Introduction
George Peter John, being the oldest member of the band was born December 20, 1945 and was the eldest of the five children of Joseph and Loretta Criscuola in Brooklyn, NY. He had the most musical experience of all later KISS members prior to joining the band in 1972. Some people, even to this day, do not believe that George really is Peter's first name. According to CK Lendt, in his book KISS & Sell, even Peter had seemingly forgotten this fact when he attempted to have is name legally changed, only to have the court documents returned since the name he listed as his then "true" name did not match that on his birth certificate! There is some audio evidence of this with Gene and Paul hollering at "George" to pick up the beat on some later KISS rehearsal tapes for the 'Rock And Roll Over Tour' in 1976! Regardless, Peter's influences were the strangest to many of the "rock crowd" who would later follow the band. Peter had been working in bands since the late 1950's/early 1960's, and very few of these bands had anything to do with the rock 'n roll style Peter was later to be involved with and which would bring him to worldwide stardom. The most notable of his early bands was Joey Greco & The In Crowd, of which Peter became a member after filling in for the band's then current drummer who had unfortunately broken his leg. This band headed by the guitarist Greco played at the legendary Metropole Club, included bassist Ralph Di Pietro. The Metropole was the central home to the New York jazz movement which was also incidentally the same place that one of Peter's idol, the famed Gene Krupa, was playing during the early 1960s. As such it was a jazz joint that Peter and some friends had simply been passing by when they decided to go in and get a drink... And then he was in a band playing the same stage as his idol. Not bad for an 18 year-old punk kid! The great master of jazz drumming, Gene Krupa, was a major influence on Peter, and after getting the gig with Joey Greco, who had been opening for the legend at the Metropole, Peter was soon able to get some lessons, or at least some stylistic pointers and/or guidance, from the master. This education, while informal, was useful to the young Peter who was somewhat lacking with his then skills built more on enthusiasm rather than formal training. This early schooling in the foundations of jazz explains a lot of the somewhat strange style Peter would later adopt, but it was closer to the music of Peter's choice which was rather noticeable on his 1978 solo album, much to the derision of his KISS fans. This style was also closer to the sort of music that Peter had heard while growing up.

From The Master
This was an older Gene Krupa, decades away from his 1930's heyday, with serious health problems and in decline. Yet the input was invaluable to Peter and have an effect of his style (sadly, Gene died in 1973 aged 62). Peter's idol also had some effect on his choice of drumming equipment with him using the same set of Radial King Slingerlands that Krupa used. These Peter had obtained for $200 while working as a delivery boy in a butcher shop. Peter has fond memories of the master and feels that Gene would have enjoyed what he did later. Krupa own contributions to music are more than just about skill, he brought the drummer out from behind the drum kit and made them a character in a band, not simply a person in the background, preparing the ground for the great rock drummers who would come later such as John Bonham and Keith Moon, who were much more visible members of bands than "just drummers" like Ringo or Charlie Watts who would quietly provide the backbone of a band's material. He also innovated with the scope of the drum sound and what it could add to the music while also not being against some of the drummer showmanship which would become standard in the 1970's and 1980's as drummers became performers in their own right, just as much as the 'official' front-men of the band, rather than just musicians. This led him in later life to have a unique jazz-tinged drumming style in a rock environment, a style that was sometimes subtle, powerful when required, and often misunderstood with the complexity which is often overlooked or even unnoticed. But Krupa was not Peter's only influence, like anyone else there were numerous musicians who would motivate a youngster. Some like Buddy Rich were of a different era, but John Bonham, Charlie Watts, Keith Moon, Ginger Baker and Mitch Mitchell were the power drummers of the 1960's, those most likely to be seen due to the influence their bands had on the public music media! And like others of the early 1960's, Ringo Star, cannot be ignored from the equation. While he was not as visible in the Beatles competing with Paul and John, he did get screamed at by the hysterical masses. While Peter was only 18 at the time he became involved with Joey Greco, around 1963, this was not his first band, just his first 'proper' musical experience in an environment with a serious working band. According to Peter in interviews, his first band had been formed in 1958, and was called The Stars, but as a youngster the importance of this band can probably be limited to it being his first band, and the level of seriousness is probably the opposite of what one could really consider being a band. This "band" performed the variety of doo-wop that was popular at the time, and seems to be more of a bunch of friends getting together on street corners to entertain themselves with music. It is also around this time that "his father gave him an old Army marching band snare drum" (Bob Roderick). Peter seems to have stayed with Joey Greco for a while, perhaps it was difficult for Peter to leave a situation where he had access to his idol. Peter did leave and Joey Greco's band world become Joey Greco and the Showmen and back Johnny Halliday, the French Elvis. By 1966 Peter had moved on to a non-Jazz cover band, The Barracudas, a cellar band built on a saxophone, guitar and drums, which performed more current cover material including, in particular, popular material by The Beatles and the late-Richie Valens. With this sort of material the band was soon playing the Brooklyn club scene with the bland mix of cover material. So like the other members of the future KISS, even the Beatles could affect the jazzman! While it has been rumored that The Barracudas allegedly cut a private 7" single, this has never been substantiated, and seems doubtful. Peter's involvement in the band was short-lived as he moved on to another band with yet another different style, in 1967. Why he left The Barracudas is not clear, but there are unsubstantiated rumors that Peter had wanted to be the front-man behind the drums, something which did not sit well with the rest of the band, regardless of their being happy with his style, method, and sound. The next band, The Brotherhood, with Angelo Opper (Bass), Joey Lucenti (Guitar/Vocals), Pepi Generelli (Keyboards), Tommy Ventimiglia (Horns), only lasted a year, yet Peter has fond memories of the experience. This band moved from pop covers to R&B soul and played the New York circuit along with working with Billy Joel's band, The Hassles. By late 1968 it was time to move on again, and Peter joined Chelsea, the band for which he would be best known by KISS fans prior to joining KISS.

Really Eclectic: Chelsea
Chelsea was an eclectic folk-tinged band very representative of the era in which they existed. Flower, without the power. Michael Benvenga (Bass/Vocals), Chris Aridas (Guitar), Mike Brand (Guitar), and Peter Shepley (Vocals), the combo had problems balancing the folk and electric aspects of their sound usually resulting in an eclectic sound and numerous fights between the members. In some ways Chelsea was sometimes a band that seemed more interested in having extended folkey jam sessions that could disappear off on eternal tangents rather than suffer the 'constraints' of a strict structure, namely songs with fixed length and lyrics! Personality seems to have provided a certain amount of stress as well. Yet, the band's sound was in synch with the musical movements of the late 1960's and the band were miraculously able to swing a two record deal with Decca Records in 1969. While the deal would be for two albums the band would only complete one before breaking up and being dropped by the label for the miserable performance of their debut record. Much of the material Chelsea did is available to collectors today, and it is striking that Peter was more of a conga player than a drummer. It would have been reminiscent to his days in The Stars in the late 1950's where he was more of a "time-keeper" for the band than a drummer by the definition most would understand that term today. Chelsea's success was limited. While they had a recording contract and were able to play some of the bigger local clubs their success was regionally limited, even though their album later turned up in Australia/New Zealand and Japan. It is one thing to be popular locally and a whole different game to gain broad cross-market popularity. Some of the larger clubs that Chelsea played included Ungano's, a basement rock club on West 70th Street in Manhattan, which later became The Electric Circus. This club was a big player in the local music scene and had also seen the likes of Captain Beefheart, Badfinger, Van Morrison, The Velvet Underground, and many other then known acts as performers there (it is probably from this relationship that Chelsea's connection with J Cale comes from turning up on the Chelsea album). With the vibe of the 1960's dying out and the music scene changing it is not surprising that the band didn't make any lasting impression. The lack of any singular musical direction and tension in the band was not conducive to a lasting relationship and the album lacked any sort of unity. In late 1969 Chelsea entered the studios to record their debut album. Produced by Lewis Merenstein (who incidentally also produced KISS' second drummer Eric Carr's pre-KISS album) the album failed miserably even with the inclusion of a track, "Hard Rock Music" (which was anything but hard... or rock!) on Decca's parent company MCA's sampler album The MCA Sound Conspiracy (MCA Records 734837). This sampler even saw release in Australia (Decca COP/S 4524) with a slightly altered cover, though nothing could held sell product that just didn't stand out. The back cover of both version details a brief bio on the band, which states, "Lewis Merenstein, who produces Van Morrison, Bill Rose, and Turley Richards, among others, produced this first album by the New York based group. The LP was recorded in part at the late Jimi Hendrix's Electric Lady studios. Backing the group on the album is John Cale, formerly of the Velvet Underground and now out on his own". It seems interesting that yet another performer from Ungano's is mentioned (Van Morrison) so it may be that the circle of Chelsea-Cale-Merenstein was formed at that club. Cale appears on two tracks on the album, "Long River" and "Good Company". Unfortunately the involvement of John Cale, and Steve Loeb, later producer for the band Riot, added nothing to the album's prospects which seemed doomed from the album's non-descript nature and sound. There seems to have been no singles issued of material from the album either, something which would hardly have assisted the promotion of the record. Of the ten tracks on the album Peter had not yet cut his teeth as a song-writer only providing minimal input into the arranging of one traditional song, "Polly Von". Surprisingly, the Chelsea album did get wide distribution, being released, at least in promotional format, in Japan (MCA-5072) and being distributed in Australia/New Zealand. Yet, none of this helped the band take off, and the original guitarist Chris Aridas quit the band soon after the release of the album in 1970. It was a damaging situation for the young band. On the heels of a failed record members appeared to be jumping ship. More importantly, divisions about the direction of the band were starting to become more apparent. But to business first and the need to find a replacement guitarist. In January 1970 the search for a new guitarist began in earnest, with the band placing an add in the Village Voice, the local Greenwich Village newspaper which has many ramifications for KISStory in general. Responding to the add was one Stan Penridge who was offered the position following an audition at Pete Shepley's apartment at which Peter was not present. It was on this occasion that Pete Shepley, Mike Brand, and Stan recorded their first song together, "a tune that Peter Shepley and Mike Brand had been working on, but had reached a snag" (SP-82KJCG) which Stan was able to help them work out. While the other band members decided that Stan could indeed replace Chris, Peter was initially furious that a band member had been picked, behind his back, without him being involved in the decision-making process regardless of whether he agreed with the choice or not. As a result he threw a temper tantrum quitting the band, though emotions would quickly be smoothed out and Stan and Peter would have a musical relationship which would last 15 years. That Peter could so easily become emotional and irrational would also have ramifications for other relationships in his future. Shortly after joining the band Stan and Chelsea played their first gig together, a "Dayline Cruise for a fund-raiser held by the Young Republicans of New York City" (SP-82KJCG). Unfortunately Peter missed the gig when the boat on which they were to play left without him leaving him stranded on the dock yelling for the boat to come back (which it didn't). An inauspicious start for a refreshed band which saw its' first concert played with a fill-in Young Republican drummer! Quickly, the band started rehearsing and demoing material for the planned second Chelsea album, which it was hoped would be more successful than the first. Yet the musical tensions that had always been apparent in the band broke Chelsea up before they got far into material for the album. According to Penridge, the second album never got very far, "it was all pre-production and didn't involve any studio work or input from Lewis Merenstein… The meeting with Merenstein to discuss album # 2 was short and curt. His involvement with Van Morrison had blossomed and I'm sure the division in musical styles was more than apparent. I recall a live audition for Lew, but the overwhelming memory was that of confusion. There never was a second meeting" (SP-82KJCG). The fragmentation of the band was essentially a split into electric versus acoustic factions. Again, according to Stan, "the material was decidedly split. It was either pure acoustic - excellent lyrics by Shepley. Very poetic, indeed… The same couldn't be said of the electric half of the act. Although the ideas were set in place during our get togethers the only time we were able to implement the arranging was during our gigs. Obviously, once - maybe twice an evening wasn't sufficient time to work out what the electric Peter & Mike were looking for… Rarely, Mike Benvenga would show to play bass and keep up on what was happening… Peter Shepley, Mike Brand and I cut a very unique 4 song demo. We were still Chelsea at the time but Peter Criss and Mike Benvenga were not on it" (SP-82KJCG).

Decline And Willingness
In late 1970 the end came, according to Stan, when the fragmentation of the band reached near totality. Stan had continued to work with the acoustic faction of the band, being newly added to the band's lineup he probably had more latitude to work with everyone and he'd not been in the band long enough to develop some of the personal issues that affected the others. He was also a serious musician who was interested in numerous different styles of music. While there had been splintering of the group, it also meant that the band had two distinctive and varied sounds resulting in an odd situation where the band would perform half a show with loud electric rock music and then follow with a set of acoustic folk music. As Bob Dylan discovered at the infamous Newport Folk Festival, electricity and folkeys don't always mix very well! With the loss of cohesion and common ground personnel problems started developing more serious than the arguments that had previously been present. Mike Brand started being habitually late for the band's gigs and rehearsals. This resulted in one situation at the Yellow Front Saloon where the electric faction simply got tired of waiting, after canceling their first set, and decided to go on as a trio and play their music wholly without the acoustic members who were not present. Naturally, when Shepley and Brand did show the reaction was not positive and Chelsea was finally put out of its misery. The factions went their own directions with Brand and Shepley moving north (upstate) to pursue their folk style and Benvenga, Criss, and Penridge staying in New York to rock. The band that would evolve out of the ashes of Chelsea would be named LIPS, and while they would still do covers, the artists they covered at least included Cream and Jimi Hendrix and more of the then current rock scene... Peter was rockin' now! Stan recalls the split, "Chelsea died the night Lips was born. It was August 1970. The Yellow Front Saloon in Fort Lee, NJ. Shepley and Brand were habitually late. But this particular night there was a large audience - packed - and getting a bit restless and quite boisterous. After missing the first set I suggested doing the second set as a trio. I think it was meant to be. We thought a second, I said 'Blue Suede Shoes', and that was it. Everything that didn't work in Chelsea made Lips great. The strong rhythm that Peter complimented freed Mike to fly. It fell together so naturally. Peter would roll off his toms into a crash and I'd solo, somewhere in the heavens, and I'd open my eyes just as Pete would come around to reel me in for the next verse. It was a magical group - and things like that just don't last long. Unfortunately" (SP-82KJCG).

Linking Up
Lips would indeed not have a long run, what started out positively soon became a downward spiral for the members. The clean break and rejuvenated motivation resulted in the band starting out positively. While making the rounds gigging the band found the time to record some demos at RCA Studios in the early 1972 with additional rhythm guitarist John Amato. According to Stan, "the session date was 2/22/72. The 5 songs on the demo - in order are: 1) Baby Driver 2) Dirty Living 3) Baby, Don't You Let Me Down 4) You're My Woman 5) Baby, Don't You Let Me Down " (SP-82KJCG). Stan has in other interviews attributed the session to early 1971. While nothing came of these demos the band were able to persuade Karma Sutra Records for some more studio time at Bell Sound Studios where the band recorded a further five demos, most of which turned up on Peter's 1978 solo album. Around this time Lips auditioned for Bob Reno, the Vice President at Karma Sutra Records, which was then headed by Neil Bogart, later boss of Casablanca Records. Contrary to popular rumor Lips did not audition for Neil Bogart directly or play "Beck". Stan recalls, "we never performed at Karma Sutra for Neil. That's one of Peter's stories. Bob Reno, VP at Karma Sutra is the guy I contacted and the person we auditioned for. He's the guy that paid for both 5 song sessions. He also gave me the masters after Neil passed on LIPS later that month. Actually, 'Beck' is one of the only songs we didn't perform for Bob Reno - or record during either session" (SP-82KJCG). Lips soon became a duo when Michael Benvenga quit the band to spend more time with his family when the effort of trying to make it for too many years finally caught up with him, and for some time Stan and Peter continued in hopes of building a career. This did not work and both started looking for new opportunities. Peter recalls that after all the negativity of Chelsea and trials endured during Lips that he wanted to get back to band that performed original material. In March 1972 Peter placed an add in the East Coast edition of Rolling Stone Magazine. This add is alleged to have showed up in the April edition stating "Drummer willing to do anything to make it"! Following placing the add Peter took off for England on his honeymoon with longtime girlfriend Lydia Di Leonardo whom he married in May 1972. Best man at Peter's wedding was one Jerry Nolan, drummer with the New York Dolls, who apart from being a good friend had grown up with Peter. Peter would later go to Dolls gigs with the other members of KISS. While in the UK it is rumored that he unsuccessfully attempted to get the gig as Elton John's touring drummer. Elton decided to use Nigel Ollsen whom he had often used as both a studio and tour drummer and this story is false or has been previously misreported. Stan Penridge adds some clarity to this story stating, "Lydia did mention that they had seen Elton play at a club in London during their honeymoon"(SP-82KJCG). Since Elton was on tour in the US until May 19 it is possible that this show was Elton's gig with the Beach Boys in London on June 3 because for most of the rest of June Elton was in France recording songs for his follow up to "Honky Chateau". By the time he returned to the States, Peter was desperate for a response to his ad, and a continuation of his attempts to make it in the music industry. A response is certainly what he got. The ad had been spotted by another young man who was tired of being in bands that did covers rather than original material. That man was Gene Simmons who called Peter, and after introducing himself asked Peter a few seemingly inane questions about Peter's weight, hair length, and looks. The straight-shooting Italian in Peter didn't appreciate this sort of questioning and suggested that they meet. This meeting took place outside of Electric Lady studios, where Gene had suggested that he'd play Peter some of his tapes to get a feel for him. Gene and Paul showed up wearing hippie styled Goodwill (charity shop!) clothing and Peter didn't even notice them sitting in a car outside the studios. Peter, who'd dressed up for the occasion to make the best possilble impression, and God help us what he was wearing, but it was the early 70's which conjures up all sorts of unpleasant images of the clothing worn in ABBA, Shaft and Starsky & Hutch, went into the studio and asked for Gene and Paul only to be directed to look out the window at the two guys sitting in the car. On seeing them Peter flipped after the line of questioning about style he'd been put through over the telephone, though this didn't stop him from going down and introducing himself to the two. According to Peter, Gene and Paul didn't require too much thought after seeing him, and simply hired him on the spot without hearing him play a thing, indicating that his look was right for their conceived plan. This is not actually totally correct. Peter was playing a club that night with Stan and suggested that Gene and Paul come down to see the show. Stan recalls, "after Peter had Gene and Paul come to the King's Lounge in Queens it was the end of short lived duet days.... all for the best. I'd been dying to get out and tour and was offered a job with Saint Elmos Fire" (SP-82KJCG). Gene, Paul, and Peter became a trio, still nominally called Wicked Lester. It should not be too surprising that Gene and Paul hired Peter because he looked "cool"', after all they had earlier hired Tony Zarella for Wicked Lester simply on the grounds that he looked similar to Bill Ward from Black Sabbath!

FROM THE KISS Album Focus - USED WITH PERMISSION