Tim McPhate | KissFAQ
KissFAQ has launched Back In The Solo Album Groove: The KISS Albums. 35 Years Later…, an ambitious multi-week retrospective dedicated to arguably the biggest milestone in KISStory: the 1978 KISS solo albums. Today, the site has published an interview with bassist Neil Jason, one of a select group of musicians who played on two of the KISS solo albums.
The following are excerpts from Jason’s interview with KissFAQ’s Tim McPhate:
On the direction of the material for Criss’ album:
KF: As it turns out, Peter’s album proved to be quite a departure from KISS’ typical sound. There were some old-time rock and roll, R&B and soul influences sprinkled throughout. I’m curious if you recall any discussion that this material might be a little left-of-center for KISS’ audience.
NJ: Well, obviously there’s quite a few ways for us to look at it as sidemen and as musicians. But if your entire career is defined by the band and you want to do a “solo record” — which means you step away from the band — then maybe you do something that you wanted to do. Now if you didn’t want to do anything else, like, “Well, I kind of just want to do that,” then he would have done that. And as far as the production decisions, I think a lot of the tunes were chosen for Peter’s voice and they sounded great and I didn’t see it as a departure from KISS. It was Peter Criss, who is part of KISS. So some of the tunes are right there and some of them aren’t. But that’s how Peter sings. If you liked “Beth,” then you’d like this.
KF: Well said, Neil. There are certainly songs on the lighter side, a la “Beth,” like “Easy Thing” and “I Can’t Stop The Rain.” I don’t know, I just think the fans were expecting something different from Peter.
NJ: Well, I’m assuming that the fans that love them dearly and listen to every note wanted four KISS albums at the same time because that would just about be enough at the same time for them. But, they got, I don’t know, two KISS albums — actually, they got four KISS albums. There are four personalities that make KISS and that’s why those four guys have a sound. It’s like if George Harrison does a record, it didn’t necessarily sound like the Beatles. If Ringo did a record, it didn’t sound like the Beatles. You know what I mean?
On the atmosphere of the “Peter Criss” sessions:
KF: As a fan, I’ve read quite a bit about these albums over the years. The late Stan Penridge, who was Peter’s confidant and writing partner, described the New York sessions at Electric Ladyland as chaotic and mentioned Vini deserved some credit for salvaging the takes. Do you know what Stan was referring to?
NJ: Um (pauses), not really. I do remember working hard. I do remember us concentrating. Chaotic? As much as dealing with what they had to deal with schedule-wise — people not showing up, people running back and forth, people having things to do. I kind of remember not thinking about that or dealing with that very much. So I can’t swear that it happened. It might have happened with other tracks they were recording. Like I said, I think “I Can’t Stop The Rain” was a night where Peter couldn’t make it. We didn’t know why he didn’t make it, et cetera, et cetera. But Vini made sure the stuff got recorded. And Sean ran the studio and had it perfect, in the right key, sang it for us, the whole thing, had it down for Peter so that he could overdub on it. He showed up the next day as I remember. Yeah, chaotic? It is a recording session. You’re not going to a spa. So sometimes it gets chaotic, yeah.
On playing bass on Simmons’ solo album:
KF: Did you find it odd to play bass on Gene Simmons’ album since he was a bass player himself?
NJ: Well, first off, I actually was honored and thrilled that a bass player of his stature [asked me to play] — because in his band, this guy rules. He plays the right stuff, sings the right stuff. If [you] see them in concert, what they do is pretty amazing. Try putting on the gear and doing songs like that and playing for three hours and making people have a party — this is not easy. He played great on all the things he ever played on. So for him to want another bass player, because he wanted to concentrate on the songs and on singing and production and guitar playing, I appreciated that. I thought it was unbelievable. So I got an amazing chance to work with him. And on some tunes, yeah I tried to play like I was Gene Simmons. And on the other tunes I did stuff that Gene would not think to do, but it matched his song. It was cool. It was a lot of fun.
On the eclectic nature of Simmons’ album and a fun story involving drummer Allan Schwartzberg:
KF: Gene’s album was highly eclectic. There were straight-ahead rock umbers like “Radioactive,” Beatlesque forays such as “See You Tonite” and songs featuring choirs and orchestras such as “Always Near You/Nowhere To Hide.” Were you around for any of the orchestral recording?
NJ: I’m trying to remember where that happened. I was around for one of the sessions, yeah. And maybe Frangipane arranged it or something. It was very well done.
KF: Yes, it was Ron Frangipane who did the arrangements, including the haunting introduction to the album.
NJ: Yeah, it’s fantastic. He did amazing stuff.
KF: It’s such an left-field way to kick off the album. You have this swirling arrangement, Janis Ian singing in Latin and I believe Sean’s voice is going through a harmonizer.
NJ: I met Janis — you got to remember, this thing is a snapshot of the times. And it’s part of Gene’s history. Again, you hear like half of the songs on the record — they’re pretty close to pure KISS: it’s Gene singing and it’s his tune and we’re rocking. And some of the tunes are departures — but not really, it’s part of Gene’s history. That’s what the record’s supposed to be. If he did more solo records, he would change with the times because his history would change. It’s like KISS, you know, doing what they do together. So I really didn’t see any of [the songs] as, “Wow, that’s like the wrong thing to do.” I think it was a very cool record.
KF: Gene secured a cavalcade of stars. Aside from Janis Ian, there was Donna Summer, Cher, Joe Perry, Bob Seger, Helen Reddy, Rick Nielsen ..
NJ: It was fantastic. Cher came out to the Manor in England and stayed with us and the band and Gene for — I don’t know — we were there for a couple of months. Cher was there for a while with the family and she was fantastic. Some of the sessions were very intense, we’d stay there all night. I remember Allan Schwartzberg, the drummer, I’m pretty sure it happened on this session, [on] one of the tunes like “Radioactive,” where Sean and Gene and Mike Stone wanted to get a really big drum sound. They sent the drums out into like the garage or something. Allan’s drums were set up and we could only see him on the video camera. They got this amazing drum sound [with] natural echo. It was ridiculous. So the next morning we go down to record and if I remember correctly Allan goes around the drums one time. It was pretty early and he breaks like two or three skins and goes right through the bass drum because it got so cold in there overnight, but the heads, they were ready to pop! So they had to stack up heaters in the room and redo all the heads. But it turned out sounding really amazing. It was part of a hysterical morning in recording history.
On the rumor of Simmons calling musicians by their instruments instead of their names:
KF: One rumor that I’ve heard is that Gene took to referring to the musicians by the name of their instruments during sessions. Does this ring a bell?
NJ: No, doesn’t ring a bell to me. Even in a number of interviews that Gene has done, he was more than kind enough to me and a number of other guys on his solo record, which I thought was very kind. No, he remembered exactly who we were and he was a sweetheart. And if he called me, “Hey bass,” it was probably an endearing funny moment. But no, I do remember my name being used (laughs).
Full Neil Jason interview:
http://kissfaq.com/78/interview_neil_jason.php
About Back In The Solo Album Groove:
As KISS celebrate their 40th anniversary in 2013, KissFAQ.com has launched Back In The Solo Album Groove: The KISS Albums. 35 Years Later…, an ambitious multi-week retrospective dedicated to arguably the biggest milestone in KISStory: the 1978 KISS solo albums. More than 30 brand-new interviews were conducted with various individuals who either worked directly on the solo albums or have a strong connection of sorts. The interviews will offer readers fresh first-hand perspectives straight from studio musicians, producers, engineers, and collaborators, and the creative professionals working in the KISS camp at the time. Topical features will shed more light on KISS’ activity in 1978 while dissecting the albums and offering in-depth analysis and biographical information on the albums’ participants. Also featured will be a 1978 KISS calendar, a roundup of other notable album releases in the rock genre in 1978, a spotlight on “Double Platinum,” and much more. Back In The Solo Album Groove will put the four 1978 KISS solo albums center stage like never before.