Wednesday, July 31, 2013

Photos: KISS In Saint John

Photos by Hab Haddad and Dean Snowden for KISSONLINE

Here's KISS rocking Harbour Station in Saint John, New Brunswick, Canada tonight.

Photos by Hab Haddad and Dean Snowden for KISSONLINE.

Die-Hard KISS Fans Ready To Rock N’ Roll All Night In Halifax

Mark Wheatley couldn’t wait for KISS to come to Halifax.

He had to drive a province over – to Saint John, N.B. – to catch the face-painted quartet of Paul Stanley, Gene Simmons, Eric Singer and Tommy Thayer in concert the day before Thursday’s show at the Metro Centre.

“In a perfect world they’d be playing a couple of nights here,” said Wheatley, who’ll be dressing up in his KISS costume in anticipation of both shows, complete with black and white face paint.

The 44 year-old has been obsessed with the band since the tender age of seven. He’s seen them perform a dozen times, accrued more than $30,000 worth of KISS memorabilia and even embodies the persona of Catman for the Atlantic Canadian KISS tribute band, Dressed 2 Kill.

“We get to participate and play in the music we grew up on and that was the soundtrack to our lives,” said Wheatley. “I don’t think there’s anything better than that.”

KISS is currently touring North America on their Monster Tour. The last time they played in the HRM was in 2009.

With the band coming to Halifax, Wheatley views the concert as an opportunity to gain inspiration from the source.

“They’re 40 years strong. They’re still the greatest show in the world, the hottest band on earth,” said Wheatley.

In anticipation of KISS’ arrival in Atlantic Canada, Wheatley says Dressed 2 Kill has been approached with offers to play shows. But because of the unpredictability of any future concerts in the region, he says the band is reserving the time to watch their idols rather than emulate them.

“We opted to spend these shows with our families because we figured this is probably the last time they’re coming through here,” he said.

Tickets are still available for the show and can be purchased through Ticket Atlantic.

Paul Stanley & KISS Fan Backstage In London | Photo Credit: Thomas Michael Anderson

Here's a cool photo of Paul Stanley and KISS fan Thomas Michael Anderson backstage in London, Ontario, Canada. In this photo, Paul Stanley is authenticating the "stage used" microphone that Thomas purchased from the London KISS show on July 27, 2013. 

KISS Live In Saint John

  Photo Credit: Jason Lorette

Here's KISS on stage at Harbour Station in Saint John, New Brunswick, Canada tonight.

Photo Credit: Jason Lorette

Waiting For KISS In Saint John

 Photo Credit: Jim Blacquiere

Here's a fan photo taken inside Harbour Station in Saint John, New Brunswick, Canada as fans get set for KISS tonight.

Photo Credit: Jim Blacquiere

More Road Stories With Peter "Moose" Oreckinto

Original KISS road crew member Peter “Moose” Oreckinto returns to the Decibel Geek podcast for a second week to continue discussing the early days of the band and the struggles they encountered.

In this long-form discussion, Oreckinto discusses pivotal early concerts for the band including the Fillmore East showcase for record executives in January of 1974, television tapings for ABC’s In Concert and the Mike Douglas Show, and a strange concert at an Air Force Base in Fairbanks, Alaska, in front of some very surprised soliders. Also discussed is his return to the band in a management capacity on the Destroyer tour.

Peter “Moose” Oreckinto contributed to the upcoming book "Nothin’ To Lose: The Making of KISS (1972-1975)" due to be released on September 10, 2013. With interviews of over 200 others that worked with/for the band during those formative years, this book was put together by the band and author Ken Sharp and is expected to be one of, if not the, best KISS-related book to be released.

Listen to part two of KISS Road Stories with Peter “Moose” Oreckinto HERE:

Photo: KISS In Ottawa, Canada

  Photo Credit:

Here's a photo(s) taken by us of KISS on stage in Ottawa, Ontario, Canada on July 25, 2013.

Seasons Of The KISS

Arts reporter Stephen Cooke was only nine when Destroyer came out. Now, he charts the changes and looks ahead to the next show.

In my days as a young private in the Kiss Army, my favourite commanding officer had to be Ace Frehley, the mysterious Space Ace guitarist of the greasepaint-covered rock act.

For one thing, there was this childhood obsession with astronauts. For another, his image was less likely to cause nightmares compared to demonic, blood-spitting bandmate Gene Simmons. (Cut me some slack, I was nine when Destroyer came out.)

Plus there were some great songs credited to the silver lame-clad rock alien, like Shock Me, Rocket Ride and, the only hit from those ill-fated 1978 Kiss solo albums, New York Groove.

Cut to 30 years after Frehley’s initial departure from the band and Kiss remains a worldwide phenomenon.

Taking its theme park approach to rock ’n’ roll around the globe and bringing its new high-tech Spider stage to the Halifax Metro Centre on Thursday night, Simmons and the band’s Starchild, singer-guitarist Paul Stanley, remain the only constants since they first put on the makeup four decades ago.

There’s still a Spaceman in the band, though, with guitarist Tommy Thayer wearing the shiny moonboots since becoming a full-time member in 2002.

Kiss fans will remember he did stellar work throughout their 2009 show on the Halifax Commons, tearing off the kind of meaty solos required for Detroit Rock City and Shout It Out Loud, with an extended showcase during She, where he even included a bit of Beethoven before sending his guitar strings screaming into the stratosphere.

Thayer’s tenure in Kiss came after a reunion tour of the original lineup. While there may have been mixed feelings about the decision to have him carry on as the Spaceman, he says there was never any talk about adopting a different persona.

“If it was 20 or 30 years ago, it might have happened, because that’s what happened when Peter Criss left, and Eric Carr came in and they came up with the Fox for him,” says Thayer.

“Then Ace Frehley left, and Vinnie Vincent came in, and he was an Egyptian warrior, with the ankh. Which, by the way, didn’t work, because a year-and-a-half later the makeup was gone.”

Thayer says he understood the concerns of longtime fans when he suited up. But he figures the Kiss trademark wins out in the end.

“So for the people who think it would make sense to come up with new makeup and character designs, if it didn’t work 10 years into the band, do you think it would be a good idea 40 years in? I don’t think so.”

Raised in the suburbs of Portland, Ore., the son of a retired brigadier-general and a classical violinist, the 52-year-old guitarist’s association with Kiss goes back to the mid-’80s, when his band Black ’N Blue opened dates on its Asylum tour.

A few years later, Thayer was co-writing with the band for its 1989 album Hot in the Shade and worked as a tour manager, even helping to ease Frehley and Criss back into the band for the 1996 Alive Worldwide Tour.

So Thayer was a natural to take over when Frehley and the band parted ways a second time, even if some fans didn’t see it that way.

“Coming into the band 10 or 11 years ago, there was a certain contingency of people who were real critics,” he sighs. “I’m talking about people on the Internet, who’d say things like, ‘How come when you came into the band you didn’t show more personality?’ and all this stuff.

“I had to explain to people that our priority at the time was for me to come in and grasp what made Kiss great and powerful in the first place, and be true to that, in terms of what I’m playing guitar-wise, in solos and with everyone else.

“That was an important thing, and with the evolution of the band over the last 10 years, releasing Sonic Boom and then Monster last year, it’s given me an opportunity to get more creative and spread my wings a bit, which has been great in terms of the new songs and how we play as a band.”

Over a decade into his tenure in Kiss, Thayer has earned his spot in the band that first thrilled him back in junior high, one that’s carved out a unique niche in rock-pop culture, with the distinctive logo and images plastered across pinball games, comic books, action figures and, of course, the ’70s TV movie Kiss Meets the Phantom of the Park.

“I never got too heavy into collecting all the memorabilia as much as some other people,” says Thayer.

“But it’s funny, a couple of years ago they came out with Kiss M&Ms, and I realized that not many people can say they’ve got their face on a package of M&Ms or a Slurpee cup at 7-11.

“How many people have been on a Pez dispenser? It was fun to give those out for Christmas last year, people go crazy for those, and what a cool, classic piece of American culture to be part of.

“It’s just so colourful, vibrant and fun. I’m really enjoying it.”

Tickets for Kiss at the Halifax Metro Centre are $88.25, $103.25 and $113.25 depending on seating. They’re available at the Ticket Atlantic box office (451-1221 or 1-877-451-1221), and Atlantic Superstores.

KISS At Bell Center – Montreal Live Review – Flawless Performance!

From: New York City
Where: Bell Center, Montreal, QC
When: Monday, July 29th 2013


Style: Rock N’ Roll

Crowd: The streets of Montreal were alive with fans of all ages. From the motley looking usual suspects that you’d expect to find at a rock show, to people that appeared to have just arrived from law offices and operating theaters, many with young children by their sides. Few bands gather a crowd as diverse as KISS does. Many of them had their faces painted courtesy of CHOM 97.7 FM’s tent, situated just in front of the ticket office on Avenue Des Canadiens de Montreal, while others lined up to pledge allegiance to the KISS army.

Memorable Song: I got a kick out of “Black Diamond” for the sheer amusement of seeing purple lights reflecting onto the crowd from a giant disco ball. It made me think of the Kiss-backed movie, “Detroit Rock City”, where they clearly mock disco music. At this point, Stanley informed the crowd that “This is usually the end of the show but what do you say we keep on going?”. As if anybody was going to refuse such an offer. Speaking of “Detroit Rock City”, it was the next song to be performed and was the beginning to a raucous end of their set. During the track, a video of what I believe was meant to be an old Dodge Challenger soaring around the now-abandoned streets of Detroit was displayed on the massive screen behind the band. The audience responded by jumping to their feet and clapping in unison, with hands held high above their heads.

Memorable Moment: Paul Stanley began to proclaim his love for the city of Montreal – which he probably does for every city the band plays in – and promised to join the audience if they chanted his name. They did so on three occasions and then, as the drums began to beat out the introduction to “Love Gun”, Stanley soared out over the audience on a zip-line towards a small stage in the middle of the floor. He remained there for the entire song, on a small revolving circular platform.

Comments: “You wanted the best, you got the best!” bellowed the announcer as Gene Simmons, Paul Stanley, Eric Singer and Tommy Thayer – the legendary KISS – took to the stage of the Bell Center this past Monday night. They wasted no time, diving straight in with “Psycho Circus”, the debut track from 1998’s album of the same name. The song is lyrically perfect for getting a concert underway, with a chorus that goes “You’re in the psycho circus and I say welcome to the show!” I counted eight individual bursts of pyrotechnics in the opening song alone, and that was just the beginning of a night full of fire balls and pop charges. Next up was a classic track, “Shout It Out Loud” which already had the audience fist pumping and singing along. I scanned the arena and saw very few seats uninhabited – not including the two sections that were closed off at the rear, directly facing the stage. Above the stage, a huge metal spider loomed, and began to move its eight arms about as it was slowly lowered towards the band.

Next up was “Let Me Go, Rock N’ Roll” and the first glance at Gene Simmons monster tongue, waging wildly to the wind. Things slowed down a tad for the next few songs; “I Love It loud”, “Hell Or Hellelujah” off the bands newest effort, “Monster”. The spider then descended again for “War Machine”, which ended with Gene Simmons walking out on stage with a flaming sword that he used to breathe fire with. These guys sure love their pyro! That was followed up with “Heaven’s On Fire”, “Calling Dr. Love” , “Say Yeah” and “Shock Me/Outta This World” before venturing into a guitar solo by Tommy Thayer and later joined by drummer Eric Singer. At this point, the drums began to smoke and rise from the floor on some sort of scissor lift. Simultaneously, the small area where Thayer was stood reviled itself to be on a crane and the duo were hoisted skywards as they rocked out. Thayer’s solo included the first few bars of Canada’s nation anthem, to roaring applause. To conclude the solo portion of the show, Singer pulled out a bazooka and fired off another pyro charge.

Gene Simmons appeared on stage after a very brief moment of total darkness, basking in green incandescent light, wielding his famous Axe-shaped bass guitar in hand. He played his own solo, while spitting blood and again whipping out that massive tongue of his. He then levitated up onto the spider and began to play “God Of Thunder” from high above. He returned to the stage for a rendition of “Lick It Up”.

The final two tracks of the night were “I Was made For Lovin’ You” followed by “Rock N’ Roll All Nite” (poor bastards can’t spell, it seems) which included a shower of glittering confetti before a barrage of fireworks befell the audience, as Gene and Thayer rose once more on their little platforms whilst Stanley smashed his guitar to pieces on the stage below – indicating that there wouldn’t be an encore tonight, ladies and germs!

There’s something to be said for bands that are able to survive forty years together and still fill arenas. Even though mastermind Gene Simmons has exploited every possible avenue to generate revenue from his bands namesake, I still have a massive amount of respect for them. Sure, they probably cheapened their image with all the comic books, action figures, novels, movies, cartoons…wedding chapels, cruises and wine (!!) but the fact remains that these boys changed the face of rock n’ roll for good and for that, I tilt my hat.

See photos HERE:

KISS Were Early American Punk?

From the Encyclopedia Britannica: PUNK, also known as punk rock, aggressive form of rock music that coalesced into an international (though predominantly Anglo-American) movement in 1975–80. Often politicized and full of vital energy beneath a sarcastic, hostile facade, punk spread as an ideology and an aesthetic approach, becoming an archetype of teen rebellion and alienation”

Maybe rock history has it (relatively) wrong? No doubt staunch critics of KISS (IE ‘music critics’) will scoff at the suggestion that KISS were originally essentially a punk act. If so, perhaps the most influential one of all time, just a few years too early and simply too singular to be part of the traditional discussion.

Suspend your disbelief, the proof is in the pudding. Like the punks and every movement in rock, KISS created their own thing, their own look and their own sound. Both gravitated to shock value and, like the punks, KISS had zero shame, eventually drawing you in with their sheer will, devotion and spectacle.

Sure, if they ever were punk, they didn’t remain it for long and, sure, they were far from political, although the assertion that they wanted to “Rock & Roll All Nite & Party Everyday” left little for the establishment to condone or moms to embrace. And, yeah. of course they ultimately totally sold out in a way that is perhaps the very anti-thesis of a punk ethos that demands failure by definition. It was Johnny Lydon who summed up punk fatalism most succinctly in the Pistols’ “God Save The Queen” with the ever-enduring refrain” no future, no future, no future for you”.

Perhaps we miss the analogy just because KISS became way too successful to be remembered as punks? I submit that they may have been classified as something slightly other than classic rock had they folded in 1975 before ALIVE! saved them. Decked out originally in black leather, studs and white face, the bands presentation was as raw as a fist fight and far from glam or glamorous.

I came upon this surprisingly reasonable revelation the other evening while re-watching KISS’s 1974 performance on ABC In Concert w/ Dick Clark. So cool. When Criss screams “Your days are sown with madness!” at the end of “BLACK DIAMOND” you realize KISS meant it and, as it turned out, were reflecting something that would soon have parents all over America puzzled. Worth noting that it takes only Frehley’s first frenetic solo on the opening number for chicks to stand up and the party is on.

You had to be there, but somehow KISS were the band stateside to mega-articulate “fuck what the adults are telling you” to a generation waiting for something to happen.

KISSOLOGY Vol. 1.documents the heady times well, especially with the Paul & Gene commentary feature punched. It was the wild west back then and it is well known the band and their crew acted like devil-may-care renegades as openers both on and off stage. Refusing to tone it down, KISS were bounced off tour after tour by pissed-off headliners for feathers ruffled and bruised egos. KISS took no prisoners save the audience. The early live footage speaks for itself Youtubers, KISS were freaks on a mission and like punk, KISS aimed to kick your teeth in one way or another.

Musically speaking, early KISS (esp. the first two ‘offerings’) was darker and considerably slower than the general attack that punk ‘musicians’ hurled over the pond a few years later. Start with tunes like “PARASITE”, “BLACK DIAMOND”, “DEUCE”, “WATCHIN’ YOU”, “100,000 YEARS”, “GOIN’ BLIND”, “STRANGE WAYS”, “HOTTER THAN HELL”, “STRUTTER” and “SHE” for a keen snapshot of their no frills urgent ballsy attitude rock & roll.

Don’t buy the usual pundits backwash folks: KISS really could play, no way it would have worked if they didn’t rock man. Check the tapes: it was happening.

It may be Ace Frehley’s “COLD GIN” that supports the argument best —- a tune about getting drunk just to keep warm and ‘keeping it together’ (lol.). Way ahead of its time and certainly an honest blue collar concern. That’s what Ace and Peter Criss brought to the band; legit fast-trigger, gang-tested attitude from the streets of the Bronx & Brooklyn. But, for business acumen, Gene & Paul might have been the biggest punks in town. No needles, no violence, but more attitude than anyone in their way.

Just think about it: you would have to be punk of sorts to be in KISS at its inception. Making any sense? KISS as an Americana precursor to punk? It’s not that far fetched my friends. Hell, look at the crowd on the back of KISS’s 1975 deal sealer ALIVE!….half the people in the crowd look like they are in The Ramones (or relatives of the Hanson brothers from Slapshot).

Described early on as ripoffs of everything from the New York Dolls to Alice Cooper to Humble Pie to Free to Slade to Led Zep to Cream to The Faces to The Who to Sabbath to Ziggy to Hendrix meets the Beatles but, make no mistake, KISS were punks at heart.

Alienation? KISS were aliens.

Teen rebellion? Check.

An aesthetic? Um (gulp)….yeah.

Hostile facade? Hell yeah!

Ideology? Keep It Simple Stupid.

Aggressive? What was your daughter’s name again?

See original story HERE:

Gene Simmons Gets Into Twitter Beef With Michael Jackson Fanatic: ‘I Stand By My Words’ That He Molested Kids

Long-tongued Kiss frontman Gene Simmons has reignited his feud with Michael Jackson fans — more than three years after he said the King of Pop was a child molester.

Refusing to hold his world famous tongue, the 63-year-old was confronted by a barrage of abuse at the weekend from Jacko supporters after a fan group supporting Wade Robson — the dancer-choreographer who has filed a claim against Michael Jackson‘s estate claiming alleged child sex abuse — reached out to him via the social media site.

Responding to the tweet, one fan wrote: “Gene Simmons never even met much less knew MJ.”

To which the glam rocker retorted, “In 80s, i went put w/Diana Ross, we visited Michael Jackson. You don’t know me. Don’t make up things about me.”

“Visiting is NOT the same thing as knowing!” the fan reacted. “If you don’t want things made up about you, stop accusing Michael Jackson of being a “pedophile” as you did!!”

Then, Simmons repeated his claim of 2010 when he infamously said, “Where there’s smoke there’s fire… There is no question in my mind he molested those kids. Not a doubt.”

Furious, the rock legend told the fanatic: “FACT, He paid a family $22 million to settle one case. FACT, He paid $3.5 mil to another family. I stand by my words.”

Simmons added, “Millions of people around the world believe he was. Difficult to believe. That does not mean it’s untrue.”

Simmons’ band KISS was dumped from a 2011 Michael Jackson tribute concert following a flood of complaints after he called Jackson a pedophile in a magazine interview.

Accused of molesting a 13-year-old boy in 2005, the Thriller singer was ultimately acquitted of all charges. In 1993, Jackson settled a similar case out of court.

See original story HERE:

Tuesday, July 30, 2013

KISS Performing "Detroit Rock City" In London

Here's fan video of KISS performing "Detroit Rock City" at the Budweiser Gardens in London, Ontario, Canada on Saturday, July 27, 2013

Paul Stanley 'Monster North America Tour 2013' Guitar Pick

Here's the guitar pick that Paul Stanley threw at us at the KISS concert in Ottawa, Ontario, Canada on Thursday, July 25, 2013.

Paul Stanley Boogie Street Black & White ORION Starfire Guitar


Here's a photo of the Paul Stanley Boogie Street Black & White ORION Starfire. It's just like Paul plays on the KISS 'Monster Tour'. Like it... Dig it... Own It. ONLY at Boogie Street Guitars.

More details HERE:

KISS Performing "I Was Made For Lovin' You" In Montreal

Video footage of KISS performing "I Was Made For Lovin' You" at the Bell Centre in Montreal, Canada on Monday, July 29, 2013.

KISS Performing "God Of Thunder" In Montreal

Here's video of Gene Simmons spitting blood and performing "God Of Thunder" at the Bell Centre in Montreal, Canada on Monday, July 29, 2013.

- KISS Performing "Black Diamond" In Montreal

Here's fan filmed video footage of KISS performing "Black Diamond" at the Bell Centre in Montreal, Canada on Monday, July 29, 2013.

KISS Performing "Psycho Circus" In Montreal

Here's fan video of KISS performing "Psycho Circus" at the Bell Centre in Montreal, Canada on Monday, July 29, 2013.

CTV Montreal: KISS Rocks Bell Centre

Paul Stanley, Gene Simmons and the gang are in town for a rock show like no other. Cindy Sherwin speaks to members of the KISS army.

See video HERE:

Concert Review: KISS With Shinedown, Bell Centre, July 29

“Maawn-tree-aaawl!” howled Paul Stanley in the arena phrasing and pronunciation he coined. “I wanna come out there and be with yew!”

Who knew if he meant it in the Biblical sense, but this was Kiss, so as likely as not. And 8,500 in the Bell Centre were going to feel Paul and the fire and the blood and the flying and the bombs that still herald rock’s Circus Maximus on their regular rotation through the city and country and world’s venues.

First, ladies and gentlemen, rest easy in your beds – the future of Kiss is assured, if we can judge by the truly impressive amount of pre-schoolers face-painted and hauled into the rink by parents who’d been Kissed one too many times but were passing on the torch. Little Demons and Starchildren, little Aces and Catmen, goggle-eyed at what they were about to experience.

Forty-some years, y’all. Psycho Circus opened with the first bombing sally, and Gene in his suit of metal mail, and Tommy Thayer licking out in his Ace gear, and Paul Stanley in his black flamingo-feathers, all descending atop an articulated spider-stage, with screens bathing 17,000 retinae in a kaleidoscope of KISS imagery. Forty-some years of Shout It Out Loud anchoring the early part of the set with the first of a half-dozen ’70s riffs that have outlasted Jann Wenner’s hatred and become post-ironic standards for – what – three generations?

The ever-limber Stanley took many knee-drops through the likes of Hell or Hallelujah, from the band’s solid Monster album. Backwards and in platforms with a Firebird-ish guitar – that’s Paul as Gene blows fire in War Machine and licks his own fretboard. And here’s Thayer, given the mic for Shock Me/Outta This World and a bit of O Canada in the solo to re-energize the show.

You would get Gene Simmons yanked into the rafters on guidewires for God of Thunder and the blood moment, and Stanley and Thayer back atop the spider for a Lick It Up coda of Won’t Get Fooled Again that felt like both hommage and canny stagecraft. Because here came the tonnage, with Stanley impressively zooming over the crowd on a one-stirrup trapeze with no harness to yowl Black Diamond from the mid-crowd mini-stage. Detroit Rock City and I Was Made for Lovin’ You would set up the inevitable Rock and Roll All Nite explosions.

When you’ve seen Kiss any number of times stretching back further than you’d care to admit, and lived through and even propagated some of the slurs directed at them, it’s easy to forget that rock’n’roll is currently loitering in whatever layer of inanition sits below the doldrums. You can forget that catching a hard rock opening band named Shinedown with a gracious and authoritative lead singer named Brent Smith may have virtue in its hoary rock trad. And you can forget that until someone out-explodes or out-enthuses or out-showbizzes the headliner, there are worse things than spending a summer night watching 6-year-olds and their parents fist-pumping along to a riff-carnival that shows no signs of folding its tent.

Concert Review: KISS At The Molson Amphitheatre | Image: Terry Wilson/KISSOnline

For a rock ‘n’ roll fan, a Kiss concert is about as close as you can get to a sure thing in live music. That’s why it was no surprise that the legendary foursome absolutely rocked the house at the Molson Amphitheatre on Friday night with their patented blend of pyrotechnic spectacle and explosive sound.

While Justin Bieber was on stage just a few blocks away for the second of his two all-sizzle, no-steak performances at the ACC, Gene Simmons and co. served up a reminder that you can still have style without sacrificing substance. Yes, Gene took flight on several occasions with the assistance of a harness, and flashy sparks put an exclamation mark the band’s 19-song set. But there was also no shortage of awe-inspiring guitar riffs and even a few sit-up-and-take-notice high notes from the aging rock gods.

There wasn’t much surprise packed into the band’s near-two hour set (the Ottawa Citizen had previously called the show “predictable”), but sometimes the best shows deliver what those on hand have come to expect. Kiss did everything they could to prevent any low points in the action-packed performance, serving up “Shout It Out Loud” early on and using special effects to keep things amped-up through a string of less-recognizable tracks. Gene introduced some fire-breathing to the proceedings during “War Machine” before taking flight and spitting blood during “God of Thunder,” while an extended guitar solo transitioned into a hair-raising electric take on “O Canada.”

From there, the band ramped up towards a stirring conclusion that included “Detroit Rock City,” “I Was Made For Lovin’ You” and, of course, “Rock and Roll All Nite.” Kiss wasn’t in town to promote songs off a new album or to try and reinvent themselves or even to tweak their most recognizable hits — this was a show about creating a raucous party vibe around some ear-splitting music and cool stunts.

Of course, as with any Kiss show, the on-stage activities were only part of the fun. The Kiss army was out in full force at the Amp, with some costumes in the crowd even more ostentatious than those of the four band members. And those who weren’t clad in costume? Well, they were busy taking pictures with the Gene/Paul/Eric/Tommy lookalikes in the crowd.

It quickly became clear on Friday night that to analyze the sound or the show’s flow would be to miss the point. More than musicians, Kiss are performers — and on this night, they brought the entertainment.

KISS In Toronto

 Photo Credits: Lisa Cramer

Photos of KISS live on stage at Molson Canadian Amphitheatre in Toronto, Ontario, Canada on Friday, July 26, 2013.

Photos: KISS At The Bell Centre In Montreal

 Photo by Dean Snowden for KISSONLINE.

Here's KISS at the Bell Centre in Montreal, Canada tonight.

Photo by Dean Snowden for KISSONLINE.

KISS "Unplugged" Backstage In Toronto


Photo Credits: Lisa Cramer

Photos of KISS' Meet & Greet acoustic set at Molson Canadian Amphitheatre in Toronto, Ontario, Canada on Friday, July 26, 2013.

See more photos HERE.

Photo Credits: Lisa Cramer

Monday, July 29, 2013

KISS Fans New Gene Simmons Tattoo

Thanks to KISS fan Nick Xenos for sharing his new Gene Simmons tattoo with us! Nick writes:

"Check out my new Gene Simmons tattoo that i got for my birthday yesterday! No better way to celebrate than to tattoo my idol on my skin! My friend Joey Eyebrows did it at Babylon Tattoo in Fort Lauderdale Florida. Now i can show the world who my favorite band is! Thanks!! KISS RULES!!"

Photo: Paul Stanley At Bell Centre In Montreal

Photo by Dean Snowden for KISSONLINE

Here's Paul Stanley coming off-stage during Gene's bass solo in Montreal tonight.

Photo by Dean Snowden for KISSONLINE

Gene Simmons' Costume Backstage In Montreal


Here's a photo posted by "The Demon" Gene Simmons of his KISS costume backstage tonight before the bands show in Montreal, Quebec, Canada.

KISS Loves You Montreal

Photo Source: @BackstageRider

KISS just finished their show at the Bell Centre tonight in Montreal, Quebec, Canada.

Photo Source: @BackstageRider

KISS Kids At Show In Montreal

Source: Cindy Sherwin - CTV

Check out these awesome KISS kids at the KISS show in Montreal, Quebec, Canada tonight at the Bell Centre.

Source: Cindy Sherwin - CTV

Latest KISS Magazine Cover: "Metal Hammer" Spain


Check out Gene Simmons on the cover of the August issue of "Metal Hammer" magazine in Spain.


1978 KISS Solo Albums Radio Commercial

This is the original R:60 (sixty second radio spot) created to promote the simultaneous release of four KISS solo albums in 1978. Some audio from this spot was also used in related television commercials. The spot was compiled and edited by Rob Freeman who, together with producer Eddie Kramer, recorded and mixed Ace's solo album, "Ace Frehley." Both Frehley's album and the radio spot were recorded at Plaza Sound Studios situated above Radio City Music Hall in New York. Production of the radio spot was overseen by Howard Marks of Glickman Marks, KISS's business management office.

KISS Live On Stage In Montreal

 Source: Guillaume Gingras

KISS on stage in Montreal, Quebec, Canada at the Bell Centre tonight.

KISS Ready To Rock Montreal

Source: martincarle66

Here's a fan photo of the KISS Army packing in the Bell Centre tonight in Montreal, Quebec, Canada.

KISS Performing "Love Gun" In London

Here's video of KISS performing "Love Gun" at the Budweiser Gardens in London, Ontario, Canada on Saturday, July 27, 2013.

KISS Performing "Deuce" In London

Here's fan video of KISS performing "Deuce" at the Budweiser Gardens in London, Ontario, Canada on Saturday, July 27, 2013.

KISS Performing "Calling Dr. Love" & "Detroit Rock City" In Toronto

Here's KISS performing "Calling Dr. Love" and "Detroit Rock City" at the Molson Canadian Amphitheatre in Toronto, Ontario, Canada on Friday, July 26, 2013.


KISS Unleash The 'Monster' In Toronto
The kings of the night time world rose to the occasion last night as they made their grand entrance in Toronto riding the back of a giant metallic spider. Playing to an army of fans at the Molson Amphitheatre, Kiss delivered their most explosive performance yet with this year's 'Monster' Tour. Named for their 20th studio album that reached number three on the Billboard 200 chart, Kiss, after forty years, continue to enjoy their success while pushing rock and roll theatrics to a new level of spectacular.

With his signature over the top style, Paul Stanley kept the night electric as he strutted the stage in his seven inch leather heels, pointing out to huge applause that although Toronto is known for its politeness, it by no means meant they didn't know how to party. Upon hearing an ear piercing invitation from the crowd, Stanley zip-lined overhead to a secondary platform, where the more intimate Star Child showed off his "Love Gun". Back on stage, the pure power of Gene Simmons and his Demon persona was undeniable as the bigger than life character spewed blood and breathed fire over his worshiping army. Not to be outdone, Spaceman Tommy Thayer shredded the frets with a fiery guitar solo accompanied by the hard driving drummer and "Catman" Eric Singer who simply pulled out a bazooka to top the Spaceman's pyro guitar.

Kiss hosted their party with a nineteen song marathon that had fans calling for "Dr. Love" while the almighty "God of Thunder" rained down blood and the "War Machine" drummed up its artillery of fire balls. The curtain of flames had the "Heaven's on Fire" and fans had no choice but to "Lick it Up" while giving a "Say Yeah" to the red hot extravaganza. The "Outta of this World" experience ended with a flurry of confetti and as Kiss left the stage, their legacy to "Rock and Roll all Nite" remained firmly intact.

See photos HERE:

KISS And Makeup, Now And Forever

MONTREAL — Kiss will never die.

Perhaps that’s because Starchild — a.k.a. singer/guitarist Paul Stanley — has his atoms continually renewed by decaying suns. Or maybe singer/bassist Gene Simmons’s Demon persona really did sell his soul in exchange for immortality and the ability to wear the makeup of a dead circus clown.

Whatever the case, the mammoth hard-rock band has been big business for decades, with a seemingly unstoppable momentum to its music, its merchandise, its branding — like a snowball rolling down a hill until it crushes and absorbs a Walmart.

To Stanley — who, along with Simmons, has been in the band since its formation 40 years ago in New York — that commercial success comes from relating to fans through spectacle and positivity.

“We’re timeless in a way a lot of other bands aren’t,” says Stanley. “(There’s a) simplicity to just celebrating life and preaching self-empowerment.”

Though their fist-pumping party anthems and pyrotechnics may initially suggest otherwise, Kiss is more than an arena rock band. The group is emblematic of eternal success, an infinity symbol made from a Möbius strip of twisted $100 bills, selling albums and tickets in the kind of numbers that require new branches of math to calculate. And when they take over the Bell Centre Monday night — supporting their latest album, 2012’s Monster — they’ll bring their tried and true blend of pyrotechnics, testosterone and primal guitar riffs.

But though the format may be the same, Stanley promises the concert won’t be too familiar, even to longtime fans.

“This new show is easily the best thing we’ve ever done,” he says. “We’ve spent years in the past upgrading or embellishing previous shows. (But) this time, we threw everything away and started from scratch.”

Of course, fans shouldn’t expect too much of a departure. Stanley promises explosions, a moving, tentacled lighting rig that kind of sounds like an underworld god playing Tron, and, of course, fire. “You’ll be able to bake bread from your seat,” he promises. “It’s really taking the whole Kiss experience to another level.”

That’s going to be critical to fans, because Kiss’s success has historically been driven by the live show. The band’s first three studio albums — Kiss, Hotter than Hell and Dressed to Kill — didn’t make much of an impact on the charts. But when their 1975 concert album Alive! truly captured the band’s unique energy, they were launched to superstardom.

Which, according to Stanley, was an inevitability. Asked if he ever doubted whether the band would succeed, his response is blunt: “Never.” He attributes this not to destiny, but hard work. “Whether it’s stupidity or belief, I think that (if) you assess a situation and are realistic about it, and if you believe (you) can succeed, then you give it its due, you give it your all.”

Of course, not even Stanley could predict the years of steady success. “Nobody could ever imagine that,” he says. “What did the Beatles last, seven years? ... I was hoping for five.

“There was no precedent for a band lasting 40 years,” Stanley adds. “It defies a lot of the rules of rock ’n’ roll. As well it should, because rock ’n’ roll is not supposed to have rules.”

Nevertheless, there were challenges along the way. In the early ’80s, original drummer Peter Criss and lead guitarist Ace Frehley left the band, creating lineup instability for a number of years. In fact, troubles with band members led to Kiss’s near retirement in 2000, shortly after a reunion of its founding members.

“When we brought back Peter Criss and Ace Frehley, it became so unbearable that we decided to do a farewell tour,” Stanley says. But the farewell turned out to be more like the casual “later” of a teenager. “I realized that I was going to say farewell to Kiss because of two people,” Stanley explains. “(But) the fans didn’t want Kiss to go away.”

Those fans continue to turn out in droves. And despite the band’s mileage, their audience has a wide demographic spread.

“One of the things that people who don’t follow the band are stunned by is how diverse and young the audience skews,” Stanley says. “I’ve gone to see some other bands that people might consider ‘classic’ rock bands; the audience looks like a bunch of old schoolteachers.”

The occasional staffing issue aside, Stanley says keeping Kiss going is easy, even when it seems to involve playing the band’s most identifiable hit, Rock and Roll All Nite, until entropy and heat death dissolve the entire concept of music into thermal noise.

“Every night is a new night. Every night is an audience that wasn’t there the night before,” Stanley says. “I’m so blessed to have this arsenal of songs, and I can’t imagine being tired of them.”

And those songs, he says, are completely inviolate. “I’m always surprised when I see bands rearranging songs, or being tired of songs that they’ve been playing for years,” he explains. “Those songs have made you what you are. You owe them the respect to do them properly.”

That, says Stanley, is what the band will proudly continue to do, with no end in sight.

“I love this band, and the only one who’s going to tell me when it’s over is me.”

Kiss performs Monday, July 29 at 8 p.m. at the Bell Centre, with Shinedown. Tickets cost $80.50 to $142. Call 514-790-2525 or visit

KISS Fan Gets His Eric Singer Tattoo Signed | Photos: Derek Heighton

Our KISS friend Derek Heighton recently got his Eric Singer tattoo signed by Eric himself backstage in London, Ontario, Canada on Saturday, July 27, 2013. Derek just got the signature tattooed in to his arm today!