Joe Pollo

Hennemusic

Chris Czynszak | Decibel Geek

WCAX

KISS frontman Paul Stanley has visited a 4 year old girl in hospital after she underwent reconstructive surgery to her ears. Arabella Carter , who was born without external ears underwent the procedure on March.

WCAX.COM Local Vermont News, Weather and Sports-

Nick Deriso | Something Else

The promise, both fulfilled and completely missed, on Kiss’ Destroyer can be heard inside the Gene Simmons vehicle “God of Thunder.” Simmons sounds like a gaping maw, so dangerous and primordial, with a creaking groove to match — as if he’s transformed into something rising up in the night.

But here, as elsewhere on Destroyer, first-time Kiss producer Bob Ezrin is doing all this superfluous experimental garbage — sound effects, children’s voices, orchestras, whatever. “God of Thunder” ends up as a muscular but simultaneously muddy mess. The longer I listen, every time, to this song … to this whole album … the more I just want to go and dig out Alive! — the up-against-the-wall double-live concert document from the year before that conveys all of the force, and humor of Kiss in a way this often overwrought studio effort just never did.

Ezrin, and therefore Destroyer, just keeps screwing around. When it’s good, there’s fun to be had … and, especially on tough groovers like “God of Thunder,” it almost gets there. When it’s not, though, the project is weirdly disconnected, like it’s trying to sound interesting, but instead just sounds silly.

[THESE, HOWEVER, WE LIKE: Let’s track back to some of our favorite, most memorable moments from the long history of Kiss – from ‘Destroyer’ to ‘Alive,’ from ‘Ace Frehley’ to ‘Revenge.’]

Destroyer (released on March 15, 1976) begins, for instance, with these found-object news-report snippets, straight out of Pink Floyd — with whom Bob Ezrin arguably did his best subsequent work. But this ain’t Pink Floyd. Kiss is (or it should be) too visceral for that, something Ezrin apparently had figured out by the time he returned for 1992’s Revenge.

He does OK with “Detroit Rock City” and “King of the Night Time World,” both of which are presented in a straight-forward enough way, considering their polyester-era vintage — and that Kiss was always a better live act anyway. Still, as the record continues it keeps gets more muddled. “Sweet Pain,” a vaguely troubling S&M thing, is quickly blanketed in echo. And “Beth” is the same skating-rink downer — all maudlin strings and reedy Peter Criss vocals, wrapped up with a bow of bullshit wife-beater excuses about how he just couldn’t make it home at the appointed time because of “practice.” Sure.

That said, “Flaming Youth,” with a clear assist from the dearly departed Ace Frehley, is one of the better examples of the way Kiss combined metal and classic 1970s power pop. “Shout It Out Loud” sets a party-rock template for every hair band of the subsequent decade. And “Do You Love Me,” simultaneously cocksure and needy, finds Paul Stanley aspiring to — and nearly matching — the lecherous vulnerability trademarked by Mick Jagger.

In the end though, Destroyer is sunk by its inability to let loose, maybe the weirdest charge ever leveled against Kiss. Bob Ezrin would move on to more celebrated work with Pink Floyd (The Wall, A Momentary Lapse of Reason and The Division Bell), while Kiss turned to Eddie Kramer and then Vini Poncia to regain its footing.

Just as well. You think about Pink Floyd. You jam to Kiss.

Jeff GiIles | Ultimate Classic Rock

The full-blown Kiss concert experience is big enough to require the occasional use of pre-recorded backing tracks, but that doesn’t mean the group has forgotten how to deliver an old-fashioned, stripped-down acoustic set.

The proof, as presented in fan-shot footage, presents Kiss delivering an eight-song set during the soundcheck for the March 3 Tokyo date of their recent Japanese tour.

Performed for fans who purchased VIP tickets to the show, it runs the gamut from Kiss classics like “Christine Sixteen” to an assortment of covers that included the Beatles‘ “If I Fell” and “You’ve Got to Hide Your Love Away” (which you can watch below), Kyu Sakamoto’s “Sukiyaki” and “You Shook Me,” a Muddy Waters blues standard covered by Led Zeppelin on their 1969 debut LP (you can watch that one above).

The band’s latest tour leg coincided with the recent release of a two-song collaboration with the Japanese pop group Momoiro Clover Z, with whom Kiss appeared several times during their trip through the islands. They’re currently on a brief break from the road, scheduled to end with a series of spring dates in South America that will be followed by European shows in May and June.

Sad and Useless

See the entire list of albums HERE.

The Music

Bruce Kulick, a former guitarist with KISS and Meatloaf and the current axe-wielder for Grand Funk Railroad, is coming to Australia and will be hosting exclusive masterclasses around the country.

The lead guitarist and driving force of KISS for 12 years from 1984 to 1996 his fretwork is all over classics like Tears Are Falling, Crazy, Crazy Nights, Unholy and God Gave Rock’n’Roll To You. A true guitarist’s guitarist, he’s worked across a myriad of genres throughout his career.

Music retailer Allans Billy Hyde have secured Kulick for a series of intimate masterclasses, with tickets at $20 and limited to 100 tickets per state.

Here’s what the man himself has to say:

“Everyone! I am so excited to return to Australia this March 2015 because 20 years ago, KISS came to play in your country. It was called ‘KISS My Ass Downunder’ and has so many memories and awesome highlights for me to share.

“The shows were filled with songs from all eras of the band, and was similar to ALIVE III, in many ways. But ‘Leon The Sphinx’ was on stage with us, and the usual huge KISS production was in full force. We hit five cities in Australia, with two shows in Melbourne. I was proud of what we accomplished and I will be digging into some of my favourite songs, discussing the work that goes into these shows, the setlist, and of course my guitar work for live performances.

“We know that playing guitar live can differ from the studio versions and there’s nothing like performing in front of your fans! So please come join me at Allans Billy Hyde. It will be wonderful reliving this tremendous tour with you all, one that I will never forget.”

The three events will take place:

Adelaide: Sunday 22 March 2pm
Allans Billy Hyde, 58 Gawler Place
Tickets here.

Sydney: Tuesday 24 March 7.30pm
Allans Billy Hyde, 1/197 Church St, Parramatta
Tickets here.

Melbourne: Thurs 26 March 7pm (Masterclass and launch of The Vault book)
Allans Billy Hyde, 152 Bourke St, Melbourne
Tickets here.

For more details head here

Today

Original KISS guitarist Ace Frehley spoke to Australia’s “Today” show ahead of his upcoming tour of the country. You can watch the chat at this location.

Speaking about why he chose to leave KISS the first time, Frehley said: “I quit because I started abusing substances and alcohol. And I also wasn’t agreeing with the direction of the way the band was going. You know, we had that big hit ‘I Was Made For Loving You’ and I’m more of a blues-based rock guitar player.”

He continued: “When I left, there was a sigh of relief, because I just felt like I was on a collision course with… I just thought I was gonna end up being a statistic.”

Frehley added: “By the grace of God, I’m here today, clean sober eight years, and life’s never been better.”

Asked if it’s hard staying sober, Frehley responded: “The first year or two is hard. Now it’s like… When I look at photos of me when I’m all bloated and I think about the days when I was looking at being in trouble with the law for drunk driving and all that crazy stuff… And health reasons too.”

“Space Invader”, the first new solo album from Frehley in five years, sold around 19,000 copies in the United States in its first week of release to land at position No. 9 on The Billboard 200 chart. The CD arrived in stores on August 19 via Entertainment One Music (eOne Music).

Ace‘s previous CD, “Anomaly”, opened with around 17,000 units back in September 2009 to debut at No. 27.

“Space Invader”, which was made available in Europe on August 18, 2014 (three days earlier in Germany and Scandinavia) through SPV/Steamhammer, includes 11 brand new original songs as well as a cover of Steve Miller‘s “The Joker”.

Frehley‘s touring lineup includes none other than Richie Scarlet, who rode shotgun performing rhythm guitar and vocal duties on Ace‘s “Trouble Walking” platter in 1989, and is doing so again on stage. Richie toured with Ace in 1984 and 1985 and periodically from 1989 through 1995 and was also known for touring with Sebastian Bach.

On bass and vocals is Chris Wyse from Queens, New York. Previously recording with Ozzy Osbourne and playing on Mick Jagger‘s 2001 solo album, Chris is well known as the bass player from THE CULT since 2006. Chris can also be heard on Frehley‘s new album, “Space Invader”, on select tracks. He also covers bass duties in his current band OWL.

Finally, Scot Coogan is behind the drum kit for Frehley‘s tour. Coogan played with Frehley for five years until 2012 when he left Ace‘s band to focus on other projects. He has since toured and recorded with LYNCH MOB and sat behind the kit for Lita Ford on the 2012 “Rock Of Ages” tour with DEF LEPPARD and POISON.
Read more at http://www.blabbermouth.net/news/ace-frehley-why-i-left-kiss/#XOiVTsPPUjbuX6FR.99

News.com.au

Are you ready to rock? Kiss is touring Down Under. Picture: AP Photo/Eugene Hoshiko Source: AP

The legendary US rock band’s tour will also see them play Newcastle for the first time.

Kiss play Perth Arena October 3, Adelaide Entertainment Centre October 6, Rod Laver Arena in Melbourne October 8, Sydney’s Allphones Arena October 10, Newcastle Entertainment Centre October 12 and Brisbane Entertainment Centre October 13.

Tickets are priced at around $98 for silver, $138 for gold and $250 for platinum and

go on sale 2pm March 26 from Ticketek.

The spider men’s schedule means they may be available to play the NRL Grand Final on October 4.

However it would require the band, and their mammoth staging, being transported to Sydney after they play their first show in Perth on October 3, a commitment which rules them out of the AFL grand final that day.

Both the AFL and NRL Grand Finals take place on the same weekend this year.

Spider web … Kiss play under their hi-tech spider. Picture: Supplied

Kiss are the masters of merchandise and monetising meet and greets.

A limited amount of $1250 VIP packages will be available for Australia, which include (painted) facetime and a photo opportunity with the band, as well as a chance to watch them perform an acoustic set minus their trademark makeup.

The packages, which have sold out immediately in the past, also include a platinum ticket, personal autograph, exclusive T-shirt, poster and official Kiss guitar picks.

The band will be supported by The Dead Daisies, featuring former members of Guns N’Roses, Motley Crue, Thin Lizzy and Whitesnake. John Corabi has replaced Jon Stevens as singer for the band for this tour.

Kiss in 2015 feature original members Paul Stanley and Gene Simmons, with guitarist Tommy Thayer wearing the spaceman costume made famous by Ace Frehley and drummer Eric Singer wearing Peter Criss’ catman outfit.

The band are celebrating the 40th anniversary of Stanley and Simmons meeting, the band have gone on to sell over 100 million albums and spawning hits Detroit Rock City (which the Foo Fighters covered on their Australian tour this year), I Was Made For Loving You, Love Gun, Shout It Out Loud, Rock and Roll All Night and Shandi.

Terry X

Beach Reporter

KISS front man and Rock and Roll Hall of Famer Gene Simmons hosts the official release party for the new book “Gene Simmons is a Powerful and Attractive Man And Other Irrefutable Facts,” on March 31 from 5 to 8 p.m. The event takes place at his Rock & Brews restaurant in El Segundo, located at 143 Main St.

Tickets to the event are $75 and will include a three-course prix fixe dinner, a signed book and a photo with Simmons.

“This book even makes me blush,” said Simmons. “It is wildly illustrated and a fun read, and I am looking forward to welcoming my friends and fans to this exclusive launch event at Rock & Brews.”

The book, written by Christina Vitagliano with a forward by Simmons, pays homage to the rock legend, showcasing more than 250 outlandish ‘facts’ about Simmons’ stage persona, love life, and more.

Vitagliano and the book’s illustrators will also be in attendance at the launch.

For more information or to purchase tickets, visitrockandbrews.com/elsegundo.

Master Blaster | Rocket News 24

As you may have noticed, KISS have recently made their way back to Japan and it’s always a treat when they do. This year we’ve already seen them make a well-received cross-genre music video with Momoiro Clover Z and release a line of skin smoothing facepacks with the Japanese cosmetic brand Isshin.

If those weren’t surprising enough, now KISS has collaborated with shodo calligrapher Ryugen Sobukawa for a limited collection of KISS-themed works each autographed by a member of the band.

Oh, and they cost a small fortune…

In total there are only 80 of these works made, but they are divided into four types based on each member of the band. First the canvas has a stylish writing of “KISS” in English next to a kanji interpretation of a character’s name.

Each of the 20 originally made works for each member was also autographed by them. Gene Simmons even did it in full make-up and costume. You know the feeling of being the only person to a “costume party” who actually wore a costume. Something tells me that’s a constant nightmare for KISS.

Each piece of art is very beautiful and blend the edginess of the rock group with the elegance of classical Japanese calligraphy perfectly. In an interesting twist, although rock is considered a new art compared to shodo, each of the artists are transposed in age. The 35-year-old Sobukawa (pictured above next to Simmons) wasn’t even alive when KISS first appeared on stage in Japan.

Okay! So I’m sure all you KISS fans are champing at the bit to get some of these limited-edition writings. The good news is they’re all ready to be ordered from Sobukawa’s website linked below!

The bad news is they cost 432,000 yen (US$3,570) a piece. Now of course the true KISS fan will need to get all four which if my abacus is correct will run you about 1,728,000 yen ($14,280). Come on, what are you waiting for? It’s not like you’re going to be buried in your KISS coffin with all your money. Might as well enjoy it.

Mike McPadden | VH1 Music

“Heavy” and “metal.” In a physical sense, those words apply quite literally to pinball machines and video games, but there’s also no denying the spiritual, maybe even cosmic connection between headbanging music, quarter-pumping classic arcade fun, and crashing on the couch in front of the latest home-gaming system with hard rock blasting and maybe some certain other kind of substance blazing.

On occasion, amusement manufacturers have combined hard rock aesthetics with coin-op hardware and/or at-home video games—sometimes to kickass effect, and other times to such goofy results that even those kick ass in terms of supplying metalheads with a good time.

Power up now for some continuous play with the Top 15 hard rock and heavy metal pinball machines and video games.

Kiss (1978)

The same year that Kiss inundated fans with four simultaneously released solo albums along with bubblegum cards, dolls, and do-it-yourself makeup kits, the band also released a signature pinball machine.

While the other ephemera may have faded through the years (except for Ace Frehley’s solo LP; that will always rule), Kiss pinball remains one of the all-time arcade greats. For four decades now, the machine has also served as a crucial “tell” when it comes rock-and-roll bars and clubs: when you see Kiss pinball in the corner, you can rest assured you’re in a cool place.

In fact, Kiss pinball is so perfect that, despite mind-blowing forward-leaps in coin-up technology and Gene and Paul’s famous passion for cash-ins, the group has never updated the original machine, except as a PlayStation video game in 2001. That, for sure, was not quite the same.

Promising “hot licks,” “gonzo guitar,” “awesome stacks,” and overall “metal mayhem,” Heavy Metal Meltdown perfectly captures and conveys headbanger overkill circa ’87.

The back-glass depicts three wailing axe-masters—fake Jimmy Page on the left, fake Ted Nugent on the right, and fake Eddie Van Halen looming largest and loudest in the middle—while miniature fake Marshall amps piled on top blare out riffs, licks, solos, and general bombast. Ace ball manipulation lights up the letters H-E-A-V-Y and M-E-T-A-L in glorious Flying-V formation.

Heavy Metal Meltdown is the one pinball machine above all others that should be played by flipping the bumpers while keeping one’s fingers in perpetual devil-horn salute.

No force in rock-and-roll has done more for pinball than the Who, specifically by way of their landmark rock opera Tommy and its enduring anthem “Pinball Wizard”—the famous chronicle of how a “deaf, dumb, and blind kid sure plays a mean pinball!”

The 1975 movie version of Tommy inspired an unofficial machine called Wizard, the ads for which featured the movie’s female lead, Ann-Margret. More directly, Tommy spawned the 1976 Captain Fantastic pinball game, which showcased Elton John dressed in costume as the Pinball Wizard character he plays in the film.

Leaping ahead a couple of decades, the Who mounted a huge, lavish Broadway production of Tommy in 1993. A dynamic stage hit worldwide, the show also launched The Who’s Tommy: Pinball Wizard machine.

Like the theatrical production, Pinball Wizard dazzles and rocks with lights, sounds, graphics, and explosive tabletop action that’s so intense it may well leave you deaf, dumb, and blind for a spell after playing.

Joe Polo

Blabbermouth

KISS bassist/vocalist Gene Simmons recently selected GUNS N’ ROSES‘ debut album, 1987’s “Appetite For Destruction”, as one of his thirteen favorite LPs of all time. Speaking to The Quietus about the effort, Gene said: “The thing about that record is that it had an honesty that rock and roll had been missing. The ’80s were a terrible time when guitars didn’t sound like guitars and there were drum machines, but then all of a sudden here comes this group, GUNS N’ ROSES, who plug in their guitars and just didn’t mess around with any fancy stuff. And the songs were undeniable!”

He continued: “‘Welcome To The Jungle’ is an undeniable song in the same way that [THE ROLLINGS STONES‘] ‘Satisfaction’ has that great riff with the lyrics on top of it. Great lyrics, great imagery, and as soon as you heard that high-pitched voice that harkened back to a Robert Plant-ish approach to singing, which hadn’t been heard in quite a while… Well, it still works today. That’s got to be coming up to 30 years old, but you put that on today if it was a brand new band, I would say, ‘Who’s that?’ That intro is almost symphonic, and it just defined the band. You hear that song, and then the rest of the album follows through. ‘Welcome To The Jungle’ is head, hands and feet above the other material.”

Gene added: “Bands have a few songs that just stand up, you know? You think THIN LIZZY, you think ‘The Boys Are Back In Town’. You think THE STONES, you think ‘Satisfaction’. You think LED ZEPPELIN, you think ‘Stairway To Heaven’. There are just certain songs that, either because of the melody or lyric or the sound of the song, intrinsically say, ‘This is what that is.’ The only band who doesn’t have that thing, just because they have so many god damn good songs, is THE BEATLES.”

Andrew lee | Japan Times

The Kiss show at Tokyo Dome on March 3 was the third time I’ve seen the band play live.

The first time was in Sydney in 1980 — my first-ever live concert. At 13, I was a massive Kiss fan, dressed to the nines and all made up like the group’s original drummer Peter Chris, “the Cat,” much to the amusement of my father, who chaperoned.

I lost interest in Kiss around 1983 when the members took off the makeup. However, I decided to go see them for a laugh in Ottawa in 1996, when the original lineup put the costumes back on. I was living in Canada at the time, and my mates and I couldn’t help but chuckle when guitarist Paul Stanley shouted to the crowd, “We played Montreal last night, but they didn’t rock as hard as you do Ottawa!”

So, when I saw Kiss was coming to Japan I simply had to go once more, especially because the band announced it would be playing its Tokyo Dome gig with idol group Momoiro Clover Z — Momokuro to their fans. It was an appropriately kitsch move for a band of old dudes whose masked onstage personas have become so iconic that even Hello Kitty can be found wearing the masks of the Lover, the Demon, the Spaceman and (most appropriately, I guess) the Cat.

The hordes of fans that gathered to see the show were a curious blend of idol superfans and classic-rock aficionados — the multicolored outfits of those there to see Momokuro floated among the black T-shirts and denim uniforms of the Kiss Army, like oil on dark water. Those two sets of fans would have been an impossible mix had it not been for the curious fact that both groups were mostly made up of middle-aged men.

To say Momokuro fans are maniacally loyal is an understatement, so I’d been curious as to how Kiss’ management could ensure that a stadium full of them would stay to watch the aging rockers once the girls’ set had finished. However, in a stroke of sheer marketing genius, prior to the tour Kiss and Momokuro released a joint single titled “Yume no Ukiyo ni Saitemina” — which guaranteed that the two would play together on the night of the show.

As the lights in Tokyo Dome went down and the Momokuro fans lit their glow sticks, I was really surprised to see Kiss come on. I thought Momokuro was going to be the supporting act and therefore play first. It seemed the answer to getting Momokuro fans to stick around was for Kiss to open.

Kiss began with “Detroit Rock City” and pushed through a set list of both old and new songs. But when Paul Stanley asked, about seven songs in, “Do you love me Tokyo?” I’m not sure the love was there, many in the crowd were just politely waiting for the megahits and Momokuro to show up.

Kiss has toured Japan 11 times over the past 40 years and I suspect the band has stuck with the same shtick for most of those shows. Gene Simmons spat fire during “War Machine,” blood when he flew on wires above the stage during “God of Thunder.” Tommy Thayer launched rockets from his guitar and Paul Stanley charmed the locals by singing a verse, in Japanese, of the Kyu Sakamoto classic “Sukiyaki.” The antics delighted the Kiss Army, but it may not have been quite enough to convert the Momokuro fans.

Perhaps the show was too quiet? The sound didn’t seem that loud for the most part, which was especially noticeable during “I Love It Loud” and “Shout it Out Loud,” and Stanley’s interaction with the crowd seemed strained at first — perhaps because he needed to win over the Momokuro fans.

The inclusion of the idol group may have actually worked to Kiss’ disadvantage, previous shows across Japan saw the band performing by themselves and those audiences would’ve likely all been card-carrying soldiers in the Kiss Army. At Tokyo Dome there was a good chance that half the audience didn’t even know who Kiss were.

However, the highlight of the night was without a doubt the encore. Momoiro Clover Z finally came out on stage and their fans let loose with their glow sticks. Backed by taiko drummers, the two groups united to perform “Yume no Ukiyo ni Saitemina” and “Rock and Roll All Nite.” I suspect the legion of Momokuro fans were disappointed the girls only played two songs, but for the Kiss Army it was more than enough. And of course, Tokyo rocked harder than Osaka.

Dave Lifton | Ultimate Classic Rock

The Rolling Stones‘ 1967 album ‘Their Satanic Majesties Request‘ is often derided as a weak attempt to explore psychedelic music in the wake of the Beatles‘ ‘Sgt. Pepper’s Lonely Hearts Club Band.’ But in a new interview, the drug-infused record received a defense from an unlikely source, the famously drug-free Gene Simmons.

Picking his 13 favorite albums for the Quietus, the Kiss bassist says he likes it because it got the Stones to go “outside of their comfort zone. That’s what I find interesting […] it has production value and songwriting that isn’t found on any other Stones records. ’2000 Light Years From Home,’ ’2000 Man’; I mean, we covered ’2000 Man.’”

Some of Simmons’ choices are obvious. He picks albums by bands that started at the same time as Kiss (AC/DC and Montrose), his biggest influences (Beatles, Jimi Hendrix) and groups that followed in his wake (Guns N’ Roses, Def Leppard). He also surprises us by listing 90s efforts from Beck and Foo Fighters. But it’s his take on ‘Satanic Majesties’ that caught our eye; he likes it because its weirdness shows that there was more to them than simply borrowing from the blues. (It’s also one more way to explain ‘Music from the Elder.’)

“With the Stones’ music, the strings and backwards stuff, there is some very, very good material on that record,” he continues. “They happen not to like the record. I think it’s a unique record that shows that the Stones have some depth. There is some bad, out-of-key background singing because they were never the best singers, they didn’t have harmonies like the Beatles. The thing about it is that they were blues-based and they veered away from it on that record and went into almost Celtic and classical areas. It was a pastiche, a multi-coloured quilt! You can look at a band like a coin and say, ‘I see everything, I don’t need to see anything more’, but there is that other side. That other side is what I think is more interesting. The depth.”

Jeff Giles | Ultimate Classic Rock

They’ve gone from makeup to unmasked, hard rock to prog, and been one of the world’s biggest rock bands for several decades, releasing a slew of classic studio and live LPs along the way. Ranking the Kiss discography isn’t a job for the faint of heart, in other words — but in this installment of Worst to Best, we give it our best shot.

It’s been well established that the ’80s were a bumpy time for the band, so it should be no surprise that the lower reaches of our list lean heavy on the decade of synths, drum machines and MTV. But we haven’t ignored the lowlights of the ’70s and ’90s, either, or the group’s forays into disco and grunge.

Of course, as with every other Worst to Best list, we come not to bury the band, but to praise them, and with the whiffs in the discography out of the way, we tackle the tough task of organizing the group’s best albums — which means singling out some of the less-heralded entries as well as attempting to put all of the classic Kiss records in the right order.

So which Kiss album is worst, which one is first, and how does our list stack up against your personal running order? The answers to all those questions can be found by hitting “play” on the video at the top of this post, so what are you waiting for? Let’s start the countdown.