DVD Review: Bee Gees “In our Own Time”

DVD Review:  Bee Gees “In our Own Time”

Eagle Vision

All Access Review: B-

Little mention is made of “disco demolition night” in the new Bee Gees’ biographical documentary DVD “In Our Own Time.” Not a proud moment in music history for anyone involved, the July 1979 event, exceedingly fascist in its design even if its blockheaded organizers never imagined the devilish destruction and chaos it would incite, was the culmination of a severe backlash against what many perceived to be an utterly synthetic sound and polyester, cocaine-fueled lifestyle.

And maybe disco was all that, but the tide of hatred that swept over Comiskey Park that crazed night in Chicago during a twi-night doubleheader between the White Sox and the Detroit Tigers was pretty frightening and hard to fathom. Then again, when you combine the torches-and-pitchfork sentimentality of mob violence and free-flowing rivers of beer, perhaps it isn’t all that surprising that a half-baked plan – dreamed up by shock jocks, of course – to blow up a crate full of disco records on a baseball field in front of a stirred-up crowd would end in disaster.

Much of that mindless anger was directed at one group: the Bee Gees, disco’s royal family. The “Saturday Night Fever” soundtrack, one of the biggest albums of all-time, ignited disco fever worldwide in the mid-1970s and it made the brothers Gibb international superstars. And in one fell swoop, all the good work the Bee Gees had done in the late ‘60s, the gorgeous melancholy pop and Beatlesque psychedelia of early hits like “I Started a Joke,” “How Can You Mend a Broken Heart?” and “New York Mining Disaster,” among others, was forgotten. Only in recent years, with Rhino Records reissues of beautifully crafted LPs like Bee Gees’ 1st, Idea, Horizontal and Odessa, their crowning achievement, has the world begun to recognize their songwriting and studio genius.

“In Our Own Time” follows the lives of all the Bee Gees, from their childhood on the Isle of Man to the family’s momentous move to Australia, where they gained some fame as teen idols, and then onto their return to Britain, where they just missed out on the Merseybeat hullabaloo but built themselves into pop hitmakers, and their first forays into R&B and blue-eyed soul that would transform them, in fits and starts, into a glitzy, hairy-chested, gold-chain sporting disco juggernaut. Wide in its breadth, “In Our Own Time” flashes a vast assortment of vintage live clips, behind-the-scenes studio footage, revealing interviews – including extended time with the now-deceased Maurice Gibb – with all three members and many others involved in their meteoric rise and their sad tragedies, the most damaging of which was the death of younger brother Andy, a huge recording star in his own right whose lost battle with substance abuse has been well-documented.

Had the DVD not been so ambitious in scope, had it sailed on through the group’s halcyon disco days and called it a day, “In Our Own Time” could have been an essential historical document of the Bee Gees’ most prolific and exciting period. But, the filmmakers wanted to tell the whole Bee Gees story from beginning to the present, and while a noble effort, the story gets bogged down in minutia from the least interesting and blandest musical era in the band’s otherwise glorious history – see Barry’s embarrassingly saccharine, overly emotional duets with Barbra Streisand, an atrocity well worth forgetting.

What’s more, there’s a missed opportunity to dig into other, less savory aspects of the Bee Gees’ career. For example, no mention is made of their involvement in one of the worst movies ever made, 1987’s “Sgt. Pepper’s Lonely Hearts Club Band,” with Peter Frampton. “In Our Own Time” is simply a celebration of the Bee Gees’ artistry, especially those incredible vocal harmonies that rival those of the Beach Boys and their beguiling melodies, and for the most part, it’s an interesting study. All of the brothers are good interviews, pulling no punches about their sibling arguments and Maurice’s alcoholism, and there are plenty of visual treats from their 40 years in the industry. But the film drags at a time when it should wrap things up, spending too much time on the “lifetime achievement awards” they’ve received in recent years. It completely avoids some touchy subjects and gives too much attention to others that don’t warrant it. The lack of any extras and the scant liner notes don’t enhance the overall package.

Still, “In Our Own Time” does what it can to enhance the luster of the Bee Gees’ career, ferreting out the songwriting and recording details that few other such undertakings have ever set out to do and explaining how doggedly the group persevered in its attempts to morph into a stylized soul and R&B outfit that would gain the respect of their Motown heroes and models like The Stylistics. Those features alone, however, cannot quite atone for the DVD’s sins of omission.

- Peter Lindblad

Collectors Corner: Rockin' The Smiles

Rockin' The Smiles
VIP Spotlight: Dr. Brad Jennings

Dr. Brad Jennings

What do you get when you combine a passion for music memorabilia and the skills to create beautiful smiles? Well you get a "rockin' orthodontist"! Dr. Jennings is not only a Backstage Auctions customer but also resides in Houston. So we thought we would stop by his office and check out for ourselves what this "rockin' doc" is all about and find out a little about how he got into collecting music memorabilia.

How did you get into music collecting?

Always been a rock fan.  Been playing guitar for 20+ yrs, after buying orthodontic practice I wanted to liven it up with my style and thought a rock theme would be perfect for the kids and parents.  I had some Nugent stuff given to me from Ted in high school when my parents owned a large hunting store called Dunn’s in TN, and he wanted some bow equipment for his live shows.  My dad didn’t even know who he was when he talked to him.  Like a typical teenager I was so embarrassed when he told me that.

What is the focus of your collection (genre, band, era, type of item)?

I aim for bands that I liked growing up:  GNR, Van Halen, Zeppelin.  The parents all know them and kids know them from playing Rock Band of course! 

What is your method of collecting? How do you determine the authenticity and provenance of a piece of memorabilia?

Perry Farrell's Jacket

I got burned at first, and I’m sure I’ll get burned again!  I try to compare autographed things to other pics on the internet.  A lot of bands are selling their stuff personally like Nine Inch Nails and Smashing Pumpkins which makes buying a lot safer.  I’m staying away from buying autographs now.  I’m looking for unique things like personally owned things.  I have a jacket worn by Perry Farrell of Jane’s Addiction and a Nine Inch Nails flight case with travel stickers on it. 

What do you like most about collecting?

Sun Records
Sam Phillips Telegram

I like collecting stuff that has a story behind it.  I loved the Gene Simmons meeting and getting his stage played Axe bass.  I have a telegraph from Sam Phillips talking about Jerry Lee Lewis that I got from Backstage Auctions.  It means a lot since I grew up in Memphis with Sun Records.

What would you consider to be your "first" piece of memorabilia?

My first memorabilia would actually be some items from Drivin’ ‘N Cryin’, a band out of Atlanta, that I loved in high school.  Unfortunately, my mom tossed all my cool stuff out about two months before I started decorating the office!

What is your most-prized item (both in dollar value and sentimental value)?

Gene Simmons' Axe Bass
Check out the personal note...cool! 

Gene Simmons’ Axe bass complete with blood!  Getting to meet Gene was great and getting an actual stage played item that I have pictures and videos of him playing is awesome.

What is your favorite musical act or artist of all time?

I’d say Jane’s Addiction.  I’ve been listening to them from the mid-80’s and never seem to get sick of hearing them.

What was your most memorable concert you have ever attended?

I saw Smashing Pumpkins when they were just coming out in a small place in Memphis.  Billy Corgan said, “Here are 3 things about us:  We’re from Chicago, we don’t take requests, and we promise to kick your ass”  It was awesome. 

What advice would you give to someone that is new to the world of collecting music memorabilia?

I’d go after things that are personal to you.  I know Beatles stuff and Elvis items are worth a lot, but I don’t have a personal tie to growing up with them.  I love my Nine Inch Nails, Kiss, and Jane’s Addiction stuff b/c I grew up with them.

What does the future hold? 

Once a rocker...always a rocker! 

I plan to get a larger office in the future thanks to us growing as a practice, but I want to plan the rock theme into the building of it.  I’d like to have a room dedicated to items like the Hall of Fame or Hard Rock does.


Well Dr. Jennings certainly has a passion for collecting and his office was really cool. We really enjoyed visiting with him, his staff and yes we were tempted to sign up for braces. How cool is to to walk into your orthodontist's office and have this view? 

Dr. Jennings "pit"

Keep "rockin' those smiles" Dr. Jennings!

If you live in the Houston, Texas area and are interested in a consult with Dr. Jennings please visit his website for the office contact information:   http://www.rockingyoursmile.com/

DVD Review: Velvet Revolver "Live in Houston"

DVD Review:  Velvet Revolver “Live in Houston”

Eagle Vision

All Access Review: B+

On paper, it was a match made in heaven, or at least somewhere on the Sunset Strip. Four ex-members of Guns N' Roses – Slash, Duff McKagan, Matt Sorum and Dave Kushner – backing a slithering, swaggering, fashion-plate of a singer with a highly publicized drug problem in former Stone Temple Pilots' Scott Weiland seemed like a super group that might just rekindle the crash-and-burn, gutter-rock firestorm of Appetite for Destruction. To a large extent, the promise of this shotgun wedding went unfulfilled – that is if you were expecting Appetite … II, the Sequel.

With Contraband, Velvet Revolver came out swinging with a fairly strong debut, even if it didn’t quite provide the grit and utterly debilitating punch to the gut that Appetite did. A lack of new ideas, some rehashed guitar riffs and Weiland’s subdued sleaze all caused Contraband to fall just a bit short of expectations, which is not to say that Contraband missed the mark entirely. Gripping grooves, tough, irresistible rhythms and the occasional flashes of brilliance in Slash’s solos rescued Contraband from utter failure and gave hope that better days lay ahead for VR.

At the very least, none of the Velvet Revolver team has anything to be ashamed of in Contraband. It just wasn’t Appetite, and maybe, just maybe, it was asking too much to believe that it would be. After all, this wasn’t Guns N' Roses, and comparing the two projects is a little unfair. But, let’s be honest. From day one when this project was announced, everyone was waiting to see if VR measured up to both Guns N' Roses and the Pilots.

At the time of this writing, Weiland had returned to the Pilots, and Velvet Revolver was being coy about whether or not it had settled on a new lead singer. “Live in Houston,” a concert DVD that captures the band live in 2005, shows what the Weiland version of the band was capable of onstage.

A gutsier, sleazier, edgier Velvet Revolver emerged this night. Aside from the lamentably forced exhortations from Slash and Weiland for the crowd to abandon their inhibitions and lose themselves in all the sexual energy that a down-and-dirty rock show can muster, Velvet Revolver acquits themselves nicely, playing with vim and vigor in stomping through originals and a few covers of Guns N' Roses and Pilots tracks. They attack the heavy opener, “Sucker Train Blues,” with a pounding, frothing-at-the-mouth intensity that unrelentingly barrels on through satisfying, riff-heavy numbers like “Do it for the Kids,” the epically huge “Headspace” and an equally explosive “Crackerman.” Weiland plays the role of debauched ringleader perfectly, crawling around the stage like a predator, pouncing on monitors and pouring out sweaty vocals through a megaphone, while the band lets loose furious, bump-and-grind metal grooves. And on the Guns N' Roses classic “It’s So Easy,” Weiland sounds just as dangerous as Axl ever did. 

Captured from a variety of camera angles, Velvet Revolver sizzles live, and the quick cuts and creative image shaping add to the excitement of a live performance that tears the roof off the place, even if VR flat-lines on a weakened “Big Machine” and a boring take on “Used to Love Her” before reviving itself for “Slither,” which comes down from its atmospheric headspace to hit the streets with roaring guitars.  

Overall, “Live in Houston” is not only a cracking concert DVD, but it’s augmented by no-holds-barred, behind-the-scene footage and candid interviews that talk openly about helping Weiland get sober and how the band fought over who the lead singer would be before getting Weiland. Expertly filmed and edited, with a whole lot more to offer than just electrifying live rock and roll, “Live in Houston” finds Velvet Revolver firing round after round of tough, angry rock to a crowd eager to lap it all up. Stay tuned. Evidently, the Velvet Revolver story is far from finished.

- Peter Lindblad

CD Review: Carl Palmer - Working Live - Volume 3

CD Review: Carl Palmer - Working Live - Volume 3
Eagle Records
All Access Review: A-

Virtuoso drummer Carl Palmer pulls out all the stops on the third installment of his Working Live series, taking on some of the most complex pieces his old band, the classical-rock adventurers Emerson, Lake and Palmer, ever attempted.

Never ones to shy away from a challenge, ELP was, perhaps, the most daring threesome of all the brainy, hyper-ambitious 1970s progressive-rock expeditions, King Crimson included. And though they revered the works of such musical geniuses as Prokofiev and Mussorgsky, Palmer and company didn’t see it as their mission to simply regurgitate their works in those halcyon days. With their imaginations working overtime, they wanted to do them their own way and in the process, make them palatable to audiences whose ears were more attuned to The Beatles than Bach. And if the moment called for it, ELP committed sublime violations that would make classical-music purists squirm – as evidenced by keyboardist Keith Emerson famously stabbing knives into his organs to generate blood-curdling howls from his instruments. Still, ELP won their grudging respect.

Such theatrics, shockingly funny and irreverent as they were at the time, aren’t revived in Palmer’s latest project, another trio that finds Palmer now collaborating with lead guitarist Paul Bielatowicz and bass guitarist Stuart Clayton. A concert album of inspired musicianship and envelope-pushing reinvention, Working – Volume 3 is Palmer and crew at their most ambitious, tackling such touchstones as Prokofiev’s “Romeo and Juliet” and Mussorgsky’s “Pictures at an Exhibition,” as a brazen ELP once did.

Less whimsical than ELP’s original version, but more dynamic and heavy, the centerpiece of the six-track Volume 3 has to be the lengthy “Pictures at an Exhibition.” There’s nothing cautious about how Palmer and company approach this, or any other, composition. It’s sinister and disturbing in parts, with Bielatowicz’s frenzied guitar work going off in unpredictably wild directions but never veering off course and Clayton providing thoughtful and flexible melodic support. Heads will spin at all the directional shifts and changes in mood that occur, and the three handle them all with the utmost skill and feel. It almost sounds like free jazz. And at the heart of it all is the controlled chaos of Palmer’s thrilling stick work, the action reaching a free-for-all around the 16:30 mark.

Naturally, with Emerson’s keyboards replaced by electric guitars, everything sounds more modern and edgy. This time around, Henry Mancini’s “Peter Gunn,” as fun as ever, is propulsive, psychedelic and throbbing with mind-fucking kaleidoscopic color and raw energy, the kind usually found in garage rock. “Romeo and Juliet” has a deep, menacing groove and occasionally, there’s a Hendrix-like schizophrenia that seeps into the track’s carefully plotted action and messes with the chemistry in wonderful ways. And while their take on Tchaikovsky’s “Nutcracker” is riddled with clichés, the stop-on-a-dime tempo changes and crazed fury of the Emerson and Lake original “Bitches Crystal” more than makes up for the momentary lapse of reason, as does Palmer’s inventive and intricate drum work on “In a Moroccan Market.”

Working – Volume 3 shows that Palmer remains restlessly creative and unafraid of challenging himself and his band. In the liner notes, he says, “Playing in a trio is his passion.” And if nothing else, this set of live renderings of old ELP numbers indicates that “3” is, indeed, Palmer’s lucky number.

Peter Lindblad

Eric Carr: The Fox Exposed

An interview with author Greg Prato on his new book about the former KISS drummer

By Peter Lindblad

A fox found his way into the KISS chicken coop in 1980, and his name was Paul Charles Caravello. That was his birth name. The rock world knew him better as Eric Carr.

It was Carr who replaced Peter Criss on drums after the man in the cat makeup defected from KISS when tensions arose over Criss’s reported substance abuse issues. Until then, Carr was a relative unknown, performing odd jobs and playing in long-forgotten bands from 1966 to 1980 that did mostly cover songs, including CellArmen, SMACK and Flasher.

Encouraged by fellow Flasher Paul Turino, Carr auditioned for KISS after Criss’s departure. It’s been reported that while sitting outside the audition room and waiting for his turn, the members of KISS walked by Carr without their makeup on. Few outside the band’s inner sanctum had ever seen such a sight.

Carr’s audition was a rousing success. In fact, stories have circulated that Carr thought the rest of KISS played “awful” in the tryout, and that because he knew their songs inside-out, it was Carr who had to, on occasion, tell the rest of the band what to play.

Carr was eventually hired, but it took a while to come up with the perfect stage persona for the newest member of KISS. After giving “the Hawk” a go, Carr and company settled on “the Fox,” having also changed his name from Caravello to Carr in joining KISS. His coming-out party came during a 1980 episode of “Kids Are People Too.” Then it was time to go live, with Carr playing his first KISS concert at New York City’s The Palladium in July of that year.

Immediately, Carr made an impression with a heavier, more punishing drum sound than Criss had brought to KISS originally. Perhaps, in hindsight, it was Carr’s misfortune to make his initial appearance with KISS on record with Music From “The Elder.” A huge curveball from a glam band known for balls-out, hook-filled rock and roll and campy, over-the-top theatrics, KISS’s 15^th album was an attempt at serious art-rock that was a reach for the band and confused just about everybody used to the rollicking hard rock that made the band famous. Carr had a chance to show off his musical chops, not only on drums but also by playing guitar, bass guitar and keyboards. But, the album was panned by pretty much the entire free world.

As it turned out, The Elder was just a bump in the road as KISS rebounded in spectacular fashion with Creatures of the Night, which saw KISS morph into a powerful, sleek heavy metal machine. The engine was Carr, who later was able to show off his singing prowess in overdubbing lead vocals – something he also did live on seminal KISS songs “Black Diamond” and “Young and Wasted” – to the classic KISS ballad “Beth” for the greatest-hits collection Smashes, Thrashes & Hits. Carr survived through the infamous KISS unmasking phase, and played on five more albums of original material, always hoping to take on a bigger role with the band.

Working with another KISS newcomer, guitarist Bruce Kulick, Carr was instrumental in creating the track “Little Caesar” in 1989 for the Hot in the Shade album, playing bass and drums on the song and writing the music for it. Darker days were coming, however. In March, 1991, Carr began coughing up blood and feeling heavy in his chest. Initial diagnoses didn’t detect anything serious, but later, it was determined that Carr had contracted heart cancer. Surgeries were conducted to remove tumors from his heart and lungs, and by July, he was feeling well enough to go to Los Angeles to play drums in the video for “God Gave Rock and Roll To You.” There was a brief remission, and Carr made an appearance at the MTV Video Music Awards with KISS in September. It was his last with the band.

At age 41, after beating back an aneurysm, Carr died of a brain hemorrhage. Carr being one of the most accessible and fan-friendly members KISS has ever had, it seemed only fitting that his funeral would be open to the public. A new book from author Greg Prato about Carr and KISS’s 1980s period reveals much about Carr and his time with the hottest band in the world. 

What made you want to write a book about Eric Carr?

Greg Prato: The majority of Kiss books that have been released over the past 15 years or so seemed to have little to do with the group’s 1980s/non-make-up era, and certainly not that much on the true story of Eric Carr. Kiss’s 1982 album, Creatures of the Night, I feel is one of the greatest Kiss albums of all-time (and one of the greatest heavy metal albums of all-time, too), and a major reason why the album sounds as heavy has it does is largely due to Eric’s mammoth drum sound. There were also always a lot of questions surrounding what Eric’s relationship with the other members of Kiss was like during the last year of his life (as well as his standing in the band), when he was struggling with cancer. We’ve heard Gene Simmons and Paul Stanley’s side of the story here and there over the years, and I felt it was time to hear the other side of the story, as well, so I got in touch with many people who knew Eric personally. So ... that’s how “The Eric Carr Story” book came about.

Some people might not be aware of the career Eric had before joining KISS and what other jobs he held during that time. Does the book delve much into his early days as a musician with Flasher, SMACK and Cellarmen?

GP: Yes, the first chapter is comprised of Eric’s sister, Loretta Caravello, recounting Eric’s early years, which included him working such jobs as a stove repairman, as well as playing in bands. And this chapter covers many of his pre-Kiss bands.

Speaking to some of the people who knew Eric best, what did they tell you about Eric’s audition for KISS?

GP: Both Bill Aucoin and Loretta had some cool stories about this part of Eric's life – Loretta talks about being present when Eric got the call from Bill to set up a tryout, and Bill talks about how the tryout went. It was Eric’s easygoing personality that gave him the edge over the other drummer hopefuls – the clincher being when he asked Ace, Gene, and Paul to autograph a copy of Unmasked that he had brought along to the tryout.

It was difficult coming up with a KISS persona for Eric. What did you find out about how “The Fox” came about?

GP: Originally, Eric's make-up/costume design was to resemble a hawk, but it came out looking too much like Big Bird from “Sesame Street”! The Fox make-up/costume design was a last minute creation by Eric and Bill, supposedly the night before the Ace-Eric-Gene-Paul line-up was going to play its debut show at the Palladium in NYC (which we learn in the book was attended by Eddie Trunk and Anthrax’s Charlie Benante!). After the show, Bill suggested Eric refine the make-up design a bit, and by the time the group launched their European tour shortly thereafter, Eric's official “fox design” was in place.

How did Eric feel about replacing Peter Criss, and did he find it easy to fit in with the rest of the band?

GP: I remember once seeing an interview with Gene Simmons, in which he claims that Eric actually called Peter to ask if he was OK with him replacing him, and that Peter gave him his blessing to do so. Eric seemed to fit in well with the band from the get-go, and as a fan, I can’t recall another replacement member of a well-known band that was as instantly and widely accepted as Eric was in Kiss.

How close was Eric to Bruce Kulick, and what does Bruce remember most about Eric?

GP: Eric and Bruce were very close. When I spoke to Bruce’s brother, Bob Kulick, for the book, he explained it as Gene and Paul being “two peas in a pod,” and Eric and Bruce being “two peas in another pod” – meaning that since Gene and Paul were original members, they were calling all the shots. Since Eric and Bruce were replacement members, they didn't have as much of a say in Kiss' decision making, and that after a few years, Eric had an issue with it.

Interestingly, Eric’s first album with KISS was Music from “The Elder,” an LP that was so different from anything else in KISS’s catalog. One of the subplots to the book is KISS’s ‘80s period. How comfortable was Eric in helping usher in this new era for KISS?

GP: Eric and Ace made their opinions known that they thought an indulgent concept album was not the way to go at that point in their career. And they were absolutely right. It’s too bad they didn't release Creatures of the Night at that time, because I think that is the type of album that Kiss fans were clamoring for in 1981 (I know I was!). Many fans seem to feel that Creatures was the first Kiss album in which Eric’s talents shined through, and I wholeheartedly agree.

In talking to some of the people close to Eric, what was he most proud of during his time with KISS? And what did they think he brought to the band that wasn’t there before?

GP: I think he was proud of his drum sound on Creatures, and although it wasn’t a strong seller upon its initial release, and the fact that over the years, many fans went on to consider it one of Kiss’s best albums (and in my mind, without question the best album Kiss issued in the ‘80s). He also seemed to be proud of the Kiss songs that he helped co-write over the years, probably most notably the song "Little Caesar" off Hot in the Shade, which he co-wrote and also sang lead vocals on. I also think he brought a much more hard rock/heavy metal style of drumming to Kiss – whereas Peter Criss was more of a traditional rock ‘n’ roll style drummer.

When did it become apparent to those around Eric that he was really struggling health-wise?

GP: There are conflicting reports – some people I interviewed said that he was experiencing discomfort towards the end of the “Hot in the Shade” tour (which wrapped up in late 1990), while some say it wasn’t until 1991. Similar to Ronnie James Dio’s current cancer battle, it appeared as though Eric had beaten cancer at one point, but it ultimately returned more aggressively, and eventually claimed his life.

What did you find out about Eric that you didn’t know before in researching his life?

GP: Both Loretta and Eric’s girlfriend, Carrie Stevens, explained what he was like away from the wild world of Kiss, which is pretty cool. And I also didn’t know that Eric tended to struggle with his role in Kiss (regarding not being an original member, and being on salary), which is discussed in greater detail by those close to the band at that time.

Eric seemed to be really open and engaging with KISS fans. Did you include any stories of Eric’s interaction with fans in the book?

GP: Bruce talks about how great Eric’s interaction was the fans in the book. And none other than Eddie Trunk (one of the co-hosts of “That Metal Show” on VH-1 Classic) tells a very cool story in the book about he and his friends meeting and hanging out with Eric on the “Lick It Up” tour. Also, the director of the “Tale of the Fox” DVD, Jack Sawyers, has a few cool stories about hanging out with Eric as a fan (and then later becoming friends with him).

How do you think Eric wanted to be remembered?

GP: As probably one of the more underrated members of Kiss, and the fact that his drumming was a HUGE reason why Creatures of the Night kicks ass (and has held up so great over the years). And his talents stretched beyond just drumming, as evidenced by his songwriting and singing skills. He also seemed to be a really approachable person – something that seems uncommon with a member of one of rock’s biggest bands.

What’s purported to be one of the last interviews with KISS manager Bill Aucoin is part of the book. What did he remember of his time with Eric and how did he view KISS’s ‘80s period?

GP: Yes, I conducted what very well could be the last interview that Bill Aucoin ever did – as it was only a few months before his passing. He had some great recollections about the band (there are 2 chapters early in the book that serve as “Kiss History Lessons,” which tell an abbreviated version of the band’s ‘70s history, to set the story of ‘80s Kiss). Something I learned about Bill was that he never saw a Kiss concert with them not wearing make-up, as he believed that they should have stuck with the make-up and costumes through it all. And although he was no longer Kiss’ manager when Creatures was released, he does go on record saying that it is a great Kiss album. I agree!

To read a few sample chapters (and find ordering info) from “The Eric Carr Story” visit http://stores.lulu.com/gregprato.