I think it's a classic perfume for an adult (I mean the state of mind here), strong and independent woman. The opening on me is quite sharp (but it calms down soon), fresh and green. Like a mixture of herbal tea, some strong alcohol and some gas bubbles to make it. Our panel of children's book experts recommends these great books for 4th graders. The Misadventures of Maude March is a Wild West story about two orphan girls who become outlaws. Set within the historical context of prairie life, 11-year-old tomboy Sallie. Emma Watson has established herself as one of the most stylish stars of her generation. See her best red carpet looks here! Jason Kempin, Getty Images Although Emma Watson isn’t even at the quarter of a century mark in age, the actress, best known for her. In 1949, he opened The Red Onion Cafe in Inglewood. The small diner only seated 15, but it served as the platform that launched a restaurant chain that eventually would number 26 locations. Harry’s sons, Bart and Don, learned the food service trade at their dad’s. More than 25 years after her movie debut as an aquatic blonde bombshell, Daryl Hannah is making a different sort of splash. An ardent eco-campaigner, she’s turned her back on the trappings of Hollywood for the good life in the Rocky Mountains. Judith Woods meets the movie star who’s daring to be. Gallery 2016 Latin Grammys: Top red carpet looks and show moments Gallery 'One Flew Over the Cuckoo's Nest' turns 40: Where are they now? Gallery The star-studded wedding of Tom Cruise and Katie Holmes Gallery Hollywood PDA: Stars go public with their. In the back of Elvis Costello’s favorite Vancouver espresso bar, there are a few bins of carefully selected new and vintage vinyl LPs. On a recent afternoon, the stack Costello chose to take home included an album by the Texas Hill Country troubadour Townes van Zandt and one by Eric Dolphy, the. A collection of quotes on the subject of beauty. It's important for all types of women to know that you don't have to fit a prototype of what one person thinks is beautiful in order. Ace Frehley Looks Back In Pride: An Interview with Space Ace. Space Ace Hits The Road With New Album Of Rock Classics And Talks Guitar Worship, Rock Star Team- Ups, Imposters And A KISS Reunion? Far from the noise of the rock star life; the clamoring fans, the roaring crowds, the constant bickering with ex- bandmates in the press, a recently minted Rock and Roll Hall of Famer lounges on a couch in his suite high above Manhattan. He sips tea while blithely glancing at a muted TV across the room. This is Ace Frehley at 6. Space Ace of KISS; the iconic harlequin outfit of 1. T- shirt and jeans. An ace- of- spades locket, a reminder of his persona, dangles from a silver chain around his neck. He bends an ear to hear my questions and squints to remember the details of his answers, mildly clearing his throat, as if to conjure the wild mystery of his past. This is a genuine rock rebel in repose, a man at peace, but still very much rocking. Big time. His latest album, Origins Vol. KISSdom, Paul Stanley. He is proud of having conjured it in his private studio in San Diego, where he now calls home, and his engineering and editing of many of the solos and vocal tracks on it. Mostly, he is proud of his legacy in the pantheon of rock; the lineage of which is profoundly presented on Origins. Perhaps the most influential guitarist of his generation, whose unique shoot- from- the- hip style is often imitated but never duplicated, now pays homage to his heroes; Jimi Hendrix, Eric Clapton, Keith Richards, and many more. And although it is difficult for him to wrap his mind around his impact in the wake of such musical giants, what does find its way through resonates. KISS was indeed a major rock spectacle. Its anthemic songs, burlesque imagery, and groundbreaking theatrical concerts turned the whole culture upside down. He was there; designed its logo and was the first to don its makeup—showing up at the annual New York Dolls New Year’s Eve bash in 1. Spaceman face- paint. We spoke for a half hour about his music, his legacy and his love of the guitar, which took this fellow Bronx boy from a dead- end subsistence to the top of the world. This is Paul Daniel “Ace” Frehley at 6. I’m going to start with something I’m sure you’re bored with talking about, but I have to ask you; why a covers record now? Well, actually it was the record company’s idea. To be honest with you initially I wasn’t that excited about the project, because I had just come off the high of the success of Space Invader, which is all originals except for a cover of “The Joker”. It was almost like, “Okay, I’m going to go through the motions and get this out of the way and then jump into the studio for my next real studio album.” But I gotta tell ya, man, once I started the process and started remembering the groups that influenced me, narrowing down which songs I thought were going to be best for the record, and then started the recording process; I really started getting more excited about it. Then once I got Slash on “Emerald,” he was the first guest star that recorded, and Paul (Stanley) agreed to do it. I was trying to get a hold of Gene (Simmons) and for some reason Gene didn’t get back to me. But when Paul agreed to do it, I already had Slash in the can and I knew I could count on Lita Ford, because I already spoke to her about it last year, and John 5. I also spoke to Mike Mc. Cready a year or two ago and he said he was up for doing a track on my new record. So, all the ducks were in a row. The last two weeks of the record I went up to L. A. I got John 5 and Lita Ford on the record the same day and that weekend Paul recorded the vocal for “Fire and Water”, while I was doing overdubs, and then he emailed the vocal back to us. I put a guitar solo on and we just mixed it. The whole process for “Fire and Water” was about four days from beginning to end. How long did it take you to make the record? Well, I started tracking last spring, but I went on tour last year to Australia, New Zealand, and Europe, and then came back and finished the record. Maybe the whole process took six months, leaving out the time I was on the road. I understand you recorded some the tracks in your home studio in San Diego? My place isn’t big enough for drums. We have a two- story townhouse, and I have a really great room with preamps and mics and stuff. I can do everything there but drums. There’s a studio in San Diego called Signature Sound and that’s where I did a lot of the basic tracks with drums. I tracked the drums and then I flew my engineer in from New York (Alex Salzman), who I like working with since Anomaly, and we did a lot of the overdubs, and then I went up to L. A. A lot of the solos I engineered, like “Fire and Water”, the intro solo and a lot of the guitars on “Bring It On Home.” What else did I do? I did the solo for “Till The End Of The Day” in my studio alone. I’ve really gotten good at Pro Tools, where I can actually engineer myself. The only drawback is when you are engineering some of the creativity goes out the window, because you’ve got to stay focused on what you’re doing instead of just thinking about creating. I prefer working with an engineer, but when I don’t have one around I can do it myself. The record sounds very heavy and fat. Is that something you guys were going for or you just stumbled on? No, that’s what I was going for. Warren Huart, the guy who also mixed Space Invader, he’s got all that stuff; SSL- board, and he uses old preamps. On some of my vocals he’s actually using real tape delay. So, you did a lot of analog recording then? Well, a lot of it was recorded digitally, but in the mixing and overdubbing process, we used a lot of analog equipment to achieve more of a vintage sound. One thing I’ve read about you over the years, specifically your first solo album when you were still in KISS in the ’7. I love—it’s the only one I bought—is that you use many different guitars and various amps and effects. Did you do the same thing for this since you were covering different kinds of music from a variety of artists? I use a lot of Les Pauls, but I like doubling Les Pauls with Fenders. I’ve got about a half a dozen Telecasters and a half a dozen Strats that I use, but in conjunction with different amps. I have a couple old Vox amps, a couple old Fender amps, and some old Marshalls. Last year I picked up a 5. Marshall I got in a pawnshop outside of Palm Springs. I picked up the head for $9. It was from the ’7. That’s how I achieved that fat sound. But layering Les Pauls and Fenders are really one of my trademarks that I’ve been using since the ’7. When I saw that Mike Mc. Cready was joining you, because I know he is a big KISS fan, I was reminded of your solo on “She”, which is very reminiscent of Robbie Krieger’s solo on The Doors’ “Five to One,” and then Mc. Cready took that solo and used it in Pearl Jam’s “Alive”. You guys ever talk about that? Yeah, we’ve spoken about that. I met Mike several years ago, because my daughter was a big Pearl Jam fan when she was a kid. They took care of us at one of the concerts. Then I found out he was sober. So we had that common bond. I ended up jamming with them at Madison Square Garden one night. I have a good rapport with him and Eddie (Vedder). I’ve wanted to get him on one of my records for a long time and finally it transpired. I love the way the different vocalists change the style of each track, but you’re the constant throughout the whole record. With Paul, how difficult or how easy was that when you guys first got together? Tell me the whole process there. We actually were never in the same room together. We just emailed him the tracks. He did the vocals, engineered it, and emailed them back to us, and boom. Technology has changed the recording process so much. In the ’7. 0s, we had to carry around these bulky, two- inch thick reels of tape that only held two or three songs depending upon the length of the song. Every time you wanted to do an edit was with a razor blade. Now with digital editing, it’s a dream. I mean, the sequence of solos that me and Slash did on “Emerald,” we had a dozen passes or more of solos and I pretty much put that together piece by piece; picked the best ones from each performance. Did you start to realize while recording these songs where your influences came from? I didn’t connect the dots in that way. It’s just that I thought back to all the groups that influenced me. I really wanted to do a Who song on the record, I just couldn’t get that together. Which one would you have done? I couldn’t decide. I did “Spanish Castle Magic” instead of “Purple Haze” or “Manic Depression” or something off the first album, which everybody is more familiar with. So I kind of went down that road when it came to choice of certain songs, but I’m really happy with the end result. It always amazes me, because some of these songs, it was just so easy to do. It was effortless to me. I’m just amazed after the mixing process how strong they sounded, . But I work with some of the best musicians in the world, so that must be the secret. I’ll take “White Room” for an example. You achieved that signature wah- wah sound; that great (Eric) Clapton wah- wah sound throughout the song and then into the solo. Did you make a concerted effort to pay sonic homage to each song? I had two wah- wahs in one of my boxes and me and my engineer plugged in both of them and they were way too noisy. The potentiometers were all dirty and it was making a lot of noise, so we ran out to Guitar Center and bought a brand new wah- wah, (laughs) a Vox wah- wah. I only did two or three passes of the solos, and out of those three passes, my engineer pieced together one solo. Everything kind of came together really. I keep hearing things that I didn’t hear from a prior listen. I improvised all the solos on the record. I didn’t play the other people’s solos, note for note. I stayed pretty true to most of the arrangement.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. Archives
January 2017
Categories |