KISS IS EVERYWHERE!
Here's Gene Simmons on the cover of the latest issue of �Rock & Pop� magazine from Czech Republic.
Thanks to Marcel Mueller for sharing the cover with us!
Not every KISS remake rocks and rolls all night.
From the moment KISS first permanently conquered rock, metal, and, in fact, all forms of pop culture in the mid-1970s, artists have been covering the group�s songs.
Typically, dipping into the KISS catalogue is a favorite activity of garage bands, hardcore bruisers, and, of course, heavy metal artists. In fact, when it comes to headbangers paying musical tribute to their face-painted heroes, metal�s entire spectrum, from glitzy glam to brutal blackness, covers KISS.
Alas, hard and/or heavy is not a requirement when it comes to covering KISS. Discounting tangentially metal sounds such as Nirvana�s grunge rave-up of �Do You Love Me?� and the Replacement�s drunk-punk �Black Diamond,� delving into non-metal performances of KISS material makes for some mighty odd musical bedfellows. Here are ten of the oddest excursions.
12. �Fui Hecho Para Amarte� � Menudo (1981)
�Fui Hecho Para Amarte� is Spanish for �I Was Made for Loving You.� It�s fitting, then, that when Latin music�s premiere, eternally youthful (via forced teenage retirement) dance-oriented boy band took a crack at a KISS song, it would be KISS�s initially bellyached-about, ultimately deemed kickass attempt to go disco. Menudo�s cover ups the song�s inherent pop factor and those prepubescent voices successfully sell the message. Menudo, too, was made for loving you, baby.
11. �Heaven�s on Fire� � Hayseed Dixie (2003)
Novelty bluegrass act Hayseed Dixie formed in 2001 largely to put out the cult album, A Hillbilly Tribute to AC/DC (their name, of course, is a play on AC/DC). Following the 2002 multi-artist cover album A Hillbilly Tribute to Mountain Love (which contains �rockgrass� reworkings of Queen�s �Fat Bottom Girls� and Spinal Tap�s �Big Bottom�), in 2003 Hayseed Dixie delivered KISS My Grass: A Hillbilly Tribute to KISS. The title delivers what it promises, impressively hick-ifying nuggets from the entire spectrum of KISS�s career.
Teachers often get a bad rap from rock-and-roll, dating back to �School Days� by Chuck Berry on through �School�s Out� by Alice Cooper, �Another Brick in the Wall� by Pink Floyd, and both hit versions of �Smokin� in the Boys Room� by Brownsville Station and Mötley Cr�e.
But what happens when the instructor in front of the classroom is actually a rock star? In some cases, they�re up-and-comers who teach by day and jam by night; in others, they�re established figures who return to school to share their unique knowledge.
So with school back in session, here�s a salute to ten major musicians who (at least) once stepped off stage and rocked a chalkboard.
For a brief spell in the early 1970s, Gene Simmons�AKA the fire-breathing Demon bassist of Kiss�taught sixth grade at P.S. 75 in New York City�s Spanish Harlem.
�The reason I quit after six months,� Simmons revealed, �is that I discovered the real reason I became a teacher. It was because I wanted to get up on stage and have people notice me. I had to quit because the stage was too small. Forty people wasn�t enough. I wanted 40,000.�
In 2005, Simmons hopped the pond to star in the UK reality TV show, Gene Simmons� Rock School, where the God of Thunder was challenged, a la the beloved Jack Black movie School of Rock, to transform a classroom full of kids into a high-powered rock-and-roll ensemble.
Just got my autographed #KISS pinball machine setup up and wanted to tell you how much fun it is. I've been playing it for hours! Ten rockin' KISS Klassics and great game play! It doesn't get any better than this. - Jeff Kramer
These machines are for sale exclusively on https://www.shopkissonline.com/pinball .
KISS guitarist Paul Stanley has a soft spot for the great soul music of the 60's and 70's.
Stanley has said that the music was the first that he knew. "When I was a boy, before I ever saw the Who or Led Zeppelin, I saw Solomon Burke and Otis Redding. I saw the Temptations. It�s tragic to think that so many people are missing out on experiencing the power of so many great bands, artists and that incredible music."
That's why he has formed the band Soul Station in an attempt to expose people to the magic of R&B. "That music is part of the foundation of all the music I�ve made and Soul Station is my chance to celebrate it for a night that�s real and live."
Soul Station will play for one night only at Los Angeles' Roxy Theatre on September 11. As to what to expect, Stanley says "Whether it�s the Stylistics, the Dramatics, the Temptations, Smokey and the Miracles, Blue Magic and on, these songs, arrangements and sound just blow you away. I don�t play guitar in the band and we don�t do a single KISS song. That's not what this is about. It�s magical to hear those songs played right and we�re making magic."
Soul Station includes Stanley, Rafael �Hoffa� Moreira (guitar & backing vocals), Sean Hurley (bass), Alex Alessandroni (keyboards), Ely Rise (keyboards), Eric Singer (drums & backing vocals), Ramon Yslas (percussion), Nelson Beato (backing vocals), Crystal Starr (backing vocals) and Ayana Layli (backing vocals).
Review and Photos by Alan Mann / Right On! Replicas
Two of the greatest Icons in their industries meet in this AMT Fantasy Monster Truck!
Bigfoot which was introduced in 1979 is regarded as the original monster truck. Other trucks with the name �Bigfoot� have been introduced in the years since, and it remains a well-known monster truck moniker in the United States. Bigfoot 4�4, Inc. is owned and operated by its creator, Bob Chandler. Bigfoot has been based on the Ford F-Series trucks since its beginning. Through the years the body styles have been updated as well as the manufacture of tubular chassis� and fiberglass bodies.
KISS is an American rock band formed by Paul Stanley and Gene Simmons. Well known for its member�s face paint and stage outfits, the group rose to prominence in the mid-to-late 1970s. The band has gone through multiple lineup changes, with Stanley and Simmons the only remaining original members. Counting the 1978 solo albums, KISS has been awarded 30 gold albums to date, the most of any American band. Destroyer is the fourth studio album released on March 15, 1976. The album was certified gold by the RIAA on April 22, 1976, and platinum on November 11 of the same year, the first KISS album to achieve platinum. The album marked a departure from the raw sound of the band�s first three albums to a more finished sound they continue to use.
For the Modeler: This review covers the 2013 release of the KISS Monster truck released by Round 2 under the AMT brand. It is Kit #A787 in the current catalog and is still available in many hobby shops and online. This is a 1/25 scale kit that is Skill Level 2 for the Moderate Builder. This is considered a Re-Box kit, it is a direct Re-release (Re-Pop) of the Bigfoot kit but with new graphics and they are readily available at online retailers and auction sites. The kit consists of 126 parts molded in Blue, Chrome and Clear and has Vinyl tires and metal axles. In the build you get a very detailed motor. Simple wiring will make this a contest quality motor. The chassis is a solid tubular frame and is straight and the fit is good. This is a race truck so there really is no interior beyond the basics of a seat and wheel. The cab is solid with a separate bed; and some minor add-on parts. The decals are a nice sheet of custom KISS Destroyer album art. Vinyl flags are included for the rear also. The instructions are a multiple foldout with a separate sheet for decals. You get three set of instructions in English, French and Spanish. Overall dimensions are: Length: 10�, Width: 5-3/4�, Height: 5�.
Covered in this Review: If you want to perfect your build; basic construction; preparing parts for better finishing; alternate assembly sequence suggestions for fit and ease of finishing; abrasive choices; complete paint and adhesive selections and applications;test fitting; repairing excess flash; mold seam identification and repair; using white glue for the window glass; suspension construction; detailing the tires for realism; chassis construction and detailing; mounting the body to the chassis; finishing the engine; interior color selection; engine construction and detailing; fuel cell construction and detailing; building and complete frame details; detailing the instruments; making a wired distributor; removing heavy tabs; combining instruction steps for better finishing; building and installing the roll cage; using floor wax to make crystal clear window glass; decal preparation and application; making the back end flags; using decal setting solutions for that �painted on� look; are all fully examined in this 20 page, full-color Step-by-Step review in PDF format.
by Richard Bienstock / Guitar World
ACE FREHLEY
GENE SIMMONS As a musician, you have to hand it to him. He knew his stuff. And when he cared�the first three records, I would say�he was great. You can sing those solos. It was like opera. And the integrity of his style was instantly recognizable. As soon as he played, you knew it was him. That�s probably the highest compliment you can give to a guitar player.
PAUL STANLEY In the beginning, we just gelled as guitarists. And even today, I talk about Ace a lot. I�ll tell people, �He really had the goods.� He can argue all he wants that he still does, or say whatever he wants to say the reasons are that he didn�t ascend to more. Everyone�s entitled to their opinion. But I saw somebody throw away a gift.
SIMMONS Before the drugs and the booze and everything, he was basically Ace, a lovable, loving guy. We all cared for him. I loved him. I love the straight Ace. But I fucking hate any drug addict. Because they�re possessed.
VINNIE VINCENT
STANLEY Vinnie had an incredible touch and an incredible knowledge of the guitar. But left to his own devices he�d hang himself. For somebody who could play so brilliantly and so tastefully, it became more about how much he could play rather than what he played. And, ultimately, I couldn�t understand what he chose to play. And that�s not taking into account all the other stuff about him, which I think has been well documented.
SIMMONS He was a much more accomplished musician [than Frehley]. Understood some jazz. Could play faster. He was a big fan of all that sort of hurricane machine-gun stuff. But he was not as pure in his personality. We wrote �I Love It Loud� together, although he hated me for telling him what to play in the solo. But the guy could write songs.
The guy could sing. He could play rings around most anybody. But with all due respect to Vinnie, it was a fucking nightmare. And it continues to be. That guy sued us 14 times and lost 14 times. But I wouldn�t wish his life on anybody. He�s had a lot of grief. A lot of trouble. And I feel sad that he didn�t understand the gift and the opportunity he was given.
MARK ST. JOHN
STANLEY My classic story with Mark is that during the making of Animalize I sent him home one night to come up with a solo to one of the songs. And the next day he came back and played me something that was at least a start. Then I said, �Play it again.� And he said, �I can�t.� The guy could never play the same thing twice, because he was just puking notes. There was no structure to any of it. So I told him, �Go home and listen to Eric Clapton. Listen to Paul Kossoff. Listen to Jimmy Page.� And he looked at me and said, �I can play faster than them.� So that about sums it up. Check, please!
SIMMONS Mark�s guitar playing was like an angry bee flying around your head. The most irritating sound. And he would show you that his fingers could stretch 11 frets. He could play very fast, but he was all technique. He did not have a style or soul.
STANLEY Obviously health issues derailed his being in the band [soon after recording Animalize, St. John developed Reiter�s Syndrome, an arthritic condition that left him unable to play], but I don�t know how long he could have been in the band. He was the poster child for, as far as I was concerned, not understanding what great guitar playing was about.
BRUCE KULICK
STANLEY For some people, Kiss started in the Eighties, and for them Bruce is the guy. He was a great team player and somebody who always wanted to do his best. He was also essential to Kiss becoming a Platinum-selling band again. His importance should not be minimized.
SIMMONS Bruce was the perfect guy for us at that time. And the irony is that he became the guitar player in Kiss after [his brother] Bob Kulick auditioned for the band. But Bob was more of a Neal Schon�type player, while Bruce was more flexible in his style. He could adopt and adapt.
He could play fast, but he could also play with melody. And he was a nice guy. Not a great singer, but his strong points were his fingers, not performing. It would be like pulling teeth to get Bruce to open up onstage�to raise his arm up or do a Jesus Christ pose, that �I�m so important thing.� That wasn�t his style. His strength was the guitar.
TOMMY THAYER
SIMMONS I met Tommy when I produced two records for Black �N Blue [Thayer�s Eighties-era glam band]. He was always organized and a solid, professional guy. What I didn�t know back then is that he was also in a Kiss tribute band, Cold Gin. So he knew Ace�s solos forward and backward. Tommy started off with us by helping to put together the Kisstory books. Then he helped with Kiss conventions. After that he was our road manager. When Ace left again, he became the guy. And he�s the best of all possible worlds.
STANLEY Tommy�s a terrific musician�a great lead player and a very even rhythm player. The fact that he already had the Kiss stuff down, the fact that he worked with Ace on the reunion tour, that�s all moot. That just says that he technically knows the material. Tommy is much more than that. I love his playing. I love his work ethic. I wouldn�t want to play with anybody else.
KISS IS EVERYWHERE!
Here's Eric Singer on the cover of the September issue of Batteur Magazine in France.
Thanks to Christophe Dard for sending us the image!
This KISS fan is ready for The KISS Kruise V!
Great tattoo, Darran!
We'll see you on the ship!
By Michael Cavacini
For me, 2014 was the year of KISS. I was lucky enough to meet all of the current and original members of the band, and I was in Brooklyn when Paul, Gene, Peter, and Ace were inducted into the Rock & Roll Hall of Fame. I also interviewed Paul Stanley and received one of his autographed signature guitars as part of a meet and greet. And I closed out the year with two Ace Frehley concerts and meet and greets, not to mention my seabound voyage on KISS Kruise IV, where the band and I were �Dressed to Kill.�
My biggest KISS highlight of this year so far? Interviewing KISS� current � and best � drummer: Eric Singer. As you can see from the interview below, we covered a lot of ground. Having the opportunity to speak with my favorite drummer for an extended period of time was an absolute joy, and I hope you enjoy the conversation as much as I did.
Earlier this year I interviewed Deen Castronovo, best known for being Journey�s drummer. And when I spoke with Deen he mentioned that you two are friends and that you helped him out earlier on in his career.
I�ve known Deen a long time. I first became aware of him when he was in Wild Dogs. I like the way he played on that record. I remember telling Pearl, �You guys should really sign this guy. He�s really great.�
When I spoke with Deen he told me that when he was a kid he wanted to be in either Journey or KISS, and he wound up being in Journey. Did you have a similar dream growing up?
Oh yeah. I was a big KISS fan. And I don�t know if Deen told you this but at the time they were looking to replace Eric Carr, Deen was one of the drummers they considered. Deen told me that he spoke with Gene Simmons on the phone several times and that he sent Gene videotapes. Then Deen told me, �I never heard from Gene again and I found out that you, Eric, got the gig.� That�s what Deen told me.
But Deen is great and went on to be in Hardline, Bad English, and of course, Journey. And he has a phenomenal voice. It�s a natural gift from god. I show people videos of him and say, �You�ve gotta� check this guy out. He�ll blow you away.� He should be the lead singer of Journey because he�s the closest you�re gonna� get to Steve Perry, in my opinion.
You�re a great singer as well. However, you didn�t get a studio lead vocal on a KISS album until Sonic Boom. When you came in to do Revenge, did you think you�d get a chance to sing on the album? Was it even a consideration at the time?
No. When they first asked me to be in the band, they didn�t know I could sing at all. I did a little bit of singing backgrounds for the Revenge album in the studio, but they didn�t know I could be a lead singer on a tune. That they didn�t know. And to be honest, I didn�t really know either.
When I first started playing with them, I remember going to rehearsal and saying to them, �What parts do you want me to sing?� And they didn�t even realize I could sing. I told them, �Well, I can sing a little bit, but I�m not sure which parts.� So, Gene would say, �OK. Can you sing this part?� And I would go, �No, that�s too low for me.� And he said, �OK, you sing this part and I�ll sing that part.� And that�s the way it developed. Song-by-song I started to see what I was capable of singing and what I was comfortable doing.
Now it�s gotten to the point where I sing a lot. I sing all the high harmonies in the band. But that�s not something that was intentional or known, in the beginning, that this was something I was going to be doing. They didn�t know I could do it, and neither did I. I knew I could sing a little bit. I just didn�t know how much.
