As an original member of rock titans Kiss, “Space Ace” Frehley inspired countless budding musicians. His new album, 10,000 Volts, is his first set of original material in six years, following two Origins cover albums. Trixter guitarist Steve Brown co-wrote most of 10,000 Volts with Frehley, and the partnership will likely continue. With writer Ken Sharp, Frehley is also planning a second memoir and a coffee-table book featuring his guitars.
How did you get together with Steve Brown?
I’ve known Steve for probably 30 years on a very casual, social level. My fiancée was a huge fan of Trixter, and she grew up in New Jersey, where Steve grew up. She kept telling me, “You’ve got to get together with Steve. He’s a really good musician/singer/songwriter.” Finally, I called and asked him to send me some ideas. “Walkin’ on the Moon” grabbed me immediately. That was the first song we collaborated on, and it came out great. When it comes to Steve, it was a marriage made in heaven.
How is that reflected in your new music?
Each song on the album is a little different, and there’s no filler. After a few songs were completed, Steve and I looked at each other and he said, “Ace, this is going to be your best record. Trust me!” Halfway through, we knew we had something special.
How did you decide to cover Nadia’s “Life of a Stranger”?
It’s from the end of the movie The Transporter, and I always loved the melody and lyrics, but it was Euro-rock with a drum machine. I played it to Steve and said, “I want to do this heavy.”
“Cosmic Heart” is intense.
I hit bottom with drugs and alcohol 17 years ago, and I’m happy with the emotion I put into that song. It’s personal, about me. And the solo is really cool – it’s one of the few where I used a [DigiTech FreqOut] that sustains forever. I could get that if I stood in front of a Marshall to get feedback, but since I wasn’t in front of a Marshall, Steve brought this box.
How about “Blinded”?
For that, I said to Steve, “We’ve got to write a song that doesn’t have to do with chicks!” (laughs) It’s so easy for a rock star to write a song about a girl, and most of these songs are about women. I’d just been reading articles about artificial intelligence and the dangers of it. I said, “Let’s write a song about that.”
Most of your albums have at least one instrumental, and “Stratosphere” is your best since “Fractured Mirror” on your 1978 solo album.
My fans expect it, and I enjoy doing instrumentals. You can really play with them and take them in different directions. “Stratosphere” is the shortest instrumental I’ve ever recorded. It leaves you wanting more.
Which electric guitars did you use on the album?
I don’t really remember, but I usually play a couple of my favorite Les Pauls. Sometimes, I double things with a Strat or a Telecaster.
How about acoustics?
I have a favorite Taylor honeyburst, a Guild from the ’80s, a Martin, and an Ovation I purchased at a pawn shop way back when. I’ve got a couple of 12-strings – an Ovation and a Guild.
You’ve always been friends with Peter Criss. Do you understand fans’ fascination with the original Kiss – especially since you two weren’t at the band’s last concert – and the hope you could all be friends?
I’m still friends with Paul (Stanley) and Gene (Simmons). I’m closer to Gene than Paul. I’m a practicing Christian. I go to church, I pray for my enemies, loved ones, and friends. I don’t hold grudges anymore. Even my sponsor in Alcoholics Anonymous said, “Resentments will make you drink.” You’ve got to let all that stuff roll off your back. Me, Paul, Gene, and Peter have spoken multiple times over the years and had nice discussions. It’s just not healthy for me to be around Paul and Gene; I can take them in small doses. We created something fantastic together, but that time has passed.
I understand the fascination with the original four, because we had something special. We were from completely different backgrounds and there were times on the road when we didn’t get along. But for some reason, when we got onstage there was this chemistry among the four of us that I can’t even put into words. It was special, and people picked up on it.
This article originally appeared in VG’s April 2024 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
