PETER CRISS INTERVIEW MODERN DRUMMER FABUARY 1999 BY ROBYN FLANS

I first meet Peter Criss at an Academy Of Country Music golf tournament after-party as he was about to meet Garth Brooks, the host of the event. It seems like an odd combination. What could Garth Brooks and Peter Criss possibly have in common? But Brooks, one of the biggest superstars of our generation, has made it very clear that one of his primary musical influences growing up was KISS. It’s no surprise thet Brooks has received many awards for his live performances, for he learned the how-tos from the masters—KISS. Interestingly enough, Criss’s favorite movie of all time is It’s A Wonderful Life, which asks the question. What would have happened if I’d never been born? There’s no need for Criss to ask himself that question—or to ever wonder or not he and KISS have made an indelible impact. Since KISS burst onto the scene in 1974, they have epitomized entertainment. Their makeup, costumes, and outrageous antics comprised a theatrical element that fans adored and even emulated. Although their first three releases--KISS (1974), HOTTER THAN HELL (1974), And DRESSED TO KILL (1975)—only attained gold status, it was obvious where their strength lay when their first live record, ALIVE(1975), sold four times platinum and created a momentum for the albums that followed. 1976’s DESTROYER, for instance, went triple platinum. On record or in concert, though, one things has always been consistent—KISS stands for rock’n’roll at its bawdiest. It’s doesn’t get much better than «DO YOU LOVE ME, » «STRUTTER. » ans « ROCK AND ROLL ALL NOTE, » although ironically their only big commercial radio hit was Criss’s ballad, «BETH.» Peter Criss--born Peter George Criscuola--is a true rock'n'roll survivor. the Brooklyn-bred drummer,whose affinity for jazz prompted him to seek out Gene Krupa as a youth, ran and ad in Rolling Stone that changed his life when bassist Gene Simmons and guitarist Paul Stanley decided to respond. The magic they made when they first played together, along with lead guitarist Ace Frehley, was undeniable, and it never ceased to transmit to their audiences. Soon they were rich and famous. But the flip side of success was the lure of the much publicized demons: the abundant drugs and reckless lifestyle. Criss got caught up in it and admits that it contributed to the differences that caused his split from the band. Before the break, though, in 1978. each member released a solo project, and Peter Criss solo went platinum. He also recorded the successful 1979 band album, Dynasty, but found himself out of the picture before the group released Unmasked the following year. Criss continued down the solo trail, though, and that same year released Out Of Control. It was a hard road, though, Let Me Rock You, in 1982, was only released in Europe, and the next release, Criss Cat #1, wouldn't come out until 1994. These were not the easiest of years for the drummer, but they were definitely character-building times. Criss isn't likely to make success for granted again. Criss is thrilled that 1996 found the four original members of KISS ready to reunite, and that the group was capable of creating new music. He is proud of Psycho Circus, their new release, because he knows the group is not just riding on its past. The four members are feeling exhilarated with the potential of the band. And there are huge projects happening for them--a movie called Detroit Rock City with New Line Productions, the TV show Millennium, and the construction of a KISS car! Physically, Peter is in better shape than ever before, and his sense of humour--evident throughout our conversation--is intact, as he pokes fun at the band and their images. "For a bunch of old guys, we're doing pretty good," he says with a laugh."I don't need my Geritol." I even like a lot of the music of today," he adds. "I really like Rage Against The Machine, Pearl Jam, ans even Marilyn Manson. I may not want to play that music or be in that situation--but hey, we started it. Who am I to say, "Hey, you look weird,". We were every mother's nightmare. It used to be, "Hide your daughters, KISS is comming to town," so I can't say anything is strange. When you start saying it's too loud, you're too old. But let me tell you, it's still not loud enough for me."Besides the reunion with his KISS bandmates, what has also made a big difference in Criss's life is GiGi, a woman he met during the band's '96 concert tour. They married last May and moved to a quiet section of New Jersey, where Criss is building a record studio. Aside from helping to ground Peter, GiGi has awakened his spiritual side. "I have real friends around me now," he says. "I've known the guys in black and I've known the guys in white. I got a lot of good guys in white in my corner now and the best one is god. That's really what brought me back. I talk to him a lot. We get along great, and He's given me a wonderful life."

MODERN DRUMMER
This new album definitely sounds like KISS, but it has some other influences
PETER CRISS
I think some of that may be [producer] Bruce Fairbairn. We figured we needed some kind of referee since we hadn't been in the studio in so many years. We needed someone who could call the shot and say, "That is cool" or "That isn't cool." We wanted someone to take control because all of us always want it our way. I loved working with [former producer] Bob Ezrin, who did the epitome of KISS, Destroyer--my favorite--and that was the direction we wanted to go in for Psycho Circus. People are comparing it to Destroyer, but I actually think we've become a little more tasteful. I think we're better musicians today and we get along better. In fact, we get along great. We make fun of ourselves and we're constantly laughing at ourselves.
MODERN DRUMMER
Why do you think it has finally gotten to that point? Is it just maturity?
PETER CRISS
Absolutely. We all have kids-even teenagers. The drug scene is way past everybody, and all the "demons," as we call them, are out of our lives. I think thet was a big problem: We had to get rid of the egos and the demons.
MODERN DRUMMER
How was the process of making this record different form the old ones?
PETER CRISS
On this one, everbody was doing everything--I'd be sitting with a bass guitar, I'd come up with some harmonies, and we were all consistently coming in and out with ideas. Basically there were no rules. We wanted to do whatever it would take to make this work. Bruce called the shots, but we were very involved and it was a real band effort. We got back together, the reunion was successful, and we were happy with what came out of it. We got to know each other again, and we stopped bullshitting each other. The honesty was brutal, but it was for the best and it was for our fans. The KISS fans had been waiting a long time for this--seventeen years. We wanted to make sure that everything we did was a group effort. In the old days it was, "You play your part,I'll play mind," but we've come a long way since then.
MODERN DRUMMER
What track did you do together?
PETER CRISS
"Into the Void."
MODERN DRUMMER
Is there one way of recording that is easier for you?
PETER CRISS
I always thought everything should be done together. But I learned a whole new lesson on this album. You don't have to do everything at the same time. You can do some stuff without the lead guitar player there or without the rhythm guitar player, or even the bass player. Because of that there wasn't as much pressure. Sometimes when we're really on top of each other, I feel the pressure. We really made it easy on ourselves this time.
MODERN DRUMMER
So all the previous music was recorded with all of you in the room?
PETER CRISS
Yes. It was always done that way, but that's a hard way to go about it. We weren't going to do that this time. We had just finished a hundred ninety-eight shows, and everyone was tired.
MODERN DRUMMER
The drums sound is amazing on this record. Can you tell me something about how they were recorded?
PETER CRISS
My tech, Ed Kanon, talks about triggers, and I still don't quite understand them, but everything is triggered. I only look at them as a way to enhance my sound. Thay make the sound brighter and bigger. I used to think I was cheating if I was playing with triggers, but I have a different opinion about them now. I'm a reborn drummer. Everything seems new to me again. I want to play drums now. In fact, I look forward to playing. I had been going through the motions, not really feeling it, but now I can't wait to get behind the drums. And I think part of that is because I consider DWs the best drums ever made. I sat down with John Good from DW and he asked me what I wanted. I told him what I was looking for and they built me the best set of drums I've ever had.
MODERN DRUMMER
What did you tell him you wanted?
PETER CRISS
A sound that, even if I didn't tune the drums perfectly, was still awesome. I think their sound is evident on the record, even on the tunes that did incorporate the triggers. The drums just cut through. I have never played a set this great, and they make me play better. I guess if you get a better instrument, you play better. When I was a kid, I had one pair of sticks, and I made them last by putting a lot of gaffer's tape on them. I had to do it because that's all I could afford. If there was a crack in one of my cymbals, I'd tape it and hope the cymbal would last. Now I have the best of everything and it makes me play better. Bruce Fairbairn even said that there is no better drum to record with than a set of DW's,and he's recorded everyone's drums. They're incredible. They came through, from "Psycho Circus" to "Into The Void," which is my favorite song on the record.
MODERN DRUMMER
What are your other favorite tracks on the record?
PETER CRISS
The songs that I wrote were all turned down, but Paul Stanley and Bob Ezrin wrote a ballad for me. I've got to give them a lot of credit for going in and thinking of me and knowing I wanted a good ballad. And although I still wanted my tunes to be on the record, hey, I'm on there. I look at it like this: It's better to have a piece of the pie than no pie at all. I wanted the whole pie before. Now I'm just proud to be a part of this band. I love "Psycho Circus," which is very Alice Cooper-inspired. I have a good drum break on that one, where it goes from fours to eights on the kick. It's like that one short solo Ringo did ["The End"]. I also really like Gene's song, "Within," which really sounds like the Beatles to me. "Wow, I'm playing a Beatles song. "I also love "Into The Void" because I love Ace Frehley--as a person and as a bandmate. He's the Bronx, I'm Brooklyn--we're both street guys. With "Into The Void," He called me early one sunday morning and said ,"Wanna come over and play? I Have this song and I really want to get down." It meant a lot to me, so I have a special feeling about it.
MODERN DRUMMER
Let's talk about some of the older material.You mentioned how much you enjoyed working with Bob Ezrin.
PETER CRISS
I think Bruce Fairbairn did a great job. I think he was there, he understood it, and got into it. But Bob Ezrin really had his finger on the pulse in the old days. Ezrin got me to play things that I had never played in my whole life, or even thought I could play.

THE END