Mike Fowler

You wanted the best. You got the best … KISS!

Like many KISS fans, waiting for the next tour or even show to come close to your home town is a big deal: a big event!

I’ve been fortunate enough over the years to have met the band, hung out with Doc, Tommy and Eric after a concert in 2009, ( http://kissasylum.com/Archives/News/2009/07/20090725-01Meet.shtml ),and even had my photo of Gene Simmons displayed on his desk on GS Family Jewels, (http://kissasylum.com/Archives/News/2011/10/20111019-01Gift.shtml ). This time it was my 15th time seeing them in concert  and it happened during the KISS 40th Anniversary- Monster Tour.

Once again, my seat was front stage, Gene’s side and I had a great time! I have to admit, I was hoping for new material and varied set list, but what songs would they take out and annoy the masses? All in all, a great night and I wanted to share a few of my photos with you.

Cheers

Mike S. Fowler

KISSmuseum.com

An original printing, near mint, 1977 poster signed by Ace Frehley is up for auction this weekend on eBay. Making this all the more special, this poster is number 1 in a series of 25 signed at a private signing session Ace did with the KISS Museum, (not one of those Horror Convention lines), and the signature is as neat and clear as they come.

Go to eBay.com to view the auction and to read all other details about this piece. Auction ends Sunday.

CLICK HERE for eBay auction ending Sunday.

Stephen Cooke | Entertainment Reporter

ADRIEN VECZAN

You wanted the greatest contrast between Halifax Metro Centre concerts in one week, you got the greatest contrast.

It’s hard to imagine many fans of Tegan and Sara’s emotional and vulnerable indie-electro pop from Tuesday night also being in attendance for Thursday night’s uncorking of some vintage overproof testosterone, courtesy of Kiss.

OK, maybe some of the parents from Tuesday were present to cut loose and shout it out loud; and there was more makeup per capita on Thursday night as nearly every row in the house had at least one Kissciple with batwings or cat whiskers painted on their faces.

After the obligatory ads for the Kiss Kruise and Hotter Than Hell Las Vegas Wedding Chapel on the giant video screens came the words everyone was waiting to hear: “YOU WANTED THE BEST, YOU GOT THE BEST. … THE HOTTEST ROCK ’N’ ROLL BAND IN THE WORLD …”

As the curtain dropped, a skin-warming blast of pyrotechnics provided the exclamation point, and over 8,000 fans were on their feet with their fists in the air. Gene Simmons, Paul Stanley and Tommy Thayer descended from the ceiling atop the metal framework of the Monster Tour’s much-vaunted Spider Stage, while Eric Singer pounded out the beat to Psycho Circus.

Good choice, since there was more clown-white in the crowd than onstage, and these larger than life, hotter than hell rock figures went into action, with bat-man Simmons spreading his costume’s leathery wings, spaceman Thayer weaving dreamily in his platform moon boots and Stanley as the star-faced ringleader.

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Tim McPhate | KissFAQ

This week, KissFAQ launched Back In The Solo Album Groove: The KISS Albums. 35 Years Later…, an ambitious multi-week retrospective dedicated to arguably the biggest milestone in KISStory: the 1978 KISS solo albums. In conjunction with the launch, the site has published an interview with former Starz guitarist Brendan Harkin.

With Starz being managed by Bill Aucoin, Harkin received an invitation through Sean Delaney to play on Peter Criss’ album. The following are excerpts from Harkin’s interview with KissFAQ’s Tim McPhate:

On his recollection of the invitation to play on Criss’ album:

KF: Do you recall how you were offered the opportunity to play on Peter Criss’ solo album?

BH: This is interesting. Because I don’t know if I’ve even listened to that record. This record was just one of many records I did at the time. You [mentioned] Vini Poncia [co-]produced it, and maybe he did, but my involvement was through Sean Delaney. And I just assumed that Sean was producing it. Maybe he just produced several tunes on it or maybe he was working with Vini, I don’t know. But it was through Sean and he knew I could do the session [guitar] thing and put in what was needed on stuff. I actually played on a bunch of stuff on that record. I got credited with one song and Sean said, “Well, Peter wants stars, not Starz the band, but actual stars to play on the record. He doesn’t want people who are not huge stars.” And he said, “I can only credit you [with] one small credit on the record.” But I went into Electric Lady with Sean numerous times to fill in lots of little parts, just kind of polishing stuff off. And to tell you the truth, I couldn’t tell you what I played on and what I didn’t. I can’t even tell you what I got credited to play on.

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Tim McPhate | KissFAQ

This week, KissFAQ launched Back In The Solo Album Groove: The KISS Albums. 35 Years Later…, an ambitious multi-week retrospective dedicated to arguably the biggest milestone in KISStory: the 1978 KISS solo albums. In conjunction with the launch, the site has published an exclusive interview with founder of the Citrus College Singers Ben D. Bollinger.

As director of the Citrus Singers, Bollinger played a key role as the liaison between Gene Simmons and his ensemble of 30 students. The ensemble provided lush background vocals on three songs on Simmons’ 1978 solo album: “True Confessions,” “Always Near You/Nowhere To Hide” and “When You Wish Upon A Star.” The students’ participation added a key element to the LP, which spanned a variety of material — from straight-ahead rockers and Beatlesque ballads to experimental songs and a cover of a Disney classic.

The following are excerpts from Bollinger’s interview with KissFAQ’s Tim McPhate:

On the invitation to participate on the album:

KF: And moving ahead one decade later to 1978 and the natural question: How did you come to receive an invitation to participate on Gene Simmons’ solo album?

BDB: Well, it’s really interesting how this happened. I was doing a lot of television work and a lot of studio work and I had a dear friend in Cher. Gene ended up living with Cher for a period of time. And he asked me if I would bring my singers in 1978 to celebrate her birthday at the Beverly Hills Hotel on Sunset Boulevard. And I told him, “Sure, I’d be happy to.” And she loved a song called “If.” And I had a brilliant young singer by the name of John Cavazos, and the group was excellent at the time. And we went out and sang for

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Stephen Cooke | The Chronicle Herald

Ted Pritchard

In my days as a young private in the Kiss Army, my favourite commanding officer had to be Ace Frehley, the mysterious Space Ace guitarist of the greasepaint-covered rock act.

For one thing, there was this childhood obsession with astronauts. For another, his image was less likely to cause nightmares compared to demonic, blood-spitting bandmate Gene Simmons. (Cut me some slack, I was nine when Destroyer came out.)

Plus there were some great songs credited to the silver lame-clad rock alien, like Shock Me, Rocket Ride and, the only hit from those ill-fated 1978 Kiss solo albums, New York Groove.

Cut to 30 years after Frehley’s initial departure from the band and Kiss remains a worldwide phenomenon.

Taking its theme park approach to rock ’n’ roll around the globe and bringing its new high-tech Spider stage to the Halifax Metro Centre on Thursday night, Simmons and the band’s Starchild, singer-guitarist Paul Stanley, remain the only constants since they first put on the makeup four decades ago.

There’s still a Spaceman in the band, though, with guitarist Tommy Thayer wearing the shiny moonboots since becoming a full-time member in 2002.

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Free Britney | The Hollywood Gossip

Gene Simmons has rekindled his feud with Michael Jackson fans, refusing to dial down his previously-expressed belief that MJ was a child molester.

A fan group supporting Wade Robson – the dancer-choreographer who recently accused Jackson of child sex abuse – reached out to the KISS rocker.

Their Twitter exchange drew the wrath of Jackson fans, but Simmons, who was booted from an MJ tribute concert in 2011, would not back off.

The glam rocker retorted, “In 80s, i went out w/Diana Ross, we visited Michael Jackson. You don’t know me. Don’t make up things about me.”

Simmons then continued, “FACT, He paid a family $22 million to settle one case. FACT, He paid $3.5 mil to another family. I stand by my words.”

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Something else!

Gene Simmons speaks emotionally about the passing of Eric Carr, and Kiss’ last-ditch effort to include him in a video — an appearance that would ultimately be the cancer-stricken drummer’s last.

Carr followed founding member Peter Criss behind the kit, performing with Kiss from 1980 through his death in 1991 after a battle with heart cancer. Carr was just 41.

His final months coincided with Kiss being asked to contribute a song for the film “Bill and Red’s Bogus Journey,” a reworking of a 1973 song by Argent that the group dubbed “God Gave Rock ‘n’ Roll to You II.”

“We decided to do it, recorded it with Bob Ezrin, and Eric kept pleading to come in and record,” Simmons says at Fandomfest in Louisville, Kentucky. “The doctors said: ‘Absolutely not. I don’t care what you do, he has to stay in the hospital — whether he’s got a chance to live or not. You have to stay here under observation. The cancer could come back fast.’ So, he’s getting chemo, and staying in the hospital.”

With Carr incapacitated, Eric Singer (Kiss’ drummer to this day) sat in on the soundtrack single, which was to be issued by Interscope. Carr, meanwhile, made a final plea — this time to participate in the music video to accompany the track.

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Tim McPhate | KissFAQ

This week, KissFAQ launched Back In The Solo Album Groove: The KISS Albums. 35 Years Later…, an ambitious multi-week retrospective dedicated to arguably the biggest milestone in KISStory: the 1978 KISS solo albums. In conjunction with the first week launch, the site has published an interview with former Aucoin Management Director of Production Stephanie Tudor.

The following are excerpts from Byrd’s interview with KissFAQ’s Tim McPhate

On Bill Aucoin:

KF: When you were first hired, what were your general impressions of Bill Aucoin?

ST: Oh, he was a genius. He was a fireball, full of energy, full of creative ideas, and he loved what he did. He was a great businessman, a master at merchandising and marketing. And he was really just a joy to be around. He wore many, many hats. He was always considered, at the time, the fifth member of KISS. And he truly loved his artists and just did a fabulous job. I’ve never seen a manager quite like him, then or since then.  And he was my mentor. I was a young girl; I had worked at Columbia Records prior to working for Aucoin. I had never worked on a show or touring — I learned everything I know now basically from the 10 years I spent working under that man.

On Whether The Solo Albums Are A Success Or Not:

KF: In terms of results, Stephanie, do you quantify the KISS solo albums as a success?

ST: Oh, absolutely. I think the project was received very well. I think there was such a buzz about it, and everyone was so excited. And I don’t think there was ever a moment when anyone thought, “Oh, this could really not work.” I think everybody was extremely positive about it. The group was psyched about it. You know, as a project moves along, of course the manager hears bits and pieces of it and Bill was always super positive about what the outcome was going to be. And he was right. And I don’t think it ever took away any of the mystery of the group at all. It stayed intact. KISS went on after the solo albums as a unit and it was just a creative outlet. I mean, there was a huge buzz back then.

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Chris Czynszak | Decibel Geek

Original KISS road crew member, Peter “Moose” Oreckinto returns to the Decibel Geek podcast for a 2^nd week to continue discussing the early days of the band and the struggles they encountered.

In this long-form discussion, Oreckinto discusses pivotal early concerts for the band including the Fillmore East showcase for record executives in January of 1974, television tapings for ABC’s In Concert and the Mike Douglas Show, and a strange concert at an Air Force Base in Fairbanks, Alaska in front of some very surprised soldiers.

This in-depth discussion also has Oreckinto recounting his return to the band after injury rehabilitation in a management role on the Destroyer tour and how playing baseball stadiums differed from the early club days.

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Tim McPhate | KissFAQ

Today, KissFAQ launched Back In The Solo Album Groove: The KISS Albums. 35 Years Later…, an ambitious multi-week retrospective dedicated to arguably the biggest milestone in KISStory: the 1978 KISS solo albums. In conjunction with the launch, the site has posted the retrospective’s first interview, a conversation with renowned artist David Edward Byrd. 

Any KISS fan who bought the KISS solo albums on vinyl will remember the cartoonish mural posters contained within each album. Many a fan placed these murals on their walls as part of their KISS shrine. Once the exclusive poster and program designer for Bill Graham’s new Fillmore East, Byrd recalls a tight deadline and “hellacious” experience in creating the mural posters.

The following are excerpts from Byrd’s interview with KissFAQ’s Tim McPhate:

On the timeline for creating the murals:

DEB: But the mural thing was just hellacious. I think they called me on Friday and they had to have all four murals done by Monday.

KF: No kidding. Wow.

DEB: Oh, it was horrendous. And fortunately, I had two assistants. One of them is a very famous artist now, Arthur K. Miller. And Rita [was the other]. And they both were students of mine at the School of Visual Arts. So we did this crash thing — I mean, I can’t tell you how fast we had to do these big paintings. We did them in acrylic and you know, and we had to do these montages of everybody. And then they had to interlock. And, Oy gevalt! It was like three days to do it. You know, they always call the artist, like, “Oh, he can do it.”

The concept:

KF: Was there a definitive concept explained to you in terms of what was required for this job?

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Tim McPhate | KissFAQ

Today, KissFAQ launched Back In The Solo Album Groove: The KISS Albums. 35 Years Later…, an ambitious multi-week retrospective dedicated to arguably the biggest milestone in KISStory: the 1978 KISS solo albums. In conjunction with the launch, audio of the original 60-second radio commercial has been uncovered, courtesy of the Rob Freeman Archive.

The original 60-second spot was created to promote the simultaneous release of four KISS solo albums in 1978. The commercial marks one component of the unprecedented $2.5 million advertising and promotional campaign for the KISS solo albums. Some audio from this spot was also used for related television commercials. The radio spot was recorded and edited by Rob Freeman who, together with producer Eddie Kramer, recorded and mixed Ace’s solo album, “Ace Frehley.” Both Frehley’s album and the radio spot were recorded at Plaza Sound Studio in New York. Production of the radio spot was overseen by Howard Marks of Glickman Marks, KISS’ business management office.

Link to original radio spot:

http://www.youtube.com/watch?v=fBAbkjRuDGI&feature=youtu.be

About Back In The Solo Album Groove:
As KISS celebrate their 40th anniversary in 2013, KissFAQ.com has launched Back In The Solo Album Groove: The KISS Albums. 35 Years Later…, an ambitious multi-week retrospective dedicated to arguably the biggest milestone in KISStory: the 1978 KISS solo albums. More than 30 brand-new interviews were conducted with various individuals who either worked directly on the solo albums or have a strong connection of sorts. The

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James Reaney | The London Free Press

QMI Agency

Here’s the thing – KISS still makes an entrance like nobody else in rock and roll.

The U.S. rock superstars returned to a jammed Budweiser Gardens on Saturday night descending from a huge contraption. The KISS carrier looked like a giant spider or space walker made out of construction beams – and as it went down down down up up up went blasts of pyro hot enough to melt makeup on a fan or two

The crowd was volcanic from the start as Starchild Paul Stanley, bassist Gene Simmons and guitar hero Tommy Thayer stepped off the contraption.

In the back, Eric Singer, the drummer with the cat’s whiskers makeup and the big hands, pounded away as KISS crunched through Psycho Circus, the 1970s’ hit Shout It Out Loud and Simmons at the mic for Let Me Go, Rock ’N’ Roll.

Thayer shredded and posed in the early going. Stanley had his sweet pout working.

Full disclosure: These comments are being shaped by rock and roll hero and former Londoner Joe Chertkow, who is at the Bud, too. Back in the day, Joe & I reviewed an early KISS album chiefly by comparing it to bands we liked. Joe noticed we talked about Grand Funk Railroad. Could have fooled me.

Being the true expert, Joe reviewed KISS for the Western Gazette in one of their many visits to London in the 1970s. Joe knows. So we’re in good hands & ears.

On Saturday, with the pyro and the crazed fans, it was going to be a night at the downtown London arena.

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Wobblehouse

From the Encyclopedia Britannica: PUNK, also known as punk rock, aggressive form of rock music that coalesced into an international (though predominantly Anglo-American) movement in 1975–80. Often politicized and full of vital energy beneath a sarcastic, hostile facade, punk spread as an ideology and an aesthetic approach, becoming an archetype of teen rebellion and alienation”

Maybe rock history has it (relatively) wrong? No doubt staunch critics of KISS (IE ‘music critics’) will scoff at the suggestion that KISS were originally essentially a punk act. If so, perhaps the most influential one of all time, just a few years too early and simply too singular to be part of the traditional discussion.

Suspend your disbelief, the proof is in the pudding. Like the punks and every movement in rock, KISS created their own thing, their own look and their own sound. Both gravitated to shock value and, like the punks, KISS had zero shame, eventually drawing you in with their sheer will, devotion and spectacle.

Sure, if they ever were punk, they didn’t remain it for long and, sure, they were far from political, although the assertion that they wanted to “Rock & Roll All Nite & Party Everyday” left little for the establishment to condone or moms to embrace. And, yeah. of course they ultimately totally sold out in a way that is perhaps the very anti-thesis of a punk ethos that demands failure by definition. It was Johnny Lydon who summed up punk fatalism most succinctly in the Pistols’ “God Save The Queen” with the ever-enduring refrain” no future, no future, no future for you”.

Perhaps we miss the analogy just because KISS became way too successful to be remembered as punks? I submit that they may have been classified as something slightly other than classic rock had they folded in 1975 before ALIVE! saved them. Decked out originally in black leather, studs and white face, the bands presentation was as raw as a fist fight and far from glam or glamorous.

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Kulick.net

After his Grand Funk Railroad performance in London, Ontario, Bruce met up with his old bandmates backstage last night at the KISS monster show that evening. Read more at Kulick.net.

Joe Polo | Podcast Rock City

Bruce Kulick | Facebook

I get asked often about certain early KISS guitars that I have toured with and used in videos. Sadly THREE of mine used during the Animalize and Asylum eras were stolen from the KISS warehouse in NJ, sometime back in the mid to late 80s. The thieves cut a hole in the ceiling and got away with these three guitars of mine, as well as some others. At least one of Paul’s that was stolen was recovered years ago when someone sold it to the Hard Rock Cafe. If any of you have seen these, I’d like to have them back. I don’t have serial numbers, but they are very identifiable to me. Please contact brucekool@aol.com if you have any information. Thanks for reading!! [Click each photo for details on the individual guitars.]

Tim McPhate | KissFAQ

vvforums.com

Vinnie shows you his unique approach to soloing. Topics included are: Major and Minor scale patterns, chromaticism, arpeggio shapes, sweep picking, hammer-ons and pull-offs, intervals and altered, diminished and whole-tone scales.

Vinnie also teaches you his Pick-Finger combinations for playing super fast scales, arepggios and licks along with right hand tecniques to create rhythmically accented picking. This video will enable you to expand your melodic range and develop state of the art Rock techniques.

Vinnie Vincent first established himself as a guitar player and writer in one of the most

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