Kiss News

'Gene Simmons Family Jewels," the A&E reality show starring the spidery, fire-breathing, tongue-dangling KISS bassist as a family man, is stuffed with slumber parties, home movies, teen girls saying, "Whatever," and (somewhat randomly) a depressed comedian Carrot Top at a bar. But it doesn't have Paul Stanley. "God knows, he's asked me enough times," says singer and guitarist Stanley, who co-founded the band with Simmons in 1972. "There's nothing that appeals to me less than creating a TV life, as opposed to living my private life. It's just not for me. I also don't like the idea of confusing what Gene does with what KISS does. It's better to keep 'em separate."

For a man who has spent the past 37 years wearing demonic black-and-white makeup and singing "Love Gun" wearing leather pants and no shirt, Stanley, 57, is pointedly serious on the phone. Asked about Casablanca Records, the '70s disco label that broke KISS and was known for its executives' copious cocaine use and excessive behavior, Stanley says he spent little time there. Asked about Ace Frehley, the fellow band founder who spends much of his newfound solo career bashing KISS as sellouts in the press, Stanley says he's just glad the guitarist is clean and sober. Asked what he wants for Christmas, Stanley delivers a mini-lecture about supporting the American troops in Afghanistan and Iraq.'Gene Simmons Family Jewels," the A&E reality show starring the spidery, fire-breathing, tongue-dangling KISS bassist as a family man, is stuffed with slumber parties, home movies, teen girls saying, "Whatever," and (somewhat randomly) a depressed comedian Carrot Top at a bar. But it doesn't have Paul Stanley. "God knows, he's asked me enough times," says singer and guitarist Stanley, who co-founded the band with Simmons in 1972. "There's nothing that appeals to me less than creating a TV life, as opposed to living my private life. It's just not for me. I also don't like the idea of confusing what Gene does with what KISS does. It's better to keep 'em separate."

For a man who has spent the past 37 years wearing demonic black-and-white makeup and singing "Love Gun" wearing leather pants and no shirt, Stanley, 57, is pointedly serious on the phone. Asked about Casablanca Records, the '70s disco label that broke KISS and was known for its executives' copious cocaine use and excessive behavior, Stanley says he spent little time there. Asked about Ace Frehley, the fellow band founder who spends much of his newfound solo career bashing KISS as sellouts in the press, Stanley says he's just glad the guitarist is clean and sober. Asked what he wants for Christmas, Stanley delivers a mini-lecture about supporting the American troops in Afghanistan and Iraq.

Stanley is especially serious about the band's first album in 11 years, "Sonic Boom," which he produced. Leaked tracks such as "Modern Day Delilah" don't have quite the same winking debauchery of such KISS classics as "Rock and Roll All Nite," "Black Diamond" or "Strutter," but the guitars are loud, the vocals are operatic and the backbeat is booming. "This couldn't be more KISS. It catches the fire, the urgency, the adrenaline and the firepower," Stanley says, from Detroit (Rock City), where he and Simmons just began a tour with guitarist Tommy Thayer and drummer Eric Singer in lieu of founders Frehley and Peter Criss.

"The idea that perhaps 'Sonic Boom' could have been made by any other lineup is somebody's personal insanity, but it's not true. The first person I usually go to for feedback is Tommy, and Eric has been in and out of the band for 14 years."

Beginning in the early '80s, KISS tried to move beyond its trademark showmanship and toured for more than a decade without makeup or tall black space boots. They returned to the shtick in 1996, and have been making the big reunion-tour money with costumes and pyrotechnics ever since. Even the worldwide economic crisis hasn't dented the band's stage production, which hits Nassau Coliseum Friday and Madison Square Garden Saturday. "The last thing we've done is cut back," Stanley says. "You know, in a time of recession and a time where money is so tight, it's all the more reason for us to pack more in. People need to get more bang for the buck. Who better than us to do it?"

For KISS and frontman Paul Stanley, it's full steam ahead

By DARRYL STERDAN, Sun Media

KISS Army lifers who feared the band would never make another studio album are in good company -- even Paul Stanley had given up on the idea.

Sessions for the band's 1998 reunion album with original guitarist Ace Frehley and drummer Peter Criss went so badly that the star-sporting frontman had no desire to return to the studio.

"What soured me was Psycho Circus," admits a subdued Stanley.

"It was a heartfelt attempt to make a band album where there was no band. It culminated with a lot of delusional people who were talking through attorneys instead of being in the studio, and this weird sense of entitlement from people that they had some sort of birthright to have songs on an album whether or not they're good. When you have bandmembers who see the band as a way to further themselves rather than seeing themselves as a way to further the band, you're in trouble.

"Besides that, it had also reached a point where there were a lot of co-writers outside the band, which means you're not doing your job. Basically, it means you're allowing somebody else to interpret who you are instead of just being who you are.

"So there were a lot of reasons that I didn't want to do another KISS album. I didn't want to make an album that we had to apologize for or had to qualify."
For KISS and frontman Paul Stanley, it's full steam ahead

By DARRYL STERDAN, Sun Media

KISS Army lifers who feared the band would never make another studio album are in good company -- even Paul Stanley had given up on the idea.

Sessions for the band's 1998 reunion album with original guitarist Ace Frehley and drummer Peter Criss went so badly that the star-sporting frontman had no desire to return to the studio.

"What soured me was Psycho Circus," admits a subdued Stanley.

"It was a heartfelt attempt to make a band album where there was no band. It culminated with a lot of delusional people who were talking through attorneys instead of being in the studio, and this weird sense of entitlement from people that they had some sort of birthright to have songs on an album whether or not they're good. When you have bandmembers who see the band as a way to further themselves rather than seeing themselves as a way to further the band, you're in trouble.

"Besides that, it had also reached a point where there were a lot of co-writers outside the band, which means you're not doing your job. Basically, it means you're allowing somebody else to interpret who you are instead of just being who you are.

"So there were a lot of reasons that I didn't want to do another KISS album. I didn't want to make an album that we had to apologize for or had to qualify."

But the 57-year-old singer-guitarist says he and long-tongued bassist Gene Simmons gradually decided it was time to rock 'n' roll over once they reconnected with drummer Eric Singer and lead guitarist Tommy Thayer (formerly the band's road manager).

"It wasn't until this lineup had been together as long as it has -- Eric has been in and out of the band 18 years, while Tommy has been in the band for seven years and has been around as long as I can remember -- that it changed. I think everybody, pretty much to a man, can say the band's never been better. So it was a great opportunity to make a great album as long as everybody had their priorities right. From the git-go, I knew how to do it. And so far, judging by the reviews, mission accomplished."

Fair enough -- the Stanley-produced Sonic Boom, the band's first album in 11 years, is a return to their classic '70s and '80s form, dispensing with ballads, keyboards and studio musicians in favour of guitar-driven rock. And it has garnered some of their best reviews in decades.

KISS's current Alive! 35 Tour continues that old-school approach with a set list drawn from their career-making 1975 Alive! album.

En route to tonight's Air Canada Centre gig in Toronto (KISS also play the MTS Centre on Nov. 9), Stanley took a few minutes to discuss Sonic Boom, the band's legacy and more.

How is Canada treating you this time?

Terrific. It's always been terrific -- from the days of playing Sudbury and Moncton forward to today. Not only has Canada seen KISS grow, KISS has seen Canada grow.

Yet you forgot to include Oshawa on this leg of the tour after that online vote.

You know, WE didn't forget Oshawa. The truth is we always planned on playing; whether it was going to be on this leg or another leg was up for grabs. But as I said before, to announce Oshawa as the big winner in that contest and not play it would be insane. So we pushed it up and we will, of course, be there.

Will you give them a little something extra?

We don't know anything about giving extra. We only know about giving KISS. And that is about as much as you can give.

You're the guy who decided you wanted to produce the new album and have no outside writers or players. Did you meet with any resistance?

What's refreshing is that everybody said yes. And that's so indicative of the difference in the band. As for Gene and I writing together, I think he was a little ... I don't know if ambivalent was the word, but I don't know how he felt about it. But I thought it was vital. And once we started, the chemistry was there, the magic was there. Between that and rehearsing and recording, we've never had more fun doing a KISS album. The band enjoys each other's company. And you know, some people see Eric and Tommy as replacements. But when I'm on the fence about something, the first person I go to is Tommy. So it's funny that for some people, they're substitutes. But I guess Ron Wood will always be the new Stone.

Part of the problem might be that they're wearing Ace and Peter's costumes and makeup. With no disrespect to Tommy and Eric, a lot of fans see that as a slap in the face.

That there are people who take issue with it is all well and good. To say the vast majority don't agree would be an understatement. The fact is, there are four iconic figures that are what KISS is. To change that because someone is no longer in the band cheats me, because I busted my butt for 35 years making this what it is. So why would I let somebody deny me and the majority of the fans what they expect? That's what we owe to people; the representation and embodiment of what KISS has been since the beginning.

So if you left, you wouldn't mind someone else putting on the star?

I would hope it would happen. It would only affirm that the band is bigger than any of us. That the band is about an ideal, about a point of view, about a way to deliver a show, about a philosophy that puts the fans first. I'm not delusional enough to think I couldn't be replaced.

You guys aren't kidding with the Alive! 35 tour -- the set list is almost identical to the old album except for Firehouse and Rock Bottom. Why did you drop those?

We had to make sure we could include songs other than Alive! songs. We're doing a marathon encore, and at some point, something's gotta give. And while those songs may be considered classics to some, they're more obscure to others. Certainly Rock Bottom. We were faced with a choice between Rock Bottom and Hotter Than Hell, and we chose the one the audience sings along with.

Speaking of something's gotta give, you've had a couple of hip replacements. How does that affect your performance?

Other than setting off metal detectors, my only concern onstage is that I don't jump too high because I'll hit the lighting truss (laughs). I'm more athletic, more agile -- everything is there that ever was, plus.

How do you feel about the possibility of a Rock and Roll Hall of Fame induction after all these years? Is it too little too late now?

It's terrific. I think my feelings about the Rock and Roll Hall of Fame have been fairly clear. My feeling is that the hall of fame we're a member of is the one that's put 80 million albums under our belt. But if we are inducted, we'll absolutely accept. I'm proud of the people who fought for us. But I'm equally proud of the people who fight against us. They're all a part of who we are.

Do you have a crazy workout regimen? You go shirtless, so you've got to keep the belly toned.

Sometimes I wish for a suit of armor (laughs). Before I go onstage, I usually do about 75 crunches.

Here's the tough question: That chest hair of your still looks totally black. Do you dye or pluck?

If you saw me up close, you'd realize I'm human, as much as I would like to think otherwise. You can't possibly be my age and be as black as stallion.

Written by and photos by JOHN DAVISSON

As a teenager in the late 70's, I began getting into rock music, slowly, by buying an album here and there and listening to records at friends' houses, or maybe borrowing the album. This was long before MySpace and Napster, before iPods and satellite radio. Rock music hit us in shortly before high school and it was new. There was no Britney Spears, Miley Cyrus or Jonas Brothers to draw us into pop music during our elementary school days. Radio was abysmal for my friends and me mostly because disco and oldies dominated. Our mantra was "disco sucks" and although now I can have a nostalgic interest in disco, back then good ass-kicking rock music was the fodder of youth.

Bands like Rush fed our cerebral interests; we would not have heard of Ayn Rand if not for drummer Neil Peart. Queen fed our operatic yearnings, Aerosmith was our roots-rock, Ted Nugent fed our machismo. For sophisticated music, we pulled out the Yes and Emerson, Lake and Palmer albums. But for many of us disaffected youth, it was Kiss that was the standard bearer. We wanted to rock and roll all night and party every day, and Kiss had the rock anthems for us. We were recruited into the Kiss Army, drawing Kiss logos on our notebooks, jackets and whatever we could get our hands on (this was before rap and the graffiti tagging craze).Written by and photos by JOHN DAVISSON

As a teenager in the late 70's, I began getting into rock music, slowly, by buying an album here and there and listening to records at friends' houses, or maybe borrowing the album. This was long before MySpace and Napster, before iPods and satellite radio. Rock music hit us in shortly before high school and it was new. There was no Britney Spears, Miley Cyrus or Jonas Brothers to draw us into pop music during our elementary school days. Radio was abysmal for my friends and me mostly because disco and oldies dominated. Our mantra was "disco sucks" and although now I can have a nostalgic interest in disco, back then good ass-kicking rock music was the fodder of youth.

Bands like Rush fed our cerebral interests; we would not have heard of Ayn Rand if not for drummer Neil Peart. Queen fed our operatic yearnings, Aerosmith was our roots-rock, Ted Nugent fed our machismo. For sophisticated music, we pulled out the Yes and Emerson, Lake and Palmer albums. But for many of us disaffected youth, it was Kiss that was the standard bearer. We wanted to rock and roll all night and party every day, and Kiss had the rock anthems for us. We were recruited into the Kiss Army, drawing Kiss logos on our notebooks, jackets and whatever we could get our hands on (this was before rap and the graffiti tagging craze).

Kiss knew we were loyal and they took rock merchandise to a whole new level to feed our ever growing needs. Every album had a poster available for order, plus tons of other merch such as belt buckles, t-shirts, photos and more. Inside each album would be something collectible, something to be prized, whether it was a photo album or even a paper "love gun" that snapped out a "pow" flag when you flicked it. Sure I had posters of other bands such as Aerosmith, Queen, Rush, Yes, Jethro Tull and Led Zeppelin on my wall, but the Kiss posters outnumbered the others put together. And to this day, nobody can quite compete with Kiss in the merchandise category.

I read the magazines about Kiss to learn my Kisstory and today, I still know there real names, their vices and motivators. On the Dynasty tour, I was able to sneak in a 110 instamatic camera (there was no such thing as a camera phone or even an affordable cellphone back then). It the start of a passion for photographing concerts (all I really wanted to do was document the show I attended) that moved to 35mm film, digital photography and now I am a respected senior music photographer with photos published in many outlets. Maybe I really owe it all to the visual spectacle that was Kiss. They definitely got my attention and refuse to let go. Someday I hope to photograph an entire Kiss show.

So it was with great zeal that I recently flew to Detroit to see and photograph Kiss opening their US tour with a 2-night stand at Cobo Hall, the arena that helped propel them to arena tours when they recorded the first Alive album there in the 70's. After Alive became a hit, the band recorded "Detroit Rock City" in homage to their fans in Detroit, one of the first cities's to fall under the Kiss spell. Now one of the older arenas in the country, Cobo Hall is about to be retired and the band felt it best to pay their last respects to the venue and city that was so much a part of the Kiss success story.

The band also invited some fans to Cobo Hall the night before the big concerts (sadly, I flew into Detroit too late for that) for a meet and greet and brief dress rehearsal, and to record a few songs for Jimmy Kimmel's TV show and to film some scenes for "Modern Day Delilah," the first video from their new album Sonic Boom that will be release on October 6.

The current tour from the hottest band in the land celebrates 35 years of Kisstory with a return to the original Alive album. The Alive 35 tour will be coming soon to a city near you. The first part of the tour opening show was the Alive album, almost in its entirety and pretty close to the same running order. For some reason, they dropped "Firehouse" and "Rock Bottom." "Rock and Roll All Nite," the ultimate Kiss anthem, was moved to the end to close the show in style. Tommy Thayer and Eric Singer have replaced Ace Frehley and Peter Criss respectively, although they carry the same make-up and similar personas, but it was still the Kiss spectacle. Hearing classics like "She," "Deuce," "Strutter," "Got to Choose," and "Parasite" was a real treat. Gene Simmons breathed fire during "Hotter Than Hell" and there was some nice pyro throughout, especially during "100,000 Years" and "Rock and Roll All Nite." Tommy Thayer's guitar solo featured sparks shooting from his guitar, just like Ace used to do. Eric Singer's drum kit elevated and revolved during his drum solo. There was no "Beth" but that's understandable as it was a Kiss power ballad that graced the album after Alive.

The show ended with a long encore that brought the Kisstory to the present, featuring "Shout It Out Loud," "Lick It Up," "I Love It Loud" (during which Gene spit blood and flew up to the lighting rig), and the new song "Modern Day Delilah." At one point they even threw in some riffage from the Who's "Won't Get Fooled Again," in homage to the band that pioneered anthemic rock. Then Paul Stanley stepped onto a winch that carried him over the audience to a revolving second stage at the back of the hall for "Love Gun." The final song of the night, which everybody knew they had to play, was "Detroit Rock City," with lots of pyro, as a final thank you to Detroit.

The stage and costumes were a little different but it was still the pyro spectacle I know and love from Kiss, and enough confetti was thrown into the air to make the arena floor look like it had been hit by a blizzard. The staging was new, with a giant video screen behind the band and video cubes lining the length of the stage on three levels. There were also hydraulic platforms at either end of the stage that elevated Gene, and Tommy far above the stage, almost to the lighting rig, while another hydraulic platform elevated Paul at the same time about half as high as he smashed a guitar. Kiss is still Alive 35 years after they started. And that makes this fan, and the legion of fans that make up the Kiss Army, very happy.

Kiss is also a possible induction into the Rock and Roll Hall of Fame, a country club for elite artists with the right connections much like the Grammy award. Considering they wrote "Rock and Roll All Nite" (one of the all-time great rock anthems), pioneered the pyro that now sustains bands like Nickleback and Creed as well as the WWF, took merch to a new level, and sold more albums than most inductees, isn't it about time?