There were certain movies in the ’80s that just always seemed to be there (no matter where “there” might’ve been at the time). Back to the Future was one such film (along with the likes of Ghostbusters and The Karate Kid, among others), in a sub-genre of its own that I have since labeled “basement movies” (growing up in New Jersey at that time, it seemed like everyone had basements with TV’s/VCR’s in them, and many a movie were viewed in these for the first time via either cable or home video).
Originally released on July 3, 1985, Back to the Future was the brain child from Director Robert Zemeckis and Producer Bob Gale. The story was simple yet complex all at once; high school student Marty McFly (Michael J. Fox) travels back in time after an experiment with his scientist friend’s (Christopher Lloyd) time machine (built from a DeLoren, of course) goes haywire and sends Marty thirty years back in the past.
Once there he not only needs to get himself back to his original time frame, but ensure his parents (played by Crispin Glover and Lea Thompson) still meet and fall in love in time to not alter his existence, all the while dodging bullies (lead by Thomas F. Wilson in one of the best roles of its kind).
Originally the role of McFly went to Eric Stoltz, who began filming several scenes before Fox finally committed to the project, forcing him to take on double-duty while simultaneously still filming his hit show Family Ties. The decision was obviously the best for all those involved, and as a result, we were given one of the most flawless films in American history.
While it took four years, the film eventually spawned two sequels, beginning with 1989’s Back tothe Future Part II (my first time going to see one of them on the big screen, although I’m told I was there for the original as well, yet have no memory of this) and concluding with the western-themed Part III in 1990. There was even an animated TV show that ran from 1991-92 on CBS, theme park rides at Universal Studios, and various other video games and multimedia tie-ins, making it one of the most successful franchises of all time (the first film alone grossed nearly $400 million at the box office).
Back to the Future 40th Anniversary poster spotted at theater in Daytona Beach, FL on 9-10-25 (Photo by Jesse Striewski).
Of course, one cannot talk about Back to the Future without mentioning its music, which became equally popular thanks to the inclusion of Huey Lewis and the News’ “Power of Love” and “Back in Time” hits (Lewis himself makes a brief cameo at the start of the first film, and I was able to hear each of these tracks live in 2014 when the wife and I went to go see Lewis and company at none other than Universal Studios Orlando). Flea from Red Hot Chili Peppers fame has a small part in Parts II and III as “Needles,” and even ZZ Top appear as musicians in Part III, contributing the track “Double Back” to the film as well. Years later, I was able to photograph Flea onstage with the Chili Peppers in 2017 (see photo below), though ZZ Top have still alluded me all these years later.
Flea of the Red Hot Chili Peppers, who played “Needles” in Back to the Future Part II and III, on stage introducing the opening acting at the then-Amway Center in Orlando, FL on 4/26/17 (Photo by Jesse Striewski).
Then in 2023, I was even able to interview an actor from the series for the first time for Rewind It. Courtney Gains, who is seen at the dance scene cutting in with George and Loraine near the end of the first film, lent me some insight into his role as “Dixon;” “To be associated with that franchise in any way is a pretty mind-blowing, amazing thing. My character had already been dropped one time, and if you’re doing a movie they can only drop you one time, and if they bring you back, they can’t drop you again. So they had already dropped me once in the middle of all the chaos of re-shooting everything after dropping Eric Stolz in the lead role and replacing him with Michael J. Fox. Still to this day, one of the best residual checks I get is from Back to the Future, so it’s been a financial blessing in my life.”
The film has indeed blessed many, in many different ways, over the years, and on this “Back to the Future Day” (that passes annually every October 21), I’d certainly hate to ever see a world that doesn’t have Back to the Future in it in some form.
The ’80s were no doubt a creative and unique time for horror films, with the vampire sub-genre being one that really hit its stride by the midway to end points of the decade. Over the course of it, fans had their choice of more tongue-in-cheek affairs such as Once Bitten (1985), My Best Friend’s a Vampire (1987), and Vampire’s Kiss (1988), to more straight-forward, well-known and polished classics like The Lost Boys (1987) and Near Dark (also 1987).
But one has always stood out above the rest (yes even more so than the beloved Lost Boys mentioned above), 1985’s Fright Night. Released on August 2 of that year, newcomer Director Tom Holland blended horror and comedy so seamlessly one easily gets lost within its own world.
William Ragsdale plays Charley, who, after figuring out that his neighbor Jerry (Chris Sarandon) is indeed a creature of the night, does all he can in vain to convince his best friend (Stephen Geoffreys) and girl (Amanda Bearse) of his findings. When they don’t “bite,” he enlists the help of a somewhat passed-his-prime horror show host in the form of Peter Vincent (played brilliantly by the late Roddy McDowall in a tribute to both Vincent Price and Peter Cushing).
From then on, the fun truly begins, leading to a surprisingly atmospheric, good vs. evil film where the young heroes are fighting for their lives while their cries for help to parents and/or authorities just land on deaf ears. What begins as a battle of wits comes down to a classic life-or-death battle in the finale.
A sequel, simply titled Fright Night Part 2, emerged three years later in 1988, and an eventual glossly remake came out in 2011, but neither were able to fully capture the magic of the original. I can still remember discovering it for the first time on TV late at night as a kid, and knowing I was watching something truly unique (everything down to the poster artwork to even the music just felt perfectly placed). As the old saying goes, “They don’t make ’em like they used to.” If you give Fright Night a visit again anytime soon, you’re sure to see why.
In 1974, a novel by the name of Jaws from Journalist Peter Benchley was published by Doubleday, which quickly found its way into the hands of American readers, as well as caught the attention of Producers Richard D. Zanuck and David Brown.
The two reportedly each read the book in the course of just one night, and it was unanimously decided that it would make a great, big screen film. Once soon-to-be legend Steven Spielberg was tapped to direct, the project had all the makings to become something truly unique.
Spielberg chose to hire actors without very much star power as not to take away from the “realness” of its blue collar setting. Roy Scheider, best known up to that point for his role in 1971’s The French Connection, was cast as the chief of police Martin Brody of the fictional Amity Island. Richard Dreyfuss, hot off the tails of 1973’s American Graffiti, was brought in to play marine biologist Hopper at the suggestion of George Lucas, while the role of rough-around-the-edges fisherman and WWII veteran Quint went to Robert Shaw, who seemed born to play the role.
Primarily filmed at Martha’s Vineyard, Massachusetts, the production was quickly nicknamed “Flaws” by crew members due to its painstaking shots on the water (it would be the first movie to ever fully utilize the actual open ocean in the way it ultimately did). Spielberg himself even stated if not for this, he might have even returned for a sequel.
Originally released on June 20, 1975 by Universal Pictures, the film took audiences by surprise right off the bat, and not only was an instant hit, it became a legitimate cultural phenomenon that would set the standard for the prototypical summer blockbuster from that point forward (it also briefly held the title for the highest-grossing film of all time until Star Wars surpassed it just two short years later in 1977).
Of course filmmakers knew the type of gold they had struck with it, and a sequel, simply titled Jaws 2, would soon follow in 1978 with the now-infamous tag line, “Just when you thought it was safe to go back in the water…” Spielberg had already expressed his disinterest in returning to direct (as previously mentioned), but Actor Roy Scheider was eventually coaxed into returning as Chief Brody after much hesitation (several other actors from the original, including Lorraine Gary and Murray Hamilton, also returned for the proceedings).
By the early 1980’s, 3-D had become all the rage, so it was only natural for Jaws 3 (originally released as “Jaws 3-D” in theaters) to be shot in this format in 1983. In this entry, the two Brody sons, now fully grown, are terrorized at a SeaWorld park that the eldest brother Michael (played by Dennis Quaid) works at. While far from the strongest of the bunch, the film still had some fun moments, and was filmed almost entirely at the Orlando, FL SeaWorld location.
The author (left) and son pictured at SeaWorld Orlando where much of 1983’s Jaws 3 was filmed on 1/1/12.
And then you have 1987’s preposterous Jaws: The Revenge, which found the shark actually following two of the Brody’s (Lorraine Gary returned one last time as Ellen, while Lance Guest takes on the role of Michael, completely ignoring the events of the third entry) from Amity to the Bahamas. It’s as far-fetched as it sounds, but good for a laugh every now and then (be sure to watch for the famous lion-roar scene at the end if you’ve never seen it), and if nothing else another memorable tag line in the form of “This time it’s personal” would also emerge thanks to this sequel.
But the legacy of that first, now fifty-year-old film is not likely to fade any time soon. From action figures (my autistic nephew Michael is an expert on these!), video games, attraction rides (such as the former popular one at Universal Studios), to even Jaws-themed wines (see photo below), there’s no shortage of ways to celebrate the film.
On a personal level, I can recall watching the film as a child in my late Uncle Brian’s (R.I.P.) basement in the ’80s along with my siblings and cousins (if I remember correctly, it was a double feature that also included the original Ghostbusters), and it remains a bittersweet memory for me until this day. Jaws will no doubt continue to endure like this for generations to come.
Jaws wine display spotted at a World Market location in Sanford, FL on 6/17/25 (Photo by Brooke Striewski).
A brain, an athlete, a basket case, a princess, and a criminal, each students at the same Illinois high school that couldn’t be from more opposite sides of the spectrum if they tried, forced to spend a Saturday in detention together for their own unique offenses.
Originally released on February 15, 1985 (but taking place on March 24, 1984), The BreakfastClub was Director/Producer/Writer John Hughes’ magnum opus, portraying the American teenager at the time so accurately that it struck a cord so deep within audiences (grossing over $51 million domestically) its fabrics have remained a staple within pop culture (and our lives) in the ensuing years since, often quoted, imitated, or parodied.
Anthony Michael Hall played the “Brain” with a penchant for good grades and computers, Emilio Estevez was the “Athlete” pushed to the breaking point by a controlling father, Ally Sheedy was the “Basket Case” outcast ignored by the world, Molly Ringwald was the preppy “Princess” with everything seemingly handed to her in life, while Judd Nelson was the “Criminal” that no parents wanted to see their daughters bringing home.
Photo of actress Molly Ringwald as Claire in The Breakfast Club spotted at a local clothing store (Revolve) on 8/2/23 (from the author’s personal collection).
These unique characters – as well as the actors playing them – were each relatable enough in their own ways that nearly any teen could find at least some part of themselves in them, even more so once the nickname the “Brat Pack” was coined to define the young cast and several of their contemporaries (Andrew McCarthy, Demi Moore, and Rob Lowe were a few more to fit in this club, among others). And who could forget the Simple Minds hit and the film’s theme song, “Don’t You Forget About Me?”
At the time of its initial release and ’80s prime, I was still just a kid grade school. But with four older brothers and sisters in either middle or high school, I was very much aware of the influence of The Breakfast Club, and I can distinctly remember going to one of said siblings’ schools at the time (namely Overbrook High School in New Jersey, coincidentally where I also attended preschool) and feeling as though I was in a John Hughes movie myself with the students we would come across there.
Today, the legacy of The Breakfast Club is just as strong as ever; one year while doing some back-to-school shopping with my own teenager at a local resale clothing shop, various images from the film were scattered about different areas (see above), and not even a week ago I was picking up a Funko Pop! figure of Nelson’s John Bender character (see below). The film has clearly endured for decades, and no doubt will for decades more to come; in the words of Hall’s own Brian character…”Sincerely yours, the Breakfast Club.”
John Bender Funko Pop! recently spotted on a store shelf on 3/21/25 (courtesy of the author’s collection).
Few writers have ever truly nailed the essence of the American family quite like the late John Hughes did, and I’d wager an even smaller percentage have managed to capture the sheer chaos of spending the holidays with said family then when Hughes penned National Lampoon’sChristmas Vacation, the third chapter in the Chevy Chase Vacation series that first began in 1983.
World’s above its 1985 predecessor European Vacation, this entry again finds the Griswold family (again lead by Chase and Beverly D’Angelo as his wife, Helen) just wanting to spend a “quiet” Christmas at home with family. But with the addition of each new relative appearing in the household (including Randy Quaid, reprising his role as the dimwitted Cousin Eddie from the first film), more and more madness ensues.
From chopping down the perfect Christmas tree, to dodging yuppie neighbors (including Julia-Louis Dreyfus in one of her earliest roles) and chasing after every animal known to man from dogs (“Snot!”), cats, and yes, even squirrels, there’s no shortage of characters to add to the charades.
It’s been three and a half decades now since the film’s initial release on December 1, 1989, and in that span of time the movie has become a beloved annual classic for families across the globe, often quoted at nearly any and every Christmas function imaginable. And each year department stores seem to push more and more Christmas Vacation-related merchandise for shoppers far and wide with everything from games, apparel, mugs, and much more.
By now the film has no doubt been overplayed to death with annual showings on cable TV and elsewhere. But despite this, it’s still an enjoyable enough seasonal must-watch every year (please excuse me while I go watch it for the 809th time). Happy holidays!
Everyone remembers their first, and in the case of R-rated movies, mine was a double-whammy; grainy, rough-around-the edges versions of both the 1984 hits The Terminator and A Nightmare on Elm Street on one single VHS tape in my friend’s basement that his dad had previously taped off of cable TV (a luxury my family and I still had not yet had at that time).
I knew we were watching something unique, and perhaps even “forbidden” given our ages at the time…and I loved every single minute of each film. But something about this Terminator flick – which featured Arnold Schwarzenegger as a killer cyborg sent from the future back to modern day Los Angeles to kill the mother of the future resistance leader that will eventually bring an end to killer machines that have taken over the world – just felt so intense, and so utterly ’80s (the Tech Noir club scene where Arnold reveals himself is possibly one of my personal favorite moments in cinema history ever).
Linda Hamilton plays said mother Sarah Connor, and Michael Biehn portrays future soldier Kyle Reese sent back through time to protect her from Schwarzenegger’s cold, menacing cyborg. The film does the cat and mouse chase routine better than it had perhaps ever been seen on screen previously before, and Director James Cameron takes masterful care in each and every sequence as it unfolds.
The film shot straight to the number one spot at the box office upon original release on October 26, 1984, and would go on to gross a worldwide total of more than $78 million by the end of its run. The catchphrase “I’ll be back” uttered by Arnold in the movie would soon find its way making its rounds throughout pop culture psyche.
It would also (eventually) spawn a media franchise that included one of the most groundbreaking hit sequels of all time, 1991’s Terminator 2: Judgement Day, and numerous other entries with varying success. Aside from movies, its lasting reach would also stretch across video games, comic books, action figures (many of which I still own til this day), and both live action and animated television series.
It would not be until 2003’s Terminator 3: Rise of the Machines that I would finally see Arnold on the big screen as the T-800, but by then the series was not quite as it once had been. But for my money, nothing will ever beat the original (no, not even T2), which four decades later is still remembered as one of the greatest Sci Fi/action thrillers of all time, and always will be.
One memory from my ’80s childhood has always stuck with me; I was in the garage hanging out with a friend, in mid-conversation with a copy of a book adaptation of 1984’s Ghostbusters in my hand when, I looked up to find a loose neighborhood dog standing at the end of the driveway, snarling in my direction with all of its fury. Instinctively, I threw said book in its direction prior to bolting for the back door before it had a chance to maim either one of us.
That’s just one of many personal Ghostbusters-related stories I can recall. When originally conceived by series creators Dan Aykroyd and Harold Ramis, I doubt they had in mind a franchise consisting of merchandise that ended up in the hands of just about every kid in the decade it was released (nor do I think envisioned said kids using it to fend off stray dogs as frightening as the two “terror dogs” featured in their own film, though I could be wrong).
Directed by Ivan Reitman, the film follows three New York City-based parapsychologists – Dr. Ray Stantz (Aykroyd), Dr. Egon Spengler (Ramis), and Dr. Peter Venkman (Bill Murray, in a role originally intended for John Belushi before his untimely death) – who go into business together catching ghosts and becoming local heroes in the process.
Once business starts really picking up, they’re able to hire both a receptionist named Janine (Annie Potts), and a fourth member, Winston Zeddmore (Ernie Hudson). And the group is further expanded by a love interest for Venkman, Dana Barrett (Sigourney Weaver) and her quirky neighbor Louis Tully (Rick Moranis). From then on, all the pieces to the puzzle seemingly fit together flawlessly on screen before our eyes.
Released the same day as a another massive ’80s hit, Gremlins, Ghostbusters was a bona fide blockbuster, with each of said films eventually reaching iconic status (ironically, I remember my family getting both movies on VHS at the same time, and still have both copies to this very day – one of which now actually signed by a cast member, which I’ll get to shortly) and becoming required viewing in just about every suburban household at the time.
Not long after the film’s release came the animated series The Real Ghostbusters in 1986, and a media franchise of toys, video games, lunchboxes, and nearly anything else one can think of, was officially spawned. An inevitable sequel, simply titled Ghostbusters II, finally appeared in 1989, and while not always looked back on with fondness, the second entry served as another rite of passage of sorts for me when going to see it in the theater, becoming the first film I ever watched completely independently/solo, thanks to the cinema being so full it was impossible to find more than one seat at a time.
After a number of years laying dormant, the series was finally revived in 2016 with an unfortunate reboot that would’ve been best left on the shelf than actually produced. Thankfully, a “proper” sequel finally appeared in the form of 2021’s Ghostbusters: Afterlife, which saw the continuation of original characters (and many returning cast members) and even their ancestors. Another admirable follow-up, Ghostbusters: Frozen Empire, haunted theaters as recently as just this past March.
In 2015, my wife Brooke and I were lucky enough to meet Dr. Stantz himself, Dan Aykroyd, where I had him sign that very VHS tape that sat on top of my family’s entertainment center all those years prior (see photo). While a great moment nonetheless, I only wish I had asked all the questions I would later think of after-the-fact (naturally!).
The author (left) with Ghostbusters actor and writer/co-creator Dan Aykroyd in Orlando, FL on 3/21/15 (Photo by Brooke Striewski).
And then of course there’s the coinciding song that no Ghostbusters conversation is truly complete without. Written and recorded by Ray Parker, Jr., the song was released the same time as the film, and its star-studded music video was also directed by Reitman. In 2022, the family and I got our second, firsthand ghost “encounter” when we saw Parker live at Epcot that October, receiving his biggest reaction of course at the intro to his biggest hit to date.
Ray Parker, Jr. performing “Ghostbusters” at Epcot in Orlando, FL on 10/21/22 (Photo by Brooke Striewski).
Four decades later, we’re still here talking about the franchise with a fondness that few other film series can actually rival. It was a moment of time when American cinema and art was truly at a peak not seen before, or since its release. I will gladly remain stuck in that era of time for the remainder of my days rather than entertain ninety percent of what Hollywood tries passing as “entertainment” these days.
A signed copy by Dan Aykroyd of the original Ghostbusters on VHS from the author’s collection.
The world just seemed like a much more simple place “back in the day.” Growing up in the ’80s, we were able to push a few more boundaries, poke a little more fun, and overall, just laugh at little bit more without being so easily “offended” (nor did we have the same kind of manufactured hate being pushed down our throats that Hollywood has tried so effortlessly to do so as of late). And most importantly, we were all capable of being “equals” without ever even knowing it at the time.
I was still just shy of preschool when the original Police Academy made its world premiere on March 23, 1984. Yet just a few short years later, I would be introduced to the series via replays of the numerous films on cable television, and seeing its eventual extensive catalog represented on the shelves of video rental stores seemingly everywhere I went. I saw a part of myself in lead actor Steve Guttenberg, who portrayed the wise-cracking Carey Mahoney, and felt it was possible to just maybe be a “police officer” too someday thanks to our similar lanky frames.
The initial seeds for Police Academy started in the mind of Producer and series creator (and one time Rewind It Magazine interviewee) Paul Masalanky, who, while filming The Right Stuff in 1983, got the idea after seeing a group of goofy cadets on the sidelines of the production. This simple moment proved to be vital, and would spawn a worldwide franchise that would eventually see six sequels and two television shows (one animated, one live-action).
In the first film, we’re introduced to said troublemaker Mahoney (Guttenberg), who after finding himself in some hot water with the law, is given the option to sign up for the desperate Police Academy that has recently lowered its standards in lieu of jail time. It’s here we’re introduced to a group of similar, bizarre misfits in the form of Larval Jones (Michael Winslow), Moses Hightower (Bubba Smith), Eugene Tackelberry (David Graf) and Laverne Hooks (Marion Ramesy), among many others (but “diversity” and” inclusion” definitely did not exist back then at all though guys. Nope, not at all).
A young and slender Kim Cattrall played the posh love interest for Mahoney, Karen Thompson, while George Gaynes played the brilliantly inept Commandant Lassard with ease. There’s also some classic banter exchanged between Mahoney and his nemesis Lt. Harris (G.W. Bailey in one of the best “bad guys you love to hate” roles ever put on screen).
By the following year, Police Academy 2: Their First Assignment was already hitting theaters (in my opinion the best entry of them all, featuring my personal favorite character “Zed” played by Bobcat Goldthwait for the first time), which was quickly followed by Back in Training (1986), Citizens on Patrol (1987), Assignment Miami Beach (1988), City Under Siege (1989), and eventually the direct-to-video Mission toMoscow (1994), each having their own varying results.
When I interviewed Maslansky back in 2021, I asked him why he thought the series had such the long and successful run that it had. He told me; “It was almost like a sitcom; you had (original Director) Hugh Wilson who came from WKRPCincinnati, and then Jerry Paris (Director of parts 2 and 3) who was of course Gary Marshall’s guy. And that’s really why we were prepared for it; we had a cast that was steady, and every year everything was just serendipitously there, and the studio kept asking to make another one because the results were just so damn good, and the cost for these pictures was not that much. It was just really a smooth operation, and I had the right directors, production managers, and just overall people in general all the time.”
All these years later, neither my love for the series, nor my respect for law enforcement, have faltered at all. And somewhere I still even have action figures from the toyline that was made for the animated series back in the late ’80s/early ’90s (maybe I’ll dig them out again someday). Hopefully the legacy of Police Academy will remain untouched and remembered for just the way it was and we’re not forced to endure yet another atrocious remake “with a message” any time soon.
I’ve never been one for the standard “What’s your favorite movie/band/album/etc…” question as I’ve always found it near-impossible to answer. However, certain titles will almost always instantly pop up when pried, and in the case of films, 1984’s This is Spinal Tap usually is my go-to answer as far as personal favorites go (without a doubt at least in the comedy genre, if not overall).
Originally released on March 2, 1984, there’s simply something comforting about the movie and its characters that will almost always make me stop if it’s playing somewhere. I can’t really recall the first time I ever watched it in full, but I definitely remember many a times watching it; sometimes with friends while sharing drinks and laughs, other times alone in the middle of the night while simply battling insomnia. Either way, the ‘Tap have just always been there for me, one way or another.
Set up as a documentary (or “mockumentary,” if you will) with actual director Rob Reiner portraying a filmmaker chronicling the fictitious band Spinal Tap’s storied history within the film itself, it’s so realistic it almost feels real as he interviews David St. Hubbins (Michael McKean), Nigel Tufnel (Christopher Guest), Derek Smalls (Harry Shearer), and the numerous drummers that came and passed throughout the years (one of many running gags).
Copy of This is Spinal Tap on DVD and the band’s 1992 album Break Like the Wind on CD from the author’s personal collection.
From getting lost on the way to the stage, to Stonehenge and amps that “go to eleven,” there’s no shortage of genius classic moments and quotable lines that can be found. Even the companion soundtrack, with such masterpieces as “Big Bottom” (with lines like “Talk about mud flaps, my gal’s got ’em!”), “Hell Hole,” and “Tonight I’m Gonna Rock You Tonight,” are all brilliant in their own ways.
The lasting impact of the film cannot be understated. From McKean and Shearer appearing as their respective characters St. Hubbins and Smalls on the charity group Hear ‘n Aid’s 1986 single “Stars,” to the band appearing on a 1992 episode of The Simpsons (not a far stretch considering both McKean and Shearer had each already done voice work on the show prior). The “band” themselves have also since occasionally performed live and even released the albums BreakLike the Wind (1992) and Back From the Dead (2009).
Plans of a sequel were first announced in 2022, with reports that filming had started (with Reiner and the core cast members all attached) early this year. Whether or not the new film will be a worthy follow up or not still remains to be seen, but one thing is for sure there’s no denying the legacy the film – and Spinal Tap themselves – have created. Turn it up to eleven, and enjoy.
I have several “introduction” memories I often point to when it comes to the almighty KISS; usually it’s of a ’70s-era video clip of the band playing “Rock and Roll All Nite” live that seemed to be on a continuous loop on a TV commercial at the time selling one of those “Best of ’70s Rock” comp albums, or the MTV videos of the ’80s I was so often exposed to as a kid, such as “Heaven’s on Fire,” Crazy Crazy Nights,” or “God Gave Rock and Roll to You II” (the latter of which I thought was thoroughly cool at the time for its appearance in 1991’s Bill and Ted’s Bogus Journey).
But I think the true, defining moment that made me a KISS fan for life was after acquiring the first album I ever owned by them; a secondhand find of 1979’s Dynasty record. While not regarded as one of the band’s “best” efforts by any means, I was still in “awe” of it all; the cover photo featuring all four band members – Gene Simmons, Paul Stanely, Ace Frehely, and Peter Criss – the ads still intact inside featuring everything from KISS posters to pinball machines, and of course, the giant poster that folded out with the entire band on it. There was no doubt about it; what I was holding in my hand was pure gold (and I’m happy to say I still own it to this day), and I was officially a member of the KISS Army from that moment on.
KISS began life in New York City after two members of the already established act Wicked Lester (vocalist/guitarist Paul Stanley and bassist/vocalist Gene Simmons) decided to venture out on their own and start something new and different that included each member of the group wearing makeup and donning their own individual personas (with Stanley as the Starchild, Simmons as the Demon, Frehley as the Spaceman, and Criss as the Catman, respectively). After recruiting a couple of more local musicians in the form of drummer Peter Criss and guitarist Ace Frehely, the table was set for this new foursome to go after total rock dominance. But their first three albums, KISS (1974), Hotter ThanHell (1974), and Dressed to Kill (1975) found the band getting off with a lukewarm start at best.
It wasn’t until the band dropped Alive! in late 1975 that KISS fever would finally hit the country (and eventually the rest of the world). Showcasing everything right about the band, Alive! captured the pure, raw energy of the their live set (which included everything from fire-breathing to smoking guitars), launching them into super stardom on the heels of a live version of the band’s party anthem “Rock and Roll All Nite” – which skyrocketed the song, and the album up the charts. A trio of hit records in the form of Destroyer (1976), Rock and Roll Over (1976), and Love Gun (1977) helped cement the band as hard rock titans. The piano-driven power ballad “Beth” (sung by Criss) appealed the band to a much broader audience and grew their popularity even further.
But alas, trouble in paradise began to rear its ugly head by 1978, with the TV movie Kiss Meetsthe Phantom of the Park portraying the band more like characters from a Scooby-Doo cartoon than the superheros they were meant to be shown as, and individual solo albums released by each member of the band that year also helped strengthen the ongoing riffs. By 1979’s Dynasty, there was no doubt things were eroding with Criss, who had recently endured a car accident which lead to substance abuse problems), causing him to only perform on only one track off the album (“Dirty Livin'”) while session drummer Anton Fig took up the rest of the slack. Criss’ live performance also suffered, often playing offbeat, or just plain not playing the shows at all.
Vinyl copy of KISS’ 1979 Dynasty album (complete with original ads) from the author’s collection.
By 1980’s Unmasked album, Criss was officially out (with Fig once again covering drum duties), marking the end of the “original” KISS. Enter Eric Carr, who took over the role of new drummer as the “Fox,” and was a much more technically skilled musician than Criss’ rough-around-the-edges approach.
Unfortunately, 1981’s Music From “The Edler,” a concept album that has since gone down as the band’s biggest embarrassment, was not exactly the ideal starting point for the new member. But 1982’s Creatures of the Night found the band going back-to-basic hard rock, albeit at the expense of another member as Frehley had already begun to move on. Several sessions guitarists, including Frehley’s eventual replacement Vinnie Vincent, were used for much of the recording of the album, as Ace made his official departure from the band shortly afterwards.
But the popularity of the band in the early ’80s was still waning, and a cause for drastic change was inevitable. For 1983’s Lick It Up album, the band did the unthinkable for the first time; took off their makeup that had concealed their identities for the better part of a decade. This ushered in a new era, and new life, for the band. Despite this, inner turmoil with Vincent lead to his dismal from the group, and Mark St. John was brought on to play the lead on 1984’s Animalize, another strong output from the guys. But a medical condition with his hands that limited his playing abilities would cause this to be the only album St. John would perform on with KISS (sadly, he eventually passed away years later in 2007), and Bruce Kulick was brought in as the band’s fourth guitarist to fill that spot (despite the rotating door of guitarists, Kulick would stay with the band an entire twelve years).
1985’s Asylum, 1987’s Crazy Nights, and 1989’s Hot in the Shade all continued to build on the band’s newfound success in the mid to late ’80s. But by early 1991 tragedy struck, as drummer Eric Carr was diagnosed with cancer, ultimately taking his life by November 24, 1991. But the band soldiered on the only way they knew how, and with Eric Singer behind the drumkit, released 1992’s Revenge, one of their heaviest albums to date. Unfortunately they once again faced new challenges as the landscape in rock music changed yet again, and grunge took over. There was no doubt that KISS would once again need to reinvent themselves.
And that change came with a performance on MTV’s Unplugged, when Frehley and Criss made their first appearance alongside the entire band for the first time in well over a decade. Recorded on August 9, 1995, I remember watching in awe the night it originally aired shortly after, feeling as though I was a part of history (or, KISStory if you will). From then on, it was a flown-blown reunion of Simmons/Stanley/Frehley/Criss (complete with makeup), and one of the biggest rock tours to date when it kicked off the following year in 1996.
One final studio album featuring Simmons/Stanley/Kulick/Singer titled Carnival of Souls: TheFinal Sessions was released rather unceremoniously in 1997 before the “comeback” record PsychoCircus featuring the “original” lineup (I say that very loosely) for the first time since 1979’s Dynasty, finally dropped in 1998. But old habits die hard, and halfway through a “Farewell Tour” that ran from 2000-01, Peter Criss was again replaced by Eric Singer. It wasn’t long after before Frehley was ousted as well, replaced by Tommy Thayer, who had worked on-and-off with the band on various projects, including co-writing songs and managing Kiss conventions going as far back as 1989.
With the lineup of Simmons/Stanely/Singer/Thayer, the band would record what will now be their final studio albums; 2009’s Sonic Boom, and 2012’s Monster. It was while they were touring in support of the latter record that I would finally see the “hottest band in the world” up close and personal for the one and only time on July 28, 2012 in Tampa, FL (with Motley Crue as their support act). It was one of the most memorable concerts I’ve ever been to in my lifetime, as much to do with the band itself as it did the longtime crush I ended up not only seeing the show with, but spending the entire weekend (in very KISS-like fashion) with after many years of longing after (for the sake of this article, we’ll just call her “Marie”).
Paul Stanley performing with KISS at the former 1-800-ASK-GARY Amphitheatre in Tampa, FL on 7/28/12 courtesy of the author’s collection.
Although my interest in KISS has no doubt fluctuated from time to time over the years, nothing got me fully back into the band quite like that one single live show did. Until that is, I was able to pick the brain of someone who had actually been there, when I interviewed former guitarist Bruce Kulick for Rewind It Magazine back in 2019. It was without a doubt one of the most exciting interviews that I’ve done in over fifteen solid years worth of music/entertainment journalism.
And now tonight, the band will take its final bow, putting an end to an era that stretches back as far as 1973. They’ve meant a lot to so many over the years (present company obviously included), while many others could have cared less, or have simply written them off as a “joke” for decades. But for what it’s worth, I sure as hell would not be able to picture a world without KISS ever existing in it. Thank you KISS for the memories…you will surely be missed, but never forgotten.
