Kiss News

Excerpted from a review by By: Brigette Sullivan
Photo by Brigette Sullivan / Outer Focus Photos

Iconic Shock Rock quarter KISS once again swept through Chicagoland's First Midwest Bank Amphitheatre, on their "The Tour" co-headlining tour with fellow rockers Motley Crue and supporting band The Treatment. For those familiar with the KISS show, it was what one would expect from the band: loud, explosive (literally), simple Rock and Roll, and plenty of signature KISS makeup�on stage and in the crowd.

Then the band most seemed to be waiting for hit the stage, and the audience energy changed. Cool rock dudes became giddy ten year-old versions of themselves, complete with fist-pumping screams and air guitars.

70�s Rock icons KISS opened the night with �Detroit Rock City�, followed by �Shout It Out Loud�. Every person in the near-capacity venue was on his feet, singing along and spilling their over-prices beers as they jumped to the drum beats. As founding members Gene Simmons and Paul Stanley strategically struck poses for the cameras and enthusiastic audience, newer band mates Eric Singer and Tommy Thayer carried the sonic energy with their drum and guitar skills respectively.
Excerpted from a review by By: Brigette Sullivan
Photo by Brigette Sullivan / Outer Focus Photos

Iconic Shock Rock quarter KISS once again swept through Chicagoland's First Midwest Bank Amphitheatre, on their "The Tour" co-headlining tour with fellow rockers Motley Crue and supporting band The Treatment. For those familiar with the KISS show, it was what one would expect from the band: loud, explosive (literally), simple Rock and Roll, and plenty of signature KISS makeup�on stage and in the crowd.

Then the band most seemed to be waiting for hit the stage, and the audience energy changed. Cool rock dudes became giddy ten year-old versions of themselves, complete with fist-pumping screams and air guitars.

70�s Rock icons KISS opened the night with �Detroit Rock City�, followed by �Shout It Out Loud�. Every person in the near-capacity venue was on his feet, singing along and spilling their over-prices beers as they jumped to the drum beats. As founding members Gene Simmons and Paul Stanley strategically struck poses for the cameras and enthusiastic audience, newer band mates Eric Singer and Tommy Thayer carried the sonic energy with their drum and guitar skills respectively.

Next up were �I Love It Loud� and �Firehouse�, to which Simmons did his signature (he�d trademark it, if he could) fire breathing stunt. Then came lesser know songs �Hell or Hallelujah� and �War Machine�. Thayer and Singer traded solos on �Shock Me� while Stanley and Simmons took performance breaks. Simmons returned to the staged rigged with fake blood capsules and wire harness. He spat blood, wagged his well-known oral appendage, then was lifted several feet up to the rafters for �God of Thunder�. The band then performed thunderous �Love Gun� and 80�s Rock Pop sounding �Lick It Up�, at which point Stanley zip-lined to an outer audience platform with his guitar. The band pulled out their old gem �Black Diamond�, much to the delight of fans throughout the venue. Stanley did a brief guitar solo, then the band informed the audience they�d have to wrap up their night due to a strict venue curfew. The last two songs were �Dr. Love� and of course, �Rock and Roll All Nite� accompanied by a three minute shower of confetti, stage fog, and a few thousand pairs of arms in the air.

Nowadays, KISS concerts are more about the party and nostalgia than discriminating musicianship and the presentation of new material. There are a handful of shows concert goers attend because they want consistency; they want to reminisce and memorialize their carefree, Rock and Roll-fueled youth. KISS is one of those shows. The band changes just enough of the set list from town to town and tour to tour to keep fans coming back. You can always guarantee they will hit the stage with an overabundance of pyrotechnics, black and silver trademarked costumes (we�ll pretend those few makeup-free years in the 90�s never happened), a bit of fake blood from Simmons, and bit of flare and posturing from Stanley, and a solid backbone with Thayer and Singer.

By Michael Heaton, The Plain Dealer

With Kiss playing Blossom Music Center this week, we thought it would be a good time to catch up by phone with Euclid hometown hero and heavy-metal drummer Eric Singer. Singer, 54, has lived in Los Angeles for 30 years and has been a drummer for Kiss, on and off, for the last 21 years. He has also played with Alice Cooper, Lita Ford and on solo tours by Kiss' Paul Stanley.

Where are you now in the tour?

We played a sold-out show at the Minnesota State Fair last night. It's a 44-city tour. We just added Mexico City and Monterrey.

Where did you grow up in Cleveland?

Euclid. I graduated from Euclid High School in 1976.

When did you start playing music?

My dad was Johnny Singer. He had a society club band. They went from being a trio to a 15-piece band, depending on the gig. I started playing drums with him when I was 14. We played a lot of country clubs on the East Side. I was later in a band with Mike McGill that would become Beau Coup with the Amato brothers [Frank and Tommy] and Dennis Lewin.By Michael Heaton, The Plain Dealer

With Kiss playing Blossom Music Center this week, we thought it would be a good time to catch up by phone with Euclid hometown hero and heavy-metal drummer Eric Singer. Singer, 54, has lived in Los Angeles for 30 years and has been a drummer for Kiss, on and off, for the last 21 years. He has also played with Alice Cooper, Lita Ford and on solo tours by Kiss' Paul Stanley.

Where are you now in the tour?

We played a sold-out show at the Minnesota State Fair last night. It's a 44-city tour. We just added Mexico City and Monterrey.

Where did you grow up in Cleveland?

Euclid. I graduated from Euclid High School in 1976.

When did you start playing music?

My dad was Johnny Singer. He had a society club band. They went from being a trio to a 15-piece band, depending on the gig. I started playing drums with him when I was 14. We played a lot of country clubs on the East Side. I was later in a band with Mike McGill that would become Beau Coup with the Amato brothers [Frank and Tommy] and Dennis Lewin.

Then you moved to Los Angeles?

In 1983 I moved out to the West Coast. The idea was to study music for a while, or take lessons. But within a year I was playing in Lita Ford's band. She was dating Tony Iommi from Black Sabbath and I got some gigs from him. I played with Gary Moore [Thin Lizzy], Brian May [Queen] and did 13 tours with Alice Cooper.

How did the Kiss thing happen?

I was hired for Paul Stanley's solo tour in 1989. I've been on and off with Kiss for 21 years now. For the last nine in a row.

How much of a pain is all the makeup?

Don't get me wrong. I'm not complaining. But being in this band is a lot of work. All the makeup and costumes can be cumbersome. Especially when you play outdoors in Phoenix when it's 115 degrees.

Did you grow up a Kiss fan?

I saw them open for the New York Dolls at the Allen Theatre in 1974. I still feel like a fan to this day. Sometimes I see a kid at a show in the front row and I think, that was me. I've been blessed. Retaining that feeling of being a fan keeps me passionate about doing this. You need to be passionate to do this.

Have you ever met [original Kiss drummer] Peter Kriss? Is it awkward?

We've met. He's fine. We don't socialize or anything. I realize that fans want their bands to stay together forever. But that's because they've never been in a band. Know how hard a relationship between two people can be? Imagine that with four or five people. Sometimes a band has to change to survive. Sometimes a guy has to leave a band as a survival tactic. Life happens. Things change. It's not a perfect world.

How do you stay healthy on the road and in the heavy-metal world?

I don't smoke or do drugs. I hardly drink. Maybe a glass of wine with dinner. I had one drink last night after the show. A vodka and soda on the rocks. I nursed it for an hour. Even that is rare for me. My way of staying healthy is getting rest and eating well. That's the key. I spend 22 hours of my day getting ready for the two hours onstage. I've never missed a show in my life.

Excerpted from a review by: Daniel DeSlover
Photo by: Daniel DeSlover - ConcertCapture.com

VIEW A PHOTO SLIDESHOW FROM ALPINE VALLEY

The much anticipated show featuring KISS and M�tley Crüe, simply dubbed "The Tour," rolled into Alpine Valley Music Theatre on Sept. 8, 2012. Heavy rains dampened the spirits of some on the general admission lawn, prompting an earlier than expected departure. Those that were fortunate to be under the large awning, or crazy enough to brave the chilled air, witnessed an amazing theatrical performance.

KISS and M�tley Crüe are known for their over-the-top live performances--fire, explosions, hydraulic lifts and mechanical drum platforms. Gene Simmons and Paul Stanley are the final remnants in a cog that made KISS the self-proclaimed "hottest band in the world." It's hard to believe that it has been nearly four decades since "KISS," their first album, was released. Tommy Thayer, lead guitar, and Eric Singer, on drums, have been around the KISS machine for long enough that, with face paint, it's difficult to discern the group from its original lineup.Excerpted from a review by: Daniel DeSlover
Photo by: Daniel DeSlover - ConcertCapture.com

VIEW A PHOTO SLIDESHOW FROM ALPINE VALLEY

The much anticipated show featuring KISS and M�tley Crüe, simply dubbed "The Tour," rolled into Alpine Valley Music Theatre on Sept. 8, 2012. Heavy rains dampened the spirits of some on the general admission lawn, prompting an earlier than expected departure. Those that were fortunate to be under the large awning, or crazy enough to brave the chilled air, witnessed an amazing theatrical performance.

KISS and M�tley Crüe are known for their over-the-top live performances--fire, explosions, hydraulic lifts and mechanical drum platforms. Gene Simmons and Paul Stanley are the final remnants in a cog that made KISS the self-proclaimed "hottest band in the world." It's hard to believe that it has been nearly four decades since "KISS," their first album, was released. Tommy Thayer, lead guitar, and Eric Singer, on drums, have been around the KISS machine for long enough that, with face paint, it's difficult to discern the group from its original lineup.

Given 90-minutes to fill a setlist, the show was filled with most of the requisite hits. "Detroit Rock City" and "Shout It Out Loud" got the action started and they continued with additional old-school favorites, "I Love It Loud" and "Firehouse;" the latter ending with Simmons breathing fire. Video screens wrapped around most of the stage, changing into a given theme consistent with the music.

KISS did perform one new song, "Hell or Hallelujah" from their forthcoming album "Monster." Stanley stopped and told the crowd, "I just bought this song on iTunes today. I'm in the KISS Army and I support the band." It was a catchy song that definitely fits the KISS mold.

Simmons and Stanley left the stage at the end of the song as Thayer ripped into a lengthy guitar solo, complete with fireworks shooting from his guitar, while Singer stuck around to provide rhythm on drums. Both Singer's drum platform and Thayer were lifted to the rafters for the solo.

Simmons returned for a bass solo, while blood oozed from his mouth, down his chin and onto his axe. The demon took flight and they launched into "God of Thunder." Outside of "Lick It Up," and the new song, the entire setlist was from 1982's "Creatures of the Night" and prior. They finished with "Black Diamond" before returning with a two-song encore of "Strutter" and perpetual closer, "Rock and Roll All Nite."

The bells and whistles still work, from blood to fire and everything in between, the production sells tickets and the fans get to see an epic show every night. Throw in M�tley Crüe and this definitely is "The Tour."

By Neil Chrisley

Following a full decade without a studio album, KISS made a spectacular return to form three years ago with Sonic Boom, a no-frills album that recalled the band�s mid to late �70s glory years. Incredibly, the group�s forthcoming new album, Monster, is an even greater triumph. Packed with explosive energy and the sort of guitar riffs other bands dream about, Monster seems destined for a prime spot among other KISS classics.

Even more so than on Sonic Boom, guitarist Tommy Thayer played an integral role on Monster, writing or co-writing ten songs and, alongside Paul Stanley, delivering half the band�s two-guitar punch. Clearly, he�s established himself as an indispensable cog in the current KISS lineup of Stanley, Gene Simmons, Eric Singer and himself. In the following interview, Thayer talks about the new album, his main guitar influences and why Gibsons are his choice guitars both on-stage and in the studio.

How did the band approach making the new album?

Generally, it was the same approach as Sonic Boom. We didn�t have an agenda. We just wanted to write great rock and roll songs and make a cohesive album. With Sonic Boom, it was more like testing the waters, seeing how things would go with this lineup and with the band as it is today. We came up with a great record, obviously, and we found that we could be effective and lethal in the studio. Monster takes those things to a new level, and ups the ante in terms of the songs and the production. It was similar, but it was new and improved as well.By Neil Chrisley

Following a full decade without a studio album, KISS made a spectacular return to form three years ago with Sonic Boom, a no-frills album that recalled the band�s mid to late �70s glory years. Incredibly, the group�s forthcoming new album, Monster, is an even greater triumph. Packed with explosive energy and the sort of guitar riffs other bands dream about, Monster seems destined for a prime spot among other KISS classics.

Even more so than on Sonic Boom, guitarist Tommy Thayer played an integral role on Monster, writing or co-writing ten songs and, alongside Paul Stanley, delivering half the band�s two-guitar punch. Clearly, he�s established himself as an indispensable cog in the current KISS lineup of Stanley, Gene Simmons, Eric Singer and himself. In the following interview, Thayer talks about the new album, his main guitar influences and why Gibsons are his choice guitars both on-stage and in the studio.

How did the band approach making the new album?

Generally, it was the same approach as Sonic Boom. We didn�t have an agenda. We just wanted to write great rock and roll songs and make a cohesive album. With Sonic Boom, it was more like testing the waters, seeing how things would go with this lineup and with the band as it is today. We came up with a great record, obviously, and we found that we could be effective and lethal in the studio. Monster takes those things to a new level, and ups the ante in terms of the songs and the production. It was similar, but it was new and improved as well.

Why was the band reluctant to make an album for all those years prior to Sonic Boom?

That�s probably more a question for Paul or Gene. It was before I was on-board. But my impression is that they didn�t feel comfortable trying to record a studio album because of the state of the band at that time. They didn�t feel it was healthy -- or that the band could produce, write and record a great rock and roll record. That said, the band has fused incredibly well in the last eight or ten years. There�s such great spirit and chemistry now, it suddenly became obvious � prior to making Sonic Boom -- that this band should make a studio album.

What guitars did you use on Monster?

Primarily I used a Gibson SG � a 1961 reissue that belongs to Paul. It�s the same guitar I used on a lot of Sonic Boom. Normally I play a Les Paul, but for recording work I�ve found that the SG has a little more punch, and isn�t quite as full-bodied. Sonically, the SG fit well into the tracks. I did use the Les Paul on a few things as well. It was pretty much straight head: plug the SG into a couple of good amps, and keep it raw and ballsy.

What Les Paul models do you play?

They�re Custom Shop reissues of the �58, �59 and 1960 Les Paul Standards. I use those guitars on-stage as well. I also have one that�s customized � the Rocket Guitar, which has a rocket launcher mounted on the back of the headstock. I also have a couple of Explorers I take on the road. They have a silver-sparkle finish, the same finish that my new Epiphone Tommy Thayer Signature Les Paul will have. The signature model is similar to the Les Paul I often use on solos, which is a Les Paul Standard with a silver sparkle top. Epiphone will be releasing officially announcing that guitar in the next couple of months and it should be available in stores in early 2013."

Who are your main guitar influences?

My favorite bands when I was learning to play were Foghat, Deep Purple, Black Sabbath, KISS, Aerosmith, Montrose � those types of bands. Probably my favorite guitar players were Ronnie Montrose and Jimmy Page and Peter Frampton. I�m still a big fan of Frampton. I also loved Pat Travers, Robin Trower � second generation mid �70s players. Mainly I learned by mimicking records, putting albums on the turntable and trying to figure out the chords and riffs. I probably didn�t learn them quite right, in the beginning. When you�re a kid, you�re kind of at a loss for how some of these things are done. Eventually I started learning some solos � again, by listening and studying what was on those albums.

Which era was the greatest for guitar riffs?

The early to mid �70s was a great time for guitar riffs. But at the same time, when you�re 13 or 14 years old, that�s a magical period in your life, when you�re first getting into playing guitar and first going to concerts and so forth. The riffs you�re listening to at that age tend to stay with you. A great rock album that still holds up today is the first Montrose album. �Rock Candy,� �Rock the Nation,� �Bad Motor Scooter,� �Space Station #5� � those are great rock and roll songs with incredible riffs. A great guitar riff is worth its weight in gold. Being able to come up with great riffs � and write that kind of stuff � isn�t as easy as people think.

What makes Gibsons so right for what you do?

A lot of it has to do with the guitarists I grew up loving. Most of them played Les Pauls or other Gibsons. The guys in Aerosmith, Ronnie Montrose, Peter Frampton and the guys in KISS all played Les Pauls. When you�re growing up, and you�re first excited about rock and roll and guitar players, you want to mimic that as soon as you can. Those players weren�t using those guitars by chance. When it�s combined with the right amp, you just can�t beat the sound and the beefiness of a Gibson.

Is being a guitarist in KISS different from being a guitarist in other rock bands?

It�s a whole other world. I could never imagine being in a regular band again. That would be a huge step backwards. Being in KISS is the ultimate in rock and roll performance and theatrics. 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.