11/30/2009
KISS ARMY, YOU LOOK GREAT!
Kiss News
11/30/2009
KISS IS EVERYWHERE!
11/29/2009
LAS VEGAS: KISS STILL IMPRESSES
By John Katsilometes
Excerpted from Las Vegas Sun
Paul Stanley said something profound at Pearl Theater at the Palms on Saturday night. It was a pointed comment explaining his lack of onstage profundity.
"If you think a rock and roll band is going to solve the world's problems, you're in the wrong damn place!" he shouted to the sudience. Then the band attacked a robust little number called, "Rock and Roll all Nite."
Solving world hunger or global warning or any of the world's ills is not the objective of KISS, glowered the grease-painted 57-year-old rock icon, whose work attire remains an ensemble of tight black Spandex pants stamped with silver stalls, tall silver heels and a sparkled black vest exposing ample swarthiness.
Stanley's point is well-taken. KISS has never been about anything but rockin' out, escaping from whatever stress reality presents. That's one reason for the fantastic onstage alter-egos - to get away from it all. Some have a stiff drink to knock the edge off; others dial up "Rock and Roll Over."By John Katsilometes
Excerpted from Las Vegas Sun
Paul Stanley said something profound at Pearl Theater at the Palms on Saturday night. It was a pointed comment explaining his lack of onstage profundity.
"If you think a rock and roll band is going to solve the world's problems, you're in the wrong damn place!" he shouted to the sudience. Then the band attacked a robust little number called, "Rock and Roll all Nite."
Solving world hunger or global warning or any of the world's ills is not the objective of KISS, glowered the grease-painted 57-year-old rock icon, whose work attire remains an ensemble of tight black Spandex pants stamped with silver stalls, tall silver heels and a sparkled black vest exposing ample swarthiness.
Stanley's point is well-taken. KISS has never been about anything but rockin' out, escaping from whatever stress reality presents. That's one reason for the fantastic onstage alter-egos - to get away from it all. Some have a stiff drink to knock the edge off; others dial up "Rock and Roll Over."
There's little question, given the proven KISS formula, that it would be impossible to stand in front of an audience with a face full of demonic makeup, wearing a codpiece the size of a catcher's mitt, and intone, "I need to take a moment here and say this: I think it is sinful that more than 47 million Americans are living without health insurance. And now, here's, 'Dr. Love.'"
Some bands can accomplish the delicate merger of rock and moral consciousness - Bono has turned the midshow call-to-arms monologue into an art form. But those bands need to exist on separate planes. Sad to say, but we can forget about ever seeing a KISS/U2 double billing.
That's fine. KISS exists as a singular entity. It is a uniformed culture, this 35-year-old KISS Army, and it seems to be growing with every reunion, anniversary, and lineup change and time demarcation. Saturday's audience was a sea of veteran rock zealots who had grown up with KISS, many of whom seemed bent on making sure their children followed suit, even if it meant explaining to their pre-teens that there was fulfillment in being painted to look like a cat or spaceman for an event that was not Halloween.
The band borrowed from its early years, much to the delight of those who played KISS on the miracle of vinyl in those days. "Strutter" is still a favorite. "Hotter Than Hell" was in there. "Dr. Love," "Shock Me," "Shout It Out Loud," "Lick It Up," and the finale, "Detroit Rock City." Fans of KISS shtick delighted in Gene Simmons' fire-breathing moment to cap "Hotter Than Hell." Playing to his strengths as always, Simmons still regularly tongues at the audience. Eric Singer and guitarist Tommy Thayer were provided lengthy segments to prove that, if it ever came to this, they could hold an audience for six or seven minutes without the others. The current KISS lineup - with Eric Singer on drums and Tommy Thayer on lead guitar -- has produced a release, "Sonic Boom," most critics like and that debuted No. 2 on the Billboard charts in its exclusive distribution deal with Wal-Mart.
Theatrically, KISS still impresses visually and audibly. But KISS' famed pyrotechnic show, replete with flames and sound bursts, repeatedly rocked the small theater, and just when you thought, "One more blast from that stage would be obnoxious," - the show's over. "Rock and Roll all Nite" and the encore, capped by the great "Detroit Rock City," was set amid a blizzard of white confetti that nearly rendered the band invisible.
At the center of all this tumult was the familiarly hypnotic KISS sign. KISS continues to flash and fire away, glad to rock 'n' roll, and that's the only message today's KISS Army needs to know.
Excerpted from Las Vegas Sun
Paul Stanley said something profound at Pearl Theater at the Palms on Saturday night. It was a pointed comment explaining his lack of onstage profundity.
"If you think a rock and roll band is going to solve the world's problems, you're in the wrong damn place!" he shouted to the sudience. Then the band attacked a robust little number called, "Rock and Roll all Nite."
Solving world hunger or global warning or any of the world's ills is not the objective of KISS, glowered the grease-painted 57-year-old rock icon, whose work attire remains an ensemble of tight black Spandex pants stamped with silver stalls, tall silver heels and a sparkled black vest exposing ample swarthiness.
Stanley's point is well-taken. KISS has never been about anything but rockin' out, escaping from whatever stress reality presents. That's one reason for the fantastic onstage alter-egos - to get away from it all. Some have a stiff drink to knock the edge off; others dial up "Rock and Roll Over."By John Katsilometes
Excerpted from Las Vegas Sun
Paul Stanley said something profound at Pearl Theater at the Palms on Saturday night. It was a pointed comment explaining his lack of onstage profundity.
"If you think a rock and roll band is going to solve the world's problems, you're in the wrong damn place!" he shouted to the sudience. Then the band attacked a robust little number called, "Rock and Roll all Nite."
Solving world hunger or global warning or any of the world's ills is not the objective of KISS, glowered the grease-painted 57-year-old rock icon, whose work attire remains an ensemble of tight black Spandex pants stamped with silver stalls, tall silver heels and a sparkled black vest exposing ample swarthiness.
Stanley's point is well-taken. KISS has never been about anything but rockin' out, escaping from whatever stress reality presents. That's one reason for the fantastic onstage alter-egos - to get away from it all. Some have a stiff drink to knock the edge off; others dial up "Rock and Roll Over."
There's little question, given the proven KISS formula, that it would be impossible to stand in front of an audience with a face full of demonic makeup, wearing a codpiece the size of a catcher's mitt, and intone, "I need to take a moment here and say this: I think it is sinful that more than 47 million Americans are living without health insurance. And now, here's, 'Dr. Love.'"
Some bands can accomplish the delicate merger of rock and moral consciousness - Bono has turned the midshow call-to-arms monologue into an art form. But those bands need to exist on separate planes. Sad to say, but we can forget about ever seeing a KISS/U2 double billing.
That's fine. KISS exists as a singular entity. It is a uniformed culture, this 35-year-old KISS Army, and it seems to be growing with every reunion, anniversary, and lineup change and time demarcation. Saturday's audience was a sea of veteran rock zealots who had grown up with KISS, many of whom seemed bent on making sure their children followed suit, even if it meant explaining to their pre-teens that there was fulfillment in being painted to look like a cat or spaceman for an event that was not Halloween.
The band borrowed from its early years, much to the delight of those who played KISS on the miracle of vinyl in those days. "Strutter" is still a favorite. "Hotter Than Hell" was in there. "Dr. Love," "Shock Me," "Shout It Out Loud," "Lick It Up," and the finale, "Detroit Rock City." Fans of KISS shtick delighted in Gene Simmons' fire-breathing moment to cap "Hotter Than Hell." Playing to his strengths as always, Simmons still regularly tongues at the audience. Eric Singer and guitarist Tommy Thayer were provided lengthy segments to prove that, if it ever came to this, they could hold an audience for six or seven minutes without the others. The current KISS lineup - with Eric Singer on drums and Tommy Thayer on lead guitar -- has produced a release, "Sonic Boom," most critics like and that debuted No. 2 on the Billboard charts in its exclusive distribution deal with Wal-Mart.
Theatrically, KISS still impresses visually and audibly. But KISS' famed pyrotechnic show, replete with flames and sound bursts, repeatedly rocked the small theater, and just when you thought, "One more blast from that stage would be obnoxious," - the show's over. "Rock and Roll all Nite" and the encore, capped by the great "Detroit Rock City," was set amid a blizzard of white confetti that nearly rendered the band invisible.
At the center of all this tumult was the familiarly hypnotic KISS sign. KISS continues to flash and fire away, glad to rock 'n' roll, and that's the only message today's KISS Army needs to know.
11/29/2009
PAUL TAKES FLIGHT
11/29/2009
KISS HELD COURT AT SUMMIT CENTER
By Pennman
Excerpted from The Amplifier
Photo by KISSonline
The house was a-rockin' at the Sommet Center (Nashville) as Kiss held court. I think the word of the night was "LOUD" as the amps and PAs were turned up to the max. If you're the type who wants more than just an aural experience at a rock show, this was the place to be. As in the past, Kiss provided plenty of excitement for the eyes as well as the ears. Lights, smoke, pyrotechnics, harnesses (allowing Gene & Paul to fly), big screens, and confetti machines were all employed during the show. All the stops were pulled in this extravaganza. There are only a handful of acts I can think of these days that put on such a stage spectacle; Alice Cooper, Trans-Siberian Orchestra, The Tubes, AC/DC. None demand more of your full-blown attention as Kiss.
Before the show, I checked out the merchandise stands. Kiss is still the master of marketing as they have been for decades. The atmosphere was more like a carnival than a concert.By Pennman
Excerpted from The Amplifier
Photo by KISSonline
The house was a-rockin' at the Sommet Center (Nashville) as Kiss held court. I think the word of the night was "LOUD" as the amps and PAs were turned up to the max. If you're the type who wants more than just an aural experience at a rock show, this was the place to be. As in the past, Kiss provided plenty of excitement for the eyes as well as the ears. Lights, smoke, pyrotechnics, harnesses (allowing Gene & Paul to fly), big screens, and confetti machines were all employed during the show. All the stops were pulled in this extravaganza. There are only a handful of acts I can think of these days that put on such a stage spectacle; Alice Cooper, Trans-Siberian Orchestra, The Tubes, AC/DC. None demand more of your full-blown attention as Kiss.
Before the show, I checked out the merchandise stands. Kiss is still the master of marketing as they have been for decades. The atmosphere was more like a carnival than a concert. CDs and/or digital storage devices of the show were being sold for immediate distribution after the performance. T-shirts, posters, and other collectibles galore were for sale, and face painting was available (just pick your favorite Kiss persona, past or present. People were buying; recession be damned. The people watching weren't too shabby either. Lots of Kiss look-alikes were walking the halls. These fans really get into it.
The stage was covered by ceiling to floor curtains while the crew set everything up. Then it was time for Kiss. As the big screens showed their march through the halls of the Sommet on the way to the stage, Gene Simmons gave us the first of at least a hundred tongue wags right into the camera. Dressed to kill in their traditional costumes and makeup, they were like soldiers marching off to war. And they would be taking no prisoners.
The first thing that struck me was that Simmons' bass was coming through loud and clear and strong. The sound was excellent, and the visuals, well, were typical Kiss, which equates to fantastic. Stanley did most of the inter-song bantering, and everyone else did their talking through their vocals and instruments. Simmons breathed his fire, drooled continuously (so much so I was afraid he would short out his guitar), spit his blood, and flew up high above the stage on the lighting trusses at one point during the show. Stanley flew in a different direction; across the length of the arena to a back platform he gave the folks back there a treat for one song. At one point the two original members were on really high elevating platforms on opposite sides of the stage. Guitarist Tommy Thayer was all over the stage and blazing the fret board throughout the show, and drummer Eric Singer was absolutely insane for two hours.
As for the set list, any group with as large a set list as Kiss is vulnerable to complaints. They just can't physically play everyone's favorites in two hours. For example, several women asked if they played "Beth." Well, this show was too rocking for that, and besides, that's a Peter Criss tune and he's not currently with the band, so no, they didn't do that one. One wouldn't expect to hear too many Ace Frehley songs either.What they did do was an impressive cross-section of their hits, with a few off the new album (Sonic Boom), which by the way are pretty darn good. I won't list them all, but some of the notables were "Hotter Than Hell", "Modern Day Delilah" (one of the good new ones), "Dr. Love", "100,000 Years" (with a nice drum solo by Singer), "Black Diamond", "Shout It Out Loud" (good to hear), "Love Gun", a rockin' "Detroit Rock City", and the ever-popular "Rock and Roll all Nite". Whew!
In general, this was the ultimate rock show. If I wanted to show a rock virgin what a rock and roll concert was all about I think I would take them to a Kiss show. I'll have to try that next time; should be very entertaining.
Excerpted from The Amplifier
Photo by KISSonline
The house was a-rockin' at the Sommet Center (Nashville) as Kiss held court. I think the word of the night was "LOUD" as the amps and PAs were turned up to the max. If you're the type who wants more than just an aural experience at a rock show, this was the place to be. As in the past, Kiss provided plenty of excitement for the eyes as well as the ears. Lights, smoke, pyrotechnics, harnesses (allowing Gene & Paul to fly), big screens, and confetti machines were all employed during the show. All the stops were pulled in this extravaganza. There are only a handful of acts I can think of these days that put on such a stage spectacle; Alice Cooper, Trans-Siberian Orchestra, The Tubes, AC/DC. None demand more of your full-blown attention as Kiss.
Before the show, I checked out the merchandise stands. Kiss is still the master of marketing as they have been for decades. The atmosphere was more like a carnival than a concert.By Pennman
Excerpted from The Amplifier
Photo by KISSonline
The house was a-rockin' at the Sommet Center (Nashville) as Kiss held court. I think the word of the night was "LOUD" as the amps and PAs were turned up to the max. If you're the type who wants more than just an aural experience at a rock show, this was the place to be. As in the past, Kiss provided plenty of excitement for the eyes as well as the ears. Lights, smoke, pyrotechnics, harnesses (allowing Gene & Paul to fly), big screens, and confetti machines were all employed during the show. All the stops were pulled in this extravaganza. There are only a handful of acts I can think of these days that put on such a stage spectacle; Alice Cooper, Trans-Siberian Orchestra, The Tubes, AC/DC. None demand more of your full-blown attention as Kiss.
Before the show, I checked out the merchandise stands. Kiss is still the master of marketing as they have been for decades. The atmosphere was more like a carnival than a concert. CDs and/or digital storage devices of the show were being sold for immediate distribution after the performance. T-shirts, posters, and other collectibles galore were for sale, and face painting was available (just pick your favorite Kiss persona, past or present. People were buying; recession be damned. The people watching weren't too shabby either. Lots of Kiss look-alikes were walking the halls. These fans really get into it.
The stage was covered by ceiling to floor curtains while the crew set everything up. Then it was time for Kiss. As the big screens showed their march through the halls of the Sommet on the way to the stage, Gene Simmons gave us the first of at least a hundred tongue wags right into the camera. Dressed to kill in their traditional costumes and makeup, they were like soldiers marching off to war. And they would be taking no prisoners.
The first thing that struck me was that Simmons' bass was coming through loud and clear and strong. The sound was excellent, and the visuals, well, were typical Kiss, which equates to fantastic. Stanley did most of the inter-song bantering, and everyone else did their talking through their vocals and instruments. Simmons breathed his fire, drooled continuously (so much so I was afraid he would short out his guitar), spit his blood, and flew up high above the stage on the lighting trusses at one point during the show. Stanley flew in a different direction; across the length of the arena to a back platform he gave the folks back there a treat for one song. At one point the two original members were on really high elevating platforms on opposite sides of the stage. Guitarist Tommy Thayer was all over the stage and blazing the fret board throughout the show, and drummer Eric Singer was absolutely insane for two hours.
As for the set list, any group with as large a set list as Kiss is vulnerable to complaints. They just can't physically play everyone's favorites in two hours. For example, several women asked if they played "Beth." Well, this show was too rocking for that, and besides, that's a Peter Criss tune and he's not currently with the band, so no, they didn't do that one. One wouldn't expect to hear too many Ace Frehley songs either.What they did do was an impressive cross-section of their hits, with a few off the new album (Sonic Boom), which by the way are pretty darn good. I won't list them all, but some of the notables were "Hotter Than Hell", "Modern Day Delilah" (one of the good new ones), "Dr. Love", "100,000 Years" (with a nice drum solo by Singer), "Black Diamond", "Shout It Out Loud" (good to hear), "Love Gun", a rockin' "Detroit Rock City", and the ever-popular "Rock and Roll all Nite". Whew!
In general, this was the ultimate rock show. If I wanted to show a rock virgin what a rock and roll concert was all about I think I would take them to a Kiss show. I'll have to try that next time; should be very entertaining.
11/29/2009
ON THE ROAD WITH KISS
Here's an article excerpt from the Australasian Lighting Industry Association trade publication about KISS's Lighting Director, Motley! Motley discusses working with the band, the current stage setup, and many other behind-the-scenes tech details.
___________________
Lighting Production News: Motley on the Road with KISS
If any of you are wondering why you haven't seen Australia's renown lighting crew chief Motley recently, it's because he's been living a childhood dream - working for KISS!
"I filled in for Bryan Hartley (KISS's long time Lighting Director)on some KISS shows in the USA and Europe (07 & 08) after doing the Paul Stanley tour as Lighting Director in Australia," Motley explained. "Bryan was / is busy with Aerosmith and Trans Siberian Orchestra so Patrick Whitley sent an email, "Need KISS LD, what you up to for 18 months off and on?". My reply: "touring with KISS, I guess!"Here's an article excerpt from the Australasian Lighting Industry Association trade publication about KISS's Lighting Director, Motley! Motley discusses working with the band, the current stage setup, and many other behind-the-scenes tech details.
___________________
If any of you are wondering why you haven't seen Australia's renown lighting crew chief Motley recently, it's because he's been living a childhood dream - working for KISS!
"I filled in for Bryan Hartley (KISS's longtime Lighting Director)on some KISS shows in the USA and Europe (07 & 08) after doing the Paul Stanley tour as Lighting Director in Australia," Motley explained. "Bryan was / is busy with Aerosmith and Trans Siberian Orchestra so Patrick Whitley sent an email, "Need KISS LD, what you up to for 18 months off and on?". My reply: "touring with KISS, I guess!"
Motley has been getting great feedback from all industry types.
"I had Lenny Kravitz in NYC at front of house, and I nearly got nervous, but once the first 30 seconds of the show are over, I am in the groove and don't realise what is going on around me until just before the encore."
The rig is 64' wide and made up of 7 trusses wit 2 x 8' side trusses to give it a wider look. The stage is 106' with scaff wings built in the seats at most arenas. The set and backline is set up at front of house on a rolling stage. Lights include 7k Syncro Lite x7, V*L3000 Spot x24, V*L3500 Wash x82, 4Lite DWE {Inline} x26 {Audience}, 4Lite DWE {square} x18 {Stage}, Atomic Strobe x34, CB12 LED Truss Toner x58, ETC Source4 Par NSP x4 {Gene Blood Gag}, Red Police Beacon x10- all controlled by a grandMA.
All air lights are in pre-rig truss except Syncrolites and inline Audience 8lites, so there are not many cases to store. Lighting is supplied by Epic, based in LA. Crew Chief is Sean Kohl, and Andy Figueroa is the KISS sign tech. There are 13 trucks and 6 tour buses all pretty full up.
"The show design started with the band saying they want a set full of video and a big video screen {60' by 20')," said Motley. "We went to do a bunch of Festival shows in Canada and two in the USA, so it was different lighting vendors and systems everywhere. The VL3500 with the beam blaster in was the only fixture that would cut over all the video. We took the big screen and the old set to see what would stick and ended up with the show.
"Then Patrick sent me a hand drawing and asked me to draw it up in 3D; after a few bounces back and forth he went to the set company All Access and got it turned in to a reality.
"The strait truss look fit with the big square set and video so I kept it simple. The joke is that you can tell it was designed by a crew chief! The only thing I was asked was the band want Syncrolites, the rest it up to me.
"There are a few cues in a KISS show that must be done - the rest is what I call a 80's Ozzie pub rock rig on steroids. There is not a lot of movement in the rig until the end of the show. Drum riser goes up to 16' and rotates, Paul flies from front of house and Gene flies up to the front truss.
"It's been a good buzz, as I went to KISS in 1980 in Sydney and came home and told Mum I am going to be a roadie and make big rock shows. Somehow I have now gone full circle. At first it was a bit weird talking to band members in full make up and 8" boots so they end up 7' tall - twenty-nine years later who would have thought, but after so many years of touring I have no problem with it at all."
___________________
Lighting Production News: Motley on the Road with KISS
If any of you are wondering why you haven't seen Australia's renown lighting crew chief Motley recently, it's because he's been living a childhood dream - working for KISS!
"I filled in for Bryan Hartley (KISS's long time Lighting Director)on some KISS shows in the USA and Europe (07 & 08) after doing the Paul Stanley tour as Lighting Director in Australia," Motley explained. "Bryan was / is busy with Aerosmith and Trans Siberian Orchestra so Patrick Whitley sent an email, "Need KISS LD, what you up to for 18 months off and on?". My reply: "touring with KISS, I guess!"Here's an article excerpt from the Australasian Lighting Industry Association trade publication about KISS's Lighting Director, Motley! Motley discusses working with the band, the current stage setup, and many other behind-the-scenes tech details.
___________________
If any of you are wondering why you haven't seen Australia's renown lighting crew chief Motley recently, it's because he's been living a childhood dream - working for KISS!
"I filled in for Bryan Hartley (KISS's longtime Lighting Director)on some KISS shows in the USA and Europe (07 & 08) after doing the Paul Stanley tour as Lighting Director in Australia," Motley explained. "Bryan was / is busy with Aerosmith and Trans Siberian Orchestra so Patrick Whitley sent an email, "Need KISS LD, what you up to for 18 months off and on?". My reply: "touring with KISS, I guess!"
Motley has been getting great feedback from all industry types.
"I had Lenny Kravitz in NYC at front of house, and I nearly got nervous, but once the first 30 seconds of the show are over, I am in the groove and don't realise what is going on around me until just before the encore."
The rig is 64' wide and made up of 7 trusses wit 2 x 8' side trusses to give it a wider look. The stage is 106' with scaff wings built in the seats at most arenas. The set and backline is set up at front of house on a rolling stage. Lights include 7k Syncro Lite x7, V*L3000 Spot x24, V*L3500 Wash x82, 4Lite DWE {Inline} x26 {Audience}, 4Lite DWE {square} x18 {Stage}, Atomic Strobe x34, CB12 LED Truss Toner x58, ETC Source4 Par NSP x4 {Gene Blood Gag}, Red Police Beacon x10- all controlled by a grandMA.
All air lights are in pre-rig truss except Syncrolites and inline Audience 8lites, so there are not many cases to store. Lighting is supplied by Epic, based in LA. Crew Chief is Sean Kohl, and Andy Figueroa is the KISS sign tech. There are 13 trucks and 6 tour buses all pretty full up.
"The show design started with the band saying they want a set full of video and a big video screen {60' by 20')," said Motley. "We went to do a bunch of Festival shows in Canada and two in the USA, so it was different lighting vendors and systems everywhere. The VL3500 with the beam blaster in was the only fixture that would cut over all the video. We took the big screen and the old set to see what would stick and ended up with the show.
"Then Patrick sent me a hand drawing and asked me to draw it up in 3D; after a few bounces back and forth he went to the set company All Access and got it turned in to a reality.
"The strait truss look fit with the big square set and video so I kept it simple. The joke is that you can tell it was designed by a crew chief! The only thing I was asked was the band want Syncrolites, the rest it up to me.
"There are a few cues in a KISS show that must be done - the rest is what I call a 80's Ozzie pub rock rig on steroids. There is not a lot of movement in the rig until the end of the show. Drum riser goes up to 16' and rotates, Paul flies from front of house and Gene flies up to the front truss.
"It's been a good buzz, as I went to KISS in 1980 in Sydney and came home and told Mum I am going to be a roadie and make big rock shows. Somehow I have now gone full circle. At first it was a bit weird talking to band members in full make up and 8" boots so they end up 7' tall - twenty-nine years later who would have thought, but after so many years of touring I have no problem with it at all."
11/29/2009
INKED FOR LIFE
11/28/2009
EVEN THE CRITICS LOVE TODAY'S KISS!
Excerpted from The Buffalo News
Say what you will about KISS, but even after all these years, the face-painted foursome is still provocative.
This year, the band launched a first-ever fan-routed tour (which drew both praise and complaints) and released "Sonic Boom," its first album in 11 years (which entered the pop charts at No. 2, a career high for KISS).
If you ask Paul Stanley, KISS' co-leader, the band is KISS at its best- with co-leader Gene Simmons at his side, as well as recent additions Tommy Thayer (guitar) and Eric Singer (drums).
We talked to Stanley about the fan-routed tour, its new album and why critics and multi-generations seem to love KISS these days.Excerpted from The Buffalo News
Say what you will about KISS, but even after all these years, the face-painted foursome is still provocative.
This year, the band launched a first-ever fan-routed tour (which drew both praise and complaints) and released "Sonic Boom," its first album in 11 years (which entered the pop charts at No. 2, a career high for KISS).
If you ask Paul Stanley, KISS' co-leader, the band is KISS at its best- with co-leader Gene Simmons at his side, as well as recent additions Tommy Thayer (guitar) and Eric Singer (drums).
We talked to Stanley about the fan-routed tour, its new album and why critics and multi-generations seem to love KISS these days.
I know you guys are a little more than halfway done with the tour; how do you feel it's gone so far?
In terms of worldwide, it's the biggest and most successful tour we've ever done. It's been not only a great show in terms of turnout and response from the audience, but I've never seen so many great reviews. You have to remember we're a band that's always been loved by the public and hated by most critics. All of the sudden, either those critics are out a job, or they've had a change of heart, because it's suspicious to see so many over-the-top reviews.
Along those lines, I've seen pictures on your Web site of little kids and families at your concerts. Thirty years ago, that wasn't the image people had of KISS.
KISS has always been about writing our own book as to who we are and what we are. It usually doesn't follow what other bands are doing. At this point, we are so multigenerational and proud of it. We do have new fans, meaning teens and 20s, but we also have older fans with their kids. For many people, KISS has always been the soundtrack to their lives, so it'' passing something along to their kids. I couldn't be more proud of the band and what we mean to so many different people.
Where does that dedication come from? What is it about the band that inspires that in people?
I think it's the idea of being the underdog who always manages to win. We've had a career of doing things our way in the face of every known obstacle and we do more than survive, we thrive.
If you were going to create "the perfect KISS," which past or present members would be in the lineup?
They're in. This is the best KISS ever. Because this is a KISS where you've got four unique personalities, but you've got four people who are all dedicated to the idea of trying to make the band more famous, rather than trying to figure out how to have the band make them more famous. You only have to come see the band to know that this is as good as it gets.
Say what you will about KISS, but even after all these years, the face-painted foursome is still provocative.
This year, the band launched a first-ever fan-routed tour (which drew both praise and complaints) and released "Sonic Boom," its first album in 11 years (which entered the pop charts at No. 2, a career high for KISS).
If you ask Paul Stanley, KISS' co-leader, the band is KISS at its best- with co-leader Gene Simmons at his side, as well as recent additions Tommy Thayer (guitar) and Eric Singer (drums).
We talked to Stanley about the fan-routed tour, its new album and why critics and multi-generations seem to love KISS these days.Excerpted from The Buffalo News
Say what you will about KISS, but even after all these years, the face-painted foursome is still provocative.
This year, the band launched a first-ever fan-routed tour (which drew both praise and complaints) and released "Sonic Boom," its first album in 11 years (which entered the pop charts at No. 2, a career high for KISS).
If you ask Paul Stanley, KISS' co-leader, the band is KISS at its best- with co-leader Gene Simmons at his side, as well as recent additions Tommy Thayer (guitar) and Eric Singer (drums).
We talked to Stanley about the fan-routed tour, its new album and why critics and multi-generations seem to love KISS these days.
I know you guys are a little more than halfway done with the tour; how do you feel it's gone so far?
In terms of worldwide, it's the biggest and most successful tour we've ever done. It's been not only a great show in terms of turnout and response from the audience, but I've never seen so many great reviews. You have to remember we're a band that's always been loved by the public and hated by most critics. All of the sudden, either those critics are out a job, or they've had a change of heart, because it's suspicious to see so many over-the-top reviews.
Along those lines, I've seen pictures on your Web site of little kids and families at your concerts. Thirty years ago, that wasn't the image people had of KISS.
KISS has always been about writing our own book as to who we are and what we are. It usually doesn't follow what other bands are doing. At this point, we are so multigenerational and proud of it. We do have new fans, meaning teens and 20s, but we also have older fans with their kids. For many people, KISS has always been the soundtrack to their lives, so it'' passing something along to their kids. I couldn't be more proud of the band and what we mean to so many different people.
Where does that dedication come from? What is it about the band that inspires that in people?
I think it's the idea of being the underdog who always manages to win. We've had a career of doing things our way in the face of every known obstacle and we do more than survive, we thrive.
If you were going to create "the perfect KISS," which past or present members would be in the lineup?
They're in. This is the best KISS ever. Because this is a KISS where you've got four unique personalities, but you've got four people who are all dedicated to the idea of trying to make the band more famous, rather than trying to figure out how to have the band make them more famous. You only have to come see the band to know that this is as good as it gets.
11/28/2009
ERIC & GENE ON ESPN SET
11/28/2009
KISS AT OUR WEDDING!
