Showing posts with label Ace Frehley. Show all posts
Showing posts with label Ace Frehley. Show all posts

CD Review: Ace Frehley – Origins Vol. 1

CD Review: Ace Frehley – Origins Vol. 1
eOne Music
All Access Rating: A-

Ace Frehley - Origins Vol. 1 2016
Seeing the Who and Cream open up for Mitch Ryder at the RKO theater at his first-ever rock concert was a life-changing experience for a young and impressionable Ace Frehley. That, perhaps more than anything else, convinced him that his calling was to conjure rock 'n' roll hellfire for the masses, who would worship him like a god.

On Origins Vol. 1, with its big, beefed-up production and pristine, powerful crunch, the revered former KISS guitarist pays tribute to the artists who influenced his career, performing a clutch of cover songs and old KISS tracks with immaculate precision, blazing energy and a whole lot of muscle.

In fact, the old Rolling Stones classic "Street Fighting Man" has never sounded so polished and heavy, becoming an arena-rock dynamo in Frehley's capable hands. Trading searing guitar licks with Slash on Thin Lizzy's "Emerald," Frehley seems born again, clearly enjoying the competition and beautifully sculpted twin leads.

While the world doesn't need another version of "Wild Thing," this savory remake by Frehley and Lita Ford captures the raw vitality and untamed spirit of the original, and the furious, groove-mongering locomotion and stop-on-a-dime direction changes of Led Zeppelin's "Bring It On Home" bursts forth with bluesy urges, proving that Frehley has lost none of his chops. Packing an even greater wallop is a rugged, gutsy version of Free's "Fire and Water," which finds Frehley and Paul Stanley – putting forth a commanding vocal performance here – of KISS mending fences.

Working alongside acolytes John 5 and Pearl Jam's Mike McCready, Frehley injects some modern sonic testosterone into KISS favorites "Cold Gin" and "Parasite," reveling in their darker qualities and punching them around some. Origins Vol. 1 isn't essential, and sometimes, Frehley is too faithful to the source material. Nevertheless, Origins Vol. 1 is a fun, nostalgic trip with an array of stinging riffs and piercing solos that attempts to explain how Ace became Ace. And because of all that, it's not a bad placeholder for the next Frehley solo record.
– Peter Lindblad

Origins of Ace Frehley

Ex-Kiss guitarist reunites with Paul Stanley on new album, leaks version of Cream's "White Room"
By Peter Lindblad

Ace Frehley - Origins Vol. 1 2016
Ace Frehley and Paul Stanley have KISS'd and made up, or so it seems. Not that there ever was much of a feud, at least according to Frehley.

"We've always been friends," said Frehley, in talking to Rolling Stone magazine about recording with Stanley again, as they did on Frehley's upcoming album of cover songs Origins Vol. 1, slated for an April 15 release. "The press seems to amplify negativity. I guess it makes good copy."

Some, if not all, of the rancor that sullied the band's 2014 induction into the Rock And Roll Hall Of Fame must have subsided somewhat, as the two joined forces to remake Free's hit "Fire and Water," marking the first time they've collaborated since the KISS 1998 reunion album Psycho Circus. Frehley has announced a release date and track listing for Origins Vol. 1, featuring re-imagined versions of 12 classic songs that influenced the legendary former KISS guitarist. It's the follow-up to 2014's Space Invader, which at the time had been his first album in five years. The record debuted at No. 9 on the Billboard Top 200 chart, making it the highest charting KISS-related solo project ever, propelling Frehley back to the Top 10, a place he hadn't visited since Psycho Circus.

Today, Rolling Stone magazine debuted Frehley's new version of Cream's "White Room," which can be heard here: http://www.rollingstone.com/music/news/ace-frehley-announces-new-lp-white-room-cover-paul-stanley-reunion-20160210. Faithful to the original, Frehley's take on "White Room" flashes an orgy of wah-wah guitar effects behind strong, clearly articulated vocals and powerful drumming. Capturing the psychedelic whirl of the original, Frehley brings the song out of its late-'60s haze and reintroduces it to a more contemporary audience, enhancing its melodic character.

Stanley is just one of the big-name guests appearing on Origins Vol. 1. Slash and Frehley trade leads on Thin Lizzy's classic "Emerald," while Lita Ford sings and playing lead on The Troggs' staple "Wild Thing," and Rob Zombie guitarist John 5 plays guitar alongside Ace as he sings his classic KISS composition "Parasite" for the very first time. The two also give their rendering of Jimi Hendrix's "Spanish Castle Magic," with Frehley finally doing his KISS Alive I mainstay "Cold Gin" with Pearl Jam's Mike McCready also on guitar as Ace as sings. 

"White Room" is also an iTunes instant gratification track, meaning fans who pre order the LP on iTunes will receive the Cream cover song instantly. Pre-orders for physical versions can be made here:  http://www.amazon.com/Origins-Vol-1-Ace-Frehley/dp/B01BMS3MS0/ref=sr_1_1?ie=UTF8&qid=1455188080&sr=8-1&keywords=ace+frehley+origins+vol.+1. Go here for digital versions: https://itunes.apple.com/us/album/origins-vol.-1/id1083108066

The track listing for Origins Vol. 1 can be found below:

1. White Room (Cream)
2. Street Fighting Man (Rolling Stones)
3. Spanish Castle Magic (Jimi Hendrix) *John 5
4. Fire and Water (Free) *Paul Stanley
5. Emerald (Thin Lizzy) *Slash
6. Bring It On Home (Led Zeppelin)
7. Wild Thing (The Troggs) *Lita Ford
8. Parasite *John 5 (KISS)
9. Magic Carpet Ride (Steppenwolf) 
10. Cold Gin *Mike McCready (KISS)
11. Till The End Of The Day (Kinks)
12. Rock and Roll Hell (KISS)

Ace and crew will be active on the road in 2016. Three weeks worth of tour dates in the U.S. have been announced, including two nights at the B.B. King Blues Club in New York City. His band features Richie Scarlet (rhythm guitar and vocals), Chris Wyse (The Cult) on bass and vocals, and Scott Coogan (Nikki Sixx's Brides of Destruction) on drums.

Tour dates are below:

2/26 - Houston, TX - Scout Bar
2/27 - San Antonio, TX - Fitzgerald's
2/28 - Dallas, TX - The Bomb Factory 
3/2 - Tempe, AZ - Marquee Theatre
3/4 - San Miguel, CA - The Ranch
3/5 - Beverly Hills, CA - Saban Theatre
3/6 - Las Vegas, NV - Brooklyn Bowl - Las Vegas
4/1 - Ponte Vedra, FL - Ponte Vedra Concert Hall
4/2 - Clearwater, FL - Capitol Theatre
4/3 - Sunrise, FL - Markham Park - Rockfest 80's
4/5 - Atlanta, GA - Variety Playhouse
4/7 - Danville, VA - Carrington Pavilion
4/9 - New Hope, PA - Havana New Hope
4/11 - New York, NY - BB King's Blues Club
4/12 - New York, NY - BB King's Blues Club
4/13 - Huntington, NY - The Paramount
4/15 - Wilkes Barre, PA - The F.M. Kirby Center
4/16 - Poughkeepsie, NY - The Chance



KISS Collectibles To Invade The 2015 Rock Gods & Metal Monsters Auction

Gene Simmons' full KISS Psycho Circus Tour Worn Body Armor

Backstage Auctions is hosting its annual Rock Gods & Metal Monsters Auction - an epic event of authentic memorabilia that comes directly from bands such as Megadeth, Slayer, Anthrax, Testament, Lita Ford, Exodus, Ratt, The Cult, Slipknot and many others.
With over 1,000 auction lots, this annual spectacle is a highlight moment for collectors around the globe - and the party wouldn't be the same without KISS! 

Not only will there be KISS memorabilia...there are nearly 250 lots, making KISS the # 1 supplier of collectibles in the auction. That little fact is hardly a surprise; the contents of the auction however are nothing short of spectacular.

With consignments coming from Debra Svensk (Peter Criss' 2nd wife), the estate of Eric Carr and several former KISS crew members, the auction spans 4 decades of KISStory.

Among the many highlights are several incredible Peter Criss mementos that range from worn KISS jackets and 1970s era jewelry, to handwritten lyrics and original artwork. His 1978 drawing of Gene Simmons is especially noteworthy.

The Eric Carr estate managed to supply some never-before-offered items such as clothing, artwork and signed pieces. There is also a slew of new memorabilia and beautiful record awards.

From the group of former KISS crew members there is a host of picks, sticks, itineraries, shirts and other mementos, including an Ace Frehley worn Reunion Tour bathrobe, a fully signed 1979 Bally pinball machine, the oldest set of KISS signatures known-to-exist and even Gene's full Psycho Circus tour worn body armor. There are historic documents, awesome posters, prototype toys and many autographed pieces.


Special mention is to be given to an impressive offering of KISS vinyl, as well as a large collection of official Reunion era merchandise that knows no boundaries.

The Rock Gods & Metal Monsters Auction will be live from June 20th – 28th with a special VIP Preview that starts June 13th. If you are not registered for your All Access Auction Pass, rock on over and sign up today – it takes just a minute and there is no fee to sign up.
Link: All Access Registration

Follow Backstage Auctions on Twitter and Facebook for auction highlights before, during and after the event. 

CD Review: Rated X – Rated X

CD Review: Rated X – Rated X
Frontiers Records
All Access Rating: B

Rated X - Rated X 2014
The old Blue Murder rhythm section is back together, only this time they're backing former Rainbow vocalist Joe Lynn Turner in a new supergroup called Rated X.

Cobbled together by Frontiers Records' Svengali Serafino Perugino, old partners Carmine Appice (drums) and Tony Franklin (bass) join Turner collaborator Karl Cochran – a guitarist known best for his work with Ace Frehley – in doing much of the heavy lifting on what is a fairly straightforward, thick-bottomed set of good, solid melodic hard rock that's often both blustery and ballsy, but can also transform into something more expansive and smokey.

At times reminiscent of full-throttle Deep Purple, with an organ spewing out swirling clouds of exhaust, this eponymous release roars out of the gate with "Get Back My Crown" and slams into the rebellious declaration of self-actualization that is "This is Who I Am," before gathering itself for another barreling charge through "I Don't Cry No More." Smoldering darkness creeps into "Lhasa" and "Maybe Tonight," two slow-burning relics from Turner's days in Rainbow that suggest his recent stated interest in a reunion with Ritchie Blackmore is to be taken seriously. And in the transcendent "You Are The Music," Rated X are awed by life's mysteries and the boundless capabilities of the human spirit in an uplifting piece of music carried on choral vocals and soaring guitars.

The musicianship is stellar, as one would expect with Appice's powerhouse drumming, Franklin's thick bass groove and Kochran's searing guitar work, not to mention Turner's still dynamic and expressive singing. Unfortunately, the songwriting is not always up to snuff, as the amalgam of tough melodies, dull hooks and faceless riffs doesn't leave much of a lasting impression. For all the sublime talent gathered together here, Rated X is missing whatever sort of glue or chemical element it is that makes for a cohesive, well-coordinated and energized unit, as Rated X plods along looking for a spark and fails to find one. There nothing terribly embarrassing about it, except for some cliched lyrics, but on the other hand, there's little here that generates much excitement either.
– Peter Lindblad

CD Review: Ace Frehley – Space Invader

CD Review: Ace Frehley – Space Invader
eOne Music
All Access Rating: A-

Ace Frehley - Space Invader 2014
Making his former KISS band mates Paul Stanley and Gene Simmons eat a hearty helping of crow would surely delight Ace Frehley to no end. Dinner is served.

With no easing of tensions in sight between the parties involved, the jilted guitarist, his sobriety having sharpened both his songwriting instincts and his instrumental chops, Frehley lets its rip on the rollicking eOne Music release Space Invader, the follow-up to 2009's Anomaly. 

Digging into his past, Frehley recaptures the raw energy and hard-rock crunch of early KISS and the surprising pop sophistication and vitality of his 1978 solo album – the one that puts all other KISS solo outings of the time to shame – with a tough, rugged title track, an equally ballsy "Gimme A Feelin'" and the infectious glam-rock nugget "I Wanna Hold You." For openers, that's a tough hand to beat – three of a kind comprised of tight, irresistible hooks, bashing drums and searing guitar solos that hit a bulls-eye dead center every time.

More metallic and heavy, "Change" and "Toys" smolder and stomp, as Frehley's riffs bite down hard and draw blood. His claws are out, and these tunes have an air of confidence and a trashy swagger born of past successes and little concern for the critics he's so eager to silence. The Zeppelin-like boogie "Inside the Vortex" seems to channel the spirit of John Bonham, while "What Every Girl Wants" updates the sleazy bump-and-grind of the New York Dolls for a new millennium – Frehley always has had a better grasp of what made the Dolls great than the rest of KISS.

A collection of punchy, slickly produced songs that kick like a mule and have a chip on their broad shoulders, Space Invader hardly ever hits a flat note. Even his version of "The Joker," by the Steve Miller Band, smokes. While every one of these tunes now lives in the penthouse suite, it seems they also revel in trawling through the gutter, looking for cheap thrills. They are rambunctious, but rarely reckless – except when Frehley launches into daring, acrobatic leads that like to wander but never go too far afield. Space Invader, with that classic cover art created by longtime Frehley collaborator Ken Kelly, is just a good bit of rock 'n' roll fun, a little wild, a little sleazy and exceedingly satisfying. That crow is getting cold boys.
– Peter Lindblad

First Impressions: Ace Frehley covers 'The Joker'

KISS guitarist takes Steve Miller Band classic
By Peter Lindblad

Ace Frehley will release 'Space
Invader' on Aug. 19
When the track listing for Ace Frehley's upcoming eOne Music release Space Invader was released, the mercurial ex-KISS guitarist sprung a surprise that gave everyone pause.

It's safe to say that nobody expected a cover of the Steve Miller Band staple "The Joker," but then again, predicting Frehley's next move has always been impossible. After all, who could have foreseen his version of Russ Ballard's "New York Groove," recorded by Hello way back in 1975, being the best thing to come out of the four KISS solo albums of the late '70s?

One of the hotly anticipated records of the summer – especially with the still simmering feud between Gene Simmons and Paul Stanley on one side and former KISS members Frehley and Peter Criss on the other garnering headlines even after all the Rock And Roll Hall of Fame induction awkwardness – Space Invader is Frehley's chance to shut up critics who long ago gave up on him. (eds. note: a more complete review of the record will be posted soon on this site)

Ace Frehley - Space Invader 2014
Earlier this summer, Frehley gave the world a little taste of Space Invader, the follow-up to 2009's Anomaly, by releasing the first single "Gimme A Feelin'" and it's a catchy little nugget of spirited rock 'n' roll fun that cleans up the glam rock of the New York Dolls without completely scrubbing away its grit. Now comes Frehley's take on "The Joker," and it's the one that has people a little nervous. Issued this week, you can hear it for yourself here: http://ultimateclassicrock.com/ace-frehley-the-joker-steve-miller-premiere/

Thankfully, although opinions have been mixed, Frehley's version is a damn sight more lively than the original, moving at a quickening pace as the modern production and big guitar rush breathe fresh life into what's become a moldy, sluggish oldie played way too many times on classic-rock radio. Less organic and earthy than the original, this sleek, updated cover trims away the fat to reveal a tighter, leaner song that now sounds as if it was made for these times. And maybe, just maybe, Frehley's career could be on the verge of a renaissance that few could have imagined.

First impressions: Ace Frehley's "Gimme A Feelin'"

KISS guitarist releases ace first single from 'Space Invader'
By Peter Lindblad

Ace Frehley - Space Invader 2014
Ace Frehley hasn't been shy about expressing his feelings lately, especially when it comes to KISS and the kerfuffle surrounding their rather awkward and unsatisfying Rock and Roll Hall of Fame induction.

Putting all that behind him, the ex-KISS guitarist debuted a new single last week titled "Gimme a Feelin'" in anticipation of Frehley's upcoming new album Space Invader, ready for launch this summer on eOne Music. Click the link below to take a listen:

http://www.rollingstone.com/music/news/hear-ace-frehleys-kiss-like-new-gimme-a-feelin-premiere-20140529

The Ken Kelly rendered, sci-fi artwork for the record has already been released and is included here for your viewing pleasure.

Known for his work in the sword and sorcery and fantasy realms, it was Kelly who created the cover art for 1976's Destroyer and 1977's Love Gun, and the painting, with its rich hues, colored smoke and metallic space ship design, is almost as striking as his more famous pieces.

Ace Frehley - Gimme A Feelin'
As for the swaggering, rough-and-tumble "Gimme A Feelin'" – already available via iTunes, while Space Invader can be pre-ordered through Amazon – it's got all the trashy, bump-and-grind strut of the New York Dolls, but it's clothed in a more modern hard-rock suit. Built around a strong guitar riff that grabs and refuses to let go, "Gimme A Feeling" revs its engines at the beginning like Motley Crue's "Girls, Girls, Girls" and gives Frehley plenty of room to reel off a variety of agile, sharp-as-a-switchblade solos, the song growing increasingly desperate in its search for sexual gratification.

A piece of rollicking, vintage '70s New York City rock 'n' roll that's caked in grit and full of swagger, "Gimme A Feelin'" could be a museum artifact in this day and age, but it shouldn't be kept behind velvet ropes. "Gimme A Feelin'" finds Frehley confident, reinvigorated and ready to take on all comers, swinging big hooks like a heavyweight champ. About to arrive, with nine originals and a cover of Steve Miller's "The Joker," Space Invader may prove that Frehley is, indeed, back in a New York groove.

Ace Frehley readies first new solo album in five years

Original KISS guitarist Ace Frehley
has a new solo album coming out in 2014
'Space Invader' drops in June

All the controversy over the induction of KISS into the Rock and Roll Hall of Fame isn't keeping Ace Frehley down.

The guitar legend will release Space Invader, his first new solo album in five years, via Entertainment One Music (eOne Music) on June 24, 2014. 

The album will include at least nine brand new original songs, plus a cover of Steve Miller’s “The Joker.”  This album is the first release under Frehley's new universal deal on eOne Music.

Frehley has released an official statement regarding the exciting news:

“Life on Earth has been very good to me, and the body of work I’ve created over the years has withstood the test of time. Today I see no obstacles before me and my creativity has never been more fine tuned. Growing up in an Alien world has enhanced my senses and allowed me to succeed where others would have failed. The best is yet to come!” 

For 16 years, Frehley, the original “Space Ace" and a founding member of KISS, served as the guitarist for the multi-platinum selling rock band. Furthermore, Frehley has had the best-selling solo album career (vintage or current) among the original foursome. His self-titled Ace Frehley, released in 1978, went on to sell over one million copies, producing the only Top 40 single, “New York Groove,” from any of the legendary KISS solo albums (peaking at #13). Most recently, the song was featured in an episode of the cult TV show “Entourage,” and it was also KISS’ second-bestselling download in 2012, beating out, among others, such KISS Army anthems as “I Was Made For Lovin’ You,” “Beth” and “Calling Dr. Love” even after 36 years.

Since departing from KISS, Frehley went on to release four more solo albums and one live EP including his most recent effort, Anomaly in 2009, which debuted at #27 on the Billboard Top 200 chart and received a welcoming response among critics. "’Anomaly' shows why many rock and metal guitarists list ‘Space Ace’ as a prime six-string influence," said Rolling Stone.

Ace Frehley will participate in the 2014 REVOLVER GOLDEN GODS AWARDS show by presenting the Dimebag Darrell "Best Guitarist" Award alongside label-mate Zakk Wylde. The awards show will take place on April 23, 2014 at the CLUB NOKIA Theater in Los Angeles. Tickets are on sale now!

Frehley said: “It’s exciting to finally be part of the Golden Gods, awards and an honor to be part of any Dimebag memorial award. He was a friend, and I know everyone misses him, as do I.”

ACE FREHLEY CONFIRMS NO ORIGINAL KISS PERFORMANCE AT HOF

Source: Eddie Trunk - Trunk Report

Exclusive new late tonight. Ace Frehley called into my radio show live tonight and confirmed that he and Peter are being denied the opportunity to perform at the R&R Hall Of Fame ceremony by Gene and Paul, who will perform instead with the current band. Ace said (and the HOF confirmed to me
Kiss
Kiss
directly) that the HOF wants the original band. However Gene and Paul to date have declined to allow this to happen.

Ace said it was important he let the fans know exactly what was happening since tickets are about to go on sale to the public and he didn’t want fans to purchase them expecting a reunion performance even for a song or two. Ace said he is undecided if he will even attend in light of this decision. Even though the HOF would prefer the original band, they will not stand in the way of the current band playing if that is all Gene and Paul are willing to do.

Assume anything is possible that something could change, but at this time there are no plans at all for Ace and Peter to play, or perhaps even be there depending what they decide. As I have said consistently when there was news to share I would let it come directly from a member, and tonight Ace let everyone know exactly what was going on. Said he was most upset for the fans who voted them in and were hoping to see a song or two, but also said it is now time to move on. He is working on a new album and said the stress was really killing him about the HOF and he needed to let fans know what was up before tickets went on sale. Peter will likely have a similar statement on his site tomorrow.

I’ll continue to keep you posted as more info develops but that’s where things are at now. I’m sure the audio will be on YouTube of Ace’s call but you can hear the entire show next weekend as usual on all affiliate stations and online outlets as well. Sad day for long time Kiss fans but at least we know where things stand as of now. The producer/director for the HOF show Joel Gallen expressed an interest in coming on the air soon. As usual my door is open to any and all to discuss. More soon.

Original Story Here: Eddie Trunk - Trunk Report

Lydia Criss shares more of her KISStory



Wife of former KISS drummer releases 2nd printing of "Sealed with a KISS", featuring additional photos and stories.

By Peter Lindblad

Lydia and Peter Criss -The 70s
Their splashy divorce made headlines in New York City and across the world. In 1978, Lydia Criss and KISS drummer Peter Criss split up for good. There were irreconcilable differences. His alleged infidelity, drug and alcohol abuse and violent temper – all of it detailed in Lydia’s recently revised and expanded biography “Sealed with a Kiss,” the first edition of which was published in 2006 – drove a permanent wedge between the couple, who first met in 1966.

In her book, "Sealed with a KISS", Lydia relates how she stood by Peter and provided financial support as he attempted to jump start his music career with long-forgotten bands such as Nautilus, the Sounds of Soul, Lips, The Barracudas, and Chelsea. Then, along came Gene Simmons and Paul Stanley, members of Wicked Lester when their paths crossed with Peter’s. It was Simmons who answered Peter’s ad looking for musicians playing original music who needed an experienced drummer. Soon after, KISS was born.

 "Sealed with a Kiss"
by Lydia Criss
KISS grew to become one of the biggest rock ‘n’ roll bands the world has ever seen, and Lydia – who became a respected rock ‘n’ roll photographer – did more than go along for the ride, often supplying some of their clothes in the early days with the help of her mother, the seamstress. She was there when KISS played The Coventry and the 54 Bleeker Street loft that was home to The Brats. She was there when they brought their theatrical rock circus to Madison Square Garden for the first time and toured Japan. And she accepted a 1977 People’s Choice Award on their behalf for the song “Beth,” which she inspired.  Telling the story of KISS’s rise to fame from the perspective of a rock ‘n’ roll wife, Lydia’s book is packed with photos of KISS in concert and at play, behind the scenes. It is loaded with KISS memorabilia, including the newspaper and magazine clippings she meticulously collected, KISS clothing, concert tickets, etc. And it should be required reading for KISS fans. 


This is Part 1 of our interview with Lydia Criss.

Looking at the photos from the early years, you and Peter were a stylish couple back then.
Lydia Criss: Oh, we were the two that were more stylish than the rest. We were the two dressers. You know what it is? My mother was a seamstress. So, she made him a lot of his jackets. She made me most of
my clothes. I did buy a lot, but she did make a lot, too. So my mother was a big help for me because my mother would get mad at me if I’d spend $50 on a blouse. [I’d say,] “Okay then, I’ll find a pattern and material for us and you’ll make it for us.” And she’d make it … for $10 (laughs) or maybe $5 even. That’s why she made my wedding gown. She made all the bridesmaids’ [gowns]. She was amazing.

But you made stuff, too, right? I think there was a KISS jacket [in the book] with what looked like rhinestones on the back …
LC: I made that. That’s a regular denim jacket that I bought in the store. And I did everything on that. I’m actually selling that in the auction, which I said, “Why am I doing this?” But people said to me it’s because you’re never going to wear it and if you really, really, really … first of all, it looks like it’s made for a child. I was so small then. And I just said, “You know what? If you ever want something like that again, you can just make another one.” And I did, because I have all the stuff. It just takes time. It is rhinestones, and I have the rhinestones,

  
I have the studs … I have all that stuff. And I used to like say if I was sitting at home doing nothing one night, I would do like the left side of the jacket, and then I would make sure the right side [was done] so I could wear the jacket. And then, I was bad, because I would keep adding but I would always add balance. You know, I would always make the right and the left … you know, I wouldn’t work on it if I could only make half a side, where I’d do just one side and not the other side. The jacket was always wearable, but it just kept getting more and more glitter – more bling to it (laughs).

So much of KISS’s clothing and stage show early on was put together in do-it-yourself fashion, with everybody pulling together. It must have been thrilling to be a part of it. Talk about how their look evolved.
LC: Yeah, in the beginning, my mother actually made some of his stuff, some of his jackets, like there’s a picture of him in the loft – it’s one my lithographs, I’m not sure if you’re familiar with that. It’s a picture of all four of them back in the loft, and it’s not even their loft. It’s the Bleeker Street loft, which was The Brats’ [loft]. You know, The Brats, which was a band from New York. It was their loft. And it was way before [famed KISS manager Bill] Aucoin, and they were all dressed in different things. Ace’s mother made him a shirt, and Peter’s mother made him a shirt. I made him his hot pants and my mother made him the jacket. My mother made a lot of his stuff in the early days, too, but not once it came to Aucoin. When Aucoin stepped in, [everything] was done by a professional – a real professional.
KISS - Backstage at the Bleeker Street Loft - June 1, 1973
Lydia Criss 


I know you made that KISS shirt that’s in the book, too. Is that your favorite piece?
LC: Yeah, believe it or not, I sold that in the previous auction. Oh, the KISS shirt. I made one for Peter. I made one for Gene. I used to make them for his family. You know what it is? I had a stencil that was used for the bass drum. And I used it on the shirt. And I just used glue and glitter. It was so easy to make.

Oh, yeah.
LC: Yeah, I mean it was just put the stencil on, put the glue on and then put on the glitter and it was done. And it went through the wash. That’s why it looks like it does. It looks like that stuff is coming off.

It gave it kind of a cool distressed look.
LC: Yeah.

What was the hardest thing about doing this book?
LC: The memories, the memories. You know, I’m an organization freak. I’m a Scorpio, so you know, we’re like really organized. I had to have everything right. I had to have it in order. In the book, there are three sections: there’s before KISS, KISS, and then after KISS. But the hardest part was having to deal with some of the things that were painful at the time, and they became painful again. There were times where I would sit and read. I did my manuscript many, many years before I decided to [publish it]. I mean, I decided to do the book, but my publisher went bankrupt. He was a small-time guy, and he went bankrupt, and I got all my stuff back. That was basically in the ‘90s. I had started that at the end of the ‘90s … like ’99 I think I had given my manuscript over to him. And then he didn’t do anything, so in 2004, I got everything back, and that’s when I became serious, when Jacques van Gool of Backstage Auctions did the auction. And I just said, “Well, what do I need all this stuff for? It’s going to be in my book. I can always look at it in my book. I can’t hold it physically, but it’s in my book.” So, basically, I sold everything and I wanted to do the book, but the thing that really, really hurt was when I’d sit home at night – because I didn’t have editors at the time; I’d have editors later on, but at the beginning I just had a manuscript and then the editors kind of went through the manuscript, and they would correct things. Not much though. Believe it or not, they were surprised that I wrote my book. They just corrected like punctuation and grammar and stuff like that, and maybe a little bit of the things we fought about, like say they’d say something happened this way, I would say it happened that way. But they weren’t there. I was there. But they’re talking to other people and other people are telling them, “Well, you know, no it was Sean Delaney.” And I’d say, “No it wasn’t. It was Neil Bogart.” Or, they’re saying it’s Neil Bogart, and I’m saying, “No, it was Sean Delaney.” That was one thing we disagreed with, but the thing is, we decided to word it where it says we disagree: “Well, I feel it happened this way. Other people feel it happened this way.” But anyway, the hard parts … you know, getting divorced, finding letters where Peter is cheating on me, having to have an abortion … those are the things. I would sit at night, and you know, after I’d be on the computer all day, working on the book, I’d sit at night, on my couch, with a little light on, and I’d read all their corrections, and I’m telling you, sometimes I’d be hysterical, crying, and then a paragraph later, I’d be hysterical, laughing.
The Big Day

What was it do you think that originally attracted you to Peter?
LC: His character, his personality. Anyone that knows Peter from those days will tell you Peter was a great guy – especially when he wanted to be a great guy. Like, he’s a schizophrenic or he’s got split personalities, but Peter had something magical about him. It was definitely not his looks that attracted me. I wasn’t attracted to that, and he surely didn’t have money. So, it was definitely his personality.

What were your dates like? He seems like he’d be a fun date.
LC: We really wouldn’t do much. We would go to friends’ houses, we would go to the Village, we would go to Central Park … maybe we’d go to the movies. We didn’t really have like [dates]. I mean, he didn’t take me out to dinner much. Like I said, he didn’t have money. I was still living at home. I couldn’t cook, so I wasn’t cooking him dinners. He had a friend who lived in my neighborhood, Jerry Nolan, his best friend, who was the drummer for the New York Dolls. Coincidentally, he lived in my neighborhood, and Peter would sleep over and stay over there, or we’d go over and hang out at Jerry’s. Or, most of the time, we’d go to see Peter play.

At first, you didn’t think much about dating a musician. Everybody always says how tough it is. Was it difficult for the two of you early on?
LC: I really wasn’t even aware what went on dating a musician or what went into that. I dated a sailor before him, but before that … I only had two boyfriends before him, and before that there was a guy, but we were only 16, so we didn’t work – we were like still going to school. And so, I didn’t know what it was like to date a musician. I mean, I thought it was okay at the time. Then, when I read some of his book, I was definitely … the wool was being pulled over my eyes. And that’s another thing that hurt, reading his book. I’m sure him reading my book hurt also. And I think that’s his way of getting back or getting even with me, ‘cause that’s how Peter is. Peter can be a real sweetheart in front of you, but he can stab you in the back when you’re not looking.

You write about some of the financial issues you had while Peter tried to get his music career going.
LC: I mean I worked; he didn’t work. You know what he paid for? He paid for his drugs, and he paid for some of the clothes he might have bought and maybe the gifts for his family. But I paid all the household bills – you know, for all the furniture. I paid for the vacations. I paid for our honeymoon. I paid for our wedding. Even though the wedding – you get gifts and it pays for itself – but I initially paid for the wedding. But I paid for the honeymoon … you know what he used to do, which I found out later also? And I’m talking about maybe two years ago, I might have found out. He was making $50 a night and he’d tell me he’d only be making $35 or he’d only be making $25. The guy that worked with him, the guitar player, he says, “We never made less than $50 a night.” I’ve got records. I’ve got records that I kept, and it’s in a composition notebook – the picture of the book. But I kept records of all the jobs he worked and what salary he came home with. And either he was spending it on girlfriends or he was spending it on drugs. So that’s another thing that I found out way later, way after I was divorced – like 25 years after I was divorced.

Was there a low point early on with Peter where you asked yourself, is this ever going to get any better or perhaps Peter isn’t going to make it?
LC: Not really, because we were only married two years when he met KISS, when he met Gene and Paul. He met them in ’72. So that was only two years. Two years is nothing. There was a point where we had just moved to our second apartment, I was kept busy with moving, working every day; then, I’d sell Avon during the day at my job, and then I’d also make macramé – different things, chokers, belts, bracelets, and I would sell them, you know, to supplement the income. So, there was none from him, or very little.

Pre-Kiss, did you think any of the bands he was in up to that point was going to be big?
LC: Chelsea. Chelsea was the only one, because they had a record deal. Everybody else did cover songs, so they weren’t looking for a deal. There was a time when Peter did do something. He was in a contest at the Brooklyn Academy of Music that they won. And they got a record deal, but it didn’t do anything – like one single I think they did. It really went nowhere. But Chelsea … at least Chelsea had an album. They worked with some pretty important people at the time, like the producers and the engineers and stuff like that. I had no idea who these people were, and eventually, years later, you realize they were somebody. Even Eddie Kramer was somewhere involved in there. I’m not sure how, and there was different people. And I thought that might have made it, even though that wasn’t my type of music, but at least when he joined KISS, at one point it got to the point where he would just … working with Stan Penridge and they were just doing drugs, it was back to the old days where they were just doing cover songs and some original stuff back in the same old clubs. He was playing, you know, the King’s Lounge, like when he was with some other bands earlier than when he was with Stan, it was called Lips. And he had played the King’s Lounge with Joey Lucenti. He was in a band with him when KISS came to audition Peter … not audition, because Peter would audition at the loft, but they wanted to see him play with the band, so they came to see him at the King’s Lounge. He played with a few bands in that one club, not too far from where I used to live in Brooklyn.  

Meeting the men from Wicked Lester, you talked about how shabbily they dressed, but they had big plans. Did you sense right away that this was going to be something different for Peter?
LC: Well, when I saw their attitude and their professionalism … I mean, they were unprofessional in certain ways and were professional in other ways – you know, trying to bust Peter’s balls in flirting with me. But I saw right through that. But I just said, I like the songs; I loved “She” and “Deuce” and there were just songs where I just said, “Wow! This is more my style than Chelsea.”

Even at that time it seemed like they had grand designs on putting together a big stage show, huh?
LC: Um, I’m not sure if they had that in mind. I think Sean Delaney was that … that was all Sean Delaney’s ideas, from what I can remember. You know, I’m sure once they realized there’s money … [that] you could do something with a lot of money then you’re not limited. Then your mind expands and you can see things you never thought you’d be able to do. I don’t think they saw that in the early days. They just wanted to be big, like … yeah, The Beatles were big, but they didn’t have the stage that KISS had. They were basically all Beatles fans, so that’s what they were looking at. Ace was a Jimi Hendrix fan, so, you know, Jimi Hendrix didn’t have anything elaborate. In those days, it was basically [David] Bowie, Alice Cooper and the New York Dolls that they took everything from. And Sean Delaney incorporated it and went even further.   

The Coventry was where the band got its start. It wasn’t an auspicious beginning for them. What do you remember about the place and those first shows?
KISS - Coventry Show Flier
LC: The Coventry was very small. It was a neighborhood club, but it was the club to play. It was right over the bridge from Manhattan in Queens, and that’s where the Dolls played, that’s where there were bands like Luger and Street Punk … with Street Punk and Luger, [they] eventually played with them at the Diplomat. I think the Brats played at the Coventry. That was the place to play. And Gene and Paul went and talked to the owner and got a gig. I think it was Paul. I’m not even sure it was Gene, but I think Paul.

I thought it was interesting where one of the pictures of KISS playing at 54 Bleeker Street with the Brats showed them behind what looked like a rope that was separating the band from the crowd.
LC: I know (laughs). I know. We thought it was hard to believe then (laughs).

It was interesting that the Brats were holding their own shows there.
LC: You know, I’m still friends with Dominique, the lead singer; he calls himself Keith West. We always knew him as Dom from The Brats. I’m still friends with him. He still lives on the same block as my boyfriend [Richie Fontana, who used to play in Piper with Billy Squier].

Oh, is that right?
LC: Yeah. We live in the same housing … it’s really nice like Tudor-type houses out in Queens, and they have the same management company that manages the houses. It’s not low housing. It’s expensive. But they live about three doors down from each other.

Is that place still around, that 54 Bleeker Street loft?
LC: It’s still there. I don’t know what’s being held there, but I actually … somebody asked me about that like, “What’s the number? I [went] on Bleeker Street and I can’t find anything.” I’m going, “You’re not going to find anything. It looks like a doorway.” So, I gave her the number, 54.

I wanted to ask you about some of the big events in your life and that of KISS, starting with the Casablanca launch party. That looks like it a great time.
LC: Oh, it really was. I flew out with Gene’s girlfriend, Jan. I think we were staying at the Chateau Marmont at the time. And we shared a room with Gene. And my mother made me that outfit [shown in the book]. Like I said, she was a seamstress. She made the black velvet jacket. I made the hot pants. She would make the tops and I would make the bottoms. They’re easy to make – for girls they’re easy, not for guys. But I used to make the same pants for Peter, just bigger. I mean, it wasn’t done professionally, but it looked good. Anyway, I would make the bottoms, and she made the tops, and she made me a vest, a silver lame like vest and a bow tie, and it looked like a tuxedo. And I rented a top hat, and I remember meeting David Janssen [who starred in the television series “The Fugitive”] and Alice Cooper. I met Alice Cooper that night. That was amazing. Oh, and the other thing about that night was that I was drinking Black Russians, and that’s not the thing to drink on an empty stomach, ‘cause I don’t remember food being there. I was drinking Black Russians and all I remember is the limo driver carrying me out over his shoulder, both of us hysterically laughing. I wound up staying in the limo while everyone went out to have something to eat … and well, see there wasn’t any food. Everybody went into restaurant, and I stayed in the limo ‘cause I was too bombed. And the next day, I stayed in my room until about 6 o’clock at night. I could not get out of bed. I should have eaten before. I finally ended up having some soup at around 8 o’clock at night.

They really did it up that night.
LC: It was great. I have some pictures. I did take pictures. They didn’t come out that great, because I had a little tiny Insta-Matic camera. It wasn’t anything professional. And I’m just glad I got something, but it wasn’t what I would have liked.

Yeah, because they really did it up. They had a guy dressed like Humphrey Bogart …
LC: Oh yeah. Oh yeah. I have pictures of him. I think I put that in the book … they had a fake camel, and there were all these gambling tables, like a casino, but it was old-fashioned looking, like from “Casablanca.” It was amazing. Neil Bogart even dressed as Humphrey Bogart, and he was wearing Humphrey Bogart’s real jacket [from the movie]. So it was amazing. And then the offices of Casablanca … there were palm trees and camels and arched doorways … they made it all look like the Middle East (laughs).

What do you remember about some of the shows KISS would play in Detroit? That was the town that was really into KISS.
LC: Above all, they loved the band. They just loved them. I don’t know why, but maybe because of “Detroit Rock City,” or maybe they did “Detroit Rock City” because they’d loved them there. I don’t know which came first, the chicken or the egg. But for some reason … the promoter really liked them. I think it was Steve Glantz, who was the promoter. Him and Bill Aucoin got along great, and they booked them there a lot. And that’s kind of where they really made their mark. You know, they played the Michigan Palace first, and I think they even played with Aerosmith at one point. They played with Mott the Hoople at one point. It was interesting. It was really interesting how they climbed the ladder. And then they’re playing Cobo Hall, and then they decided to do a live album, with the remote trucks outside to capture it, to tape it. And it was a great place to do that, because it was a place where they were really loved.

Did it seem like it was … I don’t want to say an overnight success, but that it was moving quickly for KISS at that point?
LC: Well, let’s see, I supported Peter for six years, and then three years before we got married, so nine years. It wasn’t an overnight success (laughs). Let’s see … we met in ’66, and then Alive! went gold in ’75, so that’s nine years. So, it was about time. At that time when it happened, it was a great point. Things were starting to happen. Peter would come home and say kids are like jumping on the limos … and the other thing is, they had limos (laughs)! In the early days, KISS would be pulling up [to venues] in a station wagon (laughs). I don’t remember really them being in tour buses in those days. They would fly everywhere. They would fly and that was one of the other amazing things, that we would just ask for a plane ticket and we’d get it, you know. It was like, whoa. Call the travel agent (laughs).

 What do you remember from that first show at Madison Square Garden?
LC: Madison Square Garden, of course, touched my heart in a way no other venue could, because I grew up there. I saw the [Concert for] Bangladesh there, you know, George Harrison. I saw some of the biggest acts I will ever see at Madison Square Garden. And just to be able to see … I mean, the Rolling Stones were at the Garden.

You saw everyone.
LC: I saw Bianca Jagger. There was Bianca Jagger, and I was sitting in the same seats where she was sitting when the Rolling Stones played. And everybody asks me, “What was the best thing in your KISS life?” There’s not one; there are three. Madison Square Garden is one of them, the People’s Choice Awards was the other, and going to Japan was the other. At Madison Square Garden, I stood on the stage and there were people that knew my name and were calling me. I would go on the stage before the band, and I actually looked out into the crowd and saw a banner – actually, Jacques sold it in the last auction. And it said, “We love Lydia,” and I’m going, “Oh my God.” And then there was a little banner back by itself, hanging from the rafters in the back of the Garden, and all I did was cry. I could not stop. The tears were just pouring down my face. When they played, the ovation that the audience gave them, the claps for encores and everything … it was just amazing. I mean, my family was there, my friends, my relatives … it was just an amazing … I mean, Bill Aucoin was right near me, and I was crying on his shoulder (laughs).

After all you’d been through those nine years, hearing “Beth” for the first time must have brought out a flood of emotions.
LC: Well, that was more like 11 years by that time (laughs). It was more like ’76, I guess. They played the Garden in ’76 or ’77 … no, ’77. So maybe it was about 10 years. It was just unbelievable. Him singing “Beth,” every time he’d come out, he’d bow to me (laughs). He’d actually stop at the sound board, because I’d be standing at the sound board, and he would bow to me and then go. But he would never throw a rose to me. He would always want to give them to the fans. And he would never let me stand in the pit. That was another thing. I could have had a lot more photos if he would have let me be in the pit. The pit is right below the stage where all the photographers stayed. He would not let me go because it was too dangerous.

He did have a paranoid side to him, didn’t he?
LC: Very paranoid, yes.

I wanted to ask you about going overseas. What was your favorite memory of going to Japan?
LC: Just being in Japan. I’ve been to Japan twice – once in ’77 and once in ’78. But just being in Japan was
amazing because I never in my life ever thought … I never dreamed of being married to a rock star. I just dreamed of being a little Italian housewife that raised four kids and grew up and all I did was cook all day. I never dreamed of going to Japan. That wasn’t one of my dreams. I never dreamed of being an author. I never dreamed of publishing my own book – never dreamt that, but I did it, and I believe if I put my mind to anything, I can do it. Going to Japan was one of my favorite, favorite things because you just see how the other side of the world lives. And you think it’s so much different than the way you do, and sometimes it really isn’t. It’s like they still have the same … you think they’re so far behind the times, and really, they’re more ahead of the times than we are. I mean, just the fact that I could buy cameras so much cheaper than you can buy them here … you know, I bought my Nikon and that was my first camera that was a professional camera. I bought that there. Peter told me to go out and buy a $2,000 fur coat, so instead I went out and bought a $500 Nikon.

It paid off for you.
LC: I know it did, because eventually, I wind up working in a photo agency. She was also my agent. I was her friend. We used to travel together, the boss that owned the photo agency. And I was also her bookkeeper.

Oh, is that right?
LC: And now, I’m [rock photographer] Bob Gruen’s bookkeeper. You know, Bob Gruen? The John Lennon New York City t-shirt?

Sure, sure.
LC: You know, he did Dressed to Kill.

That’s right.
LC: I’m his bookkeeper. Well, actually, right now I’m panicking, because it is tax time and I have to get back to bookkeeping.

I have to ask you about the People’s Choice Awards. That must have been a nerve-wracking experience.
LC: That was such a nerve-wracking experience, you have no idea. Okay, they knew they were getting the People’s Choice Award. That’s one award that you’re told beforehand. That’s why everybody who gets it usually shows up. For some reason, KISS only found out 10 days before, so they couldn’t show up. They were already booked in Fargo, North Dakota. They said, what are we going to do, sit in the audience with makeup on? We’re going to feel ridiculous and blah, blah, blah … so I’m sitting at a table backstage in Detroit with Gene, Peter and Bill Aucoin, and I just said, “Well, I’ll accept the award,” just joking. And Gene turned out and said, “Okay.” And once I knew he said, “Okay,” I said, “Oh my God.” I lost 10 pounds in 10 days. I was a nervous wreck. I had to get a dress, I had to get hair, I had to figure out what to do with my hair, I had to get nails … I didn’t even have long nails. I had to get them, fake nails. I had to do the whole thing, and I was a nervous wreck. I had to give a speech. Not only that, but they stuck me in the audience and they never told me when to walk up. They never told us. There was nothing. They never told
"Beth" - Peter Criss
me anything. And Bill Aucoin was sitting next to me and he just pushes me out. I was sitting on the aisle. He just pushes me out, and he goes, “Good luck.” And I’m going, “Bill, I’m going to kill you (laughs).”

Were you able to do the entire speech as written?
LC: Yeah, yeah. I mean, I’ve done this speech so much, I know it by heart: “Honestly, ‘Beth’ is my favorite song, not only because it’s how Peter feels about me, but it’s how everyone feels when he’s away from the woman he loves. KISS is performing tonight and they just want me to thank you for this great honor, and I want to thank KISS.” And then I blew a little kiss.

That was a nice touch.
LC: Yeah, I think Carl Glickman or Howard Marks wrote it for me. He wrote that for me. And I practiced. I said it over and over again on the plane. The week before, I used to carry it around with me, practicing it for 10 days. All I ate for 10 days was an egg a day.

Is that right?
LC: I was nauseous. I couldn’t eat anything, and I was stuck … I would try to eat something, so I would have a hard-boiled egg, and I was like full just from eating that. And I was a nervous wreck. And I think I went down to 103 pounds the day of the People’s Choice Awards. 

What was the most frustrating thing for Peter about being in KISS?
LC: Well, he was frustrated because he couldn’t get enough songs on the albums, but the thing was, Peter’s songs are not as good as Gene’s and Paul’s. That’s the problem Peter doesn’t realize. He thinks his songs are great and they’re not. I mean, I’m sorry to say it, but I mean, “Beth” is good and some of the songs were good, but he also wrote them with Stan Penridge. And Penridge was really the writer. You know, for some reason I think you have to know music … not really, no – because Richie [Fontana, formerly of Piper] doesn’t. You don’t have to read music, but you know … playing guitar might help. I don’t know, but my boyfriend, Richie, he’s an amazing writer. Peter wasn’t – sorry, sorry.

How would you characterize your marriage to Peter? It seemed like you had to play psychologist quite a bit.
LC: Well, to be honest with you, I thought we had a good marriage. We did fight, but I thought everybody fought. And you know what it is? I realize now everybody doesn’t fight, because I think you fight when you’re younger because you’re just too immature. Richie and I, we’ve been together 11 years, and we’ve had two fights. That’s it. Two fights in 11 years. And they weren’t major … well, one was major, and one, neither one of us know what the fight was about (laughs). “Why did we have that fight?” We don’t even remember. Anyway, one was a major fight, but the thing is when you’re young, you fight a lot more. You’re jealous. You’re immature. Richie’s been through … do you know who Richie is?

Richie Fontana?
LC: Yes. He’s been on the road with a major band, Piper. He was with the Skatt Bros., which was Sean
Richie Fontana - Piper
Delaney. He’s had a great career. He was on Paul Stanley’s album, the solo album. And he was a drummer, but he also plays every other instrument. He’s like a McCartney, like a McCartney of the Aucoin people. You know, we don’t fight. We’ve both been through it all, we both know … hey, we’re mature. I know he’s gone out with girls. He knows I’ve gone out with guys. What are you going to do, fight about the past? But that’s the thing: Peter was always jealous, and he says I was jealous, but of course, I was jealous because he admits he was cheating on me. Why shouldn’t I be jealous?

Was it the drugs that changed Peter? Or was it the success? Or was it all of it?
LC: No, that’s what broke up our marriage. You know what I used to say to Peter? I’ll be honest with you. I used to say to Peter, “Look, I know you’re a rock star now. And I know you’ve got lots of girls all over, hanging all over you. And I’m sure you sleep with some of them. Just don’t take them to breakfast.” In other words, “Don’t flaunt them in front of your band members. Do your thing and get rid of them.” Debbie, obviously, he didn’t get rid of. And he wound up marrying her. I believe that it was all … at that point, drugs were a major part of our life, and that’s what really broke us up. I really believe that. It wasn’t the girls, because I knew he was with girls. It was the drugs.

It seems like him and Ace … I don’t know if they kind of ran together, but they seemed to be interested in the same things.
LC: The thing is … it’s not that they ran together, because they kind of didn’t. Yeah, Peter hung out with Paul a lot. We went on vacation together, twice. Once we went to Rockport, Mass., which is kind of like Martha’s Vineyard in a way. It’s near there. And then we also met in Hawaii together – me, Paul and Peter and whatever girl he was with at the time. I never actually went on vacation with Ace. So, it wasn’t like … I was closer to Jeanette [Trerotola, Ace Frehley’s former wife] than … well, actually, Paul had a girlfriend I was close to as well. But I’m not sure. I know we used to go out to clubs with Paul, because Paul lived in the city, but we were actually closer to Paul at one point. But I think that people think that Ace and Peter were close, but just because they both drank but it wasn’t necessarily that way.

Peter did have his wild friends like John Belushi.
LC: Yeah, we had John, but so did Ace. Ace knew John, but the thing is we were introduced by another friend of mine that used to do videos for KISS. We were introduced to John, and also, Sean Delaney worked with John Belushi. Yeah, Sean did work on “Saturday Night Live.”

What was the scariest moment for you with Peter?
LC: Um, when he would get violent. There were a few times. There was a time where I got hit by him. Three o’clock in the morning, we’re living in Brooklyn, KISS is doing their first album. Richie Wise and Kenny Kerner [the producers on KISS’s debut album] were joking with him, and they said, “Oh, Lydia’s flirting with Paul,” just because I was taking pictures and because they wanted to bust his balls. But he came home drunk and he wanted to beat me up, so he did. He punched me in the lip, and I had to go to work the next day and make an excuse for that one. That was scary. The other scary one was in my apartment in Manhattan, when we moved to the east side of Manhattan. I don’t know, we were having some sort of fight, and I wound up leaving and I checked into a hotel. And the other time was … there was another time he was hitting me, but basically … oh, we were on the road and I actually left the room and knocked on Bill Aucoin’s door and said, “Can I sleep in here,” and I did. At that point, Peter was wrecking the room, and I have photos of it.

In the end, you didn’t end up divorcing just Peter. You divorced KISS pretty much and your previous life.
LC: That’s the hardest part of getting divorced. You don’t leave a person. You leave their family, you end up losing their friends, and their business associates. Fortunately, I kept in touch with Ace. I’m not in touch with Gene or Paul. I see them occasionally, maybe once every 20 years … I don’t know (laughs). But I do talk to his family. I’m close to his family, his brother. I’m closer to his brother now than he is. He hasn’t talked to his brother in about 15 years. He only talks to one of his sisters, and the last time I saw Peter, which was at Bill Aucoin’s memorial, I had to tell him it was his sister’s … the one sister that he does keep in touch with I had to tell him it was her birthday.

Oh, is that right?
LC: I said, “You should call your sister.” The family is always complaining, “We don’t hear from him. We don’t hear from him.” So I tell him, and I have seen him in 16 years and I’m reprimanding him (laughs).

Learning how to be a photographer, did you ever think that would help you stand on your own two feet?
LC: Well, absolutely. I always loved being a photographer. My mother took pictures and my uncle was a professional photographer. My uncle actually built his own camera and he was in a photography magazine. He always had a Leica, which I wound up getting when he passed away. But my mother always used to go, “Oh no. Here comes aunt Mary with the camera.” And that was my mother. So I always had a camera, and when I finally was getting divorced, I’m going to go for lessons, because we had finally gotten professional cameras. And you know, you can learn a little bit through … you know, once we were in Japan they were telling me what to do with this camera and I’m going,”Ugh. I’m like lost.” But I went to school. I went to school, to the New School in New York City, and I took a couple of classes. Jeanette was supposed to go with me, but she bailed out. And so I took a couple of classes, and I learned how to use the camera. And I just said to myself … I just remember walking in my home in Greenwich, and I thought, “You know what? Your life is not over. You can do whatever you want to do, and you’re going to do it.” I just said, “I want to be a photographer.” And that’s what I became.

Who was your favorite band to photograph?
LC: Ah, Queen. Queen. Well, KISS would have been if they’d allowed me to be in the pit, but I wasn’t allowed because of Peter. It wasn’t KISS; it was Peter who didn’t want me there. But Queen has the best lighting. I loved their lighting. I mean, I’m not sure, but I’m sure KISS had great lighting also. I mean, I love to photograph KISS. They’re so visual. But other than KISS, it would be Queen.

Was there a photo that you’ve taken over the years, maybe of Freddie [Mercury] or somebody, that’s your favorite?
LC: Oh yeah. I got a picture of Freddie where he’s standing with his fist out and he’s standing sideways and the lights from something on the stage just keep going. It’s an amazing photo and the weirdest thing about it is [famed rock photographer] Barry Levine asked me for a copy of that photo.

Oh, is that right?
LC: So, you know who Barry is, right?

He taught you a few tricks, right?
LC: Barry is my inspiration, and so is Bob Gruen. They both inspired me. Barry inspired me with his professionalism and his creativity. Bob Gruen inspired me with respect to you can do anything and they’ll love it (laughs). I said to Bob Gruen, “I have a photo in my book … some of them are dark, some of them are out of focus.” He goes, “It doesn’t matter. They’ll love them anyway.” I didn’t want them in my book, but my editors said, “Put them in the book. They’re history. They’re part of history (laughs).”

Do you have a favorite Ace story you could tell? It seems like there is a lot of them.
LC: Well, you know the one of him with the girl on the balcony.

Right.
LC: Jesus, I don’t know. I think Ace is a story in himself. He’s a character. Oh, all right. I’ve got a story about Ace. I probably don’t have it in the book. Okay … well, maybe I do. I’m not sure. Anyway, Ace is here one day. He’s at my apartment, and he’s going over to see this girl Linda, who lives on 72nd. I’m like a couple of blocks away from there. A few blocks from the Dakota. So he’s going over to see Linda, and he goes, “Lydia, could you lend me $20?” I said, “$20? What the hell are you going to do with $20?” And he says, “Oh, you know, just in case I need $20.” I said, “Ace, I’ll give you $50.” So I went over the safe and got $50 out of the safe and I gave him $50, and he goes, “Hey, you got a lot of money?” And I said, “No, but I’ve got money.” And he goes, “Will you marry me?”

And he likes to gamble.
LC: Needless to say, I never got the $50 back (laughs). He loves to gamble. I was at his apartment once. It was me and Jeanette. We were at the apartment, and he took a Lear jet to Atlantic City, and he called up Jeanette. And he says, “Jeanette, I’m not coming home tonight.” She goes, “What do you mean?” We were in his Manhattan apartment. He had a house at that point I think up it was up in Irvington, New York. It was just a rental. Or maybe he owned it. I’m not sure. He might have owned it. I’m not sure, but it wasn’t the big house that he bought in Wilson, New York. He goes, “I’m not coming home.” And she goes, “Why not?” And he says, “Because I’m winning $40,000. I’m up $40,000. And I’m not coming home. We’re rained in.” And she goes, “Okay, fine.” He winds up … the next day he takes the plane out and comes home with $25,000. She goes, “What happened to the other $15,000?” And he goes, “Well, I lost it. And I also bought you a mink coat (laughs).” He’s hysterical.

He hasn’t changed much, except for the sobriety I suppose.
LC: Yeah.

###

Look for more of our interview with Lydia Criss in the coming days. In the meantime, visit http://www.lydiacriss.com/ for more information on Lydia and the revised and expanded edition of her book, “Sealed with a KISS.”


Ace Frehley goes all in


Lydia Criss has more KISS stories to tell in the second printing of "Sealed with a KISS"

By Peter Lindblad

Sealed with a KISS - Lydia Criss 2013
As the ex-wife of one of the most recognizable drummers in the world in Peter Criss, Lydia Criss has plenty of stories to tell about her days with the “hottest band in the world. Interviewed at length recently, Lydia has a lot to say about Peter, KISS and all who had a hand in helping drive KISS to the top, and we’ll have a much more expansive Q&A with her in future postings.

As a teaser, however, Lydia provided a couple of her own Ace Frehley anecdotes.

By now, everyone knows how Frehley walked into his audition for Wicked Lester wearing one orange sneaker and one red one. Gene Simmons, Paul Stanley and Peter Criss – the group’s newest recruit – could only stare as the long-haired Frehley strolled confidently past them to plug in and play.

As they have all expressed in interviews over the years, none of the three expected much from Frehley, given how he looked. Against all odds, however, the mercurial Frehley impressed them with his prowess on the guitar, and the rest is KISStory, as they say.

Lydia Criss knows the story of Frehley’s odd introduction to his future band mates well. She writes about it in her book,“Sealed with a Kiss,” which is now in it's second printing with additional stories and photos. The book can be purchased by going to http://www.lydiacriss.com/.

For Lydia, Ace “is a story in himself.” This is, after all, the man who brought a smoking flute onto the set of VH1’s “That Metal Show.”

“He’s a character,” she adds.

One of the tales she could tell about Ace – which is included in her recently revived and expanded biography “Sealed with a Kiss” – does get rather blue and involves a hotel balcony and a female companion. You’ll have to get the book to read that one. We’re not going to spoil it for you.

There are others, though … many others.

KISS - Ace Frehley 
I’ve got a story about Ace. I probably don’t have it in the book. Okay … well, maybe I do. I’m not sure,” says the Brooklyn-born Lydia, the former Lydia Di Leonardo, who was married to Peter Criss from 1970 to 1979. “Anyway, Ace is here one day. He’s at my apartment, and he’s going over to see this girl Linda, who lives on 72nd. I’m like a couple of blocks away from there. A few blocks from the Dakota. So he’s going over to see Linda, and he goes, ‘Lydia, could you lend me $20?’ I said, ‘$20? What the hell are you going to do with $20?’ And he says, ‘Oh, you know, just in case I need $20.’ I said, ‘Ace, I’ll give you $50.’ So I went over the safe and got $50 out of the safe and I gave him $50, and he goes, ‘Hey, you got a lot of money?’ And I said, ‘No, but I’ve got money.’ And he goes, ‘Will you marry me?’ Needless to say, I never got the $50 back (laughs).”

Matrimony wasn’t in the cards for Lydia and Ace, but he would get the chance to win back that $50 for Lydia.

“He loves to gamble. I was at his apartment once. It was me and [Frehley’s ex-wife] Jeanette Trerotola,” recalls Lydia. “We were at the apartment, and he took a Lear jet to Atlantic City, and he called up Jeanette. And he says, ‘Jeanette, I’m not coming home tonight.’ She goes, ‘What do you mean?’ We were in his Manhattan apartment. He had a house at that point I think it was up in Irvington, New York. It was just a rental. Or maybe he owned it. I’m not sure. He might have owned it. I’m not sure, but it wasn’t the big house that he bought in Wilson, N.Y. He goes, ‘I’m not coming home.’ And she goes, ‘Why not?’ And he says, ‘Because I’m winning $40,000. I’m up $40,000. And I’m not coming home. We’re rained in.’ And she goes, ‘Okay, fine.’ The next day he takes the plane out and comes home with $25,000. She goes, ‘What happened to the other $15,000?’ And he goes, ‘Well, I lost it. And I also bought you a mink coat (laughs).’ He’s hysterical.”

There are plenty of funny and touching moments in Lydia’s book, which is jam-packed with KISS photos taken by Lydia and a treasure trove of KISS memorabilia. Riding a rollercoaster of emotions, Lydia’s book tells the story of KISS’s rise to fame through the eyes of someone who was there, experiencing all the highs and lows the rock ‘n’ roll lifestyle has to offer.

We’ll have a much more expansive Q&A with her in future postings.

Book Review: KISS FAQ


Book Review: Dale Sherman – KISS FAQ: All That’s Left to Know About the Hottest Band in the Land
Backbeat Books
All Access Review: B+
KISS - KISS FAQ 2012
Diving headlong into a seemingly bottomless pool of KISS-related minutia without any regard for how deep it really is, veteran writer Dale Sherman rarely comes up for air in this exhaustively researched tome. Densely packed with information, “KISS FAQ” explores – in painstaking fashion – everything imaginable under the KISS sun, from the trial-and-error evolution of their costumes and makeup to marketing and merchandising schemes that would put Madison Avenue to shame.
It’s a big, big job, and Sherman handles it admirably, organizing this mountain of material into fairly easily consumed chapters that seek to answer every controversy, every bone of contention that fans of KISS have fought over for decades. And while the writing is a bit perfunctory and dry, it’s not entirely humorless or bland, and Sherman certainly does not always treat KISS with kid gloves. Gene Simmons receives some lighthearted derision for the headband he once used to hold his wig in place for a KISS tour the band went on sans makeup, with Sherman comparing it to a “neon halo.” Furthermore, a chapter on drug references in KISS songs confronts head-on the somewhat confused stances Simmons and Paul Stanley – both famous for being rather straight-edge in their approach to such things – took regarding intoxicants, citing the classic “Cold Gin” as an example. Sherman notes that while the song, written by Ace Frehley about his battles with the bottle, certainly paints a cautionary tale about drinking to excess, “… it seems to also celebrate that level of despair.” And, in no uncertain terms, Stanley’s introductions to “Cold Gin” in concert often encouraged indulgence in mind-altering substances.
Ultimately, however, “KISS FAQ” – the 12th in Backbeat Books’ FAQ series – revels in all the blood-spitting excess and crass exploitation of KISStory, exploring in great depth the link between KISS and the world of comics, key career-changing turning points, TV appearances (a whole chapter is devoted to “KISS Meets the Phantom of the Park”) and attempts to immortalize the band in celluloid. Context is provided for a list of those explosive, impactful live performances that not only put KISS on the map but made them rock gods, and Sherman, in heroic fashion, tries to figure out just what the hell “Duece” was all about – this after an insightful, revelatory talk with photographer Neil Zlozower about shooting the Creatures cover.
All manner of rumor and innuendo have contributed to the KISS mythology over the 40 years of their existence, and Sherman, who has written about KISS since 1980, addresses as much of it as possible in nearly 400 pages, sometimes falling short in his quest for truth simply because of conflicting testimony, lost evidence or failed memories. Though a somewhat arduous read, “KISS FAQ” - from Backbeat Books - makes good on its promise to provide a fair and balanced look into KISS’s somewhat checkered past, but more than that, there is a seriousness of intent to Sherman’s work that speaks to his obsession for covering all things KISS and getting the story right, even if that’s an impossible task – see his cataloging of all the changes, no matter how small, in KISS’s makeup for proof of his attention to detail. Consider most of your frequently asked questions about KISS answered.
-            Peter Lindblad