Ace Frehley

2011: The vinyl countdown … and then some

Friday, December 30th, 2011 | musiX, pdX | 1 Comment

Well, hello there. Remember when we used to hang out? Right here? I would tell you about the music I liked. And you’d get me up to speed on everything going on in your life—that new job, your new love interest, or that new zany electro-twee trio from Brooklyn—in the comments section. I miss that.

It’s been a fantastical year for The Days of Lore, filled with all sorts of life-shaping events … ahh hell, here it is in digestible list form:

1. I got married! Yes, married! Me! Married! To a wonderful woman who puts up with all of my quirks. It was an incredible ceremony, and the good times with friends and family lasted for daze. It was one of the most overwhelmingly happy events in my life. And everyone cried, per my plan. I captured the musical portion of it on the official Days of Lore Wedding Mix. Grab your copy here.
2. I also performed my first wedding ceremony, and I think it’s even official.
3. A couple of my good friends brought new little bundles into the world. Both of those little bundles have Willie Nelson onesies.
4. My beloved St. Louis Cardinals miraculously won the World Series.
5. My wife Alexis got a Master’s in teaching and a teaching job … all within four months.

Yes, 2011 was pretty darned swell. That said, TDoL suffered a little amidst all of the excitement, neglected like a Fleet Foxes CD in the stack of life. But I have a couple of goodies to offer before we call 2011 a year. Like this here year-end, rock and roll buffet (minus the all-you-can-eat crab legs).

I should note that I didn’t delve very deep into new music this year, instead spending all waking hours with my head buried in musty vinyl bins (I’m even working on a cologne called “Musty Vinyl Bin”) buying up old country and metal records. This year, instead of a comprehensive list of 2011 releases, I’ve compiled sort of a grab-bag of notable musical this and thats. Hope you enjoy. Here’s looking to 2012 with charged batteries and more good times.

Top five 6 Shows
1. Wild Flag at Doug Fir, 11.9.11
Windmills, leg kicks, noise, all performed with a certain je ne sais quoi—these ladies renewed my faith in rock and roll.
2. Danava at East End, 10.8.11
The best rock band in Portland. Period. Earplugs and diaper recommended.
3. Rush at Sleep Country Amphitheater, 6.28.11
I’ve only recently jumped aboard the Rush train, and finally seeing them live proved once and for all what I’ve known all along: These guys are nerds. And they fucking rule.
4. Deicide at Hawthorne Theatre, 3.5.11
The venue smelled like an 8th grade locker room, and a fight broke out within the first five minutes I arrived. Now that’s a metal show.
5. Ke$ha at Roseland Theatre, 2.16.11
I had no clue what I was getting into here, and I ended up having a blast. Throwaway pop and good ol’-fashioned schlock in the form of human sacrifices and a dancing penis.
6. Zola Jesus at Mississippi Studios, 10.6.11
Less goth and more grandiose than I expected. I felt like I had eaten a Ziploc bag of mushrooms. And Ms. Jesus was very down-to-earth.

Top 5 Albums
1. Koko and the Sweetmeats - Sacrifice
Seattle’s best kept secret is also Seattle’s best band.
2. Unknown Mortal Orchestra - Unknown Mortal Orchestra
 I miss the Mint Chicks … but not that much.
3. Old 97’s - The Grand Theatre, Vol. 2
 Even better than Vol. 1. So where’s Vol. 3 and 4?
4. Anthrax - Worship Music
 Who woulda thought? They bring back Joey Belladonna and release their best album in 20 years.
5. Thee Oh Sees - Carrion Crawler/The Dream
 Album number two of 2011 from Jim Dwyer and Co. is numero uno in my book, and number five on the list.

Top five 6 Vinyl Purchases
1. The Saints - Eternally Yours
The gift that keeps on giving.
2. Steve Young - Rock Salt & Nails
Brilliant country gospel featuring Gene Clark and Gram Parsons.
3. Bollywood Bloodbath: The B-Music of the Indian Horror Film Industry
More funky than frightening—the dance-party soundtrack for 2011 and beyond (the grave).
4. Willie Nelson - Phases & Stages
Willie’s best, and I finally snagged it on vinyl.
5. Iron Maiden - Powerslave
I forgot how great this album was, and I played it for weeks at maximum volume. Now my neighbor Earl knows how great this album is, too.
6. Celibate Rifles - The Turgid Miasma of Existence
Australia’s answer to the Sex Pistols (get it?), only noisier and better.

Odds and Ends
Interview: A morning with Stephen Malkmus
I spent a few hours at Mr. Malkmus’ pad for Spin Magazine, talking to him about sports, guitars … oh, and his best solo record to date.

Record Store: Crossroads Music
I spent many an afternoon here this year. Spent many a dollar. Took home many a record. Made many an ill-advised decision. And for that, I love/hate/love it.

Book: Ace Frehley - No Regrets
The Space Ace drank enough booze and did enough blow to kill an adult male rhino, and he lived to tell about it. Guitar Gods never die—they clean up their acts and write rock bios.

TV: Wonder Years on Netflix
After years and years (and years), Kevin Arnold and Winnie Cooper (be still my beating heart) came back into my life, along with the laughter, tears, and the music … even if it’s not Joe Cocker on those opening credits. See you next year, eh?

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KISS WEEK! Alive MCMXCIX

Friday, November 20th, 2009 | musiX, pdX | No Comments

Live: KISS and Buckcherry at the Rose Garden, 11.17.09

It’s interesting to think about the pre-show rituals for a KISS concert in 2009. There’s less beer swilling and doobie smoking in the parking lot, and a lot more face-painting with the fam before packing into the mini-van to head down to the arena.

I was standing in front of the stage with four other (real) photographers right before the show. I stared out into the large crowd … well, not just any crowd—the KISS Army! KISS Nation! Which is sort of the equivalent of Fast Food Nation (OK, maybe Applebee’s Nation). Lots of makeup. Lots of KISS shirts covering portly bellies. Lots of middle-agers and their kids. They forked out their dough (tickets are anywhere from $20-$126) and were ready for that 60-foot curtain in front of the stage to drop. As the final chords of Zeppelin’s “Rock and Roll” rang through the house speakers, those famous words cut through the darkness and the curtain fell. I immediately turned into a teenager.

Paul Stanley and Gene Simmons are large men—even without the heels. And 35 years in, they play their parts like seasoned actors in a Broadway production, rarely deviating from the script. If you’ve been to a KISS show before you know you’re going to get the classics: “Strutter,” “Shout It Out Loud,” “Cold Gin” (which these days is preceded by a PSA from Stanley telling audience members not to drink and drive) and “Detroit Rock City” (a song whose narrator meets his end after drinking and driving). All great songs. But how about “Love Theme From Kiss”? Or “Plaster Caster”? “The Oath”?

I’ve seen hundreds of KISS performances—four in person, many more on VHS and DVD—and I’ve heard the same between-song banter over and over and over. So I’m always looking for that rare break in the script. I finally got it about two-thirds into the show at the expense of a hooligan in the upper deck. Paul was about to go into his spiel about extended encores, when out of nowhere … “Y’all are gonna get to see me shove a light pen up a muthafucka’s ass.” Whoa. Paul, don’t forget there are children in the audience. Anyway, doesn’t this guy know that Stanley Eisen doesn’t tolerate lasers in his eye? After a short, one-sided exchange, the Starchild snapped back into character as if nothing happened.

KISS is a tighter band today than perhaps it’s ever been. Yes, it’s incredibly lame that drummer Eric Singer and guitarist Tommy Thayer are wearing Peter Criss and Ace Frehley’s makeup (couldn’t they have come up with new characters? Perhaps some sort of exotic bird? Maybe a panda?), but KISS’ new lease on life wouldn’t be possible without them. Especially Singer, who drums circles around Criss. Thayer’s a fine musician, too, though everything that came from his fretboard was lifted from the Space Ace.

Not to mention letting Thayer sing “Shock Me” is fucking sacrilege.

But it’s about recreating that classic show, which is still big and loud and fun. KISS has retained the best and most campy elements from the ’70s—fog, fireworks, ticker tape parades, blood spitting—brought into the aughts with banks of video monitors that flashed images of old album covers and graphics that followed along with the songs. At one point, the cover of Sonic Boom appeared overhead as Stanley directed those in attendance to head down to Wal-Mart and pick up a copy. A commercial? I guess it’s the KISS version of an indie band telling a crowd they have a merch table with shirts and 7-inches? Can we go with that?

But hand it to Gene Simmons and Paul Stanley for still knowing how to rock ‘n’ roll all night—performing hundreds of shows a year, for more than two hours a night. And for a couple of guys approaching senior citizenship, they still get around pretty well in those 7-inch heels. These guys are the Kings of the Nighttime World. The Knights in Satan’s Service. And though I found myself cringing a few times, a KISS concert is still the greatest show on earth.

Photos by Mark Lore

In memory of Mark Louis Arnone, Feb. 24, 1973 - Oct. 21, 2009

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KISS WEEK! The peck before the KISS

Wednesday, November 18th, 2009 | musiX | No Comments

[Editor's Note: This post was originally published on April 17. It only seems fitting to run it again as part of KISS WEEK. Besides, before I tell you about last night's KISS show at the Rose Garden, you should read about KISS before KISS was KISS. Right?]

KISS fans are a peculiar bunch—willing to shell out hundreds of thousands of their hard-earned dollars to see the band play in makeup 35 years on, or to get their grubby little paws on ultra-rare bootlegs or a still-sweaty Gene Simmons codpiece. Kooky, I tell you.

Any KISS fan can also tell you that there was life before the makeup and codpieces … it was more facial hair and bell bottoms. After all it was 1970 when Gene Klein (born Chaim Witz, who would later become Gene Simmons) and keyboardist Brooke Ostrander formed a band called Rainbow in New York. After recruiting drummer Tony Zarrella and guitarists in Stephen Coronel and Stanley Eisen (who would change his name to Paul Stanley), Rainbow began playing mostly covers and would play their only gig at Richmond Community College in Staten Island.

By 1971 the band changed its name to Wicked Lester and began writing more originals. Wicked Lester went into the studio later that year (after performing only two shows). In the process Coronel was given the boot, and session guitarist Ron Leejack was brought in to record the leads. The record—made up of mostly originals and a few covers—took a year to record. When it was brought to prospective label Epic Records, the album was turned away and would never be officially released.

The Wicked Lester record has circulated in bootleg form for years. Two tracks—“Lover Her All I Can” and “She”—which would resurface on KISS’ Dressed To Kill album in 1975—appeared in a box set a few years ago. I actually like the Wicked Lester songs. It just sounds like a band trying to figure out what the hell they’re trying to do … some sort of Motown-acid rock-psych concoction (flutes and horns fluttering and squawking over folky guitars and funky basslines). Which is probably why it didn’t last. I love the Simmons-penned “Simple Type” with vocals from both future KISSers and the cover of Infinity’s “(What Happens) In the Darkness,” an Ike and Tina-inspired burner punctuated by Stanley’s sassy (and underrated) vox. And “Molly” (”Molly, my pal, you’re my gal … “) reminds me of something you’d hear on The Electric Company, which was some of Morgan Freeman’s best work.

You know the rest of the story. Gene and Paul (second and third from left respectively in the photo) recruited Peter Criscuola (later the Catman Criss) and Paul Frehley (Space Ace) and conquered the world 10 times over, put their faces on pajamas and lunchboxes, had their way with thousands of groupies, released a concept album, dropped the makeup, reunited, did four, five farewell tours … there’s nothing left to do. So, Gene, when’s the Wicked Lester reunion? Could be a money maker.

“She” - Wicked Lester

“Simple Type” - Wicked Lester

“(What Happens) In The Darkness” - Wicked Lester

“Molly” - Wicked Lester

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KISS WEEK KICKS OFF!

Monday, November 16th, 2009 | musiX | No Comments

Anyone who knows me knows that I’ve pretty much lived, breathed and slept KISS since I was about 5 … which is, no doubt, both impressive and extremely sad. While my devotion to the band has waned over the past decade, I think it’s safe to say that once you join the KISS Army, there’s really no getting out. I love ‘em … err … I leave ‘em … I mean …

Today TDoL kicks off KISS WEEK … because, well, why not? The band is riding a wave of critical acclaim (?!) with its new record, Sonic Boom. Still selling out shows. Finally nominated for the Rock and Roll Hall of Fame in their 10th year of eligibility. Besides, like it or not, the b(r)and has influenced three generations of music—some of it good, some not so good—while becoming the rock ‘n’ roll equivalent of Ringling Bros. meets Disneyland. Fun … and sometimes nauseating.

But if you can get past the KISS tampons and the KISS Kaskets and KISS M&Ms and KISS wine, KISS lunchboxes, KISS belt buckles, KISS Kondoms, pinball machines, KISS this and KISS that, you’ll find the music—loud, dumb, primal rock ‘n’ roll music. And when Gene Simmons and Paul Stanley aren’t spewing their agendized drivel (which isn’t often) you can sometimes catch them talking about the great bands they grew up listening to—The Seeds, The Pretty Things, The Beatles, The Move, Stax/Volt records. That’s what appeals to me anyway.

So, let’s go back to the beginning, shall we? Before the merchandising empire. Before the prepubescent fans. Before the pyro. Before Gene started taking up photography. Beginning on Jan. 30, 1973 KISS performed a series of shows at New York’s Popcorn Club, located on Queens Boulevard, which would soon be renamed Coventry. Ace Frehley and Peter Criss had just joined. And they had changed their name from Wicked Lester to KISS, which Paul Stanley took from the New York Dolls song “Looking For a Kiss.”

The first shows were sparsely attended, the makeup and costumes crude (Paul was still donning the short-lived “bandit” makeup), and the band was still unsigned. But KISS’ performances at those sleazy, roach-infested clubs were ferocious and brazen—not much different from the ones they’d give only two years later for sold-out crowds at majestic rock ‘n’ roll shrines like Cobo Hall and Madison Square Garden.

These old performances make me wish time travel was possible. I can’t imagine what this must have looked like to people in 1973. This performance from the Popcorn Club on Dec. 22 of that year was the band’s very first caught on film—a single-angle shot from behind a modest crowd. Paul and Ace look like they’re wearing jeans under them thar boots, Peter Criss is spry behind the drum kit, there’s no giant KISS logo … hell, there’s not even a stage—only four hungry young kids from New York and a couple of dancing queens up in front (one of whom is Criss’ then-wife Lydia). What a difference a few years would make.

In memory of Mark Louis Arnone, Feb. 24, 1973 - Oct. 21, 2009

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Black Friday: Ace is back and he feels the need to tell you so … again

Friday, July 3rd, 2009 | musiX | No Comments

Back in 1987 Ace Frehley exclaimed—in third person—”Ace is back and he told you so” in the song “Rock Soldiers” from his post-KISS debut Frehley’s Comet. Now he’s not-so-subtly telling fans again in the new promo video for his forthcoming record Anomoly, which finally has a release date set for Sept. 15.

The promo clip is about as cutting edge as his Web site. That’s OK. You see, Ace is from outer space … maybe he’s been flung through so many wormholes that he actually ended up in the year 1995. I do like the clip’s accurate depiction of the typical KISS/former-KISS-member fan as a dumpy, mulleted schlub who’s been counting the days for this momentous event. It is, after all, the Space Ace’s first solo outing in some 20 years.

Who woulda thought it would actually happen? Who cares? Well, about 5,000 dudes who look like the guy in the video. And maybe me. Couldn’t be worse than the new KISS album being recorded by Gene, Paul and those two dopes pretending to be Ace Frehley and Peter Criss.

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Wicked Lester: The peck before the big KISS

Friday, April 17th, 2009 | musiX | No Comments

KISS fans are a peculiar bunch—willing to shell out hundreds of thousands of their hard-earned dollars to see the band play in makeup 30 years on, or to get their grubby little paws on ultra-rare bootlegs or a still-sweaty Gene Simmons cod-piece. Kooky, I tell you.

Any KISS fan can also tell you that there was life before the makeup and cod-pieces. Gene Klein (born Chaim Witz, who would later become Gene Simmons) and keyboardist Brooke Ostrander formed a band called Rainbow in New York in 1970. The pair soon recruited a couple of guitarists in Stephen Coronel and Stanley Eisen (who would later become Paul Stanley), and drummer Tony Zarrella. Rainbow played mostly covers and would perform only one gig at Richmond Community College in Staten Island.

By 1971 the band had changed its name to Wicked Lester and began writing more original material. Wicked Lester went into the studio later that year (after performing only two shows). In the process Coronel was given the boot, and session guitarist Ron Leejack was brought in to record the leads. The record—made up of mostly originals as well as a few covers—took a year to record. When brought to prospective label Epic Records, the album was turned away and would never be released.

The Wicked Lester record has, of course, circulated in bootleg form for years with varying quality. Two tracks—“Lover Her All I Can” and “She”—which would resurface on KISS’ Dressed To Kill album in 1975, appeared on a KISS box set a few years ago. The Wicked Lester songs aren’t horrible, just unfocused, with flutes and horns fluttering and squawking over folky, slightly funky, psychedelic rock. My favorites are the Simmons-penned “Simple Type” with vocals from both future KISSers and the cover of Infinity’s “(What Happens) In the Darkness,” a rollicking Ike and Tina-inspired burner punctuated by Stanley’s sassy (and underrated) rock vox. And “Molly” reminds me of something you’d hear on The Electric Company (some of Morgan Freeman’s best work). It also boasts this gem of a lyric: “Molly, my pal, you’re my gal … ”

You know the rest of the story. Gene Simmons and Paul Stanley (second and third from left respectively in the photo) recruited Peter Criscuola (later the Catman Criss) and Paul Frehley (Space Ace) and conquered the world 10 times over. So … when’s the Wicked Lester reunion?

“She” - Wicked Lester

“Simple Type” - Wicked Lester

“(What Happens) In The Darkness” - Wicked Lester

“Molly” - Wicked Lester

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Black Friday: Ace is God … still

Friday, December 19th, 2008 | musiX, pdX | 2 Comments

I just finished up a year-end list for another publication, which included not only albums, but shows, books, movies–anything music-related. I had to check the archive to jog my memory, since I can barely remember what I had for lunch yesterday. Maybe the paint fumes coming from the apartment below are melting my brain … but it smells so good.

I stumbled upon a column I wrote about going to see original KISS guitarist Ace Frehley at a club in San Francisco back in March. I remember being reluctant to attend the show at first, but I eventually caved at the behest of my friend who is such a KISS freak, I think he actually sleeps in his Peter Criss boots. Adding to the fun was the fact that my friend and I would be meeting up with a guy who was known to find out where the rockers stay so that he could have them autograph photos and records with silver Sharpies.

Sure enough, he discovered that Ace was staying at The Prescott Hotel. We hung out in the lobby and the bar all afternoon, and when all was said and done, ended up with a few illegible Sharpied signatures. But, to hell with all that. The actual show was great. Ace played songs from his 1978 solo record, a few from his Frehley’s Comet days (for better or worse) and a handful of his KISS ditties including “Hard Times” and “Shock Me.” It sure shocked me.

But that’s not the only reason I’ve got Ace on my mind. I recently read the Portland Mercury music blog, where they’ve been running a series of posts under the heading of “Arctic Death: A Salute to the Winter Weather,” an homage to the recent snowfall here in the Pacific Northwest. The first entry was dedicated to Black Sabbath’s ode to frigidity, “Snowblind.” A great song, I thought, but my mind immediately went to Ace Frehley’s “Snow Blind” (two words), a rocking rock song that rocks, and includes Ace’s penchant for penning ridiculous lyrics: “I’m snow blind, I can’t see a thing / I’m snow blind, I don’t wanna sing.”

I don’t wanna sing? How about, “Don’t know what to bring.” Or “My hands start to sting.” No? Ah well, maybe if I inhale enough paint fumes I’ll come up with something better. The Space Ace is still working on new material, which should see the light of day around the same time KISS is inducted into the Rock and Roll Hall of Fame.

“Snow Blind” - Ace Frehley

“Ozone” - Ace Frehley

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