Musically, the aforementioned band, The Younger Generation, were active during Vinnie's high-school years playing local Bridgeport and surrounding cities high-school events. It was with this band that Vinnie made his first demo recording, reportedly paid for by his father, in 1965/6 (KISSin' Time Radio). Three songs were recorded; "More," "Don't Bring Me Happy Together," and "Summer In The City" with the first song being noted for being performed by the band at events such as the Central High "Hootenanny" on February 11, 1967 (along with another song, "I Believe"). The band included Bob Forte, Skip Smith, and Ralph "Jerry" Braca (drums/vocals) and band managed to get several opening-slots for the Young Rascals, including a show at the Barnum Festival Theatre in Seaside Park, CT on August 29, 1967. This show, with some 3,000 attending, generated some positive press of the band, particularly Vinnie: "The group has appeared on programs with the Young Rascals before last night and have also played at the Westport Discotheque. The Younger Generation, though they still have a long way to go before reaching the top of the rock 'n' roll world, are a real 'personality plus' group with lots of enthusiasm. Vinny Cusano, lead guitarist, appeared on stage wearing a green beret over his long brown locks and old-fashioned knickers. He was definitely the 'personality kid' of the Younger Generation" (Bridgeport Post).
Another person Vinnie was in a band with during his youth was one Neil Stubenhaus. Neil, like Vinnie was also from Bridgeport, though he went on to attend the famed Berklee College of Music. Originally he had started off as a drummer before switching to guitar and teaching himself. Within a year Neil was taking guitar lessons from Vinnie who wanted to put a band together with Neil if he would switch to bass. Neil became one of the most sought after session bassists and later played on a number of KISS related projects including albums from Alessi (their final release rather than the one Paul played on) and Heat (which Vinnie also played on). Considering some of Vinnie's early session work it should be noted that Neil was recruited to do some session work on Blood Sweet and Tears vocalist David Clayton-Thomas' first solo album, "Clayton," in 1977. Laura Nyro, who Vinnie would later record with, was a vocalist sought by BS&T prior to Thomas being recruited!
During the year he also contributed some guitar work, and a song, to the band Hitchhiker's album. Vinnie was credited as playing electric guitar on the album as one of the "additional musicians." This contribution is probably only on the song itself, but not necessarily limited to just one track since the specific recording contributions are not specified on the credits. This album was recorded at Connecticut Recording Studios in Bridgeport, making it a local studio for Vinnie, with owner Paul Leka and engineer Billy Rose providing services (see Hunter demo!). Fronted by lead vocalist Kenny Hamber, this album was mostly Soul/R&B material. However, one track at the end of the album, "This Song's For You Mama," would be one of Vinnie's most incredible songs. It has a flavor that has ties closer to Louis Armstrong than what would be expected of him later, in comparison with material such as "Full Shredd." It is not clear how Vinnie got this song included on the band's album, but the piece would be incredibly mature for a 24 year-old.
Following Felix taking the tape to Epic the band signed with the label in May 1977 and started work recording an album. Rick Laird, a journeyman who's most notable earlier credit was with The Mahavishnu Orchestra, played bass, though he wasn't featured in the band picture on the album's rear cover. Recorded at Sound Ideas studio in New York City, the album was produced by Felix. Both of Vinnie's songs showed a strong Beatles influenced pop vibe indicative of his early writing style. Released in October 1977, the album received some positive reviews. Billboard (11/12/77) noted: "This debut album is superlative AOR rock. Small wonder, since the hand of ex-Rascal Cavaliere is ever present... But this is hardly a one-man show. It's a group effort all the way and Treasure may well emerge as one of the late '70s premier rock bands." The review also noted "Innocent Eyes" as one of the album's best cuts. Other reviews were not so sure about the album: "Treasure should fare better, but there are still a lot of rough edges. Cavaliere and guitarist Vinnie Cusano seem to be getting a feel for each other through most of the LP... Cusano's two compositions... are good, slick pop songs but just don't mesh with the rest of the album" (Rolling Stone, 1/26/78). One single was issued from the album in the US, an edit of "I Wanna Love You" (Epic 8-50519), but it didn't chart. One of Vinnie's songs, "Innocent Eyes" was released in South Africa as a single (Epic/CBS EN-1678), backed with "When the Sun Shines." The band recorded some demos for a second album, but Felix ended the band after playing a handful of gigs (including at least one with Meat Loaf) due to the album's flop and hassle the project had become. Marty David played bass with the band live, with Rascal's songs such as "Good Lovin'" and "In The Midnight Hour" being included in the set.
Vinnie was laying the groundwork for a broad spectrum of session work that would pay the bills while building a name within the industry and relationships that would prove beneficial. While the soft-AOR style of Treasure may seem strange considering his later style, Vinnie also did session work with Dan Hartman for his disco hit "Instant Replay" in 1978. Recording took place at Dan's home in Westport, Connecticut. Known as "The Schoolhouse" it featured a full-blown 24-track studio. While it was a quality recording venue, welcoming artists such as 38 Special, Neil Sedaka, Johnny and Edgar Winter, and others, it wasn't a going commercial concern. Vinnie's credit included 12-string rhythm and second guitar solo on "Double-O-Love," and the guitar solo and background vocals on "Time and Space." More importantly, Vinnie's grinning face was included on the "band" picture that comprised the album's inner dust sleeve. He also appeared on various singles picture sleeves, even though he was usually not featured musically on the songs. "Time and Space" was released as a single in the UK in 1979, but it failed to make any impression on the charts and got poor reviews. Released in November 1978 on Blue Sky records (distributed on CBS), "Instant Replay" was certified by the RIAA for sales of 500,000 on January 23, 1979.
The album entered the charts in mid-December and while it climbed no higher than #80, the album would stay in the top-200 for over four and half months (Jowers, Bart R., Blue Skies). The album did well with a positive Billboard reporting, "This one-time member of Edgar Winter's band is shrewdly mining disco's increasing acceptance on pop radio with his 'Instant Replay' hit, which cleverly combines elements from both music forms. This album - which includes sax contributions from Winter himself - contains more in that mold, notably 'Countdown/This Is It,' a surefire follow-up to Replay. Sound is percussive-tinged, with tight and economic rhythm workouts. Funk is the flavor and 'Chocolate Box,' and mellow is the mood on 'Time And Space' and 'Love Is A Natural'" (Billboard, 12/2/78).
As a member of Dan's touring band, Dan Hartman provided Vinnie with his first major international exposure. The tour travelled across the USA and Europe and resulted in appearances on many TV shows such as American Bandstand, The Midnight Special, Rock Concert, before concluding in Los Angeles in March 1979 with an appearance on the Dinah (Shore) and Friends show. A final point of note from this early period in Vinnie's career was that G.E. Smith, the primary guitarist on the Dan Hartman album, later became the band-leader for David Letterman's late night band for several years (1985-1995, in a band including KISS-alumni Anton Fig and Will Lee).
Vinnie next went out on tour with Edgar Winter, who was supporting his "Edgar Winter" album. Edgar had musical connections with both Laura Nyro and Dan, and it had been Dan who recommended Vinnie to Edgar. Of course, Dan had been a member of Edgar's band in the early 1970s, and Edgar had performed on "Instant Replay" (on the two single tracks). Following the end of the tour in 1980 Vinnie opted to stay in Los Angeles and sleep on any available couch in hopes of getting another break. Vinnie met Carmine Appice through the Los Angeles club scene, and became a member of Carmine's band Rockers playing the usual Hollywood venues such as the Starwood. He and Carmine co-wrote the instrumental "Drum City Rocker" which Carmine included on his 1981 self-titled solo album. This was not the only material which Carmine and Vinnie wrote together; they copyrighted four pages of lyrics and one sound recording, probably including rough demos of the material detailed on the lyric sheets, on June 24, 1980, as "Vincent John Cusano Songbook II." At the same time Vinnie copyrighted a single song of his own, under "Vincent John Cusano Songbook I." It is possible that this recording included some of the musical ideas that became important in the years to come. "Drum City Rocker" was played live by Carmine and his "Friends" band of Tom Petersson, Rick Derringer and Duane Hitchings during their early 1982 support shows for that album.
Interestingly, the "Rockers" album also include a song co-written by Ron Leejack of Wicked Lester fame ("Am I Losing You") who had been a session player on the 1971 Cactus "No Restrictions" album, a band that had then included Carmine. Additionally, earlier that year Vinnie performed some session work on the Heat album "Still Waiting" (MCA-5182) which was a project of the critically acclaimed Tom Saviano who had himself once been described as being one of "Los Angeles' most talented session players" (Saviano). Vinnie took any opportunity to work and put whatever money he could make into his music. Billboard magazine reviewed the Heat album in June 1981 with the following positive response: "This title is extremely apt as this trio is still waiting for the recognition that it's due. The eight cuts here are satin soul polished to a high gloss while rhythm section keeps things down to earth. Those who appreciate Earth, Wind & Fire or AWB should delight in listening to Heat" (Billboard, 6/20/81). Vinnie's contributions are not specified individually. Included on the album was someone from Vinnie's past: bassist Neil Stubenhaus.
In addition to session work, Vinnie also worked as a staff songwriter on Happy Days and the short-lived Joanie Loves Chachi spin-off series. He wrote "Meant To Be" with the show's musical editor Bennett Salvay, and the song was performed during the Joanie Loves Chachi "One-on-One" episode broadcast on October 21, 1982. Amusingly that date was very close to the release date of a certain KISS album. There is also some indication that two other Vinnie compositions, "Rock City" and "Rock Island Line," may have been used on the television series "Falcon Crest." He also continued to work on his own music and cut a demo called "Back On The Streets," which ultimately became a calling card that helped get him the gig with KISS. This song was originally written with Richie Friedman and was later be demoed by an early version of Frehley's Comet (Ace shared the same manager with Vinnie at the time). Richard was the son of the owners of We Buy Guitars, a regular haunt of Ace's, so it is possible that this was where Vinnie had worked. As a guitarist, he was probably familiar with the store anyway.
Vinnie recalled the life changing event: "I met them through a common friend, Adam Mitchell. He was writing with Gene Simmons and told him he had to hear me play. I met Gene and we hit it off. At the time I was broke and was sleeping on sofa to sofa at friend's houses. Any money I made I spent it on demos to use as a calling card. I did a demo for Gene who played it for Paul" (Guitar Player Interview - John Stix, 5/1987). At the time little did he know how much his life would change. He was a song-writer and guitarist in the right place at the right time. When Vinnie and Gene finally did start working together some of the earliest material they worked out was "Killer" and "I Love It Loud" which was at that point still known by its' original title of "Loud & Proud," a Vinnie idea. From there the tone of the material was clear. Vinnie's association with the KISS camp also helped with the placement of one of his songs.
Around this time one of Vinnie and Adam's compositions, "Tears" was offered to Peter Criss who was actively recording an album at Conway Studios in Los Angeles with producer Vini Poncia. It would also be a moderate success when covered by John Waite several years later and appeared in the John Cusak movie, "The Sure Thing." Gene Simmons had already given Peter a separate track, though Vinnie's contribution was issued as the single from the album in some markets. Initially Vinnie wasn't considered for the vacant guitarist position. Gene suggested that while he'd performed ghost sessions with KISS in the studio that he was too short to be in KISS (Hard Rock Nights). Certainly not short of talent... However, another band was also having guitarist issues, and Vinnie's new connections provided him with additional options.
New England had had a moderate hit in 1979 with "Don't Ever Want To Lose You" from their album produced by KISS vocalist Paul Stanley. By 1982 their fortunes had declined and the band were looking replace their departed guitarist John Fannon. As a result Gene told the members of New England about Vinnie who was also recommended by Lenny Petze. The band were quickly persuaded to bring Vinnie to Boston once they heard the songs that Vinnie had recorded as a demo in Los Angeles rather than pursue their own material. Quickly rechristened Warrior, following initial sessions in Boston the band relocated to Los Angeles and, "put together 8-9 tunes, did a demo for CBS" (Dirtywater). The band was about to get signed when KISS changed their minds in regards to their guitarist situation: They wanted Vinnie.
While Vinnie handled most of the Warrior vocals himself, he was on the lookout for a dedicated singer. Vocalist Robert Fleischman was suggested by a mutual friend and Vinnie got in touch with him. According to Robert, "He just came over to my house and we started writing songs on this four track recorder at my house. Vinnie ends up putting a band together with me called Warrior and we cut some demos, some of which later went on the Invasion album. Anyway, Vinnie tells me that he going to pitch the demos to some record companies and that he'd get back to me if anything became of them" (Jake & R.L). Things did indeed come from the demo, though not for Robert. Warrior drummer Hirsh Gardner recalled that KISS were rehearsing next door at SIR Studios and would come round on occasion. They must have liked what they heard developing from their acquaintance. The issues that they had with Vinnie were put to the side.
By November 1982 Vinnie was working on his last project before becoming a member of KISS, albeit a salaried non-voting member in the same position as Eric Carr. In the time between when KISS did their European promotional visit with Ace and departed on their North American tour Vinnie did some session work with Was (Not Was). He played second lead guitar on "Smile," a track with guest vocalist Doug Fieger of The Knack. It was released on the "Born To Laugh At Tornados" album in 1983. Of interest to diehard fans are the other two guitarists on the track, Marshall Crenshaw and Bob Kulick. Discarded Warrior members Gary Shea and Jimmy Waldo lost little sleep over the non-birth of the band; they teamed up with Yngwie J. Malmsteen, formerly of Steeler, and Graham Bonnet (ex-Rainbow), and formed Alcatrazz. The band developed their own cult following and later included another guitar guru, Steve Vai. Hirsch went on to play with the Wild Bunch, a band featuring former Joe Perry Project vocalist Mach Bell and bassist Danny Hargrove. During the summer of 1983 Vinnie would copyright 4 volumes of cassettes worth of material, one of which would include collaborations with Gene Simmons...
After writing with Gene, Paul and Vinnie collaborated on "I Still Love You" and "Betrayed" (unrelated to the KISS track recorded in 1989). Both were recorded for the "Creatures Of The Night," but "Betrayed" along with the excellent "Back On The Streets" were ultimately dropped. It's not clear how developed any recordings of the songs were. In the case of "Back On The Streets" (with Paul on lead vocals) it is possible that there was a conflict in including two strong ballads on the album, especially when only one of them had a Paul co-write. This may have been due to the changing financial structure of the band which made such credits more and more important to both Gene and Paul in particular. Regardless, there were also apparently legal reasons for the song being dropped (KISS Alive Forever). Even with the material Vinnie was providing KISS continued rehearsing with, and auditioning, numerous guitar players in an attempt to find someone suitable to fill Ace's boots. This caused no end of problems for Vinnie, who saw the band auditioning prospective candidates while not really being in consideration for the position; even though he was working with the band, writing and recording. Vinnie eventually had to threaten the band with his leaving New York, where rehearsals and recording were taking place, before they would commit to him. Ultimately Gene simply called him, while he was in the bath, and let him know that he had become the new guitarist in KISS and that he'd be putting his band and the prospective deal with CBS on hold. Naturally Vinnie freaked out, but it had taken the band a long time to come to the realization that he was the right choice to take the band forward. Like Eric Carr before him, his relative obscurity was beneficial to maintaining the mystique of the members of the band.
While Vinnie was co-writing with the band, and hanging around the studio, it is not necessarily indicative of his playing all of the lead guitars on the songs he contributed to. Robben Ford played the solo on "I Still Love You." This suggests that there may be delineation between Vinnie's early role as a song-writer developing into him recording on the album. The whole album was a total mess in terms of who played on what anyway. However, that doesn't mean that there isn't guitar work by either or both Kulick, Vincent, or unnamed others on many of the tracks either. A contribution Gene Simmons made to Vinnie was in his renaming. KISS seldom allowed the use of "ethnic" names in the band, and so Gene suggested the "Vinnie Vincent" moniker. Vinnie liked it too. According to Gene, that's the only "gift" he'll allow Vinnie.
When "Creatures Of The Night" was released on October 26 the public's reaction to it was hardly over-powering in the United States. For all intents KISS was still being presented with Ace Frehley as a member of the band; as evidenced by his face on the cover and his participation on the "I Love It Loud" video. There was no instant return to the popularity levels the band had last enjoyed in 1978. Instead, response was quiet if not mostly non-existent as if the band had simply become a non-entity. During October and November the band embarked on short promotional tour of several European countries, including Germany, Holland, Italy, and the UK, with Ace Frehley in tow. He was actively promoted at that time as still being with the band. Even at this time the band was not hiding the fact that Ace had not actively performed on the album, though they did give the topic plenty of spin. Ace suggested, "What happened was the band came back to New York and I did some overdubs and some solos, but that was it. Most of the guitar work was put on by Paul and he came through with flying colors" (Kerrang #32). It seems clear that it still wasn't known what Ace's position was in the band. Paul added to the illusion commenting, "When I couldn't handle things - and I don't consider myself the ultimate lead player - another friend of ours came in and gave a little help... nobody you'd know" (Kerrang #32). Sounds like an allusion to Vinnie.
In America critical response to the album was generally positive: "The back cover may resemble Dire Straits' current album jacket but any similarities between the ends there. KISS, still not revealing identities, comes back with a hard-hitting dose of very heavy metal. Whereas the last few Kiss albums made concessions to pop and progressive rock audiences, this album takes the foursome back to its roots - simple but effective heavy metal - which made the band so successful in the first place. Prime cuts are 'Creatures of the Night,' 'I Love It Loud,' 'Killer' and 'Saint and Sinner'" (Billboard, 11/20/82). While that was undoubtedly more kind than the usual tone of review that the band was used to, it did not light up sales the album would not attain Gold certification from the RIAA until May 1994. Vinnie's co-written "I Love It Loud" was issued as the sole single off the album, backed with "Danger" in the US, though it struggled to #102 on the Billboard singles charts.
After returning to the United States in late November, Ace officially left KISS. At the time it was reported that this only a temporary move and that Ace would (re)join the rest of the band on tour at some point. It would seem logical to suggest that it was in the period following the end of the European promotional tour that Vinnie was finally engaged for the position. Preparations began for the start of the North American Tour in the December of 1982. Initially the tour had been planned to encompass more than 100 dates, though it was reduced in scale by nearly half. Even before the tour began there were problems outside of KISS that would have a negative impact on the tour, especially one with KISS' cost and scale. KISS hadn't properly toured the United States since 1979 and the music industry was in recession with lower record sales and smaller audiences for many touring acts. Overall the country was faced with a generally poor economic climate nationally. KISS seemed to think that their return to touring with a heavy album would fly in the face of reality. In an interview with Joel Denver, Gene didn't seem particularly bothered by the national situation: "You go for broke is the whole point. Through bad times, through good times, through disco, KISS has weathered the storm" (Earth News Network). Paul echoed this almost desperate sentiment, commenting, "We don't really think too much about what the climate or the atmosphere is out on the road. What we try and do, and we're doing now, is putting all our energy into making it happen... So that's what we have to go do. We don't concern ourselves with the possibilities of mess-ups or anything like that" (Earth News Network).
The decline in KISS' popularity was very noticeable and the band transformed from kings of popular culture to confused dinosaurs. As an example, one show review commented: When "They first appeared in Rupp Arena in March 1977, the 16,700 people who saw the show made up the largest Rupp concert audience until that time. Then when the band came back to an iced-over Lexington the following January about 10,500 KISS army troops braved the cold (Andy Mead, Herald). By the time KISS returned to Rupp Arena, with Night Ranger in support, for their January 6, 1983 show, a low point had been reached.
During their North American tour, Kiss was met with accusations from religious groups of promoting Satanism through their music and image and several protests were held by such groups outside concert venues. However, Kiss politely denied the accusations and the tour continued
They later cancelled the rest of the US leg, and were offered some dates in Brazil, where they played to the biggest crowd of their career at Maracana Stadium in Rio de Janeiro, Brazil.
"Creatures of the night" became the biggest selling album of the band in Brazil, thanks to the band would visit the country in June 1983 for 3 shows (RJ, SP, MG). In Rio de Janeiro, the show was held in the hitherto largest stadium in the world (Maracana), and would be the largest audience at a KISS concert whole story. Approximately 200,000 people attended the first show of the tour.
Vincent does appear on the cover of Lick It Up and was credited as the lead guitarist. He was co-writer on 8 of the 10 songs on the album.
Vincent's personality did not mesh well with either Stanley or Simmons, and he was dismissed from Kiss at the end of the Creatures tour. He was re-hired before recording started for Lick It Up because Simmons and Stanley could not find a new lead guitarist on such short notice. Personality issues arose once again and Vincent was fired following the Lick It Up tour, due to excessive guitar soloing at a concert in Quebec, 1984. Vincent's work on Creatures of the Night was not officially recognized until the album was remastered in 1997.
Vincent was later utilized by Kiss as a songwriter on the 1992 album Revenge, contributing to the songs "Unholy", "Heart of Chrome" and "I Just Wanna". Before long however, Vincent, Simmons and Stanley fell out with each other for a third time, and again severed their musical ties.
Following the conclusion of the "Lick It Up" tour (March 1984) Vinnie Vincent left Kiss and took a well earned vacation. It was clear that he didn't fit with KISS. He felt that he was held back by the band, constrained by a dinosaur rock band that was rather generic and looking for a conservative old-school guitarist. Vinnie made his point clear: "Why settle for being a sideman when you can have it all" (PR). KISS, on the other hand, also had plenty of issues with him. Once he had cleared his mind he was ready to start putting 100% into a new musical direction: "I took the time out just to think and to be sure. And to plan a new course... I was looking for the ultimate band. I was looking for everything that I couldn't find with KISS. I needed to find that missing piece. I also needed to find something that I thought could fulfill what KISS was to me" (Streetbeat 1/86). With a plan, a concept, and a clear mind Vinnie soon continued doing what he had been doing prior to getting involved with KISS - recording demos in the studio. Part of the concept was to not create negative music and instead focus on writing about the fun stuff in life and conquering challenges. For Vinnie, the music was about letting people forget their problems and enjoy the music rather than deliver any particular message.
In early 1984 the first murmurs of what Vinnie had been up to started circulating with a brief news bit in Kerrang. It simply suggested that Hirsch and Vinnie had pretty much completed an album at a 24-track Boston studio which simply needed vocals. According to that report, Vinnie had stated, "Hirsch and I have a special magic together. Everything's feeling and sounding so good. I've let myself be really free with the solos, and there's tons of 'em" (Kerrang #73). To a certain extent it was almost as if Vinnie's KISS career was an unpleasant intermission to his own endeavors. He didn't appear lose any sleep about being out of that famous band. Following his experiences working with KISS within their framework, Vinnie returned to the role of being the guiding force. He didn't want anyone looking over his shoulder or telling him what to do or how to do it. He wanted to be over-the-top and totally outrageous. He would have total control over the material, and his future, rather than allow Gene Simmons and Paul Stanley to play their roles of quality inspectors and corporate adjustors.
On October 9, 1984 Vinnie obtained the copyright for a collection of two tapes worth of material described as "Streetbeat I." According to Vinnie, "I had just about three albums worth of material written for the record, for the new band... I went to work literally non-stop, 24 hours a day, putting this new band together... I also went into the studio to lay down the foundation for the new band. I booked about four months of time in the studio and recorded all the songs. And that gave me the foundation for what 'Invasion' is going to be all about" (Streetbeat, 1/86). After several months working with Hirsch, he and Vinnie went their separate ways. Vinnie continued working out of Soundcastle Studios in Los Angeles where he apparently spent some $30,000 on studio time. According to Vinnie, "I just recorded a lot of songs. A lot of riffs a lot of ideas. I just put everything together. I played all the instruments and sang all the backgrounds. I had Robert Fleischman come in and sing some of the songs" (ProTalk). Vinnie chose three songs from those sessions to comprise a demo that he sent to prospective labels. That demo included: "Boyz Are Gonna Rock," "Shoot U Full Of Love," and "No Substitute." Vinnie felt that this sampler of material was a "commercially accessible, but yet a good representation of me" (ProTalk). Former KISS road manager George Sewitt was one of the first people Vinnie sent the demo tape to.
George had always appreciated Vinnie's song-writing skills, and was by then Ace's manager as well. When George got the demo it blew his mind, and he started working on getting Vinnie a record deal. This was the single stipulation for George becoming Vinnie's manager, similar to Bill Aucoin's involvement with KISS in the early days. In the hair-metal mid-1980s that wasn't quite the same challenge as Aucoin had faced in 1973. It was a result of this connection that the other ex-KISS guitarist, Ace Frehley, started using Vinnie's "Back On The Streets" during 1984/5. Vinnie was flattered that Ace had wanted to do the song, but ultimately wanted to hold back its use for his own since he felt an emotional bond with it. With the metal scene in a pretty wild state in the mid 1980s it didn't take long for George to get Vinnie signed to Chrysalis Records. According to Vinnie, Chrysalis wanted him on a plane to fly to New York to negotiate a deal after listening to just 45 seconds of the first song on the demo tape. However, it should be noted that Chrysalis had few major metal artists on their roster at the time and were looking to increase their talent in that segment of the market. Regardless, the terms of the deal were staggering: "Vinnie signed with Chrysalis Records to a multimillion, ten-year, eight album contract for a band that was to be named the Vinnie Vincent Invasion" (Dale Sherman, BD). That multimillion-dollar figure was reportedly worth around $4,000,000 over the span of the eight albums.
Bobby Rock came on board as the drummer. With the nucleus of the band completed, the band searched for a lead vocalist.
Former Journey singer Robert Fleischman provided vocals on Vinnie Vincent Invasion's self-titled debut album. The record included primarily the style of glam metal, with much of it re-worked versions of demos Vincent recorded in 1982 with former New England members Hirsch Gardner, Gary Shea, and Jimmy Waldo under the band name Warrior, with Vincent essentially replacing John Fannon as guitarist and vocalist. Warrior disbanded when Vincent was selected to be a member of Kiss.
The debut album by Vinnie Vincent Invasion: Two singles were released, "Boyz Are Gonna Rock" and "Back on the Streets". The song "Animal" appeared on the soundtrack for the movie Summer School. The band opened for Alice Cooper in 1987 to support the record. The song "Invasion" (for the CD and cassette versions) contained about three minutes of looping guitar feedback at the end of the song. The record version had the same feedback, but the difference was that it never ended until you picked up the needle. This was because the sound went all the way to the end of the vinyl, causing the needle to loop it over and over again.
The album was listed number 8 on Kerrang!s list of hard rock albums in 1986.
Fleischman exited the band during a contract dispute and a video was produced for the song "Boyz Are Gonna Rock" with new vocalist Mark Slaughter lipsyncing over Fleischman's vocal track.
Following the breakup of the Invasion, Vinnie returned to the studio in 1990 with original Invasion vocalist, Robert Fleischman and drummer Andre LaBelle, though some say it may have been as early as 1989 At least thirteen songs were recorded, though not all to a studio quality release standard.
Comments by Andre Labelle :
"I can't say for sure but I remember recording with Vinnie on and off between 1989-1992 in Los Angeles at Grandmaster Recording Studios, Clear Lake Audio, and Corner Stone Studios. The album title was to be" Revenge".
At the time Vinnie was also writing for Kiss. Gene Simmons liked the title and convinced Vinnie to let Kiss use it. Vinnie then decided to use the title "Guitars from hell" for his own, Later changing it again to "Guitarmageddon". Robert Fleischmann sang on all the songs that I played drums on. The songs I remember recording are: "Wild Child, Rocks On Fire, Euphoria, Get The Led Out, Nuke it, Shocker, Invincible, Full Shred, Young Blood, Ride the Serpent, Cock Teaser, Brainsaw".
Vinnie was changing song titles and arrangements quit often, So it’s hard to say anything for sure".
Maybe "Guitarmageddon" is now?
