Legendary Rock Interviews has issued an interview with Casablanca Records co-founder Larry Harris, in which he discusses And Party Every Day: The Inside Story Of Casablanca Records. A couple of excerpts follows:

Q: It's a known fact that KISS took quite some time and quite a bit of money to break as a band. From what you could tell did any of the other acts or label employees start to express annoyance or resentment towards the efforts to break KISS??

A: "Nobody at the label ever mentioned it and I do believe, especially in the early days they all knew that the band could deliver that live performance that would be so important to garner those die-hard fans that eventually helped break the band. And beside that, we had no choice as that is what we had to do to break them... so we went after it... I would also doubt that other bands would complain as that would have put them in a very tenuous potion to stay on the label. Negativity was something Neil Bogart would not put up with. Beside all that, we spent tons of money on ANY artist we got a glimmer of success with, some made it others did not."

Q: The band was helped considerably by Sean Delaney not only with staging concepts but also with songwriting even. To what degree do you think KISS owes some of their success to people like you, Joyce and Neil Bogart, Bill Aucioin or Sean Delany? Do you think they would have eventually made some mark without those early "helpers"?

A: "I would say it was an equal partnership in all respects.... without Sean working on the show and writing with them they would have suffered. Aucoin was the perfect manager for them and Joyce’s relationship with Neil was something that helped to keep the checkbook opened to them during the breaking of the band period. I feel that the favors we called in and concepts that Neil and I contributed, along with a ton of money was instrumental to their success. Remember, no other label wanted them in fact CBS records (now SONY) paid for a demo when they were called WICKED LESTER ( many of the same songs that appeared on the first album) and passed on the band. Saying all that, without the bands willingness to stay out on the road and at the same time deliver an album every six months along with never really complaining about the crazy things we asked them to do certainly was instrumental in their success."

Q: Hindsight is of course 20/20 but looking back were there feelings that KISS might still be at it decades down the line, selling out arenas; albeit without ACE FREHLEY and PETER CRISS... did any of you think that far in advance?

A: "We did not think that far in advance and in those days no one ever dreamed KISS would last so long. No one thought the ROLLING STONES would still be doing it and THE EAGLES or any rock band… I am still amazed that Gene and Paul can climb the stairs to the stage... let alone perform for a long set at the pace they do."

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And Party Every Day: The Inside Story Of Casablanca Records is now available as an audiobook from Blackstone Audio. Read by author and former Vice President of Casablanca Records, Larry Harris, the unabridged recording runs nearly 11 hours and details the behind-the-scenes exploits of the infamous 1970s label that was home to KISS, ANGEL, PARLIAMENT/FUNKADELIC, DONNA SUMMER and the VILLAGE PEOPLE.

A sample can be heard here.

The And Party Every Day audiobook has been released in five different formats: 1) a single-disc Mp3 format CD; 2) a nine-disc CD boxed set; 3) a plugin flashdrive/playaway version; and 4) an Audible digital download, and 5) a library-folder pressing on nine cassettes.

Now it can be told! The true story of Casablanca Records, from an eyewitness to the excess and insanity. Casablanca was not a product of the 1970s, it was the 1970s. From 1974 to 1980, the landscape of American culture was a banquet of hedonism and self-indulgence, and no person or company in that era was more emblematic of the times than Casablanca Records and its magnetic founder, Neil Bogart. From his daring first signing of KISS, through the discovery and superstardom of Donna Summer, Village People, and funk master George Clinton and his circus of freaks - Parliament/Funkadelic - to the descent into the manic world of disco, this book charts Bogart's meteoric success and eventual collapse under the weight of uncontrolled ego and hype. It is a compelling tale of ambition, greed, excess, and some of the era's biggest music acts.