KF: I assume Tommy would have been around during this time as well. How about Peter Criss? Would he have been around during this stage?

MO: No, Peter wasn’t around at all during post-production. Tommy was around a lot because he was our contact. In the end, we had to get involved in the video side as well, because the video guys were sending us pictures that weren’t what we needed. They were sending us pictures with shots from Dallas and other shows like that, and we said, “No way. No way. We can’t do that. We can only use pictures that we’ve got. It won’t work.” So in the end we took a big hand in how the video was put together as well. That’s why we get such a big credit, if you watch the DVD, we come straight away after the band and Doc. In the end, we had to get involved in the vision as well. Because music is king and that’s the thing that we had to keep putting across to the video people that video is very, very important and vision is very much part of a KISS show when you go to see it, very much part of the spectacular, but in the end the music has to be king. The vision has to follow the music. Again, we know what the KISS Army is like and their fan base, and there’s no band in the world that treats their fans better than KISS. There is just not. The just really are so conscious of their fan base.

KF: I want to go back to Peter. Given he was struggling with carpal tunnel at the time, how do you rate his performance on the album?

MO: Well, I rate his performance really well. Because he was soft hitting, there was a bit of enhancement on the drum sound to get a bit more power into it. But it was his playing, I just had to use his good hits and when you had a really good hit, I would use that snare Continue reading →