss elaborated on the inspiration behind the song in a 1994 interview, describing Becky as a “hypochondriac” who constantly called during rehearsals. He recounted Michael Brand’s exasperated responses, such as, “Beck, I heard you calling but I can’t come home right now. Me and the boys are playing here and we’ve got to get the sound together. Give me another hour and I’ll be there.” This real-life scenario, initially far from ballad material, ultimately transformed into the iconic “Kiss Beth song,” a testament to the evolution of a song and the collaborative process behind it.
