#Kiss Konvention

[musicmags]

[rolandrockover]

God Gave Childhood's End to You.

I simply burst directly with the door into the house: What would you get if you'd mix a song like Goin' Blind with the basic melody of a song like, say, God Gave Rock n' Roll to You II? It could well be that something something not dissimilar to the main melody of Childhood's End would come out. Or not? Is there any relevant evidence for that? No, not directly, only my ears, my gut feeling and one or two Bings. And is there at least circumstantial evidence that could support such a rather far-fetched assumption? Clearly and unequivocally yes. I mean, since the Foundations Forum '93, they played Goin' Blind not exactly infrequently, whether on Ray Coke's Most Wanted '94 in prime time, which was a downright sensation for me at the time, or at the Konventions '95 all the way up to MTV Unplugged. It would rather surprise me if Goin' Blind had therefore not been internalized or elaborated in any new form.

How did I come up with that? That's a completely different story.

I remember Bruce saying years ago, whether in a podcast or even on his homepage, that Childhood's End from Carnival of Souls had some elements of Revenge in it, or at least that it sounded like Revenge. This statement first of all hit me in the head, because I didn't know what to do with it, until spontaneously, out of nowhere, it clicked. Of course, Childhood's End had this almost hymn-like character, and it had this melody that soars high into the sky, yet remains true to this graceful vibe as it descends. Just as… God gave Rock and Roll to you II. But, there was also something else, something darker; there was a dirtier element in this noble melody, which gave it a special melancholy. Which brings us back to Goin' Blind. Kinda. But you might already know what kinda means to me. It's a bit like the Bings.

And here we go with Childhood's End, going backwards to God Gave Rock n' Roll and then to Goin' Blind. The links begin with the key tunes, I only left Goin' Blind in it's entirety.

Childhood's End (1997)

God Gave Rock n' Roll to You II (1991)

Goin' Blind (1974)

[ohblackdiamond]

bruce, i love you, but i don’t love you to the tune of $1995 + a plane ticket to las vegas during new year’s eve. 

no, really. that’s basically kruise pricing. 

that being said, i can see where it’d hold value for some people if they have the money to burn/live in or around the vegas area. i mean, i was down/signed up for the bruce kulick luncheon that was supposed to be a part of kruisefest 2021 (before that got canceled/refunded). (i was hoping he would have tales of paul stanley’s extensions probably ending up on a mop handle at some bitter point during the crazy nights tour, but bruce probably would’ve just regaled us with his usual boring but rather sweet “i am grateful to be a part of kisstory.”) but kruisefest isn’t really ever a big commitment since if you’re doing kruise, you’re, uh, already in a hotel room in the general area of kruisefest at minimum the night prior to the kruise. a brucefest, basically, during NYE? that’s a little much for me. 

i also get the feeling that the idea for this may be coming from vinnie’s private parties. these are not my thing either, but i do see where the promise of intimate/more exclusive interactions, if you will, have a certain appeal. (i mean, heck, that was kiss’ konvention tour pre-reunion, if you wanna get right down to it...)

is poor bruce actually gonna have to do miniature golf and tour the kiss museum with fifty of his closest fans, though? being meguca is suffering.

[ask-konandsylam]

[if im not too late] give brillo the K, because why not haha

(He wiping off that polar bear spit and then he gonna make sure Sheila didn’t get mercury poisoning.)

[doomedandstoned]

Doom in a Time of Corona: Konvent Speaks From The Lockdown

~By Shawn Gibson!~

Hello, Ladies! Nice to catch up with you again. Thank you for your time. How is everyone?

Hi, Shawn! Great to talk to you again. Everyone is absolutely fine, but as you may know this is a pretty weird time with the COVID-19 situation going on. But we’re all safe and happy at the moment and we really feel like that's the most important thing right now.

How are you dealing with novel coronavirus and what are you doing to stay busy in this down time? Any writing or recording?

It's no secret that it's a boring time for everyone. We are so used to meeting a lot in the band and going to concerts, etcetera, but right now we can’t do that. So we actually watch a lot of Netflix, HBO, and get early to bed -- like true rockstars. (laughs)

We have no recording right now. It is also almost only three months since we released our album, so we took the time to breathe out after a stressful period of album release, tour, etcetera, but we are currently focusing on writing new material for our next album. Sara and Heidi have been doing some new riffs and we’re working at our own place with the new material. It feels like the perfect timing to start experimenting with different things musically. It is also important for us that we have time to immerse ourselves and retain the joy of creation.

I hate that this virus has affected everyone from musicians, fans, venue owners, festival promoters, labels, and so on. Tell me about some of these kick ass festivals Konvent was supposed to play? Will they be rescheduled? Who was on the line up?

Yes, we really hate it too. But we were incredibly lucky because the lockdown happened only a week after we finished the last show on our release tour. So when our government announced the lockdown here of all schools, universities and jobs, we’ve just stayed home and worked from our apartments and have not met since, to follow the regulations and stay safe.

It’s no secret that the virus will have some consequences according to cancellations of the summer festivals. Some of them have already been announced and some of them not, so we’ll keep you guys updated about it. We had been looking so much forward to playing at the festivals this summer, but of course we hope to be booked for 2021.

Generally, we feel very lucky with some of the offers we have been given and this really gives us the courage to keep on going and make it even bigger for 2021!

Film by Black Label Pictures

Konvent has been very busy! Your newest album 'Puritan Masochism' (2020) is excellent. I have heard nothing but praise for this album. What has Konvent been up to since we last had a chat?

Thank you so much. It makes us so happy to hear people saying that they like the album. When we signed the deal in 2018, we only had a few finished tracks, so we were far away from going into the studio. Since we had quite many concerts in 2018, we didn’t have a lot of time to work on the album. So half of the record was made in the beginning of 2019 and some tracks were even made one day before going into the studio with Lasse Skov at Ballade Studios in Copenhagen. Napalm knew this and we agreed with them to have the album out either in late 2019 or 2020, so they were very patient and weren't rushing us in any way.

Going on the Puritan Masochism tour has also been amazing! This was our very first headliner tour and we got to go to Sweden, Norway, Denmark, Germany, and the UK. We have met so many cool people and we really love to go to places we’ve never been before. We have really been blown away by how many people who want an interview and how incredible people have been when it comes to buying our merchandise and album. We have gained more confidence as individuals, but also as a band.

We also experienced all the things that could go wrong on a tour. (laughs) The support band cancels, the car broke down, the guitar and drum broke on stage, but we somehow managed to defeat all these challenges and we couldn’t think of a better experience than we had on the tour.

How was the recording process for 'Puritan Masochism'?

We really wanted that raw, gritty sound, as if the music is coming from the abyss! And that’s why we chose to work with Lasse Ballade because he had made a bunch of cool records that we really admired. Lasse Ballade has a studio in the center of Copenhagen and we got together for 14 days and recorded the whole album live. I (Sara) think we have allowed ourselves to be more creative with playing with different riffs and rhythms this time.

When we recorded the demo we weren’t as relaxed with our instruments as we are now. It comes more naturally and we’re only getting better at experimenting with new stuff.

Our producer Lasse Ballade used a lot of time together with Sara and Heidi on finding the right sound for the guitar and bass and it was his idea to record some of the drums in his basement, to give it a more deep and kinda creepy basement sound. So he was definitely the one who really helped us find our sound, and we couldn’t be happier!

How is it being signed to Napalm Records?

We love working together with Napalm Records and they are very professional. We have come a long way since we signed the deal and Napalm plays a big role in order to make most of our dreams possible so far. We couldn’t think of any better label for us right now.

We would really like to go on bigger tours and play more festivals, as long as it can work out financially. And we are steadily getting more offers, so that’s really exciting! Our booker Thorsten from Napalm Events is handling all our offers, but we often get messages directly from bookers who want to put on a show with us and then we just direct it to him.

We are already so happy with what’s happening for us at the moment and we just try to enjoy it as much as we can and not put too much pressure on ourselves.

What are some death/doom bands that have inspired Konvent?

Almost all of our dads raised us on Black Sabbath. When Julie was little, she and her dad also listened to Kiss and led Zeppelin a lot. When Sara first learned the guitar as a teenager, her biggest influence was Nirvana. Heidi was a big fan of The Darkness in her teens. In Rikke’s early high school years she was listening to Red Hot Chili Peppers a lot, but then she discovered Rammstein and became a huge fan.

As we got older, our taste in music developed and we got more and more interested in metal genres like death, black, thrash, tech, hardcore, slam, and also punk. We still listen to a lot of different bands, but we all like bands such as Yob, Mantar, Candlemass, and Paradise Lost.

Konvent is one of the heaviest death/doom bands I know! The vocals still kick my ass, Rikki! Some guys can't sound like that!

That’s a huge compliment. (laughs) Thanks!

I'm very proud to have bought the CD and t-shirt bundle for 'Puritan Masochism.' I hope Konvent has great success with the album and merch sales.

Thank you so much for buying it. We really appreciate people supporting us. We have been really overwhelmed by how many people are supporting us with buying our merchandise.

Tell me about signing with Barsk Management Agency.

Our new manager Esben, who just started Bask Management, is a friend of the band and has earlier been the lead singer of Hatesphere for the past decade, where he's gathered invaluable knowledge about the music business and the metal scene, especially.

We realized a few months ago that we needed someone to help us with the practical stuff and tour management, in general. We are actually not a super structured band and we often forget things when we go on tour. (laughs) Esben contacted us a few months ago and we had a few meetings and agreed that we would like to start a corporation about management. We couldn’t be happier about this decision. It has really removed burdens from us according to the practical stuff so we’re are able to focus on the most important thing: music!

What are your plans for Konvent when this pandemic is over? Live shows and re-scheduled festivals?

We had some festivals and shows which were cancelled, but we have already been rescheduled to 2021 for some of them -- and we are really happy about that. We know that some bands are suffering a lot more than us so we just try to be happy over the fact that we got to release the album and finish the tour before the pandemic. But we have HRH Vikings Chapter III in the UK this Autumn, which will be our first time playing at a viking festival. (laughs) But we have a pretty crazy announcement very soon and we can’t say anymore at the moment, but we are pretty stoked about it. We’ll keep you updated.

What is in the future for Konvent?

We are already so happy with what’s happening for us at the moment and we just try to enjoy it as much as we can and not put too much pressure on ourselves. We have pushed ourselves out of our comfort zones many times now and that in itself is something to be proud of. Looking back, we feel like we have accomplished much more than what we could have hoped for, for example getting a record deal, playing at Copenhell -- Denmark’s biggest metal festival -- in front of 4,000 people, and playing Roskilde Festival, which is the biggest festival in Northern Europe!

At the moment, we are just really blown away by all the positive feedback on our debut album. But, of course, we still dream big! We hope to visit more countries around Europe and we would love to go overseas, as well -- the US, Canada, South America, Australia, you name it! But our biggest dream is to play at 70,000 Tons of Metal. (laughs)

Thank you for your time. I hope you all and your families are well during this tough period.

Thank you so much. Hopefully we’ll see you in the crowd someday!

Puritan Masochism by Konvent

Follow The Band

Get Their Music

[hanyaholm-blog]

Who was Hanya Holm?

Holm is recognized as one of the four early pioneers of modern dance in the United States, as well as one of the 20th century’s most sought-after choreographers of musical theatre. Holm was born March 3, 1893 in Worms-am-Rhine, Germany.

Holm’s early education took place at the Konvent der Englischen Fraulein in Mainz, followed by musical studies at the Hoch Conservatory and the Dalcroze Institute at Frankfurt-am-Main. She graduated in 1916 from the Dalcroze Institute at Hellerau and later taught Dalcroze and music until 1921. During this time Germany was recovering from World War I, however, it was a time of great artistic activity in Germany.

As a child, she fell in love with the dancing of Anna Pavlova, but Holm’s father disapproved of dance. Later in life, after she had been married and divorced, Holm knew she wished to dance professionally. After seeing Mary Wigman dance in 1921 Holm enrolled and was affiliated with the Wigman Central Institute form 1921-1931. Holm became a chief instructor in 1924 and director in 1929. Wigman’s responsiveness to the personality of each class, and the comprehensiveness of her curriculum became an enduring pedagogical model for Holm. Holm was an original member of the Wigman Concert Dance Group from 1923-1928.

In 1931, Holm was brought to the United States by Sol Hurok to open and direct a branch of the Wigman School in New York. Here Holm was the official representative of Mary Wigman in America and was often sought after by many. The presentations in which she regularly taught in Washington and Philadelphia, provided demonstrations to educational institutes and art organizations all over the country. During her first year in the United States enrollment was high but by 1936 anti-Nazi the feeling was strong in the United States, leading to the removal of Wigman’s name.

With Wigman’s approval, the school became the Hanya Holm studio in 1936. Following the change in name, Holm’s movement theories began to diverge from her teacher’s. Holm adapted the Wigman technique for her Americans students by bringing new energy and discipline to American modern dance. Holm’s training changed the way American dancers used space.

In 1934 Holm along with Martha Graham, Doris Humphrey and Charles Weidman founded the now famous Bennington School of dance. She taught in the summer until 1940, while also teaching at University of Iowa and in Colorado at the Perry Mansfield summer camp. During her time in Colorado, she found herself drawn to the landscape, and in the summer of 1941, she founded the Colorado College Summer School of the Dance. The school later closed in 1983.

Holm’s prolific output in the fields of musical theatre, opera, film, and television is said to have begun with Eccentricities of Davey Crockett. This piece was created for the cooperative Ballet Ballads in 1948. That same year, Holm collaborated with Jose Ferrer on The Insect Comedy, and by the end of the year, Cole Porter’s Kiss me Kate was in previews with Holm’s choreography. Over this span of time, Holm was the choreographer of over twenty theatrical productions. 

http://archives.nypl.org/dan/19791

https://www.dance-teacher.com/ask-the-experts-do-you-prefer-apple-products-or-google-for-class-2631075711.html

https://books.google.com/books?id=tXwmCwAAQBAJ&pg=PA96&lpg=PA96&dq=pavlova+and+hanya+holm&source=bl&ots=WDANbKnji3&sig=ACfU3U16W4Op7LswkWqW7JNhIl5_-8cw6Q&hl=en&sa=X&ved=2ahUKEwiXxba1p93hAhVKHqwKHdhVDY4Q6AEwDXoECAcQAQ#v=onepage&q=pavlova%20and%20hanya%20holm&f=false

[ghostcultmagazine]

March 11, 2022 Arkaik – Labyrinth Of Hungry Ghosts (The Artisan Era) Chromancy – Shadows In Atlantis (Fighter Records) E-L-R – Vexier (Prophecy Productions) Haunted Shores – Void (3Dot Recordings) The Human Tornado – Love Is Demode (Rockshots Records) Ghost - Impera - (Loma Vista Recordings/Spinefarm) In Aphelion – Moribund (Edged Circle Productions) KISS – Off The Soundboard: Live In Virginia Beach (UMe) Konvent – Call Down The Sun (Napalm Records) Messa – Close (Svart Recordings) New Horizon – Gate Of The Gods (Frontiers Music SRL) Oddland – Vermillion (Uprising Records) Pestilength – Basom Gryphos (Nuclear Winter Records & Sentient Ruin Laboratories) Pillaging Villagers – Pillaging Villagers (Self-Released) Purple Dawn – Peace & Doom Sessions Vol. II (Electric Valley Records) Rust N’ Rage – One For The Road (Frontiers Music SRL) Shaman’s Harvest – Rebelator (Mascot Records) Threads Of Fate – The Cold Embrace Of The Light (Layered Reality Productions) Vanir – Sagas (Mighty Music) Shoutout to some good labels: @Century Media Records @NuclearBlastVEVO @Nuclear Blast Records @Ripple Music @Metal Assault Records @Unique Leader Records @Atlantic Records @InsideOutMusicTV @Creator-Destructor Records @Napalm Records @SpinefarmRec @SpinefarmUS @Pelagic Records @MetalvilleTV @Mighty Music @Frontiers Music srl @The Svart Records Channel @Dying Victims Productions @Mascot Label Group @Metal Blade Records @HEAVY PSYCH SOUNDS RECORDS @RidingEasy Records @Rise Above Records @riserecords @Triple B Records @UNFD @threeonegrecords @Sumerian Records @Atomic Fire Records @Earache Records @Season of Mist @Loma Vista Recordings @Upstate Records New York 💻 Omar Cordy (https://www.instagram.com/ojcpics​​) 🎤 Scott Sommer (https://ift.tt/eNJoFXd) 🎵 Fahad Syed (https://www.instagram.com/fahanzi​​). Gear we use: (These are affiliate links and Ghost Cult makes a small profit from a sale) Set up A: Sony A7 III - https://amzn.to/3tQm422 Tamron 17-28 - https://amzn.to/3ePrlTd Tamron 28-75 - https://amzn.to/3fqCjgY Desview Mavo-P5 Monitor- https://amzn.to/33LlTub Manfrotto Befree Travel Tripod - https://amzn.to/3hxbL0e Set up B: Canon 80D - https://amzn.to/3ye8WqV Sigma MC-11 - https://amzn.to/3brZdU2 Sigma 18-35 - https://amzn.to/3tLlEd7 Tokina 11-16 - https://amzn.to/3bty9Uk Feelworld T7 Monitor - https://amzn.to/2Re9hta Audio: Sound Devices MixPre-3 - https://amzn.to/3tKkJd2 Gearlux XLR Mic Cable - 3 Pack - https://amzn.to/3w3zN6Y Deity D3 Microphone - https://amzn.to/3tRa6W2 Fifine Usb Mic - https://amzn.to/3w8JHEG Lighting: YONGNUO YN600L - https://amzn.to/2QkNrn5 YONGNUO YN300 Air - https://amzn.to/2QjN5gu Dfuse Softbox - https://amzn.to/3uQq4AN Aputure MC - https://amzn.to/3oirFgx NanLite PavoTube II 6C - http://bit.ly/NanLitePavoTubeII Lightstands - https://amzn.to/3uSBl3x 5 in 1 Reflector - https://amzn.to/33KHdjo And our iconic Rope Light https://amzn.to/3ycdmyz For the full list of Ghost Cult gear: http://bit.ly/OJCPicsKit by Ghost Cult Magazine

[emptyhead00]

My top albums from 2020:

Yumi Zouma - Truth or Consequences [Right Track/Wrong Man]

Hayley Williams - Petals for Armor [Why We Ever]

Konvent - Puritan Masochism [Puritan Masochism]

Taylor Swift - folklore [hoax]

Marko Hietala - Pyre of the Black Heart [Truth Shall Set You Free]

Prizm - All Night [Mine]

Caveboy - Night in the Park, Kiss in the Dark [Landslide]

CV & JAB - Landscape Architecture [Lost Coast Haze]

Taylor Swift - evermore [no body, no crime]

And a bunch of honorable mentions:

beabadoobee - Fake It Flowers

The Birthday Massacre - Diamonds

Endless Forms Most Gruesome - Endless Forms Most Gruesome

Lights - How to Sleep When You're on Fire

the Machine in the Garden - Places in Between

Mrs. Piss - Self-Surgery

Nightwish - Human. :||: Nature.

Sophie Hutchings - Scattered on the Wind

TOKiMONSTA - Oasis Nocturno

Yumi Zouma - Truth or Consequences (Alternate Versions)

[classicrockblog1]

Kiss Unplugged is an MTV Unplugged album by American rock band Kiss. On August 9, 1995, the band performed on MTV Unplugged. Paul Stanley and Gene Simmons contacted former members Peter Criss and Ace Frehley and invited them to participate. Fan reaction to Criss and Frehley at the show was so positive that, in 1996, the original lineup of Kiss reunited, with all four original members together for the first time since 1979.

"The sound was deafening: the sound of rock 'n' roll history coming full circle in a TV studio", wrote Kerrang!'s Don Kaye in a review of the taping at New York's Sony Music Studios. "Complete pandemonium ensued as they struck the opening chords to '2,000 Man', and it continued when Ace's voice rang out in the clear, sardonic manner we all know and love."[1]

It marked the only time the original lineup performed publicly without their trademark makeup, and was also the only time Frehley and Criss shared a stage with Eric Singer and Bruce Kulick. It was the first time Singer had part of a lead vocal on an album (shared with Criss on "Nothin' to Lose"). On March 12, 1996, the concert was released on CD and, on December 18, 2007, on the Kissology Volume Three: 1992–2000 DVD set. This included the original DVD release of the concert plus five previously unreleased songs: "Hard Luck Woman" (with Stanley on vocals), "Heaven's on Fire", "Spit", "C'mon and Love Me", and the infamous[citation needed] country version of "God of Thunder". The LP version of the album includes a poster and some were pressed on yellow marbled vinyl.[citation needed]

A stand-alone VHS and DVD documentary was produced around the same time as the CD release, with archival footage of the band's rehearsal sessions at SIR Studios in New York. It also shows the first "KISS Konvention" appearance with Peter Criss joining the touring members on stage to sing a few tunes earlier in the year. According to Criss, this invite gave Simmons the idea of reaching out to both him and Ace to be a part of the Unplugged taping in an unannounced reunion. Because of the contentious split, the worldwide fan base never thought this would happen, and it was kept a closely held secret until the day of the event

[spotlight-report]

Legendary KISS drummer Peter Criss talks One Last Time shows!

Legendary KISS drummer Peter Criss talks One Last Time shows!

From playing clubs in New York to stadiums around the globe, life as a musician has been an astonishing trip for drummer Peter Criss, KISS’ legendary Catman. Next month, Melbourne plays host to both the KISS Konvention and the second-last of Criss’ One Last Time appearances (the final will be held in New York). Joining him for this intimate show at The Sofitel on May 12th will be his long-time…

[ladiesinrock]

KISS: Peter Criss conclude la sua carriera con la band

KISS: Peter Criss conclude la sua carriera con la band

Come riportato da Loudwire, il batterista Peter Criss ha annunciato che suonerà i suoi ultimi show con la sua ex band, i Kiss. I primi appuntamenti saranno la Kiss Konvention Australia (12 maggio) e la New York Kiss Expo (9-11 giugno). Al momento non si hanno notizie di show europei. [Lil]

[theupsidenews]

BRUCE KULICK OF KISS FAME RETURNS TO ADELAIDE

BRUCE KULICK OF KISS FAME RETURNS TO ADELAIDE

Thunder Down Under 2017 Australian Tour kicked off over the weekend at the KISS Konvention where hoards of KISS fans met their idols in Melbourne and enjoyed the company of fellow soldiers in the KISS Army.

Upside News writer and diehard KISS devotee Hollee Gunter spoke with former KISS guitarist and crowd favorite Bruce Kulick ahead of his gig at the Bridgeway this Saturday, May 20.

Bruce…

[rolandrockover]

She's My Head

There are a few reference points on Carnival of Souls that lead directly to Dressed to Kill, one I'd like to talk about today, and a few others I'll save for another time.

If I also take into account that Kiss played She more and more from 1993 (1) on, either at the Konventions or in Japan or Australia, for example, then it seems to me even less absurd to deduce a relation between the already mentioned She and In My Head. There's this small but not insignificant part, this stoic trotting of the bass and drums, which is repeatedly broken at intervals by the upwardly striving guitar just before and during The Doors' 5 to 1 solo kicks in.

This does not seem to be entirely unrelated to that of the verses of In my Head. Even though the bass and drums are rather antithetical to each other, it seems to me that the two together could create a harmony if they were superimposed and matched in pitch. I even feel quite safe to say that the verses of In my Head paraphrase the part of She in a more modern, 90's arranged form and with the corresponding production deviation (2) .

I'd love to hire a bookmaker and check what my chances are.

Side Note:

(1) Please remember the great performance of that grandiose Revenge line-up at the Foundations Forum 1993.

(2) And anyone who doesn't like Carnival of Souls for that reason is a rotten egg.

The links are highlighted, but unfortunately I didn't get them to glow red:

She (1975)

In My Head (1997)

[ohblackdiamond]

kisstory part ii

about on par with what i expected, nothing particularly new on the table, but considering i’m sure it’s mostly a vehicle to hype up interest in the end of the road tour and the biopic, i think it was mostly meant for a more casual audience, which is fine.

i didn’t like how they cut tom snyder’s mispronunciation of “bass” when introducing kiss, which made ace seem much more loopy; i think they could’ve cut the “trout player” bit entirely and used other clips to illustrate ace’s drunken antics. also, tom, well, this is going way outside of the scope of the doc itself, but tom didn’t take the band seriously from the get-go and kind of let them expose themselves in an unflattering way, if that makes sense (gene talking about movies/cartoons, paul with the whole wanting to be a masked crimefighter bit-- which tom not-so-subtly implies is a gay/effeminate thing...). there was a lot going on that interview even if the birth of spacebear ended up being the most memorable portion.

i also wished they’d allotted a bit more time to the eighties era (but again, time constraints + trying to appeal to casual fans + probably awareness that to the majority, the makeup era of kiss is all that’s remembered). kiss did and tried to do some pretty interesting things then, and their videos did see pretty heavy rotation on mtv.

they also seem to paint the whole nineties konvention tour bit and eventual return of the original group as more organic than it really was. the interview clip they use of ace in 1990 really calls that into serious question. in kiss and tell, gebert heavily implies that ace had been figuring on the tides turning towards a makeup reunion years and years prior to it becoming a reality-- but again, that’s gebert, so who knows. i do know that the kiss guys have kept fairly serious tabs on each other (and each others’ personal fortunes) even prior to that being easy to do with the advent of the internet, so there’s that.

i would have appreciated more honesty re: the way eric carr was treated in his last few years in the band, but i wasn’t remotely surprised that i didn’t see it. eric singer seemed kind of annoyed throughout his segments. bruce, ouch. he seemed done. i dig bruce a lot and it really made me feel bad to see him nearly choke up talking about getting let go from kiss to make way for the reunion tour.

all and all, to me it was just okay. it was neat to get cleaner/clearer and sometimes even new (to us) footage of the band, but ultimately, nothing came as a big surprise.

[jdrespling]

Original KISS Drummer PETER CRISS Explains Decision To Stop Performing Live: 'If I'm Gonna Do It, I've Gotta Do It Now'

Original KISS Drummer PETER CRISS Explains Decision To Stop Performing Live: 'If I'm Gonna Do It, I've Gotta Do It Now'

Original KISS drummer Peter Criss recently announced a couple of convention appearances this spring that are being being on his web site as his final live performances.

On May 12-14, Criss is scheduled to appear at the KISS Konvention Australia in Victoria, with his May 12 set said to be Peter‘s last live performance in Australia. Criss‘s appearance at the New York KISS Expoon June 9-11 will…

[rolandrockover]

Tonight You Know Something

Tonight You Belong To Me and Sure Know Something. Sure Know Something and Tonight You Belong To Me. I like those two songs, even a lot, one more than the other, and yet I never really found the inspiration to write something about the similarities between the two.

And today is no different. I can't really say why, maybe it's because the same words have been said about them so often, and maybe it's a disguised defiance reaction of mine that prevents me from translating the magic of this music into the usual inanities. But somehow I have the impression that I have to finally get this over with, because otherwise it will continue to haunt me in the future. And yet I sit here today and face Tonight You Belong to Me and Sure Know Something, the two songs where this one has this other piece of the other in it somehow. But listen to the two tracks a little more closely anyway dear folks.

On the one hand (1) we have the second segment of the epic opening riff on the electric guitar of Tonight You Belong to Me, which can also be found in the chorus of Sure Know Someting (the Suuure knooow something, Suuure knooow something's), which everyone is always talking about. I think Paul even mentioned this somewhere at a Konvention in '95.

Well, and secondly (2), if you wanted to, you could compare the two segments of the epic opening riff mentioned above directly with the first bars and the bass intro of Sure Know Something. That wouldn't hurt, and you'd also quickly realize that these two also fit like a glove, if I may say so.

So I have now done my duty. From now on, I'll only write what I want.

Just press the Play button. You don't have to worry about anything except the numbering, I've already taken care of everything else:

Tonight You Belong To Me (1)

Sure Know Something (1)

Tonight you belong to me (2)

Sure know Something (2)