Michael Brandvold
Katey Sagal reveals early relationship with Gene Simmons in new book
Actress Katey Sagal briefly romanced Kiss frontman Gene Simmons after meeting him when she was a young waitress in California.
The Sons of Anarchy star was a 20-year-old employee at a Los Angeles restaurant when she served Simmons following the band’s concert at the Santa Monica Civic Auditorium in the mid-1970s.
Sagal, who was an aspiring singer at the time, performed for the rocker, flirted with him, and went home with Simmons.
“He was quite persuasive, and I like men,” she writes in her memoir Grace Notes.
Simmons accompanied her to her band practice the next day and introduced her to the president of his record label, Neil Bogart, who signed her group. However, her big break never came to fruition after the band’s first album sold poorly and they were released from their contract.
Sagal maintained her relationship with Simmons even though she knew he wasn’t a one-woman guy.
“I fantasized that I would be the exception,” she continues.
The relationship eventually came to an end after another musician proposed to Sagal. She reportedly told Simmons about the engagement and informed him she would decline the marriage offer if the Kiss star wanted to wed her, but he reportedly laughed.
Gene Simmons says rock is still dead
KISS star Gene Simmons is still refusing to backtrack on his “rock is dead” comments that sent the music world into a spin in 2014.
The bassist upset many fans and peers when he told his son Nick rock music had been “murdered” in an Esquire magazine interview.
He said, “It’s that much harder to earn a living playing and writing songs. No one will pay you to do it.”
And, in a new interview, Simmons has defended his three-year-old remarks, stating, “Rock is dead. It’s because of the internet and Napster and all that stuff. Once you download and file-share, then you’re not making it possible for a new band to be able to do this full time.
“There’s every bit as much talent out there as there was when we first started, but the new bands have to live in their mother’s basement because they can’t afford to do this full time, because people are just filesharing and downloading… That’s their prerogative – we allowed it and we haven’t sued everybody’s pants off for doing that.”
He goes on to point out that without traditional record companies “there wouldn’t have been Elvis (Presley), the Beatles, The Rolling Stones, Jimi Hendrix…,” adding, “Even in disco, you got Madonna, you had Prince, U2, AC/DC, us maybe and a few others. And even in pop, you had Michael Jackson… I mean, it’s just endless. Continue reading
Three Sides of the Coin, episode 216 – We Dig Into a 1977 KISS Concert Advance Document and Contract
Michael Brandvold
KISS off: Gene Simmons on how to future-proof a brand, and when to take the make-up off
Joh Fortt | CNBC
Gene Simmons is the most outrageous member of one of the most outrageous bands of all time: KISS.
There’s a lot more to KISS than shock. It’s the number-one gold-record-earning group of all time, at 30—when you include the four solo albums that band members released on the same day in 1978. Fourteen albums went platinum.
This is a band that’s known for its hits: “I wanna rock and roll all night, and party every day” seems like it’s a phrase as old as rock itself. The band is known just as much for its look. There’s the black and white face paint, the pyrotechnics, and a few details that are signature Gene Simmons. There’s the blood-spitting, the axe guitar, and of course the tongue so long it’s almost a fifth band member. And guess what: They’re still touring.
Fortt Knox sat down with Gene Simmons at the Studio Hotel in New York, to talk business and marketing. Simmons is a guy who not only managed to launch an iconic brand in his early 20s, he and co-founder Paul Stanley remade it several times along the way with different band members, different looks—and a voracious appetite for merchandising.
Simmons also managed to become a brand on his own.
He has had more than one turn on reality TV. He was on the “Celebrity Apprentice” with then star (and now president) Donald Trump. Simmons also had had his own show, “Gene Simmons Family Jewels,” that featured wife Shannon Tweed, and his kids Nick and Sophie.
Here’s a sampling of some of the wisdom he shared with Fortt Knox, in typically colorful fashion.
CNBC
Gene Simmons is the most outrageous member of one of the most outrageous bands of all time: KISS.
There’s a lot more to KISS than shock. It’s the number-one gold-record-earning group of all time, at 30—when you include the four solo albums that band members released on the same day in 1978. Fourteen albums went platinum.
This is a band that’s known for its hits: “I wanna rock and roll all night, and party every day” seems like it’s a phrase as old as rock itself. The band is known just as much for its look. There’s the black and white face paint, the pyrotechnics, and a few details that are signature Gene Simmons. There’s the blood-spitting, the axe guitar, and of course the tongue so long it’s almost a fifth band member. And guess what: They’re still touring.
Three Sides of the Coin, episode 215 – He Told Them to Take the Makeup Off and Put It Back On. Danny Goldberg Joins Us
Michael Brandvold
KISS My Boots podcast – Music From the Elder “I” video
KISS My Wax
 
Podcast Rock City, episode 141 KISS in the ’80s
Podcast Rock City
The KISS Room – February 10, 2017
Matt Porter
Gene Simmons keeps KISS classic
Ken Sharp | Goldmine
Frank White photo credit
Outspoken and brash, arrogant and opinionated, profane and vulgar, supremely narcissistic and sexist, are among the colorful descriptions both the public and media foist at KISS founding member Gene Simmons. Acutely aware of how he is perceived, Simmons even named his last solo album, “Asshole.”
When meeting with the “God of Thunder,” he’s polite and gracious proving there’s much more behind the self-proclaimed “Man of 1000 Faces.” The band, or brand, as Simmons often likes to describe the Roll and Roll Hall of Famers, are not content to rest on their laurels and count their mountainous pile of greenbacks, but continue to press the envelope with a keen understanding of the transformative power of how a rock ‘n’ roll band can be marketed in the 21st Century. Yet as Simmons attests, his aspirations for KISS have far exceeded his expectations.
“It is really weird that KISS, which never really started out as anything, but this bizarre dream of four knuckleheads off the streets of New York just wanting to do one record, that four decades later, the RIAA crowned us as the No. 1 gold record award-winning group of all time in America. It’s amazing especially since we’ve only had three hit singles, ‘Beth,’ ‘I Was Made For Lovin’ You’ and ‘Forever.’”
For a group routinely dismissed by short-sighted critics as a flash in the pan, a joke band comprised of talentless cretinous musical goons soon to be forgotten and quickly discarded on the junk heap of failed rock bands past, KISS are having the last laugh. Detractors be damned, 43 years since the original band — Paul Stanley, Gene Simmons, Ace Frehley and Peter Criss — first came together, KISS continue to transcend the parameters of what a rock band can do; whether starring in their own Scooby Doo cartoon (“Scooby Doo & KISS: Rock & Roll Mystery”), teaming up with menswear designer/clothier John Varvatos or collaborating with Japanese teen sensations Momoiro Clover Z on “Samurai Son,” the band’s first No. 1 single in the “Land of the Rising Sun,” yesterday and today KISS stubbornly follow the beat of their new drum and continue to thrive, loudly.
We sat down with the band’s resident “God of Thunder,” Gene Simmons, who offered a primer in all things KISS, past, present and future.
Goldmine: The act of songwriting was something you worked hard to master.
GENE SIMMONS: Well, initially I just sang in bands. We did cover songs; everything from Otis Redding to Wilson Pickett to The Ventures and, of course, Beatles songs, whatever was happening at the time. Listening to The Everly Brothers helped me learn how to sing harmony, too. Then my mother bought me a Gibson SG Standard and I didn’t know what to do with my fingers so initially I was just pressing single notes. Then I noticed the way people were holding C chords and G chords and all that and started to fool around.
This interview ran in the January 2017 issue. Click the above cover for a digital copy or email missy.fenn@fwmedia.com for a print copy.
GM: How would you describe the early songs you wrote?
GS: The first songs, in retrospect, were the kind of things Lennon and McCartney wrote but I don’t mean anywhere near as good. People would ask them what their words mean and both of them would say, “We have no idea, we just put words on there that sounded good.” And initially, the kinds of songs that I wrote as a kid didn’t really mean a hell of a lot. I had a song called “My Uncle is a Raft.” One of the lyrics was “My uncle is a raft and he always keeps me floating.” I had fond feelings about my uncle George and I’m sure all that McCartney stuff like “Uncle Albert” and the lyrics “hands across the water” really don’t mean anything. It’s not like “Penny Lane,” which really meant something about his childhood memories. But a lot of the words in Beatles songs like “I Am The Walrus” don’t mean a lot; they’re just interesting words that are stuck against the melody and the meter. So those first few songs of mine were very simple. Stylistically, they were vaguely Beatlesque or Everly Brothers-ish, “Wake Up Little Susie,” that kind of stuff.
GM: What was the breakthrough for you as a songwriter?
GS: The irony was that I noticed if I was gonna be in a band, I didn’t see myself as a lead singer. Physically I was too big and I didn’t see guys my size doing that. I could sing well enough I guess, at least as good as Eric Burdon and (Mick) Jagger, those guys, who sing pretty straight ahead. I mean, anybody can sing “Satisfaction.” There’s no vocal histrionics on it but I noticed everybody was looking for bass players because there were plenty of guitar players and plenty of drummers. So I could play a little guitar. My mother bought me a Kent bass, a bass which looked like a Hofner, the one Paul McCartney played in The Beatles, but of course was a cheap version made by the Japanese. Bands immediately wanted me to join their group because they didn’t have a bass player and because I knew chords. If someone said, “Play an A or B or G,” I knew where they were on the fretboard. So I immediately joined bands. The first band I joined might have been The Missing Lynx and then I really hit my stride with a group called The Long Island Sounds and then after that we had a group called Cathedral which had a Hammond B-3 organ. By that time I’d been starting to write my own songs or co-writing songs. One of the early ones was a song called “She,” which KISS later recorded for the “Dressed to Kill” album. I wrote that with the guitar player in one of my bands, Stephen Coronel; I used to go to school with him. That song and a few others including “Goin’ Blind,” which was initially titled “Little Lady,” wound up being recorded by KISS. Continue reading
The success of KISS Kruise VI
Ken Sharp | Goldmine
By Ken Sharp
Back in 1975, a passionate KISS fan from Terre Haute, Indiana named Bill Starkey took matters into his own hands in attempt to get his favorite band played on the radio. In short stead, the KISS Army was born. That blood, sweat and tears ethos mining fierce dedication and commitment to championing the cause of their musical superheroes continues unabated more than 40 years on. And as KISS Kruise VI: Creatures of The Deep sets to leave the port of Miami, Florida with stops in Cozumel, Mexico and the Grand Cayman Islands for a five-day excursion of frolic, fun, hijinks and rock ‘n’ roll debauchery on the high seas, that same KISS Army are now getting their sea legs adopting an altogether different guise, the KISS Navy. Over 2,400 passengers from 35 countries are back to share an unforgettable journey with the hottest band in the world.
Standing in the port, I’m witness to friendships being rekindled and allegiances reignited as thousands of fans from Germany to Japan, Australia to Brazil, England to France, Russia to Sweden, most decked out in KISS T-shirts, many wearing full KISS makeup, scamper onto the ship with the excitement of the Tin Man, the Scarecrow and the Cowardly Lion off to see the Wizard on the yellow brick road; and in this case, that yellow brick road leads them face to face with their heroes, Paul Stanley, Gene Simmons, Tommy Thayer and Eric Singer — KISS.
This is the band’s sixth cruise and they’re selling out quicker than ever. Greg Hounshell, 46, a realtor based in Wytheville, Virginia has been waiting all year to make it back on the ship and he enthuses: “It’s time for the KISS Navy Reunion. I look forward to this all year. There is simply nothing like it. As a fifth time cruiser, it’s my chance to spend four days with the friends I’ve made from past years and make new friends for the future. The band works seamlessly to give the cruisers dozens of activities to choose from. The band lineups are always good and this year there are some new faces and groups to enjoy. I’ve been blessed to be on these KISS Kruises and wouldn’t miss it for the world. The friends I see on the boat are some of the best people I know. I’ve even started meeting up with them on activities throughout the year. There are no fans like KISS fans and there is no cruise like the KISS Kruise.”
KISS Album Discography
Goldmine
KISS album discography
The following is a selected discography of KISS albums from Goldmine’s Standard Catalog of American Records.
CASABLANCA
❑ NBLP7020 Alive! 1975 40.00
—Dark blue labels; with booklet
❑ NBLP7020 Alive! 1976 25.00
—Tan labels with desert scene, “Casablanca” label
❑ NBLP7020 Alive! 1977 18.00
—Tan labels with desert scene, “Casablanca Record and FilmWorks” label
❑ 822780-1 Alive! 1984 12.00
—Reissue
❑ NBLP7076 Alive II 1977 18.00
—Without inserts
❑ 822781-1 Alive II 1984 12.00
—Reissue
❑ NB20128 [DJ] A Taste of Platinum 1978 50.00
—Promo-only sampler from Double Platinum
❑ NBLP7270 Creatures of the Night 1982 40.00
—Original version has band with makeup
❑ 824154-1 Creatures of the Night 1984 10.00
—Reissue; band without its makeup on cover
❑ NBLP7025 Destroyer 1976 30.00
—Dark blue label
❑ NBLP7025 Destroyer 1976 18.00
—Tan label with desert scene, “Casablanca” label
❑ NBLP7025 Destroyer 1977 15.00
—Tan label with desert scene, “Casablanca Record and FilmWorks” label
❑ 824149-1 Destroyer 1984 10.00
—Reissue
❑ NBLP7100 Double Platinum 1978 40.00
—With “platinum award” cardboard insert and “Double Platinum Kiss Gear” order form
❑ NBLP7100 Double Platinum 1978 18.00
—Without inserts
❑ 824155-1 Double Platinum 1984 12.00
—Reissue
❑ NBLP7016 Dressed to Kill 1975 30.00
—Dark blue label
❑ NBLP7016 Dressed to Kill 1976 18.00
—Tan label with desert scene, “Casablanca” label
❑ 824148-1 Dressed to Kill 1984 10.00
—Reissue
❑ NBLP7152 Dynasty 1979 18.00
—With poster and merchandise order form
❑ NBLP7152 Dynasty 1979 12.00
—With neither poster nor order form
❑ 812770-1 Dynasty 1983 10.00
—Reissue
❑ NBLP7006 Hotter Than Hell 1974 30.00
—Dark blue label
❑ NBLP7006 Hotter Than Hell 1976 18.00
—Tan label with desert scene, “Casablanca” label
❑ NBLP7006 Hotter Than Hell 1977 15.00
—Tan label with desert scene, “Casablanca Record and FilmWorks” label
❑ 824147-1 Hotter Than Hell 1984 10.00
—Reissue
❑ NB9001 Kiss 1974 80.00
—First Warner Bros.-distributed version does NOT have “Kissin’ Time
❑ NBLP7001 Kiss 1974 30.00
—All renumbered versions have “Kissin’ Time”; dark blue label
❑ NBLP7001 Kiss 1976 18.00
—Tan label with desert scene, “Casablanca” label
❑ NBLP7001 Kiss 1977 15.00
—Tan label with desert scene, “Casablanca Record and FilmWorks” label
❑ 824146-1 Kiss 1984 10.00
—Reissue
❑ NB9001 Kiss 1974 50.00
—Second Warner Bros.-distributed version DOES have “Kissin’ Time” on Side 2 (RE-1 on label)
❑ NBLP7225 Kiss Unmasked 1980 12.00
—With neither poster nor order form
❑ NBLP7057 Love Gun 1977 40.00
—with “Hot Goods from the Supply Depot” order form, unpunched-out cardboard gun and “Bang!” sticker. All items must be intact to get top dollar for this.
❑ NBLP7057 Love Gun 1977 15.00
—Without inserts
❑ 824151-1 Love Gun 1984 10.00
—Reissue
❑ NBLP7261 Music from The Elder 1981 30.00
—Various editions have paper or plastic innersleeves, lyric sheets, even incorrect track listings on the back cover; no difference in value is noted between variations
❑ 824153-1 Music from The Elder 1984 10.00
—Reissue
❑ NB20137 [DJ] Peter Criss, Ace Frehley, Gene Simmons, Paul Stanley 1978 60.00
—Promo-only sampler from the band’s solo albums
❑ NBLP7037 Rock and Roll Over 1976 25.00
—Tan label with desert scene, “Casablanca” label; comes with sticker and Kiss Army paraphenalia order form
❑ NBLP7037 Rock and Roll Over 1977 15.00
—Tan label with desert scene, “Casablanca Record and FilmWorks” label, with inserts
❑ 824150-1 Rock and Roll Over 1984 10.00
—Reissue
❑ NBLP737 [DJ] Rock and Roll Over Special Edition 1977 120.00
—Five-track sampler from the LP
❑ Kiss ‘76 [DJ] Special Kiss Tour Album 1976 100.00
—Special four-track sampler
❑ NBLP7032 The Originals 1976 100.00
—Tan label with desert scene, “Casablanca” label; without extras
❑ NBLP7032 The Originals 1977 100.00
—Tan label with desert scene, “Casablanca Record and FilmWorks” label; “Second Printing” on cover; with extras listed above
❑ NBLP7032 The Originals 1977 50.00
—Tan label with desert scene, “Casablanca Record and FilmWorks” label; “Second Printing” on cover; without extras
❑ 826242-1 Unmasked 1985 10.00
—Reissue
MERCURY
❑ 8227801 Alive! 2008 30.00
❑ 522647-1 Alive III 1994 30.00
—Limited edition black vinyl
❑ 522647-1 Alive III 1994 30.00
—Limited edition white vinyl
Vinnie Vincent’s disco years
Vimeo
Vinnie Vincent on Dan Hartman’s Instant Replay video. We’ve covered this before, but we feel it’s time to show it again…awesome…
Podcast Rock City, episode 140 – A way cooler Alive IV
Podcast Rock City
Gene Simmons Crashes Ace Frehley Show, Hang Out Backstage
Gene Simmons pulled a surprising move by attending Ace Frehley’s recent gig in Beverly Hills, CA and even hanging out with former KISS bandmate after the concert.
The photo below shows the two lads in the same picture for the first time since the 2014 Rock Hall induction.
As expected, this led to many fans hoping for Frehley’s return to the KISS fold. The fact that Gene attended the show is more surprising seeing that he has severely condemned Ace’s drugs and alcohol struggles over the years.
Anyhow, the pic was posted by Ace’s official FB page, along with the following caption: “MEANWHILE ~ some guy named ‘Eugene’ crashed Ace’s VIP meet-n-greet last nite in Beverly Hills without rendering payment. If any of you Rock Soldiers can identify this man of mystery, let us know!”
Stay tuned for updates.
Podcast Rock City, episode 139 – Lookin’ at Love Gun
Podcast Rock City
KISS’ Paul Stanley Postpones Dates Due To Brain Injury
|
The singer and guitarist suffered the concussion in a skiing accident on January 15th, he revealed in a tweet that day. He wrote “I went skiing today and got something I never expected…A concussion! OW!!!!! Lucky though….” On Wednesday he shared the following updates, “MY APOLOGIES. Recovery from concussion will take a bit longer. I am postponing ALL FOUR California Soul Station shows Feb. 1-4. So sorry.” Soul Station is a music collective formed by Stanley to pay tribute to the soul music era that inspired him as he was growing up. He had previously said of the group, “When I was a boy, before I ever saw The Who or Led Zeppelin, I saw Solomon Burke and Otis Redding. I saw the Temptations. It’s tragic to think that so many people are missing out on experiencing the power of so many great bands, artists and that incredible music. “That music is part of the foundation of all the music I’ve made and Soul Station is my chance to celebrate it for a night that’s real and live.” He added, “I don’t play guitar in the band and we don’t do a single KISS song. That’s not what this is about. It’s magical to hear those songs played right and we’re making magic.” |
Tommy Thayer of KISS Interview – NAMM 2017
Gibson Guitars
Ace Frehley talks Kiss, his solo career and life in San Diego
George Varga | San Diego Union-Tribune
Dove Shore
For many musicians, joining the right band at the right time can be a life-changing experience that leads to fame and fortune. For Ace Frehley, leaving Kiss in 1982 was a life-changing experience of an even more dramatic nature.
“I was on a downward spiral and really needed to get away from the whole music business, and try and get a grasp on reality and take a step back. I’d really lost my identity, being ‘The Spaceman’ in Kiss for so long. I needed time to be away from that character and the whole crazy world of touring. So I think it did save my life.”
One of the most influential rock guitarists of the 1970s and ’80s, Frehley rejoined Kiss in 1996 for six years. That stint also ended in acrimony between him and Kiss co-founders Paul Stanley and Gene Simmons.
Happily, he and Stanley buried the hatchet last year when Stanley sang the classic Free song “Fire and Water” on Frehley’s latest album, “Origins Vol. 1.” Their chemistry seemed better than ever
“When we were shooting the video for the song, it felt so natural being next to Paul onstage,” Frehley said. “Because we have so much history together and I think it came across in the video. He told me he had a lot of fun. I sure enjoyed it. Who knows what lies ahead?”
In a separate interview from his Beverly Hills home, Stanley was equally enthusiastic, if more doubtful of any further reunions.
Gene Simmons: No more KISS albums until there is ‘a financial model that works’
According to Gene Simmons, there isn’t going to be another KISS album unless there are some major changes in the way music is consumed..
While the band’s popularity, at least at the consumer level, has ebbed and flowed over the years, their last couple of albums have been major disappointments from a sales perspective. KISS have released twenty studio albums only four of which have not gone, at a minimum, gold (500,000 units sold). 1981’s Music From “The Elder” has sold about 375,000 copies while the more recent Carnival of Souls (1997) is at 181,000, Sonic Boom (2008) at 325,000 and Monster (2012) with 200,000.