ACE FREHLEY – 1978 — The crucible salvo that defined Ace’s sound for all of his future KISS & solo offerings and that served as the ‘shot over the bow’ that woke KISS fans to the fact that Ace was even cooler than we had thought ….if you don’t like “Rip It Out”, ‘What’s On Your Mind?” …I hope you suffer!
ANOMALY – 2009 — A transcendent Ace album that, although a little light on song count, takes us out of the KISS stratosphere completely in terms of message and style with Frehley left turns “A Little Below The Angels”, “Change The World” and ‘It’s A Great Life”. Buttressed by several cool rockers, the best perhaps being “Foxy & Free” and the brooding explosion that is “Pain In The Neck”, Anomaly is a celestial unveiling.
TROUBLE WALKIN’ – 1989 — A great back-to-basics rock record that was a kick in the teeth to anyone who thought Ace was “down & out” after Second Sighting, Trouble Walkin’ finally tapped the rock solid promise of his original ‘Comet line-up by (re)enlisting ‘Rock Soldiers’ Richie Scarlet on guitar & Anton Fig on drums. “Shot Full of Rock” says it all when Ace opines … “Ain’t got time for posers!”.
FREHLEY’S COMET – 1987 — A state-of-the-art Eddie Kramer produced 80’s rock tomb and a key moment in KISStory, the debut of ‘The Comet’ hailed the return of a made-over Ace with a competitive record and cache that inadvertently restored some credibility to the slightly faded KISS brand.
SPACE INVADER – 2014 — A return to hard rock form for Ace in response in part to those thrown off by the evolved scope of Anomaly, Space Invader takes us again off planet to a rendezvous on Mars and other spacey guitar-a-thon revelations like the title cut. Had the production been as stellar as other Ace passages, Space Invader might have eclipsed them all cuz tunes like “Gimme A Feelin'” and “What Every Girl Wants” kick so much universal ass.
ORIGINS, Vol. 1 – 2016 — A bitchin’ ‘Space Ace’ time machine that takes us back to the bands & tunes that sealed Frehley’s rock & roll fate, ultimately sending smoking Les Paul‘s skyward for all to see. Although a collection of covers, it also includes a couple hot re-workings of classic Frehley-penned KISS numbers in “Parasite” and “Cold Gin”, both still staples today whether seeing the Ace Frehley Band or the new KISS.
LIVE + 1 – 1988 — Although it’s in essence an EP, and only includes one studio newbie in the (seriously shoulda been a single!) “Words Are Not Enough”, Live +1 is a great snapshot of ‘Frehley’s Comet’ live that includes an awesome drum solo by Anton Fig. Recorded at The Aragon Ballroom here in Chicago, I was lucky enough to attend, remember the excitement Ace and the band generated and feel it’s captured well here.
SECOND SIGHTING – 1988 — A near-miss by Ace in terms of material & focus on what would turn out to be the ‘Comet’s swan song, Second Sighting has it’s fun moments and great Ace sluggers like “Insane” but ultimately left us wondering if ‘the Comet’ was might burn up on re-entry if they continued on this trajectory.
It was back in the winter of ’94, there’s a reason I remember it well …it was Ace at The Avalon and he was slippin’ & slidin’ on a “Rocket Ride” to hell.
I left the show seriously concerned about Ace. Believe me, at the time it seemed there was no way that KISS would ever re-unite. In hindsight, it’s possible their doing so may have saved Ace’s life.
Reports from Ace’s booze-soaked ‘Just For Fun Tour‘ must have had Gene Simmons & Paul Stanley starting to think it’s ‘now or never’. Especially so when intel on the subsequent Criss/Frehley ‘Bad Boys Of Rock Tour’ pairing had similarly dark forecasts for both the Cat & Spacemen.
But whose kidding who? Whether Gene & Paul had always known they would reunite at some point or not, both Ace & Peter’s camps we’re aiming at the same reunion Yahtzee. As it turns out, the perilous road bender worked, forcing KISS’s hand, one way and another.
Anyway, by the time Ace finally hit the stage an hour late, The Avalon was a scene of KISStoric anguish. It was f’ing freezing outside, but it was hotter than hell in the club as the low ceilings in the over-packed room drove the temperature up. As folks got restless, pre-show chants of “Fuck You!” bubbled up, rivaling the fading “ACE!! ACE!! ACE!!!” flurries as Rock Soldiers started to suspect Ace was “around the corner at the liquor store” (or worse).
We later found out from the Avalon booking agent that Ace had had to be carried up the Avalon’s long backstage stairs by a couple of guys. Rumor is Ace’s ‘team’ couldn’t find him and didn’t realize that he had been passed out in the back of their Ryder truck, parked right outside on Sheffield. Had they not found him, he may have frozen to death.
After the opening tune “Rip It Out”, Ace stumbled to the mic bewildered and said (no bullshit) “I don’t think I’m gonna make it”. He was partly referring to how hot it must have been on stage but, given the situation, it was a ‘loaded’ statement.
Again people started cheering and jeering Ace simultaneously. Anguished cries came out from all over …”We Love You Ace!” …”You Can Do It Ace!” …as well as “Fuck You Ace!”. It was as close to a KISS Army mutiny as I have ever seen.
KISStory tells us that although Frehley has ‘Trouble Walkin’ , he usually lands on his feet. In this case, he gets bye with a little help from his friends because, had the original four not come to terms a couple years later, I fear ‘Mr. Excitement’ may have taken a rough trajectory post ’94. But perhaps it is as the Spaceman himself suggests in the tune “Immortal Pleasures” off Space Invader — he’s always been “protected by the powers”. Maybe the Talisman are real?
I just listened to Eddie’s rant about KISS manager / mogul Doc McGhee cancelling for Trunk’s show last-minute compliments of Metalfavs and left this unprecedentedly long comment sharing my take on the YouTube. And I don’t mean to pile on ‘cuz I do love Eddie; we all do. But, as Elton once said ” It’s a sad, sad situation. And it’s getting more and more absurd. It’s sad, so sad. Why can’t we talk it over?”
“as a long time music biz guy, the issue Eddie is having is that, as much as I am a fan of both he and KISS, Eddie wants it both ways. He gets to interact with artist as a media player and also wants to be friends with everyone in the band, and them all to allow whatever he says (on air).
By becoming an Ace & Peter mouth piece he broke showbiz protocol by getting as they say “too close to the artist”. It’s a mutually beneficial relationship without that, but Eddie needs more apparently? He has to be the #1 Kiss fan of all-time (and literally may be) but thinks that allows him to act differently than other media members do with artists, at least most successful ones.
Asking Paul to talk things out, and airing that out every chance he gets, is beyond the pale. Also, sharing Gene’s candid admissions on the subject is again a breach of that long-established understanding between artist and media. Same as with promoters. Grudges are bad business as a rule and space is at a premium. Ever heard the phrase “Are we on the record or off the record Eddie?”. That line, with Eddie, is blurred, and a bit embarrassing.
I can understand why Eddie feels he can do this because he was also in the real-deal actual record biz once as well as his being a long (suffering) supporter of all things KISS behind the scenes. But, I gotta tell ya, it’s not insane at all — It’s called showbiz and the first rule you learn coming up is know your role, who the star is and take only what you graciously get. But, to be fair, in KISStoric terms and others, Eddie’s had a charmed life it’s clear and has ‘Great Expectations’ by & large.
Eddie wonder’s aloud “what distorted information” Paul is acting on. He even regrets not knowing what is going on in Paul’s head day-to-day and yet has amnesia about dozens of interviews with Ace and Peter in which he has continually taken (their) sides and (worse) called in to question both Paul & Gene’s ethics.
I don’t want to sound like a KISStoric cynic but my guess is Doc was gonna cancel all along because he, and everyone in the KISS camp, knew Eddie was on a quest — damn it, he was gonna ask Doc “dude, man …what’s Paul’s issue with me man?”.
Goes to show there’s no business like showbiz! Nicely played Doc; Eddie’s been Stumped and now he’s been Punked!
What a life it is KISStorians to have time free on a Saturday afternoon to contemplate the finer things in life, like combining KISS’s Sonic Boom & Monster discs into arguable one of the best KISS albums of all time, a playlist I refer to as ‘Sonic Monster’. Try this at home and get it the car stereo pronto hombre because listen up, and listen good … Sonic Boom and Monster are pretty damn good rock & roll records so, yeah, old school gripes aside people, a tip of the proverbial ‘Firehouse’ helmets to Tommy Thayer & Eric Singer for manning the barricades …all for the glory of the KISS Army. This would be a cool KISS delux release remixed by a special guest like Phil Spector (via web) or Bob ‘The Elder’ Ezrin himself? Maybe the boys would have fun turning it in to a live album with Eddie Kramer? 🙂 Don’t be afraid to dream.
‘SONIC MONSTER‘(2016): Modern Day Delilah – Wall Of Sound – Outta This World – I’m An Animal – Say Yeah – Hell Or Hallelujah – Yes I Know (Nobody’s Perfect) – Shout Mercy – When Lightning Strikes – Long Way Down – Danger Us – Stand – All For The Love Of Rock & Roll – Back To The Stone Age – Last Chance
Better late than never …I just finished reading Nothin’ To Lose: The Making of KISS (1972 – 1975) and want to congratulate Ken Sharp as well as Gene & Paul for transporting us back in time for one helluva rock & roll party!! …the early days of KISS. Not only is it a telling chronicle of the core dynamic of the original KISS line-up but one of the best books ever compiled on the concert & radio promotion business in the 70’s. With so many grass-roots stories and quotes from other rockers on the circuit with KISS at the time, I reckon it’s a book any rock fan would dig and hereby KISStorically proclaim it an essential rock classic!
As a KISS fan, it has completely re-invigorated my passion for the band as well as my respect for what it took for them to make it. It was an ‘all-hands-on-deck’ proposition; sink or swim. KISS stood tall, undaunted by bad press, poor radio reception, luke-warm record sales. continuous logistical touring nightmares ‘n snafus and ultimately Warner Brothers’ lack of love in supporting the band. As Paul might concur: “Don’t mean shit, I don’t care!” because that was KISS’s attitude. They had fans, with them the rest didn’t matter. A volunteer army was amassing in the jean-clad smokey high school hallways of the Midwest. The word was getting out …”YOU GOTTA SEE KISS!”
Behind the scenes though it’s clear the first KISS Army was the bands initial road crew. Those guys deserve to be knighted by The Elder, and this book does that, finally. It’s riveting stuff and you get it all from every perspective: nuggets from the band, the crew, the promoters, the management, the radio guys, the label suits, the producers, the engineers, and even just plain old friends of the band.
This rich tapestry of reflection is also refreshingly candid by KISS standards. This book is not a PR statement, it’s a historical document. As one surveys KISStory from 2016, bloated as it may feel at times, there is no denying that in the early days they were “The Hottest Band In All The Land!” As you peel through the pages you find yourself going into the void and ‘reelin in the years in a van with the band, deciding you were ‘it’ because you had nothin’ to lose. This book proves why we are talking about them today: KISS was irresistible.