Gene Simmons, a.k.a. "Dr Love" and star of the current "Trust Me, I'm a Doctor" ad campaign, will also be featured with all of his KISS band mates in an upcoming Super Bowl ad for Dr Pepper Cherry. Naughton, star of the classic Dr Pepper commercials and the 1981 film An American Werewolf in London, is ranked by AOL.com as one of the "Top 25 Ad Icons of All Time."
In addition to ringing the NYSE Closing Bell, Dr Pepper also has a special anniversary surprise planned that no one will want to miss.
Webcast: A live webcast of The Opening Bell (beginning at 9:29 a.m.) and of The Closing Bell (beginning at 3:59 p.m.) will be available on the homepage of nyse.com.
Sirius Satellite radio:
11:05 - 11:30 Playboy Channel
11:35 - 12:00 Road Dog Trucking
3:40 - 3:50 Fox Business TV Channel
"I know that people will buy this," Simmons told Examiner.com.
One of the two models is a high-end version that is limited in number, which sells at $5000.00 each. It is available now through a special website. Obviously a collector's item for Kiss fans, the instrument comes with an elaborate hard-shell case that has Simmons' face displayed on it in full Demon make-up, surrounded by flames.
He said fans can go to a Gene Simmons website to buy one.
Simmons, whose band has been playing together and releasing music for 35 years, also stated that he personally designed the bass, as well as the case. Each bass comes with a certificate of authenticity.
A far less expensive Cort replica, the GS-AXE-2 will be made available in guitar stores at around $500.00, starting on February 1, 2010.
The GS-AXE-@ bass was displayed for the first time ever today at the NAMM Trade Show, by Simmons, himself. Simmons offered a peek at one of the basses this morning at the National Association of Music Merchandisers NAMM) trade show at the Anaheim Convention Center.
The Kiss icon was a special guest at the Exclusive Product Preview Day, which highlighted a myriad of new products for musicians at the trade show held as a confab for music instrument and music product companies. NAMM is a non-profit organization that integrates relationships between companies and consumers, and strengthens the $17 billion international musical instruments and products industry. The convention this week marks the 108th trade show that has been held by NAMM.
Orders for retailers will be accepted at the NAMM Show. Orders will ship in March.
Simmons told Examiner.com that each one of the bass guitars was hand made by only one individual. "It takes about a month to make one," he said, adding, "The wood is from Thailand. The weight has to do with the thickness. The fact it is so solid helps make it superior. It gives the bass its resonance." He added, "Hold this bass. You can feel that thickness."
While most guitars are made with the body and the neckpiece as separate pieces that are connected, Simmons' bass is made in one piece. Simmons says doing this gives it better sound. "Hold this," Simmons told Examiner.com. "You can feel how solid this is."
The Cort GS-AXE-2 bass will include a padded bag with Simmons' face on it. It will have a 34 inch scale, a hard maple neck, rosewood fretboard, die cast tuners and Might Mite pickups.
Simmons got the name for the bass from the term "axe" that refers to instruments. He has owned the trademark to the word "axe" for almost three decades.
Simmons said he decided to do this because so many fans have requested a bass like the one he plays. Says Simmons, "I owe the fans everything, because they made my life possible."
For those who want to Kiss some Axe, this is the perfect vehicle.
Hailed as an stunning classic by audiences & critics alike upon it's release in 2008 by Universal Pictures/Ume/New Door Records - 'One Live KISS' is a unique, personal, and intimate concert film featuring the legendary Paul Stanley of super group KISS & directed by acclaimed filmmaker Louis Antonelli is back as it was meant to be experienced - Larger than life on the big screen!! - in shattering multi-channel digital theater concert sound!!
One show only on Saturday, March 6th @ 3:00 pm (doors open @ 2:00 pm - arrive early * special audience prize giveaways planned!)
After the screening of 'One Live KISS' CIMM fest '10 will host an in person Q&A with producer/director Louis Antonelli, and other special guests!
Lincoln Hall (across from the historic biograph theater)
2424 North Lincoln Avenue
Chicago, IL 60614 usa
Tickets are limited - online pre- purchase recommended
Visit the CIMM FEST 2010 website for advance tickets and further information about 'One Live KISS' plus all of the exciting events scheduled for this year's festival - March 4th - 7th , 2010 in Chicago!
I do recall that one year one of us folded and went out as Peter Criss’ “Catman,” black and white make-up running down our cheeks from the tears of disappointment, settling for the lesser known, less exciting member of KISS, who possessed none of Simmons’ powers—bloody-mouthed, fire-breathing, serpent-sized, cunnilingus-dazzling tongue!
The Hughes' brothers latest directed movie "The Book of Eli" is now in theatres.
Kiss's hotly antipated 'Sonic Boom Over Europe: From The Beginning To The Boom? tour comes to the UK and Eire in May.
You can win a pair of much sought-after tickets to see Gene Simmons, Paul Stanley, Tommy Thayer and Eric Singer at one of the following shows:
Sat 1st May Sheffield Arena (UK)
Sun 2nd May Newcastle Metro Radio Arena (UK)
Tues 4th May Liverpool Arena (UK)
Wed 5th May Birmingham LG Arena (UK)
Fri 7th May Dublin, O2 Arena (Eire)
Mon 10th May Manchester MEN Arena (UK)
Wed 12th May London, Wembley Arena (UK)
But the character's spine-chilling howl comes from somewhere else together.
Rock stars Gene Simmons - lead singer of Kiss - and David Lee Roth - frontman of Van Halen - were among the many people who came in to the studio to provide animalistic sound effects for the film.
Director Joe Johnston explained that the creature's blood-curdling ululations weren't as simple to achieve as you might expect.
He told BoxOffice they had listened to the baying sounds of werewolves in other films but thought most sounded phoney.
Johnston said: "When we were designing [Benicio's] howl, we were going off in a lot of different directions. We tried a lot of things to see what would work and be interesting. We listened to every wolf howl ever done on every film. We listened to all of them. And you'd be surprised how unconvincing most of them are. Some were just wolves, but some were men going, 'Aoooooooo!'
"We didn't get a lot from our research in what's been done before. We were looking for this great pure tone - we knew we were going to process it and overlay elements but we wanted that great foundation.
"We tried Gene Simmons and one of Gene Simmons' howls is in the movie. I don't think Gene Simmons would recognise it, but it's in there. We had David Lee Roth come in and do a few howls.
"It was great. These guys, they're not only singers - they're comedians. Hilarious sessions. You can imagine Gene Simmons and David Lee Roth in there howling with the picture on the screen. And they would do it, crack a few jokes, and try it again."
Johnston explained that the veteran rockers were among many 'howlers' who contributed to the monster sounds used in the film.
"We had opera singers come in and howl, we had animal impersonators. Gene Simmons and David Lee Roth were pretty near the end of the process. By then we knew what we were looking for, we were homing in on it. And their stuff became the most useful stuff that we did.
"I don't think they would recognise it after what we've done to it because we've digitally processed it and added cool overtones and all that stuff.
"We were basically just looking for a wolf howl you'd never heard before. What we realised is that everybody in the audience knows what a wolfman sounds like. Even if it's from their imagination, it's all pretty much the same thing.
"We just wanted our howl to be the best version of that howl. And I think we've come up with something that's definitely spine-tingling, and at the same time it's familiar enough that the audience is going to recognise it - it's what they expect, with enhancements."
A KISS Army ticket pre-sale will take place this Tuesday, January 19.
Right off the bat, Sonic Boom is a nostalgic album. The brains behind the band, Stanley and Simmons, haven't changed a thing about their sound - there are no nu-metal or grunge influences, just good ol' fashioned rock. If anything, they've only become more comfortable writing for themselves than for the music charts and critics, who've often been ruthless and unapologetic to any experimental releases.
A lot has also been said about the absence of Ace Frehley, but in all honesty, Tommy Thayer is equally adept on lead guitar - and adds his own sprinkle of overdriven magic to the Kiss legacy on tracks such as 'Say Yeah'. The man is talented and shouldn't be forced to live in the shadow of another great guitarist.
Love 'em or hate 'em, Kiss is legendary. Behind the face paint, flashy costumes and pyrotechnics is a group who have further cemented their name into the rock 'n roll almanacs with the release of Sonic Boom.
Do yourself a favour and get a copy of the special edition release, which features an additional best of "Kiss Klassics" CD and "Live in Buenos Aires" DVD. This is a must have album!
Best Tracks: 'Russian Roulette', 'Stand', and 'Say Yeah'
Gene Simmons will be at the CORT USA/Westheimer booth #4458 at noon. Gene will take photos but will not be signing autographs.
Tommy Thayer will be at the Hughes & Kettner booth #6555 for an exclusive poster signing session at 2pm.
Eric Singer will be signing autographs at the Zildjian Cymbals booth at 2 PM.
Attendance at the NAMM trade show is restricted to companies who make, buy, and/or sell musical instruments and products.
TOP 20 CONCERT TOURS
1. (1) U2; $5,907,424; $93.25.
2. (2) Bruce Springsteen & The E Street Band; $3,563,047; $87.22.
3. (3) Metallica; $1,250,452; $67.92.
4. (4) Miley Cyrus; $1,078,293; $68.95.
5. (5) AC/DC; $946,924; $73.63.
6. (6) Maxwell; $639,248; $72.77.
7. (7) KISS; $617,296; $63.73.
8. (9) Trans-Siberian Orchestra; $592,720; $45.02.
9. (10) Star Wars In Concert; $534,264; $57.45.
10. (11) Jay-Z; $523,711; $57.67.
11. (13) Kings Of Leon; $438,813; $41.51.
12. (14) Robin Williams; $379,241; $86.55.
13. (15) Leonard Cohen; $377,088; $97.47.
14. (16) Jeff Dunham; $342,175; $45.52.
15. (17) Bob Dylan; $322,799; $57.05.
16. (18) So You Think You Can Dance; $270,467; $52.15.
17. (19) Tiësto; $194,767; $55.88.
18. (New) Rob Thomas; $172,906; $51.25.
19. (20) Creed; $171,606; $36.88.
20. (New) Daughtry; $168,834; $39.01.
With each pose, the musician pursed his lips, mugging for the many cameras that bunched around him.
Simmons, the co-founder of Kiss, was the first celebrity to make an official appearance to the NAMM Show, a major music products convention that is expecting to draw more than 85,000 people to the Anaheim Convention Center. Simmons came to the media preview event to show off his Axe Bass guitar. The four-day show starts Thursday.
The bass guitarist appeared without his signature star-eyed makeup, but he still was there for show in his sunglasses, leather jacket and beige boots.
Simmons explained that he created the Axe Bass, which he has used for more than 30 years, for his fans who want them. For $5,000, fans can buy a special bass that Simmons will sign. Those buyers also can go to a sound check and backstage at a Kiss concert or special parties where Simmons appears. Less expensive version sell for about $600.
"The fans have been clamoring to get their own and you can get your own by going to genesimmons.com," Simmons said, the first of many times he repeated his Web site address.
Simmons is a regular at NAMM, where he usually promotes products. He's looking forward to NAMM again this year.
"Wherever I go, trouble follows," Simmons said.
Simmons asked the aggressor to keep his distance, but undeterred, the agitated Marlowe continued to approach Simmons while moving closer to Simmons' minor daughter. When Marlowe approached Simmons' daughter for the second time, Simmons, fearing for Sophie's safety, placed himself between his daughter and Marlowe, grabbed the device out of Marlowe's hand and moved Marlowe aside so his family could reach their car. Marlowe's companion, Cynthia Manzo, joined him in the traumatic incident that ruined the Simmons' family outing.
Simmons is appalled that people who attacked his family are suing him, claiming personal injuries, loss of consortium, and citing "emotional distress," when none of those charges are true. According to Mallen, "we look forward to meeting these charges in the court room and proving them false."
With numerous dates throughout Europe, KISS' "Sonic Boom Over Europe: From The Beginning To The Boom" tour is set to become THE rock event of 2010, built around the incredible success of "Sonic Boom," the first new KISS studio album in eleven years.
In addition to Madrid, Barcelona and Vitoria-Gasteiz, "Sonic Boom Over Europe: From The Beginning To The Boom" includes performances in Ireland, Switzerland, Italy, Austria, Czech Republic, Germany, Norway, Finland, Sweden, Denmark, Holland, France, Belgium, England and, for the first time, Slovakia.
KISS (1974) - Gene: I no longer had to work for a living. I went on salary, I became the richest person in the world. Not only was I in a band, doing everything I wanted - I was getting $75 a week! Favourite track: Deuce.
HOTTER THAN HELL (1974)- Paul: Difficult second album? No, we were all piss and vinegar - "If you didn't like the first album, here's another!" We were releasing them every eight months. Favourite track: Hotter Than Hell.
DRESSED TO KILL (1975) - Gene: It was produced by Neil Bogart, our record company president, who couldn't produce. We started attracting lots of groupies. Mostly, I remember lots of girls. Favourite track: Two Timer.
ALIVE! (1975) - Paul: A sonic souvenir of the live show. Was it enhanced? You bet! Who wants to hear a guitar string break every time they put on a song? One week it was gold, the next platinum. Our rollercoaster ride had begun.
DESTROYER (1976) - Gene: A coming of age, or perhaps just a coming. (Renowned producer) Bob Ezrin kicked us in the butt and made us do a record we couldn't do on our own. They were our songs and performances, but he brought it out of us. Favourite track: God Of Thunder.
ROCK AND ROLL OVER (1976) - Paul: Many said Destroyer wasn't raunchy enough for them. So we decided to go back to something a little more basic. It's a great album but, sonically, the songs didn't sound like they should have. Favourite track: I Want You.
LOVE GUN (1977) - Gene: Eddie Kramer produced but he was more an engineer so we took more control for this one. Ace and Peter started to become very difficult as alcohol and drugs began to take over. Favourite track: Love Gun.
CREATURES OF THE NIGHT (1982) - Gene: The (huge!) drum sound was my insistence. If any track led to that huge sound, which was recorded in a hall with doors open and the mics on a slight delay, it was I Love It Loud. I love the title track too. Favourite track: I Love It Loud.
LICK IT UP (1983) - Paul: Creatures was better, but we finally took the make-up off and Lick It Up sold three or four times as many copies. The first step in establishing another persona for the band. Touring without make-up was invigorating. An exciting time. Favourite track: A Million To One.
ANIMALIZE (1984) - Gene: I like a lot of the record but I was pre-occupied with Hollywood, doing my first movie, Runaway, for Michael Crichton. My songs weren't stellar. Favourite track: Heaven's On Fire.
REVENGE (1992)- Gene: One of my favourites. We reunited with Bob Ezrin, and it's a very different time from Destroyer. I finally felt comfortable in my own skin. I stopped playing the Paul game, trying to look pretty with nice hair - I was never very good at that. Favourite track: Unholy.
SONIC BOOM (2009) - Paul: A culmination of everything, good and bad that went before it. It's a pure, honest album and I couldn't be more proud of it. We found our way home. Favourite tracks: Modern Day Delilah and Say Yeah.
SONIC BUSTS
And here the pair recall some, er, not so classic ones:
UNMASKED (1980) - Gene: My fault. It was a strange period, with pop and dance dominating, and we lost our way. It was also the end for Peter Criss. Anton Fig's playing drums and the main memory is of protecting the fans from the news Peter was gone. Favourite track: You're All That I Want.
MUSIC FROM 'THE ELDER' (1981) - Paul: We all bought into Stonehenge and truly thought we were making a masterpiece, but we weren't - we were masturbating. A bloated, overblown, pompous piece of pap. Favourite track: I - because that's the last one and the album's over.
CARNIVAL OF SOULS (1997) - Paul: Tuning down to D and singing about the darkness of the world while living in mansions in Beverly Hills was a little absurd. We were no more from Seattle than from Saturn. Favourite track: I Will Be There.
"Go ahead, touch it - I won't tell anyone..." I'm in a Minneapolis hotel room with a true rock legend, the fire-breathing, bloodspitting demon bassist of Kiss - Gene Simmons. And the man they call the God Of Thunder, who claims to have slept with more than 5,000 women, is inviting me to squeeze his thigh.
I'm pretty sure I'm not the first to have heard that line.
No cause for concern though. Iron-thighed Gene, 60, is proudly demonstrating the condition he needs to be in for the gruelling extravaganza which is the Kiss live experience.
The Alive 35 tour celebrates three-and-a-half decades since this incredible outfit first emerged from New York city.
"We're gladiators in the arena. There's a physicality to what we do that nobody does," says Gene.
"When you hit that stage, the adrenalin hits your veins, you physically become bigger and thicker. I become stronger and less susceptible to pain. But I come off-stage and I'm black and blue from the armour I wear banging in to me."
The 16,000-odd fans who packed out the city's Target Arena the previous night -- many of them in their teens and early twenties and a fair few sporting make-up while tottering on 7-inch stack heels -- wouldn't be surprised by Gene's battle scars. They're probably still recovering themselves.
Kiss's show has always been the stuff of rock folklore - with ridiculous levels of fireworks, flame and confetti, set-pieces including vocalist/rhythm guitarist Paul Stanley gliding on a zip-wire from the stage into the middle of the arena, Gene flying up to the gantry and Tommy Thayer's rocketfiring guitar.
Despite a muddled post-Seventies history of line-up shuffles and direction changes, this is THE Kiss experience rock fans my age grew up dreaming of witnessing. Except... except it's probably even better than it was back then, even more of a spectacle -- and those classic songs have never sounded better. An extraordinary achievement after all these years.
Among all the rock 'n' roll fantasy on stage, there's a new element -- all four are clearly having a whale of a time up there. Gene says: "If God gives you the opportunity to be Gene Simmons -- what the f*** are you gonna do with that? Are you going to quit after ten years because you have all the money and chicks you could ever need? Or are you gonna ride that pony and see how fast it will go until it drops?"
Paul adds: "We do have fun and that's the difference. We also have a lot of pride when we're up there. We have a good time and really enjoy each other and that's, er, new!"
The singer is referring to bad times that came shortly after the 1996 reunion of the band's original line-up, marking the return of drummer Peter Criss and guitarist Ace Frehley after nigh on 16 years.
Paul says: "From there it was really downhill. There's magic in people seeing the original line-up but, outside that, if you listened to it objectively, it grew old quickly."
Paul and Gene were watching a re-run of the late Seventies, as drink, drugs and egos tore the band apart again, leading to their farewell tour in 2000.
"All of the b******t we had to go through with the drugs and booze and lack of self-esteem that Ace and Peter had just sucked the life out of us," says Gene.
"It's been a thorn in my side for a long time. Even the phrase sex, drugs and rock 'n' roll -- what a loser's phrase that is! Why isn't it just sex and rock 'n' roll? How did drugs become cool?
"You can't win a marathon high, you just can't. Don't get me started, it makes me furious."
Some old-school fans have a hard time accepting the line-up now, seeing it as Gene and Paul with two hired hands (despite drummer Eric Singer having been on board for 17 years and guitarist Tommy for nine). You only have to see the chemistry between the four, on and off-stage, to realise that is not the case.
Paul says: "Hired hands? Ridiculous. That does the band such a disservice. The truth is, when I have questions most of the time I go to Tommy, not Gene. When I want feedback I go to the others.
"And anybody who thinks we could have made (new album)Sonic Boom with another line-up is out of their mind."
Ah, Sonic Boom. A blistering and long, long overdue return to form for what, for a good few years in the Seventies, was the biggest rock band in the world.
The new album's success (it entered the US chart at No 2) will see more new tracks included in the live set by the time Kiss arrive in the UK for their spring tour.
Old Blighty holds a special place in the band's hearts and the feeling is mutual -- extra dates have been added after the initial Wembley and Glasgow shows sold out.
Paul says: "I'm an Anglophile and the roots of everything I do are there. Led Zeppelin came out of there -- what more do you need? That makes it the Holy Land!
"Whatever we did there in 2008, which was damned good, is dwarfed compared to what we're doing now. You ain't seen nothing yet. Not because the show is that much bigger but because WE'RE that much bigger. We're pretty lethal - and proudly so.
"We're that much surer in our boots - and these are big boots."
They certainly are.
Friday – March 19, 2010 -7:00 PM – 9:00 PM
Wentworth Gallery - Town Center Mall
6000 Glades Road
Boca Raton, FL
For additional details or to RSVP - please call 561-338-0804 or 800-732-6140
Saturday – March 20, 2010 – Noon – 2:00 PM
Wentworth Gallery - Las Olas
819 E. Las Olas Blvd.
Ft. Lauderdale, FL
For additional details or to RSVP - please call 954-468-0685 or 800-732-6140
The legendary rock band don't adhere to the commonly used phrase because it glorifies drug use - one of the problems which tore their original line-up apart in 2000.
Bass player Gene Simmons said: "Even the phrase 'sex, drugs and rock 'n' roll' what a losers phrase that is! Why isn't it just sex and rock 'n' roll? How did drugs become cool?
"You can't win a marathon high, you just can't. Don't get me started."
Gene - who claims to have slept with nearly 5,000 women - and singer/guitarist Paul Stanley are the only original members left in the band, who had their heyday in the 70s.
Drummer Peter Criss and guitarist Ace Frehley joined the group for a 1996 reunion but Gene and Paul realized they had still had the problems which originally caused the breakdown of Kiss in the 80s.
Paul said: "There's magic in people seeing the original line-up, but from there it was really downhill."
Gene, 60, added to The Sun newspaper: "If you listened to it objectively, it grew old pretty quickly. All of the bull-(expletive) we had to go through with the drugs and booze and lack of self esteem that Ace and Peter had just sucked the life out of us. It's been a thorn in my side for a long time."
Every time it seems the 12-year-old has beaten it, the disease or infections resulting from it recur.
"His spirits are usually up, but I think he's sick of being sick," said his mother, Carol Smith.
The disease is also taking a toll on the family financially.
Critter's story received some national attention last year after he stated in an interview with The Enquirer that he was a big fan of the rock group KISS. Word reached the band, prompting singer Paul Stanley and drummer Eric Singer to call Critter at the hospital and fly him to Milwaukee in June for one of their concerts.
To help them with mounting bills, a benefit will be held from 6-10 p.m. Saturday at the Newport Elks Lodge, 3704 Alexandria Pike in Cold Spring.
A $10 donation per person will include food, beverages and a live band. Several raffles will be held, and donations of items for the raffles are still being accepted.
"I'd like to raise $10,000," said Critter's aunt, Janet Smith Kalfrat of Bellevue, one of the organizers of the event. "I really don't know if that's possible, but whatever we raise will help."
Critter, a fifth grader at Fourth Street Elementary School, was diagnosed in July 2007 with acute lymphoblastic leukemia, a cancer of the white blood cells. In the six subsequent months, he underwent a round of radiation, five chemotherapy treatments and a bone marrow transplant. He returned to school and was in remission for 15 months until the cancer reappeared in January 2009.
Cincinnati Children's Hospital Medical Center was as much his home in 2009 as his own home in Newport. He's avoided overnight stays at the hospital since mid-December, but has been too weak to return to school.
His low white blood cell counts have made him very susceptible to infections. Critter will undergo several tests this week to find out why the counts are so low. Once they increase, he will resume chemotherapy treatments.
Kalfrat said Critter may be at the fund-raiser.
"He wants to be there," Kalfrat said. "It will just depend on how he feels."
To donate raffle items, or for more information on the event, call 859-291-9120 or 859-240-5010. Donations can also be made at any Fifth Third Bank location to the Christopher Smith Benefit Fund.
"My fans have been waiting a long time to hear BK3," says Kulick, "so I wanted to hold an event that was open to all. The KISS Coffeehouse is a very cool place and I'm very excited to be able to meet my fans, and celebrate the release of BK3 with them."
Special VIP packages are available via Bruce's website, kulick.net/bk3releaseparty, and include a personal meet & greet with Bruce, an autographed copy of BK3, a BK3 poster, an exclusive early admission VIP laminate, and a BK3 guitar pick.
BK3 will be released on February 2nd on Twenty 4 Records/Rocket Science Ventures. The album, Kulick's first since 2003, features 11 tracks and special guests, including Gene Simmons, Nick Simmons (who sings lead vocals on the album's first single "Hand of the King") and Eric Singer.
The KISS Coffeehouse is located at Broadway At The Beach in Myrtle Beach, SC.
Dr Pepper, the oldest major soft drink in the U.S., is teaming up with legendary rockers KISS as a first-time advertiser during Super Bowl XLIV. The ad will air in the second quarter of the big game and feature Gene Simmons returning as "Dr. Love" in the next evolution of the brand's "Trust Me, I'm a Dr" campaign. Paul Stanley and the entire KISS lineup will join Simmons to describe Dr Pepper Cherry's uniquely smooth taste - achieved with a "kiss" of cherry flavor.
"Being a part of the big game gives us access to nearly 100 million viewers. We're taking this opportunity to reach as many fans as possible to promote our innovative Dr Pepper Cherry flavor and celebrate our 125th Anniversary. This is just the right ad at just the right time," said Tony Jacobs, vice president of marketing for Dr Pepper.
Created by Deutsch LA, the new spot is an extension of the "Trust Me, I'm a Dr" campaign that features notable pop culture "doctors" including Kelsey Grammar (a.k.a. Dr. Frasier Crane), Dr. Dre and Julius Erving (a.k.a. Dr. J). Simmons is the first doctor to be featured a second time.
"When Gene Simmons recruited his band mates to join him in the campaign, we knew it was a perfect combination for a Super Bowl ad - a flavorful new product and flavorful characters," said Jacobs.
Throughout its 125-year history, Dr Pepper has created some of the most iconic ad campaigns in America, including "I'm a Pepper," "Be You" and "Just What the Doctor Ordered." AOL.com ranked the 1970s' "I'm a Pepper" ad among the "10 Commercial Jingles We Can't Forget." The new ad is just one element of Dr Pepper's year-long celebration of its 125th Anniversary which kicks off Jan. 25, 2010.
For more information on Dr Pepper, visit www.DrPepper.com.
Stanley, who'll turn 58 on January 20, says that the things that spurred him and KISS to super-stardom still drives the band to carry on. "There's no substitute for the enormous crowds, or the response or the mania that we see and that's directed at us," he says. "There's no substitute for me getting up onstage and having 15,000 people calling my name — y'know, all the accoutrement, all the stuff that goes along with it... the women, everything."
The countdown is on, party plans are in place, and champagne corks will soon be popping around the world. While most partygoers will be swaying to the strains of "Auld Lang Syne," we thought it would be fun to compile a list of rock songs appropriate for ringing in the New Year... as we say goodbye to 2009, hello to 2010.
"Rock and Roll All Nite" - Kiss (1975)
Gene Simmons and Paul Stanley deliberately set out to compose an anthem when they began writing this signature Kiss song, which first appeared on the band's Dressed to Kill album. Stanley first penned the chorus and the melody, and afterwards Simmons wrote the verses.
In 2009, I photographed 73 concerts and events, and the year was packed with a ton of great tours. These are my picks for the top ten best gigs to photograph in 2009.
KISS: When photogenic bands come to mind, I think music shooters have to think of KISS, and this fact was only cemented by the Alive/35 tour this year. Paul Stanley and Gene Simmons, though they may be pushing 60, were still epic on stage and it was a pure adrenaline rush photographing this show. Non-stop posing and mugging by the band along with arena-blinding white lights made this a sure bet of an assignment - like shooting fish in a barrel.
Wherever the web takes you, bring KISS along for the ride with the official search toolbar. Download yours today at searchwithkiss.swagbucks.com and start winning even faster!
Search with KISS is a search engine powered by Google and Ask.com, except here every web search is a chance to win 'Swag Bucks' which can be redeemed for KISS prizes and high end electronics. Simply make www.searchwithkiss.com your homepage and use it everyday just like you use Google and any other search engine. Each day many random winning times will be selected, if you search after one of these times and your search is a winner - you'll win a Swag Buck. You then simply redeem your Swag Buck at the official KISS Swag Store for the prize you want and it'll be shipped right to your door!
KISS's amazing search toolbar makes it easy for you to search the web and win prizes from the band.
In a way, the spectacular presentation of KISS symbolized the year - a climax, a brooch of gold. It was an unprecendented year for Peru. 2009 was a hinge, a breaking point, a before and after: for the first time, Lima climbed to the heights of being an additional capital of music in South America. No more did we look with envy to Buenos Aires, Santiago or the various cities in Brazil where A-1 bands often land.
Kiss at the Estadio Nacional still nests in the collective memory of the lucky ones who witnessed the unique visual display of pyrotechnics accompanying the ever-rocking quartet's rock-and-roll, a soundtrack that has delighted generations of listeners.
Simple songs of verse-chorus have penetrated the masses -- the brains of millions of fans around the world. And these songs have remained fixtures for parties and nights of revelry.
KISS symbolizes the great celebration of the year.
"Modern Day Delilah" - KISS
From the 2009 album "Sonic Boom." So, can KISS still rack out the lines (music, that is)? Hell, yeah. A deceptively simple platform-booted anthem - but only KISS could pull it off.
Tuesday through Thursday, Salt Lake City will be enveloped in EVE, a new three-day festival to help Utahns ring in 2010.
A highlight of this new event will be the Battle of the Local Tribute Bands. KISS Thiss will be one of the bands performing.
KISS Thiss - Even though he lacks the lengthy tongue, Salt Lake City resident Kevin Sweat enjoys playing the "Demon" role of Gene Simmons in this tribute band.
"They're the most fun to play, because of the makeup," said Sweat, who has played the Simmons part for four years. He said before each concert each band member spends about an hour applying the signature face makeup.
The band tries to faithfully replicate the musicianship of "Detroit Rock City" and "Lick It Up. " But the members, who range in age from mid-30s to late 40s, have fun for another reason.
"It's all about remembering the good ol' days," Sweat said.
Concert Online is now offering a two-CD collection of remixed and remastered versions of "only the very best live performances of all KISS Alive 35 klassic hits." The result: The two-CD "Best Of KISS Alive 35" set — filled to the brim with 27 smashing live audio tracks recorded in 21 locations!
Ranging from genuine "KISS Alive!" klassics such as "Deuce", "Strutter" and "Rock and Roll All Nite", covering the all-time rock hymns "Detroit Rock City" or "Shout It Out Loud", up to their latest single, "Modern Day Delilah" and anthems such as "Lick It Up", this KISS Alive 35 two-CD set has it all.
"Best Of KISS Alive 35" track listing:
01. Deuce - Live in Greenville (10-17-09)
02. Strutter - Live in Philadelphia (10-12-09)
03. Got to Chose - Live in Hampton (10-16-09)
04. Hotter Than Hell - Live in Little Rock (10-29-09)
05. Fire House - Live in Winnipeg (11-09-09)
06. Nothin' To Loose - Live in Cleveland (09-28-09)
07. C'mon And Love Me - Live in Oshawa (10-07-09)
08. Parasite - Live in Boston (10-05-09)
09. She incl. Guitar Solo - Live in Cleveland (09-28-09)
10. Watchin' You - Live in Uncasville (10-03-09)
11. 100,000 Years incl. Drum Solo - Live in Minneapolis (11-07-09)
12. Black Diamond - Live in Oakland (11-22-09)
13. Cold Gin - Live in Detroit (09-25-09)
14. Rock And Roll All Nite - Live in Greenville (10-17-09)
15. Let Me Go Rock'N'Roll - Live in Anaheim (11-24-09)
16. Detroit Rock City - Live in Detroit (09-25-09)
17. King Of The Night Time World - Live in Uncasville (10-03-09)
18. Love Gun - Live in Atlanta (10-26-09)
19. Calling Dr. Love - Live in Birmingham (10-24-09)
20. Shock Me - Live in Fresno (11-21-09)
21. I Stole Your Love - Live in Montreal (10-01-09)
22. Shout It Out Loud - Live in Portland (11-17-09)
23. Modern Day Delilah - Live in Los Angeles (11-25-09)
24. I Love It Loud - Live in Hampton (10-16-09)
25. Lick It Up - Live in Pensacola (10-19-09)
26. Do You Love Me - Live in Seattle (11-15-09)
27. Say Yeah - Live in Atlanta (10-26-09)
For more information, go to this location.
KISS' fire-breathing frontman, Gene Simmons, has been slapped with a civil suit by a couple who claim his inner demon came out after they tried to videotape him at a local Los Angeles mall.
According to media reports, Nathan Marlowe and his wife, Cynthia Manzo, accused the 60-year-old Simmons of threatening and assaulting them and then swiping their video camera after they shot footage of the bassist at the Grove mall.
Per the complaint, the pair approached Simmons and Marlowe asked whether he believed in monogamy, since he once claimed to have bedded more than 1,000 women. The rocker turned Family Jewels star allegedly went ballistic, then attacked him and grabbed the camcorder. When Manzo tried to intercede, he assaulted her, too, the suit claims.
The couple filed a police report but failed to win a restraining order last week against Simmons. They are seeking more than $25,000 in damages for assault, battery and infliction of emotional distress.
A rep for the tongue wagger was unavailable for comment.
Commented Tobias: "I met Bruce in 2008 in Los Angeles. KISS drummer Eric Singer (who has played drums for Tobias' AVANTASIA project as well) had played him our AVANTASIA album 'The Scarecrow' and Bruce must have liked my voice as far as I know. So eventually he asked me to sing a song on his solo album, 'BK3', which is gonna come out in February 2010. I liked the idea, I liked the track, I liked Bruce, and so, of course, I did it.
"Bruce has always been one of my favorite guitar players, he is one of the classic '80s shredders who got a unique tone and a terrific feeling. His playing is very tasteful.
"Now, I was looking for an additional lead guitar player for AVANTASIA to add a new color to some songs and it stood to reason to ask someone who had just become a member of my extended family, so I went for him, and I am happy he liked the idea and immediately agreed.
"Bruce is a super-cool guy. He sacrificed Christmas Eve to start the recording sessions for me in Los Angeles. That says a lot about his work ethic. He is a real pro and a class act!"
So far Tobias has confirmed the following musicians to be part of the forthcoming AVANTASIA opus:
* Klaus Meine (SCORPIONS)
* Tim "Ripper" Owens (JUDAS PRIEST, YNGWIE MALMSTEEN, ICED EARTH)
* Eric Singer (KISS, ALICE COOPER)
* Michael Kiske (HELLOWEEN)
* Jorn Lande (MASTERPLAN, ARK, MILLENIUM)
* Bob Catley (MAGNUM)
* Sascha Paeth
* Felix Bohnke (EDGUY)
* Alex Holzwarth (RHAPSODY, SIEGES EVEN)
* Russell Allen (SYMPHONY X)
* Jens Johansson (STRATOVARIUS, DIO, YNGWIE MALMSTEEN)
* André Matos (ANGRA, SHAAMAN, VIPER)
* Bruce Kulick (KISS, GRAND FUNK RAILROAD)
AVANTASIA project will celebrate its comeback next year with a new epic masterpiece, to be released on April 3, 2010 as two separate albums and in a limited deluxe edition (in one box set) entitled "The Wicked Symphony" and "Angel Of Babylon".
Regarding his decision to release the next AVANTASIA chapter in two separate CDs, Tobias said, "I have always given my very best, but this new chapter in AVANTASIA's history is too much and too ambitious to be just a regular album. I have worked on it for years now, and it has become even more than two albums!
"I knew that story would be spread out over two albums back then when we started working on it in 2006, 'cause we had written a real rock opera of over 20 songs even back then. But since then, we kept composing, and out came even bigger and better material.
"Looking at the music industry today with all the CD burning and downloading, I guess in the near future many of us traditional rock and metal bands won't be able to spend such a production budget. I am afraid I won't be able to afford so many guests and such a big production with orchestration and a choir and all that. That's why this production takes so much time; it may be the last big epic I will be able to afford, and I want it to be the biggest piece I have worked on so far."
Kiske has appeared on every AVANTASIA album so far, including the first two full-length releases, "The Metal Opera" (2001) and "The Metal Opera Pt. II" (2002).
On the topic of the new AVANTASIA album's musical direction, Sammet recently stated, "We've got quite many songs, and it ranges from epic ballads to metal opera. From pop to hard rock to folk to speed metal. My best friend, who co-wrote the story of 'The Metal Opera' back then, just listened to some of the tracks and he said that it will blow people away and enchant AVANTASIA fans and it will surely piss people off . . . It's just enchanting music. And these days honest and good music is kind of offending to some, that's pretty sick, isn't it? But as long as I get goose bumps hearing majestic music, I do not really care if I am fashionable or not."
The most recent album from AVANTASIA, "The Scarecrow", was one of the 20 best-selling albums in whole Europe during the fourth week of January 2008, according to a press release.
"The Scarecrow" was released on January 25, 2008 as a standard CD as well as rare picture (double) vinyl. It features a long list of guest musicians, including Bob Catley, ex-MASTERPLAN frontman Jorn Lande, ex-HELLOWEEN singer Michael Kiske, Alice Cooper, KISS drummer Eric Singer, SCORPIONS guitarist Rudolf Schenker and GAMMA RAY's Kai Hansen. The album produced a Top 10 German hit single, "Lost In Space", and entered the national charts in 15 countries, with the CD landing in the Top 10 in four countries.
This album, heralded as a "return to Kiss' golden sound," was not just an advertising proclamation. It did become - with, of course, a much more modern sound - pure reality. Kiss typically wants to rock with chants and big stadium choruses, but sometimes a song with poignant character will pop up (Stand.) And while sometimes over-the-top, a brilliant, crisp hard rock song sneaks in too (I'm An Animal) Songs dealing with, simply put, the objectification of women as eternal man-rocker-conquering you'll get far in abundance. And so it probably should be. Fans will appreciate "Danger Us" operating almost like a younger daughter of the famous smash "Detroit Rock City."
As you hear at the opening of each Kiss concert: "You wanted the best? You got the best," in its genre, Kiss really still is the best.
Nathan Marlowe and his wife Cynthia Manzo filed the lawsuit Thursday in Los Angeles Superior Court.
The complaint claims Simmons attacked the couple, threatened them and took their video camera at The Grove mall on Saturday after they started filming the rocker.
The couple's attorney, Matthew Nezhad, says a police report was filed. The couple sought a restraining order against Simmons on Wednesday, but that petition was denied.
Simmons has not been arrested and no charges have been filed.
A phone message seeking comment from Simmons' entertainment attorney was not immediately returned.
The couple are seeking damages of more than $25,000.
Nathan Marlowe and Cynthia Manzo claimed they tried to film Simmons at Los Angeles' The Grove center on December 19th.
Marlowe alleges that Simmons lashed out at him after spotting the camera, grabbing him by the throat and headbutting him. He also alleges the musician then turned to Manzo and choked her, before saying, "I will kill you."
The pair filed papers at L.A. County Superior Court and asked a judge to grant them a restraining order to prevent Simmons coming near them again.
However, the judge decided to dismiss the request as they hadn't proved they faced "a threat of future harm", according to TMZ.com.
Chris Laney's debut solo album, "Pure", was released in March 2009 via Metal Heaven. The songs on the CD were all written by Laney with co-writers like Bruce Kulick (KISS, UNION, GRAND FUNK RAILROAD), Lennart Östlund (LED ZEPPELIN, THE ROLLING STONES, ABBA, GENESIS), Mats Levén (THERION, YNGWIE MALMSTEEN) and others. Laney sang all songs on "Pure", which included appearances by guest musicians J. Koleberg (ANIMAL, ZAN CLAN), Nalle Pahlsson (TREAT, ANIMAL, ZAN CLAN), Vic Zino (HARDCORE SUPERSTAR), Martin Sweet (CRASHDIET) and Zinny Zan (EASY ACTION, SHOTGUN MESSIAH, ZAN CLAN).
Chris Laney has been involved in music all his life. He started to tour at the age of 13 and was in bands like SCRATCH and SEVENTEEN. He is a multi-talented musician who plays piano, drums and other instruments, but the guitar is what has become his closest friend. He is also known as a brilliant songwriter and producer. He spends time working at Polar Studios that was built by members in ABBA.
As a producer/engineer, Chris Laney has worked with artists like CANDLEMASS, EUROPE, CRASHDIET, Bruce Kulick, Brian "Robbo" Robertson, EASY ACTION and others.
As a guitarist, Chris Laney was previously a member of Randy Piper's ANIMAL and ZAN CLAN, bands where he was also the main songwriter and producer. Laney released two albums with ex-W.A.S.P. guitarist Randy Piper and his band ANIMAL, "Violent New Breed" (2006) and "Virus" (2008). Chris also released one album with ZAN CLAN, "We Are Zan Clan … Who the Fxxk Are You" (2005) and the DVD "Kickz The Livin Shit … Outta Stockholm" (2006).
For more information, visit www.chrislaney.com.
'The Rock Show' is hosted by Jeff Collins, and every December features a Top 30 Rock Albums of the year show.
#1 KISS - Sonic Boom
It's the 70's all over again! Big killer riffs and booming choruses - KISS are back.
They've followed their awesome appearance at Download with an album, which takes rock back to its raw and raucous best.
Children at the Boys and Girls Club of the Foothills discovered Monday that the Demon and the Catman aren't nearly as imposing without their makeup.
Gene Simmons and Eric Singer, also known respectively as the Demon and the Catman of the legendary rock band KISS, visited the club and signed autographs while imploring the kids to stay away from drugs and alcohol.
Though the lead singer and drummer of KISS didn't wear their patented white and black make-up, Simmons did oblige repeated requests to show his infamously long, slithering tongue.
"I would stick my tongue out, but look how dirty the floor is," Simmons told one child before relenting.
Simmons, who says he's never done drugs or taken a sip of alcohol, told the children that original band members Simmons said the main reason for the visit was to inspire young people.
"Everybody should go out of their way to do something nice for young people," Simmons said. "They can wind up being great, or they can wind up robbing a 7-11. We just wanted to show up and show them somebody cares."
Keelan Ellis, 17, of Azusa said he is also a long-time fan and plans to cover KISS songs with his band.
"My first talent show I dressed up as (KISS guitarist) Paul Stanley," Ellis said.
A representative from Disney gave away about 100 KISS T-Shirts as well as hundreds of DVDs and memorabilia to the children.
Bob Monk, the executive director of the Boys and Girls Club of the Foothills, said he was impressed with the positive message the band members brought to the kids.
"While they may look a little frightening on stage, they're really kind to the core," Monk said.
Over eleven years after "Psycho Circus", the famous rockers made up and led by Paul Stanley and Gene Simmons are back with "Sonic Boom". For this 19th album, Kiss decided to offer a myriad of tubes produced by Paul Stanley and Greg Collins. Already hailed by fans and critics, the album signals a big comeback in the American charts. Warning: these new songs are becoming classics. Far from being outdated, the rockers remind us that their style has not aged.
With the same energy as their debut album, the musicians offer eleven tracks resuming their original sound, which was so successful in the 70s. From the first track, "Modern Day Delilah", the quartet sets the tone with their now-famous guitar riffs. The album continues without a single false note in the worthy tradition of rock 'n' roll with "Yes I Know (Nobody's Perfect)", "All For The Glory", "I'm An Animal", or "Say Yeah" , all sublimated by the incredible voice of the crazy Gene Simmons. With this project, Kiss gets back to basics -- unquestionably the greatest pleasure, and finest hour, for KISS fans.
In his "Behind the Player" DVD, Frehley gives an intimate behind-the scenes look at his life as a professional musician, including rare video footage. Go behind the make-up and see the real Ace Frehley as he unmasks his guitar playing style and a behind-the-scenes look at his life. "Behind the Player" also includes rare live performances as well as in depth guitar lessons by Ace on the KISS classics "Cold Gin" and "Shock Me" and the new song "Pain in the Neck". Ace will lead you through the proper way to play these classics as well as the origins and inspirations of the songs.
"Video Tab" shows exactly how Frehley plays the tracks. The video-game-style animated tablature is similar to Guitar Hero, but shows how to play the tracks for real.
Watch the Spaceman perform with special guest musicians Matt Sorum (VELVET REVOLVER, GUNS N' ROSES), John 5 (MARILYN MANSON, ROB ZOMBIE), George Lynch (DOKKEN, LYNCH MOB), Chris Wyse (THE CULT), Tommy Clufetos (ROB ZOMBIE) and Scot Coogan (BRIDES OF DESTRUCTION).
Completing this ultimate black diamond are rare live footage, rare KISS photos and a documentary about Ace.
Check out preview clips from Ace Frehley's "Behind the Player" DVD at this location.
KISS Kompendium is an eye-popping compilation of the previously out-of-print Stan Lee Marvel comic book adventures of the legendary heavy metal band, as well as the famed Psycho Circus and Dark Horse editions and KISS's own KISStory. Only copies of KISS Kompendium purchased at Borders will be signed.
Store Info:
Borders
10 Columbus Circle
New York, NY 10019
The Kiss rocker insists the 'Believe' singer, who he previously dated, was happy to know about his huge number of conquests because it proved to her he was honest.
He said in an interview with German newspaper Bild am Sonntag: "She was shocked, but also happy because she knew that I would never lie to her.
"And that's how it is. Liars are only men who swear eternal fidelity but they know that no man will ever be able to adhere to that."
The bass guitarist admits many people don't believe he has bedded so many ladies, but he can prove it because he takes a photograph of every one of his conquests.
He said: "Esquire magazine has just tried to prove empirically that this was physically impossible. But they had to admit that it works. And it's true. I'm honest and show my girlfriends this photo album."
Gene, 60, is famous for his 'Demon' black and white face paint and he admits he has applied his trademark make-up to many girls he has bedded.
He revealed: "I have painted it on women's faces who wanted to wear it for the sex. Once I had a girl who had a tattoo of my face between her legs. I just felt sorry for her boyfriends."
The 25th annual induction ceremony will be held on March 15 at the Waldorf-Astoria in New York City.
ABBA, GENESIS, JIMMY CLIFF, THE HOLLIES and THE STOOGES will be inducted into the Rock and Roll Hall of Fame next year, the Hall of Fame Foundation has announced.
The ceremony will be broadcast live on Fuse TV.
OK, synagogue may have made more sense but that's not the point. The point is that when you think of bands that were able to transform the Igloo into some seedy house of hard rock Kiss is somewhere near the top. And the last time they came through this area it was all wrong. They were sent out to the pasture in Burgettstown and forced to open for Aerosmith in the daylight, which is like making Dracula walk on the beach. Last night, on the Kiss Alive 35 Tour, they made it right one last time under the silver dome.
It wasn't like those gigs in the '70s, of course, when the place was teeming with rowdy and stoned teenagers. There were little kids getting their faces painted in the hallways along with paunchy dads, and at one point Stanley yelled, "Hold up your children!" The stage was different, too -- considerably cleaner and more hi tech with dozens of amps that doubled as video screens and a jumbotron to provide a better look at Gene Simmons' blood, sweat and tongue.
Kiss rolled in with a new album, "Sonic Boom" -- "Go to Walmart.com!" Stanley screamed -- but only bothered to play two of the songs, the heavier-metal single "Modern Day Delilah" and "Say Yeah." The rest of the show was reserved for classics like the explosive opener "Deuce," the sexy "Strutter" and "Let Me Go, Rock 'n' Roll," given a full blues-boogie jam treatment.
An 18-song set over two-plus hours left plenty of room for Kiss shtick -- like the wanky soloing that bands just don't do anymore, the best of which was Ace replacement Tommy Thayer shooting literal and figurative sparks from his Les Paul at the tail end of "Cold Gin." The latest Cat drummer, Eric Singer, had a spinning riser for his thunderous solo.
Stanley, still pretty ripped at 57, got to scream even more than he sang, and flew across the arena on a wire for "Love Gun." And then there was The Demon, who revels in this lair as much he did in '75. Why he felt the need to mess with tradition, though, is a mystery. Maybe I missed something but I thought he was supposed to breathe the fire on "Firehouse" and spew the blood on "God of Thunder." He didn't even play those two classics, doing his thing instead on the lesser "Hotter than Hell" and "I Love it Loud."
While the middle of the show sagged just a bit, the last half hour was pure Kiss heaven with Stanley opening the band's best song, "Black Diamond," with a "Stairway to Heaven" tease, before handing over the vocals to Singer.
Fan favorite "Rock and Roll All Nite" was intro-ed with some Kiss philosophy: "If you came here tonight to hear a band tell you how to end global warming," Stanley hollered, "you're in the wrong damn place! We came here to escape from the world!" What followed was a hand-clapping, sing-along with a wondrous confetti shower. "Lick it Up" morphed into "Won't Get Fooled Again" and the four-song encore was capped with Thayer's guitar fireworks and a blast of pyro on the anthem "Detroit Rock City," designed to make everyone from junior and grandma leave feeling like they just saw the circus.
While the two frontmen of Kiss are getting up there in years, Stanley issued something of a promise to the kids in the crowd. "We were there for your moms and dads," he said. "And you know somethin' -- we'll be there for you!"
As long as they can walk out onstage in those 7-inch heels, Pitttts-burrrgh! will no doubt be there for them too.
KISS and AEG Live regretfully announce that the Tuesday, December 15th sold-out KISS performance at the Essar Center in Sault Ste. Marie, Ontario will have to be postponed due to severe weather conditions between Pittsburgh, Pennsylvania, where the band is performing tonight, and Sault Ste. Marie, Ontario.
"While our attitude is always 'the show must go on,' the safety of our crew and drivers has to be our first priority," said KISS' manager Doc McGhee. "Concerns about unsafe driving conditions between the two cities cannot be ignored."
The Sault Ste. Marie KISS show will be rescheduled as part of the band's summer 2010 tour. Tickets for the December 15th show may be used for the rescheduled summer show or refunded at the point of purchase.
KISS Kompendium is an eye-popping compilation of the previously out-of-print Stan Lee Marvel comic book adventures of the legendary heavy metal band, as well as the famed Psycho Circus and Dark Horse editions and KISS's own KISStory. Only copies of KISS Kompendium purchased at Borders will be signed.
Store Info:
Borders
10 Columbus Circle
New York, NY 10019
Council Bluffs (and Omaha, as Paul Stanley noted throughout the show) was the latest stop on the rock band's "Alive 35" tour which coincides with the release of their latest album, Sonic Boom. Paul Stanley, Gene Simmons, Tommy Thayer and Eric Singer, with an average age of 50-something, are living proof of the old saying you're never too old to rock n roll.
Age certainly didn't stop the Starchild from flying above the audience and landing on a platform in the center of the arena. And it definitely didn't stop the Demon from climbing into the rafters and reminding fans just what a musical master and talented showman he is. Classic stunts like drooling blood, spitting fire and dangling that famous tongue drew a reaction from the crowd that was beyond enthusiastic. Tommy Thayer delivered an impressive guitar solo highlighted with celestial footage behind him and projected on the screens above the stage. Lightning fast licks were even more amazing when they were performed with his guitar held over and behind his head. Of course, a rock performance is incomplete without a drum solo and Eric Singer took drumming to new heights, literally, with a performance that lifted him above the stage and lifted fans out of their seats.
With a visually and aurally stunning stage show, the KISS set list included the classics beginning with "Deuce" and "Strutter" and moving on to fan favorites like "Calling Dr. Love" "I Love It Loud" and "Rock and Roll All Nite". Thrown into the mix were new songs "Modern Day Delilah" and "Say Yeah" which involved a bit of audience participation. The inevitable encore packed in just as much power as the main event with "Lick It Up", "Love Gun" and "Detroit Rock City".
But no song was more fitting for the night than "Hotter Than Hell", a perfect description of the temperature inside the MAC thanks to pyrotechnics, fireworks and bursting flames that would have made Dante feel like he was right back in the Inferno.
Soldiers of the KISS Army, both young and old and even a few decked out in full black and silver regalia, were on the frontlines of an unforgettable performance. Once declaring "You wanted the best, you got the best!" KISS continues to deliver on that promise.
For more information: Visit the KISS website. To purchase a live recording of Friday's performance on a USB wristband or two-CD set, visit Concert Online and select the Council Bluffs event. "Sonic Boom" is available exclusively at WalMart.
In his IMV "Behind the Player" DVD, Frehley gives an intimate behind-the scenes look at his life as a professional musician, including rare video footage. Frehley then gives in-depth lessons for how to play "Shock Me" and "Cold Gin" and jams the tracks with special guest musicians, including Matt Sorum (GUNS N' ROSES, VELVET REVOLVER), John 5 (ROB ZOMBIE, MARILYN MANSON), Chris Wyse (THE CULT), Tommy Clufetos (TED NUGENT, ALICE COOPER, ROB ZOMBIE) and George Lynch (DOKKEN, LYNCH MOB).
"Video Tab" shows exactly how Frehley plays the two tracks. The video-game-style animated tablature is similar to Guitar Hero, but shows how to play the tracks for real.
Check out preview clips from Ace Frehley's "Behind the Player" DVD at this location.
Get your copy at Guitar Center or www.IMVdvd.com.
The producers of the IMV series donate $.25 from the sale of each DVD to Little Kids Rock, an organization that gets instruments in the hands of underprivileged kids.
About 150 seats to the classic rock act's concert at Essar Centre have gone on sale over two or three days since Dec 1. Some are prime front-row ducats.
Diehard fans determined to see the band's first-ever show in Sault Ste. Marie on Tuesday are quickly snatching up small releases of seats from the arena's website. They're gone just minutes after they become available.
"It's amazing to see people on the site regularly and see the tickets go right from our box office co-ordinator Nicole (Mosley's) monitor," said marketing and events manager Trevor Zachary.
He's estimating "up to 100 tickets" could go on sale some time Monday or Tuesday after the band's production manager arrives and takes a first-hand look at the downtown arena.
"If he feels we can open up more seats then that's what we'll do," said Zachary.
More seats on top of those 100 could be released once the stage is set up. There are still an estimated eight to 10 seats in the first three sections on the floor up for grabs.
A possible large-screen erected in the arena's parking lot that would broadcast the show live for fans who couldn't score seats won't be happening. Several factors, including a frosty blast of weather that will see temperatures dip to -10 C on Tuesday and security concerns, nixed the idea, said Zachary.
Besides, he has to find room for 13 transports and "at least" six tour buses that are shipping Kiss and the band's concert equipment from their show in Pittsburgh on Sunday to the Sault. The number, Zachary acknowledged, "is an awful lot."
Most bands have a total of about 10 vehicles that can be housed on the south end of the arena property near Bay Street. Zachary may have to tap some of the main parking lot to house the transportation end of the Kiss army.
"Family Guy": In the Season 3 episode "Road to Europe," Peter and Lois go to KISS-stock, a five-night concert featuring the band. He and Lois dress in KISS makeup and stand near the stage, but when Gene Simmons points the microphone at Lois during "Rock and Roll All Night," she doesn't know the words, and Peter is humiliated. They head to a Denny's restaurant, where KISS is eating and Lois recognizes Simmons by his birth name, Chaim Witz, and they talk about how they dated before Simmons was in the band.
"Role Models": Paul Rudd and Seann William Scott star in this 2008 comedy about two friends, Danny and Wheeler, who get in trouble and are sentenced to 150 hours of mentoring kids. Wheeler's love of KISS helps him seem cool to the wild child he's placed with. For the final act of the film, the four main characters don KISS makeup.
"Detroit Rock City": This 1999 movie takes place in 1978, where Lex, Trip, Hawk and Jam's favorite band is KISS. They're pumped up to head to a concert in Detroit, until Hawk's ultrareligious mom (who thinks "KISS" stands for "Knights In Satan's Service") lights their tickets on fire. The four friends have to find a way to get out of school, get to Detroit and get into the concert. Without getting caught.
"What's New, Scooby-Doo?": During the '90s-era incarnation of the cartoon series, the episode "A Scooby-Doo Halloween" shows the mystery-solving gang in a town where KISS is playing at a Halloween concert. The song "Shout It Out Loud" plays during the episode's chase sequence.
The Starchild, Demon, Spaceman and Catman brought all of the above and a ton of pyrotechnics to the stage at the Mid-America Center.
Paul Stanley, Gene Simmons, Tommy Thayer and Eric Singer strutted around and played every classic in their arsenal, with the notable exception of "Shout It Out Loud."
And this is KISS, so don't forget about all of the flames and flash.
They basically pulled off every arena rock trick in the book. The stage was enormous, in three sections with several moving pieces. Fireworks and spouts of flame shot out of the stage, while vast video screens displayed the tricks and licks - both guitar and otherwise. Confetti filled the arena while lights flickered and swirled.
Band members got in on the action as well. Simmons and Stanley flew around the arena on cables.
Simmons spit fire and blood, and Stanley smashed a guitar.
Thayer shot fireworks from his axe and made pieces of the stage explode.
All four members of the band got an individual solo.
In short, it was the spectacle of rock spectacles. While they've all been seen and done, KISS probably invented them, so all the madness and explosions didn't feel cliche.
It helped that the audience bought into it.
Thousands filled the arena - only a few empty seats dotted the back of the venue - and clapped, sang, screamed and held up lighters during the two-hour set.
Stanley played to the crowd all night long, mugging for pictures, tossing countless guitar picks to fans and, at every turn, shouting "Council Bluffs . . . and Omaha!"
"I know a lot about you people," Stanley said to cheers. "I know some of ya' came from Omaha. The rest of ya' are locals. Some people talk about big cities. I believe in cities like you that really know what rock and roll is all about."
The KISS Army even got into songs from the group's 2009 album, "Sonic Boom," its first in 11 years. "Modern Day Delilah" and "Say Yeah" fit right in with classics that included "Calling Dr. Love" and "Rock and Roll All Nite."
The show's encore hit most of the band's big hits, including "Lick It Up," "Love Gun" and "Detroit Rock City."
Many in the crowd wore KISS makeup, including two groups in full KISS regalia - armor, too. Quite a few in the audience were children probably experiencing their first KISS show. Many, many others were obviously KISS Army veterans, sporting T-shirts and tattoos supporting the rock 'n' roll legends.
Stanley enjoyed the support.
"One thing is for sure, you are representing the Kiss Army in grand style," he said.
Tommy Thayer hasn't strutted his stuff as a member of Kiss for nearly as long, but he concedes to feeling some kinship with the famed British musician when it comes to being dubbed new kid on the block.
"If Ronnie Wood is the new Stone after 35 years, I'm definitely the new guy in Kiss," says Thayer, who officially took over lead guitar duties when original axeman Ace Frehley finally departed for good in 2002.
"But my place in the band has become more and more fortified as time goes on, and that's great. Good things take time and this continues to build and grow for Kiss and for me personally, too."
And, of course, Thayer can take some comfort that drummer Eric Singer, who first joined Kiss in 1991 but departed for a spell in the mid-1990s when the band reunited with Frehley and original drummer Peter Criss for the Alive/Worldwide Tour, is not original, either. And Thayer is not the first axeman to take over during the notoriously troubled Frehley's absences from the band; Bruce Kulick, Vinnie Vincent and the late Mark St. John also did guitar duties, some for longer than others, some painted up, some not.
But overall, Thayer appears secure in his own skin -- or, perhaps, makeup.
"It's an amazing feeling. You know, we're riding a big wave right now and I'm honoured to be playing lead guitar in Kiss now."
No doubt. Maybe that's because Thayer has found his promised land.
The Portland, Ore., native, now 49, was just another Kisscrazed kid in the 1970s, whose desire to learn the electric guitar was likely sparked by the likes of Frehley and other such notables of that decade, including Alice Cooper and Deep Purple.
The profound difference, though, between Thayer and his young counterparts lies in the fact he would go on to actually trade guitar licks with Paul Stanley, sport the flamboyant Spaceman persona once occupied by Frehley and stake claim to being part of Gene Simmons' inner-circle, ever so coveted these days since the ample-tongued demon's side career as a reality show darling took off.
Now let's get this party started by saying if you're a fan of KISS you already know the score, if you are not (Why The F**k Not?) then you should give this record a spin. If you have already decided you don't like the band no matter what then A: Why are you reading this and B: this record isn't for you and you should just f**k right off now thank you very much...
So back to the people who do matter, those still on this page at this point...
Now depending on when you got into this band, will define your opinion on it; if you are an early 70's child circa Alive-Alive II (pre Double Platinum) then you are searching for the holy grail of 'Destroyer II' and this isn't it... Gene Simmons says, "SONIC BOOM" may be the best new record we've done since Destroyer! It is Rock And Roll Over meets Love Gun. Sonic Boom certainly has hints of 'Love Gun' and 'Rock N' Roll Over' (and that's close enough for me).
Imagine asking the Beatles to do 'Sgt Pepper II' 30 years later and them in fact hitting close to 'Abbey Road/Let It Be' or The Stones getting their Ya Ya's back out but just missing the turning for Main Street - the world would gasp in awe of a band being able to do that, well they should do just the same for KISS...
If you are a child of 'Dynasty till' the make up came off for 'Lick It Up' and you are searching for 'Creatures II' then you just better hold onto your hats... The same can be said for those who came of age during those hazy eighties days of 'Asylum' seeking 'Crazy Nights' for 'Revenge', then trust me there is plenty on offer for you too...
Then to cap it all, if you joined the 'Psycho Circus' at the end of the century or discovered the band in this century, then this deffo is the best KISS record you evah heard baby...
As I have got older I have fallen in love with all the different chapters of KISSTORY even though the first album I bought was 'Double Platinum' and the Solo albums and then had a ten year love affair till' those 'Crazy Nights' where I fell out of love, but 'Revenge' reminded me why I loved them & I was back on track and ain't got off the train since...
This in fact is a combination of ALL era's of KISS, you can hear elements of certain times from each track, The opening track 'Modern Day Delilah' could easily be added as a 'missing' track to a 'Creatures Of The Night' re-issue as it just drives straight into the heart of hard rock... I Love It Loud...
'Never Enough' again could be Missing In Action from 'Animalize/Asylum' and slips right into the big chorus of the mid eighties, 'Yes I Know (Nobody Perfect) could be an outtake from Gene Simmons 1st solo album or in fact 'Rock N' Roll Over' as the guitar solo out Ace's 'Ace'... it has that whole driving groove that the band used to do so well, let's face it they invented 'Bubblegum Rock' and were The Beatles with make up...
Some people will brand this album 'Throwaway' but they always miss the point because that is the point with KISS, It's part of the fans 'make up' to just love to drive fast, f**k hard, drink & play loud rock n' roll, the songs are easy to get into, easy to sing, easy to love and yeah Keep It Simple Stupid...
'Stand' is for me the 'Standout' track on the album, and should have been the lead cut / single as it just rolls into Paul Stanley's solo album groove with Gene involved too, Yes it has dual vocal & boy do we just love that shit, it's one of those fist pumping, foot tapping classics that the boy's just rode into the psycho circus on, You wanted the best, You got the best... They sound like a band again, All for one, one for all, Four lads who shook the world... It also is a call to arms to each other and the KISS ARMY...
'All For The Glory' I presume is Eric Singer picking up the 'Drummer Who Can Sing' mantle, he had big boots to fill with both previous occupants of the drum stool (Peter Criss / Eric Carr) and he has done so with such credit, he has kept so true to the band and the fans, he is a shining star at last in the Kiss Kamp...
Same can be said for Tommy Thayer who has licked it up to stand alone as the combination of Ace, Vinnie, and Bruce from the previous incarnation, he always was Black n' Blue with influence but he certainly has come of age with this record, sure he's keeping to the script, but his ad-lib lines are well rehearsed and delivered with ease and the guitar parts just scream for more... Just listen to the solo in 'Danger Us'...
And so it continues right to the end of the record, it's just more of the same and if you ain't completely hooked by the time you get to the killer closing cut in 'Say Yeah' and just press play from track one again, then you ain't no lover of rock, you ain't no lover of KISS and you ain't no friend of mine...
All that's left for me is to convince them to come to the home of the birth of rock n' roll (Liverpool-The Beatles) and play live in the city's Echo Arena, I want to see the Fab Four drive down Penny Lane past Strawberry Fields in full make up bringing rock n' roll full circle in 2010, so it was, so it is so shall it be... They tour the UK & come close at Manchester MEN... I'm holding out for that Echo...
No band should sound this good on a brand new record this far down the line, it's been 35 years (THIRTY FIVE) since the bands debut album in the seventies and they sound fresh and hungry, they have taken all the great bits from every decade and put it all into one, this album is like a decade by decade best of... Like I said NO band should sound this good after all this time, one band does... KISS...
The father of all over-the-top rock 'n' roll shows is on its way to town.
KISS and all of its makeup, fireworks, spouts of flame, flashing lights, fire-breathing, blood and booming guitars will take over the Mid-America Center tonight.
The group is on its "Alive 35" tour, celebrating the anniversary of its live album, "Alive!"
The band is expected to play all the songs from "Alive!" as well as some of its new songs.
That's right, the rockers are still making new music. Released in October, "Sonic Boom" debuted at No. 2 on the Billboard Top 200, KISS' best debut ever.
Walmart is the sole retailer carrying the album. It comes as a three-disc package: The first disc includes new material, the second has rerecorded versions of old songs, and the third is a DVD of six live videos.
The current tour also will feature a few things old-time KISS fans haven't seen:
"New stage, new battle gear and a pyro arsenal that will again show everyone that there is only one KISS," guitarist and singer Paul Stanley said in a press release.
"For 35 years, Kiss raised the bar for what a rock concert should really be. This year is no different- all new, all killer ... all KISS!" Gene Simmons added. "The master's class in rock is in session! KISS rules."
In the spirit of the KISS Army, when the ABC hit show "Extreme Makeover: Home Edition" told legendary rockers KISS about a family of needy KISS fans in Gainesville, Florida, who started a home-based, non-profit music school while their own home is falling down around them, the band heeded the call and launched the offense during their Tulsa stop on their North American KISS/Alive 35 tour.
Tobin and Jill Wagstaff, a couple with four children, operate Studio Percussion, Inc., a school that currently serves about 200 people, half of which receive financial aid or a full scholarship. The non-profit school can only afford to pay Tobin, 29, a salary, so Jill, 32, must also work as a pre-school teacher to help pay the bills. Their utter devotion to their family, school, and community leaves little time and resources to tend to their home that is in dire need of repair. The floors and rooftops are completely rotting away and the electrical system throughout the house is faulty.
In just seven days, "Extreme Makeover: Home Edition" team leader Ty Pennington, the design team, and the Gainesville community are rebuilding their home while the show sent the family on a surprise rock and roll vacation.
The Wagstaff Family, who are huge KISS fans, flew to Tulsa, Oklahoma, to meet the band who played at the BOK Center in Tulsa on December 8 as part of their North American KISS/Alive 35 tour in support of Sonic Boom, their first album in 11 years.
The next morning KISS and The Wagstaff Family, on behalf of Gibson and Mr. Holland's Opus Foundation, a non-profit music group, met at the Wilson Middle School in Tulsa to present $100,000 in instruments from Gibson to the school as well as their own school back home in Florida. Some of the students at the school in Tulsa even donned the famous KISS make up to show their support.
The KISS episode of "Extreme Makeover: Home Edition" is scheduled to air in March/April, 2010.
The Emmy award winning reality program "Extreme Makeover: Home Edition", now in its 7th season, is produced by Endemol USA, a division of Endemol Holding. It's executive-produced by Anthony Dominici. David Goldberg is Chairman, Endemol North America. The show airs Sundays from 8:00-9:00 p.m., ET on ABC.
That's not just because candy that melts in your mouth, not in your hand, didn't fit with blood and fire. Rather, Kiss members were the "Knights in Satan's Service," underworld, underground metal minstrels that your mom and dad hated -- even though they drove you to the show anyway -- and a partnership with the Mars company was unthinkable.
KISS Of course, it didn't take long for Kiss to become a franchise and a slice of Americana. Now on the "Alive 35" tour, which hits the Mellon Arena on Sunday, it's topsy-turvy, with dads 40 to 50 turning their kids on to Kiss and bringing them along to the show.
We didn't see the family Kiss event coming then, and we didn't see it coming as late as 1988, when the recently unmasked Gene Simmons was telling the PG, "We may put on the makeup again once someday, just for the hell of it, but we don't want to be an oldies show like the Monkees and just go through the motions. Kiss isn't about that. If there's a reason we've spanned the generations, it's because we stayed current."
Kiss' claim to currency on this tour is that for the first time in 11 years, there is new musical product. "Sonic Boom," a throwback to the classic Kiss sound, was released in October, packaged with a sonic upgrade of the greatest hits and a live concert DVD. It was sold exclusively at Wal-mart next to the M&M's and Kiss Potato Heads that flew out the door without having wings -- well, except for the Gene one.
"People say 'What about the Mr. Potato Heads and stuff?'" says Kiss guitarist Tommy Thayer. "To me it signifies that Kiss is an iconic group, with this great history now. But it really starts with a great rock 'n' roll band. We go out there and do a take-no-prisoners, bombastic show, and at the end of the day the merchandise doesn't drive the rock band, the rock band drives the merchandise. And people love it."
Kiss started kicking around New York City in January of 1973, after frontmen Gene Simmons and Paul Stanley abandoned a project called Wicked Lester, and recruited Peter Criss and Ace Frehley for a concept that would combine the sound and theatrics of glam-rockers Alice Cooper, MC5 and the New York Dolls -- and go further over the top. Rather than a devilish acronym, the name was derived from Criss mentioning to Stanley that he had been in a band called Lips.
It's hard now to imagine Kiss squeezing its high-flying act into a nightclub, but that's the way it started, with the full intention of one day destroying arenas. By the end of '73, Kiss, rejected by bigger labels, was signed to the upstart Casablanca Records for a self-titled debut album that wouldn't set the world on fire -- although Simmons did torch his hair a few times while breathing fire.
In '74, Kiss started touring outside New York, beginning with Canada, and did play nearby cities such as Cleveland and Youngstown. The first visit to Pittsburgh was April 15, 1975, at the Stanley Theatre with Rush.
Rich Engler, just a few years into the formation of concert giant DiCesare-Engler Productions, remembers that night for a few reasons.
First of all, he loved the idea of Kiss, even though he wasn't all that familiar with the music. Not many people were, as there was no radio support for the band.
"None," Engler recalls, "but it didn't matter. We wrote our own radio spots, saying 'Kiss is hotter than hell and dressed to kill!' and those spots got the curiosity seekers out. They also had the Kiss Army and they were diehard."
On the day of the show, Kiss management informed Engler that the band wanted a limo. Engler hadn't worked that into the budget, so he talked his wife into picking them up at the airport in their Rolls-Royce. "This one time," she declared.
"She goes out and picks them up and they didn't have their makeup on," Engler says. "They go, 'We don't want anyone to see us, so don't drive anywhere where people can see us.' So when she got down near the city, during rush hour, they were like crouching down in the back of the limo, and of course, at the time, no one would have recognized them anyway because nobody knew them. She calls me and says, 'That one guy is a real character, that Gene Simmons.' She said he had some sexual wisecracks, as he always does. At least he didn't make any advances -- yet."
The show ended up being a near sellout, almost filling the 3,000-seat hall, and while Engler was prepared for rock theater, he wasn't up to speed on every detail.
"The next thing I know," he says, "I see this big ball of fire they're blowing out of their mouths during the show and they catch the top curtains on fire. Fortunately, they were flame-retardant so they sort of like caught and then smoldered. We had to send someone up there with a fire extinguisher and spray it during the show. It was a little drama. The crowd went absolutely crazy for them."
There was minor drama backstage as well. Says Engler, "I'm standing with my wife, and Gene comes over to me and says, 'Hey, she needs to be manhandled.' I said, 'Don't worry, I'll do the manhandling. You just play your music. ...' "
Later that year, on Dec. 20, Kiss returned with plenty of ceiling space for smoke and fire under the Civic Arena dome. This was two months after releasing the explosive "Alive!" and scoring a first Top 40 hit with "Rock and Roll All Nite." Neither of the local papers wrote a word about the show.
Kiss was back already in April 1976 on the "Destroyer" Tour and then again in January 1978. By then, Kiss was voted the most popular band in America in a Gallup poll, so the band got its first ink in the Post-Gazette, a review that read like no one had ever heard of the group before. It noted the "Barnum-and-Bailey-meets-Dracula theatrics" and went on to say, "The'70s are nearly over and still haven't acquired a definitive adjective such as 'roaring' for '20s. So maybe Kiss does represent the decade."
Perhaps. But going into the '80s, the "hottest band in the land" was starting to simmer, a victim of fan fatigue, internal band tensions, too many comics and cartoons, the ill-advised "Music From 'The Elder' " concept album with strings and synths, the departures of Criss and Frehley and the 1983 unmasking.
Simmons and Stanley continued to tour with a string of replacements and churn out an album almost every year, but much of the Kiss Army had deserted. Sadly, by 1984, an unpainted Simmons was blowing fire again back at the Stanley Theatre with Eric Carr on drums and Vinnie Vincent on guitar. It wasn't even sold out. Later in the decade, they were back at the Arena, but playing to half the house on tours for "Asylum" and "Crazy Nights."
A decade later, enough time had passed for Kiss nostalgia to kick in, spawned by a reunion of the original quartet at the Grammy Awards in 1996. When they came through the Arena that summer, they were sporting the best-selling tour of the year.
Now, here we are 13 years later and nine years after The Farewell Tour -- never, ever believe those! Kiss has rocked the Super Bowl, the Olympics and "American Idol," waged a tour with Aerosmith, and continued to change members like underwear. Stanley has released a solo album and endured two hip surgeries to keep him flying around in those boots. "The Demon" has become an unlikely reality TV star with "Gene Simmons Family Jewels."
And the Kiss blitz is on with "Sonic Boom" weighing in as the highest-charting Kiss album ever (No. 2). Lucky enough to enjoy this resurgence is the newest member of Kiss, guitarist Thayer, who actually has a long history with the band. Thayer, 49, first saw Kiss on the theater tour in Portland in 1974 and his band Black N Blue later opened for Kiss in the '80s. As sort of a goof, the guitarist then took on the role of Ace in the Kiss tribute band Cold Gin, which was good enough to be invited to play Stanley's birthday party in the early '90s.
Thayer was then hired as Simmons' assistant before getting to play some of the guitar parts on 1998's "Psycho Circus" and then actually donning the Spaceman suit for the first time in 2002 -- with no mixed feelings about replacing Ace.
"What an honor," Thayer says. "To the contrary, I would have had mixed feelings about a new character or something because after 30, 35 years, you don't want to try to fix what's not broken. That's Kiss. People debate that on a certain level, but there's never been a question in my mind that was a smart choice. Let me ask you, if somebody said, 'You're going to be the new lead guitarist for Kiss tomorrow and wear the Spaceman persona outfit, what would you do?' "
(I would get guitar lessons and do it ...)
Anyway, those who saw Thayer on the Aerosmith tour were relieved to see that not only could he shred, but he wasn't trying to put his own stamp on Frehley's parts.
"Kiss has a legacy, a history," he says. "I remember when I used to see concerts and maybe they had a different guitar player and the guy came out and didn't play the signature solos the way they were recorded -- I was always disappointed. I thought to myself, 'If I'm ever in this situation, I'm going to go out and nail them to the T.' "
Thayer does manage to make his presence known on "Sonic Boom" with a variety of heavy guitar styles, ranging from Ace's to Rage Against the Machine's.
"We didn't make a retro album or something," Thayer says. "The goal was to make one of the greatest Kiss records we could ever make and the approach was smart. Paul spearheaded this and we approached it like a new band coming out of the garage without all these outside influences. The cool thing about it is, it does encompass all the great eras of Kiss. There's '70s flavor in there, '80s flavor, '90s 'Revenge'-era flavor. There's a little bit of everything in there, including some new vigor as well."
Kiss being back on top coincides with the potential ending to a long-simmering, rather controversial snub. At last, after the first-ever fan protest (in 2006), Kiss is nominated for the Rock and Roll Hall of Fame and will learn this month if it has the votes.
"It's very exciting," Thayer says. "I personally think it's laughable that Kiss isn't already in the Hall of Fame. Although, this is not something that defines Kiss. Kiss is already an iconic group, one of, if not the biggest American rock groups ever, so Rock and Roll Hall of Fame, it's nice, but Kiss is already a hall of fame band. I'm so proud to be in it."
Fast forward to 2009 and my how times have changed. KISS is prime family entertainment. Parents, grandparents, aunts and uncles gather their children by their hands and lead them into an arena that has been transformed into the Kiss Army's home base of operations..... and all are welcome.
Face painting stations line the main concourse so adult and child alike can be transformed into their favorite band member.
The atmosphere is electric. The mood is joyful. KISS has come to town.
"I saw my first KISS concert when I was fourteen. I had to sneak out to see them and risked a beating of a lifetime from my father if he ever found out." John Edwards smiles down as his eight year old daughter as he recalls his fond memories of childhood rebellion. "And now I am bringing my daughter to her first KISS show."
Edwards is not alone. KISS has turned into a cross generational celebration of ROCK . Grandparents in their 60's enjoy KISS as much as they did in their teens. "My grandpa brought me to tonight!" beam 12 year old Tyler Henson as he puts on his new KISS t-shirt just purchased at the merch stand, by none other than his grandfather.
Thomas Hanson recalls the 1970's when KISS was under fire for their wild concert performances. "It is all so laughable now. KISS is exactly as they were back then. I guess it just took some people longer get it."
As the lights go down, the massive black KISS curtain drops. The arena surges to life as thousand leap to their feet. Strobe lights of white, red, blue and green bath a stage now swirling with thick coils of smoke as Paul Stanly and Gene Simmons first appear.
The crowd rewards them as their voices reach deafening levels. KISS has just taken stage for their first arena show in Tulsa.
"I WANT TO ROCK AND ROLL ALL NIGHT!!!!!! AND PARTY EVERYDAY!!!!!!!" Close to 15,000 fans screamed out the lyrics in unison as the KISS ARMY infiltrated the once peaceful void of Tulsa's BOK CENTER.
"TULSA!!!! WE HEAR OKLAHOMA CITY HAS THE REP FOR BEING THE CITY THAT ROCKS IN OKLAHOMA," Paul Stanly shouted before the ravenous crowd which replies with a chorus of boo's. Stanly smiles, "But NOT tonight. Tonight it is all you!" And the crowd goes wild in agreement and appreciation......
KISS will have a 10 page photographic feature in ROCKVILLE MAGAZINES 2010 March anthology.
So it turns out giving a concert away online is a pretty good way to sell beer and video games.
On Nov. 25, Kiss partnered with live streaming video platform Ustream for an online broadcast of the bombastic and pyrotechnic closing concert for its "35 Alive" tour at Los Angeles' Staples Center.
The broadcast drew more than 2 million views -- Ustream's feed was viewed on its own site as well through social-media hubs such as Facebook -- and it generated enough buzz to rate as a trending topic on Twitter during the Thanksgiving eve performance. The 1.1 million unique visitors, while not rocking all night, stuck around a while: The average viewing time during the broadcast was 43 minutes.
"We knew we'd get a big audience," said Kiss' longtime manager, Doc McGhee. "But we didn't know they'd stay on for that long."
Ustream executives said part of the reason for the lengthy viewing times -- and the big audience -- was a backstage pre-show segment that ran before the concert started, which ramped up online buzz before the musicians took the stage.
Golden opportunity
The results obviously pleased the event's exclusive sponsor, Anheuser-Busch, which had the logo for its newly launched Bud Light Golden Wheat brand in the corner of the screen. (That brand's launch has featured a number of clever branded-entertainment partnerships, including a much-discussed "Saturday Night Live" takeover in October.)
"We're looking for ways we can connect outside the 30-second spot," said Keith Levy, VP-marketing at A-B. "Ustream was a unique way to do that." Mr. Levy said A-B found its way to Kiss through its extensive sponsorship of ABC's "Jimmy Kimmel Live," which has featured a number of high-profile musical acts, including Kiss. That deal, reportedly valued at $5 million, gives A-B sponsorship of some 187 of the show's concert events, as well as a spotlight on Bud Light in a series of live commercials.
Also benefiting from the massive live audience was Activision, which recently released a three-song Kiss "Track Pack" for its "Guitar Hero 5" game. That pack -- which includes the songs "Modern Day Delilah," "I Was Made for Loving You" and "Lick It Up" -- was plugged throughout the show via a text scroll on the bottom of the screen, and those efforts seem to have paid off: Activison Senior VP-Marketing Will Kassoy said the Kiss pack has had the best sales of any of the 15 "Guitar Hero 5" downloadable track packs since the game's September launch. (Activision doesn't release totals.)
Mr. Kassoy said Activision is likely to look to live-streaming concerts to boost track sales again.
"We'll definitely look to create these kinds of partnerships again in the future with other top-tier bands," he said.
Mike Judge: Yeah, I had originally described the character as looking like Gene Simmons with a pony tail and a suit and tie. I was kind of naive though, in that I thought no one would recognize him without the Kiss makeup on. I didn't realize how huge the reality show was. The only time I had ever seen him without the makeup was on Politically Incorrect about 9 years ago and thought he would be great playing an agent or high-powered attorney.
The band helped surprise the entire school with a presentation of about $100,000 in new musical instruments from Mr. Holland's Opus Foundation at an afternoon assembly.
"In public education, there is no crisis greater than the lack of money going into musical enrichment," KISS guitarist Paul Stanley said at the assembly. "The government needs to understand musical programs in schools is not a luxury. It's a necessity.
Stanley asked whether students wanted to see their school's 40 new trumpets, flutes, alto saxophones and violins, and they responded with deafening screams of affirmation.
Wearing royal blue "Extreme Makeover Home Edition" T-shirts, Wilson teachers came running in the back doors of the school auditorium carrying the instruments.
'How do you feel?" Stanley asked Wilson band director Doug Scott on stage.
"I'm just ecstatic," Scott replied. "I can't put it into words. This is just the greatest thing I could possibly hope for.
Principal Caleb Starr explained outside of the assembly that producers approached the school with an offer of free musical instruments as part of an upcoming edition of the show.
A Florida music teacher and his wife and kids are getting a brand new house and the teacher wanted to give musical instruments to a school in need as a way of paying the show?s act of generosity forward to others. The Mr. Holland's Opus Foundation stepped up to make the donation to Wilson Middle School in the family's name.
Producing the television show segment was an all-day affair at Wilson, 1127 S. Columbia Ave. In the morning, band and orchestra students helped unpack the brand new instruments, which will be used for the first time at Wilson's winter concert on Thursday.
"I'm really excited and really nervous," said seventh grader Kira Palmer. "My dad - whenever I was really young, like eight - we watched five hours back-to-back KISS concerts together. It was really cool.
PTA members visited classrooms all morning, choosing a few students in each to have their faces covered with KISS' trademark face paint.
The band finally arrived in their luxury bus about 1 p.m.
They were whisked through a rear entrance to a makeshift "green room," where Tulsa Superintendent Keith Ballard and other officials greeted them, thanked them for their part in the special event and asked for a quick picture together.
Almost an hour later, the band loaded back onto their bus to make a grand entrance through the school's front doors with the Florida family getting a new house from "Extreme Makeover."
School workers, parents and visitors crammed into the main hall to get a look at the group who violated numerous school dress codes as they made their way into the lobby wearing full stage makeup and costumes complete with spiked, skintight pants with thigh-bearing cutouts, winged capes, bare chests and skyhigh platform boots.
In between the ABC camera crew's multiple takes of the entrance, KISS bassist Gene Simmons showed off some of his notorious behavior toward women, too. At one point, he backed a female officer from the Tulsa Police Department, who was providing security for the band's visit, into a doorway using his backside and then strutted off, leaving her grimacing in the corner.
About 2:30, the entire student body filed out of their classrooms into the auditorium for the special assembly.
ABC production workers had them scream and holler as loud as they could a few times for the sake of cameras throughout the room, and then Ed Sanders, a personality and designer from the ABC show, took the stage to begin the assembly.
Even though students knew to expect KISS, the band burst through the auditorium?s back doors, surprising them.
The band members highfived their way through the shrieking, jumping mass of students and took the stage.
Sleaze Roxx: I was looking at your website and I saw that you attended the KISS show in Anaheim. So I imagine you have heard "Sonic Boom"? What are your thoughts on it?
Bruce Kulick: I have heard it. It's not a record that I have heard a lot. I think I've heard it twice. I knew when it came to the live show they were only going to do two songs live anyway. I think they did two that night, I actually couldn't stay for the whole show as I had a flight the next day to Europe and I still needed to pack. I think it was wonderful that they did a new record, I'm proud of Paul [Stanley] for taking charge and producing the record. It was great that they didn't bring in anyone from the outside and he went for it. The end result was a fine record.
Sleaze Roxx: You and Eric Singer stepped aside when Peter Criss and Ace Frehley came back, Eric eventually returned and now Tommy Thayer is in the band. Were you offered the opportunity to wear the Ace paint? Would you have ever done that?
Bruce: Great question. I do get asked [that] on occasion... To be honest, I'm relieved that I wasn't asked. Honestly, playing the Ace role would be very awkward for me. It was very natural for Tommy to walk into that role, eventually being in KISS ran its course with Ace. If you followed KISS since the reunion with Ace and Peter, there were a number of times where it looked like Ace was going to miss the show, so the band had Tommy dressed up as Ace backstage ready to go. They did a private gig that Ace didn't take part in, Tommy played and then they did the promo for "That '70s Show", Ace didn't want to do it and Tommy stepped in. Tommy played Ace in a KISS tribute band that was very successful. He's a great guitarist and it was very natural for him to be Ace. For me, I think after spending all those years establishing myself as the guitarist in KISS in the non-make-up era, to then put on the paint wouldn't be a good match. Of course, I miss the guys and miss being in the band, but I think Tommy is able to do much more for them than I would be able to right now. Playing that role would not be as comfortable for me as what I used to do. If they did a "Revenge"-era version of the band and I wasn't there I'd be hurt, I'd be very hurt. I'm not hurt now and I think you can understand that sentiment.
Read the entire interview from Sleaze Roxx.
BUCKCHERRY opened with a strong set, playing tunes off their newest album "Black Butterfly" and pushing their live CD, "Live and Loud". Naturally they wrapped up with "Crazy Bitch" and the stadium was singing along. But it was obvious everyone was there to see one band. KISS.
And what a show! I've never had the chance to see KISS live until now and I was blown away. Almost literally what with the pyro and all. Opening up with "Deuce", KISS played it up for the crowd and the photographers in the pit for the first two songs and threw out guitar picks to the crowd all night long. This is one band that knows how important their fans are and they showed that all night long. Gene Simmons even pulled a little ten year old girl up on stage to take a few pictures at one point and officially winning him 'rock star of the decade' in my book.
The set was a great mix of classic KISS - such as Dr. Love - as well as some tunes from their newest album "Sonic Boom". If you haven't gotten it yet I highly suggest, as Paul Stanley said, that you get yourself to Walmart and buy it. One of the most famous KISS songs, Rock and Roll All Night, wrapped up the first part of the set with the crowd singing along and confetti flying through the air. Cold Gin had an amazing guitar solo in which Tommy Thayer shot sparks from his guitar into the lighting rigs above the stage - causing a piece to come crashing to the stage. Planned? I don't know but it was awesome either way! 100,000 Years saw an incredible drum solo from Eric Singer as his drum platform raised into the air and rotated. Of course Gene Simmons had his bass solo as well during I Love It Loud. And if his playing wasn't enough you got the always loved blood dripping from his mouth only to be topped by Gene being pulled straight up a good 40 feet into the air to continue the song from a platform atop the lighting rig. Not to be outdone, Paul Stanley took to a rope and metal ring and flew out across the crowd to land on a second stage on the opposite side of the arena for Love Gun.
The show ended with the famous Detroit Rock City and pyro that shook American Airlines Center. There is no doubt in anyone's mind that KISS still has it and will for a long time coming. Check out their website and get their latest album "Sonic Boom" at a Walmart near you and keep the KISS Army alive!
Oakville residents voted Tom Linhares' Gene Simmons' Family KISSmas float, runner-up in the new Oakville's Choice Award for the Santa Parade.
"Tom said the looks on the faces of not only the kids, but the adults, as he went by, were something he'll never forget," said Pam Damoff, chair of the 2009 Santa Claus Parade.
Not many who attended the Nov. 21 parade are likely to forget seeing Linhares, a. k. a. Gene Simmons, either.
He was clad in black leather and silver rivets, complete with elaborate KISS makeup.
It was the Gene Simmons Family KISSmas and all of Tom's family - his wife and four children - took part.
"I tried not to stick out my tongue at the kids, but I did at some older ladies," laughed Tom.
He confessed he's been a KISS fan for several decades, since he was 10 years old - and it?s fun.
What has become a Halloween tradition, to dress up a la KISS, usually Gene Simmons, was extended into Christmas this year.
"This will be the first KISSmas our family celebrates," said Tom who has always done the makeup, but this year bought a stage costume.
"It's not every day that you can strut your stuff down Lakeshore Road and get away with it," smiled Tom, who said ultimately the comic book style of KISS, the dressing up as someone else briefly, all appeal to the child in him.
And KISS plays rock music.
It just so happened the theme of this year's parade was a rock'n'roll Christmas. Tom admits he's probably the biggest KISS fan on the west side of Winston Churchill Boulevard.
And while the float represented a financial commitment, Tom said it was not expensive given the amount of fun he and his family had.
Nor many local residents - if you go by the online votes.
While his wife Suzanne drove the float, his children Aaron, 19, Amanda, 11, Julia, 6, and Hailey, 2, took part as well.
They all painted their faces except Hailey, who wanted to be a princess, said her dad.
Tom said he even hung mistletoe on the float, then added, "But I had no takers. My wife kept jerking the truck."
Tom said placing as a runner up surprised him- St. Ignatius of Loyola won, as well as being named best overall float - but said, "It made my mom so proud."
"I love where I live, I love Oakville," said Tom, a middle manager at a Mississauga plant who first moved to Clearview in 1995 and then moved to his home in Falgarwood.
Iconic rock act KISS greeted fans on Wednesday to sign memorabilia for the new Hard Rock Hotel & Casino, a day after a near full-house concert at Tulsa's BOK Center.
Hundreds upon hundreds of fans raised digital cameras - and screams - in unison as the foursome marched in wearing full makeup. Their inches-tall platform boots raised them to superstar status as they peered over their fans.
They said hello, and within minutes the scene evaporated. Beautiful blonds handed the band two guitars: A Washburn guitar and Gibson bass, it was passed around, autographed and set aside. That didn't keep fans from packing in shoulder-to-shoulder to watch what 12-year-old Michael Hernandez called a "once-in-a-lifetime event."
"This may even be more exciting than the concert," said his mom Kathi Hernandez. "The band is right there, right in front of us."
Band members Tommy Thayer, Gene Simmons, Eric Singer and Paul Stanley stayed at the hotel Tuesday and Wednesday night before heading out to Kansas City to continue the Alive/35 world tour, hotel executives confirmed.
The band's been around for 35 years. That's a lot of time to win over hordes of fans, young and old.
Take 9-year-old Skylar Leach, for example. She and brother Trey, 12, and dad Charles, brought in an electric guitar on the off chance someone in the band might autograph it.
"They said 'no autographs' earlier," said Charles Leach, standing in the chill and hefting a black and white Fender as his children huddled next to him.
"But Paul took my guitar," said Skylar Leach of KISS lead singer Paul Stanley. "He signed it." She pointed as a Sharpie-tattooed black star and scribbled signature dried on the pickguard. Skylar Leach beamed.
During a news conference, asked what the most surprising thing was about those intervening decades, Stanley said bluntly, "You."
He pointed to the crowd. "We've become something multigenerational. We just hope we can give back to you all that you've given to us over the years."
Young children sat on shoulders as parents swayed underneath them, all singing along to KISS hit "Rock and Roll All Nite" as it played over the intercom.
"This is what Hard Rock's all about," said David Stewart, CEO of Cherokee Nation Entertainment, which owns the property. "The word's out that Tulsa's the place to be. We'll just keep adding to it all."
But there's something else, too. ... "And of course, there's all the pretty girls," said KISS bassist Gene Simmons. "It must be something in the water."
"I can't believe what all they have planned," said Caleb Starr, principal at Wilson. "This is going to be an amazing experience for the kids and the adults."
Starr said producers from "Extreme Makeover" approached him with an offer of free musical instruments from Mr. Holland's Opus Foundation as part of an upcoming edition of the show.
"They're rebuilding the home of a music teacher and his wife," said Starr, "and the teacher wanted to give musical instruments to a school in need. They asked if we would be interested and we jumped on the opportunity."
Starr said he was thrilled to learn KISS would be at the school to formally present 40 brand new musical instruments to Wilson students.
"It's like when you were a kid and Mickey Mouse would visit," said Starr. "I'm sure when it's all over I still won't believe it's happened!"
A bus carrying the music teacher's family, KISS members and show producers arrived at Wilson, 1127 S. Columbia Ave., at 10 a.m. The group took a tour of the band room and surveyed the dilapidated musical instruments with Wilson music teacher Doug Scott. KISS frontman Paul Stanley, a passionate supporter of the Mr. Holland's Opus Foundation, went from classroom to classroom gathering students to become face-painted members of a KISS mini army. The event-filled day culminated with a KISS/"Extreme Makeover"/Mr. Holland's Opus Foundation rally where KISS formally presented the instruments.
Starr said he hoped there would be time for one more event. "I hope I get to put Gene Simmons [KISS's infamous bass player and lead vocalist] in detention for sticking his tongue out," he said.
According to the Mr. Holland's Opus Foundation web site, the organization donates both new and refurbished instruments to school and after-school music programs that lack the resources to keep up with equipment loss due to attrition, depreciation and wear over time. An infusion of instruments enables more students to participate and to experience a quality music education, according to the site. Wilson Middle School has 515 students, 93 percent of whom qualify under federal poverty guidelines for free or reduced-price meals.
"I can't believe what all they have planned," said Caleb Starr, principal at Wilson. "This is going to be an amazing experience for the kids and the adults."
Starr said producers from Extreme Makeover approached him with an offer of free musical instruments from Mr. Holland's Opus Foundation as part of an upcoming edition of the show.
"They're rebuilding the home of a music teacher and his wife," said Starr, "and the teacher wanted to give musical instruments to a school in need. They asked if we would be interested, and we jumped on the opportunity."
Starr and his students were thrilled to learn KISS would be at the school to formally present the 40 new musical instruments to Wilson students, including violins, trumpets, saxophones and flutes.,P>"Everybody was like, KISS is coming," said 7th grader Kira Palmer. "Oh my gosh, they are donating instruments, I'm like 'no way,' but now that this is happening, I'm just really glad that they're doing this."
Students got their faces painted just like the members of KISS.
According to the Mr. Holland's Opus Foundation web site, the organization donates both new and refurbished instruments to school and after-school music programs that lack the resources to keep up with equipment loss due to attrition, depreciation and wear over time.
Wilson Middle School has 515 students, 93% of whom qualify under federal poverty guidelines for free or reduced-price meals.
"It means a new opportunity for kids that want to be in the band, but we didn't have enough instruments so they can now be in the band," said Michael.
"I can't believe what all they have planned," said Wilson principal Caleb Starr in a release. "This is going to be an amazing experience for the kids and the adults."
Starr said producers from Extreme Makeover approached him with an offer of free musical instruments from Mr. Holland's Opus Foundation as part of an upcoming edition of the show.
"They're rebuilding the home of a music teacher and his wife," Starr said, "and the teacher wanted to give musical instruments to a school in need. They asked if we would be interested and we jumped on the opportunity."
Starr and his students were thrilled to learn KISS would be at the school to formally present the 40 new musical instruments to Wilson students, including violins, trumpets, saxophones and flutes.
The release states Wilson Middle School has 515 students, 93 percent of whom qualify under federal poverty guidelines for free or reduced-price meals.
KISS will be at the school to formally present 40 brand new musical instruments to Wilson students.
"It's like when you were a kid and Mickey Mouse would visit," Starr said. "I'm sure when it's all over I still won't believe it's happened!"
In addition, KISS member Paul Stanley will go from classroom to classroom gathering students to become face-painted members of a KISS mini army.
Music students helped unpack the new instruments to prepare for the arrival of ABC "Extreme Home Makeover" crews and KISS.
"I'm really excited and really nervous," said seventh-grader Kira Palmer. "My dad, whenever I was really young like 8, we watched five hours back-to-back KISS concerts together. It was really cool."
Awnaway Morris, 12, helped unpack the ten trumpets, ten flutes, ten violins, and ten alto saxophones on Wednesday morning. Buzz about a surprise at Wilson began circulating among students a week ago, but no one knew legendary rock 'n' rollers were involved until Wednesday, she said.
Dickison has worked on stage productions of "Beauty and the Beast," "Sweeney Todd" and "A Christmas Carol," and on some independent film productions.
One of her specialties is replicating the makeup worn by KISS members during performances. Here are her tips for putting on one's best KISS face.
For Paul Stanley (modeled by Abby Krizner, of WXDX-FM, 105.9):
Start by drawing the star points over the right eye. It's easiest to pinpoint five dots, then connect them into the shape of a star. Next, fill in the star with a black, creme makeup -- Dickison recommends Ben Nye -- using a synthetic brush.
Red makeup outlines the lips to exaggerate the peaks; red creme makeup is used to make the lips look fuller. Then, the eyebrow without the star is exaggerated, again using black creme makeup. A translucent powder is then applied with a puff to set the makeup, using a rolling motion.
Next, white creme makeup is applied to the outline of the star and lips to define them. Finally, white creme makeup is applied to all the other areas of the face to complete the character. Make sure there are no streaks or bare spots, then reapply the translucent powder.
For Gene Simmons (modeled by Trib reporter Rege Behe):
Simmons' makeup is symmetrical, a flame-demon pattern over the eyes with large points. Again, Dickison creates the outline first, one eye at a time, to create symmetry. Black creme makeup fills in the design, and translucent powder is used to set the makeup. Move on to the other eye and repeat process, making sure the points are as symmetrical as possible.
Next, the lips are exaggerated and filled in with black creme makeup. Add a widow's peak on the center of the forehead. Again, outline these areas with white creme makeup using a brush. Then, white creme makeup is applied to the rest of the face and set with translucent powder.
CLICK HERE to enter the KISS KOMPENDIUM SWEEPSTAKES
In '77, blood from each member of the rock band KISS was drawn by a registered nurse and poured into vats of red ink used for printing the band's first comic book. It was created by Marvel legend Stan Lee and was the beginning of a hugely successful KISS comic book franchise. All are now out of print.
Now, for the first time, the KISS Kompendium combines the most breathtaking KISS comic books into a lush oversized collector's compilation. Brought to life by graphic illustrations as riveting and hardcore as the band's real-life fire-breathing line-up, the Demon (Gene Simmons), Starchild (Paul Stanley), and the other band members' superhero alter egos defeat evil in over 1200 pages of stunning KISS comics!
This is a book authorized by KISS. KISS founding members Gene Simmons and Paul Stanley have contributed the forewords to this. The book also includes exclusive never-before-seen backstage photos from KISS' newest tour along with commentary by the band-members.
This is a must-have for every KISS fan eagerly awaiting the band's new album, their first in over 10 years, and a perfect holiday gift for comic-book lover to pour over time and time again.
The KISS Kompendium, over 1,200 pages of KISS comics - is on sale now - is available for order at Amazon.com
Some 35 years after its inception, Tuesday night's KISS concert at the BOK Center was Disney gone horror show. When it comes to rock 'n' roll, that's a very, very good thing.
From the audience pit railing, a pint-sized devil-faced Gene Simmons hoisted his rock hand at the real deal, who towered over him and returned the salute. The devil grinned and twirled, cape spinning out as he strutted away.
The night was full of "classic vintage KISS," yelled Stanley. He lead a cheeky, rock pep-rally and cheering contests between youngsters and oldsters. Of course, they all won.
Indeed, the set list was heavy with early classics that exploded in old-school showmanship. "Deuce," "Strutter," "Hotter Than Hell," "Calling Dr. Love," "Shock Me," "Rock and Roll All Nite," "Shout it Out Loud," "Lick it Up" and more pounded out with fierce volume and ecstatic cries from the crowd.
They struck out on a vintage hit parade that included party anthems about women, sex, private parts, women, sex acts and bombast. And sex. And bombast. And women.
There were smoke grenades, fire breathing, blinding strobes, silver-glittered platform boots, rows and rows of video screens, stories-tall LED projection screens, blood-spitting, aerial acrobatics, whirling drum kits, noodling guitar solos.
What else? And that tongue - bassist Gene Simmons' outstretched, crimson-wet, wagging,taunting tongue.
If all the showmanship didn't all so utterly embody the very essence of KISS - and genuine rock 'n' roll - it would be a tired, hilariously overdone cliche.
Many claim that KISS invented the spectacle of arena rock some 35 years ago. For this tour, the band re-invented them.
Stanley gets it. At times, the near-parody brought the crowd to laughter. It's always to laugh near, not at, right?
It was surreal when singer and guitarist Paul Stanley warned about the dangers of drunken driving before launching into "Cold Gin." Yeah, he said it. Paul Stanley, one of the most bombastic greasepainted faces in rock pushed a little bit of personal responsibility onto his fans.
He also touted new classics and Wal-Mart - about half a dozen times -before launching into the first tune of the night from their first studio album in 11 years, "Sonic Boom."
Though new, it only warranted two songs in the two-hour concert: "Modern Day Delilah" and "Say Yeah."
At times, the guys looked a bit awkward when they'd go knock-kneed, hovering over 8-inch platform boots as they leaned into blistering guitar and bass solos. But c'mon, they were playing "Detroit Rock City." Confetti cannons exploded. Fireballs flash-heated the arena.
Lead guitarist Thayer's the babe-in-ax at age 49. He also stole the show with his four-minute long solo and his rocket-shooting guitar, which happened to take out a piece of scaffolding.
So what if all of the guys in the band are firmly embedded in middle age. They've had a lifetime to perfect this. Heck, they practically invented it.
In the 11 years since releasing the patchy Psycho Circus, Kiss have marketed kaskets, opened a koffeeshop, and released krappy solo albums, apparently on a mission to make everyone but diehards forget that, for a few LPs running, they were the greatest rock band of the '70s. It's a breath of fiery air, then, that their latest is as close to a return to classic form as anyone could reasonably expect. "Never Enough" and "Stand," in particular, equal the anthemic might of "Rock and Roll All Nite," while "Danger Us" actually transcends its silly titular pun. The clich?s (sorry, lyrics) otherwise define hoary, as backbones slip, things go out of the frying pan and into the fire, and hearts beat like drums. Nice to hear some things never change.
Come 9 p.m., the giant curtain with the KISS logo came down to a screaming audience, large clouds of white smoke rolled off the stage making way for Paul, Gene and Tommy! Eric Singer, the drummer was safely perched high on top of the 12 feet tall KISS logo, making him nearly invisible to my camera. It was great to hear some good old fashion rock-n-roll, no drum machines, backup singers or endless stage dancers to distract the crowd from the actual music. There were of course the 30 feet tall flames of fire shooting up from the stage, fire works explosions and Paul's fire spewing guitar, layers of white make-up, black leather galore, and the iconic platform boots.
In addition to playing their mega hits such as Calling Dr. Love and Detroit Rock City they played songs such as Modern Day Delilah and Say Yeah form their new album Sonic Boom. Which, according to Paul Stanley, we should "run out and get from our nearest Walmart." This was one of the strangest on stage endorsements I have heard lately. The new songs have the classic rock-n-roll sound that will be loved by both the KISS aficionados and new fans alike. Judging from the enthusiastic, alcohol filled, yelling and screaming audience, classic rock-n-roll is ALIVE AND WELL, at least in Austin.
Wracked in the proverbial nuts of our immune system, Aftermath downed whatever meds he needed to make it to Toyota Center, because there is always the slim chance that this will be the "last tour" in the same way that everyone always has that twinge of guilt when they miss the Stones or Dylan date in their hometown. Those artists are also sadly depleting natural elements that can't be just reconstituted at a later date for consumption.
True it is that KISS is now down to only two original members, but you people gobble up The Who without Moon and the Ox like they were a bag of Walker's Crisps, so what difference does it make? All KISS fans need to survive is Gene Simmons' pornographic tongue and Paul Stanley's hammy stage banter to get us through. Plus fire. And blood.
Old-school KISS fans, the ones who in their teens and younger when the band used to swing through the old Sam Houston Coliseum and the Summit, are a special and rare breed. Not only have they seen the show for the past 35 years, they still enjoy it just like the very first time. Once you see those four letters light up behind Paul and Gene, it's hard to not feel that you are now a part of a rock and roll lineage whatever age you are or whichever number KISS show you are on.
KISS starts the night with that old familiar "You wanted the best, you got the best..." line that temporarily gives the band ownership of whatever venue they are playing in. No one else has the balls these days to have a disembodied voice introduce their band with such a lofty introduction, and it's a shame.
"Deuce" and "Strutter" open the show in a flash of fire and heavy smoke, as they have for going on almost five decades. If you squint your eyes just right, it's 1975 all over again.
There would be no lulls during the show, with the band picking out every single punishing glam-metal hallmark in their repertoire with Hotter Than Hell-era tracks like the title track, "Parasite" and "Let Me Go, Rock 'n' Roll" getting equal footing. These were the songs that a decade ago changed Aftermath's mind about the band, after growing up only hearing the same two KISS songs in commercials and the like his whole life. It was then he realized that the band wasn't so far sonically removed from his beloved New York Dolls and Stooges.
Every KISS hallmark was present, from the pyrotechnics to Gene playing spewing fire and blood. At one point during one of the flame breaks, we spied Paul teasing out his hair in a dark corner of the stage while Gene held court. Even though they aren't from the original line-up, Eric Singer and Tommy Thayer are now old salts.
During an extended Thayer solo session, a lighting rig fell from the exploding scaffolding and onto the stage. Gene flew into the rafters to spit blood at us and howl out "I Love It Loud" from one hundred feet in the air.
Everything after "Loud" was pure KISStory, from "Rock And Roll All Nite" to "Love Gun," where Paul swung out over the audience and to the back off the house to play on top of his own platform. Yes, they played "Lick It Up" from their unfettered and unpainted days, but it's still a solid jam in our book.
These are their legacy songs, the ones that you will see on obits and nostalgia trips from here until eternity. If you can't grin like an idiot during these pure pop-metal nuggets then you are an emotional and rock and roll eunuch, and Aftermath doesn't want to drink with you. Ever.
Paul introduces the closer "Detroit Rock City", the opening cut off the epic Destroyer, and Aftermath couldn't help but change the lyrics to "Houston Rock City" as he screamed along to the anthem. Our faces were warmed by all the heat from the stage, and gave us a healthy glow as we walked into the coldness and frost of the evening.
Set List:
Deuce
Strutter
Let Me Go Rock 'N' Roll
Hotter Than Hell
Shock Me
Calling Dr. Love
Modern Day Delilah
Cold Gin
Parasite
Say Yeah
100,000 Years
I Love It Loud
Black Diamond
Rock And Roll All Nite
Shout It Out Loud
Lick It Up
Love Gun
Detroit Rock City
Is it even possible that Gene Simmons could have slept with 4,600 women?
Why so incredulous about our Gene? Would you dare question the veracity of a Hagar, a Coverdale, or even a Nugent? Topknot or not, Gene Simmons can hold his own with any other rock 'n' roll god. It's more than "even possible," my good man. In fact, it's quite probable.
John Allen Paulos, an actual mathematician, says, "Gene Simmons is around 60 years old, and let's assume he's been sexually active for at least 40 years. Since 4,600 ÷ 40 = 115, he'd have had to average 115 women a year during that time, or about two a week. Physically that seems easily doable." Even if you adjust the figure to account for the time Simmons has spent in monogamous relationships with Cher, Diana Ross, Shannon Tweed, and Paul Stanley, you must factor in the infinite opportunities for group sex that the world's hugest rock stars and sex columnists confront daily.
"So a famous and rich rock star is able to score with a variety of women during the most explosive moment of sexual freedom of all time?" says Dale Sherman, author of Black Diamond: The Unauthorized Biography of KISS, referring to, among other things, the '70s. "Yeah, it sounds feasible." Besides, it's legends like these that fuel what's come to be called the Kiss Army, an all-volunteer youth force that is, as I understand it, dedicated to the service of its blood-spewing idol, Mr. Simmons.
So the next time you are moved to question the "modern-day man of steel," as the song goes, have a word with yourself. The Demon is good with numbers.
Indeed, when Comics Guy first glanced at the new Radical Comics offering, the story did not seem all that original, the art appeared to be closer to the traditional style one would expect from Marvel and DC - rather than the realistic, cinematic art most of the company's line is known for. The whole point of the project seemed to be to exploit the name of its creator and penciler, Nick Simmons, son of KISS rock legend Gene Simmons.
However, once Comics Guy actually read "Incarnate," he was pleasantly surprised.
Because, while the idea of a being who cannot die is not original, the way Simmons portrays Mot - the series' star - is a bit edgy.
Mot is a boy who cannot die. He has been riddled with bullets, burned at the stake, doused with napalm and hung from a gallows - and still walked away.
Though he has wandered the world for centuries, Mot's youthful appearance is not only disarming to his enemies but also symbolic of the way he acts.
Impulsive and immature, Mot is the kind of guy who will shoot another immortal in the face for kicks so he can make a joke about his target's appearance afterward.
Mot continues to search for meaning in a life without the possible release that death provides. As a result, he sees no meaning in life itself and it doesn't bother him one bit to kill humans - he justifies his coldness by noting how so many humans kill each other. The only thing that bothers him is that his hunger for human flesh causes him to kill humans even when he doesn't want to.
Another reason why Mot has little moral grounding is that his origin is a mystery. He has been worshipped as a god, feared as a monster and scorned as a devil while living in plain sight. The ironic thing is that not only do others struggle to define him, but he still has trouble describing himself.
Yet, the combination of not knowing how he came to be and never facing anyone he has had to truly fear, combined with knowing his life will never end, has made him impulsive and narcissistic to the extreme.
The idea that he could die is absurd to him, a metaphor for how the young view themselves as invincible.
Note to President Obama: Just TRY to get Mot to purchase health insurance.
When Mot hears a shadow group called the Sanctum has found a way to kill the immortals - Mot included - he lets out a laugh that would chill the Joker.
When they demonstrate that they mean business, Mot slices and dices them with such efficiency and glee it would make Wolverine jealous.
As the war escalates, Mot realizes he does not identify with either side, which makes his ensuing actions even more unpredictable.
Though the story is complicated, it is an excellent introduction to all the main characters. Simmons writes and draws them in a way that makes everyone compellingly fresh and unique.
While it would be fair to say this three-issue arc isn't bursting at the seams with depth, character development or psychological profiles, it is also fair to say Simmons is just scratching the surface with these characters and that the tale he has cooked up is good, action-packed, bloody fun.
'Big plans' for 'Incarnate'
Nick Simmons says that if the demand is there (and early sales numbers indicate it is), "Incarnate" will be the first of many tales he tells with these characters.
"I have really big plans for it in the future, for all the characters," Simmons told Comics Guy. "One thing that needs to be made clear, though, is that it's not a horror book. The way I describe it, the differences between my book and a horror book is the same as the difference between the movies 'Saw' and 'Blade.' One's a horror film. One is - for the most part - an action film. Both are very, very bloody, both have elements of horror and both are names of sharp cutting instruments. But they're two very different sorts of films."
Part of the reason Simmons chose Radical is that it was willing to break with conventional comic industry thinking and give him the amount of pages he felt he needed to tell his story. So issue No. 1 was 56 pages; issue No. 2 was 52 pages and issue No. 3 will be 64 pages. As part of Radical's "Bigger Books! Bigger Value!" campaign, all three issues are $4.99.
To play in one of the biggest rock acts of all time means that you constantly have to be on top of your game at all times. It's easy to say that most players couldn't handle the constant drumming for 2 straight hours, a long drum solo, singing backup vocals on every song (and leads on 4), having explosions and fireworks constantly going off, and 20,000 people watching your every move.
Then again, not everyone can be like Eric Singer. With the aforementioned necessities of vocals and stamina that are required for a Kiss concert, Eric not only displays his skills around the kit with his tremendous fills and solid timekeeping, but also as an entertainer with flashes of showmanship included on almost every crash of a cymbal or flip of a stick. His kit for the Alive 35 tour is almost as eye catching as his playing. With a Smoked Acrylic Masters Premium kit, Eric's drums are sure to attract the attention of the 20,000 strong in the crowd as it turns from looking almost solid black to transparent with a flash of the lights. Eric's sizes for this Smoked Acrylic Masters kit are as follow:
Eric Singer's Alive 35 Tour Kit:
(2)24x15 bass drum
8x8 tom (left of hi-hat)
10x8 tom (left of hi-hat)
12x8 tom
13x8.5 tom
14x14 floor tom
16x16 floor tom
14x6.5 acrylic free floating snare
The 24x15 kick drums allow Eric to have a combination of the attack you get from a 24x14, combined with the punch and boom you get from a 24x16 or 24x18. Although argued by some to be too bright the acrylic shells that make up this kit seemed to have the perfect amount of pitch which lead to beautiful sounding transitions and rolls from the high tom to low floor toms. Eric's 14x6.5 acrylic free floating snare drum held a snappy amount of pop and crack, while still sounding full bodied and warm. In total, the brightness of the acrylic shells are the perfect mix when playing in massive arenas and stadiums and they held up beautifully throughout Eric's continual hard hitting.
The Alive 35 tour is continuing on in the US for only a couple more dates, however, starting in early May of 2010 Kiss will be heading overseas to capture audiences on a 2 month long European tour. For more information and for tour dates, please visit www.kissonline.com or on Myspace at www.myspace.com/kiss. Also be sure to pick up your very own copy of Kiss' latest album "Sonic Boom" which features such singles as "Modern Day Delilah" and "Say Yeah".
Celebrating thirty-five years since its initial release, KISS are wrapping up their Alive 35 tour as they play a good portion of their classic live album along with the incorporation of a few tracks from their new album Sonic Boom. It didn't take long for the pyro to explode as KISS opened with "Deuce."
KISS practically perfected and most likely patented their live show. Watching KISS live is an experience like no other. I was surrounded by people of all ages who seemingly knew the words to every song. The songs are just as big and outlandish as the costumes they wear, but only a band like KISS can pull it off.
As a KISS purist, I was initially skeptical about the replacement of Ace Frehley with Tommy Thayer. These concerns quickly subsided after watching an electrifying rendition of "Shock Me" with Tommy handling the vocals and guitar riff effortlessly. Long before Will Ferrell asked for more cowbell, "Calling Dr. Love" was answering the call with its heavy cowbell intro.
"Cold Gin" is another KISS classic song that had some levity when Gene Simmons used his trademark tongue to lick Tommy Thayer's neck while he was playing guitar.Tommy later had his moment to shine for a guitar solo as he fired "rockets" from the headstock of his guitar that caused one of the lights to fall from the stage.
The bloodletting of "I Love It Loud" was unbeatable with Gene hoisted high above the stage singing and stomping along. Paul pointed out the obvious when he mentioned that if you came to the show expecting to end global warming or stop world hunger, you were in the wrong place. The solution according to Paul was to "Rock and Roll All Nite" and party every day. It was escapism at its best.
A four song encore kicked off with the twin guitar attack of "Shout It Out Loud". KISS even visited their unmasked days by playing the 1983 classic "Lick It Up". I honestly had no idea what the song meant back in the day but loved watching the video. "Love Gun" and "Detroit Rock City" closed out their set for a memorable, nostalgia filled night.
The print runs are limited to 250 IRIS Giclee prints per design. Each KISS Giclee is printed on "Museo Textured Rag" 325 gsm digital Watercolor paper and comes with a certificate of authenticity.The trimmed size of the prints are 25" square, and the image size centered within that will be 20" square.
Pre Order - Sonic Boom Giclee Print
Pre Order - Rock And Roll Over Giclee Print
But, he says, he doesn't doubt that he is the celestial, starry-eyed "Spaceman."
Thayer's journey to replace the KISS co-founder and greasepaint-wearing guitar virtuoso was a long one.
"Being compared to Ace is only natural," said Thayer, who's been the official KISS lead guitarist since 2002, after Frehley left the band for good. "I've lived up to those expectations pretty well. The band just continues to grow."
In fact, its popularity keeps expanding.
With nearly four decades of touring under its belt, KISS isn't just a band. It's a mega-brand that markets bombast and rock and attitude to more than three generations of fans, in things including video games, comic books, soda and its newest studio album release, "Sonic Boom."
"We've never had many fantastic live reviews - ever," said Thayer in a recent telephone interview with the Tulsa World. "We've always been the band that critics love to hate."
Until now. Thayer said the band's world tour is "the biggest set KISS has ever taken out. It's bigger; it's better; it's truly kicking butt.
"Without sounding like I'm tooting my own horn," Thayer stopped and said, then laughed.
Too late. If Thayer sounds cocky, he has a right to be. In many ways, his story is the ultimate fan story. He, too, wore the KISS makeup for Halloween when he was a kid. He, too was in a tribute band named Cold Gin. Indeed, he even played as Ace Frehley.
In about 20 years, he's morphed from a songwriter in rock act Black and Blue - who opened for KISS decades ago on a regional tour - to a guitarist in a KISS tribute band, to a KISS lackey, to the band's official lead guitarist.
"All that time, I was really working for those guys (in KISS)," said Thayer. "It evolved. It just gets more and more exciting as we go along."
Years ago, he was the first to organize the cultish, Star Trek-like KISS conventions. He helped arrange the 1996 KISS reunion and world tour. "Gene hired me as help. I wanted to get into the music business. I wanted projects and responsibility. I wanted people to know that I can do a lot more than just play guitar."
And boy, has he. He's helped with videos. Sound checks. Rehearsing. Recording. Writing. Touring. Everything. Even by doing his own makeup before every single show.
"It's a whole two-hour transition process," he said with a chuckle. The entire band closes itself in one room to get into character: Tommy Thayer as the Spaceman, co-founder Gene Simmons as the Demon, Eric Singer as the Cat and co-founder Paul Stanley as the Starchild.
"It's our nightly ritual," he said of the band's inner sanctum routine. "No one else is allowed in before the show. Nobody."
KissFAQ: You've summarized [your new solo album] "BK3" as being your "Revenge", which, for non-makeup-era KISS fans, is high praise. Does "BK3" represent the definitive Bruce Kulick album to date?
Bruce Kulick: There's no doubt I spent enough time and energy and I feel extremely proud of it. I think it was worth the wait and the expense I undertook for it, because it was a lot of work. I really approached it with the attitude that this has got to be the best of me, in the way I felt the "Revenge" album was the best of KISS for the non-makeup era. I wanted this record to be up that kind of quality and I feel like [producer] Jeremy [Rubolino] and I accomplished that.
KissFAQ: You partnered with quite a few artists and fellow musicians on this record from John Corabi to Tobias Sammet, THE KNACK's Doug Fieger and guitarist Steve Lukather. Was this the original concept from the outset or did it turn a corner when Gene and Nick Simmons became involved?
Bruce Kulick: There was never a big plan, except to make a great record. When some of the songs were being cut, Jeremy and I realized certain songs wouldn't be great for me to sing because that's not my best instrument, my guitar playing is. After asking Gene to participate and him saying yes, we realized we would have a song for him, and that was going to be amazing. And then he said to me, "Hey, how about Nick?" And I said, "Ooh....okay. What song would he like?" We then showed him a couple of the tracks that we cut that we weren't really sure who would sing. But not everything was very tailored to any of these featured guests. It just kind of organically happened and I was very very pleased with everyone's contributions, and the result. I couldn't be happier.
KissFAQ: The album gets off to a moving start with "Fate", and the lyrical content is a snapshot of your days in KISS, complete with subtle KISS song references — "Goin' Blind", "War Machine", "Paralyzed", etc. Intentional?
Bruce Kulick: Ah, the first person that caught it! Those words weren't put in there to be ultra clever, they just fit what I am trying to say. So, in some ways, they were definitely a tip of the hat to KISS but there's a reason to say, "Laser beam, war machine" because I was imagining myself on the stage, and certainly if you look at the lyrics it follows me along my journey within KISS. The attitude of the song was always supposed to represent, "I am who I am and here I am...this is me and I'm not going to let anything get me down." I wanted everyone to know that I am not going to live in the KISS shadow. I'm really super proud of what I contributed to KISS and I miss being in the band and all. But it's still something to celebrate, not anything to feel like I am underneath them.
KissFAQ: One thing that is evident on the album through songs such as "Fate", "Final Mile" and "And I Know" is the projection of your vocals. Are you gaining more and more confidence as a singer?
Bruce Kulick: Well, I have to thank Jeremy for really pushing me. And sometimes we sang the songs two or three times to get it right...and it took that. My vocals weren't as produced on my other solo records so I feel like his direction and his insistence on everything being as powerful as it could be was part of the strength of making my voice come across in a more confident fashion.
KissFAQ: Any plans for an official single in advance of the album?
Bruce Kulick: I think there might be a digital single for "Hand Of The King" but I am not sure as of right now. You know, for me I didn't make the album with singles in mind. My attitude was just to make the best record I could. If it turns out that that a song really draws people to the record, great.
KissFAQ: Touring plans?
Bruce Kulick: I am not sure how I am going to handle that between GRAND FUNK RAILROAD and everything else. I would like to say that I am going to try to get out there, but I just don't know how yet.
KissFAQ: With the "Kissology" series, one of the things that emerged was the opportunity to look in the rearview at nearly the entire life of the band. And many fans were again able to take take notice of the vitality of the non-makeup era. Shows such as Detroit '90, Sao Paulo '94 and "Unplugged" all show a confident and musically strong KISS lineup that was able to do justice to virtually anything in the KISS catalog. Did you get a sense of pride in watching all that footage?
Bruce Kulick: Absolutely. I'm extremely proud. Obviously for the fans of KISS that were into the "other" eras and weren't strict about just the makeup era, they know what I've contributed and I think any of them that were appreciative of what I did are going to really enjoy "BK3". Because as much as I didn't make it for the fans — you know, you do your own music for yourself — I just know that if I am excited about something, they will be too. And so far the reaction has been great.
Read the entire interview from KissFAQ.
But not just BIG. It's all brash and rocket-fueled and obvious. The group's Saturday night show at Toyota Center, part of its Alive 35 Tour, blasted into the heavens on leather wings and a rock 'n' roll prayer. The KISS Army was there, an impressive mix of young, old and very young in full makeup.
Gene Simmons lords over the crowd like some sort of spandex vampire. (He could totally wipe the floor with those Twilight boys). And Paul Stanley is equal parts ringmaster/hype man/dancer.
Simmons licked guitarist Tommy Thayer's neck during Cold Gin and spewed blood before rising to the rafters. Stanley swung like Tarzan over the crowd and onto a small stage near the rear of the venue.
Musically, the band was forceful. The band tore through snarling, spirited renditions of Hotter Than Hell, Calling Dr. Love, Parasite, 100,000 Years, Black Diamond, Rock and Roll All Nite -- songs that had middle-aged fists pumping in the air and grade schoolers hopping in the aisles.
There were the usual tricks: extended guitar solos, professions of love for the city, toast-your-face fireworks, a revolving drum kit. But what might have felt utilitarian in lesser shows was high drama here. Every moment was punctuated with a BOOM! BANG! CRASH!
New tunes Modern Day Delilah and Say Yeah -- from the group's 19th studio disc, October's Sonic Boom -- rallied the crowd (as did seemingly endless blasts of confetti). Stanley addressed fans frequently, often lapsing into banshee wails. And Simmons is still an undeniable force with a gymnastic tongue. He was alternately funny, frightening and full-on freaky.
The quartet rolled out Shout It Loud, Love Gun and a set-closing Detroit Rock City -- ending the set on the same furious, feverish note it started. Youth be damned. Expect to see KISS stomping through town in another 35 years.
The huge KISS curtain dropped from the lighting rig and there they were, streaming out the first few bars of Deuce. I have to say that no one on earth comes even close to putting on a show like KISS do. They are the masters of theatrical rock & roll, and even if you don't like the music, the admission price would be worth it just for the show alone.
KISS even make normally mind numbing solos interesting - Gene Simmons has always been famous for his blood spitting, and after that, he is hoisted up a couple of hundred feet to the roof of the building to sing I Love It Loud. No matter how strong the harness, I would be crapping my pants up there!
Eric Singer's drum solo has a revolving stage in which he gets each side of the arena in a cheer-off - not to mention a firework or two. Tommy Thayer hasn't taken up Ace's flaming guitar, but he shoots rockets at different parts of the stage to set off huge bombs.
It was great to hear two new songs as I haven't heard them live before. I had seen Modern Day Delilah on You Tube, but Say Yeah was a totally new experience, and I have to say that it goes down so well with the crowd singing along with the chorus. During the end of the main set closer, Rock & Roll All Nite, a confetti storm starts, and it's hard to imagine how much paper is used for it as it comes down in torrents.
It was even hard to sing along as bits of paper kept landing in my mouth. For Love Gun, Paul Stanley gets ferried to a stage at the back of the arena so he can sing out there, before coming back to do a little solo of his own as the introduction for Black Diamond.
As the last chords of Detroit Rock City were still ringing in my ear, I let the main part of the crowd get going. When a lot of them had left, it was funny to see the mess that the paper storm had left. It was inches deep in some places, and some kids were using it to throw at each other.
One thing I forgot to mention about the crowd is that it is the biggest age range in a rock crowd you will ever see - there were people there from 5 - 65, and next to me were to 15 or 16 year olds with their parents. That's some going as at that age, most kids would rather be seen dead than going out with their Mum and Dad!
Even when I got out in to the street, you could see paper blowing everywhere as it was still coming out of peoples clothing. I was so impressed by the night's show, the trip would have been worth it if that was the only one I could make. I am so lucky to have two more ahead of me, and I can't wait!
This was high comedy during KISS' spectacular and fun rock extravaganza Friday night at a crowded Erwin Center, a cavernous venue that could barely contain the show's endless eruptions of theatrical bombast and pyro porn.
KISS is performance art - children, like so many in the audience, devour this stuff - accompanied by an extremely loud soundtrack of rock ditties. For 35 years, their concerts have been a savvy blend of bluster and balderdash, with a cloying infusion of Jerry Bruckheimer. (If they began today, KISS could be a CGI creation.)
They do it well, and the four band members worked hard Friday to keep the audience involved with flattering between-song banter, constant eye-contact, call-and-response games and by anointing the masses with flurries of guitar picks. Simmons, Paul Stanley and relative newcomers Eric Singer on drums and Tommy Thayer on guitar (who does a fine imperson-Ace-tion) never took the crowd for granted, constantly checking in, begging our approval and throwing it right back, like an enormous, flame-strewn self-esteem seminar.
They opened with old-timers "Deuce" and "Strutter" with Stanley promising a night of "classic vintage KISS." For more than two hours, the band stomped through a hit-list of songs about sex, partying, sex, drinking, rocking and sex. The crowd thrilled and sang along to "Hotter Than Hell," "Cold Gin" and "Black Diamond."
The show hit its stride with faster, hookier songs ("Calling Dr. Love," "Parasite") and foot-stomping anthems ("Rock and Roll All Nite") that matched the volcanic production values. Amid a backdrop of JumboTrons, sirens, rising platforms, confetti and flaming mushroom clouds, Simmons spewed blood and fire, Thayer shot rockets from his guitar and Stanley wiggled his rear-end at fans before smashing his guitar. Singer's drum platform spun around.
It's no secret that Simmons, lascivious demon-beast, with that long-legged skulk and spiked armor, is the show's cynosure. In a literal high moment, he was lifted by cables to the rafters, where he mounted a platform and gazed down upon his worshipful kingdom. There he bellowed 1982's "I Love it Loud," his lips and chin stained with fake blood. The song ended and the lights went out.
Set list: "Deuce," "Strutter," "Let Me Go, Rock 'n' Roll," "Hotter Than Hell" (Gene Simmons breathes fire off a sword), "Shock Me" (with Tommy Thayer on lead vocals), "Calling Dr. Love," "Modern Day Delilah," "Cold Gin" (Thayer guitar solo, with rocket-firing guitar), "Parasite," "Say Yeah," "100,000 Years" (Eric Singer drum solo, Gene Simmons bass solo (with blood spitting), "I Love it Loud," "Black Diamond" (with Singer on lead vocals), "Rock and Roll All Nite" (with stadium-clogging confetti storms).
Encores: "Lick it Up," "Love Gun" (Paul Stanley flies over audience), "Detroit Rock City" (Paul smashes guitar). More fire.
KISS never does anything in moderation. That's not what one expects from the group nicknamed "The Hottest Band In the World". When the KISS ALIVE 35 World Tour recently reached North America after a year and a half of performing to sold-out arenas and stadiums the world over, one had to know it would be one of their biggest, most impressive setups to date. The end result included a massive screen stretching across the wall of the stage like a movie screen that just got outed for steroid use. Said screen was anchored by an endless amount of smaller screens, all neatly wrapped in enough towers of flame and fiery explosions to level a small town.
Last night's show was the 10th time I've seen KISS. Just as they did at my first show in 1992, KISS held the standing-room-only crowd at TD Garden in their collective palm, treating the audience to a two-hour-plus set of hits and history backed by the aforementioned visual presentation. It's what the band is best known for in the live setting, and last night's show certainly reminded everyone why they are the unquestioned kings of the live concert experience. The set got off to a bombastic start, with their incredible cover of the Hollywood Stars' "King of the Night Time World", followed by "Deuce", a favorite dating back to the band's earliest days. Gene Simmons belts out the track with as much power and panache as he did when he was just a young, aspiring, twenty something Demon looking to attain rock 'n' roll stardom. Audience participation was rampant throughout the evening, as Paul Stanley -- the longtime star of the KISS center stage and the band's onstage emcee -- would lead the crowd through fist-pumping call-and-response sessions, punctuated by his acceleration above the audience from the main stage to a smaller stage in the back of the arena, to belt out "Love Gun" surrounded by some of his greatest admirers.
As Stanley made clear last night, KISS has never been a band who dealt with talking politics or preaching about the world's troubles. The music of KISS changed the world by providing music lovers with escapism in its purest, most basic form, better than any other band in history. In keeping with this ideal, the band turned TD Garden into a rock 'n' roll dance party, as fans of all ages and cultures filled the aisles, letting the music take over their minds and bodies. Tracks including new single "Modern Day Delilah" and classics ranging from "100,000 Years" to "Lick It Up" to the band's immortal anthem "Rock And Roll All Nite" provided the crowd with more than enough reason to forget their worries and concerns with everyday life and turn a Monday night into something resembling a late Friday night. Amidst showers of light and ivory confetti, KISS delivered what was, far and away, the biggest and best live concert event anyone in the Bean has ever experienced. Yes, that includes U2 and that silly giant crab they gave us at Gillette Stadium a few weeks ago. Sit down, Bono.
As exhibited onstage, the band's current lineup of Stanley, Simmons, lead guitarist Tommy Thayer and three-time KISS drummer Eric Singer is arguably the most musically dynamic KISS lineup since their acclaimed early 90's lineup (which, interestingly, contained a near-identical lineup; just swap out Thayer for Bruce Kulick). The overall musical performance was tight, precise, and more energetic than anyone could expect from a group whose members' age ranges from 48 to 60. In particular, Thayer and Singer impressed, the former exhibiting impressive guitar chops and the latter bashing the skins with ferocious execution. The snarling bass licks of Simmons showcased his underrated musical talent, while the golden voice of Stanley, while slightly weathered after over 35 years of performing, still showcased great range and brought chills up the spines of the beautiful cougars in the crowd who screamed ecstatically with every gyration of his hips and wiggle of his ass.
All of this comes during a tremendously exciting time for KISS. Their first new studio joint of original material in 11 years, Sonic Boom, drops this week exclusively at Walmart, amid huge anticipation and promotional hype. The band is fresh off receiving their long-deserved nomination into the Rock and Roll Hall of Fame. Without a doubt, the world's ready to be KISSed like never before. If last night at the Garden was any indication, it's a KISS they will not soon forget.
Once again, the people of Boston have experienced firsthand why KISS are America's biggest band ever. The Bean has been conquered one more time.
For more than 35 years, the New York-formed pyrotechnics kings have ruled the roost of combustible rock.
The Demon, Spaceman, Catman and Starchild stomped out their niche in music history with their larger-than-life live act, which included mile-high platform shoes, greasepaint, elaborate costumes, explosions - and loud, loud, loud rock 'n' roll.
The current KISS tour lineup includes Tommy Thayer, Gene Simmons, Eric Singer and Paul Stanley.
"Fans can expect some iconic KISS 'Alive' classics as well as some hits off our new release, 'Sonic Boom,'" said Stanley in a recent press statement.
RIGHT NOW: Read full KISS fan stories from our readers online. Here's a sample:
"Gene Simmons had written some songs while on tour that he wanted to get recorded and booked some studio time at the studio. Long story short, I ended up in an all night session with Gene." -- Paul Hanewinkel, Broken Arrow
"The first word I learned to spell as a child was 'KISS' complete with lightning bolt S's. The second thing I learned to spell was my own name, complete with lightning bolt S. KISS took priority even over my own name!" -- Steven P. Conrad, Tulsa
"My favorite KISS story is actually about my mom. ..." -- Damon Lewis, Owasso
"There they were, side by side, pictures of us as Kiss and as ourselves including our real names. Our classmates were blown away." Frank Mitchell, Tulsa
"I first became a KISS FAN in 1974, when I bought their eight track tape, because of the cover." -- Benny McClintock, Bartlesville
Read their full stories and more online at tulsaworld.com/KissStories.
Thirty-five years later, some things haven't changed. Inane network television. Gasoline shortage. Recession. A KISS album - their 19th original studio project and first new album in 11 years, Sonic Boom: loud, heavy on the guitars and melodic rock, recorded on tape.
Thirty-five years is an impressive stretch for any relationship, particularly one that began this way: "He was wearing overalls and he had a beard," Paul Stanley recalls of his first meeting with Gene Simmons. "I didn't like him. Steve [Coronel, friend and co-writer] said, 'Gene, Paul writes songs also.' Gene said, 'Oh yeah? Play one.' I did. He looked at me and went 'Eh.' ... I wasn't crazy about ever seeing him again..."
So much for first impressions. On their second meeting, Stanley and Simmons locked into a groove that has outlasted most marriages. Together, they have survived the best and worst of times: venom from the media, personnel changes, a fragmented and imploding music industry. Through it all, the recording and relentless touring continued, and KISS fans, the loyal millions, never wavered.
KISS today is Stanley, Simmons, drummer Eric Singer and guitarist Tommy Thayer. It's a powerful, well-run machine, and that's no accident. Being part of a band that operates on pure adrenalin, focus and determination, that cares not a whit about outside opinions, and whose members are beholden to its rock and roll history is not a "job" from which one clocks out when the platform boots are put away every night. According to Tommy Thayer, being in KISS - being KISS - is a musical and personal commitment. It's about partnership, respect, hard work and a lot of loud guitars.
Thayer spoke to Premier Guitar about the making of Sonic Boom, KISS 2009, and what it means to have the ultimate gig as lead guitarist in a band that knows no middle ground.
When did plans begin to record a new album?
Paul spearheaded this project and he decided to do a studio recording again. During my years with Gene and Paul they've been very ambivalent about it because they were put out with the whole thing. Psycho Circus [1998] was not a great experience, and the results weren't satisfying to anybody, really. It left a bad taste, to a certain extent, and over the last few years the state of the recording industry has been funky. Where KISS is in their career, to do something is challenging and risky because you'd better hope it comes out the right way, otherwise it can be more of a liability than a positive thing. Fortunately, Sonic Boom turned out well. Paul is smart; he made a band album and he took control. We did it on tape, recording together, no outside writers, none of the silly things bands do to try to please and play politics. We have a KISS record and we're not bound by anybody else. So we wrote, recorded and finished it, and nobody heard anything until it was done. It's KISS in the purest sense, it worked out very well, and when it was finished we all said, "We made a damn good record."
How long had it been since you recorded on tape?
At least 10 years. I thought it was obsolete! We recorded at Conway Recording Studios, in Hollywood, with Greg Collins. The setup is great. We had Eric's drums in a booth, Paul, Gene and I were together, we had the amps in iso and we cranked it out. We rehearsed the songs at Mates and at SIR in Hollywood. When we first got together, Gene, Paul and I, in different combinations, the point was to write and not over-think. In 20 minutes we'd get a cool idea together, the basic structure, take it to rehearsal, make sure the arrangement was good, practice it four or five times and take it to the studio. We didn't record the album all at once. We did it in sections. We were touring here and there, and then we did the first three songs. We went to South America, and on days off we were in our hotel rooms with guitars and mini-Marshalls, putting songs together and recording on our laptops. We'd come home and do the same thing: rehearse, record three songs. We did vocal and guitar overdubs at Greg's private studio, The Nook, in Studio City. The whole thing, from start to finish, took a total of six weeks, which is a relatively short period by today's standards. My vocal on "When Lightning Strikes" took 20 minutes.
Which computers and software did you use on the road?
We all have Macs and Mac Pros and GarageBand. It's the easy way to record. No one in this band is super technical. Gene, in particular, is low tech. You send him an e-mail with an attachment and he e-mails you back and says, "I don't do attachments." He does it to the band, to Doc McGhee, no matter who you are! Or if the e-mail is too long, "I don't scroll." That's where he is. He hasn't figured out how to do attachments; he doesn't know how! The fact that we can all turn GarageBand on - I figured that out!
How did working with tape change your approach to recording, if it did at all?
One of the main things we did differently from other groups is that we recorded very organically, together as a band. Today, 99.9 percent of people record a drum track and build from there, adding guitars and vocals, step by step. We recorded all the basic tracks together as a four-piece, occasionally fixing bass notes and doing vocals and guitar solos, the way it was done in the 1970s and before. It's a different approach, and I know that from experience
Was it worth it?
Oh, absolutely! Part of doing it this way is what gives it that real, spontaneous sound. If you make a record too perfect, if you do it step by step, it ends up sounding good, but the feel can be generic. This way, the flow has a real feel.
Walk us through your gear: the room, guitars, amps, how you created that organic sound.
It was pretty simple. I used Les Pauls and my Gibson Wine Red Deluxe. It's not a guitar I use on the road. I got it in the mid-'80s and it's a good sounding Les Paul for the studio and at home. I borrowed Paul's Gibson 61 SG Reissue and used that more than the Les Paul for rhythm and solos because it has a nice mid-range. I used an old Marshall, my H&K Tommy Thayer Duotone and Statesman combo amp, and an orange practice amp of Greg's for the raspy edge on my solos. My strings are Ernie Ball Hybrids, 9-46 gauge. The only pedal I used in the studio to give my solos a nicer boost was an Ibanez Tube Screamer. It's an original from the 1970s or '80s that I borrowed from Doug Aldridge of Whitesnake 24 years ago and never gave back. Every time I see him, he asks for it and I say, "I'll give it right back!" Doug gave me a really nice lead guitar sound on this album!
What is your role as lead guitarist in a two-guitar band, and how does it change from studio to stage?
They turn me up and turn Paul down, and that works! Two-guitar bands are my favorite because of the interplay, especially in KISS. When we're writing, we try to have that counterpart and interplay between the guitars and voicings so that we're not doing exactly the same thing. That's a big part in the way the songs were written. The other thing that makes the sound of our two guitars distinctive is that we use different approaches and settings to set the two off, and the more we do that, the better we are. The familiarity we have, the years of playing together, including Gene, have solidified that sense of rhythm and feel. We're all locked in together. It gives us a lot of power and we're all good at that. It just works.
What are you using onstage?
My live set-up is very straightforward: four Hughes & Kettner Tommy Thayer Signature Edition Duotone amplifiers, plus four Hughes & Kettner 4x12 speaker cabinets. I use four Gibson Custom Shop '59 and '60 reissue Les Pauls in sunburst, black and silver sparkle, one Custom Les Paul with rocket/gerb firing system [pyrotechnics], and a Gibson Custom Shop Explorer in Silver Sparkle. I use no effects onstage besides an octave divider and an MXR digital delay used in my guitar solo.
You've been involved with KISS for 20 years.
I began songwriting with them after Gene produced Black 'N Blue. I recorded demos with them. Then Black 'N Blue ran its course and I needed a job. I worked for KISS' organization and helped out on projects; it's now 15 or 20 years ago. It evolved quickly, with more responsibility and spearheading projects, conventions, the reunion tour, DVDs, editing. As Ace and Peter bowed out again, I was heir apparent because I knew how to do it.
When did you begin to feel like a band member?
There was always a strong familiarity between us, knowing each other very well, even when I worked in their office. I got in the band in 2002-2003. One of the main elements to making things work in a band is being comfortable with each other. Gene and Paul have been around a long time, and one of their main criteria is that everyone be comfortable and compatible personality-wise. People think that being in a band is all about how you play, and certainly that is a big part, but personalities are important too. It took me a year or two to feel confident and a part of the band, and that's understandable. KISS has a long history, and you can't just come in feeling like you're a big part of this. Having had a lot of input with the new album, I definitely feel very much like a solid member.
When fans attend KISS concerts, they want to hear the songs played a certain way. How do you stay true to form without feeling like you're playing in a cover band?
First of all, I don't want to do it any other way. People sometimes suggest, "You should put more of your personality into the old songs." No. I want to play them the way they were written and recorded originally, because when I see a new guitarist in a band, I want to see him nailing it the way it's supposed to be. I hate going to concerts where the new guitarist is playing a new interpretation of the songs. That doesn't work for me. The other side of that is that sometimes I take flak for copying Ace. No, I'm playing KISS songs and making them sound the way they should. Ace was a part of the 1970s sound, and I don't want to do them another way. Capturing the KISS sound is a big part of the new record, and if people say I'm an Ace clone, fine, all I'm doing is capturing the classic sound of KISS. Tommy Thayer is there, too, but it's not 75 or 80 percent Tommy Thayer. That's a different direction, although my style is very similar to Ace's style, and he was one of my influences.
Are the members of KISS underrated as musicians and songwriters?
I think that has always been true with KISS. They took a lot of flak in the old days: "Oh, they can't play." To me, they were the band with great nights and off nights, so that can make them seem less consistent. The band today is fiery and in your face. We go out every night and lay it down, and the point of view that someone may have taken before doesn't apply anymore. Eric is one of the greatest rock drummers out there, I don't do so bad, Gene and Paul have been at it for a long time, and we're all very cohesive and strong when we're together. We're coming from the same place in how we approach the songs, and that can be very lethal onstage, especially with a big P.A.!
Does being the guy who replaced the guy [Frehley] who replaced the guy [Kulick] who replaced the guy [St. John] who replaced the guy [Vincent] who replaced the original guy [Frehley] cost you rep points? Can you be Tommy Thayer, guitarist, and not just Tommy Thayer, replacement guitarist in KISS? Or is being Tommy Thayer, replacement guitarist in KISS, the gig and that's enough?
It's more about that, because at this point does it really matter? Look at the Stones. There have been a lot of configurations in that band, and they're still around. I don't try to compete with that concept. I'm the guitarist in KISS 2009, the band is kicking ass, and so I'm not worried about what came before me. This is where I am now, and I'm standing proud with a great new record, enough said. It is what it is. I'm the guy onstage, I'm doing it very well, and that's all I need to know.
Is there a guitar album in your future?
Honestly, I don't aspire to do a solo or guitar album. It doesn't seem like something I want to try to approach. It would never be as good or as important as KISS and I have no desire to do it. It doesn't appeal to me. Remember, I like two guitars!
What is the difference between playing guitar and being a guitarist?
There's a big difference. Playing guitar, to me, is more a technical, rudimentary thing - picking up a stringed instrument, making chords and playing solo lines. A guitarist, especially in a band like KISS, opens up a whole other world of attitude and point of view and approach that's unique. When someone listens to the new record and says, "Tommy did real well and he's on the mark," or when fans say that, part of me thinks, I am on the mark. Not that it's about what people say, because I feel it inside and the guys tell me I'm doing it right, and that's reassuring. To do this and do it well is not as simple as some people think. Combine it with the personalities involved, and living KISS day to day - it's not a simple thing. Making it work so smoothly is part of being the guitarist in KISS. And I can assure you that being the guitarist in KISS is completely different from being the guitarist in any other band.
___________________________________
Tommy Thayer's Signature H&K
In 2008, Tommy Thayer partnered with Hughes & Kettner for the launch of his line of Tommy Thayer Signature Edition guitar amplifiers. As mentioned by Thayer and Sonic Boom co-producer/engineer Greg Collins in their interviews with Premier Guitar, the Duotone was used for recording the album and performing live.
What makes the Duotone particularly special is that Thayer donates 100 percent of the royalties earned from sales of the amp directly to the Childrens Hospital Los Angeles.
Thayer is on the Board of Trustees at Pacific University in Forest Grove, Ore. He works to bring new musical instruments into school band programs in his home state and has made speaking appearances at middle and high schools. He also hosts the annual Pacific University Legends Golf Classic, bringing together musicians, celebrities and PGA pros to raise funds for Pacific University's Athletics Program in Oregon.
Thayer credits his parents for instilling his philanthropic interests. "I get a lot of that from them," he says. "My dad taught me that it is very important to help people and that it should not be all about yourself; that helping others is a quality you should always have."
Collins played an integral part in the making of the new album. When Paul Stanley expressed his desire to cut a "classic" KISS record, it was Collins who suggested they do it the "classic" way: on tape. From first rehearsals until final mix, he worked closely with KISS at Conway Recording Studios and his own studio, The Nook. His technical expertise, coupled with an understanding of KISS that can only come from a longtime fan, helped create the album that diehard KISS supporters had clearly been waiting for: Sonic Boom entered the Billboard Rock Albums chart at No. 1 and the Top 200 chart at No. 2.
In an interview with Premier Guitar, Collins described his working relationship with KISS and how he captured that "classic" sound.
Was this your first time working with KISS?
We did a series of re-recordings of their classic songs two years ago, ostensibly for use in licensings and syncs. It went really well, so they decided to release it in Japan last year as Jigoku-Retsuden and included it in this new package release [as KISS Klassics] for Wal-Mart. Prior to that, I mixed Paul's [2006] solo album, Live to Win. That was my introduction to Paul.
How did that project come about?
I was recommended to Paul by a few people. Victor Intrizzo, an amazing drummer who plays with Alanis Morrisette and was in Beck's band, played on Live To Win and he put Paul and I in touch. Paul and I talked on the phone and we hit it off. I'd been a lifelong KISS fan. I remember the Christmas I got my first record player and five KISS records. I was obsessed from then on. KISS and the Beatles were my first musical obsessions. I've come full circle, co-producing this record, for sure.
Why did you choose to use tape?
Paul and I talked, and he basically wanted to make a '70s-inspired KISS record, a "makeup KISS" record. That was the first description he threw at me, and I was very excited about that idea. To me, that meant doing it the way records were made in the 1970s, and that meant tape.
If you have the time and the budget, working with tape is great for a few reasons. First, the whole process is more paced. You have rewind time and reel changes. When I started working in studios in the early 1990s, we still did most of our recording on tape. Most of it was analog, but digital tape formats like the Sony 3348 machines were also just coming in. As an assistant engineer, I learned from some of the best - people like Ed Cherney and Jim Scott - how to edit tape, work with slave reels, and fly background vocals using sync offsets between two machines. There is actually a mathematical formula for that. Now it's a lost art that went away with the advent of computer-based recording, but some of those techniques are still ingrained in my brain. I miss certain things about that process, which was much more organic and human.
With digital technology we've all developed a form of Attention Deficit Disorder because we expect everything to happen immediately. Results are expected right away. With tape, the band plays, the tape rolls, you stop the machine and there is a moment of, "Oh, I hope it's still there," and then you hear the playback and it's kind of magical.
The second benefit of using tape is the noise floor it creates. The hiss that's inherent with tape recording, I believe, is a good thing.
Third is compression. Tape shapes the transient peaks of the drums, so it softens the hard edges and makes things a little easier on the ears. Recording engineers have often used that as a tool. You hit the tape really hard for certain tracks and it comes back sounding compressed. You can't really get that particular sound out of a piece of outboard gear.
How involved were you in the rehearsals?
I was present for most of them. We spent some time figuring out what guitar/amp combinations we liked during the first round. For the rest of the rehearsals I would mostly just observe and provide occasional feedback. If something sounded like classic KISS to me, I'd usually jump up excitedly and throw two big thumbs in the air. It was fun just to be a fly on the wall during their writing process.
We did the record in a few small batches. Paul would call and say, "We've got two or three songs, here's our window, see what we can do." We would go to the rehearsal studio for a day or two, the band would get the songs arranged to a certain point, then we'd go to Conway and bang them out. After a couple of run-throughs for sound and arrangement tweaks, it was usually two or three takes and that was it. There were no click tracks and very minimal editing between takes.
Which room did KISS use for recording and how was it set up?
We actually used two studios: Conway Studio A for tracking, and my own studio, The Nook. Conway A is my favorite for tracking because the live room has amazing acoustics and the main monitors are among the best I've ever heard. It also has three big iso booths, so I can put every amp in its own space without too much leakage. The main room is great for drums, but because we wanted to go for a "seventies" sound, I put Eric's drums in one of the booths so that I could get a drier sound where appropriate. I also kept the doors of the booth open so that the sound would spill into the live room, where I had a stereo mic that provided a nice, big room sound. You might notice that "All For The Glory, "Never Enough," "Animal" and "Say Yeah" feature a more roomy sound than the rest of the tracks. While mixing, I tried to use a minimal amount of reverb and stuck to a vintage plate and chamber. Again, I was trying to use things that would have only been around in the 1970s. Everyone in the band has gear endorsements and lines, and we used their signature-model guitars on the re-records, which sound great, but for Sonic Boom I was adamant that we use old vintage amps and instruments - Eric used the first drum set he ever owned as a kid to make this record.
I always had this image in my head of old pictures of Gene playing Gibson basses, so I borrowed a couple of different ones for him. We rented two vintage Ripper basses, and in a video they put online you can see him playing one that's a Sunburst, but on most of the tracks he used a blond-finished Ripper that I found at a music store around the corner from my studio. I went there on a whim one day and it was like fate, because that bass was hanging on the wall right in front of me when I walked in, and when I tried it out it had the most massive sound. I'm mainly a bass player, so I'm particularly obsessive about bass sounds, and I knew right away that this was the one to use. It took a while for Gene to get comfortable playing it, but in the end he was glad he did. It turns out that he actually used to play the "Grabber" model basses. At one point we brought one of those in, but that particular one didn't even come close to the Ripper.
Tommy played his vintage Les Paul on most rhythm tracks, and a '61 SG body-style Les Paul reissue on some solos as well. He used a two-amp setup for rhythm guitar consisting of a mid-'70s Marshall JMP 100-watt head - we tried four or five before we found the right one - and his Hughes & Kettner Statesman combo amp. My intention was not to have a too modern, high-gain guitar sound. As a reference point I used the first KISS record, which is probably my favorite sounding of their early makeup era, and also, of course, Destroyer. We also talked about other great classic guitar sounds, like the ones on AC/DC's Back in Black. Over the years KISS' sound has evolved toward being a lot more aggressive and edgy than that, but I think we struck a good balance between the sound of the 1970s and something a bit bigger and more vivid.
Again, the thing I was watching out for was to not have the amps too gained out. The typical modern sound for heavy bands is something like a Mesa Boogie Dual Rectifier and boost pedals, and that's definitely not what we wanted. For rhythm tracks we went cable to amp. The only pedals in line were splitter boxes - Radial Tonebones - so that we could drive two amps at once, and no effects. It's the pure tone of the guitar and amp. We tried to find the sweet spot on the amp gain, where it sounded rich but you could still hear every note in the chord.
For Paul's amp setup we used a 1966 Fender Bassman head and a Randall MTS head. The Bassman is a great vintage amp, which is the majority of his tone. The Randall MTS is a modern amp but it has modular plug-in preamps based on older classic amp circuits. We used the one modeled after a Marshall Super Lead. All of Paul's tracks were done with either a Gibson custom-shop Les Paul or SG into the Bassman/MTS rig.
With Gene, it was the Ripper bass into an Avalon U5 DI box and a mid-70s Ampeg SVT head and 8x10 cabinet. Some SVTs distort in a really good way, but many do not, so it was another process of finding just the right one.
During mixing I also ran the direct bass signal through a Marshall JMP-1 preamp for even more distortion, which you can hear on the song "Russian Roulette."
What about mics?
On the bass amp I used three mics. I tend to put a lot of mics on the amps and use only one if it has the right sound, or blend them together. The phase relationship between mics and the DI is very important, but that doesn't mean everything has to be perfectly in phase. Sometimes two mics slightly out of phase can sound amazing, and you can use that blend as a sort of EQ. On the bass cabinet I had an AKG C12 placed two or three feet back from the amp. I used a Shure Beta 52 dynamic and an SM 57 up close on different speakers. The mic pre-amps were Neve 31104's, which I balanced and mixed to tape through a Vintage 1176 LN compressor.
On each of the guitar amps I also used three mics. Tommy's Marshall was running through a 4x12 cabinet, and the H&K combo amp is an open-back 2x12. I used a Heil PR30 on the 4x12. It's a dynamic mic, somewhat similar to an SM57, with a frequency response that's just great for distorted guitar. I find that it has more clarity and bite than the typical 57. I also used a Royer 121 ribbon mic. What I love about the Royer is that it gives a ton of midrange, and when you boost mid- and high-frequency EQ it always sounds really good. You can really dig in and it never sounds too harsh. It fills things out and sounds thick and full. I also used an AKG 414 for a different flavor. With distorted guitars I don't compress too much. I used a Neve 33609 compressor, but never more than -3 or 4dB of compression. I find it best to let the amp, and then the tape, handle that. On Tommy's combo amp I used an old RCA 77 ribbon mic and a Sennheiser 421.
Paul's Bassman was going through a 2x12 closed-back cabinet with Celestion Vintage 30 speakers. For the Randall it was a Colossus 4x12 cabinet and for both cabinets I used the same mics: the PR 30, the Royer and the 414.
Paul and Gene's lead vocals were done almost entirely with a Shure SM7. For Tommy I used a Neumann SM 69, the stereo version of a U87. For Eric I used a Blue Blueberry cardioid microphone. The vocal chain was an Inward Connection tube sidecar console and an Anthony DeMaria LA-2A-style compressor.
Guitar solos were done half at Conway and half at The Nook. We split the signal into four amps for a little more flexibility in sound between the songs. We had Tommy's vintage Marshall and the H&K head that he uses onstage, as well as a couple of smaller amps, a Fender Pro Junior and a little toy Orange amplifier [Orange Micro Crush] that runs on AA batteries. You can buy it at Urban Outfitters! It blended in fairly prominently for edgy, buzzy solos that sound '70s and fuzzy.
How was the album mixed?
We recorded all of the basic tracks on tape, transferred it into Pro Tools, and I mixed it entirely on a 1986 SSL 6000 analog console I had installed in my studio specifically for this KISS record.
How would you summarize the overall experience of making Sonic Boom?
It was amazing, because I was working with people that I idolized as a kid. Over the years I've learned that the dynamic in every band is different, and sometimes it can be tough, with politics, egos and however many years of baggage. I couldn't believe how incredibly healthy the creative relationship is with KISS. Paul was clearly in charge of the record, but he was open to everyone's ideas. Everything was discussed in an enjoyable, fun way. There was no sense of egos overwhelming the process or anyone being marginalized in any way. It was one of the most enjoyable experiences I ever had working with a band.
This doesn't come as a surprise.
You know, the first thing people ask me is, "What about Gene?" Gene is very methodical and professional... and very funny in a self-deprecating way. He's also very underrated a bass player. I really loved doing bass overdubs with him. He has a style all his own and it's a huge part of what makes KISS sound like KISS. Paul has said that no other lineup could have made this record and I believe he's right. Everyone in KISS is confident about their role in the band. They're not trying to please anyone but themselves, which is the best way to make music. There was no sense of anxiety, no label, no A&R guy. It was just the band and myself, trying to make the best KISS record we could. It was a completely natural process, and hopefully the results speak for themselves.
The following artsists are confirmed to appear:
Sammy Hagar (CHICKENFOOT, VAN HALEN)
Michael Anthony (CHICKENFOOT, VAN HALEN)
Vince Neil (MÖTLEY CRÜE)
Mark Farner (GRAND FUNK RAILROAD)
Ace Frehley (KISS)
Bruce Kulick (KISS)
Rudy Sarzo (QUIET RIOT)
Mark Hudson (producer, songwriter AEROSMITH)
Kip Winger (WINGER)
Spike Edney (QUEEN)
Teddy Andreadis (GUNS N' ROSES)
Rami Jaffee (FOO FIGHTERS)
Rock 'n' Roll Fantasy Camp is the ultimate music experience that allows musicians and enthusiasts alike the once in a lifetime opportunity to jam with legendary rock stars, play live on stage at major concert venues, and live their rock 'n' roll dreams.
For more information, go to this location.
Gene Simmons, in this interview, talks about their Rock N' Roll Hall Of Fame nomination, the KISS army and playing Madison Square Garden for the first time.
KISS was nominated for induction into the Rock n' Roll Hall Of Fame this year. Gene says, "It's appreciated, but we don't take it too seriously. Our fans are everything to us. The KISS Army is legendary and has become iconic. It's become its own thing. Every other band in the world knows about the KISS Army, and they'd give their left nut to have it. So, nice to be nominated, but it'd be nice to win. It's not the end all or be all. We do our talking onstage!"
Despite the major studio successes, Gene says the place he knows his band has left a mark is on live performances. He says, "All we know is that when we go to see wrestling and we see fireworks or we go and see McCartney or any other band live and you see spectacle and fireworks, and all that, where'd that come from? The stampeders? If the only thing we've done is raise the bar substantially for live performances, that's good! Then we've left our mark! It's no longer enough to just get onstage with a tie-dyed t-shirt and sneakers, and look at your shoes and think that you are giving people a show."
Sonic Boom is the band's first studio album in 11 years. Gene says the album is filled with the vitality of their older albums. "Eleven brand new songs; it's a three-disc special package. The second disc has 15 songs by this line-up re-recorded. The third disc is of us in South America at Buenos Aires Stadium in April, just a few months back. And what Sonic Boom is, is this is who we are now. No keyboard players, no children's choirs, no synthesisers, none of that. Meat and potatoes straight down the line, and it all goes back to a spirit of innocence that we had when we first started, when we first strapped guitars on our shoulders. Eric Singer and Tommy Thayer sing their own songs. The band is back to being full octane."
KISS's new members Eric Singer and Tommy Thayer replaced Peter Criss and Ace Frehley. Gene says that fans are going to have to live with the replacements because they couldn't deal with Criss's and Frehley's problems anymore. He says, "In football teams, there's a number. If one of the players gets kicked out of the band three times for not being a team player and for using drugs and alcohol, 'your ass is grass,' as they say in New York! You may have been worthy of the team once. Why the hell would you continue to keep somebody on the team if they're not carrying their load?"
The band kicked off its 35th anniversary celebrations recently and Gene was very happy to meet two guys who attended one of their most famous concerts from back then. He says, "We met the guys on the back cover of the double live album (Alive). You have to remember in those days, it was lunacy to release a live record, much less a double live record. KISS has always been like that - nuts! So, the back cover shows two fans in the middle of a sold out hall, three nights I might add, and they're holding a KISS banner that they made. Well, those two guys showed up all these many years later with the same banner. One's a successful real estate agent and the other is a doctor. The KISS Army, that's right!"
After more than a decade, KISS also returned to Madison Garden. Gene says he has fond memories of playing there the first time. He says, "I will tell you a story... The band was put together at 10 East 23rd Street. It was a loft, and The Garden was 10 blocks away. I would walk up there and see basketball or The Stones or whoever else was playing."
"We all have dreams! And when KISS played there for the first time, I walked in through the front door because in those days people didn't know what we looked like without the makeup. They were just aware of KISS. They thought that we looked like that 24 hours a day. So, I walked in through the front door, walked through the crowd, went backstage, put on makeup, got up onstage and rocked the house! The rock 'n' roll rites of passage, if you will. It was like climbing Mount Olympus; when you get to the top, the view is amazing!"
Win an Ultimate Limited Edition KISS ALIVE 35 KOLLECTOR'S BOX, USB Wristbands, and Live CDs!
CLICK HERE to enter the contest.
KISS brought their fiery rock and roll show to the Don Haskins Center on Wednesday night. The platform shoe wearing rockers played a set consisting of KISS classics like set opener, "Deuce," "Strutter," "Dr. Love," "Love Gun" and "Lick it Up."
KISS is one of those bands that incite weird and very disparate feelings in people. Some say, "f*ck KISS," but other's say, "F*cking Awesome." People that say the latter are either super fans of the group or they were lucky enough to catch the blood and thunder of their theatrical live performances.
Once a person sees KISS, the convert's perception of how live rock and roll should sound, feel and to an extent look like, changes completely. These guys are damn exciting to see. They are a loud, awe-inspiring, all engulfing experience that you'll never forget.
When that black curtain emblazoned with the KISS logo falls, bombs go off and these 4 wild men in grease paint go to work. This squad of 7 foot tall superheroes w/ instruments who are - The Demon, the Star Child, the Space Man, and the Cat Man - glimmer and sparkle like something out of this world. Your mind finds it hard to get used to it at first. It does not know what to make of these unreal figures ? cartoonish and garish in nature - in a real life setting.
But, soon, your brain gives, and there they are, right in front of you, jumping and lurking about in clouds of dry ice fog. They spit blood, shoot rockets, fly over the crowd, practically set the venue on ablaze with bombs and towers of fire while burning your retinas with that extra huge light up KISS logo they never leave home without.
Very real. Very loud. Very trippy.
As you're taken in by the experience, you start to notice that these guys have basically taken the Chuck Berry and Alice Cooper ethos to the extreme. Then you begin to realize that these guys are driven, to the brink of insanity, to be world-class entertainers.
These guys are Gene Simmons and Paul Stanley, founders and seemingly, permanent, members of KISS. They started this group way back in 1973 in the birthplace of many a rock group, New York, with two other guys, Ace Frehley, KISS' first lead guitarist and Peter Criss, KISS' first drummer.
As a struggling band, the four young New Yorkers with attitude and big dreams rehearsed constantly, played countless shows at dive bars, dilapidated hotels and other assorted odd realms you may have encountered in the early '70s.
By 1975, the group had released three albums to little or no critical acclaim or chart success, yet, retained a rigorous touring schedule.
However, they were playing to packed crowds on a regular basis, so they decided to release a live album to chronicle the bombast of their show. That album, "KISS Alive!," was a hit and has since become a classic and sold millions of units.
Their music from the 70's is arguably their best.
It was very riff driven, contained catchy choruses, very underrated lead guitar work (check out Alive!, seriously) and their lyrical content was shameless, ex: "Put your hands in my pocket grab on to my rocket!" KISS' sound was mixed just right in their best releases from that period: "Destroyer," produced by Bob Ezrin, "Rock and Roll Over" and "Love Gun" both produced by Eddie Kramer who engineered sessions for Jimi Hendrix.
And the rest, as they say, is KISStory.
KISS spent the rest of the '70's dominating their audience, selling millions of albums and merchandise. During the 80s all that behind the music stuff happened: there were line up changes, they experienced a drop in popularity, released tepid sounding albums. Most disheartening of all, they took off their makeup.
In 1996, KISS embarked on a reunion tour with original members Ace and Peter. It was a success and showed that the world wanted the super hero KISS back. The reunited KISS released an album, "Psycho Circus," but began the new decade with a "Farewell" tour. It seemed like old problems arose and Ace and Peter once again left the group. In hindsight, that "Farewell" tour was really one last hurrah for the original lineup.
KISS has continued, as always, with Gene and Paul. They have retained the original look of the group with Tommy Thayer on guitar, a longtime jack-of-all-trades in the KISS organization and Eric Singer on drums, who actually played with the group in the early 90s. KISS version 2.0 has released a new album entitled "Sonic Boom," which features a return to their 70's style of songwriting, riffing and producing. Their current tour celebrates the new album and lineup as well as KISS' 35 years in the music biz.
KISS understands that rock and roll should be loud, colorful, full of fire and passion and they always make sure to deliver only THE BEST in their live performances, with or without certain members in the group. Their performance was everything that a KISS show promises to be, a top-notch spectacle.
Gene spit fire and blood. Paul, who is quite possibly one of the best frontmen alive, flew over the crowd to a revolving platform. Tommy shot rockets from his guitar and Eric played a crazy drum solo. They also played songs that delighted hardcore fans, like "Parasite" and "Cold Gin" and played classic interludes found on their first live record. They ended their Don Haskin's performance with Detroit Rock City and let loose with pyro at the very end.
This strange rock and roll group that began in the 70's has been lambasted by critics, shunned by the 'normals' and have been unfairly ignored by the rock and roll hall of fame, until recently. Despite that, they seem to outlast fads and trends and have influenced many bands and guitarists, most famously Dimebag Darrell. Not all bands would benefit greatly from donning grease paint, but there's just something special about KISS.
KISS' show is a cataclysmic catharsis. These guys are one of the few practitioners of this lost art. A young band or musician may scoff at KISS, but they should really be paying attention and taking notes.
But there's another, more vital role that the men in tights and black-and-white makeup have played in our world these past 36 years.
"We all came here to escape from the world tonight," Stanley announced more than midway through a 2-hour and 15-minute performance Wednesday before a sell-out crowd at UTEP's Don Haskins Center.
Escapism's exactly what these kabuki rockers are all about, well, that and a high profit margin. In Kiss' world, a rock 'n' roll concert isn't supposed to pummel you with platitudes about global warming and world hunger. It's about rock 'n' rolling all night and partying every day, slugging down that last-call glass of cold gin and licking up the love gun.
And the El Paso crowd sure licked up their heros. About three generations of 'em, in fact. There were little kids wearing Simmons' trademark demon makeup, and there were a few guys my age (52) who did the same.
Current guitarist Tommy Thayer and long-running drummer Eric Singer certainly are improvements, instrumentally speaking, over the guys they eventually replaced, original guitarist Ace Frehley and original drummer Peter Criss. The newer guys may wear the older guys' makeup, but they're definitely better players.
That gives founding members Simmons - he of the lascivious tongue wagging - and the screechy-voiced, ever-playful Stanley plenty of room to just be Kiss, pointing at audience members, flicking an endless procession of souvenir Kiss guitar picks to the crowd, vamping for the three video screens and doing what they're famous for.
In Simmons case, that's spitting fake blood on "I Love It Loud," which ain't exactly "God of Thunder" but still provides the drama when he flies up to a platform high above the crowd to sing it. Stanley's big stunt, aside from shimmying in those four-inch platform boots, is flying over the floor crowd to a raised, circular, rotating stage during "Love Gun," one of four songs that make up the 15-minute encore.
The stunts, old and newer twists on a form of pyrotechnic spectacle Kiss practically pioneered, are as famous as the songs these guys have made popular over the years; anthems like "Rock and Roll All Night" and "Shout It Out Loud."
That Kiss pulled out all the stops, musically and visually, in the final third of the show was a good thing. It provided an appropriately celebratory conclusion to the performance, which started strong with "Deuce" and "Strutter." New "Sonic Boom" song "Say Yeah" had "crowd-pleasing sing-along" written all over it.
Stanley made that escapism comment during the best part of the set, as well as praising the military members of the audience as "the real American heroes" and boastfully pointed out the pre-teen additions to the Kiss Army.
It's easy to get cynical about Kiss, a band that once took off the makeup when it was commercially expedient, then put it back on 13 years ago when the band's fortunes needed a serious goosing. But you couldn't help but get the sense that the band's out to do more than pad its bank accounts on the current "Kiss Alive 35" anniversary tour.
Just as they Kiss did back in the 1970s, these four guys in kabuki clown makeup are also out to make us smile and forget our troubles for a couple of hours.
The American rock band, who formed in New York City in 1973, are back on the road and heading to Scotland.
Picture the scene as their fans dig out the six-inch platform boots in a bid to re-live the first time they caught Paul Stanley and Gene Simmons stick out their oversized tongues while noodling on guitar and bass.
Along with session musicians Tommy Thayer and Eric Singer, the heavy metal gods will wreak controlled havoc at Glasgow's SECC on May 9 next year.
The Sonic Boom Over Europe: From The Beginning To The Boom tour, including bits of The Kiss Alive 35 Tour, proves heavy metal isn't dead, just comatose from fans drinking too much Horlicks.
Paul, 57, said: "The Alive 35 Tour was just the start. Sonic Boom leaves that in the dust. New stage, new set list, new outfits, new album.
"We're covering the history of the band on a stage that takes Kiss one giant step further in our eight-inch heels."Gene,60, added: "Now, more than ever, Kiss is a four-wheel-drive monster truck. Our mission? To rock Planet Earth. To spread the gospel of Sonic Boom."
Ahem, yes, and with 80 million album sales, who can argue that Kiss remain one of the most iconic and influential rock bands of all time.
Throughout their 35-year career, they have established themselves as one of the great live rock acts.
Nominated for the Rock and Roll Hall of Fame two months ago, Paul insists a new generation are ready for Kiss, thanks to their mums and dads.
"They want to share the experience with their kids," he said. "I love seeing the wonder on kids' faces. It's very gratifying, humbling and exhilarating.
"Everybody is borrowing from us, but they will never be us," said Paul. "It only takes money to have a Kiss-type show, but you will never have Kiss. The Sonic Boom album has gotten reviews I couldn't write better. It is great to have an album out that is undeniably good."
But isn't all that make-up an inconvenience after all these years?
"I liken it to putting on war paint," said Paul. "It is a big part of who we are. If you win the lottery, you don't complain about taxes. When you've been as lucky as we are, there's not much to complain about."
Longtime co-leaders Paul Stanley and Gene Simmons kept a healthy crowd at Jobing.com Arena on its feet with two hours of classics and a handful of songs from the band's new "Sonic Boom" album on Tuesday, Dec. 1.
Kiss purists no doubt lamented the absence of guitarist Ace Frehley and drummer Peter Criss, but the band sounded sharper and more energetic as replacements Tommy Thayer and Eric Singer settled into their permanent status with the group.
The band, nominated this year for induction into the Rock and Roll Hall of Fame, continues to stage one of the most over-the-top shows in rock.
The Glendale crowd, which included a number of children with faces painted to match their parents' heroes, ate up the extra-large helping of pyrotechnics, fireworks and acrobatics by bassist Simmons and singer-guitarist Stanley.
As if anyone needed reminding, master of ceremonies Stanley pointed out that Kiss concerts are all about escaping from the pressure of the outside world for a few hours.
If anybody came to the show seeking musical commentary on global issues, Stanley said, "You came to the wrong damn place, people!"
Kiss dished out plenty of escapism through such classic tunes as "Strutter," "Calling Dr. Love," "Shout It Out Loud" and "Lick It Up."
The band tore through an extended version of "Cold Gin," with guitarist Thayer showing off his fast fingers, playing over his head and behind his neck. Wearing the "Spaceman" get-up formerly donned by Frehley, Thayer pulled one of his predecessor's tricks out of the bag as fireworks shot from the neck of his guitar.
Simmons, owner of the most famous tongue in rock, wasn't about to be topped in the showmanship department.
Wearing his bat cape, spiked shoulder armor and 7-inch platform boots, Simmons started spitting fake blood before being pulled by cables to a platform about 70 feet above the stage. The 60-year-old bassist even had a couple flame-shooting devices straddling him as he sang the dance-rocker "I Love It Loud" atop the lighting truss.
Stanley waited until the four-song encore to take flight, riding a cable and metal ring over the crowd to a small stage on the back of the arena floor during "Love Gun."
That pummeling tune showed off the solid backup vocals of Thayer and Singer.
Kiss may have created a new concert classic on "Sonic Boom" with "Say Yeah," a rocking anthem that allowed the crowd to sing along using the song's title.
By the time Kiss started to wind things down, playing its mega-hit "Rock and Roll All Nite" as tons of white confetti flew over the crowd, the band had more than delivered on its promise to make fans forget more serious matters for one evening.
The TV star admits she was a struggling young actress, working in a diner, when she fell for the rocker.
Sagal recalls, "I was 18 years old, I was a waitress at this restaurant and Kiss came in after one of their concerts - it was when they just started, so I went over and I waited on them... and Gene Simmons thought I was kinda cute, so we ended up kinda going out."
And she quickly realised that dating Simmons was a huge career boost for a budding star, who had dreams of becoming a singer: "I took him to my band practice... and he took me to Casablanca Records and he got me a record deal. Pretty good date, right? He sort of got me my first big professional break."
I GET THAT A LOT features celebrities tricking everyday citizens in a case of supposed "mistaken identity." Working ordinary jobs, these celebrities confuse customers who can't decide if it's the actual celebrity or an astonishing look-alike. As these celebrity jesters continue to deny their true identities, various reactions from their customers solicit exasperated and hilarious responses.
Celebrity participants include Julie Chen (CBS's THE EARLY SHOW, BIG BROTHER) working at a yogurt shop, Paris Hilton as a gas station employee, hip-hop legend Snoop Dogg as a parking lot attendant, Rachael Ray ("The Rachael Ray Show") working at a dry cleaner, Gene Simmons (legendary rocker of the band Kiss) as a psychic guru and skateboard sensation Tony Hawk working in a surf shop.
"I worship cake and cookies," said KISS bassist Gene Simmons when pressed for a guilty pleasure. "If women were made of cake, it would solve all my problems. I don't care about pasta and steaks. I don't eat lobsters or crabs; to me they're cockroaches. I tolerate food, but I dream about cake."
Not to be confused with Cookie Monster, 60-year-old Simmons is the larger-than-life, blood-smeared, fire-breathing demon of kabuki rock gods KISS. Celebrating 35 years as the self-proclaimed hottest band in the world, KISS brings its dynasty of spectacle to Texas this week, with a concert at Austin's Frank Erwin Center on Friday, followed by shows in Houston and Dallas on Saturday and Sunday.
Among KISS' caboodle of famous tricks and treats, of course, is Simmons' serpentine lollipop licker. "When I was a kid in seventh grade, the girls all used to say, 'Hey Gene, show us that trick you do,'" he said. "So, I'd stick my tongue out and start wiggling it, and they'd all start giggling like turkeys to the slaughter."
Forever paired with co-founding KISS guitarist Paul Stanley, along with first-rate Tommy Thayer and Eric Singer on guitar and drums, respectively, is touring to promote new album Sonic Boom. KISS also is revisiting the unlikely 1975 career-launching concert album Alive!
Financed on their manager's credit card and released as a last-ditch gamble following three failed studio albums, Alive! blasted Simmons, Stanley and original members Ace Frehley and Peter Criss into fame and fortune.
"All we knew was we were making anywhere from $85 to $150 a week and never had to go flip burgers," Simmons said of the lean years. "We were having the time of our lives, and groupies were raining down like cats and dogs. In hindsight, it was just really a case of throwing caution to the wind."
As with all things KISS, Alive! offered as much for the eyes as the ears. Besides such staples as Rock and Roll All Nite, Deuce, Strutter, Firehouse and Black Diamond, the Detroit rock city in-concert album cover captured the dressed-to-kill fearsome foursome in all their action-figure glory. And it was staged.
Asked why KISS' pop-culture appeal persists, Simmons said, "Are you going to line up for the next Jennifer Aniston movie?" he asked. "Does he love me? Does he not? Shut up! Where's the monster and how are we going to survive? Give me the end-of-the-world story."
Having played the world, is there one place that stands out to the dynamic rocker? "This past year after we finished a European tour, I had my whole family -- my kids, my wife, my parents and her parents, fly to Italy. We stayed in a Medici villa in a little town called Vicchio, in the Mugello region," Stanley says. "While we were there, we visited a little town called Scarperia. This street [Via Roma] was just so terrific -- a pizzeria on the corner and gelato and pastry shop up the street. What else do you need?"
"There's a building called II Palazzo dei Vicari [built in the 14th century,] something between a museum and a city hall and a government building -- a fabulous, fabulous building, where you can learn about the Medici family and see family crests and all of these great artifacts."
The town's mayor gave Stanley special access to a precious historical archive within II Palazzo dei Vicari. "The crazy part is that there are no windows in the tower, and these signed records of purchases of land and births -- these amazing journals dating back to 1100 -- are just out in the open and you can pick them up."
"Down the street not half a block from II Palazzo dei Vicari is a pizzeria. Michelin-starred restaurants, there are enough of those, but this pizzeria -- we went back two or three times. Just the best pizza. I'm a purist in terms of New York pizza, but real Italian pizza just raises the bar."
"There are beautiful, beautiful streets in Pisa and Verona. But this street was so quaint and so untravelled, not a tourist spot. The town is not a tourist spot. This one street, just for the pizza alone! Plus good Sicilian cannoli. With everything else available to us, we wound up driving back for the pizza."
More To Explore: The municipalities of Scarperia and Vicchio are located in the Mugello region of Tuscany, 25 kilometers north of Florence.
1. II Palazzo dei Vicari, Via Roma 73.
2. "We went to the local markets where we bought groceries and cheap Lambrusco; we made dinners and had a great time," Stanley says.
3. The Mugello region is also home to a Ferrari test track. "They opened the track for us and brought in paramedics and fire trucks and everything -- Ferrari can't do it without doing it full tilt -- they were being very gracious. But I'm really not that keen on going 150 mph in a car, so your dad, my son, my father-in-law and one of my security guys went in the car with the test drivers."
4. Grab a slice at Osteria De' Poeri, Via Roma 78/80.
5. In 2008, KISS performed at Arena di Verona, an amphitheater with a history that includes ludi [public Roman games,] operas, and now rock concerts. Built in A.D. 30, it's the best-preserved ancient structure of its kind.
Fast-forward 13 years to the "Kiss Alive 35" tour, which stopped in Glendale, Arizona's Jobing.com Arena on Tuesday night. Not a whole lot has changed. Kiss opens with the same three songs and closes with nearly the same encore of "Shout It Out Loud," "Love Gun," and "Detroit Rock City," with the addition of the 1983 hit "Lick It Up." Of course, no one at Jobing.com Arena is complaining. Like watching your favorite movie over and over to experience the same emotions, the same thrills again and again, seeing the rockers in their costumes provides a familiar sense of comfort to the head-bangers in the crowd.
Gene's voice is in excellent shape throughout the show (in fact, the "Demon" is on top of his game. He generates some legitimate chills during his classic blood-spitting routine, which appears before he sings "I Love It Loud" perched on the light stanchion high above the stage); longtime drummer Eric Singer far outshines anything Peter Criss ever did behind the drum kit and provides convincing lead vocals on "Black Diamond" and unexpectedly good harmonies throughout much of the set; and Tommy Thayer (now starring in the role of "Space Ace") bests Frehley in replicating the solos Ace made famous and exceeds expectations while singing lead (and sounding a lot like Ace) on Frehley's signature tune, "Shock Me." Paul gets points for being incredibly fit, perpetually in motion, and being the most flexible and active of the band, despite being nearly 60 years old.
The band gives the people what they want: flashpots, blood, classic songs, flashpots, fire-breathing, great costumes and frenetic light show, flashpots, and a high-energy performance. Gene proves why he is a consummate showman (Gene obviously really likes performing these songs); Singer and Thayer punch up the tunes with musicianship and verve often lacking in Ace and Peter's performances; Paul, over-the-top though he is, is in fine form, his voice nearly as powerful as it was three decades ago and his ability to jump, prance, and dance in those silver platform boots cannot be overstated.
Paul's climactic speech still seems genuinely extemporaneous when he tells the assembled that a Kiss concert isn't about solving the problems of the world, it's about rocking 'n' rolling all night and partying every day.
If you show anyone in the world a photo of KISS, it's pretty likely that they will tell you right away who it is. That kind of cachet is hard to come by in the fickle world of music. The monster that Gene Simmons, Paul Stanley and crew have created is alive, kicking and scratching, and will certainly be for many years, even after they finish their time onstage. Their lucrative creation is completely absurd and they have gone to great lengths to keep it that way.
It's genius, really. When I first saw the KISS Destroyer Tour as a kid in 1976, all of the elements were already in place. It was an over-the-top exhibition of the most elaborate circus turned horror fest. And, as a rock show, not a play was left in the playbook with all of the tricks in the history of rock music pressed into use. When Peter Criss and Ace Frehley left the band, their iconic characters kept marching forward. Fans were showing up, year after year and show after show, to see the spectacle. Although the band behind the makeup may change, the experience will be consistently familiar.
True to form, the show at the Oracle Arena was instantly recognizable. Just as in 1976, pyrotechnics, explosions, blood and "faster, heavier, harder and louder" were the defining features of the evening. There was a fire-breathing, tongue-wagging, blood-spitting demon wielding a bass guitar in the shape of an axe. There was a guy with a star over his eye and a cat playing drums. Oh, and there was some classic '70s hard rock, too. There were old songs and new ones that you would swear were old. It was all thoroughly entertaining. For KISS fans, it was idyllic old school rock 'n' roll entertainment with the volume set to 11.
This time out on the Alive 35 Tour, Paul Stanley and Gene Simmons brought along guitarist Tommy Thayer and drummer Eric Singer for an evening of neo-vintage entertainment. After opening with "Deuce" and "Strutter," the band played hit after hit including "Calling Dr. Love," "Let Me Go, Rock 'N Roll," "I Love It Loud," and "Rock and Roll All Nite" before returning with an encore of classics, which included "Shout It Out Loud," "Love Gun," and "Detroit Rock City." Stanley also stretched his trademark New Yawk-tinged vocals with a couple of new songs including a surprisingly demanding "Modern Day Delilah," which sounded as if it had been plucked from the vault of KISS oldies.
In their roles as the iconic "Spaceman" and "Catman," Thayer and Singer confidently ripped through the familiar songs as if they had been doing it all along. Stanley was busy strutting, posing and cavorting, while Simmons did his best to appear menacing. If only we hadn't seen him out of character in his Family Jewels reality television series. Or would that be in character?
All of the other essential ingredients were also on display just as they have been for more than three decades. The guitar picks were flying like confetti into the face-painted crowd. There were dueling guitar solos, a rotating riser for the classic drum solo, and Gene and Paul suspended, flying on cables above the crowd. There was also an incident where Thayer's guitar appeared to fire explosives, knocking a set of stage lights from the rigging onto the stage below.
The KISS Army was out in strong numbers, many of whom were sharing their fondly remembered youth with their kids. There were also the merely curious, those folks just wanting to see what a KISS show was all about. For the hottest band in the world, the spectacle is the show.
For B.B. King, Buddy Guy, Bob Dylan, Bruce Springsteen, Roger Daltrey and so many other active icons of rock and blues circuits, those are words to live by. And 35 years after influential NYC quartet Kiss came on the scene with its self-titled debut and immediate follow-up Hotter Than Hell, they too are back touring the world and releasing new music.
Released last month exclusively to Walmart as a three-disc set, Sonic Boom is Kiss's 19th studio album and first since its 1998 album Psycho Circus. Disc one has 11 new tracks, disc two has 15 re-recorded Kiss Klassics, and disc three is a six-song excerpt from a Kiss show this past spring.
Age is of no concern to this band - half of whose members are pushing 60 years of age. Nor does it show on record or in concert for these make-up-wearing mega rock stars. Founding member and rhythm guitarist/singer Paul Stanley still has his dynamic vocal range and knack for writing instant hard rockin' classics, like album opener "Modern Day Delilah."
Co-founder and bass machine Gene Simmons still effortlessly spouts out groove-laden licks (not to mention fire, in concert) and gruff vocals. Guitarist Tommy Thayer, who plays a similar style of lead guitar as the "space man" he replaced, Ace Frehley, does a more than admirable job throughout the album of playing exciting leads and fills, as on "Delilah," the excellent '80s-ish "Danger Us," and the Simmons-sung "I'm An Animal."
Disc two's Kiss Klassics compilation was, before this release, exclusively sold in Japan in 2008, along with a live 11-track DVD of a Kiss show in Budokan in 1977. Most of these re-recorded Kiss Klassics don't veer much from the originals. But, the new version of fan favorite "Black Diamond" (with drummer Eric Singer replacing Peter Criss on drums and lead vocals) is an improvement over the original simply because the slowed down tape at the end lasts for under 30 seconds now instead of going on and on for nearly two whole minutes.
Disc three, the six-song DVD, is a short excerpt of a Kiss show from Buenos Aires, Argentina in April of this year during its KISS Alive/35 World Tour. And the selections from it are all aces, from "Deuce" and "Hotter Than Hell" to "Watching You" - one of Kiss's most underrated hard rockers - and closer "Rock And Roll All Nite," the band's signature party rock song. Also included is a stretched out version of "100,000," which on record and on stage still has a vintage Black Sabbath-type rhythm to carry it along.
The only disappointing aspect of the DVD portion of this release is that it is only six songs long. Ones guesses that the band had to resort to the short DVD in order to keep this three-disc set at a reasonable price. Kiss fans can certainly live with and appreciate that. And besides, any fan looking for a full Kiss show has decades of live albums and bootlegs to choose from. Ones does hope that eventually Kiss will release this full Buenos Aires show, as the rowdy, enthusiastic fans down in Argentina always seem to bring out the best in bands who play there, especially metal bands.
In short, Sonic Boom, is a fun, sleazy hard rock and roll record mostly in the vein of its '70s material. In other words, it's the album Kiss fans have been wanting the band to make for over 20 years (and likely wondered would it ever be made).
With 33 tracks for a recession-friendly price of $12 at your local Walmart, it's one hell of a bargain. Nonetheless, if you're a new or longtime fan, you'd be a fool to not pick it up. And with the holiday season fast approaching, Sonic Boom will make a great stocking stuff for dad as well.
Kiss exploded onto the stage and started hamming it up and working the crowd in the only way the self-appointed "hottest band in the world" could. Bassist Gene Simmons and vocalist Paul Stanley, the two band constants through the years, were decked out in the usual garb and makeup that has accompanied them through a good portion of the past three decades.
Part of the "Alive 35" tour, this show celebrated their 35th anniversary and featured mostly older songs - although a few tracks from their new album, "Sonic Boom," made it in there too. "Deuce" and "Strutter" opened the show, followed by a heap of glam rock goodness, including "Cold Gin," "I Love it Loud" and "Black Diamond."
Several of Simmons' trademark antics were conspicuously missing from the evening, including the blood spitting and fire breathing. But not Tommy Thayer's rocket guitar stunts. Carrying on Ace Frehley's signature maneuver, Thayer shot off multiple "rockets" (or at least some type of flying fireworks) into various spots in the venue. During the third firing, a sizeable chunk from the light rigging fell from the ceiling, narrowly missing the crowd. Since no one was hurt during the pyro-gone-wrong (or perhaps pyro-gone-right) incident, it probably made for one of the better moments of the two hour event. Even if it wasn't entirely accidental.
The night appropriately wrapped up with what Stanley dubbed as "the longest encore you'll ever hear." A barrage of greatest hits that included "Shout it Out Loud," "Lick it Up" and "Love Gun" and a wave goodbye the only way Kiss knows how: with a giant, rotating pinwheel fireworks explosion of course!
My parents were understanding, but after being relayed this information, I was out of luck. They pulled the plug on my incessant, week-long campaign for the funds to purchase the KISS comics I wanted so desperately and seemingly everyone else in my third grade class had acquired.
I immediately went into super-stealth mode. Under the guise of "hanging out," I spent time at the loose-parenting confines of my next-door neighbor Todd, playing with Gene Simmons and Ace Frehley dolls, listening to "Destroyer" on his record player and watching their movie "KISS Meets The Phantom of the Park" on TV.
Years later, and long after they'd dispelled the acronym theory as silliness, my parents watched me and three high-school friends drive to the San Diego Sports Arena to see a KISS show in 1988. They were touring on "Smashes, Thrashes, and Hits," a compilation that included the single "Let's Put the X in Sex." It was a decent show, but they played without make-up or costuming and it was far from the full KISS experience.
Friday night, after almost three decades in the making, I was finally witness to the true spectacle of KISS.
Returning to the Sports Arena on their "ALIVE 35" tour, the band was in top form. Gene Simmons, Paul Stanley, Tommy Thayer, and Eric Singer delivered a sensational rock and roll spectacle to the jam-packed arena.
From the time the perennial show opening "YOU WANTED THE BEST, YOU'VE GOT THE BEST! THE HOTTEST BAND IN THE WORLD...KISS!!" was shouted over the speakers and the gigantic signature curtain fell, the fully-costumed band gave the throng of fans exactly what they came to see.
Ripping through six straight favorites recorded prior to 1978, it was obvious the quartet is more than happy catering to the will of its loyal subjects - many of whom painted their faces in allegiance to the macabre, super-heroes the foursome portray, one even going so far as to don Simmons' demon make-up and full vested suit as seen on the group's "Dressed To Kill" album.
The band did squeeze in two songs from their latest release, "Sonic Boom," tucked in between a non-stop barrage of long-time hits.
But even though the merchandising machine was in full effect - fans could buy the usual shirts and hats as well as anything from USB wristbands of that night's show to guitar straps to embroidered thongs - it seemed more than anything about giving longtime supporters a great show. Between two massive "KISS ARMY" wall drapes, the band pounded out hit after hit from a colossal stage littered with video screens, bright lights and fog machines.
Even as they approach the four-decade mark in their career, the group doesn't seem tired of entertaining. Throughout the entire two-hour show, each member continually mugged for the audience, Simmons constantly sticking out and wagging his trademark tongue and Stanley spitting and throwing guitar picks as far as they would reach.
The highlight of the night came as Gene Simmons spat blood during a fog-ridden bass solo that culminated in him being lifted a few stories in the air to a small platform above the stage. All eyes were focused near the Sports Arena's rafters as he led the crowd in a version of his trademark "I Love it Loud."
Topping that, as they played their biggest hit and last song of the set, "Rock and Roll All Nite," 350 pounds of confetti were shot out of high-powered air cannons, covering the entire building inside and out into the hallways.
After a quick break, it was back for an encore filled with more than enough pyrotechnics, flames, fog, explosions, and sirens to match the bombing of Dresden. The appreciative capacity crowd, ears ringing and eyes adjusting, sent them to the next tour stop with an extended ovation.
As satisfied fans coursed out of the arena doors and I headed back to my car, I couldn't help but smile. For a group that first caught my attention when I still slept with a night-light, it seemed the "hottest band in the world" was better than ever.
Being a serious music collector and following bands of many genres for the past 32 years, KISS holds that place as the first real big one that got me. I found other music that hit me deeper and transformed my view of music and the world later, but those four dudes in makeup, breathing fire and pounding out ear splitting rock anthems, was about the coolest thing for a young boy growing up in the 1970's. Although I saw a lot of kids at the show tonight at The Pearl, it was mainly the grown up KISS fans back for a nostalgic ride, dragging their kids to see the band rather than the other way around.
The show tonight at the Pearl proved that KISS is still the ultimate concert spectacle and it's backed by straight forward, no holds barred, rock and roll tunes. KISS is about escaping for a couple of hours and being totally over the top and a place to let your inner rocking, air guitar playing and sign of the horn waving spirit flow freely. To paraphrase what Paul Stanley said tonight, "Lots of other bands get up on stage and talk about stopping global warming, or getting rid of world hunger, but KISS is about forgetting the world's problems. The world is going to be just as screwed up tomorrow when we all wake up, so let's take off for the night." Gene Simmons and Paul Stanley still rock and pack a mean punch, blasting off what sounded like a few hundred of pounds of pyrotechnics just to make sure you noticed.
They opened the show with Deuce, Strutter and Let Me Go Rock and Roll - three classic tunes. The show openers were followed by a big set of mostly early KISS material originally recorded before the band shed their makeup in the early 80's. Thankfully they reformed in the 90's as the original KISS and revived their early material along with their classic show, outfits and makeup. It reminds me of classic Coke - you just don't mess with a formula that works. They closed the set tonight with their most famous and well know rock anthem, Rock and Roll All Night and blasted out the largest amount of confetti I've ever seen at a concert blanketing the entire venue in white paper strips up to my ankles.
They returned to the stage for not one but three encores: Shout It Out Loud, Love Gun and Detroit Rock City. The songs still hold up and they still sound like KISS even with half of the original lineup out of the band. It's definitely a nostalgia trip that was worth hopping on a for a few hours and I hope the guys keep at it because KISS Alive 45 will be a lot of fun to watch!
"If you think a rock and roll band is going to solve the world's problems, you're in the wrong damn place!" he shouted to the sudience. Then the band attacked a robust little number called, "Rock and Roll all Nite."
Solving world hunger or global warning or any of the world's ills is not the objective of KISS, glowered the grease-painted 57-year-old rock icon, whose work attire remains an ensemble of tight black Spandex pants stamped with silver stalls, tall silver heels and a sparkled black vest exposing ample swarthiness.
Stanley's point is well-taken. KISS has never been about anything but rockin' out, escaping from whatever stress reality presents. That's one reason for the fantastic onstage alter-egos - to get away from it all. Some have a stiff drink to knock the edge off; others dial up "Rock and Roll Over."
There's little question, given the proven KISS formula, that it would be impossible to stand in front of an audience with a face full of demonic makeup, wearing a codpiece the size of a catcher's mitt, and intone, "I need to take a moment here and say this: I think it is sinful that more than 47 million Americans are living without health insurance. And now, here's, 'Dr. Love.'"
Some bands can accomplish the delicate merger of rock and moral consciousness - Bono has turned the midshow call-to-arms monologue into an art form. But those bands need to exist on separate planes. Sad to say, but we can forget about ever seeing a KISS/U2 double billing.
That's fine. KISS exists as a singular entity. It is a uniformed culture, this 35-year-old KISS Army, and it seems to be growing with every reunion, anniversary, and lineup change and time demarcation. Saturday's audience was a sea of veteran rock zealots who had grown up with KISS, many of whom seemed bent on making sure their children followed suit, even if it meant explaining to their pre-teens that there was fulfillment in being painted to look like a cat or spaceman for an event that was not Halloween.
The band borrowed from its early years, much to the delight of those who played KISS on the miracle of vinyl in those days. "Strutter" is still a favorite. "Hotter Than Hell" was in there. "Dr. Love," "Shock Me," "Shout It Out Loud," "Lick It Up," and the finale, "Detroit Rock City." Fans of KISS shtick delighted in Gene Simmons' fire-breathing moment to cap "Hotter Than Hell." Playing to his strengths as always, Simmons still regularly tongues at the audience. Eric Singer and guitarist Tommy Thayer were provided lengthy segments to prove that, if it ever came to this, they could hold an audience for six or seven minutes without the others. The current KISS lineup - with Eric Singer on drums and Tommy Thayer on lead guitar -- has produced a release, "Sonic Boom," most critics like and that debuted No. 2 on the Billboard charts in its exclusive distribution deal with Wal-Mart.
Theatrically, KISS still impresses visually and audibly. But KISS' famed pyrotechnic show, replete with flames and sound bursts, repeatedly rocked the small theater, and just when you thought, "One more blast from that stage would be obnoxious," - the show's over. "Rock and Roll all Nite" and the encore, capped by the great "Detroit Rock City," was set amid a blizzard of white confetti that nearly rendered the band invisible.
At the center of all this tumult was the familiarly hypnotic KISS sign. KISS continues to flash and fire away, glad to rock 'n' roll, and that's the only message today's KISS Army needs to know.
Faithful fans and curious gawkers alike were in for a special treat, as the band pulled all the stops for what ended up being KISS's first ever live concert webcast, streamed exclusively through Facebook.com and Ustream.tv.
The current tour pretty much follows the template of the second CD included with copies of KISS's new release Sonic Boom: a riff heavy, high-energy set of "classics" impervious to critical assaults or accusations of cheesiness, embarrassing sexism, repetitiveness, etc.
The band is heading into its fourth decade unrepentant and, shall we say it, victorious. Who cares if the Spaceman and the Cat are now two (very good) hired hands instead of Ace Frehley and Peter Criss? The foursome who took the stage last Wednesday led by Gene Simmons and Paul Stanley reenacted the KISS of the good old early days, a kabuki circus full of fire, stage blood and stage banter.
Stanley and Simmons (to paraphrase their two favorite bands) got back to where they once belonged because it had been a long time time since they had rock'n'rolled. Bottom line: they delivered.
Here are a few memorable snapshots from the KISS show last Wednesday at the Staples Center:
1. Half of the fun of attending a KISS show: the fans
When Gene Simmons thought up the KISS concept (read his amazing manual Sex Money Kiss where he explains his entire gameplan and how it succeeded), he realized that each concert could become for the fans a cross between the circus, the freak show at a country fair, and a year-round Halloween parade.
He was right.
2. The other half of the fun: showmanship!
It's really four guys on a stage, a couple of them pushing 60. And they really, really wanna give you a lot of bang for your buck.
KISS plays in front of a wall of screens that can flick in seconds from an illusion of Marshall stacks to the very flames of hell. Speaking of which, there's a lot of actual fire onstage, and the heat could be felt from the back of the Staples Center. Our photographer, standing next to the stage, was almost burnt to a crisp within 20 seconds of the band's entrance. (Yes, KISS is even closer to the firebombs and flares for the entire show, which partially explains Simmons' melting makeup later on.)
3. Did we mention the insane, circus-like, old-school carny showmanship?
After a rumbling bass solo and black and white images of foreboding clouds, for no apparent reason Simmons start gargling blood, as the giant screen focuses on his face. This goes on for several minutes. Then, he flies to a platform over the stage, from which he regales the audience with "I Love It Loud". Everybody loves it, loud.
Later on, it's Paul's turn to dazzle the punters, by jumping on an acrobatic harness, flying across the stadium and doing "Love Gun" from an elevated platform in the middle of the crowd.
New guys Eric Singer and Tommy Thayer also get their stunts: the drummer rotates 360 degrees during his solo, and the lead guitarist gets his chance to show the skeptics he can fill Ace Frehley's platform boots by shredding alone onstage while the other guys take a break. Thayer even riffs on Beethoven's Fifth and (so that you don't forget this is a KISS show and not a Steve Vai recital) he ends by switching to a guitar that orgasmically shoots fire from its neck.
4. The music, against all odds, holds up.
There were a few musical highlights, particularly towards the end. "Rock and Roll All Nite" is still untouchable, and the band was cooking during "Black Diamond" and "Lick It Up". Even though some of their lyrics and posturing (particular Simmons') are easy to mock, last Wednesday's stroll through their "classic" repertoire confirmed their status as a credible bridge between the heavy rock they started emulating in the early 1970s (The Who's Live at Leeds, early Sabbath and Deep Purple, Zep), and a lot of later American heavy metal. During "Calling Dr. Love," it was hard not to notice how much Guns N Roses and Motley Crue are indebted to the original Rock n Roll Circus.
5. The bizarre communion between KISS and their fans is something to behold.
Can you spot the Gene Simmons doppelganger in the audience? You know, the guy who probably woke up early the day before Thanksgiving and planned his whole pre-show schedule around decking himself out in an exact replica of whatever ghoul drag Simmons wears onstage, including hair and make-up? See him?
This dude came to the show alone and spent the entire performance mouthing Gene Simmons' lyrics in perfect synch. You could switch from the stage and the giant screens to where this guy was sitting and not miss a line. That's motivation--and it's also testament to a kind of loyalty that these ancient clowns (we're calling them clowns in the Grand Gignol/Fellini way, so no judgment is implied) can inspire.
Or, as Paul Stanley put it from the stage near the fina
"LOS AHHHNNGEEEEEHLEEEEZZZ!!! TURN UP THE LIGHTS. HOLD UP YOUR CHILDREN. WE WERE THERE FOR YOUR MOMS AND YOUR DADS AND WE'LL BE THERE FOR YOU!"
Before the show, I checked out the merchandise stands. Kiss is still the master of marketing as they have been for decades. The atmosphere was more like a carnival than a concert. CDs and/or digital storage devices of the show were being sold for immediate distribution after the performance. T-shirts, posters, and other collectibles galore were for sale, and face painting was available (just pick your favorite Kiss persona, past or present. People were buying; recession be damned. The people watching weren't too shabby either. Lots of Kiss look-alikes were walking the halls. These fans really get into it.
The stage was covered by ceiling to floor curtains while the crew set everything up. Then it was time for Kiss. As the big screens showed their march through the halls of the Sommet on the way to the stage, Gene Simmons gave us the first of at least a hundred tongue wags right into the camera. Dressed to kill in their traditional costumes and makeup, they were like soldiers marching off to war. And they would be taking no prisoners.
The first thing that struck me was that Simmons' bass was coming through loud and clear and strong. The sound was excellent, and the visuals, well, were typical Kiss, which equates to fantastic. Stanley did most of the inter-song bantering, and everyone else did their talking through their vocals and instruments. Simmons breathed his fire, drooled continuously (so much so I was afraid he would short out his guitar), spit his blood, and flew up high above the stage on the lighting trusses at one point during the show. Stanley flew in a different direction; across the length of the arena to a back platform he gave the folks back there a treat for one song. At one point the two original members were on really high elevating platforms on opposite sides of the stage. Guitarist Tommy Thayer was all over the stage and blazing the fret board throughout the show, and drummer Eric Singer was absolutely insane for two hours.
As for the set list, any group with as large a set list as Kiss is vulnerable to complaints. They just can't physically play everyone's favorites in two hours. For example, several women asked if they played "Beth." Well, this show was too rocking for that. What they did do was an impressive cross-section of their hits, with a few off the new album (Sonic Boom), which by the way are pretty darn good. I won't list them all, but some of the notables were "Hotter Than Hell", "Modern Day Delilah" (one of the good new ones), "Dr. Love", "100,000 Years" (with a nice drum solo by Singer), "Black Diamond", "Shout It Out Loud" (good to hear), "Love Gun", a rockin' "Detroit Rock City", and the ever-popular "Rock and Roll all Nite". Whew!
In general, this was the ultimate rock show. If I wanted to show a rock virgin what a rock and roll concert was all about I think I would take them to a Kiss show. I'll have to try that next time; should be very entertaining.
If any of you are wondering why you haven't seen Australia's renown lighting crew chief Motley recently, it's because he's been living a childhood dream - working for KISS!
"I filled in for Bryan Hartley (KISS's longtime Lighting Director) on some KISS shows in the USA and Europe (07 & 08) after doing the Paul Stanley tour as Lighting Director in Australia," Motley explained. "Bryan was / is busy with Aerosmith and Trans Siberian Orchestra so Patrick Whitley sent an email, "Need KISS LD, what you up to for 18 months off and on?". My reply: "touring with KISS, I guess!"
Motley has been getting great feedback from all industry types.
"I had Lenny Kravitz in NYC at front of house, and I nearly got nervous, but once the first 30 seconds of the show are over, I am in the groove and don't realise what is going on around me until just before the encore."
The rig is 64' wide and made up of 7 trusses wit 2 x 8' side trusses to give it a wider look. The stage is 106' with scaff wings built in the seats at most arenas. The set and backline is set up at front of house on a rolling stage. Lights include 7k Syncro Lite x7, V*L3000 Spot x24, V*L3500 Wash x82, 4Lite DWE {Inline} x26 {Audience}, 4Lite DWE {square} x18 {Stage}, Atomic Strobe x34, CB12 LED Truss Toner x58, ETC Source4 Par NSP x4 {Gene Blood Gag}, Red Police Beacon x10- all controlled by a grandMA.
All air lights are in pre-rig truss except Syncrolites and inline Audience 8lites, so there are not many cases to store. Lighting is supplied by Epic, based in LA. Crew Chief is Sean Kohl, and Andy Figueroa is the KISS sign tech. There are 13 trucks and 6 tour buses all pretty full up.
"The show design started with the band saying they want a set full of video and a big video screen {60' by 20')," said Motley. "We went to do a bunch of Festival shows in Canada and two in the USA, so it was different lighting vendors and systems everywhere. The VL3500 with the beam blaster in was the only fixture that would cut over all the video. We took the big screen and the old set to see what would stick and ended up with the show.
"Then Patrick sent me a hand drawing and asked me to draw it up in 3D; after a few bounces back and forth he went to the set company All Access and got it turned in to a reality.
"The strait truss look fit with the big square set and video so I kept it simple. The joke is that you can tell it was designed by a crew chief! The only thing I was asked was the band want Syncrolites, the rest it up to me.
"There are a few cues in a KISS show that must be done - the rest is what I call a 80's Ozzie pub rock rig on steroids. There is not a lot of movement in the rig until the end of the show. Drum riser goes up to 16' and rotates, Paul flies from front of house and Gene flies up to the front truss.
"It's been a good buzz, as I went to KISS in 1980 in Sydney and came home and told Mum I am going to be a roadie and make big rock shows. Somehow I have now gone full circle. At first it was a bit weird talking to band members in full make up and 8" boots so they end up 7' tall - twenty-nine years later who would have thought, but after so many years of touring I have no problem with it at all."
Three decades ago, his father, Gene, and the other members of KISS promoted their 1977 Marvel Comics Super Special by opening their veins and donating the proceeds to be combined with the ink the issue was printed with.
“My dad is proud to point out that that’s the best-selling Marvel comic of all time because it was a single issue and KISS fans are collectors,” Simmons, 20, tells Sun Media on the phone from his California home.
In the years since, KISS has continued to dabble in graphic novels. The elder Simmons went so far as to publish his own comics line, in addition to an ongoing collaboration with illustrator Todd McFarlane whose toy-line manufactured KISS action figures.
So it’s perfectly naturally that the rock icon should spawn a comics creator as well: Writer-artist Nick, whose supernatural horror serial, Incarnate, is now in stores from Radical Publishing.
Dark, stylish and bloody, it chronicles the conflicts of immortal creatures called Revenants — one of whom is a pasty, raven-haired teenager named Mot. It is also what’s called American manga — referring to the Japanese style of art that has inspired the younger Simmons since he was young. Superheroes, he explains, never really interested him.
“My dad grew up in that era, so that was his thing … I’ve always been a fan of manga. That’s how I’ve always drawn, so if I tried to draw naturalistically, that would be a new thing.”
So far reviews have been positive and sales, undoubtedly stoked by his surname, strong. “I have no illusions. It’s all my dad’s doing.”
Yet unlike other celebrity progeny, Simmons expresses no desire to distance himself from his heritage.
“I’d be an idiot not to use that resource. I wrote and drew a comic book, but the fact I get press for it is entirely due to my father. I’m under no illusions about that. And I’m grateful for it.”
Besides, he’s also savvy enough to know that while his name may open doors, “I still have to walk into the room and prove myself.”
At times more so than an unknown writer and artist might. Fanboys were “locked and loaded” in advance of Incarnate’s release, he says. He knows this because he’s one of them — a true believer who can quote dialogue from Paul Dini’s Batman animated series or cite subtext from Alan Moore’s Watchmen.
“Comic book fans are jealously protective. They’re almost like music snobs or elitists,” Simmons says. “If just one thing is wrong, they will tell you because they know all the facts and are passionate about it.”
In rock music, he notes, there are casual fans.
“There aren’t really casual comic book fans because you have to get off your ass and search for it.”
Maybe so, but comics have become Hollywood’s medium of choice of late, with even obscure comics being snapped up for feature film treatment. Incarnate may follow that route, he says, although he wanted to adapt it into an animated series like Spike TV’s Afro Samurai. “Unfortunately the market for animation is not like the market is for motion pictures.”
In the meantime Simmons remains active in other media — most famously on the A&E reality show, Gene Simmons Family Jewels. “It’s a source of income and I’m not just freeloading off my father, I’m actually contributing to the family. I get paid to be myself — that’s not really that hard.”
He sounds less enthusiastic about the idea of a music career, even though he has his own band, Hands of God. “It’s just for fun. People think I’m on the show just so I can have a music deal, so I can be Kelly Osbourne. But that’s not the case — no disrespect to her.”
After all, if he really wanted a recording contract, he has connections. “I would probably,” he says frankly, “ask my dad to help since he knows some people.”
So evidently, you have the duty. How many phoners do you have to do a day?
Not that many, maybe one or two here and there because everyone in the band does interviews.
So they're not just torturing the new guy?
Naw. Gene and Paul like to talk too much, so they?re not going to let that happen.
How's the Kiss biz treating you?
Well, without sounding typical, it's going better than we could even imagine. You know, "Sonic Boom" was just released three or four weeks ago - I'll get to that in a minute - but the tour has just been spectacular. We've just come across Canada, and now we're coming down the West Coast, as you probably know. The shows have been packed out, and we've got a huge stage set out with us: bigger, more and better of everything. It couldn't be better, because to be quite frank with you, a lot of tours are kind of struggling in this day and age because of the economy, but the Kiss tour continues on and it's very strong.
Who goes to a Kiss show these days?
Well, that's changed and that's part of the success. You've always had the die-hard fans, the ones that?ve been with the band forever, and those people are still there, which is great, but now they're bringing their kids. The face of the Kiss crowd has completely changed: a lot of younger kids, a lot more girls these days.
That's a good thing.
Yeah, it's more diverse, and you know, multigenerational, I would say. You've got a whole new resurgence of young kids coming and joining the Kiss Army. We didn't really notice until last summer in Europe - we did a big tour over there - and then we were in South America this spring, and the whole face of the crowd was changing and just getting bigger and growing. It had to do with all kinds of things. We were on "American Idol" this year, and we have songs on the "Rock Band" video games, Dr Pepper commercials. There's just all kinds of stuff where the shows are really packing out.
So where does "Sonic Boom" fit into all the rest that came before?
Well, "Sonic Boom" is the first Kiss studio album that I've been actively involved with as a member of the band, and if I do say so, it's a great record. We're really proud, and the critics and the fans alike have been exemplary. We did this record with the idea that we weren't going to do it like most bands do it anymore. We went back and did it on analog tape. Actually to begin with, we wrote and rehearsed songs with the band. There wasn't anybody from the outside, record labels or management saying you should try to do this or that, and we just did something from the gut, really. And we wrote 11 rock 'n' roll songs that are sort of in your face, from the gut songs, no outside writers. We didn't try to write a radio song, a power ballad or anything like that, and it just came really pure and for real, you know, and more so than any Kiss record in a long time. I didn?t realize it until near the end of the recording that this thing is really good, and it feels right, and I think it's because we didn?t have outside influences and politics playing a role. Usually, you have A&R people telling you what they think because they have money invested, but we did this all ourselves and put it out on Kiss Records.
Most bands fall prey to the dreaded "creative differences," which often means "need a bass player, man" or "need a drummer, man" but in Kiss the guitar player seems to be the rotating position. Do you ever feel like the extra crewman that beams down to uncharted planet with Kirk and Spock?
You know, Kiss has been going for 35 or 40 years now and there have been several guitar players, but a couple of the guys were just in there for a year or two. But it's kind of a hallowed spot to be filling. You know, Ace Frehley was the original lead guitarist, and I grew up as a fan.
Did you go see them as a kid?
Oh, yeah. I was a huge Kiss fan. I got their first record for Christmas in 1974. I went to their shows in Portland, where I grew up, and I put on makeup when I was 15 and - lo and behold - you never know where things will take you.
How?d you get this job? I know you were in a Kiss tribute band as well as Black 'n' Blue before that, but did you have to go through some crazy, intense audition scenario or what?
Not at all. It kind of happened organically. I used to be in Black 'n' Blue, which had several records out on Geffen, and before that, we had an opening slot on a Kiss tour in 1985. That's where I met these guys. We hired Gene to produce a couple of records, so we got more involved, and I started writing with them and so on and so forth. Eventually after Black 'n' Blue had run its course, they asked me to just come and work for them because they needed someone to understand, which I always did. I got Kiss and I understood, so they had me spearheading a number of projects. They did the reunion in '96. Ace and Peter came back, and they put the makeup back on, and it was a big, successful tour and at that point, I was working behind the scenes just doing whatever needed to be done. I was looking more to a music career at that point. I had my band and we took our shot. We did good, but it wasn't a career for life, so I was thinking more music career. So when they were having problems and Ace and Peter left, I happened to be there. I had done sound checks, rehearsals, even some recording behind the scenes, so it was just kind of natural, and about seven or eight years ago they said, "Tommy, you're the guy!"
How many thousands of songs did you have to learn overnight?
Already knew 'em, you know? Like I said, I'd done sound checks and rehearsals and when Ace re-entered the band, I actually had to help him relearn his parts. The other cool thing is that my wife and I actually live out in Ventura County out in the Westlake area. I love it out there. We've been out there 11 or 12 years. I used to live in town, but all the traffic and the craziness, I just got tired of it.
Black 'n' Blue had quite a run. You?re too humble. How did all that prepare you for all this?
Well, they say Tommy is the new guy, but I've been doing this professionally for over 25 years. I've been at this for a long time, and I know what's going on.
How did you end being a guitar player?
When you're a kid in fifth grade and they say, "Hey, you wanna join the band?" I ended up picking up the saxophone, and I played it all through high school. But when I was in junior high, I wanted an electric guitar, and the main reason I wanted to do that was because I thought it looked cool. Finally, I got one, and that completely took over, and I lost interest in the concert band. Even though saxophone is very cool, I was just overcome with the electric guitar and being in garage bands and all that.
So your first gig with Kiss then was an easy transition?
Yeah, it really wasn't as extraordinary as some people might think. Just the fact I was officially in the band was amazing, but as far as actually doing it, it wasn't a big challenge.
Was there any discussion of any sort of Plan B or were you always going to be the Spaceman?
Paul and Gene didn't want to change and have new characters. It's so established - 35 years and going on from there - they don't want to start reinventing the wheel at this point. They did that 20 or so years ago when Ace and Peter left, and they changed it, and it didn't really work out very well. There's a few diehard fans out there who think it's blasphemous that I'm wearing Ace Frehley's Spaceman makeup. There's still a few people saying that, but we've got 15,000 people out there every night and they're not complaining. You know how the Internet is. It just gives people something to bitch about, but they still come to the shows.
This year, the band launched a first-ever fan-routed tour and released "Sonic Boom," its first album in 11 years (which entered the pop charts at No. 2, a career high for KISS).
If you ask Paul Stanley, KISS' co-leader, the band is KISS at its best- with co-leader Gene Simmons at his side, as well as recent additions Tommy Thayer (guitar) and Eric Singer (drums).
We talked to Stanley about the fan-routed tour, its new album and why critics and multi-generations seem to love KISS these days.
I know you guys are a little more than halfway done with the tour; how do you feel it's gone so far?
In terms of worldwide, it's the biggest and most successful tour we've ever done. It's been not only a great show in terms of turnout and response from the audience, but I've never seen so many great reviews. You have to remember we're a band that's always been loved by the public and hated by most critics. All of the sudden, either those critics are out a job, or they've had a change of heart, because it's suspicious to see so many over-the-top reviews.
Along those lines, I've seen pictures on your Web site of little kids and families at your concerts. Thirty years ago, that wasn't the image people had of KISS.
KISS has always been about writing our own book as to who we are and what we are. It usually doesn?t follow what other bands are doing. At this point, we are so multigenerational and proud of it. We do have new fans, meaning teens and 20s, but we also have older fans with their kids. For many people, KISS has always been the soundtrack to their lives, so it?' passing something along to their kids. I couldn't be more proud of the band and what we mean to so many different people.
Where does that dedication come from? What is it about the band that inspires that in people?
I think it's the idea of being the underdog who always manages to win. We've had a career of doing things our way in the face of every known obstacle and we do more than survive, we thrive.
If you were going to create "the perfect KISS," which past or present members would be in the lineup?
They're in. This is the best KISS ever. Because this is a KISS where you've got four unique personalities, but you've got four people who are all dedicated to the idea of trying to make the band more famous, rather than trying to figure out how to have the band make them more famous. You only have to come see the band to know that this is as good as it gets.
Stanley spoke with the Las Vegas Sun as the band prepared for a show this week in Anaheim, Calif.
How are you going to scale down your live show, which is built for arenas and stadiums, for a small theater like the Pearl?
We have special shoehorn where we take our size-12 foot and jam it into a size-9 shoe. Rather than go back to a big arena, we wanted to play the Pearl again (Kiss performed at the theater in August 2008). Every seat is unobstructed, which you don’t get often, but we’re not going to do the lounge thing. We’re going to test how much volume this place can handle.
Palms owner George Maloof likes to bring in bands he’s a fan of. Is that how Kiss came to play the Pearl?
Yeah, he is a fan. I’ve known George for about 15 years now. I was there when it was just rebar, talking with him about the day Kiss would come to town. We were envisioning it even then.
You have a place at Palms Place, right?
I’ve had a place there since it was under construction, before it was completed.
There were reports last year that you might be in Las Vegas, as a resident, as the Phantom in “Phantom — The Las Vegas Spectacular” at the Venetian. Any truth to that?
I was in Las Vegas having meetings, and we’d discussed that. I’d played the role before (in the Toronto production), but for a lot of reasons it wasn’t to be. I think it’s a great show — terrific. I still intend on doing it on Broadway, but there are only so many hours in the day, you know?
We have the Beatles-themed Cirque du Soleil show, “Love,” at the Mirage and an Elvis-themed Cirque show at Aria called “Viva Elvis.” You’ve seen “Love,” right?
I did and it was absolutely terrific.
Would you be interested in a Cirque-produced show with a Kiss theme?
Sure. We’ve been in talks with different people with possibilities … not Cirque people, but we’ll see what develops over time ... Anything is possible with Kiss.
The US supergroup - Gene Simmons, Paul Stanley, Tommy Thayer and Eric Singer - are promising to put on the most spectacular show of their controversial career.
"This is the best Kiss ever...it's the biggest and most successful tour we've done," boasted guitarist Paul.
"You only have to come and see us to know this is as good as it gets."
Kiss have been wowing fans on the other side of the Atlantic with their new stage show based on this year's hit album, Sonic Boom.
Kiss are reaching a whole new generation of fans thanks to recent high-profile television appearances.
They went down a storm appearing on the final of American Idol 2009, where they performed hits Detroit Rock City and Rock And Roll All Nite with contestant Adam Lambert.
The show was watched by more than 30million viewers.
And bassist Gene Simmons is a reality TV star in his own right. He has achieved top ratings with Gene Simmons' Family Jewels, a fly- on-the-wall show focusing on his offbeat home life with ex-Playboy Playmate Shannon Tweed and their kids, Nick and Sophie.
Kiss formed in 1973 and their string of albums includes Dynasty (1979), Unmasked (1980), Animalize (1984) and Revenge (1992).
The colourful band, whose infamous live shows have featured blood, fire and smashed guitars, have also played big events such as Super Bowl XXXIII, the Winter Olympics in 2002 and the 2008 Australian Grand Prix.
Despite several line-up changes, Kiss claim they've never been more popular with young music fans.
Paul said: "We have many new fans - mainly in their teens and 20s - but we also have older fans who bring their kids to the gigs.
"For many people, Kiss has been the soundtrack to their lives, so it's passing something along to their children.
"I couldn't be more proud of the band for what we mean to so many different people."
The face-painted rock superheroes, riding on the crest of a wave after a stunning performance at Download in 2008 and the seemingly never-ending Alive 35 world tour, arrive at the LG Arena on Tuesday May 11, 2010. Tickets go on sale at 9am this Friday, November 27.
In typical bombastic Kiss style, the tour goes by the title of "Sonic Boom Over Europe: From The Beginning To The Boom", hinting at a setlist including nearly four decades of Kiss classics, right up to the new material, which deliberately evokes the spirit of the early Kiss albums.
The tour features Kiss's first UK arena shows in 11 years. Acclaim for Kiss on the Alive 35 tour has been universal. Metal Hammer hailed the "return of the kings!", while Mojo declared: "A Kiss show is as thrilling and bombastic now as it was in 1975."
Whilst utilizing elements of "Kiss Alive 35", the Sonic Boom tour will be a new show tailored to the band's European fans and showcasing the Sonic Boom album.
Guitarist and singer Paul Stanley says: "The Kiss Alive 35 Tour was just the start. 'Sonic Boom Over Europe' leaves that show in the dust. New stage, new setlist, new outfits, new album!
"We're covering the whole musical history of the band on a stage that takes Kiss one giant step further in our eight inch heels. We're stoked. You wanted the best? You GOT the best!"
Bassist and singer Gene Simmons says: "Now, more than ever, Kiss is a four-wheel-drive monster truck. Our mission? To rock planet Earth. To spread the gospel of Sonic Boom."
Today - November 25, 2009 - Kiss, which also features drummer Eric Singer and lead guitarist Tommy Thayer, are performing to a global audience when their show at the Staples Center in Los Angeles is streamed live on Facebook. This one off event will be unique chance for European fans to see the Kiss Alive 35 show before it changes for the European run.
"We were here for your moms and dads, and we will be here for you," Stanley told the audience in the close to sold-out arena. Parents who brought their children seemed reassured that somehow the world would be a better place because of this. Many brought offspring as young as three years old, dressed up like members of Kiss, in full costume and make-up, to pay homage to the band, famed for their imagery. Die-hard Kiss fans, ranging from adolescents to rockers in their forties attended the concert, dressed in full Kiss regalia. The band attracted a crowd that ranges into their fifties. Those who attended the concert not dressed up as someone in the band, showed up wearing either Kiss merchandising, conservative clothing, or rock and roll couture de rigueur of Los Angeles, a city that is arguably one of the rock and roll capitals of the world, not to mention home to Kiss member Gene Simmons. Last night's concert again proved that Kiss still has managed to retain its "Kiss Army," its dedicated legion of fans.
The ever merchandising Kiss has made last night's Los Angeles concert available for purchase as a double CD. For those who attended the Staples Arena show last night, the recording of the show was made available by purchasing a voucher, and picking up the first CD and the box at the concert. Then after registering online, the second CD with encores would be mailed to them. In addition to the live CDs, Concert Sticks, which are packaged in Kiss collector's boxes, are available immediately after each Kiss concert at Concert Online and/or official merchandise booths. USB sticks give fans live MP3s immediately after concerts. The company Concert Online teams with mobile audio recording studios and accompanies musical acts throughout their tours and record every show live. The resulting live recordings are split into individual tracks on-site, labeled, converted to high-quality MP3s (320 kbit/s) and copied to "Concert Sticks" (USB drives). These can also be purchased on the website.
In many ways, Kiss is the W.W.F. of rock and roll. Paul Stanley dresses as the "Starchild," bassist Gene Simmons is "The Demon," drummer Eric Singer is the Catman, and their guitarist, Tommy Thayer is the Spaceman. Kiss were dressed in their iconic outfits, comprised of silver and black spandex, leather and metal chains and studs, and extremely high platform shoes, with their faces covered in make-up, identifying them with their long-known characters.
Although the band has gone through some personnel changes, the song remains the same, and so does the show, which is what their fans want. The band, which is arguably most celebrated for their live stage shows and imagery, offered entertainment and spectacle. Kiss' iconic logo on stage flashed throughout the concert.
"Last night we played in Anaheim," Stanley announced to the audience, which resulted in loud booing. "Funny," Stanley quipped. "That's what they said about you. You're going to play for those Beverly Hills rock and rollers," joked Stanley, referring to last night's audience.
Simmons stuck his tongue out and wiggled it at the audience many times during the night, and sometimes he had fake blood dripping out of his mouth. Pyro that included green, yellow and orange flames shot up from the stage, flame pots erupted, as well as sparklers and firecrackers. At one point, Simmons carried a flaming torch, and appeared to breathe fire out of his mouth. In another effect, sparks appeared to shoot from Thayer's guitar. Fog emanated on stage, and masses of confetti fell from the ceiling onto the floor of the audience. The song "Black Diamond" ended with firecrackers. Elaborate video screens were split to show different vignettes of the band members at the same time, and included colorful graphics.
Drummer Eric Singer played while elevated on a large platform. Between two of the songs, Stanley urged fans to not drink and drive.
Stanley, who was the most animated member of the group last night, screeched at the audience, "Do you want to know how to end global warming?" The audience responded with a resounding "Yes." The guitarist then proclaimed, "If you came to see a band tell you how to stop global warming, or how to end world hunger, you came to see the wrong band. Tonight is to escape the world's problems." Stanley then assured the audience, "The world will be just as screwed up tomorrow," which drew massive laughter from the audience. This was the segue to the band's party anthem "I Wanna Rock And Roll All Nite." Stanley also managed to destroy a guitar on stage. Both its neck and its body ended up with fans in the first two rows.
At times, Stanley made gestures to the audience and pantomimed to get his points across, as he introduced the band's songs throughout the evening. At one point, he played the intro from Led Zeppelin's "Stairway To Heaven," an apparent joke. For those with a sharp ear, a bridge from The Who's song "Won't Get Fooled Again" was briefly vamped on guitar. The musical repertoire of the evening was vintage and new material, like "Modern Day Delilah." Part of the spectacle of the evening included Simmons and Thayer being simultaneously raised on each end of the stage to the top of the arena on platforms that were suspended in mid-air, while the platforms shot out massive flames.
One of the visual highlights during the concerts was when Stanley said to the audience, "I'm coming out there!" At this juncture, he was suspended on wires, and was flown over the audience, landing on a platform that was placed high above the crowd. It was located towards the back of the arena, which was dense with Kiss' film cameras for video. There was more spectacle when Stanley was flown over the audience, back to the stage.
As much as Kiss had pyro for its audience last night, the audience held a flame for Kiss.
The reality is that the 49-year-old Portland, Ore., native has been a part of Kiss' inner circle for more than 20 years, but only a member of the group — whose "Kiss Alive 35" tour comes to the Don Haskins Center Wednesday — since 2002, when Frehley left for the second time.
"People say I got their coffee. Yeah, I went and got the coffee. Other times, if we were meeting at the studio, Paul might call and say, "I'm going to get the coffee today. What do you want?'" the guitarist, more amused than defensive, said during a tour break in Florida.
And, yes, it's true that Thayer once helped Stanley paint his house. Thayer was staying with Stanley while sifting through hundreds of the band's photos for "Kisstory," their limited-edition, 440-page memoir published in 1995.
"I was in Paul's guest house doing the photo thing and one day he walks in and says, "Hey, can you help me paint my master bedroom?' It wasn't all of the sudden I'm painting his house," Thayer said. "Paul and I were painting his bedroom. ... It wasn't just me. He was painting, too."
Thayer knows there are Ace fans who don't like him, who criticize him for donning Frehley's "The Spaceman" makeup and costume (owned by Simmons and Stanley) and re-creating Frehley's guitar solos.
As a Kiss-loving kid, Thayer was an Ace fan himself. He later played Frehley in Cold Gin, a Kiss tribute band. He also helped Frehley relearn some of his own guitar parts for the original lineup's reunion tour in 1996.
"These things take time," Thayer said of fan acceptance. "You can't expect to walk in on the first tour and own the world. There's a certain reverence to the thing I'm doing, the position I'm coming into in the first place. It's Ace Frehley; a big shoe to fill."
But with Kiss' new album, "Sonic Boom," Thayer feels he's come into his own. It's his first studio effort with the group, which also includes Eric Singer on drums. He's been credited by fans and critics alike for helping make it one of the group's better albums in a long time.
"I feel almost a little more liberated now, because when I joined this band I had big shoes to fill replacing somebody like Ace, which is not an easy thing, and everything that goes along with that," Thayer said. But he noted that "I can say (the album's) as much mine as anybody's."
Thayer said the band has been re-energized by the first three legs of its "Kiss Alive 35" world tour, which was launched last year to mark the band's 35th anniversary. The North American leg contains much of the material included on its breakthrough "Kiss Alive!" concert album, plus plenty of the pyro for which the band is famous.
It's the band's first extensive tour in several years, and the longest one that Thayer has been a part of as a member.
The idea to make a new album grew as the band toured Europe and other parts of the world for the first time in years.
"We had a gut feeling that maybe we should do this now," Thayer said, noting Simmons' and Stanley's reluctance after their last studio effort, 1998's "Psychocircus," tanked.
The "Kiss Alive 35" tour has been good to tour openers Buckcherry, who last toured with Kiss in Europe after their debut album came out a decade ago.
"We were excited. We've been touring 10 years and they're celebrating 35 years," singer Josh Todd said. "It's just kind of a rock 'n' roll event. At this time, there are not a whole lot of rock 'n' roll events."
Thayer understands the importance of being in a band as big, and notorious, as Kiss. He prefers the detractors to the alternative.
"The day when nobody is talking about it anymore," he said, "is when we need to be concerned."
The bassist, vocalist and self-proclaimed "Demon" who made his name with the notorious costumed rock band will meet and greet fans who buy a Gene Simmons Axe Bass from 6 to 8 p.m. Monday at ROCK STAR gallery at Kierland Commons, Greenway Parkway and Scottsdale Road. A Gene Simmons look-alike contest open to the public will be held from 4 to 6 p.m. the same day.
"Growing up, I was never able to really connect with the Beatles in a personal way," Simmons said from Saskatoon, Canada, where he was performing. "If I liked one of their instruments, I just had to go off and buy it in a store. It was very impersonal. There was this gulf between the fan and the band.
"I wanted to make it personal for my fans. If you are buying something from me, I owe it to you to talk to you, take a picture and maybe kvetch a little."
But the Demon and marketing genius may have materialistic motives for the event, which takes place on the eve of his Tuesday concert at Jobing.com Arena in Glendale.
"It is clear that these are superfans, because each bass cost $5,000," Simmons said. "Besides being a collectible, the bass itself is on the highest level, and it is autographed."
The black and silver bass guitar is a limited edition that is autographed and hand-numbered by the performer. The guitar comes with a custom-painted leather case, hand-embellished with a likeness of the superstar's stage persona, the Demon.
Kiss is on a 48-city tour that includes stops throughout Canada and the U.S. to promote the band's latest CD, "Sonic Boom."
It sounds like a grueling schedule, but the 60-year-old rocker claims he does not need any preconcert workouts for his blood-spitting, fire-breathing act.
"I am on stage with 8-inch platforms (shoes), guitars, leather and armor. It's like being in the Marines and doing two hours of training," Simmons said.
After 35 years, the singer still digs his music gig.
Simmons co-founded his legendary band in the early 1970s. Kiss has broken box-office records set by the Beatles and Elvis Presley and is still going strong.
Simmons was born Chaim Witz in Israel, the son of a Nazi concentration-camp survivor. He came to the U.S. at age 8. Simmons attended college in New York and graduated with an education degree, although he was in rock bands since he was a teen.
He is also a merchandising whiz, his empire having grown to include the reality-TV show "Family Jewels," cartoons, comic books, best-selling books, clothing and more. He has been in numerous films, including "Extract," which was released this year, and "The Christmas Story" which is expected in theaters in December.
"All I ever wanted to do was fit in," he said. "I couldn't speak a word of English. Everyone would make fun of me and call me stupid.
"My revenge was getting them all to work for me. Education is powerful. Once you know that, you can rule the world. Without an education, you get to ask the next person in line if they want fries with their order. Power comes from brains, not brawn."
Simmons doesn't do many private meetings, so the event at the ROCK STAR gallery is special. The gallery sells music collectibles and celebrity fine art.
In the lobby of the Honda Center in Anaheim on Tuesday, veteran fans watched the parade as they awaited KISS' explosive arrival onstage.
"This is huge! KISS is my whole life," declared Robert Edmondson, 43, of Monrovia. His smiling face was painted in the style of "The Demon," worn by singer-bassist Gene Simmons. He had a long, black wig over his hairless scalp. "My mom took me to a concert in '77 and I flipped. I wanted to be Gene Simmons. Look at me," he added, rolling out a long tongue. "We have something in common."
As a big-time rock act, KISS is in a category all its own, the ultimate critic-proof band, and its appearance Tuesday night was less a concert than a circus of music, pyro and costumes. This is what KISS does, and the KISS Army loves them for it.
Riffs, not rants
"You know we got trouble in the world," singer-guitarist Paul Stanley noted late in the two-hour performance. "If you came here thinking a rock 'n' roll band could tell you how to end global warming . . . you're in the wrong place tonight!"
The best of the old songs were still catchy and delivered a nice cheap thrill as Simmons shouted "Rock and Roll All Nite" to an exploding cloud of white confetti. "Black Diamond" erupted with dependably crashing hard-rock riffs.
At or near 60, bandleaders Simmons and Stanley remain a lively presence on stage, kicking up their platform shoes and maintaining the same commitment to grand gestures, stunts and fire-breathing. The makeup shields the band from the obvious passage of time, preserving its image just as it was in the glittery 1970s.
Two of the original members -- drummer Peter Criss and guitarist Ace Frehley -- are gone, but longtime replacements Eric Singer and Tommy Thayer filled those slots, respectively, with enthusiasm and ease.
With the notable exception of the band's 1983 hit "Lick It Up," most of the night was devoted to KISS' '70s heyday.
The new 'classic'
But the quartet also performed songs from "Sonic Boom," its first studio album in 11 years, which was released exclusively through Wal-Mart.
The album, produced by Stanley, was aimed at reconnecting with the thundering rock hooks of the band's most popular era, and fans were not unhappy. New songs included "Say Yeah," a catchy, anthemic tune that had the crowd singing along, as the many video screens on stage filled with the faces of fans wearing KISS makeup. Thayer unleashed a heavy riff on "Modern Day Delilah" as huge flames of orange, yellow, red and green exploded behind him.
Stanley had at least one new message for the KISS Army on duty: Buy that new album. "Get your butt down to Wal-Mart and pick up a copy," Stanley urged. "It's good. It's classic."
Paul Stanley is co-founder and part-owner of an endlessly diversifying entertainment company called KISS. As "The Starchild," he sings, plays rhythm guitar and writes songs for the band. There's a new album to promote, Sonic Boom, which Stanley's really proud of, and a world tour that brought him to Staples Center last night.
Born in the middle of the baby boom, Stanley Eisen turned 12 when the Beatles played The Ed Sullivan Show. He grew up in Queens, New York, and attended the High School of Music and Art, alma mater of entertainers, hip designers, real-life Mad Men and MAD magazine luminaries. Stanley studied art there, though he also dabbled in rhythm guitar and was under the heavy sway of those first, unstoppable Zeppelin albums.
Eventually, he went into showbiz, partnering with a driven Israeli immigrant who calls himself Gene Simmons and rising to the top of his profession.
There were highs in the '70s, some lows in the '80s, but the band soldiered on in spite of critics and naysayers. Stanley had been visiting Los Angeles for work since the early '70s. In the '90s he left the East Coast for good, had a kid with a gorgeous actress and bought a big place in Beverly Hills.
Fast-forward to 2001: The actress turned into a complicated divorce, and Stanley turned to his first love, art, for "therapeutic reasons." At the age when Sinatra was brooding about the September of his years, Stanley kept fit (give or take a heart scare or two), kept working at his day job, took up painting and rebuilt his home life with a lawyer he met at ritzy Italian restaurant Ago on Melrose Boulevard.
Now 57, Stanley is still very wealthy and still working hard for the band he started. He's happily married to his second wife, with whom he has two small children. Beverly Hills magazine described their small 2007 wedding at the Pasadena Ritz-Carlton as "magical."
Stanley travels a lot for work, and when we caught up with him on the phone he was in Saskatoon, Canada, nursing a sore throat. He couldn't wait to get back to his family and beloved adoptive city.
"I really like to unwind in L.A.," he says. "Since I got kids of all different ages, I do different things. With the young ones - I have a 9-month-old daughter and a 3-year-old son - I like to go to Paradise Cove [in Malibu]. We sit around and play in the tide pools. There' nothing I like better than that.
"But then with my 15-year-old son," he continues, "we go to McCabe's and play with the guitars there." It's easy to picture Stanley - the hip, older dad with the long hair - and his teenage son, Evan, driving to the venerable Santa Monica music store on the weekends, the latest Raconteurs (he keeps up with classic-sounding new bands) or old-school Humble Pie blasting from the stereo. "I love McCabe's," Stanley adds raspingly on the phone from his hotel room. "It's very old-school, reminds me of the guitar stores I used to go to in New York in the '60s." This doesn't mean he's averse to Guitar Center, where he and Evan continue their bonding sessions over expensive vintage gear.
Another thing Stanley loves about the city is high-end cuisine, particularly Italian. "I really like Cecconi's [in West Hollywood] and Osteria Mozza. Italy has my favorite food and it's my favorite place to go on vacation." While others, like boisterous business partner Simmons, spend the spoils of success on gaudier stuff, for art-crazy Stanley an ideal family vacation is renting out a Medici villa.
After years in the showbiz mecca ("Man, Sunset Boulevard! It just blew me away. When I first arrived, I thought the Rainbow on Sunset was the closest I had come to rock & roll church!"), this Queens boy is now enjoying the kind of personal L.A. renaissance experienced by many successful men his age as they move past the September of their years into uncharted Octobers and Novembers.
And he has even started getting attention for his paintings. The efficient lady who arranges Stanley's press appointments tells us that one day some people came over to his house, noticed the framed artwork and started raving about it. "After that, he starting showing it in galleries and it's made about $3 million in sales," she says. Not bad for a side gig begun as an exercise in post-divorce solace.
Still, the painter's life will have to be put on hold while Stanley minds the store. His main career in showbiz is what's paying for the very comfortable life of the Beverly Hills gourmand, the rented villas and the art supplies.
After all, Stanley Eisen plays rhythm guitar and writes songs for the world-famous band KISS.
The disc was billed as the return of the original Kiss, since it came in the midst of the reunion of guitarist/singer Paul Stanley and bassist/singer Gene Simmons with the two other original members, guitarist Ace Frehley and drummer Peter Criss. "Psycho Circus," though, ended up being a lackluster effort on a musical level, and far less than advertised when it came to being called a triumphant return of the classic Kiss lineup.
Instead, Frehley and Criss hardly played on that 1998 CD, with studio musicians handling what ostensibly were their parts. The band also had several outside writers contribute to roughly half of the songs.
So Kiss had something to prove when the band decided last year that it wanted to make a new studio CD. For one thing, this was a new lineup for Kiss, with guitarist Tommy Thayer making his full-fledged debut, and drummer Eric Singer, who since 1996 has been the band's drummer whenever Criss wasn't in the lineup, back on board.
Interestingly, the band decided that if Kiss was going to fail on this album ---- the newly released "Sonic Boom" ---- there would be no one to blame but the band members themselves, as Stanley took the reins on the project.
"I think the most important thing that I noticed about this record was it was really done well; one, there was no outside producer," Singer said, commenting in a recent phone interview about Stanley's role in the CD. "I think working with great producers can be a really great thing. People can get you to think outside of the box or think of things differently than you might ordinarily do it, and sometimes bring a certain type of performance out of you that you might not be able to get yourself. ... But ultimately at this point, nobody knows how to make a Kiss record better than Kiss. I think that was kind of the mindset."
But it wasn't just Stanley who went into "Sonic Boom" ready to step up to the plate.
"Everybody went in with the attitude of hey, we know what we want to do," Singer said. "We want to make a rock 'n' roll record. We want to do it organically, which means us recording the record live, everybody playing on the record, no outside writers, no outside musicians ---- do it the right way, the real deal, like the way records were originally made."
The decision to keep "Sonic Boom" an in-house project has paid off. The new CD has been greeted by many reviewers as the best Kiss album since such classic early releases as "Dressed to Kill," "Destroyer" and "Love Gun" ---- and a CD that actually sounds much more like the work of the original Kiss than "Psycho Circus."
The success of "Sonic Boom" represents a welcome turn of fortunes for Kiss. The reunion tour of 1996-97 with the four original members was a major success as a live venture, but by the end of the decade, it appeared the band's days were numbered. In early 2000, the band announced it would do a farewell tour that would run from that summer into 2001. Before the tour was over, Criss split with the group, and Singer, who had joined the group after the 1991 death from cancer of drummer Eric Carr, rejoined Kiss to finish the tour ---- which, of course, turned out to be far from a final jaunt.
By 2002, Frehley had also played his final gig, with Thayer filling that slot. When the band returned to the road in 2003 to co-headline a tour with Aerosmith, Criss had been brought back. This time, Criss lasted only for about a year.
In 2008, with the 35th anniversary of the band's formation in New York City looming, Kiss announced it would begin the "Kiss Alive/35 World Tour," with Singer and Thayer joining Stanley and Simmons. Singer said he was angry at the band after it brought back Criss in 2003, although he had no complaints about the group cashing in by reuniting the original lineup. Before rejoining Kiss, Singer said he cleared the air with Simmons and Stanley.
"I told Gene how I feel about how they dealt with me in certain things," Singer said. "I always understand the business side of things. It's not called music friends. It's called music business. I'm fully aware of that. I've been doing it for a long time. I get it. The only thing I ever said was, there is a way to do it, you know? I'm a big boy and you should just tell people your intentions when you want to do something, just be aboveboard. That's the best way to deal with it. That way you keep the door always open. And Gene, he respects my opinion about it.
"But you know something, the relationship I have now with Gene and Paul and the band is the best it's ever been for me," the drummer said. "They get along really good now, and they've had their ups and downs. ... How can you not have a relationship and expect it to not be peaks and valleys? But once I came back, I remember saying if I'm going to come back, then it's got to be under the right kind of situation. I don't want to keep playing, literally, musical chairs. But I think when Paul called me up and said come back, he basically said, 'This is what I want to do. I want you to play drums.' And that was it."
Playing drums with Kiss is exactly what Singer is doing as the "Kiss Alive/35 World Tour" continues, stopping Nov. 27 at the San Diego Sports Arena. The stage show continues to be as spectacular as ever. In fact, Singer noted, the band has an entirely new stage with high-tech video screens and the usual array of visual effects.
Of course, some traditions continue.
"There are certain things that have become synonymous with Kiss, Gene breathing fire or Gene flying and spitting blood," Singer said. "Those kinds of things you have to do. ... it would be a cardinal sin to not have those certain Kiss staples, just like certain songs that have to be in the set. It wouldn't be right without them."
On the early part of the tour, the band played almost the entire 1975 "Alive" album. But Singer said the set is evolving to include "Sonic Boom" material.
"As we get into fall, we're going to start gradually working in more new songs off of 'Sonic Boom' and morphing the set list, tweaking it as we go along," he said. "But it's a work in progress. We kind of (always) figured it was going to be 'Kiss Alive 35' eventually morphing into the 'Sonic Boom' tour."
Well, as it turns out, KISS has delivered a slam dunk of an album. Strong enough to make both fans and detractors want to rock and roll over, the Paul Stanley-produced disc is just what the doctor ordered. What makes Sonic Boom particularly unique is the sense that the band really got back in touch with early influences like Slade and Humble Pie to create an album in the classic KISS tradition. There are no ballads, no keyboards, no co-writers, and no attempts at a big radio hit. What we do have is the sense that the band really did play together and play off of each other, giving the music a big-time shot of energy and fun.
Letting us know we've landed squarely in KISSville USA, Stanley shouts "Yeah, yeah!" as a killer central riff kicks off "Modern Day Delilah." Simmons is next up to bat, with the tempo-shifting "Russian Roulette". Yes, the innuendos are there as only Doctor Love can deliver them. As it turns out though, Simmons is one of the album's really pleasant surprises. There is a grit and a wink present here in both his voice and his growling and melodic bass playing that has been missing for quite some time. When he sings "I'm an animal" a few tracks later, I have to tell you - you pretty much believe that he is.
Not content to sit in the back seat while Stanley and Simmons drive the KISS Chevy van, the 21st century Spaceman and Catman pony up and knock out some great vocals themselves. Drummer Eric Singer absolutely smokes a raspy-voiced performance on "All For The Glory" and lead guitarist Tommy Thayer sends "When Lightning Strikes" into the stratosphere. Their solid work helps lend verve and punch to the arena fist-pumper "Stand" and the pop-the-top summer anthem "Say Yeah." The band have succeeded in taking what worked best from nearly all of their eras to make what is unquestionably their most consistent album since the ?70s. No small feat for a band that's been around the block as many times as these guys have.
The $12.00 set is available at Wal-Mart, and comes packed with a disc of re-recorded hits, and a DVD of a show in Buenos Aires earlier this year. The hits will be of interest to long-time fans, as it gives a nice sonic-overhaul to the band's earlier tracks. In 2009, KISS proves their once and future relevance by showing that there's no time like the present, to rocket back to the past.
Users can watch and interact by visiting the official KISS Facebook page at facebook.com/KISS or on Ustream at www.ustream.tv/channel/kiss-live to connect with other KISS fans for a personal chat and live video experience in real-time during the show.
After a falling-out with original lead guitarist Ace Frehley and drummer Peter Criss, Simmons and Stanley are soldiering on, making millions more through concerts, a new album ("Sonic Boom") and the most extensive product licensing in the history of rock. (Newest item: Kiss Mr. Potato Head.)
Simmons, who still wears full make-up and a costume onstage, called to talk about the band's Alive 35 tour (in Glendale on Tuesday, Dec. 1) and performing at 60.
Question: What has made your farewell to fans last almost 10 years?
Answer: You realize that just because a band is dysfunctional . . . (because of ) people who are self-destructive, that shouldn't determine how long a band lasts. It's hard enough getting onstage with 8-inch platform heels and armor, spitting fire and flying through the air . . . to have to deal with the crap from somebody . . . we said, "We should probably stop. We've done enough, there's nothing left to prove."
Actually, there is something left to prove to yourself and to the fans . . . which is that no one member is bigger than the band. No one is irreplaceable, and that includes me.
Q: Why did you wait 11 years to put out your latest studio album?
A: Without a retail partner, it's not worth doing. You bust your hump . . . and then people steal it (online). Not interested. Last time I checked, Kiss wasn't a charity.
Walmart, which is the largest retailer in the world, is the reason we got to do "Sonic Boom."
Q: You've licensed more than 2,500 products. Are there a few that Kiss has turned down?
A: Cigarettes, hard booze. Kiss crack, although it sounds good, is probably not a good idea.
But other than that, why shouldn't the entire world be branded with Kiss? "Planet Kiss." By the way, we own that trademark.
Q: How is your relationship with Paul after 35 years?
A: Better than ever, although, even though we're the same coin, we're two different sides. We are not Jagger-Richards, not Lennon-McCartney . . . and yet when you look at who those guys were, they really were opposites.
Q: Is it ever a challenge to get up for a show?
A: It's always a challenge. The challenge is to (be) as good as you can be and live up to the legend. Because there is a legend - it's 35 years on. The critics who had a problem with us have long since been buried in our back yard. Mulch is good. Here we are, with brand new generations of fans.
Q: Do you ever wish you could go onstage in just a T-shirt and jeans?
A: No. I don't want to be ordinary. Ask a girl at night, "Don't you ever get tired of doing your hair, makeup and the little black dress and high heels?" She'll say, "Yeah, but it's power and it's glory."
Q: What is the key to not falling down while running around in platform boots?
A: You have to be in great physical shape. You have to know how to walk on them, and in Paul's case, jump off the ground. You could easily break your neck, if not your leg.
I'm carrying around 40 pounds of additional weight: The guitar weighs 12 pounds, each boot is over 10 pounds. Then add studs, leather, armor.
And oh, yes, you're onstage for two or 2 1/2 hours - spit fire, hold your breath, don't swallow the kerosene - and you're flown up to the top of the light truss.
Aside from that, it's just like being in the Stones or U2.
Q: Kiss always has employed an over-the-top stage show. Any new bells or whistles?
A: Technology has really allowed us to kick this up. I don't want to be too specific, but let's just say you're going to exhausted at the end of the night.
Q: Do you ever fear an accident involving the massive pyrotechnics that Kiss is known for?
A: Of course. It's not like being in Coldplay. They're a great band, but it's safe. You can't be one of those guys and be in Kiss - you'll die.
Q: Will we see a Kiss Alive 45 tour?
A: I never imagined a 35th-anniversary tour. I'm 60. I feel stronger, better than ever. But the physicality of being in Kiss has its limitations.
But Kiss can and will probably continue without us. Kiss will go where no band has gone before. There are no rules.
OMG! KISS Rules!
I now know exactly what Cliff was talking about in 'Singles' after last Sunday's Kiss show at Key Arena. 35 years of face paint, platform shoes, chest hair, fake blood, and spark-shooting guitars is quite an impressive feat. I can't say I ever wanted to see Kiss live in concert before, but for some reason this was the year I decided to cross them off my personal bucket list, and I'm so glad I did. From the beginning of the show it became perfectly clear that I had been missing out on one of the most entertaining rock bands ever to set foot on a stage. I was absolutely flabbergasted by what an unbelievable live show and overall rock experience it was, and can tell you without a doubt it was one of the best rock and roll concerts I have ever seen.
I'm sure if you are a Kiss fan, and have seen the band before, the knowledge that their live show is uncontested in the spectacle department is a complete and utter no-brainer. I apologize ahead of time for being a Kiss concert virgin. You may be happy to hear that my world was tipped upside down right after the announcer said those famous words to start the show. The first notes of "Deuce" and the explosion that followed detached my jaw, and I realized immediately that Kiss was much more than meets the eye.
"Strutter" was next and the crowd went ballistic, showing major love for the band. After "Let Me Go, Rock n Roll" and "Hotter Than Hell", it became clear why Kiss has maintained the ravenous fan base throughout the years. Throughout their history they have been and continue to be a fans' band. The Kiss Army Fan Club, providing second-to-none entertainment, and surely the constant crowd interaction during their shows are all factors. Paul frequently tousled his hair and talked to the crowd, and it definitely helped shrink Key Arena down and give the show a much more intimate feeling.
The set list was 88% greatest hits, and 12% new tunes as both "Shock Me" and "Modern Day Delilah" sandwiched "Calling Dr. Love". Again this is a newbie talking, but not having paid much attention to anything regarding the musicians who have taken the spots of Ace Frehley and Peter Criss over the years, I was certainly impressed by both Tommy Thayer as The Spaceman on lead guitar and Eric Singer as The Catman on drums. Both showed big-time chops on their respective instruments. Tommy channeled Ace's stage moves but was in a league all of his own talent-wise. He owned the stage on each and every solo, especially the blazer he riffed as part of "Cold Gin".
The big debate, that isn't even a debate at all according to metal enthusiasts, has always been whether Kiss is actually a heavy metal band or not. Kiss surely showcased their metal roots on "100,000 Years" off their 1974 self-titled debut. This song was pretty heavy live, and brought to mind a very metal band from the same era, Judas Priest. Kiss does have some recurring themes in their stage show as well; Gene's demon outfit, the fire blowing, and the spitting of fake blood are all possible influences on black metal imagery. Kiss' music may be hard rock at best, but they certainly started out heavily influenced by the new wave of black metal that was flooding the US at the time. The epic drum solo in "100,000 Years" was handled flawlessly by Eric Singer, who was lifted and rotated on a robotic drum riser.
A ferocious and massive presence in his full Kiss regalia, Gene Simmons showed off that marvelous tongue all night long. When it came time for the ultimate in concert theatrics, the Demon was surrounded by fog and an eerie green. By far my favorite part of the whole show was seeing the classic blood-spewing display that is Gene's trademark. He banged on his axe-shaped bass, shook his head like a possessed animal, and unleashed fury in the form of some sort of bloodlike liquid. It was breathtaking, especially since it was broadcast on three giant JumboTrons. Then, without warning, Gene flew up into the sky and stood perched in the rafters. I had to wipe my eyes, because I had just seen old Gene Simmons fly to the ceiling to play bass 75 feet above the crowd.
Holy Crap!
Then they played the song I so wanted to hear all night, "Black Diamond". Gene came back down just in time for the party to boil over as everyone's favorite Kiss song; "Rock and Roll All Night" was the choice to end the main set. The crowd went bananas while the huge stage was set ablaze with pyrotechnics. Each member took their places on platforms which elevated them to the top of the huge screen and four huge guns shot bazillion scraps of confetti into the arena sky. It was glorious, and an impressive display of rock and roll concert excess.
I wish all encores were just like what Kiss had up their hairy sleeves. "Shout It Out Loud" lead off. An obvious crowd pleaser which was indeed shouted out very loud by yours truly. Song two put an ear-to-ear grin on this rock guy's face. "Lick It Up"! Ever since I first saw the video for this hard rocker, I have always loved it. The four Kiss guys of the time, Paul, Gene, Vinnie, and Eric walking down the street in very tight paints sans face paint.
It ended up that Gene wasn't the only trapeze artist of the night, after a little stage was uncovered right in front of where I was sitting. Paul asked if we wanted him to come out in the crowd, and he did, by swinging out from the stage to the very back of the floor seating onto that rotating stage. "Love Gun" ensued with a solo Paul shaking his money maker for everyone in the back of the Key. The night ended with that all too-familiar bass and guitar gallop of "Detroit Rock City". The encore was more stripped down, but still packed the punch of some final explosions to send us on our way.
The Kiss experience was something else. I had full sensory overload of fire, video, confetti, and rock by one of America's most famous and entertaining rock and roll circuses. After seeing Kiss for the first time, I've joined the fan club, decorated my entire music room with Kiss gear, and later I'm going to paint my face like Gene, and take a bubble bath with my new Kiss rubber duckies.
As the band rolls into Southern California nearing the end of what it considers its most successful concert tour in decades, Kiss is seeing a real resurgence in fan support and critical acclaim.
"Sonic Boom," the band's first studio album in 11 years, topped Billboard's Rock Albums chart shortly after its October release, according the band's Web site. Many reviewers are calling it the best Kiss record since 1977's "Love Gun."
Kiss performs Tuesday night at Honda Center in Anaheim, Wednesday night at Staples Center in Los Angeles, and Friday night at the San Diego Sports Arena.
The "Kiss Alive 35" concert tour has been wildly successful, said lead guitarist Tommy Thayer in a phone interview on Friday.
"You know, just the whole world of Kiss the last year has been phenomenal," he said. "We started the tour a year ago in Europe and South America. That was kind of the cornerstone of really getting the ball rolling leading up to this whole new resurgence of Kiss. We started noticing in Europe that a lot of young kids, along with the longtime Kiss fans, were coming out. And it was really exciting. We hadn't seen much of that in recent years."
Because the band members - Simmons, Thayer, guitarist/singer Paul Stanley and drummer Eric Singer - live in the LA area, the band considers this stretch of the tour its "home games."
"This is always an exciting part of the tour for us," Thayer said. "Southern California is going to see the very best of Kiss."
Of course, all the traditions that made Kiss' live shows spectacular - Simmons breathing fire, spitting blood and flying, the pyrotechnics, the costumes 0 are back. Kiss has ramped it up even more with a bigger stage presence and a giant video screen for this tour.
"The Kiss show is bigger than ever right now in terms of staging," Thayer said. "A lot of the basic elements of the show are here that have been around for a long time. That's what makes Kiss Kiss. If you didn't do a lot of that stuff, people would wonder why not. So that stuff will continue to be there.
"The video production is the latest and the greatest thing," he said. "For a band that kind of invented the theatrics, the pyrotechnics, we've taken the video to another level. We're making us appear huge on the screens. We're a visual band, so people want to see those characters up close. It's quite awe-inspiring, even for me."
In making "Sonic Boom," Kiss returned to the basics, despite the fact that Thayer and Singer were in and original members guitarist Ace Frehley and drummer Peter Criss were out.
Thayer said the new foursome approached the album like a brand new band would. They decided to write their own songs and do everything their way, with no outside influences.
The result was something the band was proud of, and the loyal fans and critics applauded.
"Paul said recently that when he goes home, he goes to a house that was built on bad reviews," Thayer said. "All the complementary reviews this time around have gotten him scared. It'll probably sound biased for me to say, but the band is more for real now than it ever has been."
As big as 2009 has been for Kiss, next year may be even bigger. Kiss plans to launch its "Sonic Boom" tour in Europe next summer, and 2010 may also be the year Kiss is inducted into the Rock and Roll Hall of Fame. The band was nominated for the first time earlier this year.
"The Rock and Roll Hall of Fame nomination is amazing," Thayer said. "That's a real nod to the original members of the band. They should have been in a long time ago, if you ask me. No band has been bigger longer. It's a travesty that they're not in there already."
Thayer, who originally joined Kiss in 2003, is more in awe of its marketing machine than embarrassed by it. He was a longtime Kiss fan, even before touring with them as a member of the '80s metal band Black 'N Blue.
Seeing Kiss' image on everything from M&Ms to lampshades -- thanks to a new deal with Walmart -- is all part of the band's success.
"Believe it or not, for Gene and Paul, this is a rock band first," he said. "The music and the live show is the core of what Kiss is, along with the image and the look and the characters. We take it to the next level with the merchandising and promotion. One thing drives the other. Kiss really was innovative. They've been doing this longer than anybody. In the '70s, a lot of bands thought it was a sellout. But now everybody has to do it. It's almost the biggest part of the business."
And nobody in the industry has done it quite like Kiss for the past 35 years.
"Not only are they very good musicians and very creative, they've been able to create this great band and be able to market it as well," he said. "Most musicians aren't able to do this the way they've done it. It's unique. You don't create a band and continue for 35 years without being exceptional at what you're doing."
Plus: Global live performance via Facebook on November 25, 2009
Rock legends KISS are set to bring their new "Sonic Boom Over Europe: From the Beginning To the Boom" tour to Europe in Summer 2010.
With multiple dates across Europe, the "Sonic Boom Over Europe: From The Beginning To The Boom" is set to be THE rock event of 2010, building on the incredible success of the 2009 "Sonic Boom" album.
"Sonic Boom Over Europe: From The Beginning To The Boom" will see dates in Ireland, Switzerland, Italy, Austria, Czech Republic, Germany, Norway, Finland, Sweden, Demark, Holland, France, Spain, Belgium and, not only will the tour feature KISS's first UK arena shows in 11 years, but it will see the band breaking new ground completely with their first-ever shows in Slovakia.
Acclaim for KISS on their current spectacular, sell-out, "KISS Alive 35" North American tour has been universal. METAL HAMMER hailed the "Return Of The Kings!" MOJO declared: "A KISS show is as thrilling and bombastic now as it was in 1975."
Whilst utilizing elements of "KISS Alive 35", "Sonic Boom Over Europe: From The Beginning To The Boom" will be a fresh, new show tailored to the bands European fans and showcasing the brand new "Sonic Boom" album.
Widely acclaimed as another KISS classic, "Sonic Boom" rocked Planet Earth when it debuted worldwide and burned up the charts - the album is also the highest charting album of KISS' career in the USA.
Paul Stanley says, "The 'KISS Alive 35 Tour' was just the start. 'Sonic Boom Over Europe' leaves that show in the dust. New stage, new setlist, new outfits, new album! We're covering the whole musical history of the band on a stage that takes KISS one giant step further in our eight inch heels. We're stoked. You wanted the best? You GOT the best!"
Gene Simmons says, "Now. More than ever. KISS is a four wheel drive monster truck. Our mission? To rock Planet Earth. To spread the gospel of Sonic Boom."
On November 25, 2009, KISS will perform to a global audience when their show at the Staples Center in Los Angeles is streamed live on Facebook. This one-off event will be unique chance for European fans to see the "KISS Alive 35" show before it changes for the European run - the perfect warm up to the must-see tour of 2010.
"Sonic Boom Over Europe: From The Beginning To The Boom" tour dates are as follows:
DATE CITY COUNTRY VENUE
May 7 Dublin Ireland O2 Arena
May 9 Glasgow UK SE+CC
May 10 Manchester UK Manchester Arena
May 11 Birmingham UK LG Arena
May 13 London UK Wembley Arena
May 16 Zurich Switzerland Hallenstadion
May 17 Geneva Switzerland Geneva Arena
May 18 Milan Italy Mediolanum Forum
May 20 Vienna Austria Stadhalle
May 21 Ostrava Czech Republic Cez Arena
May 23 Prague Czech Republic O2 Arena
May 26 Berlin Germany O2 World
May 27 Leipzig Germany Leipzig Arena
May 29 Bratislava Slovakia Bratislava Stadium
May 31 Hamburg Germany Colorline Arena
June 1 Oberhausen Germany Koenig Pilsner Arena
June 8 Trondheim Norway Lerkandal Open Site
June 10 Tampere Finland Sauna Rock
June 12 Stockholm Sweden Stockholm Stadium
June 13 Malmo Sweden Malmo Stadium
June 14 Oslo Norway Valhall
June 16 Aalborg Denmark Gigantium
June 18 Arnhem Holland Gelredome
June 20 Clisson France Hellfest
June 22 Madrid Spain Palacio de los Deportes
June 25 Vitoria Spain Azkena Rock Festival
June 27 Festival Belgium Graspop
The founding members - fire-breathing bassist Gene Simmons and flamboyant frontman Paul Stanley - have steered this ship since 1972, and after much success, much turmoil and a bit of tragedy, they have finally formed a union with two like-minded musicians in drummer Eric Singer and lead guitarist Tommy Thayer (a longtime behind-the-scenes guy with the group). Their new album, Sonic Boom, has cracked the #2 spot on the album charts, a feat not accomplished by any of their previous albums, including Destroyer, Love Gun or Dynasty.
Who could believe that a band that topped the charts in 1978 is now, believe it or not, even bigger 31 years later? ENVY had the chance to speak with newest member and Spaceman, Tommy Thayer, about living the dream.
ENVY: The new album, Sonic Boom, was initially hyped as being a return to the sound that KISS captured in the '70s. In your view, did the band find that sound again?
Tommy Thayer: To me, I think the album delves into everything from the early albums to Revenge. It wasn't the intention to just sound like one era of the band, but a cross-section of what has been done before but giving it an updated sound.
Well, for long-time fans, the jacket will immediately remind them of Rock And Roll Over, and some tracks like "Nobody's Perfect" could have been from Love Gun, so it does hit the mark. For your playing, was there a certain sound you wanted to retain?
Well, I wanted to bring my own interpretation of what people have come to expect, but also with the new album, it freed me up to create a signature sound for myself and the band since it's a new KISS record.
Obviously, with this being a new KISS record, it must be refreshing to put your stamp on it.
For sure. I have been copying guitar sounds and solos for some time now, and that is out of respect for the songs and the fans, but it is nice to be able to bring my own ideas to the classic KISS structure.
A lot of people don't realize your role before the new full-time one you have as a band member was quite extensive with the band.
Well, I've been behind the scenes for years working on video editing, working on songs with Paul and Gene and back when they reunited in 1996. I helped Ace relearn some of his solos that he hadn't played in years. So when the time came for the band to continue forth and make some changes, I was put into this role I have now. Sonic Boom helped me be fully realized in KISS.
For the new tour, "Alive 35," from the looks of concert footage available, it looks more video-oriented than past tours. Is it necessary to stay up with technology for a live setting, or could this band bring out the "Alive II" set minus video and still blow minds?
What people don't realize is that the "Alive II" set is really not that big - it was at the time because most bands weren't doing that kind of show in the 1970s. But today, the stage we use is huge, so we needed to be able to fill it up and give fans an opportunity to see us from anywhere in the arena. With the video, it means that something is always visually going on.
For you, personally, is there a part of the new show that is your favorite aspect?
Well, my solo is something I've been working on, and I've been utilizing the ability to launch rockets and flares from my guitar. It's just a great effect and the crowds have been really enjoying it.
Other than the bombast, fire and blood, what else can audiences expect or is that pulling back the curtain too far?
Great rock 'n' roll, the classics and what people want to hear, plus some new stuff from Sonic Boom that will let them know that we are still creating some great music. Otherwise, it's two hours of non-stop spectacle. It's what you expect from KISS, and we continue to deliver.
Kiss have done that with Sonic Boom, and we at LTD are celebrating anyway, because this is the band's best album since, at least, 1982's Creatures of the Night and, possibly, 1977's Love Gun.
Frankly, we don't care that this could have been the New Yorkers in the mid 70s. We don't care that the album does not sit in the same contemporary, fashionably introspective milieu as Paul Stanley's recent solo album Live to Win. It doesn't matter that there are two new blokes dressed up as Peter and Ace (especially as guitarist Tommy Thayer sounds exactly like Frehley in his pomp.)
We don't even care that, if anything, Gene Simmons's knuckle-dragging, antediluvian, single entendre lyrics have become even worse over the decades. What we do like is that here are 11 pop metal stompers, utterly devoid of pretension, with at least three songs, 'Say Yeah', 'All For The Glory' and 'Stand' destined to become big, lighters-out stadium staples. Glorious.
KISS was gracious enough to sign a Paul Stanley Washburn Preacher guitar for Johnny Damon's charity to benefit the Wounded Warriors. Bids on the KISS guitar topped all others, surpassing the likes of ZZ Top, Sevendust, The Dave Mathews Band, and 3 Doors Down.
The winning bidders were Marc and Darlene Mero, who bought the guitar for a great cause! Much to his surprise, KISS also signed a guitar for Johnny, who recently won the World Series as a member of the NY Yankees.
To celebrate the 35th anniversary of its February '74 self-titled debut, the ever-popular concert attraction, founded by frontmen Paul Stanley and Gene Simmons, has been out on its worldwide KISS Alive/35 Tour, which stops Tuesday at Honda Center in Anaheim and Wednesday at Staples Center in L.A.
It's turning out to be a busy year in Kiss' history. For starters, the current tour coincides with the release of Sonic Boom, the band's well-received first studio effort in 11 years, following 1998's lackluster Psycho Circus, the first album to feature the original Kiss lineup since 1977's Love Gun and Alive II.
Meanwhile, after a decade of eligibility, the quartet has finally been nominated for induction into the Rock and Roll Hall of Fame. Its competition for next year's five coveted spots are Swedish pop superstars ABBA, reggae legend Jimmy Cliff, punk and metal godfathers the Stooges, prog-rock forebear Genesis and two acts whose rise began in the '80s, Red Hot Chili Peppers and LL Cool J.
Still, none of these reasons to return were needed to get the band back on the road. "It's always a good time for Kiss," Stanley said during a phone interview last week, in the same breath noting that he was only wearing a robe. He, Simmons, guitarist Tommy Thayer and drummer Eric Singer were enjoying a rare day off during this latest leg of their lengthy tour, between gigs in Canada.
After months of performing in ginormous arenas throughout Europe, Australia and South America, Stanley says the band is excited to bring its newest spectacle to North America.
"These have been the biggest and best shows we've ever done," he boasts, noting that "besides getting raves from fans, we've been suspiciously getting good reviews from the critics. I have a feeling that either they just got pummeled into realizing that we're the right way to go, or the critics who gave us bad reviews have all been fired."
Of course, original members Peter Criss and Ace Frehley have once again acrimoniously parted ways with Stanley and Simmons, splitting over financial and creative matters shortly after Kiss' career-reviving reunion tours of the late '90s. Filling in are longtime Criss replacement Singer, who has served behind the kit for the better part of 20 years, and seven-year Kiss veteran Thayer.
"It isn't our first tour with this lineup," Stanley points out. "Quite honestly, once again the philosophy has turned out to be true that the band is not about any particular individual. The band is a way of thinking. It's a frame of mind, it's a mantra -- it's living up to everything that Kiss is supposed to be.
"Kiss should be timeless. It shouldn't depend upon specific people being in the band."
Sonic Boom, released on Oct. 6, took just four months to create, from songwriting to completed recording -- remarkably fast for a band that had to squeeze in sessions while touring South America throughout spring. By June, the guys had hunkered down inside L.A.'s Conway Studios to cut the disc quickly.
Stanley says he "wanted to make a Kiss album that was really steeped in our heritage but is also a statement of today and for tomorrow. I thought it would be great to go into the studio, provided I could produce the album, because (Psycho Circus) was such an unpleasant experience. It sort of soured it for us."
The trouble with the previous collection was a case of too many leaders, not enough followers. "I mean, even in a car someone has to drive -- if everyone just has their hands on the steering wheel it crashes. Democracy in the studio is vastly overrated. Everyone should have an opinion, but at the end of the day someone has to make the decisions.
"We're about making a great Kiss album, instead of being about what kind of music each person likes, or the idea that everyone is entitled to a quota of songs on an album, or entitled to sing because they're in the band." (That said, for Sonic Boom Thayer takes the lead vocally on "When Lightening Strikes" while Singer steps up with "All for the Glory.")
Having one chief overseer, Stanley says, is the healthiest way for Kiss to work in the studio -- and as such, the recording process was effortless this time. "We wrote on our days off from the tour, and when we were recording, nothing got past a first or second take."
Times certainly have changed since '74 -- and so have Kiss' luxuries. Like other touring giants, the band now flies around the world on a private jet. "It allows us to stay based in a city longer and fly out every day and do more shows," Stanley explains.
"Those early times are great, though, because they toughen you up and make you appreciate the rewards. If you're just getting everything from the beginning, then what's there to work toward?"
Stanley, soon to be 58, insists that when he and Simmons, now 60, formed what would become one of the most successful (and often reviled) bands of the '70s, one that served as a dividing line between baby boomers and their offspring, he never could have foreseen all the spoils that have come their way. He still doesn't take any of it for granted.
"At that point (in the '70s) there was no precedent for this sort of thing. There weren't bands that had lasted more than five to seven years, so the idea of a band lasting 35 years... no, no, no. There was a time when rock 'n' roll was so disposable.
"Mind you, there's still an element of it now, where you have almost a product-manufactured artist or band that would have an appeal for only a certain period of time, and then they're replaced. If we weren't Kiss, and we weren't doing these great shows and constantly building on what we've done, we wouldn't still be here.
"There's a lot of commitment to what we do. We live in our own shadows. We've made a career out of not competing with anything but ourselves."
And, at last, they're on the verge of receiving one of rock's highest honors.
Not that Kiss entirely cares.
"It's a double-edged sword," Stanley says, "because the Rock and Roll Hall of Fame is like a private club. It's a group of people, mainly critics and a couple of record executives, who got together and came up with a terrific name that sounds very official and very impressive, even to me. But it's not a reflection of the public's taste. You only have to look at some of the people who have been inducted, and you go, 'Who? But what about this band... or this one?'
"Yet there have been people fighting so hard to get us in. So should they want to induct us, I'll be there, absolutely. It would be an insult to the people who have fought for us to get in to not show up."
All the same, he adds, "I'm also very proud of the people who have been fighting to keep us out of there, too. That's part of what makes us so great."
THIRTY-FIVE years later and Kiss is still at it!
Admiring the crowded stadium it would not be far-fetched if Gene Simmons or Paul Stanley hid out among their fellow Kiss Army troops. Immaculate imitations surrounded me -- big hair, makeup down to the T, tongues flicking in the air.
The anticipatory moments leading up to the show had a camera following Kiss backstage until they appeared before us all. "You wanted the best, you get the best! The hottest band in the world, Kiss!" And so it began . . . One might call it musical masturbation, a celebratory evening full of bends, bubble ups, explosions, and crowd-pleasing theatrics. Moon boots, bedazzled leather, makeup thicker than a credit card, and oh yeah, chest hair covered the bodies of Demon on bass (Gene Simmons), Starchild on rhythm guitar (Paul Stanley), Spaceman on lead guitar (Tommy Thayer), and finally, Catman on drums (Eric Singer).
Kiss just released their first album in 10 years, Sonic Boom -- a blatant throwback to classic '70s KISS. But, as Starchild put it, "We are playing a lot of classic songs, but classic doesn't mean old! So, if you don't have Sonic Boom, you get your butts on over to Wal-Mart and buy it." How very tongue and cheek of an intro to album single, "Modern Day Delilah."
The single exhibited over-the-top, cheesy musicianship from all parts, more notably so in Starchild's signature luring and sexy vocals and Spaceman's slick guitar licks. Meanwhile, I couldn't help but feel bad for Demon, whose face was already dripping sweat, an obvious victim of the pyrotechnics that kept even the nosebleed seats warm and cozy.
Yes, and they were only getting started. The show alternated between new songs off Sonic Boom, like "Say Yeah", and true classics, "Hotter Than Hell," "Black Diamond," and "I Wanna Rock'n'Roll All Night."
We saw everything from Tommy soloing behind his back, Gene hovering about the crowd like a freak show marionette, blood dripping from his mouth, and Eric's epic drum solo that recalls the kitsch appeal of Rush percussion. It was Paul, however, who stole the show -- flying from the main stage over the audience with a flying V guitar in hand and six-inch platforms. Smashing his guitar while perfectly synchronized with erupting flames on either side of him. And finally, well, Paul's chest exposed, hairy -- he's been at this for 35 years now and is still doin' alright. Entertainment cred and hard work duly noted gents.
Kiss insisted on, "The longest encore you've ever heard," which included much of the same spectacles -- Gene licking his guitar and his bandmates faces, one more smash hit, "Detroit Rock City," and an ending full of firework explosions and manic fans screaming.
As I sat waiting for the bus to take me home and reflected on the long night, an older woman wearing pajamas said to me in a British accent, "Patience is a virtue . . . for a while, then, it's like 'whoa!'" Well put.
This year, the band launched a first-ever fan-routed tour (which drew both praise and complaints) and released "Sonic Boom," its first album in 11 years (which entered the pop charts at No. 2, a career high for KISS).
If you ask Paul Stanley, KISS' co-leader, the band that booms into Save Mart Center on Saturday night is KISS at its best -- with co-leader Gene Simmons at his side, as well as recent additions Tommy Thayer (guitar) and Eric Singer (drums).
We talked to Stanley about the fan-routed tour, its new album and why critics and multigenerations seem to love KISS these days.
Question: I know you guys are a little more than halfway done with the tour, how do you feel it's gone so far?
Answer: In terms of worldwide, it's the biggest and most successful tour we've ever done. It's been not only a great show in terms of turnout and response from the audience, but I've never seen so many great reviews. You have to remember that we're a band that's always been loved by the public and hated by most critics. All of the sudden, either those critics are out a job, or they've had a change of heart, because it's suspicious to see so many over-the-top reviews.
Along those lines, I've seen pictures on your Web site of little kids and families at your concerts. Thirty years ago, that wasn't the image people had of KISS.
KISS has always been about writing our own book as to who we are and what we are. It usually doesn't follow what other bands are doing. At this point, we are so multigenerational and proud of it. We do have new fans, meaning teens and 20s, but we also have older fans with their kids. For many people, KISS has always been the soundtrack to their lives, so it's passing something along to their kids. I couldn't be more proud of the band and what we mean to so many different people.
Where does that dedication come from? What is it about the band that inspires that in people?
I think it's the idea of being the underdog who always manages to win. We've had a career of doing things our way in the face of every known obstacle and we do more than survive, we thrive. I think it's an inspiration to other people, that if you believe in what you're doing and if you believe in your self, nothing can stop you.
Let's talk about your fan-routed tour idea. It got a good response and got a lot of attention. But afterward, I heard some moaning and groaning from different cities. Do you think overall it was successful?
You're always under a magnifying glass when you do something different. It seemed to make a lot of people happy and, of course, there's going to be some disgruntled fans. Our goal is not to do that, but it's almost unavoidable.
Is it something you would do again?
I think we'd think twice about it. It's always interesting -- we tend to lead the way and perhaps sometimes get the sticks and stones thrown at us and plow the way for other bands to do it with a little less bad publicity. When we started putting out merchandise, oh my God it was sacrilege, "Rock 'n' roll bands don't do that." Well, all those rock 'n' roll bands who wouldn't do it, once they saw the checks they were missing found their way into fan clubs.
At this point, when you guys are about to release an album or about to go on tour, are there still certain numbers you're trying to reach? Or does that stuff even matter anymore?
No. Doesn't matter. I'm in a very fortunate position where this truly is no longer about money. It's about goals. In the case of "Sonic Boom," it's about making the album that we deserve to make for us. By making the album that we deserved, it was the album that the fans deserved.
If you were going to create "the perfect KISS," which past or present members would be in the lineup?
They're in. This is the best KISS ever. Because this is a KISS where you've got four unique personalities, but you've got four people who are all dedicated to the idea of trying to make the band more famous, rather than trying to figure out how to have the band make them more famous. You only have to come see the band to know that this is as good as it gets.
The CD was billed as the return of the original Kiss, since it came in the midst of the reunion of guitarist/singer Paul Stanley and bassist/singer Gene Simmons with the two other original members, guitarist Ace Frehley and drummer Peter Criss.
"Psycho Circus," though, ended up being a lackluster effort on a musical level, and far less than advertised when it came to being called a triumphant return of the classic Kiss lineup.
So Kiss had something to prove when the band decided it wanted to make a new studio CD last year. For one thing, this was a new lineup for Kiss, with guitarist Tommy Thayer making his full-fledged debut and drummer Eric Singer, who since 1996 has been the band's drummer whenever Criss wasn't in the lineup, back on board.
Interestingly, the band decided that if Kiss was going to fail on this album -- the newly released "Sonic Boom" -- there would be no one to blame but the band members themselves, as Stanley took the reins on the project.
"I think the most important thing that I noticed about this record was it was really done, well done, there was no outside producer," Singer said, commenting in a recent phone interview about Stanley's role in the CD.
"Ultimately at this point, nobody knows how to make a Kiss record better than Kiss. I think that was kind of the mind-set," Singer said.
But it wasn't just Stanley who went into "Sonic Boom" ready to step up to the plate.
"Everybody went in with the attitude of hey, we know what we want to do," Singer said. "We want to make a rock 'n' and roll record. We want to do it organically, which means us recording the record live, everybody playing on the record, no outside writers, no outside musicians. Do it the right way, the real deal, like the way records were originally made."
The decision to keep "Sonic Boom" an in-house project has paid off. The new CD has been greeted by many reviewers as the best Kiss album since such classic releases as "Dressed To Kill," "Destroyer" and "Love Gun" -- and a CD that actually sounds much more like the work of the original Kiss than "Psycho Circus."
The success of "Sonic Boom" represents a welcome turn of fortunes for Kiss, whose future looked cloudy only a few years ago.
The reunion tour of 1996-97 with the four original members was a major success as a live venture, but by the end of the decade, it appeared the band's days were numbered.
In early 2000, the band announced it would do a farewell tour. Before the tour was over, Criss split with the group, and Singer, who had joined the group following the 1991 death from cancer of drummer Eric Carr, rejoined Kiss to finish the farewell tour -- which, of course, turned out to be far from a final jaunt.
By 2002, Frehley had also played his final gig, with Thayer filling that slot. When the band returned to the road in 2003 to co-headline a tour with Aerosmith, Criss had been brought back, prompting Singer to say he would never play with Kiss again. This time, Criss lasted only for about a year, and as shows became sporadic over the next four years, it truly looked as if Kiss might fade from scene.
But in 2008, with the 35th anniversary of the band's formation in New York City looming, Kiss announced it would begin is "Kiss Alive/35 World Tour," with Singer and Thayer joining Stanley and Simmons.
Singer admits he was angry at the band after it brought back Criss in 2003. Before rejoining Kiss, Singer said he cleared the air with Simmons and Stanley, saying he wouldn't be part of another round of musical chairs in the drummer slot.
The stage show continues to be as spectacular as ever. The band has a new stage with high-tech video screens and the usual array of visual effects, Singer said. Of course, some traditions continue.
"There are certain things that have become synonymous with Kiss, Gene breathing fire or Gene flying and spitting blood," Singer said. "Those kinds of things you have to do. If we didn't do it, it would be a cardinal sin to not have those certain Kiss staples, just like certain songs that have to be in the set. It wouldn't be right without them."
"Bruce was to KISS what Ronnie Wood is to the STONES," says Rocket Science GM & Fanboy Enterprises A&R executive Ken Gullic. "The new guy to one generation, and the long-standing stable horse to another."
After getting his solo feet wet with 2001's "Audio Dog" and 2003's "Transformer", Kulick — the often unheralded driving force on 12 years of classic KISS records, from 1984's "Animalize" to 1992's "Revenge" — assembled his own rock 'n' roll dream team. The roster: KISS icon Gene Simmons and up-and-coming son Nick (each vocally appearing separately), longtime friend John Corabi (MÖTLEY CRÜE, Kulick's own UNION), KNACK mainman Doug Fieger, TOTO axe authoritarian Steve Lukather, EDGUY power metal stalwart Tobias Sammet and even current KISS drummer Eric Singer.
"Many albums lack cohesion with different vocalists, but I know that my guitar playing is the glue on 'BK3'," Kulick says. "There was the clear goal of making absolutely the best record that I could put together. I feel like this is my 'Revenge'."
"BK3" will be released on February 16 on Twenty 4 Records/Rocket Science Ventures.
"BK3" track listing:
01. Fate
02. Ain't Gonna Die (featuring Gene Simmons)
03. No Friend Of Mine (featuring John Corabi)
04. Hand of the King (featuring Nick Simmons)
05. I'll Survive
06. Dirty Girl (featuring Doug Fieger)
07. Final Mile
08. I'm The Animal (featuring Tobias Sammet & Eric Singer)
09. And I Know
10. Between The Lines (featuring Steve Lukather)
11. Life
The limited-edition EP that was created especially for Kulick's last Australian guitar clinic tour can be heard on Kulick.net. The three tracks are also available for purchase via iTunes.
A Winnipeg cobbler was called to action early this week to perform an emergency repair on one of the world's most famous pairs of boots.
Brian Layte, owner of The Shoe Doctor shop in Winnipeg's Wolseley neighbourhood, was given just hours on Monday to fix the heel of one of Tommy Thayer's boots.
The guitarist's flamboyant, pyrotechnic-loving rock band, KISS, was in town to play a concert at the MTS Centre that night.
A member of the band's entourage approached Layte at his store on the day of the concert with one of Tommy Thayer's trademark thigh-high boots in hand.
Layte said he dropped everything and set to work on repairing the heel, which was lifting, putting other customer's orders on the back burner.
He said the boot's design was unlike anything he's seen before, and was a pleasure to work on.
"It's a six-inch platform. There's lightning bolts all the way down the sides, several thousand stones set into it, and probably half a cow of leather," Layte said on Wednesday. "You don't see that every day."
The boot was delivered to Thayer in time for the concert.
"I presume it held well because I didn't get a visit from the KISS Army after," Layte chuckled.
It's the second time in less than two years Layte has been called upon to deal with a performer's footwear needs.
He said when singer Beyonce Knowles came to Winnipeg in early 2008, he was approached to add some grip to the pop star's Prada stilettos.
"This is Planet Kiss; we just live on it. The stage is holy ground, and what we do is electric church."
Holy hyperbole! The kabuki kibitzers of big-top rock are back in greasepaint and spandex, armed with a new album and a fresh stage spectacle to solidify a legacy built on thundering riffs, pyrotechnics, superheroic role-playing and hucksterism. That new stage spectacle comes Saturday to the Save Mart Center on the campus of California State University, Fresno.
The singer/bassist, 60, and guitarist Paul Stanley, 57, are meeting in the Sunset Strip office of manager Doc McGhee to chat up "Sonic Boom," Kiss' 19th studio album and first since 1998's "Psycho Circus."
The album is a three-disc set with a CD of re-recorded hits and a DVD of a Buenos Aires concert packaged with 11 new songs.
It's $12, "the price of a sandwich," Simmons crows. The band comes Saturday to the Save Mart Center in support of the new album.
Crafting "Boom" was one of the easiest and most joyous projects in the band's 36-year run, Stanley says. But he would not have stepped in the studio without the title and authority of producer.
"In the creative process, democracy is vastly overrated," he says. "The whole idea of everybody having a say is terrific, but in the end someone has to make a decision."
"We've had some failed attempts in the last decade or two at trying to make a great Kiss album. I have to chalk that up to having band members who perhaps had the wrong priorities or no priorities."
"I didn't want any outside writers. What you wind up with is somebody's interpretation of what Kiss is. Who knows better what Kiss is than Kiss? I wanted to capture the spirit, the hunger of the band at its best."
Guitarist Tommy Thayer and drummer Eric Singer flesh out the Kiss lineup, replacing originals Ace Frehley and Peter Criss, who have had a rocky history with the band and made their most recent exits in 2003 and 2004, respectively.
To those who suggest their absence diminishes Kiss, Stanley snaps: "Put Willie Mays in a baseball uniform and see how well he hits. The magic you remember isn't there."
"Quite honestly, the whole idea that there were four people putting in the same amount of effort is nonsense. Never happened. This is the band in its ideal form. No other lineup could have made 'Sonic Boom.'"
Kiss, long a popular target of the music press, has never kissed up to critics and vice versa, though the same revisionism that upgraded Led Zeppelin over time seems to be casting a kinder light on the Kiss saga.
"Art to me is the name of a nice guy," Simmons says dismissively. "Critics never understood. Put them on a roller coaster: Everyone else has the time of their lives, and critics say, 'What does it mean?' They missed the ride."
"Anytime we meet a new band, they say, 'We cut our teeth on your records.' When you see fireworks at Paul McCartney's show, where do you think that came from? 'N Sync? Why should I care about critics when we have 3,000 licensed products, 35 years of touring and every band in the book pointing to Kiss as the pivotal reason they wanted to do something big on stage?"
Besides, touring and merchandise are crucial lifelines to offset losses incurred by piracy.
"You grab an album and leave a store, they put you in handcuffs," Stanley says. "And yet someone on the Internet can decide whether or not I get paid. File-sharing, that's like me stealing your car and telling you I'm sharing your transportation."
Illicit downloading is one reason the band resisted recording new material for a decade, says Simmons, sneering: "These freckle-faced college kids have destroyed an entire industry by stealing. I don't believe in socialism and, the last time I checked, what we do isn't charity."
It's drug-free, fun-driven capitalism with zero tolerance for rock-star cliches that glamorize self-destructive behavior.
"When we first became very successful, everyone fell prey to their own vices," Stanley says. "Drugs, alcohol, women, sycophantic friends. There are piranhas just waiting to put one arm around your shoulder and the other in your pocket. That rock 'n' roll lifestyle is a cartoon, and it's pathetic. You're either a laughingstock or you die. Being a musician who lasts 40 years is nothing short of hard work."
For all their swagger and ego, Simmons and Stanley say they're humbled by the band's longevity and express enormous respect for the Kiss Army.
"We're privileged," Simmons says. "There but for the grace of God, anyone of us would be asking the next person in line, 'Would you like fries with that?' What have I got to complain about? I'm filthy rich. I've been there, done that and owned the T-shirt with my own face on it."
Users can watch and interact by visiting the official KISS Facebook page at facebook.com/KISS or on Ustream at www.ustream.tv/channel/kiss-live to connect with other KISS fans for a personal chat and live video experience in real-time during the show. Users who own an Xbox 360 video game and entertainment system from Microsoft can click the Guitar Hero banner at the bottom of the screen and go directly to Xbox LIVE Marketplace on Xbox.com to purchase the KISS three-song track pack and queue it up for download to their Xbox 360 console. PlayStation3 computer entertainment system and Wii owners can purchase the track pack through the in-game music store in either Guitar Hero 5 or Band Hero.
KISS chose Ustream, the leading live video platform on the web, because of its powerful platform and scalability in reaching a global audience of unlimited size. The band wanted to connect with their legion of fans that might not have had the chance to catch them during the North American leg of their 35th-anniversary KISS/Alive 35 tour, a 44-city tour that continues through December 15.
"For 35 years, KISS has rocked all over the world to sold-out crowds and set the standard for what a rock show should be. This tour will solidify our place in history for having the loudest, most entertaining and hardest rockin' show in all of music," said Gene Simmons.
The iconic band recently made KISStory when Sonic Boom, their first album in 11 years, debuted in the No. 2 spot on the Billboard Top 200. This was the highest-ever album debut for the legendary band. Frontman Paul Stanley produced the new album that marks a return to their signature 70s sound.
In creating Sonic Boom, the band also wanted to give back by putting together a value-added release that offers three CDs for the price of one. The release includes Sonic Boom, their centerpiece of new material including their single Modern Day Delilah, a second disk of re-mastered KISS classics such as Rock and Roll All Nite and Detroit Rock City, and a third, live disk from their show in Argentina earlier this year.
Get the latest news from KISS at www.kissonline.com and for more information about the KISS three-track Guitar Hero pack, visit http://hub.guitarhero.com.
Anheuser-Busch's newest beer brand, Bud Light Golden Wheat, is the exclusive sponsor of the online concert. The sponsorship is part of the overall launch campaign for Bud Light Golden Wheat that hit store shelves nationwide on October 5.
Kicking off with "Modern Day Delilah," the familiar "yeah, yeah" from Paul Stanley takes us into familiar KISS territory. There is a hard edge to the guitar work, and instantly I noticed Tommy Thayer's guitar solo is right out of the Ace Frehley guitar solo book. It's nice to hear Gene and Paul's vocals up front singing together on the chorus as they used to in the early days.
A thundering start to "Russian Roulette" has Gene's gut-bucket bass high in the mix, and a very AC/DC type of riff introduces the song. Again, the song is at a mid-pace, and it's more of a lazy early '90s feel to Gene's voice with a big vocal gathering round the mic for the chorus. It's a good song. Taking us back to the kind of stuff the band were releasing in the late '80s and early '90s, "Never Enough" is a traditional Paul Stanley fanfare and reminded me of "I Just Wanna" from Revenge. There's some nice work from Gene in the bass department for anyone missing some of his more traditional work from the early days.
Taking us back to something that might have been on Dressed To Kill, Gene introduces us to the simplistic charms of "Yes I Know" as Tommy Thayer all but replicates an Ace solo and Gene sings about his favourite subject... yes, girls! It's kind of KISS doing KISS, if you get my meaning. Then we get to "Stand" and really get something to get your teeth into, and it's KISS anthems at their best! The song has all the trademarks with Stanley vocal raps, and there is some nice punchy guitar work before we get a nice mid section vocal piece from the band as the song just gets bigger and bigger. The band are not trying too hard to take the sound back to the glory days of Destroyer, and the song benefits from this.
Eric Singer emulates Peter Criss' cowbell drum pattern and Gene's vocals take us right back to Rock And Roll Over for "Hot And Cold." It's the sort of song Gene writes in his sleep and has a very retro feel to it. Surprisingly, Eric Singer's vocals on the almost Ramones-like "All For The Glory" steals the limelight, and we have a strong chorus in which the guitars are up front. It's instantly a great song that is just waiting to find its place on stage. The vocals from all of the band work to an excellent effect as the song builds in strength from the word go, and I would not have minded a few more from Eric after this display.
Cutting edge guitar work introduces us to Paul Stanley's "Danger Us," with a clever play on words as we delve back into classic Paul Stanley material which he did so well in the '80s. It's got the cocksure swagger and the hooks we all love him for, and it's one of a number of stand-out tracks for me on this release. These are the songs we hoped to hear when it was announced that the band were to return to the studio and make it worth the wait,.
It's been some time since Gene has written with the persona of the Demon in mind. With "I'm An Animal" the Demon is back with one of his more menacing vocals and a chunky Black Sabbath style riff. This song has it all, plus an exceptionally blistering solo from Tommy Thayer and some thunderous drums from Mr. Singer. KISS fans, check out the end of the song for the "Fits Like A Glove" scream from the past.
Tommy Thayer's first vocal has a similar feel to Frehley's for "When Lightning Strikes," though obviously Tommy is a superior singer. Paul brings "Sonic Boom" to a close with a typical KISS party-style riff for the simply titled "Say Yeah," and we are off into "Uh All Night" territory in style and feel for this song. It's the sort of song that you would have found on the likes of "Asylum" or "Crazy Nights," and to be honest, it's just nice to hear Paul singing in this style, as he is truly an underrated singer in the rock scene.
Certainly a good release that sits closely with the likes of "Revenge." For bands like KISS, we should also just enjoy the fact that the band are still releasing music some 30 plus years later.
The man, who in my opinion has kept the true spirit of rock n' roll alive through all the band's ups and downs is Paul Stanley. Not only has he now taken the reins by producing "Sonic Boom," but he also had very clear ideas on what he wanted this album to be as opposed to their last release "Psycho Circus" and the shortcomings he felt that album had.
I had a chance to catch up with the legendary Starchild prior to the 2nd night of the band's much publicised shows at Cobo Hall Detroit and talk about the new CD, and of all things KISS past and present.
Well, it's big news in Europe with the imminent release of "Sonic Boom!" Now, I've gotta ask you, was it hard to persuade Gene to do this album as he has had some strong views on internet piracy?
Paul: You know, to put it all into perspective, I think that Gene at any given time will say anything to get a rise out of people, and it's certainly not much more than that, really! The reason that we didn't make an album wasn't because of piracy - the reason that we hadn't made an album was really because we didn't feel, for a long time, that it was necessary, and our last attempt was not very successful from our point of view for a lot of reasons. It really took the fans' response and the huge success of our last tour.
The tour that we did through Europe and Australia, South America and Canada was the largest and most successful tour that we've done, and we, as a band, have never been better. So the idea of capturing the band today, doing what it does which is really classic, I mean, the band has never been more classic than now, and this was something that under the right guidelines was very appealing, certainly to me.
The real deal breaker for me was producing the album. If I couldn't produce the album, then I didn't want to do the album!
So, what made you decide that you had to produce it as opposed to somebody else?
Well, because I had a very clear idea on what we should do and how we should do it. I think that we needed some ground rules set, and I also think that there were times where we've had producers and they tend to dilute the band if anything, and I knew that with me in control, I had a very clear vision of what this album should be and how we should do it. So, very quickly everyone signed on and said "yeah," and then my second rule was no outside writers, all material had to come from within the band. It's very easy for people to either have other people to write their songs and put their name on it or basically collaborate with somebody who interprets what you're doing instead of you stating what you're doing, so for me it was very much that this was going to be a band album and nobody was going to phone in their parts or be involved in anything that took them away from it. It was very successful in the sense that everything was written from within the band.
Now, the CD comes in a very good value package with a DVD and re-recorded greatest hits. I've heard this as it was originally released in Japan. What was the reason behind re-recording some of your biggest songs?
Partly, it was two-fold because we get a lot of requests to use some of our songs for either films or commercial use, and rather than go through a record company or anything like that, there was no reason why we couldn't virtually re-create them in a way that really is identical. I mean, you could play them side by side. We took the time to study them and make sure it wasn't us interpreting the songs as so much as us being faithful to them. But in that way, we have control over the songs, and if they are to be used for any use outside of the band, then it goes through us, so it's just about more control.
So, that was the initial reason that we started doing it, but with "Sonic Boom," the idea of being able to put together a package which is kind of like a more overdone version of what we did on the classic albums, making it more than an album, making it an event whether you're giving a poster or some sort of prize inside. With Sonic Boom, you get the 15 re-records, and you get a DVD of excerpts from one of our most recent stadium shows in Buenos Aires, so hey, it's also the price of a normal CD, so you can't lose!
Talking about re-recordings, I was wondering if you've ever been tempted to go back to some songs; for example "Nowhere to Run" or "Tomorrow," and re-record them? They were great songs but they never got the chance in their time.
No, but you know, instead of trying to resurrect the past in that sense, I'd rather write the future, so "Sonic Boom" was really about using everything we'd done up until now as the foundation and taking it to the next step, and the response to "Sonic Boom" has been nothing less than stellar! I mean it's a classic album of ours in every sense. By that I don't mean it's a retro album - the last thing we needed was to make an album that would be confused with one that came out around 30 years ago. It's classic in the sense that it has the vitality, the commitment and the excitement that's within the band. The beauty of the band is that you have four people with distinct personalities who are working to make a great band, as opposed to four people who are working to make themselves great.
Now, you've been happy to let Tommy and Eric take some vocals, and there is one song that really stands out for me, which is "All For The Glory," and I think Eric does the vocal on that. That's a classic, isn't it?
Yeah, I think so! Eric's got that great whisky voice and we wanted a great song for him, and we literally wrote it for him in rehearsal. Everything on this album was written, rehearsed and recorded very, very quickly. We wrote the songs in hotels, on the sofa and in their rooms at hotels or back home and rehearsed them and quickly recorded them.
The actual recording process of the album literally took us six weeks, which in this day and age is like six minutes.
It certainly is. Now a couple more songs that really stand out for me are, off the top of my head, "Danger Us" and Gene's "I'm an Animal." Some people have said these have got a kind of feel of "Rock and Roll Over" but at the same time have a freshness that brings KISS very much up to date. Would you agree with that?
Yes, it's much more multi-levelled in terms of reaching down to the depths that will rattle the floor and also the highs that will shred your curtains, so sonically it's far, far more advanced than earlier albums.
In terms of the songwriting, I certainly thought that it was important for Gene to get back to classic Gene in the sense of the personality and the songwriting that really made him the character he really is, and I think in years gone by he's gone away from that. I wanted to steer him back to that vocal quality and that lyric perspective and the music that people have always loved about him. I think that all his songs on the album have really captured him and reintroduced him to himself!
Absolutely. I mean, I have been a KISS fan for 30 years, and Gene is definitely back big time. Now I've got to ask you, as a songwriter Paul, apart from your solo album, it's been a long time since you've been able to get your music out to people. Has that been difficult for you?
No, I mean I'm a songwriter, and perhaps the trouble is to over-think things again and again. With "Sonic Boom," what I wanted us to do was write more instinctively and without overanalysing what we were doing, in the same way that when we went into the studio to record, there was no reason to do ten takes of a song because what are you going to do better on the tenth than on the first or second?
Whatever you gain in terms of perfection, you lose in terms of feel. It's important for everybody to remember to be reminded that all the music that we love and grew up loving was not made on a computer; it was made by people who were flesh and blood and trying to purge emotion, whether it was the Motown stuff or the Stacks Vault music, James Brown, The Beatles, Led Zeppelin... all that music was made from the heart, and it wasn't perfect, but it is interesting that when people have tried to re-record these songs, the closer you get to making them perfect, the further away you get from the spirit and the sound that made them so exciting; so that was another thing we had to capture on this album ... the raw urgency of the songs as opposed to spending so much time that we get them glossy but lose everything that makes them classics.
To mention Led Zeppelin and The Who, I'm lead to believe that you're a fan of both. Do you ever take the time, Paul, to sit down some days and think these bands that I loved so many moons ago nowadays have KISS mentioned in the same breath?
Well, I'm humbled and honoured by it. Whether or not I necessarily agree with it is perhaps one of the things that makes me who I am! The fact is that the bands and the people that I've always looked up to, I continue to look up to, and anybody who chooses to mention us in the same sentence makes me feel deeply humbled and honoured by it.
Now, going back to "Sonic Boom," how many songs from the album can we hope to included in the KISS set now?
We're going to continue to add them. This really right now is the final leg of the Alive 35 tour, so that's been celebrating the KISS Alive album, celebrating the 35 years since it came out, but it is starting to morph into the "Sonic Boom" tour.
Right now we're doing "Modern Day Delilah," and as time goes by we'll be doing more. We have to be really careful about adding too much because every song that we add, we have to leave one out, and we've got a setlist now where it would be crazy to leave out "Love Gun" or crazy to leave out "Shout It Out Loud" or "Detroit Rock City," "C'mon And Love Me," "Deuce," "Strutter..." so you know as time goes on and it's warranted, we'll be adding more.
Okay, now on your solo tour, I know that you played "Magic Touch" and "A Million To One," which are very, very special and I don't believe they've ever been played live. Are there any surprises from the past that you would like to add to the set, possibly?
You know, it's anybody's guess! The only thing that I don't want to get into is the idea of playing obscure tracks just for the sake of doing something different. I'm a big believer that most obscure tracks are obscure for a reason, you know. The cream rises to the top, and the songs that people love are the songs that, for whatever reason, are the best!
I remember going to see a very, very famous long-running band, and the night that they were playing the theatre was a night of them playing obscure material, and I've got to say, being there, I understood why it was all obscure... ha ha!
Now, obviously Tommy and Eric have been in the band for a long time, and as much as all KISS fans love Ace and Peter, is life easier in the band for you and Gene with these guys?
Well, life is easier for KISS because KISS really is the four of us, and it's always interesting that some people wrongfully think of Tommy and Eric as two extra guys, you know, fillers or something, and the truth is that most of the time when I need feedback on a question, I ask Tommy; and Eric has been in the band off and on for near on eighteen years, so is it easier for Gene and me? Well, it's easier for the band, because it is a band!
It takes four people to make a band, which is why "Psycho Circus" was such a debacle, because it was us valiantly trying to make an album where there was no band. You can't make an album with lawyers, you know! When band members aren't showing up... and you can't make an album with people making demands to have songs included that may not be good enough. Again, it really comes down to you're either seeing the band as a vehicle to make you more famous, or you're seeing yourself as a vehicle to make the band more famous. The situation in the band now, thankfully, is that everyone works to make the band better, and it shows on stage, and it shows on "Sonic Boom."
You've just played Cobo Hall, am I right in saying that?
Yeah, we played last night and we play tonight.
Wow, that must be something.
It's magical.
Yeah, that's just a little bit of history for KISS, isn't it? Am I right in thinking that the hall is going to be knocked down after this?
We heard it's not being knocked down, but it's as good as being knocked down, as it's being turned into some sort of convention hall for trade shows or something. So the last music they will hear is our "Sonic Boom!" The last walls to be cracked will be done by us!
Well, that's appropriate! Now, I've got to ask you, will you guys be coming to Europe?
Yes, absolutely! We're just signing everything up now, and there is no way that we wouldn't be on your side of the pond sooner or later.
That's fantastic. I would just like to finish off with one final question, Paul. You have had, and you still continue to have, an incredible career. Is there one moment that stands out for you in KISStory?
Gosh, you know, it's hard to think of doing something as long as I have and only have one moment. However, I certainly remember being backstage at a show in Ohio and looking out from behind the curtain at a packed house, and it had happened the night before, and the night before that, and I suddenly realised that I went from telling people that we were going to be the biggest band to the fact that we were on the precipice of becoming the biggest band. It was a humbling and very exciting but also intimidating moment.
Paul Stanley takes KISS back to its roots to unleash a ferocious bombardment of rock and roll thrills
Defensiveness is in the air. Paul Stanley jokes with his crew about how Guitar Player readers have always hated KISS. Gene Simmons dismisses me with "Oh boy, the media is here," and walks into the main studio at Conway Studios in Los Angeles without further comment. I look at Tommy Thayer - who is projecting nothing but good vibes - and still can't help myself from wondering if he thinks I'm going to roast him for daring to be the impostor Spaceman in Ace Frehley's makeup.
I'm further thrown off my game when drummer Eric Singer appears to be the KISS member most excited to talk to Guitar Player. (He doesn't play guitar, but he collects them, and he possesses a truly impressive knowledge of vintage instruments and guitar gear.) All I'm trying to do is listen to the band's first new studio album in more than a decade, and put the guys on the cover of the magazine. Sheesh.
Everyone relaxes a bit (including me) when co-producer Greg Collins spins the first few tracks of Sonic Boom in Conway's control room. Produced by Stanley - who was extremely earnest and focused in his mission to create a monumental, no-B.S. KISS album - the songs rage out of the studio monitors with a rawness and vitality that rivals the energy of any of the 20-something acts on the Warped Tour can deliver. As an added plus, the guitar tones are huge, the riffs striking, and the solos explosive. It's a KISS klassic!
It's also a rather bountiful set of goodies for the KISS faithful. Distributed exclusively by Wal-Mart, Sonic Boom is a three-disc package that also includes a re-recorded selection of classic KISS songs and a live DVD containing six performances from the South American leg of the KISS Alive 35 tour. Happily, by the time the band decamps to a studio lounge to discuss the album, everyone is far more interested in talking music than makeup, preconceptions, misperceptions, or marketing razzle-dazzle.
I was knocked out at how energized and ballsy the tracks sounded. It's like a raw, brazen record from a band that has something to prove, rather than an act that has been famous for decades.
Simmons: Well, we were truly jazzed. The band has always been big, but it may be bigger now than it has ever been before. We're playing to stadiums full of people, and a lot of young people - a whole new audience - and they kick you in the ass. You have preconceived notions about what KISS means and who we are and if we're playing something from when the band started in 1901. But 15 year olds have never heard that material, and they don't have any preconceptions. So it's a whole new ballgame for us, and we have to deliver.
Stanley: This band is terrific in concert. It deserves to play new material, to record a new KISS album.
As the producer, were you also visualizing how each song would sound on the album?
Stanley: No. The classic rock writers didn't approach things like that. You didn't write a song and say "Wait until you hear the production it's going to have." Where I come from is, if it doesn't sound good on one guitar or one piano, it sucks. Don't tell me how you're going to embellish it - you have to have a great song to begin with.
Thayer: None of us have home studios. We literally record our songs on little tape recorders...
Stanley: That cost $39.
Thayer: And that's how we document the foundation of our songs.
Stanley: Like idiots. And that's what we refer back to when we're deciding whether a song makes it - the music coming out of a tiny, crappy speaker on a cheap cassette deck.
Gene, what informed your bass lines on the record?
Simmons: My style is less of a Motown groove approach - it tends to have its own melodic thing. Players such as Jack Bruce always appealed to me because they approached their parts more the way string quartets do, where the bass isn't necessarily tied to the rhythm. I like to play a melodic riff that works with, or works off of the guitar.
Stanley: That's a signature part of KISS that was gone for a while. When we listened back to our old records, I said "Hey, whatever happened to those great walking bass lines?" Those lines are part of the underpinning that touches an emotional nerve in people who don't even know much about muysic and compels them to say "That's KISS." Whether you can articulate it or not, those elements are part of who you are as a band, and if you veer too far away from them, you only end up confusing yourself and your audience.
Singer: Many times in the past, if someone had an idea for the bass, Gene would go, "Okay, you play it." This time, Paul would say, "No. You're going to play bass because your feel and tone is critically important to the KISS sound." And Gene does possess a lot of the elements that people are used to hearing in classic KISS albums.
Well, if you've ever seen the episode of Family Guy where Peter Griffin dresses up in full Gene Simmons regalia, you're not far from getting the picture. Fun-loving dudes willing to go out swilling with their fave KISS character's face painted on, many in improvised costumes of the Starchild, the Demon, the Spaceman and the Catman. The same ones who did it in their teens.
And some really-into-it wives, girlfriends and dancers in the front row, centre stage.
I'd love to hear back how many hangovers are out there tomorrow. Because this crowd came to party hearty!
For those inside, it was KISS' Alive! album unfolding in full pyrotechnical splendour.
From the opening chords of "Deuce," it was a trip through nostalgia until after "Calling Dr. Love." Then Stanley went into carnival-hawker mode and pushed the band's new Sonic Boom album and the single "Modern Day Delilah." The new tune is certainly classically KISS.
Fans wanted the best, they were getting the best. At least as KISS has always delivered it.
Following it up with "Do You Love Me?" from Destroyer was genius. This is one of those sing-along arena anthems that this group excels at. And they always had enough of them to rub wienies with every other crotch-rocking crew from back in the day.
It's the secret to the enduring nature of the band's brand and, as long as it can keep penning crowd chorus-ready rockers such as "Say Yeah" its fans will keep coming back for another KISS-off. It's the "Keep it simple, stupid" formula that has made the members millions in the last four decades.
If it ain't broke, don't fix it.
In olden days, Simmons' blood-spewing routine didn't include him flying to the lighting rig. Now it does. After his starring role as the demon with a tummyache came another one of the group's finest moments.
"Black Diamond" is the only KISS tune to ever fete indie rock cred via the Replacements cover of the tune. It had the house freaking right out.
The closer was the megahit "Rock 'n' Roll All Night" and the guys did everything possible to knock it out of the park -- I'd be surprised if there is that much confetti at an Olympics ceremony. Plus the cannons, fire, sparks and super-tall pneumatic platforms that elevated Simmons and Thayer far above the crowd.
A moment to catch its breath and the band was back for what Stanley promised would be "the longest encore ever."
A personal fave, "Shout It Out Loud" came next and it was awesome. I suppose the 1983 hit "Lick It Up" was good too, if for no other reason that it proved the band could hold its own with any of the Sunset Strip's hair farmers in that grim musical era. The snippet of The Who's "Won't Get Fooled Again" in the song was, what, hopeful?
Stanley hopped a ride across the arena on a wire to perform "Love Gun." At this point the show was past the two-hour mark. What else were they going to give us?
Duh, "Detroit Rock City." And goodnight.
With a majority of classic songs in the set, the band tore through such notable tunes as Deuce, Strutter, Let Me Go Rock N' Roll and Hotter Than Hell - and that was only the opening of the show. Each member of the band had a chance to sing at least one song as drummer Eric Singer took on the Peter Criss vocal for Black Diamond, while Tommy Thayer sang the Ace Frehley classic Shock Me.
The addition of Singer on drums and Thayer on guitar has given KISS a new sound and a newly found energy - both of them are great musicians and showmen and they make Simmons and Stanley sound all that much better. This was the best and tightest sounding the band has been since the Revenge era. To me, nothing has ever sounded as good as the club tour the band did to prepare for the Revenge tour - like the one I saw in Toronto in May 1992 - but this was close.
With only two songs played from the new Sonic Boom CD there was plenty of room for some KISS standards, although Modern Day Delilah is a great new song that fits in well. The other new track, Say Yeah, came across like a true concert favourite and was welcomed by the fans as much as Do You Love Me? - which was performed for the first time on the Alice 35 tour tonight.
The event was a slick visual assault with vibrant colors of lights constantly flashing and even some green and orange flames rising from the ground on occasion. There was one faux pas. During Thayer's guitar solo, one of the special effects accidentally blew a set of lights from an overhead rig and sent them crashing to the stage. Luckily Thayer was at the other end of the stage when that happened. This is the second overhead lighting problem in a week . In Winnipeg, one of the overhead lights caught fire, delaying the show and forcing the band to break out in an impromptu jam of Firehouse.
It would be really hard to say KISS has come up with anything incredibly new or unseen on this tour because, quite frankly, they invented everything that you'd already see in a modern rock show anyway. There was lots of pyro and fire, the drums and band members rose to the rafters on hydraulic platforms, Gene Simmons was lifted in the air to the lighting rig to sing I Love It Loud, and Paul Stanley rode a swing-like device from the stage across the audience to sing Love Gun at the other end of the arena. There really wasn't much more anyone could ask for.
If this was any other band on that stage, we would have been shocked and the news headlines the next day would have read that this new band was the next big thing. But for KISS we expect and demand this level of entertainment. And you know what, they delivered.
Just ask the fans who were excited from the get-go. Many dressed up as their favourite KISS superhero, while others pounded their fists in the air or sang along for the entire two hours. There was one family on the floor who had all four of their children dressed up in full costumes. Some fans even scrambled to get a photo or autograph from Gene Simmons' companion Shannon Tweed, who was on hand at the show.
With the exception of not hearing I Was Made For Lovin' You and God Gave Rock And Roll To You II, which have been missing from the whole tour, it was an incredible show and an unforgettable night.
Vancouver wanted the best and Vancouver got it.
While each of the earlier acts on Saturday impressed throughout the day, the night belonged to KISS. These Rock and Roll Hall of Fame members may have not originated the 'rock star,' but they sure as hell refined it with the grungiest of fashions. Their swaggered distortion was cool in the most uncool of ways. Whether you have been a lifelong KISS fan, or a first time listener, after seeing Saturday night's performance, you have to admit one thing-this band is the master of their domain.
And the crowd was that diverse, combined with onlookers ranging from middle-aged adults donning their black, worn-in band-shirts, all the way to little children atop their parent's shoulders, watching the visual display in a youthful awe. But to the band, it did not matter who was there, because they came to Voodoo with the intention to tear down Voodoo by any means possible, as they pulled out all the cards, or rather every rock star cliche that has formed partially due to their footsteps over the years. From their signature face paint, to the tight black leather suits dashed in rhinestones, platform heels, and armor plating-KISS represents hard rock glam at its finest. But the grand show was bigger than their outfits-from Gene Simmon's batwings, to his trademark tongue, to Tommy Thayer's playing guitar behind his head, to a flaming sword/torch that used as a prop-the list goes on, but you get the point. The magnitude of the heavy metal forerunners carried into their actual music performance-but really, who can actually talk about the music when that kind of spectacle is at hand? I'll leave the dissection of their classic rock set to someone else, and just say that this show was unlike any concert I have or ever will see.
The larger-than-life exhibition concluded with a firework-filled ending as KISS played their two most popular songs-"Rock and Roll All Nite" and "Detroit Rock City." As the last of the confetti bits fell and pyrotechnic flames died down, the message was clearly sent that KISS's appearance at Voodoo was not just an entertaining concert - this was a visual display of epic proportions. This was a nostalgic moment rekindling long-time fans with the soundtrack of their youth. This was an opportunity to connect with a younger generation who were not influence by KISS. On Halloween night, KISS reigned supreme in the most epic of proportions.
That should be a hard one, given that I've seen thousands of shows and hundreds of really good ones. Yet it's not that tough; if I'm being honest and not trying to impress some hipster, I'll just answer: "My first Kiss concert."
The date was Nov. 25, 1979 - the greatest night of my rock 'n' roll life. The setting was the Cow Palace, the best venue for arena-rock in the Bay Area. And Kiss - playing in the Bay Area this weekend - was the most important group ever. Or at least, that's how it seemed at the time to a wide-eyed sixth-grade student seeing his second concert.
The show affected me in the way that only those initial live-music experiences can. The term "larger-than-life" is way overused, but that's exactly how these four superhero rockers-vocalist-guitarist Paul Stanley, bassist Gene Simmons, drummer Peter Criss and lead guitarist Ace Frehley-came across to me. I can still conjure up the awesome sights from that night in my head: the fake blood dripping out of Simmons' mouth; Frehley's glow-in-the-dark guitar shooting some type of rockets; Criss performing on a rotating drum set; and Stanley coming across like the coolest guy on the planet (even cooler than Fonzie, another idol at the time).
Actually, I'm not 100 percent sure any of that actually happened. It was a heck of a long time ago, and I've been known to exaggerate when it comes to my own personal history. The point is: That's the show that exists in my head and, as such, it's the best I've ever seen.
Fast-forward 30 years - almost to the day - and I'm excited about yet another date with Kiss. I plan to go see the band Sunday at the Oracle Arena, 7000 Coliseum Way, Oakland.
Show time is 7:30 p.m. Tickets are $17.50 to $125. Buckcherry opens the show. Call 800-745-3000 or visit www.ticketmaster.com.
It's hard to imagine that Kiss will not make it to the United Arab Emirates. They've played everywhere else in their storied career.
Right now, they are in the middle of their biggest superstar schlep around the world. The Kiss 35 tour, to support Sonic Boom, their first original album for 11 years, started in March 2008 and will play 101 venues before it closes on December 15, having taken in Bulgaria, Greece, Latvia, Russia, Luxembourg, Colombia, Peru and Venezuela for the first time in the band's career. According to Stanley, 57, who's never afraid of a little self-promotion, it's all going swimmingly.
"It's Kiss business as usual," he says. "It couldn't be much better. Bigger, better, more is how I would describe this tour. We've got 20 songs in the set list right now and I consider every one of them a classic."
Famed for pyrotechnics and theatrical make-up, Kiss are pulling out all the stops. There are flash bombs and fire, says Stanley, and during the show's climax, he flies out over the arena to sing. The drums rotate, too.
"We believe in a show," he says. "We're proud of it. If you go see a socially conscious band in ripped jeans sitting on a stool, you're getting gypped."
Kiss were among the first rock bands to pioneer the $1,000 VIP ticket. Are they offering the same deal on this tour?
"Oh gosh, yes," says Stanley, "and they're all sold out."
On an average night, Stanley says, he greets 50 to 100 fans, each paying $1,000, backstage for 45 minutes before the show. "We tend to meet them in groups so they don't get too overwhelmed," he says.
"But you ask them when they leave what they think of it and I tell you they are all smiling. Everyone gets what they came for."
Kiss have been giving fans what they came for for 35 years. It's the reason Stanley started the band in January 1973.
"We wanted to be the band we never saw," he says. "Every band we went to see - and we saw a lot - were lacking something. We wanted to be the ultimate band for the fans."
Starting life as Wicked Lester in the naff suburbs of New York at the height of glitter rock, Kiss were driven, lower-middle-class Jewish boys hooked on Alice Cooper, The New York Dolls, comic books and PT Barnum. Their flamboyant stage shows, outlandish costumes and garish make-up soon got them noticed. Each member took on the comic-book identity of a superhero: the guitarist Ace Frehley was Spaceman, the drummer Peter Criss Catman, the bass player Gene Simmons was the Demon and Stanley was Starchild.
They were larger than life. During performances, Simmons liked to breathe fire and spit blood on the audience. It was all perfect fodder for adolescent boys who congregated in US car parks before a show, dressed as their favourite band member. Playing blues-metal as glitter-ghoul kabuki, Kiss built themselves into the world's greatest rock 'n' roll brand.
In their 1970s heyday, such hits as Rock & Roll All Nite and Detroit Rock City rejoiced in their status as perfectly uncomplicated teen anthems bursting with fantasy-world bravado.
Kiss were also the first band to market their brand to the limit, with action figures, board games, pinball machines, comics, coffins (the famous Kiss Kasket), and never-ending tours. In the 1980s, they dumped their make-up and then, in the 1990s put it back on. Along the way they lost two members - Criss and Frehley.
Kiss's opportunism and dogged work ethic has paid off. The band have been awarded 24 gold albums and sold more than 19 million albums in the US and more than 80 million worldwide. As recently as 1996, their reunion tour, the Kiss Alive/Worldwide/Lost Cities/Reunion Tour was America's top-grossing act. So, after years of denying they'd ever set foot in a studio again, why go back into the studio one more time?
Stanley says their last album, 1998's Psycho Circus, should not be their last. It was marred by Criss and Frehley's complaints about their involvement in Kiss.
"There was no band!" says Stanley today. "How can you make an album with people who can't come to the studio, with people who send their lawyers to make demands about 'participation'? Having songs on a Kiss album is not a birthright, it's something you earn."
Their most recent replacements, Eric Singer on drums and the guitarist Tommy Thayer, have been with the band for years and Stanley says it is their commitment that has sent him back into the studio.
"In 20 years, the band has never been better, more focused or got a better reception. I thought it was time to go into the studio and take a step forward, to plot a course for the future," he says.
But this time, says Stanley, he had rules. He insisted on producing Sonic Boom himself and would not allow any outside writer to pen songs for the band. That would be like someone else taking control of the brand, he says. He also refused to use digital recording techniques.
"The greatest albums were not made on a computer," he says. "The Beatles, James Brown, Led Zeppellin, those albums are about passion, not perfection. Most of our songs were done in one or two takes."
Sonic Boom marks a return to Kiss's 1970s glory years, says Stanley, and for once, critics have agreed with him. Entertainment Weekly noted "Kiss haven't gotten any subtler in the 11 years since their last studio album," but admitted to liking the track Hot and Cold.
"I'm always curious with what people have to say," says Stanley, "but I have survived healthily on many bad reviews. Most of the critics who hated us are working in gas stations now, while we've done quite well. Who needs to be told what is good? Nobody. There you go."
With their usual canny marketing, Kiss arranged for Sonic Boom to be sold exclusively through the discount department store giant Walmart. The reason? Money.
"The record industry, in terms of a delivery system, is obsolete, it's a shambles," says Stanley. "By going to Walmart we were able to add an extra CD [which features rerecorded versions of their biggest hits] and a DVD of us live in Argentina at no extra cost."
Sonic Boom reached Number 2 on the Billboard chart when it was released early last month. Stanley is pleased with the album's reception but success has not tempered his attitude to his former bandmates. He says he never misses them but does admit to being shocked to hear the news this month that Criss had breast cancer last year, though he is now cancer-free.
"It's horrific when anyone gets cancer," says Stanley, "but especially when its someone close, someone who is part of this family. My prayers are with anyone suffering that disease."
When he is not being a rock 'n' roller, Stanley enjoys painting. He currently arranges one exhibition a month and sells high-resolution scans of his work for knock-down prices, because he says "whether you are living in a villa or a van, art would be a good thing for you". He says he has made "multiple seven figures" from his art, which can be found at at Paulstanley.com.
Stanley is not what you'd call the reflective type. But does he ever wonder why Kiss have endured while so many of their peers have fallen by the wayside?
"Becoming successful is nowhere near as hard as sustaining success," he says. "The vast majority of rock 'n' rollers are boobs. They are clueless how they got there and clueless how to stay there.
"You don't survive unless you work hard."
"This guitar is, by some accounts a piece of art - my instrument of choice on stage in Kiss: The Bass that slays them all." Simmons said in a press release. "I've used the Axe on stage and literally thousands of people have contacted me to ask, 'Where can I get one?'"
The Axe Bass comes at a price of $5,000 and includes a personal meeting with Simmons at a Kiss concert of their choice during the 2009 Kiss Tour, which marks the release of the band's newest album, "Sonic Boom," the first new studio album in more than a decade. "Sonic Boom" was released October 6.
Simmons said the release of the Axe Bass is his way of giving back to Kiss fans.
"When I was growing up, I was never able to get a piece of the Beatles," he said. "They weren't available, but they were still Mt. Olympus to me. I owe the fans everything because they made my life possible. My fans are not just buying any guitar, but a moment they'll never forget."
Aside from touring with Kiss, a nominee for induction into the Rock and Roll Hall of Fame, Simmons also stars in VH1's rock reality show "Gene Simmons Family Jewels." The tour for "Sonic Boom" is scheduled to be incorporated into the show's fifth season.
With a catalog spanning 35 years, they remain a greatest hits band and deliver a majority of early hits from the original make-up era. Since Ace Frehley no longer sports the spaceman outfit, Tommy Thayer does an admirable job singing "Shock Me." KISS does have a new CD, Sonic Boom, from which they played the radio friendly, "Modern Day Delilah" to a warm reception. "Black Diamond," with Singer in the catman outfit on vocals, and "Rock and Roll All Night" finished out the set with an encore consisting of "Shout It Out Loud," "Lick It Up," "Love Gun" that saw Stanley fly to a stage in the back of the crowd, and the seminal classic "Detroit Rock City."
Singer and Thayer really add a new dimension to the group with their own distinct musical offerings. Thayer's soloing and power chords are like tinsel on a Christmas tree and Singer's drumming style and background vocals really set a solid rhythm that is the glue holding it all together. The flamboyant Paul Stanley, who has never sounded better vocally, and Gene Simmons is the ring leader with his fire breathing and blood spewing antics. Going to a KISS concert has become a right of passage from the looks of the ages in the audience. A family outing seemed to be more accurate than the teenage rebellion from which they originated. The same kids who were listening to KISS back in the '70s and '80s are now able to bring their kids to see what their parents did at their age much like a father taking his son to a baseball game to cheer for his favorite team.
After 35 years KISS shows no signs of slowing down. As long as they keep putting on the seven inch heels and legendary stage show with a musical onslaught of hits, fans of all ages will come to rock and roll all night.
Check out this fan-filmed video of Gene spitting blood and flying in Calgary.
Bare-chested "Starchild" Paul Stanley, who's way too ripped to be 57, still struts like a rock star and his overblown blues rock howl still throws a kick, as it did on the appropriately titled rock anthem Strutter.
Hardcore Kiss fans, male and female, young and old, still masquerade as their idols. The bomb blasts, fireworks and bright lights, all the big budget popcorn-movie frills that hard rock legends Kiss are worshiped for, were on proud display Thursday at the Saddledome.
Oh, and the "Spaceman" Tommy Thayer on lead guitar? He fired up one garage-dirty, arena ready riff after another, from Cold Gin to Parasite to the point where he used his six string as a canon. Literally.
As for the opening cut Deuce? The "Catman" Eric Singer hammers the drums with acrobatic flair on that one. Ditto for Hotter Than Hell and 100,000 Years.
Thursday night's 'Dome gig felt very much like a classic Kiss concert, which is a beautiful thing. Painted faces and comic book personas really have given Kiss an edge over other classic rock bands when it comes to carrying the torch 35 years and running.
Given the iconic stature of those four grease-painted faces in pop culture, it really is possible to dress up different musicians as classic Kiss and still have it feel like classic Kiss. Much like various actors have pulled off Batman over the years, so too is it possible to recapture the mystique of a classic Kiss concert.
The over-the-top show is not the only key to Kiss's lasting appeal, despite what their detractors say. The band really has crafted a considerable catalogue of awesome, mindlessly fun rock songs over the years and Thursday's gig offered much proof of that.
As blasts of confetti showered the 'Dome during Rock and Roll All Night, just before the encore - it had to said that the show was a blast.
More than 14,000 willing victims happily submitted themselves to the legendary New York quartet's two-hour sonic assault at the Saddledome as part of their KISS Alive/35 Tour.
KISS is now more than a band. They are a brand.
Fans can buy anything from dolls, snowboards, wine, glassware and even coffins, all of which are emblazoned with the KISS logo.
But you have to give them credit, that brand loyalty is almost unparalleled.
Calgary KISS fans were excited last night, so excited that many fans may have lost their voices -- or passed out due to overimbibing -- even before the show began.
There were hundreds of faces painted black and white in the style of their favourite member.
If the number of black stars around people's eyes was any indication, Paul Stanley's got bragging rights as the most popular.
There were a few fans who really went all out and could have probably stood in for the two frontmen had they decided not to rock and roll all night.
The crowd's good mood and excited energy erupted as the lights went down, the curtain fell and the theatrics began.
And what a start.
"You wanted the best," howled the voice from the speaker, eliciting a roar from the audience, who finished the rest of the sentence. "You got the best. The hottest band in the world."
And with that familiar introduction, the band appeared amid billowing stage fog and blinding pyrotechnics.
They kicked off with one of their early hits, Deuce, which sounded raw and tight and whetted the crowd's appetite for more of KISS' straight-ahead glam rock.
Strutter was up next with his chugging guitars and fist-pumping chorus. Surprisingly, some of the best tunes came from the group's latest album, Sonic Boom.
It's a spectacle, but not as ridiculous a show as I might have expected.
There were huge fireballs and other random explosions, but the stage was actually relatively tasteful for a band with a reputation for excess.
A huge screen rose just above drummer Eric Singer, who was on a riser, and below it were three rows of stacked TV-sized screens.
This relatively subdued set perfectly enhanced the band's outlandish costumes.
It really is something seeing Simmons' spectacular dragon boots up close, not to mention Stanley's chest hair.
As of press time, KISS had yet to return for an encore, but in previous concerts, the band has brought out the big hits, including Lick It Up and Detroit Rock City.
Come rock out with your favorite artists at the world famous Whisky A Go-Go as they perform with our graduating campers for 2009. Rock 'N' Roll Fantasy Camp will showcase their campers in a Battle Of The Bands night after each camp session ends. The first camp is a three-day camp running November 12-15 and a five-day camp running November 17-22.
The camper bands will each perform (doors at 6 p.m., show starting at 7 p.m.) followed by an all-star jam with:
Sunday, November 15:
* Sandy Gennaro
* Rami Jaffe (FOO FIGHTERS, THE WALLFLOWERS)
* Rudy Sarzo (QUIET RIOT, DIO, OZZY OSBOURNE)
* Ron Nevison (producer)
* Teddy Andreadis (GUNS N' ROSES)
Sunday, November 22:
01. Elliot Easton (THE CARS)
02. Teddy Andreadis (GUNS N' ROSES)
03. Bruce Kulick (KISS)
04. Danny Seraphine (CHICAGO)
05. Mark Hudson (Producer, songwriter — AEROSMITH)
06. Surprise guitar legend
To get your tickets for this gala event and for more information on Rock 'N' Roll Fantasy Camp, call 888.762.2263 or visit www.rockcamp.com.
Yes, destroyed, and yes, it was a very good thing.
From the opening notes of "Deuce" to the closing explosions that punctuated "Detroit Rock City" two hours later, the four masked bandits who are KISS stole Saskatoon's love.
The sold-out crowd - literally jammed to the rafters in the Credit Union Centre - sang, danced and licked up every single moment in the 18-song set.
At one point, lead singer Paul Stanley opined: "We're pretty great up here, but you guys out there are... awesome!"
And the crowd really was.
I was lucky enough to see KISS a few weeks ago in New Orleans, on Halloween, at the Voodoo Experience music festival. More than twice as many people in the audience, outdoors, in a creepy historic park in the middle of the Big Easy. Pretty cool.
Guess what? A Tuesday night in November in Saskatoon's bland and sterile hockey rink was even better thanks to the audience.
Tuesday's crowd was bursting with hardcore KISS fanatics. Many wore KISS makeup. Several sported KISS costumes. A few were marked for life, revealing their KISS tattoos.
They stood, they sang and they shouted out loud.
The boys in the band clearly heard them and genuinely appreciated the hardcore fanaticism.
Strutting, dancing and jamming - "100,000 Thousand Years" clocked in at just over 10 minutes - Stanley, 57, bassist Gene Simmons, 60, and lead guitarist Tommy Thayer, 49, worked the stage like men 30 years their junior.
Simmons spit blood, drooled and leered at women, Stanley flew above the crowd (a great gag) and Thayer and drummer Eric Singer, 51, provided the musicianship to carry the circus that is KISS live. Yes, there is still lots of pyrotechnics, smoke, exploding guitars, and now dozens of video screens. KISS is still, well, KISS.
Although Simmons is a huge TV star now thanks to his reality show on A&E, Family Jewels, he takes a back seat to Stanley on stage, as he always has. It's still Stanley's show. He does most of the talking and he leads the band through the setlist, which on Tuesday night, was pretty eclectic.
Ripping through 1970s-era classics like "Strutter," "Cold Gin," and "Love Gun," Stanley and the boys also mixed in some 80s hits, "Lick It Up" and "I Love It Loud" and played two new songs from their latest CD, Sonic Boom: "Modern Day Delilah" and "Say Yeah." The latter was very warmly received.
The band also dug deep, playing "Let Me Go Rock 'N' Roll" and "Parasite" from their second album, 1974's Hotter Than Hell, still one of the heaviest KISS recordings ever made.
Although original members Ace Frehley and Peter Criss are no longer in the band, KISS didn't shy away from playing some of the former members' signature songs. Thayer did a nice turn, singing Frehley's "Shock Me" from 1977's Love Gun album. And Singer was even better singing the Criss parts in "Black Diamond," a classic from KISS's 1974 self-tltled debut and still a highlight when played live 35 years later.
Both Thayer and Singer appear comfortable in their Spaceman and Catman makeup, meaning KISS could be around for a few more years yet.
Before the show began, I had a few minutes to chat with Thayer backstage. He thanked me for bringing my 12-year-old daughter and her friend to the show, young KISS fans he had just met.
"It's great to see the kids. That's gotta be pretty cool for you to have them here," said Thayer, who once played in a KISS tribute band before Simmons and Stanley discovered him. "We're all fans. I was a member of the KISS Army (fan club) in the 1970s, and now I'm doing this. How weird, how great, is that?"
Pretty great, even on a Tuesday night, in November, in Saskatoon.
SETLIST:
1. Deuce
2. Strutter
3. Let Me Go Rock 'N' Roll
4. Hotter Than Hell
5. Shock Me
6. Calling Dr. Love
7. Modern Day Delilah
8. Cold Gin
9. Parasite
10. Say Yeah
11. 100,000 Years
12. I Love It Loud
13. Black Diamond
14. Rock And Roll All Nite
ENCORE
15. Shout It Loud
16. Lick It Up
17. Love Gun
18. Detroit Rock City
KISS has the market cornered on big, glam rock 'n' roll excess and the sold-out Saskatoon crowd licked up every minute.
KISS is a band that knows how to deliver what fans want - and expect - after 35 years. The concert included Stanley's requisite singing banter with the crowd and exposed chest and, of course, Gene Simmons' famous tongue acrobatics, fire breathing and blood-spitting. The makeup, platform shoes and synchronized guitar playing were all necessary elements, too.
The show opened with 1974 classics Deuce and Strutter. In fact the bulk of the night's songs came from KISS's first self-titled album.
Founding members Simmons and Stanley were joined by newer members Tommy Thayer (in Spaceman makeup) and Eric Singer (assuming the Catman face).
The concert stuck mostly to material from the 1970s KISS heyday, but Modern Day Delilah and Say Yeah from Sonic Boom also made it into the mix. KISS also performed Hotter Than Hell, Calling Dr. Love and I Love It Loud.
The concert - on a giant, Transformer-like stage - was full of lots of sensory touches like multi-coloured flames, confetti canons, on-stage fireworks and exploding guitars.
KISS shows are probably the only rock concert that also comes with a face painting booth. Plenty of fans donned the face paint of their favourite KISS member but demon-faced Simmons was probably the most popular look. In addition to fans, the crowd also featured Saskatoon native and Simmons' lady friend Shannon Tweed, who sat behind the sound board and danced along through much of the show.
KISS finished off the pre-encore performance with a confetti-spewing rendition of Rock and Roll All Nite then returned for what Stanley called "the longest encore you've ever heard." The lineup of Shout It Out Loud, Lick It Up, Love Gun and Detroit Rock City was the most memorable - and fireworks-filled - part of the night.
It's hard to believe Simmons is 60 and Stanley is 57, especially during moments that had each member flying through the arena on wires. At that age it wouldn't be surprising if they were startled by their own pyrotechnics. But there must be something in that makeup that is age defying.
KISS is sharing with fans an exclusive view into their Alive/35 tour, which is currently underway. The first leg of KISS's Alive/35 North American tour will hit nearly 50 cities and comes hot off the heels of the October 6 release of the new KISS album Sonic Boom.
Fans can download the free KISS iPhone application to view multimedia updates, interact with other fans, find venue information, purchase tickets, and listen to and purchase KISS music from 28 of their best albums directly from iTunes. Exclusive tour video, pictures, updates and other content is available in the KISS VIP Pass application for a one-time download of $1.99. The KISS and KISS VIP Pass applications are available in Apple?s App Store on iPhone or iPod touch or at www.itunes.com/appstore. For those fans without an iPhone or iPod Touch device, free multimedia updates can be accessed by texting KISS to 58888. To access the exclusive multimedia content, fans can subscribe for $0.99/month to multimedia text alerts by texting the keyword KISSVIP to 58888.
"Zannel continues its association with the biggest stars in music, comedy, film, and television, enabling major artists to communicate directly with their millions of fans on a mass scale," says Adam Zbar, CEO of Zannel.com. "We are excited to work with KISS, who are true rock legends, and to offer KISS fans the ability to stay connected anywhere, anytime. We look forward to this exciting tour, and stay tuned for additional Zannel talent deals in the near future."
In her final year of a three-year residency at Loyola University Medical Center in Maywood, Amanda Baldwin is concentrating on anatomic pathology. She spends most of her time looking into microscopes and assisting in autopsies.
But on special occasions, Baldwin likes to load on the makeup and step into a skin-tight black costume similar to the one made famous by former Kiss guitar player Ace Frehley.
You see, Baldwin is a mega Kiss fan.
"I get a lot of people who are surprised -- both ways," said the 30-year-old Central Illinois native who now lives in Wheaton.
"People I work with are very surprised when they first find out about me being such a huge fan of Kiss and Ace, and that I put on the makeup.
"And when I meet other big fans, they are quite surprised if they ask me what I do and I tell them I'm a doctor."
Baldwin's not the only doctor who enjoys rock music or seeing her favorite bands perform in concert. She probably even has colleagues who are Kiss fans.
However, it's unlikely that they will take to the road to see a Kiss concert or dress in full Kiss wear for fandom conventions.
"I'm very happy with my life," she said. "I love my job, and I'm having a great time being a fan of Kiss and of Ace."
Baldwin's interest sparked from her older siblings -- brother, Jim, and sister, Lisa.
"When I was very young, they had Kiss posters and (record albums)," Baldwin said. "Both of them were into music when I was growing up. I would look at the posters, and I called them the Kiss monsters."
Baldwin remembers the day when the "Kiss monsters" started becoming very important to her.
"My brother had the 1978 Ace (Frehley) solo album on the floor, and I was mesmerized by the makeup," she said. "I took the record -- I was probably 4 or 5 at the time -- and played it on my little record player while I danced around. I loved it."
Baldwin later got a hold of some Kiss bubblegum cards, and her brother gave her his Ace Frehley solo album.
In 1984, she saw for the first time the 1978 TV movie "Kiss Meets the Phantom of the Park."
"I thought it was really cool," she said.
However, for the rest of the 1980s, Baldwin's passion for Kiss was put on the back burner. Her favorite band had taken off the makeup, and Frehley left the band.
"I was still very much into music, but I got into all the 'hair bands,' like Motley Crue and Poison," Baldwin said.
When she entered high school in 1993, Baldwin devoted more time to academics.
"School really was my focus throughout high school," she said. "It pretty much stayed that way until I got into (medical school)."
After graduating in 1997 from Illini Central High School in Mason City, Ill., Baldwin enrolled as a pre-med student at Southern Illinois University-Edwardsville. She earned a master's degree from Loyola after moving to the Chicago area in 2001 and attended medical school at Midwestern University in Downers Grove. She graduated in 2007, officially earning the right to be called "doctor."
Baldwin's interest in Kiss and Frehley picked up again when she began medical school.
"Music was back for me when I got into medical school," she said. "I thought, 'I'm getting older and have spent so much time studying. I was losing my youth.'"
So, in 2002, Baldwin again began following Kiss and Frehley.
In 2009, she traveled to four Kiss concerts and attend the band's Nov. 6 show at the United Center. She headed to Milwaukee the next day for a performance by Frehley.
She has met all of the band members. And on Sept. 19 she finally met Frehley when he made an appearance at a Detroit store to autograph copies of his new album.
"I was so nervous about meeting him that I couldn't speak," she said. "He's the reason I'm into Kiss."
Baldwin had Frehley sign the 1978 solo album given to her by her brother. She also asked Frehley to autograph her ankle. She had that signature turned into a tattoo the next da
Baldwin has no plan to give up her devotion to Frehley or Kiss. But she's also focused on her career.
In the home stretch of her residency at Loyola, Baldwin is slated to work a pathology fellowship in 2010.
"It's really fascinating to me," she said. "You learn so much when you do an autopsy, and you can sometimes help to answer the questions that families have after someone dies."
"After (the fellowship), I'd love to work in a medical examiner's office for a while," she said. "Eventually, I'd like to maybe do private work as a medical examiner; testify in court."
And, of course, continue following Kiss and Frehley.
Sure, it's cliched slogan, one used primarily to sell tickets to monster truck events. But the description fits. KISS concerts, after all, are unlike anything the world has ever seen.
"We want to entertain you, and when you pay for a high-priced ticket it should get you more than a guy on stool," said Paul Stanley, the group's singer-guitarist. "When you get a ticket from us, we'll pummel you, deafen you, blind you, cover you in confetti, and you'll leave very satisfied."
KISS fans wouldn't have it any other way. For decades, devout followers of the group have been resigned to the fact they are paying for an experience that rarely changes. Not that anyone should be concerned with getting shafted: KISS concerts are like musical comfort food, with blood, pyro, and songs about love guns and gods of thunder on the menu at every stop.
Stanley, the group's frontman since its inception more than 35 years ago, says there's a reason the band has opened nearly every one of its concerts with the refrain, "You wanted the best? You got the best! The hottest band in the world! KISS!"
In short, because it's true.
"We do what we're here to do," Stanley said from a New York hotel, the day after KISS thrilled television audiences with what was easily the most explosive performance in Late Night with David Letterman history. "And that's basically blow the place up and have a great time."
Stanley, 57, and bassist Gene Simmons, 60, are the lone holdovers from the original lineup, which burst out of New York with the legendary double-album, Alive!, in 1975. But while much has been made of the absence of guitarist Ace Frehley and drummer Peter Criss on the band's current North American trek, which is billed the KISS Alive/35 tour, Stanley says the group is sounding and playing better than ever.
"It's just a healthier, better situation for everybody. It's better for the fans, it's better for the band. And hopefully it's better for the guys who are no longer in the band."
Frehley and Criss, who have both struggled with either drugs or alcohol in the past, have not been with the band since the early part of the decade, and have been permanently replaced by guitarist Tommy Thayer and drummer Eric Singer. Neither is new to the KISS universe (Singer has been in and out of the lineup for 18 years, while Thayer has been on board for seven) and Stanley says they have both earned their place in the band.
He was eager to showcase their unique talents on the new KISS recording, Sonic Boom, which debuted at No. 2 on the U.S. sales charts upon its release on Oct. 6, the group's highest entry to date.
Stanley produced the album, which, by definition, made him the decision maker. But he's quick to stress that the process was a group effort -- one of their first albums in years to operate on such a democratic plane.
"I wanted 100 per cent commitment and focus from everybody in the band, to really highlight how great the band is and how focused the band is," he said. "This album never could have been done by any other KISS lineup. When you have a band where everybody is saying 'How can I make the band more famous?' rather than 'How can the band make me more famous?' it gives you the potential to make a terrific album. And that's what we did. We just harnessed everything we are." The album's first single, Modern Day Delilah, is a jet-fuelled blast of arena rock, with all the archetypal features of some of the most famous Stanley-Simmons compositions. Even though the song is credited to Stanley alone, the presence of Simmons at each session had an huge impact, Stanley said.
"It was essential that Gene and I write together. It was absolutely essential. Gene was a little skeptical initially, or ambivalent. We've certainly both reached a point where we like to do things our own way, but that doesn't necessarily mean it's best for the band. We sat down, and immediately the chemistry was there."
Kiss performs at GM Place in Vancouver on Saturday.
At ages two and four, my boys are well aware of their mother's passion for KISS. They've never known a world in which KISS did not exist. And, for our children, KISS is everywhere -- KISS songs rock our car when I'm driving to them to play group each week. KISS magnets hold their artwork up on our refrigerator. KISS's makeup faces are floating on rubber ducks when they take their baths. KISS is emblazoned on their clothes, posted on their bedroom walls, and carried in their hearts.
Ever since the beginning of the tour, as Mom and Dad have jaunted off to various cities throughout the Alive 35 tour, our boys have asked when they could attend their first KISS concert. With two back-to-back Midwest KISS shows over the past weekend, it seemed the perfect time to fully initiate them into KISS World.
Preparing to take two preschoolers to a KISS show isn't as difficult as you might think, though I gained a little experience along the way too. Here are a few tips:
* Prepare them visually: Watch a concert or two with the kids at home in the weeks leading up to the show. While some might argue that this spoils the surprise, it doesn't -- there's an enormous difference in experiencing a live show firsthand versus seeing it on television. (And if that were truly the case, no one would attend a live show, right?) If you're a KISS parent, your kids are likely already familiar with many of the songs anyway, so they won't be bored watching the concert with you. Kids also tend to view KISS as larger-than-life superheroes. Helping kids understand that Paul and Gene are going to fly during the show, and that Gene is going to spit fire and blood, but neither of these things will actually hurt him, goes a long way toward ensuring that they won't be scared by these things later.
*Protect their ears: Yes, the show is loud. Don't be so much of a purist that you insist on having pure, 120-decibel KISS blasting into your child's head. There are many audio-reducing headsets that will protect their ears and still allow them to fully enjoy the show. Note that very young children will likely protest at wearing earplugs -- headsets are a better bet.
*Don't be disappointed if they don't like it: As parents, of course we want our children to share our passion for the things we love, and even if your children are completely gung-ho to go to the show, they may break down if it's not quite what they envisioned it to be. It's okay. This night is about them, not you. Make them as comfortable as they'd like to be.
Going into the show, I fully expected my 4-year-old to love the show start to finish, and my 2-year-old to get scared at times. Instead, my little guy was pumping his fists during "Deuce" while my 4-year-old buried his head in my shoulder. He came around a couple of songs later, and loved it from that point forward, but their reactions were completely opposite from what I had expected.
* Be prepared to hold them. All night.: They're going to want to see it all, and it's worth a pair of sore shoulders the next day to make that happen.
* This night is about them: Above everything else, this is the most important. If this is your first KISS show, or even the only show you're going to see on the current tour, it might not be the best night to take the kids along. If your children are especially young, chances are good that they might not want to remain in one place for an over-2-hour-long show. You'll have bathroom breaks and diaper changes to deal with. Kids may want to walk around or check out the merchandise stands. They might even want to dance in the aisle instead of sitting in their seats. Go with it.
You might even be seated too close for your kids' comfort! We had fabulous seats just a few rows from the stage on Tommy's side, but during the show we walked up to the mezzanine level and watched from one of the entryways for a while -- my boys liked looking down on the stage and seeing it from that perspective.
* Reactions from others may not be what you think: I fully expected to hear negative comments from others about bringing two preschoolers to a KISS show, but every single comment I received from other fans was positive. Many people said that they thought it was great that our little guys got to experience KISS at such a young age -- one fan said "My mom wouldn't let me go see KISS until I was 17!"
* The show is very kid-safe: While KISS has long been associated with wild women, cheeky lyrics and hedonism, there's nothing in this show that your kids can't see. The language onstage rarely, if ever, contains cursing -- and while some female fans in the audience may dress provocatively, your kids will likely see much more skin at the beach or public pool in the summertime than at a KISS show.
* Lastly, expect sensory overload: KISS shows are sensory experiences, and young children may reach a point where they zone out at the show. (Heck, a KISS concert overloads the senses for most adults.) The lights, sounds, pyro and show can really be a lot for kids to see, and incredibly, some children may react by falling asleep. While we as adults wouldn't dream of sleeping through a concert, many kids really can and do take naps at the show.
All in all, it was a fantastic, memorable night for everyone, and my KISS kids will never forget their big weekend. They've been talking about "the KISS concert" for the past two days now, and it's hilarious to watch two preschoolers debate who flew over the crowd better or which song had "more big fireworks."
And just this morning, my 2-year-old notified me, very matter-of-factly, that he's the Doctor of Love.
As a KISS parent, what more could I ask for? I dug out the boys' baby books today and made a few notes in each. And now, right next to the dates for the entries for "First Tooth" and "First Words?"
The dates of their first KISS concerts.
For Kiss, it’s their introduction.
The New York rock band who helped invent the arena concert spectacle in the 1970s know exactly what their fans want. Say what you will about them — still on the road nine years after their farewell tour — there’s no denying they know how to put on a big, dumb, flashy rock show.
"There’s something about Canada that just brings out the best in Kiss. You’re going to hear all the stuff you came for tonight," frontman Paul Stanley told the sold out crowd of 12,750 at the MTS Centre early last night.
He wasn’t lying.
The band is touring in support of their first album in 11 years, Sonic Boom, but despite the fact it’s a return to their classic sound, the band only played two new songs, Modern Day Delilah and Say Yeah, preferring to stick to hits from their 1970s heyday.
Much like the Alive! album they’re celebrating with the title of the tour (Kiss Alive 35) the band opened with Deuce and Strutter off their 1974 self-titled debut. During the opening number founders Stanley and demonic bassist Gene Simmons gathered at centre stage with lead guitarist Tommy Thayer, dressed in Ace Frehley’s spaceman makeup and nailing every solo effortlessly, for some synchronized moves.
Behind them Eric Singer, taking the place of original drummer Peter Criss, was seated on a riser above the famous lighted Kiss logo, which was surrounded by a line of speakers and three rows of video monitors flashing everything from abstract patterns to fire (of course). Three other video screens showed close-ups of the band, who don’t look a day older than they did all those years ago thanks to their makeup.
Stanley played the role of hype man throughout the night with his well-known between song banter, getting the Kiss Army riled up, especially when challenging them to be louder than other Canadian cities.
"It’s up to you to show us that you are number one," he said before the blues-based Let Me Go Rock ‘N’ Roll.
From the first notes to the last, it was as flashy and over-the-top as ever. Multi-coloured flames shot out often, the drum riser rotated during Singer’s solo, Thayer shot fireworks from his guitar, Simmons breathed fire at the conclusion of Hotter than Hell, spit blood during his solo spotlight, and both he and Stanley took wire assisted flights: Simmons to the top of the lighting rig and Stanley to a stage at the back of the arena.
With the exception of the two new Sonic Boom tracks and Lick it Up and I Love it Out, both from the early 1980s, the set was filled with melodic hard rock favourites from the 1970s with Cold Gin, Parasite, Black Diamond, Rock and Roll All Nite and Detroit Rock City making the set list.
Over the past two decades Kiss has become more known for their marketing than music, but if you’re a Kiss fan the merch booth was filled with everything you could want including panties ($15), a Thayer autographed guitar strap ($30), a Singer autographed drum head ($40) and a USB leather wristband, or CD, with last night’s show for $35 along with the regular shirts and posters.
It’s easy to be cynical, but last night it was about the music, and Kiss fans who wanted to hear the best got it.
Los Angeles quintet Buckcherry opened the night with a 45-minute set of sleazy hard rock perfectly suited for an arena, highlighted by the ode to cocaine Lit Up, the pop-edged Everything and the funk-infused Crazy Bitch.
Indeed they do. Saturday's show, which clocked in at two hours on the nose, was everything Kiss fans could expect, and you can take that however you will.
The set began comfortably--a black curtain shrouded the stage, emblazoned with a silver Kiss logo. And at precisely 9 o'clock: "You wanted the best? You got the best! The hottest band in the world!"
Drop the curtain and commence.
The stage set up was a delight--aside from some next-generation television monitors, which served as a backdrop to the drum riser and the light bulb Kiss logo, this was the Kiss stage fondly captured in photographs from their late-'70s prime. Through the set, which was heavy with hits like "Hotter Than Hell," "Cold Gin," and "Black Diamond," the show managed to express a majesty and a hair-raising sense of spectacle that was surely nostalgic even for generations of fans for whom the band's prime years are just paragraphs in a biography.
But the set's final 45 minutes, which included their colossal hits "Rock and Roll All Night," "I Love It Loud," and a half hour encore which ended with "Detroit Rock City," was pure guilty pleasure. When Simmons breathes fire, a bellow fights its way from your mouth. When Stanley soars over the crowd to a back-of-the-house stage to perform "Love Gun," marvel is involuntary. When the flashpots detonate and the flame jets combust, you don't decide to blink from the light and the heat. Your body makes that call for you.
Never in modern music history has a band wielded greater cultural influence. Behind their facepaint and body armor, Gene Simmons and Paul Stanley cease to be themselves, and become precisely what we can only guess they meant to be all along--deathless icons, immune to senescence, who will be drooling blood and wowing audiences until they can exeunt to a millionaire's Valhalla.
One quick glance around the Target Center at 9:00pm revealed that the concert was sold out for all intents and purposes, and that full "sold-out sound" arrived when the lights dimmed and guitar tuning could be heard from behind the curtain bearing the band's logo. The chords of "Deuce" hit the crowd like a wrecking ball as Gene Simmons, Paul Stanley, and Tommy Thayer emerged behind the dropped banner in full rock star glory. The lights shined as bright as the sun, while the sound convinced every fan that they were rocking out at the loudest concert that ever came to be. Those first moments of a KISS gig are almost beyond belief as every story, myth, and legend of the band's shows comes to fruition before the eyes of thousands.
The well-known hard rock hits from the group's early history kicked the show into motion, and when he wasn't jumping high into the air, Paul Stanley was singing as if there was truly no tomorrow. The microphone stands on stage don't get much use during the first two songs as the band prefers to deliver the music much closer to the fans. Gene Simmons stood triumphantly near the edge of the stage and allowed his tongue to shorten the crowd-to-band distance even further. When all three guitar players gathered center stage to jam in unison, a flurry of flashes from the crowd erupted in an attempt to capture the moment.
It was flames that erupted from the floor for the signature "Hotter Than Hell", and Tommy Thayer got his turn at the microphone during "Shock Me". "Nothing cures the swine flu quite like Dr. Love," proclaimed Paul Stanley as the band ripped into the instantly familiar chords of a mid-seventies rock anthem. The band may be celebrating their 35th anniversary, but there's no denying that time has only seen KISS grow bigger and better.
Although the songs granted millions of radio plays over time emerged as the real crowd pleasers and took the prize in the audience sing-a-long category, the crowd gathered in Minneapolis was truly ready for anything. Stanley introduced new track "Modern Day Delilah" as a prime example of the theory that being old isn't a prerequisite in a song's journey to becoming a classic. Fans sang along to the vocally demanding number and screamed with excitement when Stanley delivered a handful of glass-shattering high notes.
Not to be outdone, it wasn't long before Gene Simmons took the performance to new heights - literally. After engaging in a blood spitting rage (the fire-breathing earlier just didn't do the trick), Simmons was lifted to a new location - atop the arena's lighting equipment. Stanley earned the spotlight later as he flew high above the floor to deliver his famous struts and riffs from the other side of the venue. Becoming lost in the spectacle was a natural reaction to the kind of youth-driven rock and roll that KISS delivers.
When all was said and done, the band left a speechless crowd. Although the make-up surely hides a wrinkle or two, the realization that men near the age of 60 just finished stomping and jumping around in six inch platform shoes is nothing to sneeze at. When it comes to staying ageless, KISS just might be onto something.
As the huge black flag with the name KISS stitched on it came crashing down to the front area of the gargantuan stage at Verizon Arena, I glanced over at my son Alec and realized this was a snapshot in time I had dreamed about for literally years and years, even predating his arrival in my life some 18 years ago.
The infamous words that have introduced the legendary rockers to their fans since the early 1970s came through loud and clear - "All right, Little Rock! You Wanted the Best! You Got the Best! The Hottest Band in the World - KISS!"
And that was it.
Starting from the first chords of the group's classis tune "Deuce" through a 2-hour-plus set list that meandered through KISS' discology and included well-known anthems like "Rock and Roll All Nite" and "Shout It Out Loud," the night of Oct. 29 was truly magical and brought two things I cherish together under one roof: time with my son and a concert by the band whose influence has been a major part of my life since 1976.
The flashy new costumes and over-the-top stage show were enough to bring plenty of smiles to Alec's face (and mine, of course), along with the seemingly endless supply of pyrotechnics and beams of stage lights flashing all over the place.
Oh, the also loved the staple features of a KISS concert, ranging from lead singer-rhythm guitarist Paul Stanley's jumping about and searing vocals on all those classic songs to bass guitarist-singer Gene Simmons' breathing fire and spitting (fake) blood all over the stage before flying up to a platform to belt out "I Love It Loud," which took this writer back to his days as a clumsy, bumbling type at Nettleton High School.
My son marveled at drummer Eric Singer's abilities in mastering his massive drum kit that wound up levitating over the stage and spinning in a circle while he played an ambitious solo, as well as lead guitarist Tommy Thayer's own solo that included firing mini-shots into the air, creating yet another visual spectacle for the adoring crowd.
What impressed him most, though, was the music. Spanning nearly 40 years, KISS played 18 songs that night and could have easily added triple the total and still left the faithful wanting and demanding more. Much like his old man, Alec has an appreciation for the simplicity and yet undeniable appeal of the band's straightforward, hard rock tunes.
I call these songs the soundtrack of my life, a sentiment millions of others in their 40s and in other age brackets can certainly agree with. From the first time I saw KISS in the late 1990s when they went on a reunion tour with original members Ace Frehley and Peter Criss, I have clung to the belief that events like concerts bring one closer to their youth and rekindle that sense of abandon and optimism that life tends to temper somewhat over the years.
Other people who made the trek from Jonesboro and other corners of Northeast Arkansas bring a similar, if not exact, experience with them. We are the KISS Army, the group's fan base, and we stand very strong in legions that stretch across the planet and count decades of fighting on the musical battlefield for our war paint-wearing heroes.
Patriots rock on
A quick glance around the arena at the concert revealed something about KISS and its ability to continually draw loyal fans from years gone by to new ones, many donning that famous face paint that largely defined the band's image in its early years and sustains a presence even today. It was not unusual to see entire families on hand, with parents and kids alike wearing full KISS costumes in honor of their favorite member.
Linda Watson and brother Mark Lawson drove to the show from Jonesboro, toting their children along. It was a family affair, and Watson said she was thrilled to take in the show with her three sons.
"Seeing KISS live again was wonderful," Watson said. "I've been promising my three boys a KISS show for a very long time, and it was great to be able to finally keep that promise. We?re already looking forward to the next time."
Jonesboro police officer Kevin Foust and son Jordan rocked on for the sixth time together, snapping pictures and reveling in the charged atmosphere that defines these gatherings of the musical troops, so to speak.
"I'm not sure why you buy a seat for a KISS concert because you never sit down!" Kevin Foust posted on his Facebook profile page, rounding out the feelings of the 11,000 or so other fans who stood and sang (yes, and some of us played a blistering session of air guitar!).
University Heights Elementary School Principal Dale Case went with his daughters and plans to go again, hopefully, if and when the band makes a stop in Memphis on the next leg of the tour.
What it means
After Alec and I found our seats (we didn't sit any once KISS cranked up), it occurred to me just how much of an event, a rite of passage it was. I saw countless fathers around my age strolling along with their sons, both wearing concert shirts and smiling. When I was a boy, I used to fantasize about this very experience and undoubtedly many other folks did, too.
To join the KISS Army fan club officially, you have to fork out a few bucks, and it's well worth the expense because of the access you gain to ticket pre-sales, merchandise discounts, and other things.
To be a soldier in this army, however, all you must do is pop a KISS compact disc in, listen to a song or two and commit yourself to years of rock and roll service... as of about a week ago, my son enlisted and is now ready for his tour of duty, which, incidentally, could be a stop across the Mississippi River for the next concert.
At least that's the case with costumed rockers Kiss, who are celebrating their 35th anniversary with a world tour that's earned them uncharacteristically warm reviews, even from previously hostile corners. Perhaps more surprising is that the band finally has been nominated for inclusion in the Rock and Roll Hall of Fame, more than a decade after they were first eligible. Even cool cat Brian Setzer likes Kiss! (Well, I assume he does anyway - he was standing behind me in the will-call line.)
Lest anyone worry, the foursome's Saturday night performance at the Target Center proved founders Paul Stanley and Gene Simmons aren't about to let all that newfound esteem go to their heads. If anything, Kiss has survived 35 years - technically speaking, they're actually a few months shy of turning 37 - by refusing to grow up at all.
In front of a near-capacity crowd of about 13,000, the band delivered everything the Kiss Army demands from them. Simmons breathed fire and spit blood, while Stanley bared his hairy chest and smashed his guitar. Drummer Eric Singer pounded his way through a solo while a hydraulic lift spun the entire platform beneath him. Guitarist Tommy Thayer shot rockets from his six-string, knocking down some pre-rigged-to-fall lights in the process.
Oh, and they played some music, too. Using their 1975 breakthrough "Alive" as the foundation of the set, they added a few more post-'75 classics ("Shout It Out Loud," "I Love It Loud") and just one song from the past 25 years ("Modern Day Delilah," from their new album "Sonic Boom"). But when you've got a catalog deep with dumb-but-fun tracks from "Rock and Roll All Nite" to "Cold Gin" to "Strutter" who needs progress?
What was most impressive, though, is just how little these guys have aged. Simmons rocks a pair of platforms and bat wings with more flair than any other 60-year-old out there. And while the greasepaint may fill in some of his wrinkles, Stanley's very physical performance showed little wear and tear. These guys make immaturity look positively stunning.
"It's the makeup and theatrics, and I love their music," says Antymis, a math and science teacher at Elmwood High School.
"I love that fun, heavy kind of feeling."
As a card-carrying member of the KISS Army, the group's international fan club, Antymis nabbed four tickets in Row 11 on the MTS Centre floor for Monday night's concert.
He'll be there with three friends, and he expects they'll all be in costume.
"I got my first Gene Simmons costume when I was in Grade 6," he says. "It was a mask and some paper tied with a string. But I built my own for my friends' Halloween wedding social in the mid '90s."
In the spring of 2008, he was driving to work, listening to CITI FM, when he heard that a local theatre troupe was auditioning actors for a KISS musical to be staged at the Winnipeg Fringe Festival.
"I had taken drama in high school," he said. "I parked on the side of the road and wrote down the number."
He went to the audition in full Simmons regalia and got the part. The musical, Lester Gets KISSed, made best of the fringe that year.
Its producer and co-writer, Kevin Doherty, is remounting the 13-actor show this weekend at the Ellice Theatre to get fans in the mood for the concert.
Tickets, $12 each, can be had at the door both tonight and Sunday. Show time is 8 p.m. The Ellice Theatre is at 585 Ellice Ave.
"We sent an email to the band's management offering them comps, but we haven't heard back, Doherty says.
"They've got the night off, so you never know."
Winnipeg musician Kelly Fairchild of the local tribute band the Paul Stanleys caught up with the current 35 Alive tour in California earlier this year.
"It's an awesome show," Fairchild says. "It's great for KISS fans because they do the whole Alive album (from '75) front to back. And they've brought back the fog, which they hadn't used in a while."
May The Rock Be With You: Your new album, "BK3", is due out very soon and for those of us here in Australia we will be able to pick it up from [Kulick's upcoming] shows [in Australia in December]. How would you describe the range of songs on the new album?
Kulick: I'm working on it! It's really stressful, because I'm trying to do a worldwide release, and what's interesting about this record,...with the first two solo records, I actually only wanted to sell them myself and not have any real distribution, and this record I really want it to be distributed because I have such amazing guest performers on there and I'm trying to work with it. I'm almost going backwards; instead of doing it myself, I want the help of a label and I guess you can imagine that the record industry is not any easier these days. But the record is finished and all the artwork's done. You can [see] a lot of the photos on my website and everything, but I'm just trying to figure out the positioning for the whole worldwide release right now. It's a little stressful right now but this is the record that's worth being careful with. Not only do I feel responsible for Gene [Simmons] to be on there and his son, Nick, who did such great performances, but that's real important to me that it's the best of me and I have some great players on there and I just want to get the best exposure I can.
May The Rock Be With You: From a songwriting point of view, does "BK3" feature songs you have written just recently, or are they from the archives over a number of years?
Kulick: You know, one of the song's called "I'll Survive", which had to do with me getting shot back in 2003 on Sunset Blvd. [in West Hollywood], which made CNN and everything. Fortunately, of course, nothing really horrible happened, but still it inspired me writing this song, I probably wrote that in November/December of 2003. So the songwriting process started as far back as then. There are a couple of things that are a little bit more recent, like the first song, "Fate" — it was actually finished early summer when I recorded a couple of tracks for the record, but it did really span over the course of a number of years from 2003 to now. It's pretty remarkable, but it all makes sense in the big picture.
May The Rock Be With You: And the instrumental stuff, do you ever go in and just play and whatever you play is what you record or do you have something in mind?
Kulick: There is one instrumental on my [new solo] record. The other two had at least threee or four on each one of the first two solo records. It was kind of unusual. Jeremy Rubolino is the guy that produced the record for me. When we discussed the recipe of the record, shall I say, at one point it came up that there was no instrumental on the record and I did think that was a little odd. And I was like, "Wow, we never even thought about it." I remember at one point we tried writing something that could be an instrumental and I kind of just thought it was a little dark and weird, and after that discussion, that weekend I remember just sitting down and jamming on something and turning it into the instrumental. When it comes to the melodies on the instrumental, that is almost something that is slightly planned out and slightly improvised. By the time we got [Steve] Lukather there to jam along, I left out a lot of what wasn't completely formulated. I wanted to see, "Well, alright, what would you play over these verses? Let's jam!" It was its own animal in the way it was created and I'm real proud of that track because it's really unique in the way that we trade off and it's not always obvious. It's obvious to me when he's playing and I'm not playing, but I think a lot of the fans just get off on the energy of it, the ones that have heard the song.
Read the entire interview from May The Rock Be With You.
On Friday at the United Center, not a whole lot had changed. Rock's answer to the Ringling Brothers - Kiss cofounders Gene Simmons and Paul Stanley - brought the circus to a near-capacity audience. Fans were blinged out in vintage Kiss tour T-shirts and face paint. A few adolescents have enlisted, but the Kiss Army consisted mostly of folks who came of age in the mid-'70s, back when 10-year-olds were toting Kiss lunch boxes to school and rocking "Kiss Alive" on the stereo loud enough to annoy Cat Stevens fans everywhere.
Still selling loads of tickets, Simmons and Stanley run the greatest self-marketing machine in rock history, perhaps the first pair of businessmen-rockers to put the "r" in band, as in "brand." They keep finding new ways to sell themselves: In the '70s it was everyday-is-Halloween masks; at Friday's show, $30 got you a USB leather wristband containing digital files of the night's performance.
The garish black-and-white makeup was intact, as it was when the band brought a shot of glam to New York City grime in 1973. Simmons wore his 60 pounds of demon regalia, while Stanley was the bare-chested star man. Guitarist Tommy Thayer became Frehley's futuristic space man and drummer Eric Singer yanked Criss' cat whiskers. Not that the fans seemed to mind. If anything, Thayer and Singer brought more punch and technical prowess.
The music makes no pretense beyond turn-off-your-brain appeal: big chords and gang choruses about love guns and love doctors. As Stanley said, "If you came here tonight to hear some band tell ya how to end world hunger" you were out luck. A minute later, Kiss delivered its mission statement: "I want to rock 'n' roll all night, and party every day."
The music itself was gimmick-free. As a bass player, Simmons created a thick, mulch-like bottom end for Thayer to deliver solos, and Singer kept the arrangements interesting with showy fills. On "Black Diamond," the quartet sounded downright musical, with sharp harmonies and Stanley quoting another warhorse, Led Zeppelin's "Stairway to Heaven," on guitar.
Most of the set list was drawn from the Kiss golden era, 35 years ago, and so was the stage show. For a band once celebrated for arena-rock spectacle, surprisingly little has changed. Fake blood, flaming geysers, Simmons and Stanley going airborne with the aid of ropes and a trapeze, Thayer's guitar turning into a cannon - it wasn't all that different from a Kiss show circa 1977. They're in the business called show, and business is still good.
Kiss set list Friday at the United Center:
1. Deuce
2. Strutter
3. Let Me Know
4. Hotter Than Hell
5. Shock Me
6. Calling Dr. Love
7. Modern Day Delilah
8. Cold Gin
9. Parasite
10. 100,000 Years
11. I Love it Loud
12. Black Diamond
13. Rock and Roll All Night
Encore:
14. Shout It Out Loud
15. Lick It Up
16. Love Gun
17. Detroit Rock City
For B.B. King, Buddy Guy, Bob Dylan, Bruce Springsteen, Roger Daltrey and so many other active icons of rock and blues circuits, those are words to live by. And 35 years after influential NYC quartet Kiss came on the scene with its self-titled debut and immediate follow-up Hotter Than Hell, they too are back touring the world and releasing new music.
Released last month exclusively to Walmart as a three-disc set, Sonic Boom is Kiss's 19th studio album and first since its 1998 album Psycho Circus. Disc one has 11 new tracks, disc two has 15 re-recorded Kiss Klassics, and disc three is a six-song excerpt from a Kiss show this past spring.
Age is of no concern to this band - half of whose members are pushing 60 years of age. Nor does it show on record or in concert for these make-up-wearing mega rock stars. Founding member and rhythm guitarist/singer Paul Stanley still has his dynamic vocal range and knack for writing instant hard rockin' classics, like album opener "Modern Day Delilah."
Co-founder and bass machine Gene Simmons still effortlessly spouts out groove-laden licks (not to mention fire, in concert) and gruff vocals. Guitarist Tommy Thayer, who plays a similar style of lead guitar as the "space man" he replaced, Ace Frehley, does a more than admirable job throughout the album of playing exciting leads and fills, as on "Delilah," the excellent '80s-ish "Danger Us," and the Simmons-sung "I'm An Animal."
Disc two's Kiss Klassics compilation was, before this release, exclusively sold in Japan in 2008, along with a live 11-track DVD of a Kiss show in Budokan in 1977. Most of these re-recorded Kiss Klassics don't veer much from the originals. But, the new version of fan favorite "Black Diamond" (with drummer Eric Singer replacing Peter Criss on drums and lead vocals) is an improvement over the original.
Disc three, the six-song DVD, is a short excerpt of a Kiss show from Buenos Aires, Argentina in April of this year during its KISS Alive/35 World Tour. And the selections from it are all aces, from "Deuce" and "Hotter Than Hell" to "Watching You" - one of Kiss's most underrated hard rockers - and closer "Rock And Roll All Nite," the band's signature party rock song. Also included is a stretched out version of "100,000," which on record and on stage still has a vintage Black Sabbath-type rhythm to carry it along.
The only disappointing aspect of the DVD portion of this release is that it is only six songs long. Ones guesses that the band had to resort to the short DVD in order to keep this three-disc set at a reasonable price. Kiss fans can certainly live with and appreciate that. And besides, any fan looking for a full Kiss show has decades of live albums and bootlegs to choose from. Ones does hope that eventually Kiss will release this full Buenos Aires show, as the rowdy, enthusiastic fans down in Argentina always seem to bring out the best in bands who play there, especially metal bands.
In shor