Throwback Thursday: Ace Frehley, by Ace Frehley

Since former Kiss lead guitarist Ace Frehley has been getting noticed quite a bit in rock press recently, I figure for Throwback Thursday I should take a look at his first solo album simply titled Ace Frehley. In mid to late 1978, Kiss was at the peak of their commercial success. That being said, their management wanted to take them even higher in terms of popularity. For this, they decided to have the band do two things: each member making an individual solo album released on the same day and also making a movie about Kiss being superheroes which would be called Kiss Meets the Phantom of the Park.

Each solo album allowed each of the members of Kiss to go off and explore all the other forms of musical influence they had that made them who they were as musicians. For Frehley this meant really delving into various forms of guitar playing. His album ranges from straight up rockers to funk tunes to stuff that was a little more experimental at the time. Ace Frehley ended up being the highest in the charts over the other three members of Kiss. The only song from the albums that got any radio airplay at all was Frehley's cover of New York Groove, written by Russ Ballard and originally performed by Hello.

Frehley's cover of New York Groove sticks fairly close to the original Hello version, though his is more funky rather than bluesy. Frehley's version is also a half step lower in key and has a fairly high use of a wah pedal. Personally, I like the Frehley version more because it has more of a rhythm and groove that you can actually dance and move to a bit. It's mid tempo, but it's a good dance song nonetheless. Plus, Frehley's vocal style really seems to suit it and give it a little more personality than the original. I can see why this song made it into the charts in 1978.

The song from this album that many of Frehley's fans including myself remember however is Speedin' Back to My Baby. This one is a straight up rocker with a lot of blues structure to it. It has a nice swing rhythm to it while Frehley showcases some of the best of his guitar chops. The intro lick itself is enough to grab anyone by the balls and throw them into the song. The song itself is pretty basic including its lyrical content, but any fan of straight up rock can easily look past it. It's three and a half minutes of pure rock n' roll fun.

Ace Frehley is a pretty good album. Not the best I've ever heard, but it can definitely compete with anything Kiss has done as a group. It is very guitar oriented, but considering who made it I expected nothing different. There are quite a few tunes I could take or leave, but the tunes I do like I REALLY like. Be that as it may, it's still worth picking up if you can find it in a shop or if you want to get an electronic version online. No one's Kiss collection is complete without this album and the other three solo albums.

Ace Frehley, by Ace Frehley receives 3.5 out of 5 stars.

Track List:

1. Rip It Out
2. Speedin' Back to My Baby
3. Snowblind
4. Ozone
5. What's On Your Mind?
6. New York Groove
7. I'm In Need of Love
8. Wiped-Out
9. Fractured Mirror

Buy the album on Amazon:

 http://www.amazon.com/Ace-Frehley-Kiss/dp/B000001ELF/ref=sr_1_3?ie=UTF8&qid=1406867388&sr=8-3&keywords=Ace+Frehley

New Rock Super Group The Dead Daisies Preview Upcoming EP 'Face I Love'

Not too long ago it was announced that a new super group called The Dead Daisies was formed it consists of Jon Stevens (from INXS) on vocals, Richard Fortus (from Guns N' Roses and Thin Lizzy) on guitar, David Lowy (from Mink) on guitar, Marco Mendoza (from Thin Lizzy and Neil Schon) on bass, and Brian Tichy (from Whitesnake) on drums. Just now they have put onto Soundcloud a preview of their upcoming EP Face I Love.

It seems to sound like pretty straightforward classic rock, but in a good way. It has a good blend of guitar and keyboards set to a good groove that anyone can move to. Anyone looking for something old school to rock out to will not be disappointed with what the band has to offer. It even offers a pretty heavy version of The Beatles song Helter Skelter. It's pretty faithful to the original, I must say.

The Dead Daisies are currently opening for the Def Leppard/Kiss tour that is going on this summer. Before they were on an opening slot with Bad Company and Lynrd Skynrd. Current tour dates are listed below:

Aug. 2: Atlantic City, NJ
Aug. 3: Camden, NJ
Aug. 5: Saratoga, NY
Aug. 6: Wantagh, NY
Aug. 8: Virginia Beach, VA
Aug. 9: Scranton, PA
Aug. 10: Hartford, CT
Aug. 13: Darien, NY
Aug. 15: East Troy, WI
Aug. 16: Tinley Park, IL
Aug. 17: Minneapolis, MN
Aug. 20: Des Moines, IA
Aug. 22: Noblesville, IN
Aug. 23: Clarkson, MI
Aug. 24: Burgettstown, PA
Aug. 26: Cuyahoga Falls, OH
Aug. 28: Maryland Heights, MO
Aug. 29: Tulsa, OK
Aug. 31: Woodlands, TX

To listen to The Dead Daisies EP Face I Love, go here (Original source Ultimate Classic Rock):

https://soundcloud.com/thedeaddaisies

What do you think of the music? Leave a comment below.

Ace Frehley Takes More Pot-Shots At Former Kiss Band Mates

Remember how a few days ago former Kiss lead guitarist Ace Frehley was saying he doesn't like to bash people? Well it seems within a matter of days he has once again proven himself to be a hypocrite.

Anyway, Frehley has recently been talking about how he doesn't think his behavior was ever anywhere near as bad as his former band mates have said and that they are just trying to tarnish his image to make the current Kiss line-up look better. He believes his upcoming record Space Invader will prove his innocence and then some.

In a recent interview with WENN, Frehley says:

“In concert, I always delivered and 95 per cent of the time I delivered on record. It’s there, it’s history. All they’re trying to do is discredit me, so it validates the new line-up. They’ll look foolish when my new album comes out.”

Frehley further commented on all of the drama surrounding Kiss's induction into the Rock n' Roll Hall of Fame earlier this year. He believes that if the original line-up had performed, history would have repeated itself and Paul Stanley (rhythm guitar and lead vocals of Kiss) and Gene Simmons (bass and lead vocals of Kiss) would not have wanted that due to their pushing of the current version of Kiss.

“When me and Peter performed with them on the ‘MTV Unplugged’ sessions in 1995 the place went completely crazy and they had to scrap their album that they had just recorded with Bruce Kulick and Eric Singer and they had to do a reunion tour. They’re on tour right now with Tommy [Thayer] and Eric [Singer] and they didn’t want anything to overshadow that. They were afraid that everyone was gonna demand a reunion again if we played."

Well I don't know about you, but personally I think Frehley is just trying to draw attention to himself by insulting Paul and Gene just so he can actually sell copies of Space Invader when it comes out. Below is the first single from the album, Gimme a Feelin'. Do you think this preview is any indication of Frehley being right about the album being his vindication from Stanley's and Simmons's comments about him? Leave comments below.

https://soundcloud.com/eone-music/ace-frehley-gimmeafeelin/s-S19mw

Ace Frehley Talking of Soon to Be Released Book

In a recent interview with Rock Pit to promote his solo album that comes out next month: Space Invader, former Kiss lead guitarist Ace Frehley has revealed plans for writing and releasing another autobiography to follow up his 2011 release No Regrets.

On the subject of the book, Frehley says:

“I don’t believe in bashing people, I don’t believe in a lot of negativity, so most of the stories in the book are going to be about me, funny stories and funny situations on the road, all stories about me in the Bronx growing up, and so on and so forth. There wasn’t much in the first book about the Frehley’s Comet years, and there’s plenty of stories along those lines, there’s still plenty of Kiss stories, and plenty of stories of me growing up. I probably have enough stories for five books.”

I find it a bit ironic that Frehley says that he doesn't believe in a lot of negativity or bashing people, considering some of the comments he has made in the press recently such as: "I blow Tommy Thayer (current Kiss lead guitarist) off the stage. (source)". Considering that and various other statements of that nature he has made in the press over the years about the current Kiss line-up and his former band mates, it seems a bit hypocritical for Frehley to be saying he doesn't believe in negativity or bashing people.

Frehley has not given any indication as to when the book will be released, but he did give the impression that it would not take too long. “Every day I wake up and I remember something else that I completely forgot about. You know, I just turned 63; I’ve lived a lot in my life. The latest thing was I was just talking to my fiancee, Rachel, about the time I went over to John McEnroe’s house, the famous tennis player, and I remembered something. I’ll have to give John a call and document it for my next book.”

It should be interesting to hear more of what Frehley remembers and what kind of perspective he will offer in it despite him not always practicing what he preaches.

Joe Perry to Collaborate With Paul McCartney

As if Aerosmith guitarist Joe Perry and former Beatle Paul McCartney weren't both astounding legends in their own right already, it seems the two of them have been working together in the studio. I'll give you a moment to pick your jaw up off the floor.

According to an interview Perry did with the Chicago Sun-Times recently, he says he did a session with Sir Paul for "a private thing". Perry says, “I met him once or twice [over the years] to say hello. To spend six or eight hours in studio with him recording! He makes you feel like [you’re recording with just another guy]. He just happens to be a motherf—ing huge talent! Everyone’s in the room at once; you play until you get a good take.”

I can only imagine what kind of an experience that must have been for Perry. For any musician born in the last 40-50 years getting the chance to play for Sir Paul would be the pinnacle of their musical career and in a sense a religious experience. When asked about his own experience recording with McCartney, Perry says:

“It’s the great ego leveler. I was in the studio with Alice Cooper and Johnny Depp, playing guitar, and the three of us are looking at each other like, hey, we’re sitting here with Paul McCartney! And we’re all looking at each other like open-mouthed kids. Paul was really nice. He’s all about business [when he’s recording]. At 72 he can still hit all those notes.”

Unfortunately Perry would not give any further details about the release of the project even though now that we know about it we're all on the edge of our seats anticipating it. He says they are keeping it "under wraps" for the time being. What a shame. I guess it must be something really big if there is that much secrecy about it. What piques my interest in addition to Perry being on the record is Alice Cooper. I wonder how he and McCartney would blend together.... I guess we'll find out eventually.

Throwback Thursday: Velvet Revolver's Contraband

 

In 2002, former Guns N' Roses member Slash, Duff McKagan, and Matt Sorum came to realize after a benefit they played together for fallen drummer Randy Castillo that even though they were no longer in a band together, they still had chemistry together as musicians. This lead them to the decision that they should start a new band, which then lead them to hire rhythm guitarist Dave Kushner who had played with bands like Suicidal Tendencies, Wasted Youth, and Dave Navarro. From there, the band did a search that was televised for VH1 for a singer to front the group. One of the singers was Buckcherry's Josh Todd, but Slash decided it was not meant to be. After many auditions however, the band picked Stone Temple Pilots' former front man Scott Weiland. With the line-up complete, the band donned the name Velvet Revolver.

The band then recorded a single Set Me Free for the soundtrack of the 2003 film The Hulk. Not long afterward, they began working on their debut album Contraband at Pulse Recording and NRG. Velvet Revolver along with producers Josh Abraham and Nick Raskulinecz decided that since this was a new band, they wanted this new album to sound completely different from anything they had done together in Guns N' Roses. The result of this was a sound that was much heavier, grittier, and far more alternative than before. On June 8th of 2004, the moment of truth came when the album was released to the general public. Fortunately for them, Contraband debuted at #1 on the Billboard 200 charts. It sold 256,000 copies in the first week.

Set Me Free starts off with an absolutely killer riff from Slash which then leads into a big build-up from the rest of the band. The verses themselves are pretty laid back where Weiland is mostly singing over a bass-line from McKagan and a beat from Sorum. After another build-up of a pre-chorus, the chorus kicks down your front door for you to rock out to and sing along with. While there is some amount of soloing in the song, surprisingly Slash takes a more laid back approach in this tune. Nonetheless it is still some fantastic guitar work.

You Got No Right is more of a laid back song in some respects, but both Weiland and Slash REALLY shine through on this one. Of course Kushner's acoustic work can't be ignored either. Like most songs on this album however, while the beginning and the verses are mostly softer and melody based, it does get loud and heavy at certain points, especially during the climax of the song where Slash busts into one of the most catchy, beautiful, and melodic solos of his career. Seriously, it's an eargasm. Weiland while usually known for the grit in his voice seems to genuinely sing in this song and put some real feeling into it. There are even some nice backing harmony vocals. The ending after Slash's solo goes back into straight acoustic with Weiland singing until it goes back into another chorus until the song comes to a close.

There are very few albums in existence that can be considered all killer and no filler, but Contraband is definitely one of them. It shows the kind of renewed energy that all of these musicians had at the time it was made and also proves to the world that they could be more than just Guns N' Roses without Axl Rose. I could go on and on about every last track on this album, but that would just take way too long. If you're into heavy alternative rock, this album is right up your alley. Even if you're not, it's still worth a listen. I wasn't that much into that kind of thing, but giving this album a shot was one of the best decisions I ever made.

Contraband, by Velvet Revolver receives 5 out of 5 stars.

Track List:

1. Sucker Train Blues
2. Do It For the Kids
3. Big Machine
4. Illegal I Song
5. Spectacle
6. Fall to Pieces
7. Headspace
8. Superhuman
9. Set Me Free
10. You Got No Right
11. Slither
12. Dirty Little Thing
13. Loving the Alien

Buy the album on Amazon:

 http://www.amazon.com/Contraband-Explicit-Velvet-Revolver/dp/B00136NYUS/ref=sr_1_1?ie=UTF8&qid=1406262519&sr=8-1&keywords=Velvet+Revolver+Contraband

Three Great 1970's Prog-Rock Albums You May Not Know About

The 1970's were a great time for rock musicians to truly explore their art form and leave behind the structuring of traditional pop songs. Bands were no longer afraid to go off into long musical odysseys that would show people how much of an art form rock could truly be. Unfortunately over the years many of these artists and their albums have fallen into obscurity and can only be found if one digs around for them. I'm here to help save you a bit of work in that regard today with three great prog-rock albums from the 1970's.

1. Illusions on a Double Dimple, by Triumvirat

Triumvirat was a prog-rock band from Germany. They were considered Germany's answer to Emerson Lake and Palmer as their primary focus as a prog band were also keyboards and synthesizer, rather than guitar. Their 1974 release Illusions on a Double Dimple was their major breakthrough in the US and even acquired them an opening spot on tour for Fleetwood Mac. This album shows just how rich pianos and keyboards can be when utilized the right way. Most of the music is long instrumental sections with keys taking the focus rather than vocals, though there are vocals on the album. The drumming is also quite superb because multiple odd time signatures are used to keep rhythm behind the seemingly free form keyboard odyssey. Overall, Illusions on a Double Dimple is worth at least one listen. It is a rich tapestry of piano, organ, synthesizer, and many other unexpected elements.

2. Spectrum, by Billy Cobham

 Drummer Billy Cobham had risen to notoriety by touring with world renowned jazz performer Miles Davis. In 1973 however, Cobham wanted to do something on his own. The result was an album called Spectrum. Though it is more jazz fusion based rather than rock, it still has many prog-rock elements to it where it is free form and features a variety of instruments and elements used in rock. Cobham ended up recruiting a variety of skilled musicians, most notably guitarist Tommy Bolin and keyboardist Jan Hammer. The gathered musicians essentially just jammed while at the studio, but these jams were recorded and became the album itself in order to keep everything sounding natural and organic. This album is where young Bolin really got to strut his stuff and really sound like he was on fire. This appearance would later be noticed and recruited by Deep Purple. Overall, Spectrum is a very unique jazzy experience. Every last player sounds like they are really enjoying themselves by finally getting to show off their technical prowess while still putting in some soul.

3. Captain Beyond, by Captain Beyond

In 1972, ex-members of Iron Butterfly, Johnny Winter Band, and Deep Purple came together to form a new band called Captain Beyond and recorded an album of the same name. Though some of the elements of what they did were more straight traditional rock than the previous two albums mentioned, they were still very exploratory in that many of their time signatures were different from that of the norm and some parts of the album were also suites. Also, many songs featured a wide range of dynamics within the same song leaving the listener anticipating what could possibly happen next. The album also flows very well because the songs all flow into one another leaving no gaps of space whatsoever. This would be a good album for someone who would like to give prog-rock a try but would like to dip their toes in the pool first before going all in.