I can vividly recall the first time I ever really heard Rush and listened to the basslines of frontman Geddy Lee – not to mention Iron Maiden’s Steve Harris – not long after having just picked up the bass guitar myself, and knew I really needed to step up my game (it should come as no surprise to anyone that I did not ever reach the same skill level or heights on the instrument as the two mentioned bassists). Still, my interest was more than just a tad piqued to learn more about one of my personal bass heroes via his new biography, My Effin’ Life.
Granted, the title may not be the most eloquent (I personally like and respect the fact that Lee uses the term “eff” in place of the F-word itself, something I’ve been known to do myself from time to time in place of stooping to vulgarities), but his story of awkward small town Jewish kid rising to eventual rock God status is nothing short of phenomenal.
Perhaps the most unique and surprising moment found in My Effin’ Life though is the third chapter, which is solely dedicated to his parents’ story of actually meeting while in a concentration camp during the Holocaust. It’s both a heartbreaking, yet triumphant and encouraging story of bravery that touches anyone connected in anyway to that dark period of history (my grandfather, Herman, along with his three brothers – one of which was killed in action in Serrig and buried in Luxembourg, Germany – all proudly served in the U.S. Army and Air Force during World War II, so the subject tends to hit home on a personal level for me as well).
But I digress, Lee’s journey is one that resonates in a multitude of ways, and it’s more than just a little relieving to hear that him and former Rush bandmate Alex Lifeson are still close to this day. The stories involving late drummer Neil Peart and the tragedies he experienced (many of which I was not aware of prior) are nothing short of amazing themselves. The casual fan may only find a limited amount of interest within the pages of My Effin’ Life, but the die hard should no doubt find it more than a tad difficult to even put down at all.
Who knew I’d be reviewing a new album from The Rolling Stones in 2023, and it’d actually be well above average material at that? This Christmas almost felt comparable to when I actually received my first Stones album, Voodoo Lounge, as a Christmas gift all the way back in 1994.
Hackney Diamonds, the band’s first album since 2016 (and first one of all new material since 2005’s A Bigger Bang), reminded me much of said Voodoo Lounge album. It is also unfortunately now their final album to feature late drummer Charlie Watts on the tracks “Mess It Up” and “Live by the Sword,” each great tracks and recorded prior to his death in 2021.
Beginning with lead off track/single “Angry,” the entire album sounds fresh, and Jagger and Richards are on top of their writing game here (with the assistance of Producer Andrew Watt on three tracks as well). The legendary Paul McCartney lends bass to “Bite My Head Off” (which no doubt stands out as one of the strongest numbers here), and even former Stones bassist Bill Wyman makes an appearance alongside Watts on said “Live By the Sword.”
I suppose the seven-plus minute ballad “Sweet Side of Heaven,” featuring both Lady Gaga on co-vocals and Stevie Wonder on piano/keyboards, should be the song to gush over here. But for my money, “Get Close,” “Depending on You,” “Whole Wide World,” and “Driving Me Too Hard” are all far more superior. And should this be the last studio album the world ever receives from The Rolling Stones (which I truly hope it is not), it’s one hell of a way to go out for sure.
As a wrestling fan, my only knowledge of the Von Erich family and it’s alleged “curse” are the things I’ve read about them in print or film over the years, considering they were just a tad before my time. But their story is nothing short of tragic, albeit it’s hard to find much “triumph” in it all as well. I can’t say I’ve ever gone out of my way to watch anything starring Zach Efron, either, but his portrayal here of the eldest brother Kevin Von Erich is so out of the norm, you forget it’s even him.
For those unfamiliar, the Von Erich brothers rose to prominence in the late ’70s/early ’80s under the leadership of their ruthless father, wrestling promoter and WCCW owner Fritz Von Erich (Holt McCallany in a particularly unlikable role). Each time seemingly on the cusp of greatness, tragedy strikes the brothers David (Harris Dickinson), Kerry (Jeremy Allen White), and MiKe (Stanley Simmons), almost as though one-by-one (hence, the “curse”) while Kevin can only stand aside and watch all the carnage as a bystander more or less.
But there is beauty to be found among the tragedy, too. The budding young romance between Kevin and future wife Pam (Lily James), and the relationships between the four brothers and their tyrant father are relatable for just about anyone who’s lived the small town American experience. And I can’t even remember the last time I sat in a theater and could hear a pin drop the audience was literally so engrossed in the film. It’s not perfect, nor pretty, and it is no doubt emotionally draining on all levels. But it’s hard to walk away from The Iron Claw without feeling at least some sort of connection to the human elements witnessed on screen.
I grew up loving the dry, quick-witted humor of Kelsey Grammer as Frasier going back to when he first appeared as him on Cheers years before the original spinoff that lasted from 1993-2004. So when Paramount Plus announced they’d be rebooting the show, I was interested to see just where they would take the character in 2023.
The answer to that now of course being back to Boston where Fraiser Crane had originated, where he quickly moves in with his adult son Frederick (Jack Cutmore-Scott) in his upscale apartment while taking a professorship at Harvard. The same type of mishaps that followed Crane in the original show no doubt seem to follow him here, leading to more than just the occasional laugh.
Gone now though are many of the key characters from the first series that contributed to so much to what made the show so great to begin with, including Niles Crane (David Hyde Pierce), Daphne Moon (Jane Leeves), and of course, the late John Mahoney as Marty Crane (whose loss is handled gracefully here). There are however a couple of worthy guests who do show up, most notably Bebe Neuwirth as Frasier’s ex wife, Lilith, and Peri Gilpen as his friend and former co-worker from his days as a radio talk show host in Seattle, Roz Doyle.
All things considered, it’s great to have Frasier Crane back again in a world that truly needs him at the moment (and foolishly wants to cancel the actor who plays him simply because…you guessed it, he hasn’t subscribed to the same forced, brainwashed indoctrination that the rest of the Hollywood elites have!). Lighten up, and laugh a little already.
When it comes to modern action films, I’m so far out of touch with what’s going on these days that many would probably find it laughable. But for my money, I’ll take the near-perfection that was produced in that beloved decade we call the ’80s (and also spilled over into much of the ’90s) over the uber fast-paced and often mindless romps that pass as “action” cinema these days.
Along with the horror genre, there was simply something so exciting and appealing being a kid in the ’80s when coming across that elusive, forbidden R-rated tape in your older brother’s VHS collection. And there was just something even more relate-able when that R-rated flick, often filled with gratuitous sex and violence, contained the themes of the Christmas season in its backdrop.
Over the years Rewind It has no doubt done similar pieces on horror-based and/or more obscure holiday films, but this is the first one dedicated solely to the “tough guys” of the ’80s and early ’90s (some other honorable mentions that didn’t quite make the list also include Night of the Comet (1984) and Batman Returns (1992), excluded for the sake of trying to stay within the more classic “shoot ’em up” variety action flick. So kick off your shoes, spike that eggnog, and enjoy…
10. Dead Bang (1989):
By 1989, Don Johnson was a bona-fide star thanks in part to the hit show Miami Vice, and on paper his first shot as leading man in a feature film should’ve been just as big of a hit. But DeadBang, based on the real life story of LASD Jerry Beck’s pursuit of revenge of a fellow Sheriff’s Deputy’s murder, was more “dead” in the water than a “bang.”
The film actually starts off promising, with Beck’s fellow officer being mysteriously killed in his home on Christmas Eve (hence the holiday connection). But what could’ve been a strong cat-and-mouse hunt, quickly gets muddled down by themes of white supremacy and hate crimes that leads up to an unrealistic one-man showdown. Skip it unless totally desperate.
Penelope Ann Miller listening to Don Johnson ramble on in a scene from 1989’s Dead Bang.
9. I Come in Peace (1990):
Also known in some territories as Dark Angel (the film’s original title), this is one I only vaguely remember after catching scenes from it on cable at a friend’s house back in the day. Basically Dolph Lundgren plays a vice cop in Texas already up to his neck dealing with violent drug crimes when a dealer literally from another world comes to ruin his Christmas cheer.
I wish there was more I could say on behalf of this feature, but it’s been so long there’s not much I even remember now. Perhaps time for a revisiting of the film myself.
8. Cobra (1986):
Sylvester Stallone plays LAPD Lt. Marion “Cobra” Cobretti in this over-the-top ’80s vehicle that’s heavier on hits than it is heart (or plot for that matter). Brigitte Nielsen plays the fashion model who witnesses some serious crimes committed by a dangerous cult, leading to be put under Cobra’s protective care (during the holiday season too, nonetheless).
Watch for the supermarket shootout scene towards the beginning of the film – a definite highlight along with the 1950 Mercury Stallone sports in the film (and of course Nielsen’s famous long legs at the time too, naturally!).
7. Maniac Cop 2 (1990):
Granted more on the horror than action side, this gritty, direct-to-video sequel to 1988’s ManiacCop once again finds the late Robert Z’Dar as the titular anti-hero on a rampage in New York City during Christmas time.
The cast is actually rounded out nicely, with Robert Davi, Claudia Christian, Bruce Campbell, and Michael Lerner all appearing in roles and doing their best to put an end to the killing spree. This is also the only film to the best of my memory that actually features pole dancing at a strip club on Christmas; that alone deserves a spot on this list.
Paula Trickey prior to spreading some adult yuletide cheer in 1990’s Maniac Cop 2.
6. Die Hard 2 (1990):
In the spirit of “If it ain’t broke, don’t fix it,” Die Hard 2 (a.k.a. Die Harder) takes what the original did so well and moves Bruce Willis from a building to an airport, fighting ruthless terrorists with evil agendas on Christmas Eve.
This is standard early – ’90s action viewing with blockbuster written all over it, and even features a pre-Terminator 2 Robert Patrick, as well as a young John Leguizamo. While the original Die Hard will always get the most recognition as a Christmas movie, there’s no doubt the first sequel in the franchise is just as worthy of a winter’s watch.
5. Rocky IV (1985):
Going all the way back to the 1976 original, the Rocky films have never been distant from holiday fare, with the first two films centering around Thanksgiving (in fact, the only one I can really think of without some sort of mention of a holiday is 1982’s Rocky III). But by 1985’s Rocky IV, there was no denying the Christmas connection, with the main event taking place on Christmas day itself.
Sylvester Stallone had perfected the role of the “Italian Stallion” by this point, and Dolph Lundgren as his nemesis Ivan Drago is at his menacing best as the two prepare for their bout in the USSR. And there’s no doubt this entry contains not one, but two of the greatest montages spawned by an ’80s movie (how can you go wrong with the famous shot of Syl screaming “Dragooo!!!” from the top of a mountain at the end of the latter one?).
I also contemplated putting another PG-rated hit in this very same slot, 1984’s The Karate Kid, but decided against it after remembering a large portion of it was also set during Halloween in addition to Christmas.
4. Invasion U.S.A. (1985):
Chuck Norris. Terrorists trying to take over America during Christmas. Need I say more? This was one of those Cannon films often played in regular rotation on cable TV back in the day that was near impossible to pass up on. For my money there’s nothing more festive than the image of Norris holding two Uzi’s in his hand in a shopping mall at Christmas (see photo below).
No one messed with Chuck’s Christmas then, and they sure as hell still wouldn’t dare to now; watch the movie and find out why for yourself.
Chuck Norris gives ’em hell in 1985’s Invasion U.S.A.
3. First Blood (1982):
The one that by all means started it all on this list. Sylvester Stallone (for those keeping count he’s now featured in three of the films on this list) stars as John Rambo, a down and out Vietnam vet just trying to pass through small town America when he’s hassled by the local sheriff (played brilliantly by Brian Dennehy). What ensues is nothing short of mayhem.
There’s no denying this is definitely one of the more “dreary” films on the list, with the setting taking place in a rain-filled Hope, Washington (although actually filmed in British Columbia). But by its conclusion, Rambo is fully lighting up the town (with an arsenal of explosions of course), and just in time for Christmas, too.
2. Lethal Weapon (1987):
Without a doubt one of my favorite action/buddy films of all time, I legitimately struggled with putting 1987’s Lethal Weapon at number one on this list. Viewers are instantly drawn in at its very first sequence, as the tune of “Jingle Bell Rock” introduces us to the image of a beautiful young girl, under-dressed and alone in a hotel room, who quickly throws herself to her own sensless death from the top of a balcony.
The mysterious event sparks an investigation, putting two cops on the total opposites of of the spectrum – Danny Glover as the seasoned cop Roger Murtaugh on the verge of retirement, and Mel Gibson as the loose cannon with a death wish, Martin Riggs – together as partners. The film set the standard for the “buddy cop” sub genre of action films, soon to be duplicated with endless imitations. It’s an all-round flawless picture, with or without Christmas playing any part of it.
And few other movies on this list actually rival the very scene where Tom Atkins’ character is gunned down while holding a carton of eggnog, the bullet simultaneously piercing both (when I met Atkins in 2021, he actually had 8×10’s of this scene available to sign; passing on this shot in favor of a Halloween III-related signature instead was a tough decision indeed). If you’re not already familiar with any of this material, then do yourself a favor and add it to your Christmas list this year a.s.a.p.
Tom Atkins goes out with a seasonal bang in 1987’s Lethal Weapon.
1. Die Hard (1988):
Not the film that started it all, but indeed the one that opened the conversation to begin with. We all know by now that yes, Die Hard is absolutely a Christmas movie (along with its 1990 sequel as previously established in this article), and there should be no question about it by now, with most of us surely having heard the phrase “It’s Die Hard in a (fill in the blank…),” referring to its many copycats since.
If you somehow still haven’t seen it yet, here’s the rundown; Bruce Willis plays NYPD Detective John McClane, who flies out to LA to join his estranged wife Holly (Bonnie Bedelia) at a company Christmas party in LA. But before the two can even reconcile, the tower is seized by a group of terrorists, lead by the cut-throat Alan Rickman as Hans Gruber. But having not been seen by the group, McClane is able to fight them from within, while informing outside agencies of everything happening on the inside, establishing another famous “buddy cop” relationship between McClane and LAPD Sergeant Al Powell (Reginald VelJohnson).
Between the inclusion of Run-DMC’s “Christmas in Hollis” and the oft-quoted “Now I have a machine gun, Ho-ho-ho” scene, there’s no shortage of Christmas spirit among the many gun fights and explosions throughout the film. It’s first-rate action with plenty of emotional depth tied into it much like Lethal Weapon. Definitely essential viewing this (and every) holiday season.
Terrorist Tony Vreski (portrayed by actor Andreas Wisniewski) is the first of John McClane’s kills in 1988’s Die Hard.
I feel like my love for metal bands like Judas Priest only grows stronger with each year, with the classic guitar work once laid by the team of K.K. Downing and Glen Tipton being among some of the best in the genre. And while I was lucky enough to see that lineup perform at least once (at the 2004 Ozzfest) while it was still intact, I am still saddened by Downing’s ultimate ousting from the band.
Thankfully this has not kept him down one bit though, still releasing material just as comparable to Priest under the moniker K.K.’s Priest along with one time vocalist Tim “Ripper” Owens at the front nonetheless. On their second studio outing together, they seem more determined than ever to prove their worthy place alongside the greats.
“Sons of the Sentinel” paints a perfect picture right off the bat of what listeners can expect, while “One More Shot of Glory,” “Hymn 66,” and “The Sinner Rides Again” all stand out as strong declarations, and “Wash Away Your Sins” ends things on an epic note. And there’s no doubt in my mind that if this were released under the Judas Priest name, most would not even bat an eye at it; do yourself a favor and have a listen.
I remember when VH1 first premiered its made-for-television bio pic Hysteria – The Def LeppardStory back in 2001, and how ultimately intrigued and fascinated it got me. This time the band presents their own story, in their own words, in this massive, detailed-oriented book that even the most causal of fans will be able to appreciate.
Beginning appropriately with their humble roots in Sheffield, England in 1977 by vocalist Joe Elliot, bassist Rick Savage, guitarist Pete Willis, and drummer Tony Keating, it thankfully does not simply gloss over the band’s formation, even allowing early members – and late guitarist Steve Clark via archival interviews – to share their voices to some degree.
As each subsequent member comes along in the story, such as drummer Rick Allen, and guitarists Phil Collen and Vivian Campell, they’re each given a platform to share their versions of events from joining, all the way up to today. All this is presented with new unique glossy photos to boot.
I’ve long since loved a good back story for as long as I can remember now; if you’re anything like me at all, this should quench your thirst for one just the same.
The moment Dokken first dropped the single for “Fugitive” this past August, I knew the rock world was in for a reminder of just how solid a band they truly are (despite the negative image sometimes unfairly attached to them).
It’s been over a decade now since we’ve had new material from Don Dokken and company, and the guys truly give it their all here on album number twelve. Said first single “Fugitive” starts things off appropriately, while “Gypsy,” “Just Like a Rose,” and “Over the Mountain” keep up the momentum. “I’ll Never Give Up,” “I Remember,” and “Lost in You” all display a softer side a la such earlier hits as “Alone Again.”
At times it almost feels like a concept album, which each track feeling as though it were coming from the perspective of a lonely drifter or cowboy traveling through the desert plains (evoking the spirit of some of Bon Jovi’s early ’90s material). It won’t appeal to everyone (that’s a given), but those with a more sophisticated rock palate should be able to appreciate and enjoy.
After fifty solid years, KISS finally called it a day in their own homestate of New York at Madison Square Garden this past Saturday, December 2. No, I did not fly to the Big Apple to catch the farewell gig in person, but I did the next best thing any member of the KISS Army in central, FL could possibly do; took the family to the very house that Gene Simmons and Paul Stanley built – Rock and Brews in Oviedo – and watched a pay-per-view showing of it from start to finish right there.
And was it just the same Gene and Paul show it has been for the past two decades with just a few obscure numbers thrown in, and zero appearances or even any mention of past alumni of the band? You bet ya. But it was still a flawless performance from them nonetheless (and as much as I would have loved seeing a reunion with Ace Frehley and Peter Criss take place as much as the next guy, there’s no denying that Gene and Paul are the only members of the band to be there for the entire duration of the past five decades).
After a house recording of Led Zepplin’s “Rock and Roll” died down, the immortal words were uttered for the last time; “You wanted the best, you got the best; the hottest band in the world…KISS!!!” As soon as the curtain dropped, the band was lowered from their platforms and started tearing through “Detroit Rock City” in full force.
“Shout it Out Loud,” “Deuce,” “War Machine,” “Heaven’s on Fire,” “I Love it Loud” (where Simmons briefly breathed fire), “Say Yeah,” and “Cold Gin” started the set list off on more than a promising note for just about any die hard fan before slowing things down for a guitar solo.
Wide shot of the Rock and Brews in Oviedo, FL just before the curtain fell at the final KISS show in New York on 12/2/23.
“Lick it Up” got things back on track nicely, before “Calling Dr. Love,” “Makin’ Love” (featuring a guitar duel between Stanley and guitarist Tommy Thayer), and “Psycho Circus” all followed. A drum solo from Eric Singer was spot on before a bass solo for Simmons (with part of “100,00 Years” thrown in between the two for good measure) lead way to the almighty “God of Thunder,” complete with blood-spitting.
“Love Gun” found Stanley flying above the crowd to a different section of stage per his usual routine, followed by the disco-esque “I Was Made For Loving You,” and one of my absolute favorite KISS tracks ever, “Black Diamond.”
Singer then emerged on stage behind a piano to perform Criss’ classic “Beth” solo for the first part of the encore. Finally, “Do You Love Me” and the timeless rock anthem “Rock and Roll All Nite” officially closed out the night among a sea of confetti. It was a bittersweet moment, punctuated by “God Gave Rock and Roll to You II” as the band made their final exit from the stage.
But what could’ve gone down as a graceful moment, perhaps with video footage representing each any every former member and time period throughout the band’s five decade history, was marred by the introduction of the band’s “new era” – avatars of the guys meant to be the continuation of the band’s legacy, was meant with mixed reactions from fans to say the least.
Was it a good show? Sure, in the technical sense everything was flawless from start to finish. But it wasn’t until after the performance, when Gene Simmons was being interviewed backstage and his children began joining him one at a time, that any real emotion was even really displayed. I will miss being in a world where KISS is still a living, breathing band, but will always be thankful to have existed for at least some of the time they were on this Earth.
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.
