Welcome to the 9 Lives of Peter Criss

as originally posted my Marie at the Detention Hall. Nice find, Marie!

Many thanks to Wildwoodkiss75, the interviewer, works for KISS Kollector, for posting this on the KISS News forum. Please give him credit if you re-post this anywhere else - thanks

Hello everyone! In August 2007, I sat down with Peter Criss for am in-depth interview with the original Cat-Man, who was promoting his fifth solo effort, ONE FOR ALL. This interview was originally supposed to be in the September edition of KISS KOLLECTOR. Recently, KISS KOLLECTOR has decided that it will no longer be updating it's site and is now going to two issues a year and myself not knowing when this interview would actually appear, I decided that my sit down with Peter should be read as recent as possible. My Christmas gift to you all is this -- Ladies and Gentlemen, Mr. Peter Criss.

(C)2007 Starry Eyed Productions

The Roar of The Catman:An Interview With Peter Criss
By J. Frank Hagan
Peter Criss, legendary drummer and co-founder of the world's greatest band, KISS, has his fifth album, ONE FOR ALL, coming out July 24.
I spoke with Peter from his New Jersey home two weeks prior to it's release and his rare in-store appearance at the Virgin Megastore at Union Square in New York City.
Peter is very honest, excited, and candid in this fascinating interview.
I'd like to thank Peter and Gigi Criss, Lori Lousararian/Rogers & Cowan, Noel Webster and Winnie from Virgin Megastore/Union Square.

Kiss Kollector:One For All is a autobiographical album for you, would you say this CD is the most personal than any of your previous solo efforts?

Peter Criss:Absolutely. This one that will be out in two weeks - I'm really freaking out about. It is the most honest stuff I've ever composed. I really reached down in my heart and really wore on my sleeve this album. I didn't pull back any of the blues or the pain I was feeling when I sang a certain song. I know who Peter Criss is, he's not changed. I'm still the same kid from Brooklyn. I love Motown, I love jazz... It was the same stuff I still love and I still wanted to do only I did it the right way this time. But I've definitely have done songs... I've composed new songs... nine songs straight from the heart. I've literally opened up myself to a lot of positive things. But if anyone is used to that... I started in a band Kiss - Talk about four crazy guys running around in blue-black hair, make-up and lipstick in the 70's - Had to go in a dog store to get our cool clothes or our collars or whatever we got.
I am ready for criticism, but the one thing I know I sit here and I know I did my very, very, very, very, best on this, this particular CD, there better be another one because I don't think I could find that much pain again (laughs) or want that kind of pain again for certain songs I've sung. It's all positive stuff of what of I wrote, but in it there some consequences , love 'em and leave 'em and find someone new and there's a lot of change in Peter Criss that you'll hear in this CD... Major change.

KK:Cool. That's what I like, a versatile artist.

PC:I'm with you. Again, I find, I grew up with music around me constantly in the house. My mother was a great singer - She should have made it. And she used to sing us a wonderful song called "What a Difference a Day Makes", so I redid that for her with the great Paul Shaffer (*Note: A living legend in the music world and band leader of David Letterman's World's Most Dangerous Band) who is on my new CD, and the great Will Lee (*Note: Also a musical living legend, currently playing in David Letterman's band as well as with countless artists including Ace Frehley 1978 solo album), and he got me Clifford Carter who is one of the most top arrangers in the business and this girl Jen Johnson (*Note: Both Will Lee and Jen Johnson were at Peter's in-store- Both wonderful people.) who I do a duet with on "Doesn't Get Better Than This". So I really got some great, magical people that knew what I wanted and what trip I was going on. They were very in-tuned that this was a very personable album for me... I'm gonna' have a book and I'm going to finish it (laughs), I know I keep saying it, but it takes a lot of time... It'll probably take another year or so to pull all the notes I've done over the years, all that stuff together and that will happen, but this is universal. It's like you'd have to sit down and read about my life... The option I had of doing a book or doing this (CD) when I started building my recording studio which is done... I (worked non-stop) down there. Even over this winter I knocked off a rock album finally with my guitarist Mike McLaughlin, who also stayed in the guesthouse and we finished the swing album that I've been working on for three years and that's kind of in the can and done. But for the reality of this thing now, I wrote two songs personally just for the fans. One is called "Faces In The Crowd", the other one is called "Memories" and if I'm sticking my nose up their butt, good, they deserve it. Because all Kiss fans are the most loyalist, neurotic, crazy (fans) I love in the world. No one can have a more endearing follower than a Kiss fan. I have Peter Criss and Kiss fans. I'm so blessed and thank God for that everyday, and this album has a lot of my spiritualism in it. I'm a Catholic. Most fans know that. I'm very Christian. I believe in God, I still go to church. I'm very into that more... I'm getting older these days, I'm kind of bonding with Him so I get a good seat (laughing)... So it seems to happen that degree you get a certain age you start going 'Wait a minute I should talk to the Man a little more... (laughing) I want this guy a little happy.'

So, I feel in a way I'm kind of giving back a lot. I paid for this record, I produced it myself, where I felt... No one was closer to this music than me and that made all the difference of me wanting to produce it. I've been around Bob Ezrin, Vinni Ponica, Eddie Kramer... If I didn't learn something from those guys, through all the years, then I'm an idiot. Really. And I had with me again with Paul Shaffer around and Clifford Carter coming in every day, it was a dream come true having these real musician musician's helping me. Even on the "It Doesn't Get Better Than This", Charles Kipps (*Note: Award winning Producer, Writer and Actor - also producing the film "Frame Of Mind" which Peter is in) who wrote that with me and he wrote a hit for Aretha Franklin and The Temptations (*Note: Charles Kipps wrote the top ten hit for Walk Away From Love ) and he wrote the movie "Fat Albert" , he got an Emmy for that, so it was fun to work with him. I kind of made it a real small family affair, it was a very sensitive piece of work. Paul Shaffer said that ,'Boy you're-singing Send In The Clowns? I got be on that'. And when I did it, even Clifford, 'We fell in love with it' because I sang it with such feeling, it was the first song on the album and it was done right after I got home form the Melbourne Symphony which was fantastic, a kid from the streets playing with a sixty piece orchestra with all your make-up on... It was one of the most dynamite nights of my life but Ace wasn't there.

It was hard for me finishing that whole tour, because I thought he was going to be on board - that's what I was told and once you sign contracts, sign contracts... And then every night to see my road manager in Ace's make-up (was) really hard for me to handle being a founding member of an historical band. And when the tour really ended and I came home and I felt that particular song, if you listen to the words, it's about a break-up of people that have been together for many, many years and I saw that with us again, as Kisstory repeats itself, I saw a lot of the same horror, and the goodness, crankiness and at the end I saw a lot of stuff... On this particular (Send In The Clowns) it says that, we don't want the same thing anymore or on different pages, we're all grown up, we've got children, we've changed, life's changed - Music's totally changed...

KK:Oh yeah.

PC:...And attitude's change. So, money causes much evil and power and it's dangerous tools. I try to stay away from that, maybe that's why I go to church as much as I do, and my fans know that, that I don't lie, I tell the truth and that's also a double edged sword for me because I'm so honest at times it gets me in trouble . I can't lie because I got to live with myself, I've got to look in a mirror and that's how I felt about this particular CD ONE FOR ALL. It's really got my guts in there, it's got the love that I feel for my Kiss fans that I could not do have done a more anthem for them on "Faces In The Crowd". It's a story... It's about how I feel when I go back to my room and there was nobody was there and the clapping and the screaming and the bombs were done. It's a very lonely moment for me, it's about that, and then I sort of transport myself into a stadium , say in front of a hundred thousand people and then it goes back to the room... the real stars in this tune, the Kiss fans. They're the real one's that have the spotlight on and that's how I felt and that's how I went about the whole album with respect to my people, my public, my fans and a lot of it was for me... I had to get that shit out (laughing). I'm lucky enough that I'm amongst very few drummers, you got Phil Collins, Don Henley, Ringo Starr. There's not many more really drummers that are, that I can think of, successfully have gone to the top as I've just mentioned, so I'm in a really rare group and I did write "Beth", it was a big hit, I got a People's Choice and I am the drummer, so I have more than just drumming. I love to write words and sing music. I'm really lucky to have these extra talents, as they say, to don my blues or don my joy and I did all that on this album.
When you hear it from the beginning to the end, it really takes you on a trip.

KK:I like that- It takes you on a journey.

PC:...Over the years now I've gone on to acting school and I've learned more, I have a card for Broadway now, went to singing lessons, I studied with a singing with a teacher... I've changed and when, I say Peter's changed, I changed a lot of my style and you'll hear that in this album. You'll hear a big difference in the vocals, a major difference in the arrangements and feel, again, like I said when you listen to the beginning by the time you get to the ending which is "Space Ace" which I wrote to Ace, it goes out on this wild Latin jam and leaves you really up there, it really leaves on an great up-beat thing, for a ballad album that has a lot of blues, I feel it leaves you feel pretty cool about the whole thing.


KK: I can't wait. I heard some of it on the Internet. And it was quickly pulled.

PC:The sad thing is it's something I don't do, I don't believe in stealing. I wouldn't steal from you and as I do anything with my heart and soul and into that piece of work, like a painting and I put my own money into it because I believe in me and the Kiss fans and the fans that follow me - And then someone steals it. It's wrong to do it. So, we really held tight on this stuff and didn't let it go out as much. Paul took a whipping for this crap. His album got downloaded way before it was coming out and I believe it hurt his sales. Yet again, yeah, I'd like to see my money come back for what it cost to do this record. In general, it wasn't done intentionally about that. We all know some people live for that (We both crack up laughing). I'm not mentioning any names.

KK: No, I'm not either (Peter and I are still laughing)

PC:I really sung my heart out on this CD man, it took me months to come off the thing. I was just on this melancholy thing for a long time. I finished all the work and we mixed it - I mixed it with the great George Marino, by the way, who mixed John Lennon's "Imagine" , Jimi Hendrix- all the greats. And when he heard it and turned around and goes 'That's the most honest friggin' album I've heard in years... I love it' I thought holy shit, I was blessed by the Pope.

KK:George Marino's done your albums with Kiss...

PC:Yeah, but George Marino, as you know, he's worked with the greats. He's the man who masters your records. That's the man that does the final cut and (he is a)really important man. I also had a chance to also work with a lot of people who I would never work with. When you're in a band like Kiss, you kind of come (in), lay your tracks, go on vacation. This time I got to meet all the nuts and bolts of what's really behind it. I had engineers living in my guesthouse for weeks. I had my guitarist in and out. Then I brought (the CD) to the city to analog to the board and then we mixed it. All the people I met through my journeys. For that alone, it was worth it.
I bumped into my old buddy Phil Ramone, who did all of Billy Joel's albums, when I was working, I hadn't seen him in years. So, I was kind of playing, I guess, the Orson Wells role. I was producing, singing, writing, drumming, dancing (laughing)... I did it all on this thing and I'm very proud of that. It was done with a lot of love and a lot of hard work.

KK:Do you find it the heat is on, so to speak, or is it more relaxed because you are in control and in the producer's chair?

PC:No. I feel the heat's always on. That's what gives me my edge. I like it. The heat will always be on in the business. Like Keith Richards said, "If you want to get in the business it's full of piranhas, you better not be tasty."

(laughter)

PC: Very true. I'm in a business. But again, I don't like that, I like the music. And it's tough.

KK:Now the title track...

PC: ...Yeah, the heat is always on, absolutely, maybe more so now because I literally wrote new songs, which I haven't in last twelve years is the last time I put out a solo album (*Note: CAT #1 ). And I put out more solo albums than anybody else in the group.

KK:Yes you did.

PC: I'm proud of that. I know the last bad deal, TNT Records, I did that album - I don't know what went on with that but I know I was glad to leave that (laughing)... Move on from there. Now I've got my own label and I'm very excited.

KK:I'm very excited for you Peter.

PC:Thank you.

KK:The title track, One For All are about the event surrounding 9/11...

PC:Yes. The cover, I designed it myself with the artist - I really got into this piece of work and the borderline is all the flags of the world and the cover is the world and there is a two-winged old airplane pulling a banner that says Peter Criss on it... It's very artsy and on the back is a picture of myself and inside is all the lyrics. I like people to read the words I've written. It's pretty cool... Yeah, It is about 9/11. The song "ONE FOR ALL" is all about how war sucks. It's the worst thing in the world and as I watch TV these days, the crippled look on mother's faces, on wives faces watch their husbands go off to war, or their sons, and knowing these people have children now- they're men, they're 40 some year old men going over to die. For what? We both know. So, "One For All" , All For One is my attitude lately about the world and we're not in great shape. After 9/11, It blew my mind. I mean, I was here... I went to New York to did what I can do (and) I raised nine million dollars for the police and the fireman, I'm very proud of that, with Paul Shaffer and a bunch of other people, but we've dug right into it and it still blows my mind when drive and I don't see them (*Note:The World Trade Towers) and it hurts... That's why my cover for ONE FOR ALL - if you check it out the two LL's are actually the towers.

KK:Really? I didn't catch that. I mean I've seen the album cover, but I didn't catch that.

PC: Yeah, it's a trippy trivia thing I just gave you. Look at the LL's you'll see the towers, it'll freak you out. I'm waiting to see how many people catch this. Very trippy.

KK:Do you remember what you were doing that day?

PC:Absolutely. I was in church and I came home and Gigi said a plane had hit the World Trade and I said, 'Yeah, right. Probably one of those little one's.' And then I watched that (second) jet smash into it (the second tower)... It was so surreal, it was like a bad movie and I just could not believe the chaos, people running and screaming and I thought it was the end of the world, I swear to God I did. I thought, 'Oh my God', It's something not to get over... It's infamy for me, it's in-bedded in my brain that whole thing and to write even about it and get a little of the pain in a song... I'm very touched that God gave me that much because, again, it says, there in the lyrics, "Mother's watching their sons go off to die," and it's very true. Maybe I'm getting older and becoming very political probably because I see a lot of wrongs and it sickens me.

KK:I feel the same way as you do Peter. War is hell.

PC:Exactly right. That's the lyrics used off my song, that was on the Peter Criss album, Cat#1 album with "Blue Moon Over Brooklyn" and I wrote a song about the Civil War how I thought brothers against brothers was insanity. Fathers against sons was insanity fighting over what? Over slavery. Okay. That really bothered me and I'm that type of kid, I grew up very poor, very tough neighborhood. And when I see wrongs, I try to right them out and that's what I thought... The band I started, the band I was in, we were there for the kids in the classroom that get's beat-up, or the weird kids that they all think is weird- That's kind of what we were about to make those people feel great about themselves. That's what this album's about. There's a lot of trouble in the world. There's a lot of little children being molested and raped or killed- There's people being killed on the streets for nothing. I thought I'd put out a little something that makes the fans, you know, get touched by.

KK:I know the fans are excited.

PC:....I am really looking forward to my in-store that's going to be in a couple weeks, so I get to meet you.

KK:How was the The Bad Boy's Tour you did with Ace prior to the Reunion?

PC:Playing with Ace in clubs was about the worst time in my life, a horrible time. My mother passed on. I went through a major divorce, went through a lot of trouble with the tabloids... What else could I do? So, I sort of put a roadie band together, went out on a bus... It was better than staying home and crying in my beer.
Again sometimes being blessed as an artist, go out and work a little bit and maybe work yourself through the crap and you get a second chance again you don't it. I didn't blow my second chance...

KK:...No you didn't.

PC:...I'm not going to deny that. I've got a wonderful life from all of it, it turned out fantastic. The ending was atrocious, as always, history repeats itself. But this time I was aware of that. I'm a happy guy. I don't dwell on things that are done, you've got to think ahead.

KK:Move forward...

PC:Right man.

KK:That's the way to go.

PC:You can't keep stirring it.

KK:What's the point?

PC:Just leave it alone and move on. That's what Peter Criss is doing. I'm just kind of moving on to different pastures that knowing you guys are going to hopefully dig what I put out.

KK:I dig everything you put out and I'm not kissing your ass.

PC:I believe you man cos' basically, like again, I don't bullshit either. I shoot straight... If you don't think I could tell in voices by now (laughing) about people by now, you're crazy.

KK:You recently said and I quote, "The most important thing is my fans and other people will get a whole new outlook on me with the CD." What did you mean by that?

PC:Musically did something I consider very musically... Basically I'm always known (as a) heavy hitter, hard heavy metal band... You'll see me singing "Beth" and if you got my first solo album there's a bunch of... "Kiss The Girl Goodbye", there's a bunch of love-songs... "I Can't Stop The Rain" that I love...

KK:I love that...

PC:I love those kind of ballads that I can really sink my teeth into those and that's what I'm kind of doing with this album, but there is another vocal style I'm using that I thought I would never use or could use and I went for it. I went in with a very musical aspect than three kick-ass guitars, you know a Desmond Child sort of production. This is much different, this was Paul Shaffer, Will Lee and Peter Criss and I was sort of feeling as a musician, I was taking a step, in an upper-class sort of vibe, in my life that I've learned a little but more... how to drum a little better, sing a little better and that's what this is.

KK:How did it feel to have to your friends, Paul Shaffer, Will Lee and Mike McLaughlin step up and go to bat for your album? It had to feel pretty damn good? You could have hired studio musicians or you could have any rock star you wanted on your album.

PC:Mike McLaughlin and I go back to '87. He was in CRISS for those early years. I've known Mike a long time. He married a Chinese girl, he's got two kids, he's living in like Beijing and he and I had some amazing connection, soul connection. I by far think he's one of the best guitar players I've ever played with. His leads on this album are scary, they're so fucking good (laughing)... They are so good. And I figured why do I need anybody else to play guitar when I got this guy and he's just a wonderful musician... Look around... Paul Shaffer and I go 'Who's gonna' get better organ sound in the world or baby grand'. Will Lee has got be one of the best bass players I've ever played with in my life. So I had to be a musician's musician. I had to really step up to the plate and say 'hey man, I've been around the block, I can do this, I can take this on. I can take something like "Send In The Clowns" on'. Paul (Shaffer) was really or that he was so impressed that maybe I stepped up a range in my music and he's always said he's been a fan of mine... I couldn't have a had a better right arm than him and Will.

KK:I know one of things the fans are going to want to know that are you going to tour in support or do some shows to support ONE FOR ALL?

PC:I'm probably at this point going to put one foot in front of the other like a kid crawling. I wouldn't just go out for the sake of going out and making a jerk of myself or make a jerk of this... blow this album that's really put so much of my heart and soul into. It would have to be, really, again, You wanted the best, you got the best. Now that's not a problem. My guitar player would on a jet tonight if I told him I wanted to go... And I know great bass players, I know great keyboard guys and I know damn well I'm not playing Madison Square Garden, I'd have to play smaller venues. That doesn't bother me at all one bit. But I want to first see what's kind of going on when I put this out, get a vibe for things. And it feels kind of cool because I got a rock album right behind it. I might. I say never say never. I said that once, but I got in trouble.
(laughing)
Gene and I were eating dinner and when we stopped and looked at one another and said that 'I'd never play with you again in my life' and he said the same thing, and look at us, we're in make-up again. I've learned to never say never. Things look good, full moon's rising and the Catman maybe howling again.


KK:Besides ONE FOR ALL which of your solo albums are you most pleased with?

PC:This would be it. Yeah, this one here is the best thing I've done in my whole career.

KK:In your opinion, do you feel, the 1978 solo albums was a good idea?

PC:It worked for me. I thought it was pretty cool, but was a cancerous thing... 'no do my songs for the show, no do my songs... No, your songs are not really Kiss, meaning me, so there was a lot of confusion going on with that stuff. But I was kind of excited because I had a lot of songs I wrote with Stan Penridge(*Note:Stan Penridge passed away May 22, 2001 at age 50), rest his soul, who co-wrote "Beth" with me and a lot of songs we wrote together... We had a shit-load of songs, so I was like,' you mean horns?' ...'Black chicks and Joe Cocker shit ?'and they're like 'Yeah, go in do whatever you want, we're all going to go in and do whatever we want.' That I loved because now I am doing that and I have no one over my shoulders saying I don't hear a hit. What are you doing there, that's kind of strange? I had nobody telling me what to do and I love that. I am my own guy again, myself, and it's kind of a nice feeling at least by sixty to be your own man...
(laughing)
I have the heart of a fifteen year old though I think it's what keeps Peter Criss very young. Again, the music and the fans, it's a lifeline plug for me and always keeps me on it. I swear.

KK:I did my homework here, and I did not know you played with bandleader Joey Greco?

PC:Oh yeah!

KK:How did that come about?

PC:I went one night to the Metropole where Gene Krupa used to play- Got my little lessons there from Gene. And eventually I went one night to hear a band called Joey Greco and the In-Crowd. I knew one of the guys and he said their drummer, sit-in drummer, broke his leg and I could have the gig if I wanted for the whole summer. And I said 'Wow.' I flipped out. I ran home, I told my mom I can't finish my last year of high school. I'm sorry. I've got a job in New York playing in a band, I've got my dream, just let me do this, I'll make it, I know I'll make it. So, I sat in and they loved me. I got the job immediately.

KK:Who are some of your other drumming, musician influences?

PC:I love Dino Danelli from The Young Rascals. I thought he was really a 'wow' drummer. He was so excitable to watch. I love Charlie Watts. I always loved his steady -eddie beat, his solid beat that you can dance to. One thing I love about the Stones you can dance to the Stones. To me, anything you can dance to is good and I find that Charlie, and he had that little shuffle, that I sort of have from my jazz days. I don't know if you know that Charlie Watts is a big Charlie Parker guy, he's a big jazz guy himself and he has that little swingy thing that you naturally have in your wrists. Those two drummers I really admire. I don't like drummers that are constantly drumming, you don't need a fill every five seconds. I just think... and maybe that makes me feel that way because I'm a singer also and I wouldn't want that drum roll in the middle of my, singing something or my lines that's really important and in comes this loud crashing cymbals and drums... I would go crazy. So, maybe I have a more of a respect for a solid drummer like Ringo Starr, Charlie Watts, Kenny Arnold... Kenny Arnold, close friend of mine, love 'em to death. He's a great drummer. Solid drummers impress me, Jim Kelpner, Steve Gadd, all these guys I really like. Great guys, great drummers.

KK:Besides playing the Garden, what is your highest point for you playing in Kiss?

PC:That was.

KK:I knew you were going to say that. That's why I threw the Garden in there first.

PC:I mean promised my mother when I was around thirteen and was in New York City, 'I'm gonna' play there someday ma. I'm gonna' play Madison Square Garden for you.' And we played the first time, to watch the two of them sitting on the side crying. My dad, my mom were crying, was the height of my highs- to me I made it. That's what I wanted to do and I did it and I knew it when I looked over at them and there I was sitting doing "Beth" at Madison Square Garden to me that was my pinnacle. That's all I ever wanted in life was that moment.

KK:Not too many people get a chance to accomplish that. That's a blessing.

PC:Oh my God I cannot tell you how lucky I am to have that... I think of at least they saw me at the Garden so they were proud of me.

KK:You have a deal with Pro-Mark drumsticks...

PC:Now I do (laughing)

KK:..You have two different types, "Rock Cat" and "Jazz Cat"- Did you have anything to do with the design of the sticks?

PC:Absolutely.

KK:I'm not a drummer so...

PC:I designed them. Came up with the weight, the length and I came up with the names. We worked together quite a few months they were sending me shit loads of sticks until we finally had a meeting and I thought this is what the sticks should be for jazz and this is what the sticks should be for rock because I play both and I know how like the feel and if I feel really good on this stick on jazz and knowing I need a little heavier one for rock- which you do, cos' it's a harder music, big , bang-bang-bang you need a heavier stick. The rock sticks got a little more weight to it and the jazz stick is a little lighter. I'm very proud of them. I was happy I came up with those.

KK:What is PETER CRISS DAYS?

PC:Peter Criss Days have been... We did one time, spend the day with Peter Criss one few years back and it was great man, it turned into a wonderful thing. I did a Q&A, I did pictures, some signings. It was incredible, wild feeling. So I've been talking now to my people thinking of doing a Peter Criss Days where, not only you have a day with Peter Criss, I would also invite some of the expo people. I was thinking of actually bringing one of sets of drums that you could sit behind them, I was thinking of bringing my make-up thing... A bunch of surprises. And actually maybe performing for an hour. That's a PETER CRISS DAY.

KK:Are you referring to the one that was up in King of Prussia, PA., a few years back?

PC:Yes. Similar. Only we would run it. Similar to that. A vibe like that.

KK:What's in your ipod or your CD player at the moment? What are you listening to?

PC:Gigi got me one (an ipod) and I haven't even set it up yet and it's still in the box. (laughing) But I've been carrying around my CD player,and I listen to Benny Goodman the other day, my thing, Roy Orbison, "Rubber Soul", and I had on the "White Album". That's what I've been listening to.

KK:Have you seen KISSOLOGY?

PC:I've not seen Kissology. No.

KK:Okay, this is something I kind of took off from "Inside The Actor's Studio."
What sound do you love?

PC:The sound of kid's laughing.

KK:What sound do you dislike?

PC:The sound of a drill in a dentist's office. (laughing)

KK:What's your favorite word?

PC:(laughing)

KK:The "F" word?

PC:Yeah, I guess so.

KK:What's your least favorite word?

PC:It's a few... 'I can't do that.' They all go together. I hate to hear that. It really hurts my brain... It hurts my head.

KK:What turns you on?

PC:A good black and white movie. A real Billy Wilder, like "Sunset Boulevard", a real quite, real black and white movie and to sit in the dark and check it out. I really love that.

KK:What turns you off?

PC:People who think they're sanest in their own brains. (laughing) Is that how you say it?

KK: Yeah.

KK:Final words for your fans?

PC:God bless you all for giving this Catman a wonderful life.

KK:And you are the one and only Catman.

PC:Thank you.

KK:Don't ever forget that.

PC:This is fun.

KK:This has been a terrific interview. I can't wait to see you on the 24th and I wish you all the success in the world with this album.

PC:This is very cool stuff. I'm very excited about all this. Don't forget about the twin towers and if you look carefully you'll see an American flag on top of one of the twins.

KK:It's kind of like looking on the cover of Playboy and trying to find the bunny.

(laughter)

PC:To me it was more of the Sergeant Pepper. That's kind of how I thought about that.

KK: Alright Pete... I'll see you two weeks.

PC:God bless.
KK:God bless you too.

END

very nice

It's just too bad that the KISSology thing didnt work out for Peter. He never made a dime off of it.

forpetessake wrote:It's just too bad that the KISSology thing didnt work out for Peter. He never made a dime off of it.

yeah.. well peter messed up alot of things.. i remember a long time ago i got 3 or 4 kiss magazines.. think they were called kiss asylum.. peter was interviewed.. one of the things i allways remembered is he said he wished they would get back together, they would make a lot of money, fans would love them and so on.. he did get that chance. he blew it he allways (allmost) so angry when we see him backstage! if i were paul/gene i would probaly do the same thing they did.. nothing worse than hanging around a guy whos constantly negative.. or mostly..
ohh well .. i still get the kissology 1 (and some from 2) and soon 3 to look at, when i wanna see him a bit more happy

And all that is true, but it still remains sad that Peter didnt get to enjoy KISSology.