Motley Crue’s Nikki Sixx still isn’t happy with Kiss

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Scott Munro | Classic Rock

After accusing Kiss of stealing Motley Crue’s stage production last week – Nikki Sixx says it was an “uncool” thing to do

Last week, Nikki Sixx accused Kiss of stealing the stage production that Motley Crue used during their final show in Los Angeles back in 2015.

The Crue bassist posted a composite image showing him being carried above the crowd on a crane and one of Kiss bassist Gene Simmons doing something similar.

He added: “Wow. Our body wasn’t even cold before they took this exact grande finale from our tour. Might not matter to Kiss fans but it does to Crue fans.”

The pictures have now been removed, but Sixx has spoken about the incident in more detail and says he’s still annoyed about what Kiss did.

Sixx tells Kerrang: “What they did that really bothered me and my bandmates, is we built these giant arms that fitted in the venue’s ceilings that had lights in them. We developed these things.

It was exactly our shtick. I just think it’s uncool

Nikki Sixx

“It was a lot of work and it cost a lot of money. We’d use the lights, then, at the end of the set, these arms would come down from the ceiling and me and Vince Neil would jump on them and they would take us out over the arena and that was our grand finale.

“But then I saw a video of Kiss and they were using our arms. It was exactly our shtick. I just think it’s uncool. I think it’s uncool of the company to make the same thing again for them.”

Sixx adds: “It just bothers me. It was our last tour and something that people have posters of on their walls is now being repeated by Kiss. Sure, we all use pyro and stuff, but with this we re-invented an idea. And this was our idea.”

Last week, Motley Crue released their new single The Dirt (Est. 1981) which will feature on their long-awaited biopic The Dirt. The film will premiere on March 22 on Netflix with the soundtrack out on the same day.

It’ll include 14 Crue classics along with the new single and three recently recorded tracks: Ride With The Devil, Crash And Burn and a cover of Madonna’s Like A Virgin.

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KISS Tribute Band’s Paul Stanley’s hair catches fire during show

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Metalhead

KISS tribute band Hairball’s singer Bobby Jensen was nearly burned alive on stage, during their recent live show in Sioux City, Iowa on February 8, 2019.

As you can see in the footage below, Bobby’s hair immensely catches fire. Yet, he doesn’t interrupt the song, and goes along with the band just fine. This may stand for one of the coolest moments in the history of rock ’n’ roll. Check the video below.

Bobby Jensen talked with Ultimate Classic Rock, and said:

“I live an Evil Knievel kind of life, so if I’m on fire a little bit, I don’t care, that’s just part of the fun. I knew I was on fire right away, and that wasn’t a wig, that’s my hair. It was really nice and foofy before the show, now I have a much better Alice Cooper cut.”

Click here to source of the statement.

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Gene Simmons Calls Out KISS Employee At Show For Screw Up

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Alternative Nation | Brett Buchanan

KISSfaq are reporting that Gene Simmons called out a KISS employee for not lighting him correctly at a recent show. In the video, Simmons’ call out appears to be somewhat humorous, so despite the language he seemed to be calling him out in a lighthearted manner.

Simmons said, “Give me a white spotlight, motherfucker. Asshole has been on tour with us for 20 years and doesn’t get, bitch I know where you live. Oh by the way, fuck you.”

KISS’ GENE SIMMONS SHARES EMOTIONAL POST ABOUT HIS MOTHER AND HER CAUSE OF DEATH

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Feyyaz Ustaer | Metalhead Zone

Mother of KISS bassist Gene Simmons, Flora Klein has passed away at 93 years of age. Gene has shared an emotional post on Instagram and said:

“I lost my Mother. My Mentor. My moral compass. And I am heartbroken. 🙁 My Mother, Flora Klein passed away at 93 years of age.

No illnes. No pain. She simply quietly, went to sleep.

My Mother will always be in my thoughts and in my heart. Today. And Forever.
And I would urge all of you, to run over, put your arms around your mother, kiss her and tell her how much you love her. Do this every day!”

Flora Klein has passed away from natural causes. Rest in peace.

KISS frontman Paul Stanley expressed his feelings about Flora’s death and said:

“Gene’s mother, Florence Lubowski, has passed away. I knew her as long as I’ve known Gene. Beyond her fierce love and pride in her only child, she was his inspiration to live up to being worthy of the sacrifices she made in a very diffucult and, at times, horrific life.

A holocaust survivor, she fought for all she had, and her fierce protection and pride in Gene made her someone to be feared, admired and loved. I will miss her laugh and smile.

Let us all say a prayer for her, Gene and his family.“

 

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Ace Frehley: I’ve been holding a guitar pick wrong my whole career

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Loudwire

KISS legend Ace Frehley was the latest guest on Full Metal Jackie’s weekend radio program. He discussed his latest solo album, Spaceman, and how he finds the inspiration to keep making new music. He looks back on the arduous process of splicing tape in the studio in the old days compared to the ease of home recordings today. He also explains that a college education may be obsolete and if you want to learn to play like him, you’re likely going to have to change the most basic thing you know about guitar playing. Check out the chat below.

The new album, Spaceman, is your eighth album. Lately, you’ve been releasing a lot of new music. What invigorates you to have the urge to make a new album?

If you look at the timeline, I got sober in 2006, and the last five years or six years, my creativity has just gone through the roof. I mean, it doesn’t hurt to have a record company writing checks to you, as well. [laughs] Yeah, I mean, I signed a record deal with eOne, and the first release was Spaceman. Then I did Origins Vol. 1. I’m sorry. The first release was Space Invader. We’re getting closer here, now. Then I did Origins Vol. 1. Now we have Spaceman, and I’m also contracted to do Origins Vol. 2. That also helped push me. I usually need deadlines, to get things finished, because I’ll spend weeks on one song.

Between your own albums and KISS, you’ve got a lifetime of recording experiences. Making this new album, what exhilarated you about being in the studio?

I work in my home studio, and I work at my own pace. I don’t have anybody looking over my shoulder. Pretty much, for the last three or four records I’ve done, I’ve produced myself. I work with an engineer. A lot of times, we record the songs with the click track and then add drums, later. It’s a really simple process, and I work at my own pace. I take a break when I want. I’ll run out in the backyard and cook some burgers on the grill, come back and do a guitar solo. When you work in a recording studio, you’re paying by the hour.

At your own leisure then.

On the same token, if I wake up at 3AM and I have this brilliant idea for a song, I can just go in and record. It’s wonderful, working that way.

And you’ve been recording albums for such a long time — the way of recording records is so different now. How do you feel looking back to when you did your first record to now, how do you feel about the technology that exists to allow you to record the way you can?

Well, I mean, the technology has made it so much easier, working with Pro Tools, which is the standard in the recording business, pretty much. I remember working with Eddie Kramer on my first solo album in 1978. We were editing a guitar solo on two-inch tape. We’re trying to get the edit right, and we’re slicing the tape with razor blades. We’re putting little pieces here and another little piece there. Then we have to tape it back together, run it, listen to it and go, “That’s a little long.” Then I start cutting quarter-inch pieces of tape, to get the end of the note right. I mean, that took forever. Today, I’ll do three or four takes of a solo and then, usually, piece it together with Pro Tools, but it’s done with the click of a mouse.

It’s pretty amazing. Looking back you have to laugh at how you had to used to do it.

There’s something about an analog tape that does sound a little warmer. You know what? They’ve really improved the technology [with] Pro Tools. You can buy plug-ins that really emulate the sound of tape. They even have a picture of a tape recorder running, so you can get in that mindset.

What I try to do is, even though I’m recording digitally, I use old amplifiers, old microphones, old preamps, racks of different, old preamps, which give you that warm sound. They have tubes in them. I try to use amps with tubes, old Marshall, old Fender, reverbs and the old tweed amps with the Jensen speakers that break up just the way you want it. That’s how I achieve more of a vintage sound on my records.

You’re one of those musicians whose style is instantly recognizable. What aspect of the way you play do you think – are singularly unique to you?

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