MrScott65

Tim McPhate | KissFAQ

Guitarist fondly remembers great music and great vibes during the “Paul Stanley” album sessions, the positive musical chemistry between himself and Stanley, and offers insight on his guitar tracks and his opinion on the album 35 years later.

Below are excerpts from Kulick’s interview with KissFAQ’s Tim McPhate

KissFAQ: Bob, when the calendar turned to 1978, in terms of your work with KISS, you had come off playing some guitar tracks on the studio recordings on “Alive II.” When did you first learn about the KISS solo album project?

Bob Kulick: Well actually, I got a call from Paul and I got a call from Gene as well. Both asked me to play guitar on their solo albums. Paul was trying to do a more organic band-like approach, whereas Gene was trying to get a whole bunch of guests and piece it all together. You know, I would have liked to have played on both records. But the reality was if I played on Gene’s record, as Gene pointed out to me, then there’s two records with the same lead player on it, which I could understand his point. And also the fact that Paul was like, “Well, wait a minute. I’m using him so you can’t use him.” So I basically just said, “No problem. I totally understand.” But [Paul’s album] was a different project than the KISS “Alive II” thing in that Paul certainly gave me more latitude and longitude in terms of what I was able to play by virtue of me not trying to have to be somebody else.

KF: Right. And I know that Gene was interested in you playing on his album but ultimately it didn’t come to be since you were on Paul’s album. Was this initially decided from the get-go then?

BK: No, I wouldn’t say it was from the get-go because we started Paul’s record and then Gene went to England. And then it still went on from there. Gene actually sent me a letter, “I’m really sorry that it didn’t work out. I feel bad.” It was like, “No worries.” I ended up writing a couple of things with Gene that saw the light of day. So you know, it kind of turned into like, “I write with Gene but I play with Paul.” Although that changed when I got up and played with Gene at that beer fest they had here in downtown L.A. during Octoberfest [last year].

KF: Bob, when you first got together with Paul regarding his solo album, did he play you some of the music he was working on? I’m curious what your first reaction was to hearing the material.

BK: Well, by the time we got ready to do this, we basically went into the recording studio. And he would show us the song. “Here’s what I wrote. Here’s ‘Move On.’ “OK.” “Here’s how it goes.” And we’d play along, learn the song and come up with a vibe for the songs. The New York portion of the program was recorded at Electric Lady Studios, I believe with Dave Wittman as engineer. Paul conducted the sessions. You know, we really didn’t have a producer. He asked me to suggest a bass player, which I did. Steve Buslowe, who was also the guy I suggested for the Meat Loaf gig. He is an amazingly creative bass player!!! And Paul wanted to use Richie Fontana, who I knew from Billy Squier’s thing, Piper.

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Nate Davis | USA Today

Tim Tebow and KISS, a match made in … well, feel free to fill in the blank on that one.

But the members of the legendary rock group, now owners of the Arena Football League’s expansion franchise in Anaheim, Calif. — LA KISS — officially extended a contract offer to the unemployed quarterback Monday.

The deal would be for three years and could be worth unspecified “millions.” Tebow is the first player LA KISS has targeted.

“Acquiring Tebow would not only be a great investment for the team, but his exciting style of play would definitely send shockwaves through the League,” said KISS bassist Gene Simmons, a.k.a. The Demon, in a press release.

“We’re excited for the opportunity to see him with an LA KISS uniform on, and for the LA KISS fans to be rockin’ their Tebow shirts and jerseys.”

KISS is obviously best known for its heavy licks, outrageous costumes and iconic black and white face paint.

Tebow is best known for his winning persona, team-first attitude, wobbly passes and, most notably, devout lifestyle. When he was accessorizing his mug at the University of Florida, he opted for eye black which referenced his favorite scriptures.

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Tim McPhate | KissFAQ

In conjunction with its Back In The Solo Album Groove series, KissFAQ has published an interview with drummer extraordinaire Anton Fig. “The Thunder From Down Under” revisits his work on Ace Frehley’s 1978 solo album, meeting Frehley and working on the album’s demos, and offers insight regarding some of his favorite tracks such as “Rip It Out” and why “Ace Frehley” is not only an important part of the Spaceman’s evolution, but one of the favorite albums he has ever played on.

The following is an excerpt from Ballard’s interview with KissFAQ’s Tim McPhate:

KissFAQ: Anton, what was going on with your musical career in 1978?

Anton Fig: I was playing around New York in the rock scene. I had moved down from Boston where I had gone to music school and got a music degree. I studied classical percussion and jazz. So I was pretty much heavily into jazz all that time but when I moved down to New York I got back into rock, which is what I had grown up playing as a kid in South Africa. And I think around that time I had done a record with Link Wray called “Bull Shot.” I was in a rock band called Topaz; some of the guys in the band had gone off to play with Bob Dylan. Through that I got to play with Robert Gordon and Link Wray. So I was kind of touring around and playing with Robert and Link and at the same time I had formed my own band with some fellow South Africans. At the time we were called Siren, but we became Spider. We were rehearsing and actually looking for musicians around that time. We had a loft downtown in New York.

KF: I think that’s where your connection to Ace comes in. I understand that you came to play with Ace through a bass player named Larry Russell, who was auditioning for Spider. How did Larry bring up the Ace opportunity?

AF: Well, he was auditioning for us and he said to me, “I’ve got a friend, Ace. He’s doing a solo record and he’s looking for a drummer. I think I can get you an audition.” You know, I had heard of KISS. But to me, KISS was a band on the side of a bus basically. It was a lot of advertising and marketing but I didn’t know the material that well. Anyway, I went up to play with Ace. He did four demos up at a small studio in Queens or [maybe it was] the Bronx. And we did “Rip It Out” and three other songs I don’t remember. We barely spoke. I just kind of played with him. I mean, I asked him if he was the rhythm guitarist [in KISS]. I didn’t even know. He asked me to come up and do another four songs with him. And then there was also another connection through Siren. Eddie Kramer was interested in our band and he was also going to produce Ace’s record. I knew Eddie. I had never really worked with him but I knew him. After the two demo [sessions], Ace asked me to do the record. I was about to go on a five-week tour of Europe with Robert Gordon and Link, so I went off and did that. And when I got back, I think the next day I went up to the Colgate Mansion in Connecticut and we recorded most of the album there.

KF: If you think back to the demo sessions, did you feel an instant chemistry with Ace?

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njkissexpo.com

Just announced – Jim Cara, the man behind the design of Gene Simmons personal axe bass guitars, will be making an appearance at the New Jersey KISS Expo this Saturday September 28 at the Raritan Center in Edison NJ. Jim will be bringing a huge assortment of KISS guitars for display and will be on hand to give some great insight into the production and design of these incredible instruments.

Discount tickets for the NJ KISS Expo are available HERE at a discounted rate of only $10!

Jim’s axe bass guitars can be seen at gsaxe.com.

Tim McPhate | KissFAQ

In a KissFAQ exclusive, award-winning songwriter details the creative process for his iconic song “New York Groove,” the recording of the original version by Hello and his recollections of how the song came into the Ace Frehley fold, and discusses additional KISS-related songs such as “Into The Night,” “Let Me Rock You” and “God Gave Rock And Roll To You,” and putting his life down in his music.

The following is an excerpt from Ballard’s interview with KissFAQ’s Tim McPhate:

KissFAQ: Russ, for my first question, I’d like to go back to 1974. That year Argent actually headlined three concerts with KISS serving as the opening act. I know you left the band around this time, but did you perform with Argent on those dates?

Russ Ballard: I remember doing two shows with KISS. One was at the Academy of Music, I think when they were beginning. I remember them setting up the big logo behind the drums. I didn’t know what to expect but there seemed to be a buzz. And then I saw the band take the stage with the makeup and stuff. I thought, “This is cool.” (laughs) Then I remember another show we did with them in St. Louis. It was a Sunday night, I think, at a beautiful theater. It held about 2,000. I had a good look at them that night from the side. I thought they were great.

KF: According to the book “KISS Alive Forever,” KISS and Argent were set to do a longer tour.

RB: I just remember doing two shows. I don’t remember talk of any more. When I left the band they kept going. They could have [talked about it].

KF: Russ, you were born in Waltham Cross, Hertfordshire. That’s quite the long way from New York. Am I correct in saying you came up with the song title for “New York Groove” while on a plane?

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Ken Paulsen | Staten Island Advance

STATEN ISLAND, N.Y. — It’s time to get up-close and personal with KISS.

Two founding members of the supergroup famed for their rock anthems, wild makeup and stage antics will appear at the Staten Island Barnes & Noble store Sept. 10 to promote their new book “Nothin’ to Lose: The Making of KISS (1972-1975).”

Fair warning: Paul Stanley and Gene Simmons will sign only books, not memorabilia, according to the store’s community relations manager, Joan Correale. It’s the book’s nationwide release date and a big crowd is expected.

Those wanting to meet Stanley and Simmons will have to buy the book at the store at its $29.99 list price, starting at 9 a.m. They will receive a colored wristband that determines their place in line for the 7 p.m. book signing event, and be given a recommended time to return with their book and receipt. The lineup itself begins at 5 p.m., according to the store.

No word on whether the duo will appear with their trademark makeup. The store does not have any information yet on whether photographs will be permitted.

“Nothin’ to Lose,” written by Stanley and Simmons along with rock journalist Ken Sharp, draws on more than 200 interviews to tell the story of the band’s formative years, building up to their 1975 mega-hit album “Alive” and party-rock anthem “Rock and Roll All Nite.” It promises an “indelible and irresistible portrait of a band on the rise and of the music scene they changed forever,” according to the book’s promotional material.

KISS’ biggest hit was the 1976 power ballad “Beth.” But the act is best known for rockers “Detroit Rock City,” “”I Was Made for Lovin’ You” and “Shout It out Loud,” to name just a few.

Stanley, 61, wears the “Starchild” makeup with a star design over his left eye. Simmons, 64, wears the “demon” makeup.

Examiner

Local rock band, REBELMANN®, has exploded onto the rock music scene with fiery instrumentals and strong vocals. They have caught the attention of the iconic, Gene Simmons, who along with Paul Stanley, formed “the ultimate rock band,” KISS. The band and it’s rock idol connected at Rock ‘N Roll Fantasy Camp last year, when REBELMANN backlined Gene Simmons. In the past year, a NoiseCreep article about REBELMANN was linked to Gene Simmons’ personal website. Mr. Simmons also tweeted at the band to send him their demo, when they inquired about his label.

REBELMANN is a band of brothers. Front man and youngest brother, Clayton, is a young man with a booming voice and powerful stage presence. Twins, Bryce and Johnathon play the drums and lead guitar. Bryce creates his own rythm with his skill and speed on the drums. Lefty lead guitarist, Johnathon, is one of few guitarists who uses his pinky finger when rocking out. Tim Joyce fills in as studio bassist. The brothers are accomplished musicians, write their own music and are committed to “keeping real music alive.” REBELMANN’s mentor is Bruce Kulick. He played lead guitar for KISS for 12 years.

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Pacific University Oregon

Pacific University Legends Thank You from Pacific University on Vimeo.

A celebrity lineup turned out in Portland on Sunday night to support Pacific University student-athletes.

Pacific University Legends, hosted by Beaverton native Tommy Thayer— guitarist for the legendary rock band KISS — was an evening of fabulous food, rollicking fun and a rocking concert.

The light drizzle that started the day came to a stop in plenty of time for guests to enjoy the elegance of Waverley Country Club, on the banks of the Willamette River, where they enjoyed a gourmet meal, sponsored by Pac/West.

Guests enthusiastically raised their paddles throughout the evening’s auction, making it the most successful Legends auctions ever. Bidders took home everything from a unique guitar signed by the members of KISS to vacation packages for Bali, Costa Rica and South Africa.

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Peter Arquette | KISSasylum.com

Strange as it may seem, it appears the acclaimed 1982 KISS album, Creatures of the Night, was inspired by a 1979 children’s book of, (partially), the same title.

Not only are the huddled faces with the glowing eyes strikingly similar but so is the title font and even the cobalt-blue and pink color scheme. That enough would give you an almost definitive answer that the concept for the album cover was taken from this child’s reader. But what makes this truly bizarre is that the title of the book was used not only for the title of the album, but the title of the first song on the album as well. Really? How do you get from children’s book to one of the hardest rocking songs KISS has ever written?

Who was the one who looked at this book and suggested the band should write a song about it? Art director, Dennis Woloch? Photographer Bernard Vidal? One of the two writers of the song, Paul Stanley or Adam Mitchell? So who was visiting their niece or nephew and saw this laying among the scattered kiddie toys and said, “hey, this rocks…”.

These are nothing but speculations, but the more I think about it the more I’m lead down a deeper and deeper tunnel of unanswerable questions. If anyone has any insight or inside info on this mystery and would like to write a follow up to this post, please, be let me know!

1979, Troll Associates. Written by David Cutts, illustrated by Jean Chandler. 8.5″ x 5.5″. Paperback, 54 pages. Out of print.

A few copies are available for sale HERE at KISSmuseum.com

Paul Cashmere | Noise 11

The legendary Engelbert Humperdinck spent the day in the studio with Kiss founder Gene Simmons laying down a track for his Duets albums. Engelbert is nearing completion of the album which features songs with Willie Nelson, Elton John and Smokey Robinson and now Simmons.

Engelbert exclusively announced the Simmons duet in his interview with Noise11. “There’s Elton, there’s Smokey Robinson, there’s Willie Nelson, Kenny Rogers and Neil Sedaka and it goes on and on and on. It is very exciting names on this particular album. I’m so thrilled that everyone has responded and wanted to work on the album with me and I think it has been a very exciting project,” he said.

Last week he also announced 60s British pop star Lulu would also join him on the album.

Today Engelbert told fans via Facebook, “What an absolute pleasure to meet and record with this giant of a Rock God! A fantastic day with Gene Simmons and his gorgeous wife Shannon.”

Witch House

Hennemusic

KISS frontman Paul Stanley performed the national anthem Sunday at Dodger Stadium in Los Angeles before the baseball game between the Boston Red Sox and the Los Angeles Dodgers, and video of the event has surfaced.

Stanley was sporting a new LA KISS shirt for the occasion, as KISS recently announced the launch of their own Arena Football League team.

The news brings professional football back to Los Angeles after a five year hiatus.

“Season tickets are now on sale for what we know will be some of the most action-packed games ever played at the Honda Center,” said Stanley.“Arena Football is played at a fast and furious pace and making season tickets available now for the budget-friendly price of $99 gives a whole new meaning to bang for the buck.”

As a bonus, all inaugural LA KISS season seat holders will be invited to a free KISS concert to take place at Honda Center in 2014.

“As a fast-paced, high-action band this partnership with the AFL was an obvious fit for us,” added Gene Simmons. “With Arena Football, you are much closer to the action – sitting in the front row is like putting a folding chair on the hash mark of an NFL game – and it’s one of the only sports where you can experience this level of intensity. Attending an LA KISS game in 2014 will be similar to a live KISS show, with thrilling, heart pounding action.” 

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Sophia Charalambous | Mail Online

Farrah Abraham was back wearing her favourite ensemble, a bikini, as she enjoyed yet another day on the beach in Fort Lauderdale, Florida.

The 22-year-old Teen Mom star drew people’s attention in a two-piece adorned with Gene Simmons’ iconic The Demon face from ’70s hard rock band Kiss on Sunday.

Her revealing low-triangle bikini top was printed with the painted black and white face of the rock legend’s on-stage persona whilst the Brazilian bottoms were embellished with Simmons’ stuck out tongue.

 Farrah’s pose mimicked her outfit by Betty Bangs Bikini, who hand-make all their pieces from their base in Miami, Florida.The Teekini, as it is advertised on the boutique’s website, costs a pricy $265 and appropriately named Kiss My Ass.Farrah’s tiny frame was accentuated in the velvet black and white piece, with leopard tie-sides, which was also embellished with with over 110 Swarovski crystals.Mother-of-one Farrah looked every inch a beach babe, her body tanned and toned down to the last inch.

But not one to appear underdone, Farrah completed the look with a simple pair of stud earrings and a full face of make-up, black eyeliner, mascara, nude pink lip gloss and blush.

She pranced and jumped around the beach enjoying the sea breeze in the city where she is studying for her Bachelor’s degree after graduating from culinary school.

Boutique Betty Bangs Bikini who have created this new type of swimwear called the Teekini, described it as a: ‘Perfect fitting custom or limited edition swimsuit made from T-shirts, hand-studded or embellished with pronged-on Swarovski crystals.’

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Tim McPhate | KissFAQ

Fans of Ace Frehley’s 1978 solo album are in for a treat with today’s Back In The Solo Album Groove interview with engineer Rob Freeman. Rob has gone into extensive detail about his experience working on the album. There’s lots of insight about working with Ace, Eddie Kramer and Anton Fig, lots of technical details and tidbits about songs such as “New York Groove” and “Speedin’ Back To My Baby,” a fun story or two, and a couple of never-before-seen photos. If you love Ace’s solo album, you won’t want to miss it…

Award-winning engineer details everything you want and need to know about Ace Frehley’s solo album, including the sessions at Plaza Sound, capturing Frehley’s guitar

sounds and vocals, recording the hit single “New York Groove” and the nuances behind tracks such as “Fractured Mirror,” working alongside the legendary Eddie Kramer, and more

KissFAQ: Rob, what do you recall about getting the invitation to participate as the recording engineer on Ace Frehley’s 1978 solo album?

Rob Freeman: I got the call to work on Ace’s solo album sometime in June 1978. I’m not sure if it came directly from Eddie Kramer, with whom I had previously worked, or from someone in the KISS organization. Either way, I was thrilled to get that call because I had a sense that recording that album was going to be a big step forward both for me and for Plaza Sound, the studio I had been working so hard to advance. By the summer of ’78, I had already recorded some noteworthy albums at Plaza Sound with a variety of artists — among them, The Ramones’ first album, “Ramones”; Blondie’s first two albums, “Blondie” and “Plastic Letters”; and Richard Hell and the Voidoid’s “Blank Generation” — but these were mostly “downtown” New York artists, and, at least back then, my work with them hardly garnered the kind of worldwide recognition that a KISS album would.

KF: Was this your first KISS-related project?

RF: Yes, Ace’s album was the first. I guess the other KISS band members and the rest of their organization liked what I did for Ace because after that they called me to work on the “Music from the Elder” and “Lick It Up” albums as well as to put a number of radio and television commercial spots together for them. I also designed and installed a home recording system in Paul Stanley’s uptown NYC condo.

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Chris Alexander | Fangoria

Last year, FANGORIA published the official KISS Monster Magazine (issue #1 is still available in our store here, while the 3D issue #2 is sold out) and it’s no secret that this writer/editor is obsessed with but two things: horror movies and yes, KISS. It was a fixation that locked in preschool, and it was seeing Gene Simmons with fangs, leather, metal and bat wings on the cover of 1977’s LOVE GUN that drew me to Dracula. After the swoon of discovering garish and bloody perversions of gothic horror ebbed, I later fell in love with KISS’ patented brand of trashy 70’s rock n’roll and it’s that adoration of Paul Stanley’s scream and Simmons’s stomping, spitting persona that I’ve carried with me and will keep close to my heart until I die, whenever that may be.

And though I swear I know everything about the band—I’ve written about them extensively, and have met them all on multiple occasions—I’m really just an amateur compared to some. Compared to Ken Sharp, I’m positively Cro-Magnon. Sharp has been interviewing KISS (and many other noted classic rock figures) and putting pen to page about their ever-morphing legacy for three decades-plus and along with writer David Leaf, wrote the official authorized KISS biography BEHIND THE MASK a decade ago—a tome widely recognized as the most thorough collection of KISSstory facts yet published. This September, Harper Collins is publishing Sharp’s latest investigation into the band’s legacy with NOTHIN’ TO LOSE: THE MAKING OF KISS (1972-1975), created in collusion with Simmons and Stanley. And man, is it an epic.

The book indeed charts the salad days of Simmons, Stanley, Ace Frehley and Peter Criss. From the first meetings of a hirsute, heavy and arrogant Simmons (then Gene Klein) and the scrappy teenage Stanley (then Stanley Eisen), to their session time at NYC’s Electric Lady Studios while sculpting the KISS prototype band Wicked Lester, to their first ill-attended gig at the Coventry nightclub, this is in essence a sex and fantasy soaked story of the American Dream trying desperately to turn its motor over and eventually succeeding beyond all expectation.

Sharp’s task with this book is not an easy one. Serious fans of the band have heard the narrative arc of KISS’ rise before. Of Gene’s love for horror movies and comic books defining his physical presence and worship of Paul McCartney informing his evolving “walking bass” style. We know of Paul’s unfettered addiction to Led Zeppelin. Ace’s mis-matched sneaker demeanor and sci-fi tinted outlook. Peter’s “dirty livin” and love of Gene Krupa. It’s all here; their Alice Cooper influenced experiments with make-up design and shocking, cinema-stained stage antics, the flop of their first three albums even while concert arenas were selling out, the climactic release of their game changing 1975 monolith ALIVE! and all the feast, famine and post-60s excess in between.

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Steve Jones | Myrtle Beach Online

Erin Burge

MYRTLE BEACH — A multi-year downward trend in business has led the owners of KISS Coffeehouse at Broadway at the Beach to decide to close the store around the end of September.

An exact date for the closing has not been set yet, said Matthew Goldschmidt, the store’s general manager.

KISS Coffeehouse has been a staple at Broadway’s Celebrity Square for seven years. KISS co-founder Gene Simmons came to Myrtle Beach for the opening of the Coffeehouse.

“It’s not that we didn’t do well,” Goldschmidt explained the reason for leaving, “it was just a steady decline.”

Goldschmidt said that everything in the store, which includes KISS memorabilia, is marked down to sell.