Monday, December 31, 2012

New Year's Rockin' Eve: Dick Clark and KISS

We dedicate this night, New Year's Eve, to Dick Clark who put KISS on television in 1974 on ABC's "In Concert" and the many amazing careers Dick launched.

We raise our glasses to Dick Clark!

Gene and Paul with Dick Clark, 2002, for Dick Clark's Anniversary Special.


KISS's Lead Guitarists Through the Years

Russell Hall/

Hard to believe four decades have passed since Paul Stanley and Gene Simmons first joined up with Peter Criss and Ace Frehley to form KISS. Through the years, with rare exceptions, the band has held firm to its explosive mix of riff-driven rock, arena ready anthems and the occasional soaring ballad. Along the way, several lead guitarists have stepped in to put their distinctive stamps on the KISS sound. Below, we offer profiles of each of those gifted players, and trace their tenures with the band.

Ace Frehley
For many fans, Ace Frehley will always be the definitive KISS guitarist. Starting with the group’s 1974 self-titled album debut and stretching to his initial departure, in 1982, Frehley inspired countless aspiring players to pick up the instrument. Moreover, his impact on his six-string peers during that decade was incalculable, as his thrilling riffs and incendiary solos – delivered on an ever-present Les Paul Custom – dovetailed perfectly with KISS’s pioneering theatrics. Fourteen years after leaving the band, Frehley, along with drummer Peter Criss, rejoined the group as part of a reunion of the original members. Their appearance at the 1996 Grammy Awards ceremony elicited a standing ovation. Two years later, the original KISS lineup released Psycho Circus, and Frehley remained a touring member for the next three and a half years. His last performance with KISS took place on February 24, 2002, during the closing ceremonies of that year’s Winter Olympics.

Vinnie Vincent
Vinnie Vincent’s apprenticeship, as a player, was far and away the most unusual of any KISS guitarist. Specifically, at the turn of the ‘80s, he served as a staff songwriter for the TV shows “Happy Days” and “Joanie Loves Chachi,” often writing tunes for both series on his acoustic guitar at the “Cunningham’s” kitchen table on the studio set. Joining KISS as the replacement for Frehley, in 1982, Vincent was integral to the success of that year’s Creatures of the Night album, and to 1983’s Lick It Up. Both albums marked a return to the hard rock sound that had fueled KISS’s best work in the ‘70s. Vincent’s tenure with KISS ended in March of 1984. Some say his departure was due to conflicts arising over his habit of overextending his solos during KISS’s live shows, but in a 1996 interview with Norway’s KISS Army Magazine, Vincent painted a positive picture of his time with the band. “We grew up with the same kind of bands, and we had the same influences,” he said. “So even though I was technical and Paul [Stanley] wasn’t, it wasn’t really about guitar playing. It was about the songs that we grew up with and that we all loved. And it was about sharing the same musical style. You know, we all loved The Beatles and Led Zeppelin. So the chemistry was there. I think we had respect for each other and I think we were really good friends.”

Mark St. John
Mark St. John’s tenure with KISS was the shortest of any of the band’s guitarists. Still, his contributions to 1984’s Animalize, one of the best albums from KISS’s “unmasked” period, were dazzling. Formerly a respected guitar instructor based in Southern California, St. John brought a flashy style to KISS – replete with whammy bar pyrotechnics and tapping – that reflected the Van Halen-led battalion of wizard-like six-stringers emerging at that time. During the sessions for Animalize, St. John developed a rare form of arthritis that interfered with his ability to play effectively, both in the studio and on-stage. During the Animalize tour, after performing just two full shows and one partial show, the illness forced him to bow out, and Bruce Kulick stepped in to take over lead guitar duties in December 1984. St. John eventually recovered from the arthritic condition, and went on to do non-KISS related music projects. Tragically, on April 5, 2007, he died after suffering a cerebral hemorrhage.

Bruce Kulick
Bruce Kulick’s lengthy tenure with KISS extended from late 1984 through August 1996, and covered the making of five studio albums plus the live releases Alive III and Kiss Unplugged. He has the distinction of never having worn KISS face-paint on-stage. Praising Kulick’s style, Ted Nugent once told Guitar World, “He plays a great guitar; he's fast, controlled and real expressive.” As recently as 2010, Kulick was asked – by Guitar International – if there was a chance he might perform with KISS again. “The only way that could really happen, and it’s not something I would expect to happen, is if they decided to take the make-up off and do a Revenge style tour,” he said. “If they did that I would be flattered to be a part of it, but I think they do pretty well in the make-up, and as much as I miss being in the band because of the chemistry that I have with those guys, having me put on Ace’s make-up just wouldn’t work out. I’m really proud of the time I spent with the band and if I ever play with them again it’ll be fun, as it always was, but if it doesn’t happen I’m cool with that too. Whatever happens, happens.”

Tommy Thayer
Tommy Thayer’s involvement with KISS dates back to 1985, when his band, Black ‘n’ Blue, toured for two month’s as KISS’s opening act. In 1989, Thayer co-wrote songs with Gene Simmons and played session guitar on song demos for KISS’s Hot in the Shade album. Thayer joined the KISS organization, officially, during the Criss and Frehley reunion years, performing such functions as organizing conventions and tours, and editing DVDs and the like. When the reunion lineup fell apart, in 2002, Thayer was the perfect choice to step in as Frehley’s replacement. His role in the making of KISS’s acclaimed 2009 comeback album, Sonic Boom, was monumental, as was his playing and writing on 2012’s Monster. In a recent interview with, he talked about how it felt to be a part of the band. “Being in KISS is the ultimate in rock and roll performance and theatrics,” he said. “I was thinking about that the other night. We were on-stage doing ‘Rock and Roll All Nite’ toward the end of our set. Gene and I were going up on lifts – about 30 feet into the air – and confetti was flying and bombs were going off. All of a sudden a big smile came over my face. I was thinking, ‘How lucky can I be, being in this band, on-stage right now, experiencing this?’ It doesn’t get any better.”

Saturday, December 29, 2012

Thursday, December 27, 2012

KISS CD Japan Reissues Set for March 2013

SMH-CD Reissues from Japan are to be released March 20, 2013. Super High Material CD's is a joint venture from JVC and Universal has a more superior sound quality and can be heard through any CD player.

Those included are:


You can order here at CD Japan

Santa Anita Park's Opening Day gets `KISSed' with sun, Gene Simmons

By Brenda Gazzar
Long Beach Press-Telegram

Rock Star Gene Simmons, center, poses for pictures with fans during opening day at Santa Anita Park on Wednesday, Dec. 26, 2012 in Arcadia, Calif. (SGVN/Staff photo by Keith Birmingham)

ARCADIA - Opening day for Santa Anita Park's 76th winter/spring meet delighted fans with mostly sunny skies and for some, a few moments with KISS frontman Gene Simmons. In an impromptu photo session, Simmons - clad in a black pin-striped blazer, red handkerchief and his signature black leather pants - posed for photos while chatting casually with media and fans in the Paddock Garden.

"You can feel the excitement," Simmons, a savvy businessman who is now helping Santa Anita's parent company, The Stronach Group, with marketing and entertainment at its racetracks, said Wednesday shortly after the first race had posted. "First of all, Arcadia is just beautiful. The drive up here is just gorgeous. Even God likes it - look at the day. He placed the setting, the mountains, the location ... The people (working at the track) are nice too." Despite early morning showers, most of the storm clouds cleared well in advance of the first post at noon. In preparation for the storm, workers sealed the main track surface overnight, and two of the three races that were slated for the turf were transferred to the main track.
Read the rest HERE.

Tuesday, December 25, 2012

Merry Christmas, KISS Army!

Kiss Mask would like to wish the KISS Army and their families a very Merry Christmas!

Monday, December 24, 2012

PAUL STANLEY Christmas Guest VJ on MTV 1985 - Video

Take a trip back to 1985 with PAUL STANLEY as Guest VJ on MTV (When MTV actually played video music) 1985. Enjoy!!

Sunday, December 23, 2012

PETER CRISS on Rockline - Replay

In case you missed PETER CRISS on Rockline December 19th, you can listen to the replay here:

GENE SIMMONS Surprises Family on Jay Leno with "Jingle Bells"

Jay Leno enlisted the help of Gene Simmons with his rendetion of "Jingle Bells" for a San Fernanado Valley Family.
The Tonight Show with Jay Leno

Watch the clip:

Friday, December 21, 2012

KISS Kruise 3 Website Launches

The official website for the KISS KRUISE III is now online! If you are a KISS Kruise alumni, you received an email today containing your presale booking day and time. Take note of that, and when your date comes up, you can book online next month at!

New this year for the KISS KRUISE III:

- A Family Mini-Suite option to give families more room to stretch out for an affordable rate
- Improving the Stardust seating and allowing guests to select their own seat when booking
- KISS will be hosting a Meet & Greet JUST FOR KIDS (2-14, no parents allowed)! Each child will get ONE item autographed along with a large group photo with the band.

For more details, visit the KISS KRUISE III website at! And, if you didn't sail with us on a previous Kruise, you can still sign up for the general presale at this link.

KISS "White Christmas" Crazy Nights Tour 1987

KISS Celebrates the Holidays with "White Christmas" 1987

The Spectrum, Philadelphia, PA., December 18, 1987 (pro-shot/partial)

New Haven Coliseum, New Haven, CT., December 19, 1987

Thursday, December 20, 2012

Happy Birthday, PETER CRISS!

KISS MASK WEBZINE would like to wish PETER CRISS a very Happy Birthday!

Peter turns 67 years young today.

Wednesday, December 19, 2012

KISS' MONSTER Book Now Available in iBook Format

“KISS’ 20th studio album ‘Monster’ is scary good” – Associated Press, 2012

On December 18, KISS will release their first ever iBook for their critically acclaimed, recent studio album release, MONSTER. The content of the iBook is comprised of a special edition digital book which includes an exclusive bonus video, “Shout It Out Loud (Live in Anaheim 1976),” interviews with all four members as well as a multitude of additional unpublished pictures and a preview for the blistering new music for DESTROYER: RESURRECTED and MONSTER.

Rock legends KISS returned with Monster, the 20th studio album in their historic career released October 9, 2012, through Universal Music Enterprises. The 12-track, straight-ahead rock ‘n’ roll album features collaborations among all four members—including co-founders Paul Stanley and Gene Simmons and longtime members guitarist Tommy Thayer and drummer Eric Singer—in an album that shows the band at the top of its game. And that’s saying something, considering their illustrious, 40-plus year history—28 U.S. gold albums, the most gold records for any American rock band, 40 million sales in the U.S., and a total exceeding 100 million worldwide.

iBook content includes:

• Interviews with all four band members as well as album co-producer Greg Collins
• Exclusive bonus video of “Shout It Out Loud (Live in Anaheim 1976)” from the KISS vault
• A plethora of photos exclusive to this iBook including backstage shots, live performances and snapshots from the recording studio
• Lyrics plus band commentary on all MONSTER tracks
• Article on the band’s support of our troops
• Features on the band’s merchandising, the Monster Mini Golf experience, the KISS Kruise and the 2012 newly remixed reissue of DESTROYER: RESURRECTED, plus KISS’s newest box-set collection, The Casablanca Singles: 1974-1982
• Loads of KISS facts throughout including an interactive map of the U.S. with historically important locations
• Audio samples of the 12 MONSTER tracks and the iTunes exclusive bonus track “Right Here Right Now” as well as DESTROYER: RESURRECTED

This book is available for download on your iPad with iBooks or on your computer with iTunes.

Monday, December 17, 2012

PETER CRISS on Friday Night Rocks- 12/14/12

Peter Criss was the special guest on Eddie Trunk's 'Friday Night Rocks' on December 14, 2012 YouTube/Metalfavs Audio:

The KISS ROOM Re-Broadcast KISSMAS Special

The KISS ROOM KISSMAS SPECIAL Re-Broadcast from December 14, 2012

Friday, December 14, 2012

KISS' "MONSTER" Makes Best Metal Albums of 2012

NoiseCreep has announced the Best Metal Albums of the Year


"There were some terrific metal/hard rock releases this year but my pick of the litter is KISS' Monster. Forget the makeup and still stellar stage show - this is about the music and these four guys brought it big time this year. Monster is a nice big slab of metallic hard rock created by a band that could easily kick back and ride the wave of their legacy into the sunset, but instead chooses to crunch and grind, still more than able to craft killer riffs with fire and brimstone lyrical hooks. "Wall of Sound," "Back to the Stone Age" and "Shout Mercy" (among others) harken back to the Love Gun era without feeling at all stale. In fact, these guys seem more inspired than
ever, a testament to the blue-collar work ethic that has always defined this band for many of us."

Chosen by Chris Epting    Thanks Andrew!

Check out NoiseCreep's Top Metal Albums of 2012 HERE

Interview with BOB EZRIN/Kiss Monster Magazine #2

Interview from KISS: MONSTER - The Official Album and Tour Magazine #2

"Destroyer" producer Bob Ezrin flashes back to the darkest horse in the KISS catalog.

Ah, the concept album ... the ambitious extension of every pop artist who gets tired of his job and dreams of a bigger fish. In the 70s, as music and mass media leaned toward bloat with bands like Queen, The Who and Pink Floyd conquering the charts and grand-scale cinema like Stars Wars owning the box-office, KISS decided to give the rock and roll pulp that made their name a rest and pursue loftier creative heights.

The result their semi-delusional dream was 1981's The Elder, a baroque, full blown concept platter charting the story of a Luke Skywalker-esque boy who is called upon to battle the evil Mr. Blackwell and restore order and balance to the land. The album was the work of legendary producer Destroyer (and Destroyer: Resurrected), Bob Ezrin, who at that time, had worked with Pink Floyd in its double-disc rock opera juggernaut The Wall.

Both Ezrin and the band (well, Gene Simmons and Paul Stanley anyway) were convinced that The Elder would be the record that would forge their new and "mature" path, a bounce back after their lightweight pop fluff 1980's Unmasked. KISS trimmed their hair, stripped down costumes, and the cover was the first in their history not to feature the freak four, however, was an abstract image Stanley's hand on the cusp of banging a baroque door-knocker.

The entire enterprise was, as we all know now, a gross miscalculation. Fans recoiled, the album failed and The Elder drove a stake in the first wave of KISS history. But time heals well, and over the years, many KISS devotees have come now and have expressed their love for the album (including this writer). Lush, evocative, frightening, beautiful and very cinematic, The Elder is such a breathlessly odd piece, so different from anything else in the KISS lexicon, which demands respect.

We tracked down Ezrin to talk about The Elder and share some memories of that pivotal point in the saga of the band ...

KISS MAGAZINE: To say that you love The Elder is, even now, not a popular sentiment.

Bob Ezrin: True. Not even amongst those who created it.

KISS: What can you tell us about the genesis of the album?

EZRIN: Well, the boys came to me at with a handful of really heavy demos. They wanted to make a record to combat the criticism of the last couple of records. I had just done The Wall, and convinced them to get rid of these demos and do something different. So The Elder was a victim of the Wall and our mutual desire was to do something "different", it was antithetical to what KISS was about. KISS was never pretentious or precious, and never took themselves seriously. They were always about fun, sex and power, and always were, in effect, horror cartoon characters, so to suddenly make a concept album, which had something of "consequence", was an idea anti-KISS. It was a flawed concept from the beginning.

KISS: Who was the driving force of the album?

EZRIN: At the time we were all looking for bigger and better things, and Gene - more so than Paul, jumped on the concept of making The Elder. I'm not really sure if it came with it or if they develop together, but both developed a script for a short film to accompany it. We thought it would be the beginning of many projects to come out under the name Elder. Of course, we were wrong. But Paul and Gene were very into it, and put everything in it. They both had to step out of their personas, and was really daring for them to do that. They were attracted to the classic rock, almost Beatle-esque style of the album - they were seduced by that. It was a big mistake.

KISS: It is well known that the lead guitarist Ace Frehley was not happy with this direction, failed to show up for sessions and left the band soon after. But you also had similar problems when recording with Frehley on Destroyer, right?

EZRIN: People dwell on that, but its not entirely true. I loved Ace. It's just that Destroyer was a big project. It was ambitious and grandiose and had to be delivered on a finite budget in a limited time frame. Gene and Paul were, as always, totally disciplined, but Ace was a free spirit and, like his persona suggests, a real space cadet. Sometimes we could not find him when we were in the studio and had to record, so we had to go ahead with Biff Wagner playing his parts. But when he did play on the album, he was fantastic.

KISS: Destroyer was huge, a landmark album, but it too was met with fan disent. Do you remember the backlash when the Elder was released?

EZRIN: I do. Here was this larger than life fantasy / rock record, full of myth and violence and passion, and I think some fans liked. Some critics also liked it, which rarely happened with KISS. But most fans could not grasp it, and they felt left behind, isolated.

KISS: How about The Elder now?

EZRIN: There are some truly great moments in there, of course, and some classics buried in the mix. But overall, it's way too self-indulgent and too over produced. its also not fully realized. There is not enough material, and the story is not fleshed out. It's an interesting failure.

The memoir of Kiss drummer Peter Criss is endearingly needy and sleazy

by Nathan Rabin/The AV Club

Over the years, I’ve delved deep into the world of Kiss without liking the band or its music. For this column, I’ve written about two books that prominently involve Kiss: C.K. Lendt’s Kiss And Sell, a fascinating tome about the business side of the Kiss empire, and Larry Harris’ And Party Every Day: The Inside Story Of Casablanca Records, which explored the rise and fall of the iconic label that gave the world Village People, Donna Summer, various disco demigods, and Kiss. Gene Simmons was, and probably always will be the, single most obnoxious interview subject I’ve ever had, and I covered Kiss’ gloriously misguided concept album Music From The Elder for My World Of Flops. Yet, early in the gloriously sordid memoir of former Kiss drummer Peter Criss, Makeup To Breakup, I began to realize that I’ve come to genuinely like these grease-painted knuckleheads. Blame it on Stockholm Syndrome or softening with age, but I have an awful lot of affection for Kiss and the tacky gothic universe the band created.

It feels safe to say that at this point, I like Kiss more than Criss does.

Makeup To Breakup positively vibrates with rage toward Criss’ former bandmates, Kiss’ management, and everything Kiss represents. Criss claims that extensive therapy helped him work through some of his anger toward Gene Simmons, Paul Stanley, and Ace Frehley, the book’s unholy trinity of backstabbing hard-rock Judases, though I suspect that if Criss had written this book before working through his rage, it would have consisted of nothing but elaborate drawings of Simmons, Stanley, and Frehley being brutally murdered with a series of Saw-style torture devices.

Read the rest HERE

Thursday, December 13, 2012

The KISS ROOM is LIVE Tomorrow! 3-5PM


The KISS ROOM will air LIVE tomorrow, December 14 from 3-5PM on .
Creator of the KISS ARMY, BILL STARKEY, will be joining us in on the fun and there will be a ton of KISS Stuff in our KISSmas prizes. So come and join the fun in our KISS ROOM KISSMAS PARTY!

LYDIA CRISS' "Sealed With A KISS" Available for Under your Tree

                      Get KISSed this Christmas Day!
Lydia Criss' acclaimed book, "SEALED WITH A KISS" Second and Expaned Version is ready for Christmas. If you missed this book the first time (the First Edition SOLD OUT!), than you better get it this time around before they are gone. Go to to order your copy or for your loved one. This is a MUST READ with NEVER BEFORE SEEN PHOTOS!
Get an insider's look at the phenomenom of KISS at the height of their career.

Wednesday, December 12, 2012



from KISS MONSTER MAGAZINE #2 (which is sold out)

Behind every great enterprise is a pop culture carefully sculpted mechanism, driven by ideas and dedication to create art that is commercial, which transcends trends, and endures. With KISS today, that engine business is a cosmic cocktail consisting of three driving personalities: Gene Simmons, Paul Stanley and KISS manager Doc McGhee.

McGhee is a legend in his own right, and was so long before lock he locked his legacy with KISS. The bands summer tour with the band Mötley Crüe was an obvious no-brainer for the decades- spanning maverick as Crüe remains one of McGhee's non-KISS live draws ever since he gave the band their first big break opening for KISS on the tour Creatures of the Night. We spoke to McGhee smack dab in the middle of the thundering double shot of KISS / Crüe.

KISS MAGAZINE: Can you tell us how you ended up in this mad game of rock 'n' roll management?

Doc McGhee: I was a guitarist in a band of Chicago when I was in high school. I mean, I already had a contract with Mercury Records when she was only 17! Then I called in the army and continued playing, and when I left, I went to Florida, became a waiter and at night I would play in a recording studio. As far as being a manager, people thought I was smart, I guess, or smarter than them at that time, so as I kinda fell into it. I started working with a producer named Barry Mraz, who made ​​the first Styx record, Robin Trower ... the list is long. One of the bands that he handled was one that I played in called Night Flight, and it just took off from there. I stayed in the R&B business a the beginning managing James Brown and Isaac Hayes. Then I met Mötley Crüe, Bon Jovi and all these rock bands.

KISS: Never mind Crüe or KISS, managing Brown or Hayes must have made you a nervous wreck. The stories you must have ...

McGhee: You have no idea! You know, the nice thing about this business is that there are no footprint. Every artist is different. Outside of telling the truth, staying on the right path, there is no formula. It is a learning process. You treat everyone the same, and I learned that if you do that, if you're fair, if you do not develop a "selective amnesia", that good fortune comes back to you.

KISS: When one thinks of leading managers of pop music, there's really only Col. Tom Parker ... and you. Did you have a role model getting into this game?

McGhee: Actually, partly yes. When I started, David Krebs was the biggest name in the world of rock managers. He had to Humble Pie. He was my mentor in that he liked to do big things, difficult-to-pull-off-things, but the big moves are what people pay you for. People want to pay for the two or three things a year that change their lives. I learned that from David.

KISS: Simmons tried to secure you as manager of KISS back in 1982, during the tour of Creatures. Why did you resist?

McGhee: There was no Makeup! There was not much I could do to change their fortune; I didn't have a rabbit out of its hat. Although we kept in touch over the years. Gene and Paul are extremely enterprising and very smart - and in the '90s they called me again and I said, "Are you putting the make-up back on?" They were silent, so I knew they were going to. I drove over to Gene's house and Paul was there, and that's it.

KISS: Did you support them going back into the studio post-Psycho Circus?

McGhee: Yes! Gene and Paul and I are very good partners, we think very similarly, so I didn't have to tell them what kind of record they had to do. Paul knew he had to make a KISS record. When we did Psycho Circus, they were just back into the makeup, and we pushed the envelope a bit with a 3D record, a 3D tour, etc ... to make it bigger and better, but they really got back to the essence of KISS with Sonic Boom. It did really well, it came in at number two because Michael Bublé did Oprah on Friday and took the number one ... so blame Bublé for that. Monster obviously followed the same formula.

KISS: You are right in the middle of The Tour, how are Mötley Crüe these days?

McGhee: Mötley have stayed true to what they are, but they are much calmer. They were never really bad people, they were just crazy -- they had that special kind of insanity. But yes, they are much calmer now!

KISS: Are you still loving your job after all these years?

McGhee: Every day. We're always on the hunt for the next big thing. There are only one or two artists in a lifetime that you can get to have that special connection to get to stardom. There lots of great bands out there, great songwriters, but only a few have the chops to make it. I've been lucky enough to have a few of the big ones.

ACE FREHLEY Electrocuted 30 Years Today


ACE FREHLEY was electrocuted 30 years ago today, December 12, 1976 at the Lakeland Civic Center in Lakeland, Florida. The incident inspired Ace to write "SHOCK ME" for Kiss' next album, LOVE GUN.

Founding KISS Drummer Peter Criss Discusses New Memoir, Conflicts with Ex-Band Mates


Founding KISS Drummer Peter Criss Discusses New Memoir, Conflicts with Ex-Band Mates

Simon & Schuster

Founding KISS drummer Peter Criss' recently published memoir, Makeup to Breakup, gives an uncensored and no-holds-barred look at his life and exploits before, during and after his years with the famed costumed rock band. In the book, co-written with Larry "Ratso" Sloman, Criss opens up about the in-fighting and bad blood between him and his former band mates, particularly Gene Simmons and Paul Stanley. He also details his struggle with cocaine abuse and many other aspects of his often turbulent life.

The drummer, who sang and co-wrote KISS' biggest chart hit, "Beth," tells ABC News Radio that he thinks his story is one that will captivate KISS fans, as well as readers in general.

"This book is a roller-coaster ride," he maintains. "It's a real story...of a man's life that really went through rags to riches, to rags to riches again in a whole different way."

Criss digs into Simmons and Stanley throughout the book, criticizing them for what he calls the unfair way they treated him -- personally and financially -- both during his initial stint with KISS and on his second go-round with the group during the late 1990s and early 2000s. He complains about Gene's and Paul's egos, and about how they teamed up to take control of the band. He also lambastes Simmons for his womanizing and poor hygiene, and suggests that Stanley was confused about his own sexuality
Meanwhile, he admits to ABC News Radio that, although he felt a sense of relief to be able to reveal his true feelings in the tome, he was nervous about how his old band mates would react to some of the harsh things he says about them.

"It was really cathartic, but trust me, many a nights I had many a horrible nightmares and sweats and I didn't sleep for weeks," he says. "I was thinking this was gonna happen, that's gonna happen…'Cause a lot of people don't really wanna hear the truth, and a lot of people have been hung and shot for talking the truth."

Meanwhile, Criss says he's happy about the success of Makeup to Breakup, which debuted at #7 on The New York Times' Hardcover Nonfiction Bestsellers List.

Read On ABC News Radio:

Happy Birthday BRUCE KULICK!



Monday, December 10, 2012


KISS' First Promotional Video- "Rock And Roll All Nite" 1975 (from Dressed To Kill) - This one's for you Mick Campise and JR Smalling, Original KISS Crew. 

KISS Song of the Day: Rock And Roll All Nite 1995

KISS Song of the Day: "Rock And Roll All Nite" Kiss Unplugged August 1995

KISS Concert Poster for Prague O2 Arena Show

Vote for KISS for Band of the Year

Ultimate Classic Rock is holding their "Band of the Year" Reader's Poll Awards. KISS is up for Best Album, Song, Reissue, Photo, Commercial and Artist of the Year. Now get out there KISS ARMY and vote soldiers!

Vote for KISS Here at Ultimate Classic Rock

Sunday, December 9, 2012

GENE SIMMONS at Charity Poker Tournament
Longtime Mending Kids International supporter Mel Gibson with Gene Simmons, Robert Downey, Jr., Sean Penn and Jodie Foster hosted “Four Kings & An Ace” poker tournament on Saturday, December 1 at The London West Hollywood. Among other notables were World Series Of Poker Winner Jamie Gold, Madeleine Stowe, Emily VanCamp and most of the cast of “Revenge,” Danny Trejo, Greg Louganis, Garry Shandling, Camille Grammer, Chuck Zito, Patricia Arquette, Linda Thompson, Quinton Aaron and World Poker Tour players Mike Sexton and Vince Van Patten. These celebrities were able to raise enough funds for eight missions to provide almost 200 children around the world life-saving surgeries.

Mending Kids International is a California-based non-profit that provides surgeries to children otherwise unavailable to them in developing countries, and surgical training to medical staff to build long-term sustainable surgical programs. 92% of every dollar received goes directly towards helping children.

GENE SIMMONS & Family With Steven Tyler Backstage at Aerosmith Concert


Took Nick & Sophie to see Cheap Trick & Aerosmith -- both knocked it out of the park. Two of the best voices out there, Zander and Tyler… terrific. And Nielson, one of my favorite guitarists. And Joe Perry. Backstage, Johnny Depp chatted with Nick & Soph, and so did Trick and Aerosmith… a great night.

Here's the Family, with Steven.




By SomeThingElse

Saturday, December 8, 2012

KISS 'Monster' Chart Action Week #7

MONSTER, in it's 7th week, MONSTER has charted, rising four spots to #131, from #135 last week.

Win "The Casablanca Singles 1974-1982" from Rolling Stone


Rolling Stone
To celebrate Kiss’ upcoming 40th anniversary, the band has decided to pay tribute to their early years by releasing the 29 singles that were recorded for Casablanca Records from 1974-1982. The box sets will come in two limited edition configurations – a box set of 29 CDs or 7-inch vinyl.

“Even I haven’t heard some of this stuff, but this is all part of our master plan to celebrate Kiss at this milestone in our careers,” says Gene Simmons. “This box set represents us at the very beginning of our career, and documents the band’s early success and subsequent growth.”

One lucky winner will receive: One (1) Kiss: The Casablanca Singles prize pack, which includes the limited edition vinyl version and CD version. The vinyl set is housed in a die-cut shadow box and includes 29 remastered singles on 7-inch 45 rpm and singles from all four solo albums on colored vinyl with a mask for each band member. The CD version is housed in a die-cut shadow box and includes 29 remastered singles on CD and singles from all four solo albums with a mask for each band member. Both sets include 26 collectable picture sleeves from original single releases around the world and a booklet describing the development of each single represented in the package.
To enter and read contest rules:

KISS ALIVE! #5 in Rolling Stone's Best Live Albums


Rolling Stone Reader's Poll Names KISS ALIVE! As One Of The Greatest Live Albums Of All Time

5. Kiss - 'Alive!'

To really understand the power of Kiss, you have to see them live. They built their reputation on the road, breathing fire, spitting blood and hovering above the audience on wires. Nobody had ever seen anything like it. (Unless, that is, they'd seen Alice Cooper a few years earlier.) Their songs were also light years better onstage than on record, so they made the smart decision to tape a bunch of gigs in mid-1975. In typical Kiss fashion, they hedged their bets by doctoring the tapes in the studio afterwards. Today, nobody is quite sure what parts of Alive! were actually taped live. It hardly matters. The album was a monster success. It flew off the shelves and instantly made them one of the biggest bands in the world. Kiss gets a lot of shit these days. Much of it is deserved, but it's hard to deny that songs like "Cold Gin," "Deuce" and "Black Diamond" are classics. They've never sounded better than they did on Alive!

See the entire list Here!

ERIC SINGER Explains Impact on Beatles, Journey on KISS' "Monster"

Your average rock fan might put on Kiss’ new album Monster, and specifically the track “Outta This World, and fail to hear how the Beatles and Journey impacted the band.
But drummer Eric Singer, in a new talk with Rock Music Star, says the tune was influenced first by George Harrison’s drone-rock tune “It’s All Too Much,” issued by the Beatles on 1969′s Yellow Submarine, and then by a subsequent cover version by Journey.
The second take, included on Journey’s 1976 sophomore release Look into the Future, pre-dates Steve Perry’s arrival. Gregg Rolie handles the vocals in a lineup that included current Journey stalwarts Neal Schon and Ross Valory, as well as Aynsley Dunbar on drums.
In both instances, though far more prominently on the Journey cover from the mid-1970s, “All Too Much” ends with a trippy echoing effect. Called “flanging,” it was first developed by Abbey Road engineer Ken Townsend in 1966, as part of the Beatles’ on-going experiments with sound.

When Kiss convened to work on Monster, its long-awaited studio follow-up to 2009′s Sonic Boom, Singer remembered how cool it sounded.
“That was a suggestion that I had made,” Singer tells Rock Music Star. “I basically got that idea from the Beatles song, “All Too Much,” where at the end of the song, it goes into a flanging thing. On one of the early Journey records — before they had Steve Perry — they did a version of “All Too Much,” and on the outro, they elaborated further on the whole flanging thing, and I thought it was a cool effect. When they (Journey) go into the outro of the song, they go into double time on the drums, and it goes into this flanging effect on the whole mix.”

Singer says the band employs a number of these kind of subtle influences across the new album. “I think we always take our influences from different things,” he says. “It could be a style of a song, it could be a particular band, or it could be a production idea or an arrangement idea, that we remember that we like.”
Of course, that doesn’t mean that the end results on “Outta This World” will ever be confused with the Fab Four.
“What we did was based on a production thing that I heard when I was a kid, that I thought was cool,” Singer tells Rock Music Star. “I thought it would really suit the song, because the outro section (from “Outta This World”) reminded me of that Beatles song. Not that we sound like the Beatles, but I’m just using that as a point of reference, of an arrangement of a song.”


The KISS KRUISE 2013. October 28 to November 2013
Register online for the KISS Kruise III Presale!

KISS 'MONSTER' World Tour Dates


Feb 28 – Perth, Australia
March 3 – Adelaide, Australia
March 5 – Melbourne, Australia
March 6 - Melbourne, Australia
March 9 – Sydney, Australia
March 10 – Sydney, Australia
March 12 – Brisbane, Australia
March 16 – Mackay, Australia
June 1 - Stockholm, Sweden
June 3 - Helsinki, Finland
June 6 - Solvesborg, Sweden
June 8 - Stavanger, Norway
June 11 - Copenhagen, Denmark
June 12 - Berlin, Germany
June 14 - Prague, Czech Republic
June 15 - Vienna, Austria
June 17 - Udine, Italy
June 18 - Milan, Italyg
June 20 - Zurich, Switzerland
June 22 - Clisson, France

Log onto for KISS Meet&Greets amd Tour information

Tuesday, December 4, 2012


Ultimate Classic Rock is now accepting your votes as who should be crowned TOUR OF THE YEAR 2012!

To vote for KISS & MOTLEY CRUE Click 2012 TOUR OF THE YEAR

Monday, December 3, 2012

KISS Singles Box Set Due Out This Week


Rock legends KISS were the first signing to the late Neil Bogart’s newly formed Casablanca label after he saw and recognized their talent and showmanship at their spectacular performance at a showcase concert at New York City’s Le Tang’s Ballet Studio in 1973, offering them a contract on the spot. Now, KISS celebrates their 40th anniversary in 2013 having broken box office records set by The Beatles and Elvis, more than 28 U.S. gold albums, the most gold records for any American rock band, 40 million sales in the U.S. and a total exceeding 100 million worldwide.

In their early years, KISS released a total of 29 singles on seven-inch 45 RPM records for the Casablanca label. These were available for sale to the public, used for commercial radio airplay and to promote album sales. Many of these singles had entirely different mixes, edits and material that didn’t appear on their vinyl albums. Now for the first time, these musical snapshots of KISS’ formative years, which have never been available in a commemorative singles edition, entitled The Casablanca Singles 1974-1982, on Mercury/Casablanca/UMe, will be available in December in two box set configurations:

29 Seven-Inch Vinyl (Limited Edition available direct to consumer via

29 CDs (available through all retail)

In typical KISS fashion, these are no ordinary boxes. The sets are housed in a beautiful die cut shadow box with a limited edition etched silver metal plate and ribbon pull magnetic closure custom KISS 45s box with 26 collectible picture sleeves from original single releases around the world, including Japan, Germany, Holland, Spain and Britain. The vinyl collection also features singles from all four solo albums in purple, blue, red and green vinyl with a mask picture sleeve representing each individual member as originally released in the U.K. Both sets include a booklet which tracks the genesis and chart history of each single represented in the package.

The Casablanca Singles 1974-1982 covers KISS’ remarkable eight-year stay on Bogart’s label, from their very first, “Nothin’ to Lose” b/w “Love Theme from KISS,” from their self-titled debut to their very first charted 45, “Kissin’ Time.” The band’s subsequent string of hits included Dressed to Kill’s live version of “Rock and Roll All Nite” (#12 on Billboard’s Hot 100), Destroyer’s “Shout It Out Loud” (#31) and the Top 10 ballad “Beth,” Rock and Roll Over’s “Hard Luck Woman” (#15) and “Calling Dr. Love” (#16), Love Gun’s “Christeen Sixteen” (#25), Ace Frehley’s solo hit, “New York Groove” (#13) and Dynasty’s “I Was Made for Lovin’ You” (#11).

“Even I haven’t heard some of this stuff, but this is all part of our master plan to celebrate KISS at this milestone in our careers,” says Gene Simmons. “This box set represents us at the very beginning of our career, and documents the band’s early success and subsequent growth.”

Adds Paul Stanley: “This collection is meant for the true KISS aficionado. The packaging really captures the development of both our music and image at a very crucial period in the band’s history.”

The special set comes out a month after the release of Monster, their 20th studio album. Showing the band at the top of its game, Monster embodies all that is KISS and the music that first inspired them to pick up their guitars and flame-throwers and don makeup to entertain millions. Gene Simmons and Paul Stanley, with longtime members guitarist Tommy Thayer and drummer Eric Singer, return stronger than ever with their new album to continue the legacy of the spectacular larger-than-life extravaganza, known as, KISS.

More info at

PETER CRISS: "Have you ever tasted the barrel of a .357 Magnum?"

Q&A With Peter Criss

The Republic

Kiss drummer Peter Criss can now add New York Times Best Seller to a list of accomplishments that may have peaked with the writing and singing of “Beth,” the highest-charting Kiss song ever, in 1976.
And that’s a mighty happy ending for a guy who sets the tone for “Makeup to Breakup: My Life In and Out of Kiss” with “Have you ever tasted the barrel of a .357 Magnum that’s halfway down your throat?” — recounting the time he almost killed himself in 1994.
We caught up with Criss to talk about the memoirs he’ll be signing on Thursday, Dec. 6, at Changing Hands Bookstore in Tempe.
Question: What was it like reliving all these memories?
Answer: Thank God I made a lot of tapes through the years of things that happened because it’s a lot to remember (laughs). I’m 66. So there’s a lot. We have enough to do three more books. But it was an emotional roller coaster. A lot of restless nights. Should I write that? Shouldn’t I write that? What do I want to leave behind when I’m gone off this planet for my relatives and my daughter to read? Did I get enough of the honesty?
I talked about things I didn’t want to but my co-writer (Larry “Ratso” Sloman) convinced me. He said, “I think you’re a guy from the heart.” Which I am. I’m a Catholic kid. I don’t believe in lying. Never did. It gets you nowhere. And I pound myself in this book. I’m not easy on me at all. I’m right in your face about my addiction, my insanity, my two bad marriages, my survival. It starts with a gun in my mouth.
But the ending is today, I’m cancer-free. My wife is amazing. I have my health. I live in a beautiful home. Everything is good. And the book is doing better than I thought it would. I’m told it’s the best Kiss book ever written.
Q: Were there other rock biographies you looked to and said, “OK, so this is a really good example of what I should be doing”?
A: Probably Jimmy Stewart’s inspired me more in terms of dealing with real feelings. I learned it’s not who, what and where. It’s why. That’s what makes a great book. In my book, I tell why.
Q: Did asking why help you find answers?
A: Absolutely. It’s very cathartic. And actually, it’s taken a lot of weight off my shoulders that I’ve carried through the years and through the breakups and makeups, the deceit that went on between us, the money and the power. It was unspeakable. So yeah, it has answered a lot of my questions. You’d better believe it.
Q: You mentioned struggling with “Do I put this in?” Are there examples of things in the book that you thought maybe you should leave out?
A: Well, my honesty about my addiction. My talking about my childhood, growing up very poor, having horrific Catholic school experiences. My visions. I’ve seen an angel. I’ve seen Mary. I’ve died and come back. Talking about my marriages was very uncomfortable. I didn’t know if I wanted the world to know that. That felt pretty private. But I didn’t want to cut corners. If you’re gonna write about your life, you need to write about your life. Or you’re just wasting paper.
Q: But there are things that you did leave out?
A: Oh, I will take them to my grave with me.
Q: Were you concerned with how your former bandmates would react when you were writing this?
A: I don’t really care. Gene wrote one and Ace wrote one, and I don’t think they thought about how I’d react. We’re way too old for that nonsense. Or I am. I battled cancer and won. So did my wife. I have a whole new outlook. I’m on a different planet than they are. So I don’t really think about that.
Q: What was the best part of writing this book for you?
A: Doing it. It’s a major achievement for me. To be called an author is pretty cool. I’m a musician. I’m a drummer. I’m a songwriter. I’m a singer. I’m an actor. But I never got to be an author. And it’s something I always wanted to do, even way further back than the ’80s. I promised myself that one day I would write a book about my band. I started the band, too. They’ll never have a bigger hit than “Beth.” It won a People’s Choice Award. I’m very proud of that. And I’m very proud that I wrote my life story.

Sunday, December 2, 2012

Pre-KISS/WICKED LESTER's Among Top 7 'Lost Album's'


Noise Creep
Posted by Mark Gitter
Wicked Lester, Wicked Lester (KISS)

Wicked Lester was a New York band that would eventually morph into the mighty KISS. Featuring Gene Simmons and Paul Stanley, the group recorded an album for the suits at Epic Records at Jimi Hendrix's Electric Ladyland in NYC in 1971. The record featured a mix of original tunes and covers, showcasing Wicked Lester's love of the British Invasion. Ultimately, Epic dropped the band and shelved their self-titled album. Since then, it's been widely bootlegged and Stanley/Simmons even ended up re-working a few of the cuts for KISS.

Also included on the list Metallica, My Chemical Romance, Milltown, Void, Marilyn Manson and Port Amora.

Saturday, December 1, 2012

KISS on Cover of Rolling Stone Mexico

KISS cover on Rolling Stone in Mexico. Can we ever get Kiss on a US cover of Rolling Stone?


ERIC SINGER's Pearl Drum Kit Up Close from San Paulo Show

Check out this video, up close and personal look at Eric's drum kit from Kiss' San Paulo show, November 2012.

Friday, November 30, 2012

PAUL STANLEY Confirms He is Working on His Autobiography

Paul confirms what he said he'd never do; he is working on his autobiography, announces to Nikki Sixx on SirusXM's SIXX SENSE.

Listen below:

KISS' Only French Appearence at 'HellFest' in June

KISS will make their only French appearence at HELLFEST, June 21, 22, 23, 2013. Also on the bill, Korn, Twisted Sister and Accept (who opened for KISS during the US Lick It Up tour).

Check website for details.

Epiphone Announces Tommy Thayer Signature "Spaceman" Les Paul

by Damian Fanelli / Guitar World

Epiphone has announced one of its most anticipated new models, the Tommy Thayer "Spaceman" Les Paul.
The new model, which is named after — and designed for — the longtime Kiss guitarist, will be available in January.
Thayer recently commented on the guitar on his website:
"I'm psyched to be playing my new guitar onstage as we embark on the 2012 Kiss Kruise and South American stadium tour in the weeks ahead," Thayer wrote.
"My signature axe will soon be available in guitar shops everywhere. In the meantime, the first guitars off the line are ready for you through some very special offers on my new site, Keep it rockin' and remember to turn it up loud!" recently posted a demo video featuring Thayer. You can check it out below.
We'll have more details about the guitar in the weeks and months ahead.

Wednesday, November 28, 2012

ACE FREHLEY's Solo 1975 - Video

ERIC SINGER:KISS' Straight Forward Drummer Speaks

By John Jeffery/Rock Music Star

Eric Singer is one of the most honest, straight forward interview subjects that one could have the pleasure of speaking to. Never shying away from any question, Singer tells it like it is, not sparing any details. Being the drummer for KISS (on and off) for over 15 years, over the span of three decades, Eric knows what it takes to get the job done, and has never lost the appreciation of being part of one of the biggest bands in the history of music. When RockMusicStar recently spoke with Eric Singer, he reflected on "The Tour" with Motley Crue, the writing and recording process of "Monster" (Singer's fourth studio record with KISS), the misconception people have about his approach to drumming in KISS, and also responds to the comments Peter Criss made about him in Criss' autobiography, "Makeup to Breakup."

RockMusicStar: Could you tell us what "The Tour" was like for the band, and did it exceed your personal expectations?
Eric Singer: Well, it was a very successful tour, and for me, I think it was a great package. I can only speak for my own point of view, but I think most people would have to concede that it was a good pairing. If I was a fan, I would want to see that tour. Even if I wasn't in KISS, I'm a fan of both bands, I'd wanna see KISS and Motley Crue together. People had been saying for years that it would be a good package (to see happen again), and I think it turned out to be. Of course, you're gonna have people say, "Oh, I'd rather see KISS do their own show, or Motley Crue do their own show," because they want to see a band play longer. But for me, if I was going as a fan, to see each band play at my age now, seeing each band play for 75-80 minutes, that would be just the right amount for me. Just enough, without being too short or too long.

RMS: How do you respond to those who say that "All For the Love of Rock and Roll" is just an attempt at mimicking or copying a Peter Criss song?
ES: Here's the thing John, I'm 54 years old and this is the way that I sing. Those type of comments seem to come from the same people who question why I play (the drums) a certain way. You know somethin'? I play for the song, and I play for the band. That's what I play for first. Not for myself, not to appeal to a drummer in the audience. I play to appeal to the song and the band, and what the band does in that format. I always point back to people, listen to "MTV Unplugged." That's the best example that shows where I'm coming from, as a drummer and singer in KISS. I played very simple, very straight ahead, more closer to an earlier KISS approach, to the arrangements and the style of the songs. I made the conscience effort, from that point on, I made the concerted effort to play more simple. So I find it interesting that when I come back to play in the band in 2001, all of a sudden, just because I have makeup on, people are asking, "Why is Eric playing more simple? They're telling him to imitate Peter Criss." Gene and Paul, for the record, NEVER ONCE...EVER...(told me) to ever play anything like Peter Criss. NEVER!!!

RMS: While we're on the subject of Peter Criss, Peter recently released his book, "Makeup to Breakup." He pretty much makes negative comments about every member of KISS, past or present, with the exception of Bruce Kulick. I wanted to give you the opportunity to respond to the comments that he made towards you, as he calls you a "schlep" and claims the story of you suggesting for Peter to play at the 1995 Los Angeles KISS Konvention was disingenuous.
ES: That's funny because it wasn't disingenuous. At the time when that happened in 95, Gene asked me, saying "Eric, Peter Criss wants to come down to the expo and bring his daughter. Do you have a problem with that?" I am the one that actually said, "You should have him come up to play." Let's just put it this way, Peter doesn't know me. Peter's met me a couple of times, through all the years that I've been around. It was literally like, "Hi. How ya doin'?" Other than when we did "MTV Unplugged," where we were at rehearsals on and off together, that one week. Other than that, Peter does not know me. He doesn't know my character. He doesn't know what type of person I am. If he wants to take it that way, then that's fine. That's his prerogative. I don't have nothing against the guy, he's done nothing to me personally. I may have my own personal opinions of how I feel about him as a drummer, or how he's conducted himself, that I may or may not agree with everything, but that's really their (Peter and Gene & Paul's) beef.

For some reason, Peter really hates Tommy Thayer. Why? I don't know? All that Tommy ever did was try to help the guy. When Peter came back to the band in the very beginning, for the Reunion, Tommy's the one who that sat in a room with him and Ace, teaching them the songs, and working them through the routines, before they even got together with Gene and Paul. He put the time into helping the guy, and now for some reason, he's got some real venom towards Tommy, and I don't know what that's about.

The sad thing is that the fans who like a particular person, or a particular band member, they're going to believe everything the person says, whether it's true or not. You gotta remember, this is Peter's chance to get some more attention for himself. Because, he really hasn't done much since he's been out of KISS. Obviously, Peter has his point of view on his time and his experiences, on what he feels and how he feels about his time in KISS, and all of the players that are all part of it.

I think the ultimate good way is to take the high road in life. We've all had good and bad things happen in our lives. A lot of times, when things don't go our way, it's understandable why people become negative, or bitter, or cynical about something, but hopefully, they say that "time heals," and I do believe that's true. Hopefully, we all get to that place in our lives when we look back at our experiences, and we try to remember the positive and the better things about them, rather than the negative and bad things about them. We do get affected by what happens in a given situation, but we make the conscience choice about how we wanna deal with those experiences. If we want to turn them into a learning experience, and be able to look back on the accomplishments and things we've done in our lives, and maybe crack a smile, that's hopefully what we should ALL be able to do. We're supposed to learn from life and learn from our experiences. I think everyone who's been involved with KISS has done some pretty remarkable experiences that they should be able to be proud of, and look back and smile on.
Read Entire Interview HERE!

Lydia Criss' "Sealed With A KISS" Available for Under Your Christmas Tree


Tuesday, November 27, 2012

KISS 3D "War Machine" Animation Video

3D animation created by Tandem Digital Entertainment for KISS TOUR 2012. Directed by Mark Devlin (art) and Jonathan Beswick (video)

KISS by Monster Mini Golf Purchases ERIC CARR's Porsche

In Memory of Eric Carr... We at KISS by Monster Mini Golf Vegas, are proud to have added yet another piece of KISStory to our ever growing museum. We purchased Eric's Porsche (a gift from KISS upon signing) from Eric's wonderful sister Loretta. KISS' gift to Eric is now on display at KISS by Monster Mini Golf.

PETER CRISS Radio Appearences for December

PETER CRISS will guest on Eddie Trunk's "Friday Night Rocks" syndicated show on Friday, December 14, 2012. Listen on New York's Q-104. Go to to listen live. The show airs at 11PM (ET).

Peter will also appear on ROCKLINE on December 19, 2012. Go to for information on where you can listen to the nationally syndicated show on your area.

Kiss: Why the crazy crazy guys are still monsters of rock

After five decades, heavy metal’s most outrageous made-up men refuse to grow old gracefully. James McNair meets Kiss

James McNair/the Independent

Kiss’s lead singer and rhythm guitarist Paul Stanley is 60 now, but he had his first hip replacement op aged 52. It was the nightly strutting in eight-inch heels that did it. “Every scar on my body was proudly earned,” he says when asked if he regrets Kiss’s stilt-like footwear. “There’s nothing worse than looking back and wishing you had done things, but I did ’em all. That’s how life is supposed to be lived.”
Today, Stanley is wearing flats – zebra-print flats. “Nice shoes,” says the PR woman who’s introduced us. “Thanks – I shot them specially for you,” says Stanley. Together with fellow founding-member of Kiss, Gene Simmons, 63, this is how Stanley, AKA “The Starchild”, talks.

It’s a playful and meticulous kind of braggadocio, the endearing silliness of which he and Simmons are at pains not to acknowledge. To drop the mask would be to undermine the welcome and enduring pantomime that is Kiss.
What they do like to talk about is merchandise. The Kiss Kasket that helps your funeral go with a kerrang!; the Kiss Kondoms that put the kitsch into kontraception – these and sundry other alliterative goods make Kiss seem more brand than band. This time around they are in London to flog Monster, a ridiculously outsized book of glossy Kiss concert photos that weighs for stone, costs around £2,740, and measures three-feet by two-and-a-half feet.

“People say of great books I couldn’t put it down,” says Simmons, “but this one’s more I couldn’t pick it up.”

Monster the album is out, but as is so often the case with Kiss, the new music almost seems like an aside. The cartoonish, New York City-formed band’s fabulously entertaining live shows remain the yardstick by which we measure their worth.
Continue Reading

KISS to Headline Austrian Festival in June

KISS will headline the massive Austrian Nova Rock Festival. The festival takes place June 14th-16th, 2013 at Pannonia Fields in Nickelsdorf, Austria. It is Austria's biggest music festival. To order tickets check out the festival site Here. Kings of Leon and Rammstein will also headline during the three day festival.

Saturday, November 24, 2012

ERIC CARR: We Remember the Fox

ERIC CARR, November 24, 1991

Today marks the 21st year since Eric Carr's passing. We remember him for his musicianship, his personality, crazy sense of humor, dedication and his caring for others. He was one of the most charismatic people I've ever met always taking the time, without hesitation, to meet with his fans. Eric played on six Kiss albums and played over 800 concerts with the band until he was diagnosed with cancer in March of 1991. In between chemo treatments, Eric filmed the video and contributed vocals for "God Gave Rock And Roll To You II." Eric passed away at the age of 41 on November 24, 1991.  Kiss dedicated their next album, Revenge, to Eric He is deeply missed and touched so many lives, including mine - Frank
Animalize -1984

Hot In The Shade -1990

MTV's The Day In Rock - 1991

Friday, November 23, 2012

KISS Italian Shows Confirmed

Two shows in Italy have been confirmed for KISS' European MONSTER TOUR 2013

June 17th: Codropio, Villa Manin
June 18th: Assago, Mediolanum Forum

KISS MASK Audio Interview with ERIC CARR- November 9, 1989

itunes pic

In Celebration of the life of the late, great ERIC CARR

THE KISS ROOM presents a KISS MASK Flashback! Back in 1987, Frank Hagan created his KISS MASK fanzine, self publishing the 'zine which included Frank's exclusive interviews with Ace Frehley, Peter Criss, Bruce Kulick, Eddie Kramer, Bill Aucoin as well as this interview with the late Eric Carr. This interview has never been heard and we're bringing it to you straight from Frank's micro cassette recorder. Recorded on November 9, 1989.

THANKS TO MATT PORTER of THE KISS ROOM for bringing this tape to life!

Tuesday, November 20, 2012

KISS Adds 2nd Melbourne Show for OZ

KISS adds more shows for Australian tour.

Feb 28th – Perth - Perth Arena
March 3rd – Adelaide - Clipsal 500 V8 Supercar
March 5th – Melbourne - Etihad Stadium
March 6th – Melbourne - Etihad Stadium
March 9th – Sydney - All Phones Arena
March 12th – Brisbane - Brisbane Entertainment Centre
March 16th – Mackay- Virgin Australia Stadium

KISS Unleashes A MONSTER - Review

KISS Unleashes A Monster

Posted on 15 November 2012 by Wicasta/Indie Frontline
I was never a member of the KISS Army when I was a kid. I thought about it, sure. But I figured, even as a kid, that joining the KISS army was getting a little out there. So it’s probably fair to say that while I was a KISS fan growing up, I was never a rabid fan like some people. Well, excusing the facts that in 1975 I took my new copy of Alive! to school for show and tell (we were supposed to bring our favorite Christmas present to school). My first Rock concert was KISS (1976 in Charlotte, North Carolina). During Christmas of 1978 I bought all four of the KISS solo albums. It would also be fair to say that Gene Simmons was at least initially responsible for me wanting a bass player (partial credit, though – I’d have to give a nod to people like Geddy Lee, Jaco Pastorius, Chris Squire, and Stanley Clarke for the final push).
So… what I’m trying to say here is that I have a history with KISS. But, however it sounds, I was never in any danger of getting a tattoo of the KISS logo. I’m unlikely to be buried in a KISS branded casket. A fan, sure. Well, an ex-fan at this point. But certainly not one of those lunatics who get married at KISS themed weddings.
Upon reflection, my “fan” days probably ended with Unmasked. That wasn’t a bad album, despite the Disco influenced “I Was Made For Loving You” (which, in retrospect, is actually a much better song than any of us old-school fans wanted to admit at the time). But even by then there were cracks. KISS just wasn’t the band I’d loved for all those years. The glory days were gone. Oh, I stuck it out for awhile after Unmasked. I bought The Elder, and liked quite a few of the tracks on it. The flame was briefly renewed with Creatures of the Night. While still not a classic KISS album, it had some kick-ass tracks on it, and it probably heralded the return of the band to some sort of national prominence. We all know what came next. A string of hits from the albums Lick It Up, Animalize and Asylum. Even with the band charting hits again, though, something was missing for old-timers like me. It was good enough music, but it just wasn’t KISS somehow.
Anyway, Asylum was the last KISS album I bought for a long time. That was in 1984. I said “no, thanks” to Crazy Nights, Hot in the Shade, Revenge and Carnival of Souls. I didn’t begrudge Gene Simmons and Paul Stanely continuing on as KISS, but it never felt like KISS to me. It never sounded like KISS. Everything the band put out reminded me of solo tracks from the ill-advised KISS solo albums. You could tell which songs came from Paul Stanley, and which from Gene Simmons. You could usually tell which were written with outside songwriting partners, because they had that nice, carefully constructed (and calculated) sheen to them. It sounded like someone was cashing in on the name KISS (which basically what they were doing), but it never felt like a band called KISS. Does that make any sense?
Then along came Psycho Circus. What a debacle that was. Us old-time fans were excited about the return of Ace Frehley and Peter Criss. A lot of people bought the album, same as me, without much questioning whether it was a real band album. We just hoped for the best. But what did we get? It wasn’t a KISS album. Not really. It was the same stuff we’d been getting for years, just with Ace and Peter filling in as guest musicians. They were never equal band members on the record, and that showed easily through Gene Simmons’ transparent calculations and profit margin projections. Psycho Circus was yet another product under the KISS brand. Nothing else. A nostalgia kick with no real merit of its own. A keepsake of better times, with no real merit of its own.
It was another 10 years before KISS released another studio album, which again saw the band without Ace Frehley and Peter Criss. KISS had been touring with other people wearing Ace’s and Peter’s makeup, and I just wasn’t interested. That last bit sort of offended me. A lot of my friends told me I should check out that album, Sonic Boom, and I did listen to a few tracks. But really, all I heard was more of the same. Product that was sort of reminiscent of KISS, but nothing that sounded like a real band to me. I figured this was all you could expect from KISS, and that what awaited the band was a long, slow descent into irrelevancy (Gene Simmons’ marketing genius be damned). I didn’t really begrudge Gene Simmons cashing in on the band’s name and keeping the ball rolling. I just wasn’t interested in what he was selling.
So it was, and such was my thinking, when I heard that KISS was releasing a new album called Monster. I sort of took note, but had largely forgotten about it by the time the album’s release actually approached. I had so dismissed the band’s chances of ever being truly interesting again that I was able to note their new efforts, just out of deference for what KISS used to mean to me when I was a kid, but it wasn’t important enough for me to actually get excited about it, or even remember it.
Then I saw KISS perform ”Hell or Hallelujah” on David Letterman. Actually, I missed the original broadcast, but someone sent me a YouTube link of the performance. My initial response was, “Holy crap, this rocks”. That one song completely renewed my interest in Monster. I went to and scanned through sample tracks of the songs on the album, and I was shocked to discover that each and every one of those songs were good. Some were not just good, but kicked some solid ass. Much to my surprise, after buying only one KISS album in the previous 27 years, I found myself purchasing a new KISS album.
That was a good buy.
So, to wrap up an unexpectedly long article, all I’ll say about Monster is this; If you’ve ever liked KISS, you’ll like Monster. And if you’re one of those old guys, like me, who abandoned KISS decades ago, you’ll be pleasantly surprised. This kicks some serious ass. Buy it. Crank it up.
~ Wicasta Lovelace

"BLACK DIAMOND" Live from Buenos Aires



KISS, Live in Buenos Aires, River Plate 2012.

GENE SIMMONS:"We had a ball on KISS Kruise II- Twitter

Gene SimmonsVerified@genesimmons16 Nov
We had a ball on Kiss Kruise II. And look forward to seeing you all next year. We love you all. Go to …
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KISS Hunger Goodbye at KISS MINI GOLF

KISS Mini Golf Hosting the Annual 'KISS Hunger Goodbye" Drive Today

Kiss by Monster Mini Golf/ FOX 5 Las Vegas

FOX5 Vegas - KVVU

Monday, November 19, 2012

PETER CRISS Q&A from Days of the Dead Expo - Video

PETER CRISS Q&A (partial) at Days of the Dead Expo, Chicago, IL. 11/17/12.

PAUL STANLEY: No Other KISS Configuration Could Have Made Monster

By Russell Hall/ Music & Musicians

For a long time, beginning in 1999, Paul Stanley wasn’t sure Kiss would make another studio album. Worse, he wasn’t sure he wanted to. Ironically, it was the making of the previous year’s Psycho Circus—the much-ballyhooed record that featured original members Peter Criss and Ace Frehley reunited with Kiss founders Stanley and Gene Simmons—that put Stanley in that frame of mind. As he tells it, Criss and Frehley were recalcitrant participants, at best.

“What we learned is that you can’t make a great Kiss album without Kiss,” he says. “When there are two people in the studio working, and two who are refusing to come in, or who have their attorneys on the phone all the time, that’s not a good situation. Psycho Circus was interesting in the sense that it made me never want to go back into the studio, and at the same time, I felt I’ll be damned if that was going to be the last album we made. The band, during the reunion period, went south pretty quickly. It was something we managed to keep alive in much the same way a paramedic might keep a stroke victim from dying.”

To say Stanley and Simmons have kept Kiss alive is an understatement. Since the group’s 1974 self-titled debut, Kiss has released 20 studio albums, 10 live records and 13 compilation discs. Including solo records, they’ve been awarded 28 gold albums, more than any American rock group. Worldwide album sales are colossal—more than 100 million.

There’s another facet to that success—the group’s merchandising empire, and it’s unrivalled in rock. The Kiss brand offers everything from baby bibs to action figures to caskets (spelled Kaskets, of course). There’s also a miniature golf course, a coffeehouse and even a Kiss Kruise. The vast array of goods is served up without apology. “It all begins with the songs, no question about that,” says Simmons. “But there were never any rules for being in a rock band. People just thought there were. For us, it’s not enough to just be a Radiohead or a U2. That’s why we have 3,000 licensed products.”

Kiss continued to tour after Psycho Circus, albeit in ever-changing configurations. Criss left in 2001, replaced by Eric Singer, who had previously served as the band’s drummer in the early ’90s. Frehley departed the following year, and longtime Kiss associate Tommy Thayer stepped in as replacement on lead guitar. Thayer’s position was made permanent, but in 2003 Criss returned for KISS Symphony: Alive IV, a concert album with Australia’s Melbourne Symphony Orchestra. A year later, Criss was out, Singer was back.

Since then, the lineup of Stanley, Simmons, Thayer and Singer has coalesced into a finely tuned rock machine that has achieved its greatest success on the road. World tours in 2008 and 2009 solidified the group’s status as a premier live act, as the band’s chemistry rose to a level commensurate with the group’s spectacular stage show. In 2010—following a decade of resistance to the idea—Kiss released Sonic Boom, a no-frills studio album that captured the band’s sound from their mid-’70s heyday.

Kiss’ latest, Monster—produced by Stanley and production vet Greg Collins—fully embraces a stripped-down, back-to-basics approach. “No boys’ choirs, no symphony orchestras, just meat and potatoes,” says Simmons, alluding to the adherence to two guitars, bass and drums. The goal? Raise the bar while keeping things simple. “We sat facing each other as we recorded,” he says. “The idea was to get things in the first, second or third take. I didn’t want to lose any of the urgency and passion of what we were doing.”

Simmons and Stanley emphasize that no other Kiss configuration could have made Monster. The spirit of camaraderie is evident in the song credits. Thayer wrote or co-wrote nine of the 12 songs, and Singer co-wrote one tune and takes lead vocals on the Stanley-penned anthem, “All for the Love of Rock and Roll.” “This lineup is the embodiment of everything the band wanted to be,” says Stanley. “To think any other lineup could have made this album would be enough to get you committed. I’ve been there from the beginning, and I know.” Stanley and Simmons discussed the music behind the theater, their creative partnership and the Kiss legacy.

Was there a goal with Monster?

STANLEY: To hark back to the music and artists who influenced us and capture that spirit. That doesn’t mean copying anybody. It means finding that spot they touched. I grew up hearing bands at the Fillmore East nearly every weekend. Those bands played like their lives depended on it. There was also a joy. It almost felt like being in church, like gospel. James Brown didn’t go for perfection—he went for passion. Same was true for Motown, the Beatles, Led Zeppelin, the Who, the Stones, early Elvis and on and on. Sonic Boom stayed close to our past, to things we had done previously. But for Monster, I wanted to make the album we never made.

What was your role as producer?

STANLEY: To set ground rules. It’s important that everyone know what the expectations are. One rule was no outside co-writes, just like the last album. I wanted to make sure everyone was totally committed to making this album—and that we all understood there were no quotas, no entitlements. It doesn’t matter if you’ve been in the band 10 years or 30 years—if the songs aren’t good enough, they don’t go on. Once those parameters are made clear, everyone is willing to work harder. That said, we never had more fun making an album.

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