Dressed to kill with KISS.

Below is my video review of KISS Kruise IV, as well as photos and videos from this unforgettable event. Enjoy!

With the great Mark Cicchini of the awesome Three Sides of the Coin KISS podcast.

Cheap Trick put on a great show.

A front-row-center selfie before KISS’ acoustic set.

Holding a Gene Simmons Axe.

With KISS’ manager, Doc McGhee.

Me, Tommy Thayer and my friend Chuck.

This was my first time getting my face painted as a KISS character. 

This lucky girl received Eric’s cowbell.

Meeting “Space Ace” in Glenside, PA before his show at The Keswick.

I never had a chance to see Ace Frehley, the original lead guitarist of KISS, perform with the band. By the time I started attending KISS shows, Tommy Thayer was the new “Space Man.” So, when Ace announced the tour for his new solo album – Space Invader – I was ready to finally see him live.

Over the past week, I saw Ace Frehley twice – in Atlantic City last Saturday and in Glenside last night. Both shows were awesome, with set lists that included more than 20 songs that covered his career in and out of KISS. And lead vocals were shared by everyone in Ace’s stellar solo band.

With Ace backstage in Atlantic City before his show at The Borgota.

I got to go backstage and meet Ace at both shows and it was a good experience both times. I left with autographed merchandise, guitar picks and more; and Ace was pleasant to speak with, especially at the show in Glenside. We chatted about his new album, the Rock & Roll Hall of Fame and how he travels from show to show.

I’m thrilled I had the opportunity to meet Ace and see him perform live twice over the past week. He put on great shows, was nice to fans backstage and exceeded my expectations in every way. If you get a chance to see “Space Ace” live, go for it. Whether you’re a fan of KISS or Ace, you’ll have a blast.

Meeting the legendary Peter Criss at the All Things That Rock festival in Oaks, PA.

On Friday I met KISS’ original drummer, Peter Criss, at the All Things That Rock Festival in Oaks, PA. This was the culmination of a terrific, music-filled year where I met and had my photo taken with all of the original and current members of KISS. I also had the privilege of being in attendance at the Rock and Roll Hall of Fame induction ceremony earlier this year where KISS’ original lineup was honored.

Other than Barry Manilow, Peter was easily the nicest celebrity I’ve ever met. Not only did he chat with me for at least five minutes, he gave me two hugs, autographed my copy of Rolling Stone, and took multiple photos with me.

Below is a video I shot of Peter’s interview with Eddie Trunk at the event:

When you meet a celebrity, they can either meet your expectations, exceed them or disappoint. Peter Criss exceeded my expectations in every way imaginable. He was warm, gracious and spent a meaningful amount of time with every fan. It was a great experience I won’t soon forget and a terrific way to cap off my year-long celebration of KISS’ 40th anniversary.

I just interviewed John Thayer, my favorite new indie pop artist. His first EP, Laurel Street, is an excellent collection of music that everyone should check out, and the follow-up, Take It Back, is coming out in February. If the last name Thayer sounds familiar, it’s probably because John’s brother, Tommy, is the lead guitarist of KISS, my all-time favorite rock band.

Below is my interview with John Thayer. I hope you enjoy it!

What music influenced you the most over the years?

Of course, The Beatles were a big influence. There was a progressive rock band out of England that I also liked called Yes. I’m a big Yes fan. I love the harmony vocals of Crosby, Stills, Nash, & Young. They were a little bit before my time, but I always enjoyed that band. Steely Dan, they were doing more pop music back then, so they were an influence. Band like the Rolling Stones, The Who and Led Zeppelin were also influences for me. I was a big fan of all of those English bands. I really enjoy Coldplay and Keane…still a lot of English bands (laughs). But I like all types of music, jazz, soul, everything. I appreciate all good music. 

Did you start playing music as a child?

I’ve always been interested in music. I took piano lessons as a kid, so that provided me with a good foundation, learning chord structure and scales. I sung in school choirs. But it wasn’t until 15 years ago that I really started to pursue music as far as picking up the guitar and singing in a band. I had a cover band with some friends, a classic rock band where we played the Stones, The Beatles, that kind of stuff, around Portland. Then I started to write my own songs, play the guitar more and kept plugging away at it. The early songs weren’t great but they gave me something to build off of. I’ve had fits and starts over the years, but a couple years ago I decided to focus on it more and bring my game up to a new level.

Your first EP, Laurel Street, is terrific. While every song is excellent, my two favorites are “Time Waiting For You” and “Breathe.” What are the stories behind these two songs?

While I love my parents and they did a terrific job raising me, “Breathe” is about the concept of getting out, breathing on your own and not being limited by your parent’s belief system. Cutting the umbilical cord, if you will. We’re conditioned by our parents and it can be hard to break away from that, so “Breathe” is along those lines. 

“Time Waiting For You” is a song of hope and the concept of time healing heartbreak and sadness. As time goes on, you see the future and see the light and get beyond that. So, that’s the theme behind that song. It’s also about overcoming adversity and getting a new start, a new vision. 

What was it like going into the studio and recording your first EP? I imagine it was a fantastic experience. 

It was and what made it even better was working with two singer-songwriter musicians who were co-producers on the album: my second cousin Bobby Krier and Micah Tawlks. Micah and Bobby had a lot of influence on the record and the production, including the way it was recorded, the instrumentation and the texturing – the way the music was crafted on the record. I wrote the songs but they had a huge influence on it stylistically. 

When you go into a studio, you can go in so many different directions when recording a song. You can go one way or another way. You can make it heavy, you can make it soft. It can be guitar-oriented or synth-oriented. But they helped craft that modern sound I was looking for. 

And you have a new EP coming out in February, correct?

Yes, it’s going to be called Take It Back. It’s six songs, and it’s both a continuation and evolution of what was on Laurel Street. The songs are still pop songs, but I think they’re a little more sophisticated lyrically and they have a little bit of a darker vibe. But it’s still very much part of the indie pop genre, and it’s going to be good. I like it just as much as the first one. I don’t know if I like it better, but I definitely don’t like it any worse (laughs). We also have two new videos that will accompany the two singles on the record. 

You recently performed at the Whiskey A Go Go. Did you get a chance to perform any of the new material while you were there?

Most of the material was off Laurel Street but I think we did at least three songs off of the second record.

What was it like performing at such a legendary venue?

It was great. I saw my brother perform there years ago with his band at the time called Black ‘N Blue, so it was fun to come back and actually play there myself. Having previously been there in the audience rooting on my brother, it was special to be on stage performing. It was fun. We had a good show and a big crowd. 

Do you and your brother, Tommy, have similar tastes in music?

While we do like similar bands, I think he prefers more hard rock than I do. In addition to the classic rock bands I mentioned, he would probably bring up Montrose, KISS, Aerosmith – those would definitely be on his list. Of course, now I’m a huge KISS fan but growing up that wasn’t really my niche. I was into the English rock scene.

Tommy Thayer (left) and John Thayer (right).

When did you first see Tommy in KISS and what was it like?

It was in 2003 at the Palms Casino in Vegas, after they had come back from Australia from the KISS Symphony performance. It was great. The second time I saw them was at Jones Beach in Long Island, in the summer of 2003, when they toured with Aerosmith. 

What have your experiences been like meeting Tommy’s bandmates? Paul, Gene and Eric.

It’s been terrific. Paul, Gene and Eric are all great guys. They take their jobs and roles very seriously. They’ve always been nice to me and they’re good to Tommy, and Tommy’s done a great job for KISS. He’s brought a lot to the table. They’ve always respected me like they respect Tommy. I don’t know Paul and Gene real well, but I’ve spent some time with them in Europe and other places over the years. I’ve gone out and seen the band perform many times over the years. They’re great guys. Real focused and committed to the band and to their fanbase. They’re definitely professionals. 

Revolution Saints: Doug Aldrich (left), Deen Castronovo (center) and Jack Blades (right).

Today, I interviewed one of my all-time favorite drummers, Deen Castronovo of Revolution Saints, Journey and formerly Bad English. Deen was a pleasure to speak with and we covered a lot of ground, everything from his drumming as a child to his current project with Revolution Saints. Speaking of which, make sure you pick up a copy of their debut album when it’s released on February 24. It’s the greatest melodic rock album I’ve heard in years – stay tuned for my review of it. Until then, enjoy my interview with Deen.

I’ve been listening to the new Revolution Saints album and it’s amazing. How did you guys come together?

Thank you for the kind words, bro. It was the brainchild of Serafino, the President of Frontiers. He’s been wanting to do a solo record with me for years and I kept saying, “I can’t.” I was busy with Journey, I didn’t have time for that. And honestly, I was scared to death. I didn’t think I had what it took to be a lead singer. Drumming is easy. I’ve been playing drums since I was six. I’ve got that pretty much down. I know what I’m doing. I know who I am as a player. To me, honestly, it was scary. Once they asked me, I committed to it and it just fell to the back of my mind. I wasn’t really thinking about it. And the songs starting coming in, they were written by Alessandro Del Vecchio. I listened to the songs and went, “OK. This is for real. These guys are serious. This is really gonna’ happen.” (laughs) 

I was off the road from touring with Journey, and I ended up doing the drum tracks in about four or five days. I had to go out with Journey again, so the files were sent to Jack and he put his beautiful bass on there. And then Doug came in and put an amazing spin on the songs. That was complete and then it was vocal time. That was the scary part. I’ve gotta’ be honest. I’ve never been the lead singer, where I was singing the full record and having to try and bring those songs out…bring the character out of each song. So, it was very scary. I’ve gotta be honest. 

Speaking of singing lead vocals, the highlight of a Journey concert nowadays is fans getting the chance to see you sing “Mother, Father.” What’s it like when you’re playing the drums on this song live while also having to sustain a strong vocal at the same time?

The funny thing is, it’s become extremely easy now. I started as a lead singer/drummer when I was 11 or 12. I was in cover bands and they’d have me sing the Journey stuff. So, I was playing drums and singing that stuff. It’s kind of like second nature to be able to do it. It’s almost like the drum parts are subconscious. I know where they are. So, the conscious mind has to focus on the vocals and that’s what it is. The drums almost go on autopilot. I can just go. I know exactly where those are going to be. It takes a backseat to the vocals, so I’m able to do the best I can on the songs. And they’re not easy, bro. My god, Steve Perry is not (laughs) who you want to try and sing to. No one can sing like him. He’s who he is. You can’t touch him. But I do my best to try and sing the best I can so I can represent the band on those songs. 

Do you, Jack and Doug plan on doing some live dates to support the new album?

Yeah, we’re talking about it. Journey gets off the road August 2, so we’ve got a little time there to possibly do a fall tour, schedules permitting. As long as Jack and Doug aren’t committed to stuff, and of course, as long as Journey isn’t doing anything. Journey is my priority. That’s my baby. Obviously, that takes precedence over everything. If the schedules permit, you’re darn right, I want to go out and play these songs. I want to do it. 

Growing up, who were your biggest vocal and drumming influences?

Singing is a no-brainer. Obviously, Rob Halford, Paul Stanley and Steve Perry. Those were the guys I listened to. I grew up with metal. Rob Halford is an amazing vocal talent, and of course, Steve Perry was a huge influence because I’m a big Journey fan. He’s a big influence on me. Even though people go on YouTube and say, “Oh, he’s not as good as Steve Perry.” Well, damn right I’m not as good. He’s Steve Perry! Who’s gonna’ be as good? (laughs) I’m trying to do the best I can to make the songs great for the fans. He was a huge influence. He had Sam Cooke and many others as his influence, and I can’t help it. He was an influence for me and I’m nowhere close to him. Nobody is. I do my best to make the songs come alive, live. 

When it comes to drumming, Peter Criss. If it weren’t for Peter Criss, I wouldn’t have picked up drum sticks. KISS were my Beatles. When I saw KISS at seven years old I said, “OK, I want to do that.” I want to put on the makeup, I want to put on the shiny, huge boots, and I want to play rock and roll. So, they were my Beatles and then I got into Rush. Neil Peart, one of the most innovative and iconic drummers of my generation. Then I got into Phil Collins with Brand X and Terry Bozzio with UK. And then, of course, I heard Captured and I heard Steve Smith and that just put me over the edge. I said, “I want to play that kind of music.” I had two choices when I was a kid, in my teens. I either wanted to play for KISS or I wanted to play for Journey. This is no lie. It was either KISS or Journey. Those are the bands I wanted to be in, and I was very fortunate to get into an amazing band. (laughs) My dream came true. I still want to play with KISS one day, but I don’t look good in spandex. (laughs)

I love that you love KISS because guess what? Other than Journey, KISS is my favorite rock band. I love both of those bands. I met Peter Criss a few months ago and he was terrific, the nicest guy ever. What do you think of Eric Singer? I think he’s terrific. 

I’ll tell you a story, this is great. I was playing for Tony MacAlpine and Eric Singer had heard me play in Wild Dogs, my metal band from years ago, and he got in touch with the guys from Pearl. He brought his Wild Dogs record, put it in and said to them, “You guys need to sign this guy. You need to give him a friggin’ drum deal.” If it wasn’t for Eric…I owe him a lot. He’s an amazing drummer, like stupid amazing. The man can play anything. He’s one of the best rock drummers I’ve ever heard. For him to stick his neck out and get me a drum deal was huge. And I was unknown, dude. I was a nobody. He was already in Badlands and had done all that stuff. He was a major guy. I owe him a lot. He’s an amazing drummer.

But no dude, I have never met Peter Criss. I’m bummed. I’d love to meet him and tell him, “If it wasn’t for you, I would have never played drums.” That’s what lit the fire under my butt. I wanted to wear makeup and have fire and bombs. I still want to have fire and bombs in Journey but I keep getting vetoed. (laughs) They keep saying, “We’re not that kind of band.” I say, “We could be!” (laughs)

When you were in Bad English, what was it like working with such a talented group of guys?

For me, Michael, that was my first big band. I was coming out of working in a nursing home. When Bad English came a callin’…Neal’s the one that found me. He said, “You need to audition for this band.” So, I went down and auditioned and it took them about a week to make the decision to hire me. They were willing to stick their necks out and give me a shot, and I’m forever indebted to John Waite, and Ricky, and Jonathan, and Neal. They were the catalyst.

And being in that band, dude, are you kidding? I joined (laughs), you’re gonna’ love this. I joined in February of 1988 and we recorded the record in the summer of ’88, it came out in ’89. We had a number one single. I remember getting my first gold record, calling my parents in tears, saying, “Mom and Dad, it happened. I’ve got a gold record in my hands. I am freaking out.” It was huge, and then a platinum record, and then touring. It was a dream come true, honestly. It’s still very dear to my heart. I miss John Waite. I would love to work with him again. I would love the whole band to tour together again. But I don’t think that’s in the cards right now. Someday. I’m hoping! (laughs)

What was it like getting that call to join Journey? I imagine it was a surreal experience. 

I had just gotten booted from Ozzy and I had gone to play with an artist in Italy. Then I went home and I remember getting a call from Neal saying, “Hey, how are you doing? How are you doing physically? Are you feeling good?” I said, “Everything’s good.” And he went, “Would you like to join Journey?” It took me a nanosecond to say, “Of course!” Neal said, “Well, we’re doing it without Steve Perry.” I said, “Well, OK. That’s fine. I still want to do it.” Neal knew that I knew all of the Journey songs because I was a huge Journey fan. So, to be able to join the band and be a part of this is another dream come true. Actually, this is the biggest dream come true because this is who I wanted to play with. And the musicianship. This is just me speaking, but those three gentlemen – Perry, Neal and Jonathan – are the three greatest songwriters of my generation, in my humble opinion. They are the greatest, and not many people can touch those guys. So, to be part of this is an honor. It’s really an honor. 

On Thursday night I went to go see the Robin Zander Band (RZB) perform in New York City, and it was a terrific show. I had first seen Robin with Cheap Trick a few months back on KISS Kruise IV, and I also attended one of his solo acoustic shows during the cruise. Both concerts were great, and the RZB performance this past week was just as compelling. It was two hours of fun classic rock in an intimate setting, and I got to meet Robin after the concert. Check out the band’s website for upcoming tour dates as they put on a show you don’t want to miss.

In addition to attending a great concert and meeting Robin, his band and his son, I had the opportunity to interview Robin Zander on Friday right before he hit the stage. We talked about everything from the Rock & Roll Hall of Fame to KISS to new Cheap Trick music. Also included below are photos and videos from the RZB concert in New York City. Enjoy!

I really enjoyed your concert at B.B. King’s in New York on Thursday night. 

Thank you. We’re a little loose but we like to have a lot of fun. I hope that brought back some memories for ya. 

The first time I saw Cheap Trick was on KISS Kruise IV, just a few months ago. What was it like performing for a rabid group of KISS fans on the open sea?

KISS gave us, Cheap Trick, our first big tour, which was in 1976/1977. It’s sort of like they’re our older brothers, in a way. Gene, I refer to him as “Uncle Gene.” (laughs) But yeah, KISS they’re all right. They’re good guys, and they invited us to do it. So we said, “Sure, we’ll do it!” 

In addition to the Cheap Trick set during the pre-party, you got to do your acoustic sets, which involved your son and your daughter. Those were terrific. 

Yeah, that was really a lot of fun, and they enjoyed it too. That was only the second time I’ve been on a cruise. I’m not a cruise guy or anything. It was fun. 

With Robin’s son, Robin Zander Jr., after the NYC show on February 5.

What was it like working with Jack Blades on his Rock ‘N’ Roll Ride album? The song you guys wrote together, “Anything For You” was very Beatles-esque. 

Well, he had these verses without a chorus and I happened to be at his house. I forget why, but I heard it and said, “Well, I’ve got this chorus. Let’s do it with that chorus in mind.” He’s got a studio there, so we went in the studio and put the chorus right into the song. It was that easy. (laughs) I’ve known Jack a long time. It’s very easy to work with Jack. 

For you, what’s the biggest difference when it comes to performing with Cheap Trick versus performing with the Robin Zander Band?

Well, the biggest difference is that Cheap Trick does original material. Once in a while we do a cover song. The Robin Zander Band does everything under the sun that everybody’s done, including ourselves (laughs). But it’s really cool because we’re all about the same age and we’ve all been in garage bands that learned these songs way back when, so it’s easy for us to put them together. 

Meeting Robin Zander after his concert in NYC on February 5.

How important is it to you for Cheap Trick to make it into the Rock & Roll Hall of Fame?

I don’t know. It would be cool if we were in but if we never make it in or if it happens after I die or something…it’s really not a deal breaker for us. Cheap Trick has been around for over 40 years. We could really, it doesn’t matter, let’s put it that way. (laughs) But if they wanted to put us in there it would be cool. It’s like another feather in your cap. The real feather in our cap is that we’re still a rock band that goes out and tours and we beat the shit out of anyone that we can. (laughs)

Whether it’s Cheap Trick or the Robin Zander Band, you have an extremely passionate and dedicated fan base. What’s that like?

I really appreciate it. These people have been following us around for years. It really motivates a band like ours. If there’s nobody to play to, it gets a little boring. (laughs) We have a great audience. 

What are you looking forward to the most about Cheap Trick’s upcoming tour with Peter Frampton?

Oh, it’s great! Peter Frampton is someone I always looked up to. Humble Pie has always been one of my favorites of all time. Steve Marriott and Peter Frampton, that combination was just incredible during that period in time. It’s fantastic! What can I say about it other than that?

You have a terrific voice and it still sounds great. Many rock stars who’ve been singing for decades can’t say the same. What do you do to keep it in such great shape?

I lie about my age. (laughs) That works every time. 

The Robin Zander Band is a really tight band. Would you guys consider putting out an album?

Well, we record live all the time. If we do a record, it’ll probably be a live thing. We take it as it comes to us. We don’t push the envelope. There’s no reason to. We play and we record all the time, and if somebody wants to offer us a record deal or something, then we’ll consider putting it out. 

Speaking of releasing music, should Cheap Trick fans be expecting a new studio album sometime soon?

We’re already halfway done with it. We’re going to put it out probably sometime next fall. We’re halfway done with all the material, and it’s wild. (laughs) It’s wild!

Meeting Tobin Bell at Monster-Mania 30.

Last Saturday I attended Monster-Mania. This biannual event features notable actors and actresses from the horror, action, comedy, and science fiction genres, as well as professional wrestlers. For the thousands that attend, this is an opportunity to meet their idols, get autographs, participate in photo-ops, watch Q&A panels, browse through aisles of cool merchandise, and enjoy hours upon hours of movies.

The big draw for Monster-Mania 30 was Tobin Bell, otherwise known as “The Jigsaw Killer” from the Saw horror franchise. I waited in line to meet Tobin and while it took some time to get to the front, it was worth the wait. He was very nice, we chatted for a couple minutes, and he even put a movie quote (“Game Over!) on my Saw Blu-Ray collection – something he didn’t do for other fans because of time constraints.

Meeting C.J. Patton, author of The Cutting Edge: Philosophy of the Saw Films.

While waiting in line to meet Tobin Bell, I met C.J. Patton, a local author who wrote The Cutting Edge: Philosophy of the Saw Films. I bought a copy of the book from her while at Monster-Mania; it’s also available to purchase on Amazon. Since we had time to kill while waiting to meet Tobin and I found her book to be interesting, I interviewed C.J.

When did you see the first Saw movie. Was it in theaters or after it came out on DVD?

It’s actually a little complicated. I saw the third one first, in theaters, and I was totally fascinated by it. So, I went back and watched the first two. Then I saw all the next ones at midnight in the theaters because I was in love with the series. 

When you saw the third movie, where you confused about what was going on or did the flashbacks fill you in on everything you needed to know?

Not really. I got the general plot. That he was trying to teach about not seeking revenge. And that whole thing was really cool. I had never seen anything like it before. So, I was totally fascinated by it.

Had you already realized that you were into philosophy at that point?

I had taken one high school philosophy class and I thought it was pretty cool but I didn’t really know that I was going to end up majoring in it in college. That came much later. I think I started off college as an education major. 

When you first watched Saw, did you instantly see the deeper meaning behind it?

That’s what stood out to me more than anything else. I thought to myself, wow, this guy is really crazy, but he’s also really smart. I thought that was really cool because I had never seen a horror movie have such an interesting bad guy before. So, immediately the whole message of cherish your life and cherish the lives of others grabbed me. I fell in love with it for that reason.

When did you decide that you wanted to write a book about Saw? Was it after all of the films ended? 

My sophomore year of college I finally started to realize that I was learning things in my philosophy class that were connected to things in the Saw movies. I went to the head if the Philosophy Department and asked, “Can I write my thesis about this?” He said, “Yeah, OK.” So, I started planning it out and I wrote it as my thesis, initially; and then, in 2012, I realized I could turn this into a book and put it out there. It took a while to do that because there’s a lot of stuff I had to cut out for my thesis version because I had a page requirement and I was way over it. So, I added all of that back in and polished it up into its current form.

Are you working on any new projects?

Yes, I’m working on a new book. It’s going to come out in October; it’s almost done. It’s called The American Monster. It’s an analysis of the human monster and slasher movies and how they connect to American history, and what events led to the rise in popularity of the human monster…and where I think that fad died out.

Now we’re in a time of demons and ghosts. The last human monster movie I remember watching was The Collection in 2012. It will essentially be an analysis of that history, from Psycho to The Collection. That’ll be out this year.

The other big reason for me going to Monster-Mania this time around was to see Lin Shaye, a terrific actress who has been in several of my favorite films, including Wes Craven’s New Nightmare and Detroit Rock City. I was fortunate enough to interview Lin while at the event, which was a real treat.

Meeting Lin Shaye, a prolific actress known for her horror and comedic roles.

I know your brother Bob ran New Line Cinema for many years. But how did you break into the film industry?

I was an actress before he did New Line, actually. I just always loved storytelling, and being a storyteller. I would act in school plays but never thought of it as a profession when I was younger. I was an art history major and I managed to be in every play I could get myself into. 

I got a job at the Metropolitan Museum of Art and I liked it but I missed doing shows. Then I realized there was a profession (laughs) called acting, and I ended up going to Columbia after being accepted into its Master of Fine Arts program for acting, which had just launched. I finished the program and segued into off-Broadway theater. I did theater in New York for many years. 

I never really thought I could do it for a career but I love acting. I love trying to find the answers to someone else’s questions, and that’s what drives me. 

What is your brother, Bob, up to nowadays?

Bob has a new company called Unique Features. He’s gone back to his old model, really, of working on movies with budgets between $1 and $5 million. It’s terrific because it’s what he loves doing the most.

I’m a big KISS fan and loved you in Detroit Rock City. Did you get to interact with the band at all?

Absolutely. They were there all the time and they were all nice guys. Gene Simmons was very funny, smart and loyal…in his own way (laughs). Whatever that might be. You might have to ask Shannon Tweed what that means (laughs). They love each other and they’ve been together for a long time. They’re very loyal. 

At the time we filmed the original band was still together: Ace Frehley, Paul Stanley, Gene Simmons, and Peter Criss. They were all nice guys. It was a great experience. 

You’ve been in several installments in the Nightmare on Elm Street series. What’s it like being part of such a rich horror legacy?

Well, when the original was made we didn’t know it was going to be anything other than a low-budget horror film. But it turned into something much bigger than that, and I’m grateful for it. It was a happy surprise. 

With Costas Mandylor of the Saw films.

I also had the opportunity to meet and interview Costas Mandylor, the lead actor in several of the Saw films.

Your first appearance in the Saw movies was in Saw III. Then, you went on to play a prominent role in the subsequent sequels. What was it like stepping into such a popular horror franchise?

Well, I knew for a fact that it was its own beautiful ship sailing because it had been so successful. But I didn’t know that it would continue after Saw III. When I found out it would happen, my main objective was to not do anything wrong or get in the way of this successful juggernaut, which it was at the time. 

So, I fit into it very nicely, and Tobin was very gracious. He taught me the ropes as an actor and showed me how to care about it. And how to have some fun while delivering the lines, as a character in the movie. Nobody complained that I was in it, so I was happy. 

I thought you were terrific in the Saw movies you were in. And I kept telling my friend, “He kind of looks like Sylvester Stallone.” Did you ever have anyone tell you that?

Yeah, sometimes they call me mini-Rocky (laughs). 

A lot of times franchises sag toward the end, but I thought you helped keep it interesting. 

Well, in time it went a little bit that way…in 6 or 7. But I felt that I didn’t hurt it, and that was my main objective from the beginning. 

I thought you did a terrific job emoting too. Many times your facial expressions in the films said all there was to say. 

Thank you. I really appreciate it. 

Meeting Jason Voorhees himself: Kane Hodder.

With Sean Cunningham, the creator of the Friday the 13th series.

Monster-Mania is a fun event that every horror fan should attend at least once. It’s filled with interesting activities, actors and merchandise to keep even the most die-hard fan busy for hours on end. Monster-Mania 30 was my third time attending, and I’m sure it won’t be my last.

By now you probably know that I’m a huge KISS fan. And being a KISS fan means hearing about all of the crazy merchandising ideas they get involved in and asking yourself, Is this something worth buying? The band’s latest commercial venture is a direct-to-video movie with Scooby-Doo and the gang, and I’m glad to say it’s actually quite good.

The film is around an hour and 20 minutes, and I found myself enjoying most of it. That said, this movie is directly targeted at KISS fans; so if you’re not a big fan of the band or if you dislike them, you probably won’t enjoy this movie.

Some of the cool KISS references include characters named Shandi Strutter, Beth and Christine. And KISS’ manager, Doc McGhee, has a great role in the film where he’s constantly shilling random KISS items, including a KISS toilet. I also enjoyed various references to KISS albums like Dynasty and Destroyer. What I didn’t like was the fact that all of the KISS members are referred to by their character names (i.e., Demon, Starchild, Spaceman, and Catman). While I understand KISS sees themselves as assuming roles when they put on the makeup, why not at least reference their names once in a while since their real-life names appear in the opening credits?

I also didn’t care for Gene’s over-the-top goofy voice. That’s not how he talks on stage or in real life, so it came across as bizarre in this movie. I found that I got used to it as the film progressed, but it was a little off-putting. Paul, on the other hand, stole the show. I loved the scenes where he was being flirtatious or channeling his stage voice and belting out “Oh Yeah!” Tommy and Eric, I mean, “Spaceman” and “Catman” were also enjoyable.

Scooby-Doo! & KISS Rock & Roll Mystery is a fun little film. While the story is sometimes hard to follow, especially toward the end, the animation is phenomenal, the music is terrific – because it’s KISS, of course – and the voice work is solid. It’s like KISS Meets the Phantom of the Park, in that it takes place in an amusement park (i.e., KISS World) and the band members have super-powers. However, the major difference between these two films is this one’s enjoyable. Whether you’re a child or an adult, there’s something here for everyone. If you’re a KISS fan and you don’t already own this, pick up a digital or physical copy of this film. As long as you don’t take it too seriously, you’re bound to have a good time.

As you know by now, one of my passions is music. And I love meeting the artists whose music inspires me. One of those individuals is Alice Cooper, whom I was lucky enough to meet this past Friday when he was in Philadelphia with Motley Crue. Over the past few years I’ve met some fantastic musicians and celebrities. Out of all them, the two best were Barry Manilow and Paul Stanley of KISS. Why? Because they were both selfless and gracious individuals with their feet planted firmly on the ground. And going into this meet and greet with Alice Cooper, I had heard he was equally nice. The meet and greet started after Alice played a tight set of 13 songs. As you can see from the setlist below, he performed his biggest hits and several lesser-known tracks. But what made the performance even more captivating was the theatrics that accompanied the songs. During “Billion Doallar Babies” he came out with a sword piercing through a stack of “money” that he shook off over the crowd. Later on in the set Alice turned into a larger than life creature in “Feed My Frankenstein,” followed by a beheading. And of course, no Alice Cooper show would be complete without his trademark snake. It was a wonderful assault on the senses that is only rivaled by KISS’ stage show. After Alice’s set came to a close, me and all the VIPs met up and were brought backstage. On our way to the room where we’d meet Alice, we ran into one of his bandmates, who cheerily gave everyone a high-five as we passed by. We were then brought into a room where they did roll call and gave everyone their merchandise bags. I didn’t realize it until after I left, but we were all supposed to get a copy of the setlist. Unfortunately, it seems the VIP organizer forgot to include this in our tote bags. But today I reached out to Alice’s assistant and he’s going to make sure I receive mine in the mail. What I did receive was a cool little tote bag, a t-shirt, one of those fake dollar bills with Alice Cooper’s face on it, and a ‘Certificate of Insanity,’ which is a fabulous idea for a poster because it pays homage to the terrific Alice Cooper album From The Inside, which is a concept album about Cooper’s time in a New York sanitarium. What makes this album one of my favorites is it was written with Bernie Taupin, who is famous for writing many of Elton John’s biggest hits; this resulted in the music on this album being more melodic than Cooper’s previous work. I was toward the end of the line to meet Alice Cooper, but as I made my way to the front I saw how he spent a significant amount of time with each fan. Not only did he answer questions, sign autographs and take numerous photos with people, he fulfilled specific requests. Two fans dressed as Wayne and Garth from Wayne’s World wanted to reenact a scene from the film with Alice where he’s standing and they bow before him repeatedly saying, “We’re not worthy! We’re not worthy!” Alice obliged and it was hysterical to watch. He also recorded video messages for people who couldn’t be there, including singing a short birthday message for multiple fans’ friends. I was very impressed. No one said, “We have to speed things up” or “We don’t have time for that.” However long it took, it took. Alice wasn’t rushing the fans, and no one was rushing him. It was how a meet and greet should be. When it was my turn, I came prepared with a few questions I wanted to ask Alice because he’s always been a musical artist who I wanted to interview and, once again, he obliged. Below are the questions I asked Alice and his answers. I’m a big KISS fan and I’ve interviewed Paul Stanley and Eric Singer, both of whom I know you’re friendly with. KISS fans are constantly saying they’d love to see a KISS and Alice Cooper tour. Is this something you’d consider doing?

It would be a good tour. It’s one of those things where if they put it together, I’ll do it. They’re old friends of ours. We’ve known each other forever. It would be fun to do a tour with KISS. 

Two of my favorite albums of yours are Welcome To My Nightmare and its sequel, Welcome 2 My Nightmare. Both of these records were produced by the amazingly talented Bob Ezrin. What’s it like working with Bob?

Bob and I have been working together for so long. We just did the Hollywood Vampires album together. He produced the Vampires album, and I’m in touch with Bob at least once a week. We stay in touch all the time. He’s just one of those guys…if I’m writing a song, even if he’s not producing, I’ll call him up and say: “Here, listen to this. What have I got?” We’re so close that even if he’s not producing, he’s going to listen to the songs and tell me what I have. 

Another one of my favorite albums of yours is From The Inside, which you wrote with Bernie Taupin. What are your thoughts on Bernie?

Bernie’s my guy. I talk to Bernie all the time, too. Bernie lives up in Santa Barbara. He’s a cowboy now. He’s a cowboy. He literally has cattle. As you can see from the photo above, Alice is known for taking goofy photos with fans. I had been thinking about this photo for weeks in advance, and I’m glad it turned out so well. During these meet and greets you just look at the camera and hope for the best. Thankfully, we both look equally goofy.

My Alice Cooper meet and greet experience was an excellent one. He was as nice as could be, I left with some great merch and autographed records, as well as a “Certificate of Insanity,” and I got to do a mini-interview with him. He also put on a hell of a show. if you’ve never seen or met Alice Cooper, try to do both. He’s a great artist, a great man and an inspiration to his legion of followers.

For me, 2014 was the year of KISS. I was lucky enough to meet all of the current and original members of the band, and I was in Brooklyn when Paul, Gene, Peter, and Ace were inducted into the Rock & Roll Hall of Fame. I also interviewed Paul Stanley and received one of his autographed signature guitars as part of a meet and greet. And I closed out the year with two Ace Frehley concerts and meet and greets, not to mention my seabound voyage on KISS Kruise IV, where the band and I were “Dressed to Kill.”

My biggest KISS highlight of this year so far? Interviewing KISS’ current – and best – drummer: Eric Singer. As you can see from the interview below, we covered a lot of ground. Having the opportunity to speak with my favorite drummer for an extended period of time was an absolute joy, and I hope you enjoy the conversation as much as I did.

Earlier this year I interviewed Deen Castronovo, best known for being Journey’s drummer. And when I spoke with Deen he mentioned that you two are friends and that you helped him out earlier on in his career. 

I’ve known Deen a long time. I first became aware of him when he was in Wild Dogs. I like the way he played on that record. I remember telling Pearl, “You guys should really sign this guy. He’s really great.” 

When I spoke with Deen he told me that when he was a kid he wanted to be in either Journey or KISS, and he wound up being in Journey. Did you have a similar dream growing up?

Oh yeah. I was a big KISS fan. And I don’t know if Deen told you this but at the time they were looking to replace Eric Carr, Deen was one of the drummers they considered. Deen told me that he spoke with Gene Simmons on the phone several times and that he sent Gene videotapes. Then Deen told me, “I never heard from Gene again and I found out that you, Eric, got the gig.” That’s what Deen told me. 

But Deen is great and went on to be in Hardline, Bad English, and of course, Journey. And he has a phenomenal voice. It’s a natural gift from god. I show people videos of him and say, “You’ve gotta’ check this guy out. He’ll blow you away.” He should be the lead singer of Journey because he’s the closest you’re gonna’ get to Steve Perry, in my opinion. 

You’re a great singer as well. However, you didn’t get a studio lead vocal on a KISS album until Sonic Boom. When you came in to do Revenge, did you think you’d get a chance to sing on the album? Was it even a consideration at the time?

No. When they first asked me to be in the band, they didn’t know I could sing at all. I did a little bit of singing backgrounds for the Revenge album in the studio, but they didn’t know I could be a lead singer on a tune. That they didn’t know. And to be honest, I didn’t really know either. 

When I first started playing with them, I remember going to rehearsal and saying to them, “What parts do you want me to sing?” And they didn’t even realize I could sing. I told them, “Well, I can sing a little bit, but I’m not sure which parts.” So, Gene would say, “OK. Can you sing this part?” And I would go, “No, that’s too low for me.” And he said, “OK, you sing this part and I’ll sing that part.” And that’s the way it developed. Song-by-song I started to see what I was capable of singing and what I was comfortable doing. 

Now it’s gotten to the point where I sing a lot. I sing all the high harmonies in the band. But that’s not something that was intentional or known, in the beginning, that this was something I was going to be doing. They didn’t know I could do it, and neither did I. I knew I could sing a little bit. I just didn’t know how much. The first time I remember hearing your vocals was MTV Unplugged, where you and Peter were trading vocals and drumming together, which was awesome. What was that experience like?

It was cool. The irony of it is I sang the Gene part of the song. And Peter would come in with (sings) “Ya got nothin’ to lose” and all the throwaway stuff. But the main body of the song was Gene’s vocals, which I did.  Now when we do it, I do both parts. Sometimes we do it at our meet and greets. 

There’s lots of songs we do during those meet and greets that fans wouldn’t otherwise see us perform live. Put it this way: everything we do during that meet and greet performance, we don’t do during the regular show that night. This way people who do the meet and greet get two concerts. They get an acoustic concert of material they’re not going to hear later. And they get the electric show later. 

Doing the meet and greet package is supposed to be a special event and should be different, and it is.

What’s it like for you doing these meet and greet experiences? You’re a KISS fan yourself. So, what’s it like having the opportunity to spend time with other fans?

From my perspective, it’s a cool thing. I know it’s not for everybody. There’s people that, sometimes, want to be negative about it. Some people have this attitude that they don’t think it’s fair that a band charges fans money to meet them. But that’s not the premise behind it. The whole idea is it’s a special package. 

Nobody does a meet and greet like what we do. Nobody does it like us, where we play acoustically for half-an-hour, autograph items, then go get in makeup and come back for photos. No band does a meet and greet experience like we do. Not that I know of – where the band is that involved and you get so much more. 

It’s not for everybody. If you can’t afford to do it, don’t complain. Just because you go to a concert, it doesn’t automatically mean you get to meet the band as part of purchasing your ticket. No band does that automatically. “Yeah, we’re gonna’ hang around and meet everyone that wants to meet us.” That’s not how it works. 

Sometimes you’ll meet a band by happenstance, if you’re walking down the street or at a mall. Or maybe people try to go to the hotel to try and meet them. But I never tried to meet any band. So, to me, I don’t see what the problem is. It’s a special package for those people that want to do it. 

You shouldn’t be mad if you can’t afford to do it. It’s a choice. You’re not obligated to do it. You either do it or you don’t. And if you can afford it, I think that’s great. I will say this: I do think people get a good value for their money. I think they get a great value. 

The band, we have to change our whole schedule to accommodate the situation. And we put a lot of work and effort into making sure it’s a good experience. We want to make sure everybody’s into it and that it’s a lot of fun. If you ask anyone that’s ever done it, I’m sure you’ll get mostly positive responses and that they’ll talk about what a cool experience it is. 

Speaking of unique experiences KISS creates for its fans, I went on KISS Kruise III and KISS Kruise IV. How did the idea for the KISS Kruise develop?

I don’t know. There are cruises for almost any interest or hobby nowadays. All I remember is somebody from Sixthman asked us to do it. The first one was done on a Carnival cruise ship, but then Sixthman struck a deal with Norwegian and we’ve been doing it on the Norwegian Pearl ever since. This year we’re doing the fifth one and we’re going to Jamaica, which will be different. 

You gotta’ remember, once you’re in a band and you’re on the road doing what you do, you’re kind of like a car manufacturer. You’re trying to find another way to keep repackaging what it is that you do. And I think that’s the way it is for all bands. That’s why bands come up with a new stage set or some kind of theme. You’re trying to come up with some kind of reason to tour, at the end of the day. 

Earlier this year in interviews with the media, Paul and Gene had conflicting comments about whether or not KISS will record a new album. What’s your take on this? Will KISS go back into the studio to record a new album?

Ya know, I always say, “Never say never.” Currently, there are no plans to make a record. But that doesn’t mean there won’t be at some point. One thing I do know is that we’ll be touring more next year. As any KISS fan knows, you guys are phenomenal live. And you’ve recently been touring overseas. What’s the difference for you when it comes to touring in the U.S. versus touring internationally?

Well, we had some amazing shows this year in Europe. The crowd in Madrid, Spain was amazing, just amazing. The crowds in South America are also fantastic. They’re some of the most passionate fans we have. In some places people tend to wear their hearts on their sleeves. They express themselves much more readily and openly. And the Latin countries are known for being much more outwardly vocal and passionate.

But Spain, when we walked out the door after the show, there had to be at least 500 people in the streets waiting for us. It was insane. A lot of little kids. I remember, I had a bunch of photos signed by the band, so I gave them to the kids. And the look in their eyes showed that they were stunned; they didn’t know what to make of it. They were definitely affected by it, which was cool. 

People of all generations get to experience KISS. It’s a multi-generational thing at this point, and I think that’s great. 

You’ve had multiple stints with the band, the second time being when you stepped in for Peter during The Farewell Tour. What was it like coming back to the band at that time?

At that point, I was still playing with Alice Cooper. When they did the Reunion Tour, I didn’t have much contact with anyone in the band for a while. It was hugely successful, and I was back playing with Alice Cooper. Then Paul called me up and told me that they wanted me to come tour with them in Australia and Japan. He told me they were making a change because things weren’t working out with Peter. 

I was actually out of the country when I got the call. My lawyer contacted me saying KISS reached out to him and that they wanted me in the band. I didn’t know what was going on at the time regarding the makeup. My lawyer said, “They’re going to have you wear makeup, but they’re not sure what they’re going to do yet.” By the time I got back, they decided they wanted me to wear the Catman makeup. 

I was back in the band for a little over a year, and then Ace decided he didn’t want to be in the band. He was becoming less and less reliable. Every time we tried to do something, it would become difficult because we wouldn’t know if he’d make it or not. One minute he’d say, “Yes.” Then the next minute he’d say, “No.” 

I remember that summer, the summer of 2001, when I first came back, our manager booked a European tour three times and had to cancel it each time. The reason why is because Ace would commit to it and then change his mind.

Just so I’m clear, the band did everything in their power to keep Ace in KISS. But he’s the one that made it more and more difficult. And eventually, we did a show, a private party, and Ace didn’t want to show up in LA to do rehearsals. We had already committed to doing the show, so we had Tommy Thayer step in and do the show. And that was it. From that point on Tommy was the guitar player.

To me, KISS was firing on all cylinders during the Revenge and Unplugged era. So, when the band decided to completely shift gears and do the Reunion Tour, was that a hard thing for you to handle at the time?

I was a little disappointed and upset, but I didn’t start slinging shit. I was actually surprised that the Reunion Tour even happened. The reason why I say that is because during the rehearsals for the Unplugged show it was clear to me that Ace and Peter weren’t at the level they needed to be for it to happen. Gene and Paul, by comparison, were much more polished and advanced than Ace and Peter at that point in time. It was blatantly obvious. But Gene and Paul saw the potential in a Reunion Tour. 

Even Bruce used to tell me, “Eric, at some point I think they’ll do a Reunion Tour in makeup.” I guess I just didn’t want to believe it was possible. But I think Bruce was less surprised than I was. 

Gene and Paul were cool about it. They sat us down and said, “We’re going to do a Reunion Tour. We don’t know what’s going to happen. We don’t know how it’s going to go over.” Bottom line is they had a record done. It was in the can: Carnival of Souls. And they had Bruce and I on retainer. So if it didn’t work out, plan B was already in place. They had Carnival of Souls and Eric and Bruce in place as a plan B if the Reunion Tour didn’t work out. 

They had a choice to go in either direction, but the success of the Reunion Tour dictated that they should continue in that direction. It’s business, and I fully understand what they did and why they did it. If I were Gene and Paul, I would have done the exact same thing. The bottom line is you want to be successful. You’ve gotta’ give people what they want, and the Reunion Tour was just that. It was hugely successful. I find it annoying that a small group of fans can’t accept you and Tommy as members of the band. For some of them it’s because you guys are wearing the classic makeup that Ace and Peter used to wear. How do you deal with these narrow-minded individuals?

If a band can’t continue on because somebody quits, can’t play anymore, whatever the reason is, that shouldn’t prevent the remaining members from continuing on if that’s what they want to do. Styx is a good example. I’m really good friends with Ricky Phillips, their bass player. I saw Styx in their heyday back in the 70s, but I think they’re every bit as good now, if not better. The same thing applies to Foreigner. They’re another great band that no longer features all of the classic or original members, but they sound fantastic. 

To me, that’s what it’s all about. As long as the members of the band are doing the music justice and paying respect to its origins, then I’m fine with it. That’s what it’s all about. If a band gets new members and they aren’t very good, then you have the right to complain. 

The way people look at the makeup situation is interesting to me. I don’t play any different in makeup than I do out of makeup, yet people perceive that their is a difference. I do have a more toned-down approach than I did when I first joined the band, but that’s because I believe that’s what the music dictates and needs. 

I’ve heard people say that I was told to sing, play and act like Peter Criss. That’s completely ridiculous. I’ve never once been told to do that. Never. So, when people say that, it’s totally ridiculous. Look at any of the shows I’ve done since being in the band after Peter. I don’t play anything like Peter Criss. 

Sonic Boom and Monster are two of my favorite KISS albums. Although, I think Sonic Boom is significantly better. What was it like going into the studio to record those two albums?

There was no pressure. It was just fun. The chemistry and interactions between the four of us during those sessions was always good and positive. I love recording. I like that environment. You have to be very intense and focused on what you’re doing. But I like that. It’s a chance to be creative. 

Monster, I think, people would like it more if it sounded better. I don’t think the mix turned out the way it could have. I’m not happy with the way it sounds. Like Creatures of the Night, which had an iconic sound, the songs on Monster would have had a completely different impact if there was a different mix and sound. I just think Sonic Boom is a better sounding record. And it was the same group of people in the same studio both times. Same engineer, same everything. But sometimes people’s points of view are different than the end result. And my point of view on what it should have sounded like was different than what it ended up sounding like. You mentioned Alice Cooper earlier. What was it like working with him?

I did 13 tours with Alice. And he’s one of the nicest guys you’ll ever meet. He’s a real character and a legend, of course. Billion Dollar Babies had a big influence on me as a kid. The same thing with KISS. I was a huge fan of them growing up. So, being able to play with music icons who I grew up admiring is a real thrill. 

I’m not going to get a chance to KISS live this year, but I am going to see the most-talked-about new KISS tribute band, Alive! ’75, twice. The first show I’m attending is on Saturday, September 19 at The Newton Theatre in Newton, NJ. And the second show is on Saturday, November 21 at Montgomery County Community College in Blue Bell, PA. Stay tuned for a full recap of both shows, including great photos and videos. In the meantime, below is more information about what makes Alive! 75 special:

Hey there KISS Fans, listen up – This is not just another KISS tribute band…

Alive! ’75 is a live concert concept performance that brings the KISS Alive! album to life within a period-specific 1975 atmosphere. So much more than just guys dressed as KISS playing KISS songs, the overall experience is completely immersive and is designed to take you back to 1975, to see, hear and FEEL what a 1975-era KISS performance was really like.

Think about it – back in 1975, and following almost two years of non-stop touring across the US and Canada, KISS was determined to hit it big. They criss-crossed the country incessantly, playing anywhere and everywhere they were welcome.  And with virtually no radio support to speak of, KISS was finally about to “make it”.  Their double live album Alive!, released on September 10, 1975, proved to be their break-out album.  And now with Alive! ’75 – A Tribute to KISS, you can experience the magic and excitement of this period in rock ‘n roll KISS-tory…

It all starts with the “pre-show” experience.  As you enter the Alive! ’75 theater, you are completely surrounded by elements of 1975.  Blockbuster movie posters and other large-print advertisements and photographs catch your eye.  Classic TV sitcoms, movie trailers and iconic commercials tickle your senses.  The audio-visual displays, wall art, and an overhead soundtrack of “Time Warp – 1975 with Bill St. James” combine to provide a rich sensory sampling of this by-gone era.  And as if that wasn’t enough, character actors provide an additional element of surprise and entertainment to complete the 1975 experience.

As you proceed into the the main concert hall the 1975 experience continues to comes alive in additional sight and sound, with chart-topping music in the air and additional dramatic experiences unfolding before your eyes.  An emcee provides a welcoming monologue including some final thoughts on 1975 and firmly sets the stage for the main event.  It’s as if you’ve gone back in time…

As you settle into your seat with 1975 all around you, the curtain begins to rise…  Your eyes and ears are under full assault!  There is so much to see and it’s oh so loud!  The concert has now begun:  Alive! ’75 – A Tribute to KISS!  With an exact replica 1975 stage set (including a full Marshall-stack and Ampeg SVT back-line), a huge illuminated KISS sign, and period-specific costume, lighting and effects the KISS Alive! album comes to life with a word-for-word and note-for-note performance.  The entire concert, running approximately 80 minutes, is sure to be a complete thrill for KISS fans – especially those who appreciate their early works.

Alive! ’75 promises to totally blow their audience away, not unlike the original early KISS experience that they mean to replicate.  There are a significant number of “wow” moments throughout the show.  Beginning with the opening power-chords of “Deuce” and continuing right on through the closing crescendo of “Let Me Go, Rock and Roll”, this event promises to leave the audience thoroughly entertained and completely exhausted.

“We really wanted to deliver a complete experience – to bring folks back to this classic time in KISS-tory” says Anthony De Lucia, Jr., the shows creator and producer.  “Alive! ’75 is not a tribute band.  You won’t find Alive! ’75 performing in a club or bar environment.  It’s a full-on theatrical performance that creates the atmosphere and provides a raw and energized KISS concert experience like no other.  We think it’s very unique and a pretty big deal.”

Anthony continues: “There is an incredible dedication to detail.  We’ve worked very hard to re-create the 1975 stage show and experience, studying films, photographs and written works to bring that time to life.  We’ve had the great fortune to actually speak with folks who were involved with KISS during that time period to gather additional insights.  The subtle nuances regarding costumes, instruments, stage personas and set design, as well as the technology associated with the overall delivery of the show have been carefully considered.   Duplicating the pyrotechnics has proven to be the hardest part given the changes to laws and regulations in that space, but we have pretty good representative effects.  Overall we think we’re 95% there – it’s going to be a mind-blowing experience!”

Behind the scenes, there is a bit of a nostalgic storyline as well.  Everyone involved with the production is a lifetime KISS fan.  And three of the show’s four Cast Members originally formed and performed in what may prove to be the very first KISS-a-mainia tribute band in history way back in 1979!  All seasoned, professional working musicians, they bring a passion and an enthusiasm to their craft that is reflected in their performance.

There is certainly no shortage of KISS-tribute bands offerings in the marketplace, and many of them do a very good job in delivering an exciting show.  But unlike the vast majority of acts out there, Alive! ’75 – A Tribute to KISS is a complete package, providing the period-specific 1975 experience that is a clear differentiator.  For die-hard KISS fans (especially those who appreciate their early works), as well as general fans of rock ‘n roll history this is definitely an experience not to be missed!

Last weekend I saw one of the greatest KISS tributes ever: Alive ’75. If you read my post from earlier this month, you know what they’re all about.Below are videos and photos I took at the concert in Newton, NJ. It was an absolute blast and has me even more excited for their concert on November 21 at Montgomery County Community College, which is going to be an all-day KISS celebration. If you’re in the Philadelphia-area, make sure to check it out.

I missed Ace Frehley’s concert last week in New Hope because of Philadelphia being under lockdown as a result of the Pope’s visit. But yesterday I made sure I was in Oaks, PA to meet and get my photo taken with Ace at the All Things That Rock Festival. Not only did my photo turn out great, I got to interview “Space Ace” and Ken Kelly, an artist famous for creating iconic album artwork, including KISS’ Destroyer and Love Gun, as well as Ace’s latest solo album: Space Invader. Below is my video interview with Ken Kelly, where he shows me some of his most famous work and explains how he broke into the business. It was a fascinating discussion and I hope you enjoy it.

With Ace’s Tour Manager, John Ostrosky.

I’ve been trying to secure an interview with Ace Frehley for over a year. Thanks to his extremely nice tour manager, John Ostrosky, I was fortunate enough to get a quick interview with Ace on Saturday. Below is what we discussed.

Ace Frehley Interview

What do you admire about each of the original members of KISS?

Gene is a good businessman. He’s a good entrepreneur, and he’s great at merchandising stuff. Paul is a great frontman. You can’t take that away from him. He’s one of the greatest frontmen in rock and roll. Peter is a great drummer and a good friend, and a real character (laughs). Funny guy. 

What are your thoughts on KISS fans coming together, through initiatives like the Tom Hale Memorial Foundation, to raise money for worthy causes like the Wounded Warrior Project?

I think it’s great. It’s wonderful that the fans raise money to help people in need, especially our veterans. 

You have a lot of unreleased demos and songs. Do you plan on eventually coming out with a box set of this material?

I have tons of stuff that’s never been released. The problem with it is it’s so old that I’d have to bake all the tapes and transfer it digitally, so it’s going to be a while before that happens. But eventually I’m going to have a lot of stuff released someday, yeah. 

Speaking of unreleased material, were any tracks left off of Space Invader that might see the light of day?

Yeah. There’s a couple of tracks that I recorded that didn’t make Space Invader. But they very well might make it on to my next studio record.

I know you have your covers album coming out next year, right?

It’s coming out in the spring. And maybe the studio album would come out the following year. 

Did you land on a name yet for the covers album? And are there any particular tracks you’re most proud of on that record?

I haven’t decided what to call the record yet. I’m proud of “Street Fighting Man,” which is a Stones track I did. I tracked “Emerald,” and I got Slash to trade off solos with me on that, so that’s a special track. Also “Cold Gin” and “Parasite.” 

Last question. Is there anything you haven’t accomplished yet in your career that you’d like to?

 Yeah, I’d like to score a movie. I’d like to be in another film. I want to write my second book. I’d also like to take some bands in the studio and produce them, and share the wealth of knowledge that I’ve accumulated over the last 40+ years in the business.  Ace Frehley is one-of-a-kind, and I’m glad to have had the chance to interview him. He continues to put out excellent music and perform killer concerts. For all of the latest news on what he’s up to, make sure to visit his website and follow him on Facebook.

As you may recall, I saw Alive ’75 back in September. Having enjoyed their terrific show in Newton, I was eager to see their Montgomery County Community College (MONTCO) concert, which took place last weekend. Unlike the Newton show, the one at MONTCO was an all-day celebration of KISS and it happened to take place on the 40th anniversary of the formation of the KISS Army. The day’s festivities kicked off with a two-hour special edition of The KISS Room, the fantastic KISS podcast hosted by the incomparable Matt Porter. There was a canned food drive that I participated in entitled “KISS Hunger Goodbye,” a KISS merchandise raffle and three special guests both in The KISS Room and at the concert: Len DeLessio, JR Smalling and Lydia Criss. 

One of the reasons why an Alive ’75 show is special is because they make an effort to transport you back in time to 1975, not only through their stage show but through posters and videos from the time period. These items were positioned throughout the entryway to the concert hall and effectively helped set the mood for what was to come. 

Following Matt Porter’s introduction, Len, JR and Lydia graciously answered several questions from the crowd. Then the lights dimmed and the audience started to roar. JR Smalling returned to the stage to provide the iconic introduction that’s on the Alive! album and Alive ’75 broke out into “Deuce.”

Alive ’75 busted out song after song, replete with all of the pomp and circumstance the KISS Alive! show is known for, including stage raps the crowd knew line-for-line, blood-spitting, levitating drums, and confetti.

After the final chord was struck and the lights came up, the crowd was still on their feet applauding. Following this they made their way to an adjacent room where Alive ’75 was nice enough to pose for photos with the fans. 

This concert was a fitting way to celebrate 40 years of the KISS Army and a good time all around. Alive ’75 puts on a killer show and this one was even better than the last. If you’ve yet to see them, you owe it to yourself to buy a ticket the next time they’re in your area. You won’t be disappointed.

“Space Ace” Frehley is back, but this time he’s not singing about being inside the vortex, a space invader or the Milky Way, like he did on his impressive 2014 studio album. Origins Vol. 1 is a collection of 12 cover songs by the former KISS lead guitarist where he’s paying homage to his roots. And for KISS fans, such as myself, there are three redone KISS cuts and a Free song – “Fire and Water” – with Paul Stanley on lead vocals.

Read on for my track-by-track review of Origins Vol. 1, which hits stores on April 15.

Track-By-Track Review

“White Room” (Cream)

• Not only does this song serve as the lead single off the album, it’s also the opening track. I’ve never been a huge fan of this song, but Ace’s version features his signature vocal delivery, a blistering guitar outro and excellent drumming and vocals by Scot Coogan, which keeps things interesting. It’s a solid way to kick off the album.

“Street Fighting Man” (Rolling Stones)

• As with the previous track, I’ve never been wild about this song either. However, Ace’s love for this Rolling Stones’ cut shines through in his vocal, as well as his memorable guitar work. I won’t revisit this song often, but it’s a well-done cover nonetheless.

“Spanish Castle Magic” (Jimi Hendrix)

• Aside from Rod Stewart and KISS, I don’t consider myself well-versed in 1970s classic rock. This is probably because I grew up with bands from the 1980s and 1990s. Even though I’m not a big fan of Jimi Hendrix, Ace’s guitar solo in this song is undeniably excellent and the song has a funky, driving groove that commands the listener’s attention.

“Fire and Water” (Free)

• KISS is my all-time favorite rock band and Paul Stanley is my favorite member of the band. So, it should come as no surprise that this is my favorite song on this album. Not only does it mark the first time Ace and Paul have recorded a track together in years, but it features excellent vocals by Paul and soulful guitar playing by Ace. It’s easily the best song either of them have recorded in years, and I can’t wait for other KISS fans to hear it because I’m sure they’ll feel the same way too.

“Emerald” (Thin Lizzy)

• Prior to this album, I never heard of this song before. On this track Ace is accompanied by Slash and it’s reflected in the guitar work, which is excellent. Hearing Ace and Slash trade solos in the middle of the song is a feast for the ears and a testament to their unique abilities.

“Bring It On Home” (Led Zeppelin)

• KISS was heavily influenced by Led Zeppelin and many music fans have pointed out how Ace’s style is similar to Jimmy Page’s, so it’s not surprising that this song made it on to the album. While the guitar playing is excellent, what makes this song special is the lead vocals by Scot Coogan.

“Wild Thing” (The Troggs)

• Featuring Lita Ford on guitar and vocals, this song is just as dumb and fun as the original. However, one thing worth pointing out is how loud and crisp the guitars sound. The same goes for the drums, which sound nice and big throughout the entire album.

“Parasite” (KISS)

• This redone KISS track easily surpasses the original studio cut. A big reason for this is the excellent production, which features a killer arrangement that will rock your socks off. The guitar and drums on this song have never sounded better. While Ace’s solo isn’t note-for-note the same as the original, it has just as much, if not more, passion as when he first played it back in the 1970s. KISS fans will love this cover song.

“Magic Carpet Ride” (Steppenwolf)

• This is one of my favorite covers on this album, probably because it fits Ace’s vocal style perfectly. It’s a fun, catchy little song that Ace sings and plays with confidence. And, of course, the guitar solo is top-notch.

“Cold Gin” (KISS)

• This is my favorite classic KISS guitar riff. It’s simple, loud and crunchy. The definitive version of this song is on Alive! However, this is the best studio version of the song and KISS fans will love it. As with “Parasite,” Ace couldn’t have done a better job of giving this song a modern-day makeover.

“Till The End Of The Day” (The Kinks)

• Here’s another song I’ve never heard of before. That said, it’s an enjoyable mid-tempo number that is well-suited for Ace’s pop-rock style.

“Rock N Roll Hell” (KISS)

• This song is one of my favorites from Creatures of the Night, so I was very excited to hear Ace’s version. As expected, it doesn’t disappoint. Not only do the guitars sound amazing, the drums are just as loud and epic as they were on Creatures of the Night. This is an excellent cover of a phenomenal song and a fitting way to cap off the album.

Origins Vol. 1 is far better than I expected. When I first heard that Ace was doing a covers album, I was disappointed because I always prefer that artists release original material. However, having listened to the complete album multiple times, I have to say I’m very impressed with Origins Vol. 1. Every song ranges from good to excellent, with no filler in sight. If you’re an Ace Frehley fan or simply someone who enjoys classic rock, be sure to check out this album when it drops on April 15. Ace is back and he told you so!

America’s # 1 Gold Record Award Winning Group of all time KISS, has announced its 2016 Summer American “Freedom To Rock” Tour and will visit 36+ cities nationwide with more markets being announced soon. The long-awaited & highly anticipated “Freedom To Rock” Tour will kick off on July 7th in Boise, Idaho and will travel the country throughout July and August and will close September 10th in Huntington, West Virginia. Tickets will go on sale beginning Friday April 15th for all concert dates (The Grand Rapids, MI and Youngstown, OH shows go on sale Monday April 18th).

A KISS ARMY Fan Club Exclusive Presale will begin April 12th.

The KISS “Freedom To Rock” Tour will bring epic rock to 25+ cities it hasn’t been to in over 10+ years and four brand new cities as well. KISS specifically wanted to take the “Freedom To Rock” Tour to its fans in markets that haven’t had the chance to see them in some time or ever at all. This 36+ city tour will rock those markets and allow fans across the country to see America’s favorite rock band of all time, KISS.

Opening for KISS will be Recording Artist Caleb Johnson (American Idol Season 13 winner) for shows July 7 – August 10 while the All-Star rock band THE DEAD DAISIES will open for KISS for shows August 10 – September 10. The “Freedom To Rock” Tour is produced by: National Shows 2 (nationalshows2.com), Frank Productions (frankproductions.com), and CMoore Live (cmoorelive.com).

“Freedom To Rock” Tour Dates include:
July 7 Boise, Idaho – Taco Bell Arena
July 9 Eugene, Oregon – Matthew Knight Arena
July 10 – Kennewick, Washington – Toyota Center
July 15 – Spokane, Washington – Spokane Arena
July 16 – Bozeman, Montana -Breeden Fieldhouse
July 18 – Colorado Springs, Colorado – World Arena
July 20 – Independence, Missouri – Silverstein Eye Centers Arena
July 22 – Lincoln, Nebraska – Pinnacle Bank Arena
July 23 – Springfield, Missouri – JQH Arena
July 25 – Wichita, Kansas – Intrust Bank Arena
July 27 – Sioux City, Iowa – Tyson Events Center
July 29 – Cheyenne, Wyoming – Cheyenne Frontier Days
July 30 – Minot, North Dakota – North Dakota State Fair
August 1 – Mankato, Minnesota – Verizon Wireless Center
August 3 – Duluth, Minnesota – Amsoil Arena
August 5 – Moline, Illinois – iWireless Arena
August 6 – La Crosse, Wisconsin – La Crosse Center
August 8 – Milwaukee, Wisconsin – BMO Harris Bradley Center
August 10 – Green Bay, Wisconsin – Resch Center
August 12 – Fort Wayne, Indiana – Allen County Memorial Coliseum
August 13 – Grand Rapids, Michigan – Van Andel Arena
August 15 – Saginaw, Michigan – Dow Event Center
August 17 – Springfield, Illinois – Illinois State Fair
August 20 – Rockford, Illinois – BMO Harris Bank Center
August 22 – Dayton, Ohio – Nutter Center
August 24 – Toledo, Ohio – Huntington Center
August 26 – Youngstown, Ohio – Covelli Centre
August 27 – Erie, Pennsylvania – Erie Insurance Arena
August 29 – Rochester, New York – Blue Cross Arena
August 30 – State College, Pennsylvania – Bryce Jordan Center
September 1 – Allentown, Pennsylvania – Great Allentown Fair
September 3 – Worcester, Massachusetts – DCU Center
September 4 – Portland, Maine – Cross Insurance Arena
September 7 – Bridgeport, Connecticut – Webster Bank Arena
September 9 – Richmond, Virginia – Richmond Coliseum
September 10 – Huntington, West Virginia – Big Sandy Arena
** Additional markets to be announced soon

Today I bought tickets to see KISS on their “Freedom to Rock” tour in Allentown on September 1. I got great seats for the show – 13th row, in front of Gene – and for a reasonable price. This concert is taking place two months before I hop aboard KISS Kruise VI, so you could say I’m going to have a KISS-filled fall. Speaking of the KISS Kruise, below is a video I recently uploaded of Paul Stanley’s hour-long Q&A from KISS Kruise IV. Enjoy!

Ace Frehley with the medical staff of Wilkes-Barre General Hospital.

On Friday night I drove out to Wilkes-Barre to see Ace Frehley perform and meet him after the show. My friend and I had planned on going to Ace’s show in New Hope the weekend prior but it was cancelled last-minute because Ace was feeling under the weather. With the recent release of his new album, Ace has been pushing himself hard to make appearances, perform shows and handle a myriad of media opportunities. This hectic schedule took its toll on Ace and he was rushed to the hospital following his performance in Wilkes-Barre. While Ace’s meet and greet after the Wilkes-Barre show was understandably cancelled as a result of this health scare, I’m happy to report that “Space Ace” has been released from Wilkes-Barre General Hospital and is back home in Southern California recuperating.

Prior to his concert on Friday in Wilkes-Barre, Ace did an autograph signing for his new album at FYE at the Wyoming Valley Mall. He was greeted by hundreds of fans, including yours truly, and Ace was in great spirits. He was smiling, laughing and having a good time. I had Ace autograph a couple albums, one for my friend and the other for myself, and I told him I was looking forward to seeing him backstage after the show. As you can see from the setlist below and the videos in this post, Ace and his band put on a killer show filled with KISS standards, stellar solo cuts and even a track from his new album: “Emerald.” The only songs sacrificed by Ace during the set were the two encores because he simply couldn’t go on and needed medical attention. 

While I wasn’t able to meet Ace after his show for the second time in a row, clearly this was the result of him not being healthy because he was pushing himself to hard. Ace’s health is what’s most important and I’m glad he’s on the mend. I’m sure once the spaceman is fully recharged and ready to rock he’ll make it up to the fans that missed out on meeting him. Until then, we’ve got a killer new album from “Space Ace” to enjoy!

Carmine Appice, the most influential drummer in rock and roll history, recently released his autobiography: Stick It! My Life of Sex, Drums, and Rock ‘N’ Roll. I met Carmine at his book signing here in Philadelphia and shortly afterward I interviewed him. We touched on everything from how Sharon Osbourne fired him from Ozzy’s band to the revelation that there are a handful of tracks from Paul Stanley’s 1978 solo album featuring Carmine’s drumming that’ve yet to see the light of day. Check out the interview below and pick up a copy of Carmine’s autobiography, which is available now.

Tell me about your time working with Ozzy Osbourne and how Sharon fired you from the band. 

It’s one of those things where I joined the band to be in the band. The Europe tour went well. When we came to America I told Ozzy, Sharon and the rest of the band that I do master classes before the arena gigs. I did these master classes every day, and Sharon didn’t like it because I was getting a lot of press for doing it. Eventually, there was a big story about the tour in a newspaper in Cincinnati where the reporter asked me “what’s the most impressive part of the show?” and I told him it was my drum solo. I also told the reporter that the drum solo wasn’t my idea, it was Ozzy and Sharon’s. They suggested having the drums come down on a track to the front of the stage, with all the pyro. When I got back from my master class that day in Cincinnati, this article was pasted all over the backstage area. I assumed it was someone playing a prank on me. Then my roadie came up to me and said that on all of the t-shirts I was selling, my head was cut off. 

That night, when I went to do the drum solo, none of my effects worked. When I got off stage I asked someone, “Would Sharon sabotage her own show to make me look bad?” And I was told, “Oh, definitely.” Then she brought Tommy Aldridge out to watch a couple of the shows, and then the day after our concert in Houston she canned me. I ended up having to go get an attorney and fight for my rights. We had an out-of-court settlement. It was terrible. It was really bad. There was no reason for it. She didn’t like the fact that I was getting a lot of press. 

What was it like working with Rod Stewart?

It was good. He’s a funny guy, and the greatest rock frontman that ever lived. 

You guys wrote some great songs together, including “Da Ya Think I’m Sexy?” and “Young Turks.” 

Yeah, we did. And we also did some album cuts. But those two are my big ones with him. Rod was fair. If you wrote a song, you got a publisher’s share and a writer’s share. 

You were in Rod’s band for multiple albums. Why did you stop working with him?

It was mostly a jealousy issue with Rod’s guitar player. He used to do coke with Rod and drink with Rod. Little by little, he got in Rod’s ear. He was very jealous of my position. Rod was the big name and my name was the second big name, and he didn’t like that. When you get in that drug and alcohol-induced state of mind you start listening to people, and Rod listened to him. I was canned right before the tour. We came to a settlement because it wasn’t really fair. I worked six months on the album with the tour in mind, before Rod made this rash, stupid decision. In the forward to my book Rod says he fired me but “god knows why.” I know why – because he was drugged out with the other guy. 

It all worked out in the end and we became friends again. We even worked together again on the “People Get Ready” track with Jeff Beck. 

That’s one of my favorite tracks by Rod Stewart, “People Get Ready.” Rod’s voice, Jeff’s guitar – it doesn’t get much better than that. I didn’t realize you played drums on that song. Clearly, you and Rod are on good terms today. 

Yup. I went to his wedding with Rachel Hunter. I also went to his birthday party last year, and that’s when I asked him if he’d write the forward to my book. 

Speaking of Jeff Beck, what was it like working with him?

Unlike Rod, Jeff wasn’t dependable. I remember being in the middle of 10 sold out gigs – we were at the venue and the manager came over to me and said, “The show’s not going to happen.” I said, “Why?” and he replied, “Jeff decided to go home.” He just got on a fuckin’ plane and went home. Why did he go home? Because he had a fight with his girlfriend. I mean, come on dude. We had all of these people – myself, the band, the road crew – depending on Jeff and he put us all out of work. It left a bad taste in my mouth and it’s what started the eventual break-up of our band: Beck, Bogert & Appice.

How did you wind up meeting and working with Paul Stanley of KISS?

I met Paul and the guys when I was in a band opening up for KISS. Paul may not admit it now but he told me that when Gene and him went to see an Alice Cooper show with my band Cactus, that’s when they got the idea for KISS. They were looking to create a band with the aggression of Cactus and the theatricality of Alice Cooper, which is what inspired KISS. Paul told me that in 1976. Today, I don’t think he’d admit it. 

In 1977 or 1978 I was looking for a manager and I met with Paul out in LA. We hung out and he referred me to his manager, and I wound up playing on Paul’s solo album. Your drumming on “Take Me Away (Together As One)” on Paul’s solo album is amazing, especially at the end of the song. KISS fans still talk about how spectacular that song is. Did you also play drums on other songs that didn’t make it on to the final version of the album?

Yeah, I played on about seven tracks. But that’s the only one that made it on to Paul’s record. 

That’s a shame that they didn’t make it on to the album, considering how awesome your drum work was on that one track. 

Yeah, hopefully someday those tracks will be released. 

Tell me about the time you shared a house with Prince.

I was getting divorced at the time and I needed a place to stay. A friend of mine owned a house and she was having some problems financially, so I bought into it with her. I gave her a loan and with that came a room. I never really stayed there much because I was on the road with Rod Stewart and I had a girlfriend as well. Between the two of those things, I never stayed there that much. 

My friend was the co-manager of a management company and one of the artists that used to stay at the house, because he never liked to stay in hotels, was Prince. The first time I met him I remember him being a reserved little guy, and here I was this loud dude from Brooklyn saying, “Hey, Prince. What’s up? How’s it going?” He responded, “OK.” (laughs) He’d be playing music and I’d ask him, “Oh, is this a new track you’re working on?” And he replied, “Yup.” Everything was a one-word answer. He was a very introverted kind of guy. 

After a while I got to know him and I drove him to Hollywood, to Studio City, in my Pantera – I think I scared him. (laughs) One time I walked in on him and Vanity in my bed. (laughs)

I also remember when he came back to the house after getting booed off the stage when he opened up for the Rolling Stones. He was really depressed. We were sitting around the table and I was telling him not to worry about it and that it would pass and eventually everything would work out. I told him that I got booed too when I was starting out and that it didn’t hurt my career. After a while, I got my shit together and moved out. 

Later on, when he started to get real big, Prince invited me to a show at Universal Amphitheater. I couldn’t believe it was the same guy. He was wearing women’s underwear on stage. He had this mattress on stage that he was having sex with. It was crazy. I was thinking, “Is this the same guy?”

Over the years, drummer friends of mine would play with Prince and I’d tell them, “Tell Prince I said hello.” And they’d always come back to me later with, “Prince says hello.” We didn’t see each other much over the past 20 years, but any time we did he was always a nice guy. It’s a shame he’s gone. 

You’re the most influential drummer in rock and roll history. How does it feel knowing you’ve had such a huge impact on so many important drummers?

It feels good knowing I had an impact on so many people, but what I did was out of necessity. When I started out there were no PA systems so I played real loud. I got bigger drums so the volume was louder and played liked an animal just to keep up with the Marshall amps the bands had – especially Vanilla Fudge, when we started. 

I also wrote a book Realistic Rock, about drumming, and I later found out that lots of drummers from other bands found that book to be very useful. I was blown away when I heard that so many big-time drummers were inspired by the book. 

One of the drummers you’ve influenced is my favorite drummer, Eric Singer of KISS. What are your thoughts on Eric?

Eric’s a good player. I like Eric. He’s got some good stick tricks. He’s also got a good groove and a pretty good technique. He was discovered at my drum-off by Lita Ford. It was in 1984, I believe. Eric’s a good guy. I’ve known him a long time. 

Was there ever a time in your career when you had the opportunity to join a big band but didn’t for whatever reason?

Yes. There was Rainbow and that huge Whitesnake album I could have been on. But I couldn’t do either one because I was signed to a label at the time. It was kind of a drag. Back in those days, when you were signed to a label you couldn’t go off and do other projects. You had to stick with whatever you signed on for and commit to it. With Whitesnake, I told them to get Aynsley Dunbar. They did and the album wound up selling 27 million copies. I thought to myself, “Nice fuckin’ move.” (laughs)

What’s your proudest professional accomplishment?

I can’t narrow it down to one thing. Having a number one single was amazing, being on the Ed Sullivan show twice, playing the Forum six nights in a row in LA – there’s a lot of things. It’s like picking one flavor of ice cream that I like. I can’t do it. I like a bunch of flavors. 

Is there anything left in your career that you’ve yet to achieve?

Play with Led Zeppelin, maybe. (laughs) But I did do that when we jammed with them on the road. 

What made you decide to sit down and write your autobiography at this stage in your career?

Well, I started putting it together in 1982 so it wasn’t a rushed decision. I wanted to do it in the 80s but never got it together and the same thing in the 90s. But along the way I recorded stories on cassettes, which resulted in 125 pages, which was the foundation for the book. Then in the early 2000s my manager suggested that I write a book and I said that I already had a manuscript, and that started it going again. 

As many of you know by now, KISS is my favorite rock band so when Brett Weiss, the author of Encyclopedia of KISS, asked me if I’d review his new book I was happy to do so. With so many great KISS books available, you might be wondering, is this one worth my money? Watch my video review below to find out.