Matthew Wilkening | Ultimate Classic Rock

As we’re sure you know, today (Nov. 16, 2012) marks the 31st anniversary of the release of Kiss‘s much-derided concert album ‘Music from the Elder.’ Not even one year after announcing he would be bringing the story from that record to the big screen, director and writer Seb Hunter has delivered the first trailer from his ‘Elder’-inspired movie.

As you can see from the clip above, the movie brings the story into a present-day setting, with news reports speaking of “total chaos” gripping the world, and a monk — apparently a disciple of the album’s villain Mr. Blackwell — solemnly explaining, “we have learned that life is precious. We must kill to protect it.” Who will take the Oath and stand up for mankind? A quick action sequence at the end seems to provide the answer. We could be interpreting this completely wrong, but count us intrigued!

KissFAQ.com is also celebrating ‘Music from the Elder’ with a fantastic month-long series entitled “NovElder” featuring in-depth interviews with people involved with the creation and marketing of the album.

Tim McPhate | KissFAQ

Former vice president of Glickman/Marks Management and author of “KISS And Sell” recalls the state of KISS in 1981 and the band’s ambitious bid to enter the pantheon of music’s elite

In conjunction with KissFAQ’s month-long NovElder retrospective, former vice president of Glickman/Marks Management Christopher K. Lendt recalled the state of the KISS union in 1981. Lendt also discussed how “The Elder” was an attempt to redefine the band’s career and shared details regarding the proposed “Elder” tour, among other topics.

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

The state of KISS in 1981:

KF: Getting to “Music From The Elder,” which is the topic we’re discussing today. Prior to them even starting recording, how would you describe the overall health of KISS in 1981?

CKL: Well, that was coming off of the Australia tour, which was December 1980. That was the most successful tour KISS had done at that time. They were treated like the second coming of the Beatles. And I recounted all of that in the book. It was quite an event. They were really puffed up, and I say that without any sarcasm. Their egos were really boosted by such a successful tour. Their popularity was waning in the U.S., which they were aware of, but a big tour like that, playing stadiums and creating “KISS mania,” is a real climate to bolster your spirits and put you back in a different mood.

KF: Certainly. What do you recall about their initial studio album plans?

CKL: When they approached a new album, they had made a number of efforts going into the studio in 1981, recording different tracks [at] different studios. I don’t know if there were other producers involved but I know that they tried a number of different types of records. The consensus that they got from the people in Australia at PolyGram at that time was that they should come back in ’81 and do another really hard rock album, because that was the essence of what KISS was and they felt that that was something that that would serve KISS well. You know, the last advice offered that you hear from people who are in a position to have their advice listened to is often the advice that you go with. So that was their inclination: to go back into the studio and record a typical hard rock, heavy metal KISS album, which I think they tried to do, but it never coalesced. And the thinking was that they didn’t want to come out with another ordinary KISS hard rock album. Maybe it would have been good and accepted by the fans, but they didn’t think it was really big enough. So having their egos boosted by the tremendous success of the Australia tour, and with the influence of Bill Aucoin, they decided to go off in a different direction. And eventually emerged the idea of a “concept” album.

KF: Right, which was a deliberate attempt to steer away from recording a typical KISS album

CKL: Yes, rather than just a recording of 10 or 12 tracks that were all distinct and separate from one another, they decided to do something on a more elevated level creatively. The concept idea became the operating idea.
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Tim McPhate | KissFAQ

In a NovElder exclusive, uncredited engineer Michael McCarty sheds some light on KISS’ “Elder” sessions at Phase One Studios in Toronto, shares fun recollections of Gene Simmons and Paul Stanley, and offers a personal snapshot of Bob Ezrin

In conjunction with KissFAQ’s month-long NovElder retrospective, current ole president Michael McCarty discussed his role in working on KISS’ 1981 concept album “Music From The Elder.” An uncredited engineer on the project, McCarty detailed KISS’ sessions at Phase One Studios in Toronto, his personal recollections of working with the members of KISS, and Bob Ezrin’s hectic recording schedule in juggling two projects at the time. This marks the first time McCarty has gone on record regarding his “Elder” experience.

Following are excerpts from McCarty’s interview with KissFAQ’s Tim McPhate:

Fitting into “The Elder” picture:

KissFAQ: Michael, you are not officially credited in “The Elder” liner notes. How do you fit into the album’s picture?

Michael McCarty: Well, I was working for Bob as an engineer and associate producer and started off with the project. He was alternating working on “The Elder” and the second Kings’ album. I was the associate producer on the Kings’ record. Actually, Ringo [Hyrcyna] and I both engineered and co-produced the Kings’ independent record. And when Bob heard that record he got very excited about the band and got them a deal with Elektra and then we redid the record. So Ringo and I were engineers and associate producers.

So then [Bob] took the job of doing the next Kings album and “The Elder” at the same time. I don’t think he consciously did that but that’s just the way it worked out. I mean, it’s hard

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kulick.net

I will be playing an intimate set at a special charity event for Outdoor Lab and the Jeffco school system at the Buffalo Rose, 1116 Washington Ave, Golden, CO, (303) 278-6800, on Sunday November 18th.  This is an all-ages show with the doors opening at 5:30 pm and the concert starting at 6:15.  Tickets are only $5 and can be purchased at the door or online at buffalorose.net.  Please come support this event, it is going to be AMAZING!

– Bruce Kulick

Tim McPhate | KissFAQ

King’s X guitarist discusses being one of the proud few who liked “The Elder” upon its release and the simple reason why the album didn’t catch on with KISS fans

In conjunction with KissFAQ’s month-long NovElder retrospective, King’s X guitarist Ty Tabor discussed KISS’ 1981 concept album “Music From The Elder,” offering his recollections of being a fan of the album upon its release. Tabor also offered insight as to why the album failed to resonate with KISS fans.

Following are excerpts from Tabor’s interview with KissFAQ’s Tim McPhate:

On initial fan reaction:

KissFAQ: Ty, from a fan perspective, what do you recall the word on the street being about “Music From The Elder” in 1981?

Ty Tabor: To be honest, I had heard a lot of people badmouthing it and I was thinking, “Wow, there just seems to be a very strong opinion about this record,” which made me want to hear it even more. So I went out and bought it immediately. I had the opposite reaction. When I started listening it to it, my first impression was, “They’re really getting serious with this one,” as far as branching out with the songwriting and everything. I personally was floored by it when I heard it. I couldn’t understand why people weren’t getting it, because I thought it was killer.

KF: What do you remember people saying about it?
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Nui Te Koha | Herald Sun

Getty Images

Simmons, who boasts he has slept with 4800 women, said: “I do not sleep with other women anymore. It won’t happen. It’s not a good idea.”

His change of heart came when he married Shannon Tweed, a former model and mother their children Nick and Sophie, last year.

Simmons and Tweed have been a couple for 29 years.

Simmons said: “Imagine a scenario where you get to be an a–hole for 28 years, and there’s a magical woman, an angel, who’s been there with you every year and waited that long.

“At some point, every guy has got to get over his selfishness and arrogance and lying.

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Chris Harris | Gun Shy Assassin

Peter Arquette

Sometimes, I share my troubles and tribulations in life, hoping it will not only make me feel better for venting but also, that it might make you feel better, in the event you’re going through something similar.

Sometimes, it’s nice to know you’re not the only person on Earth going through shit. Me? My main problem right now is cash or the lack thereof…which is a problem the members of Kiss haven’t faced for fucking decades.

I work my ass off, both at the day job and trying to keep this site mildly humorous and relevant, but…I don’t know how I am going to make it to my next paycheck.

I’m broke. No, this site doesn’t make me much money. It’s mostly a labor of love. But the love is dying, man. Maybe I need to focus my efforts on finding a better-paying job or freelance work? Sometimes, I wonder why I even bother.

It sucks, man. But Gene Simmons’ life doesn’t.

He’s in Kiss, who just released a new album called Monster. Gene spoke with that hacky rag Revolver recently, and said the band’s current lineup is his favorite.

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Tim McPhate | KissFAQ

Decorated producer/engineer offers a fascinating account of KISS’ pre-“Elder” sessions at Ace in the Hole Studio in early 1981, meeting Bob Ezrin and how the project ultimately relocated to Canada

In conjunction with KissFAQ’s month-long NovElder retrospective, award-winning producer/engineer Rob Freeman discussed KISS’ pre-“Elder” sessions at Ace in the Hole Studio in early 1981, his recollections of the recording of the underground KISS classic “Nowhere To Run,” meeting Bob Ezrin, and how KISS’ 1981 project ultimately moved on to Canada. Freeman also shared his thoughts on the “Music From The Elder” album.

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

How he came to work with KISS in 1981:

KissFAQ: How is it that you got to work on the project with KISS?

Rob Freeman: The first project I worked on for KISS was Ace’s solo album for Casablanca Records, Ace Frehley, which I recorded and mixed with producer Eddie Kramer in 1978. The album achieved a good degree of commercial success, with multi-platinum sales and a hit single, “New York Groove.” It also garnered critical acclaim. But I believe it was the distinctive sonic character of the album that drew the attention of Ace’s band mates and others in the KISS organization to my work (I’m in no way meaning to understate Eddie’s unique contributions). Over the ensuing couple of years, I worked on a variety of smaller projects for the KISS organization such as radio spots and demos. Also during that time, I was fortunate to be given the opportunity to design and install a 4-track home studio and a state-of-the-art home theater system in Paul Stanley’s uptown NYC condo.

Then in December 1980, someone from the KISS office rang me up and asked if I would work with the band on a new recording project. I heard it might be for a new album, and naturally I was thrilled at the prospect of working with KISS again. In early January 1981, I
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Thanks to Frank Hagen of KISS Mask for digging up all this great footage of KISS in Argentina this week.

Tim McPhate | KissFAQ

Veteran prop maker discusses building the door used for the album cover for KISS’ 1981 concept album “Music From The Elder”

In conjunction with KissFAQ’s month-long NovElder retrospective, Manhattan Model Shop’s Bill Finneran discussed the creative process and construction of the door prop used for the album cover for KISS’ 1981 “Music From The Elder.” This marks the first time in KISStory Finneran has commented on his role on the project.

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

Getting involved with the project:

KF: I spoke with Dennis Woloch, who was the art director for “Music From The Elder.” Dennis mentioned he got in touch with you to work on the project. Do you remember anything about your initial conversation?

BF: Yeah, he was a big tall guy. We talked on the phone first and then he came down to the studio and we talked about what he wanted to do. From our point of view, [the job] was very straightforward, in terms of the technical aspects of it. It was like a lot of props we had made. We were not technically involved in doing album covers. It was rare that anyone wanted to make a prop for an album cover. You know, they were almost always location shots with talent. So it was an unusual thing, but we were quite interested in doing it. The techniques we used we had used in other similar projects. The nice thing about our business for all the hundreds of years we’ve been doing it is it’s rare that the same thing comes up twice. The projects are always quite unique. They share certain technical categories with other similar projects but they’re all very different. And this one was the same, it was very different. We never did anything like it again. I don’t think we ever did another album cover, to be honest with you. I can’t think of one.

About “The Elder” door’s construction:

KF: But the actual door is wood, correct?

BF: Yes, it’s wood. It’s white pine wood. It’s soft. Typically a door like that would be made out of a hard wood, like oak or ash. But this was easier for us to manipulate. And we’re not looking for durability, we’re just looking for “a look.”

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David Marchese | Spin

You wanted the best, you got — well, we don’t know if Makeup to Breakup: My Life In and Out of KISS (Scribner), drummer Peter Criss’ memoir, is the best at anything other than being what it is, but the book does deliver some primo rock sleaze. Here are our picks for the Catman’s gnarliest anecdotes:

(The easily offended should probably stop reading now.)

Sweet Pain: Williamsburg, Brooklyn, was a rough place in ’60s, when Criss was growing up there. He fit right in, and not in some charming bygone outer borough way. Early in the book, Criss describes a gang encounter that quickly escalates into a blood bath. “This Puerto Rican kid was right behind me and he grabbed a garbage can lid and started beating my head in with it . . . I popped my switchblade out, turned around, and boom, the blade went right up his armpit and out through his shoulder.” Don’t worry though. “He was the first and only guy I’ve ever stabbed.”

Rip It Out: As Criss tells it, lethargic KISS lead guitarist Ace Frehley’s Spaceman persona wasn’t much of an act. At the latter’s first audition with the band, “He told us his name was Ace and he was from the Bronx but he really was an alien from a planet named Jandel.” Perhaps even more disconcerting was the fact that Frehley “wasn’t lazy, however, when it came to beating his meat. Every chance he got, he’d jerk off.”

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Melissa Ruggieri | Access Atlanta

Brian Lowe

Ask Gene Simmons how he’s doing and the response is, “deliriously happy.”

Why?

“Because I get to be Gene Simmons for another day,” he replies.

What better opening from one of the proud lions of rock ‘n’ roll?

He’s a showman, a shrewd businessman, a wily TV star. Of course he’s delirious.

Simmons and the rest of KISS –singer Paul Stanley, guitarist Tommy Thayer and drummer Eric Singer – just wrapped a 40-plus-date summer tour with Motley Crue (it played Aaron’s Amphitheatre at Lakewood in July), but don’t even hint at KISS taking a break.

The band released “Monster” on Tuesday, its 24th studio album. And it’s a firecracker. KISS hasn’t sounded this pumped or tight since “Rock and Roll Over,” and songs such as “Freak,” “All for the Love of Rock and Roll” and the Simmons-sung “The Devil is Me” should rattle the roofs of the arenas on the 60 shows they’re planning for South America and Europe (expect a U.S. return in about a year) to promote the release.

The always-entertaining Simmons, 63, checked in recently from Boston to talk “Monster,” life beyond the now-ended A&E reality show, “Gene Simmons Family Jewels” and what items in the world can still be KISS-ified.

Q. You’ve said in the past that it drove you crazy that bands weren’t interested in putting on a show, and how they’d stand up there and stare at their shoes. Do you still think that’s the case?

A. It baffles me. I just don’t understand it. You’re a woman and if you’re going out, why wouldn’t you put on your makeup and do your hair? Same thing. Why would you go on stage looking like a bum? There is only one personality [currently] who totally has the goods and that’s Lady Gaga. She’s not classically a rock act, but she’s the real deal. She cares about the shows and the appearance. That’s what you want a star to be. Maroon 5 has great songs, but I don’t want to look at them.

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Patrick McDonald | Adelaide Now

And the Clipsal action will start the V8 Supercar Championships for years to come.

Premier Jay Weatherill today  announced that Adelaide had secured the opening round of the championships for an extra six years, up to and including 2021.

“No matter what happens with the Melbourne Grand Prix, fans will be able to continue to enjoy the V8 Supercars in Adelaide for the long-term,” Mr Weatherill said.

KISS and Motley Crue, who have just completed a US tour together, will perform on the Sunday, March 3, and join a lineup of Australian acts, which includes Adelaide’s Hilltop Hoods on the Friday night, and The Angels and Cold Chisel guitarist Ian Moss on the Saturday.

Ryan Drever | Drowned in Sound

There’s not much left to say about KISS that hasn’t already been screamed, picketed or printed by generations of militant fans, close-minded religious fanatics or gore-hungry press over the course of about four decades. But that’s not to say there’s no new ground left to cover for this larger-than-life hard rock juggernaut.

The next-level pioneers of shock rock, the wholesale manufacturers of early American Heavy Metal and the single greatest thing to happen to the face-paint industry since the death of mime; KISS are as relevant today as you let them. Ignoring that painful Costa Coffee ad for a moment – or as long as humanly possible – their music still holds up pretty well, even for those averse to KISS’s occult gimmickry of pyro, blood-spitting and trapeze-aided guitar solos – which makes the quality of their latest record, Monster, unsurprising for the most part.

But if ever there was a case to let the artist explain themselves it would be our recent conversation with Gene Simmons. So, here’s the God of Thunder himself in a hasty phone interview conducted in a Glasgow back-alley as he talks Monster, Mount Olympus and Meat and Two Veg. Enjoy.

Hi Gene, how are you?

I’m deliriously happy.

That’s quite possibly the best response to that question in the history of speech.

Write that one down.

Don’t worry, I’m taping it. Actually, you’re going to have to excuse me, I’m a little out of breath, I’m doing a show tonight and have had to rush around dropping off gear and am now interviewing you in an alley behind the venue.

Oh, I thought you were out of breath because you’re talking to me.

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KissFAQ

Peter Criss’ “Makeup To Breakup: My Life In And Out Of KISS” has landed at No. 7 on The New York Times bestseller list. Criss’ book is the second top-selling music-related book in thehardcover nonfiction category this week, behind Rod Stewart’s memoir “Rod.”

The book was released Oct. 23, and Criss has been in the midst of a book signing tour/promotional campaign. His promo tour was recently hindered by Hurricane Sandy, which forced Criss to cancel his Tempe, Az., date.

wireimage.com

Criss has scored the highest New York Times bestselling list position of the three original KISS members to make the list, besting previous books by Ace Frehley and Gene Simmons. Frehley landed at No. 10 with “No Regrets” on the list dated Nov. 20, 2011. Simmons’ “KISS & Make-Up” peaked at No. 14 on the New York Times bestseller list dated Dec. 30, 2001.

As for Paul Stanley? He is reportedly at work on a book tentatively due in 2013, despite previous comments in 2007 saying that an “autobiography is the most outrageous form of fiction.”

KissFAQ congratulates Peter Criss on becoming a New York Times bestselling author!

Tim McPhate | KissFAQ

For a rock band that once proclaimed themselves “the loudest band in the world,” KISS sure have an interesting history with orchestras. Of course, there is the 1976 classic ballad “Beth,” a song offering the first taste of an orchestrally sweetened KISS. The mixture of lush symphonic touches, a perfect Bob Ezrin arrangement and Peter Criss’ street-wise crooning yielded a monumental hit.

In 2003 KISS married black tie with black leather for “KISS Symphony: Alive IV,” a concert that coated nuggets such as “Forever,” “Sure Know Something” and “Shandi” and electrified classics such as “Black Diamond” and “Love Gun” with a powerful orchestral makeover, courtesy of the Melbourne Symphony Orchestra.

Sandwiched in between these orchestral bookends is 1981’s “Music From The Elder.” For this grandiose concept album, Ezrin and KISS contracted the services of the New York-based American Symphony Orchestra. Ezrin collaborated with late award-winning composer Michael Kamen for a set of dynamic arrangements that were meticulously

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Cassius | COTN

Here it is everybody. We have hit our 50th episode! I want to thank everybody for listening and enjoying the show! This one is a few shuffled KISS songs and talk about the KISS Kruise II, KISS’ upcoming South American tour and acting like a radio broadcaster!

KISSmuseum.com

The long awaited KISS First Album Figures are finally here! Twelve different figures to choose from, including rare Gene Tongue and Paul Bandit Makeup variants!

Visit KISSmuseum.com for all photos and details of this exciting new release! Postage is only $6.00 for any size order!

Tim McPhate | KISSfaq

Art director reveals the creative process behind the mysterious artwork for KISS’ 1981 concept album “Music From The Elder”

In conjunction with KissFAQ’s month-long NovElder retrospective, longtime KISS art director Dennis Woloch revealed the creative process behind the album artwork for KISS’ 1981 “Music From The Elder.” Among many other topics, Woloch detailed the challenges and design nuances inherent to working on this particular KISS album. Additionally, Woloch revealed that Manhattan Model Shop‘s Bill Finneran created The Elder” door, which is a never-before-revealed piece of KISStory. Finally, Woloch discussed the challenges of working with KISS and the band’s lack of acknowledgement of his work in recent years.

The following are excerpts from Woloch’s interview.

About the art concept:

KF: Once you learned about the album’s details, what was the process for developing the creative direction for “The Elder” album art?

DW: Well, I got as much information of what the album was about as I could stand. A lot of it seemed to me to be (pauses)… you know, it was ground that was gone over before by others. I mean to me, it would be like somebody coming out and saying, “I’m thinking of writing a book series or a movie about a little boy and a sorcerer that becomes his mentor.” And I say, “Well, wait a minute. Didn’t we just see that some place?” That’s kind of how “The Elder” felt to me, even though it was ’81. They weren’t breaking any new

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