Shifty’s biggest guitar hero joins the podcast to run down his unique lead picking on the 1977 Love Gun hit.
Ace Frehley is the reason Chris Shiflett picked up a guitar in the first place, so it’s only natural that Shifty invites his original tone teacher onto the pod to recap one his iconic solos. Frehley, saddled with a classic black-and-cream triple-humbucker Les Paul, shares that “Shock Me” was the first KISS track on which he took lead vocal duty. The first time he sang it live, he remembers, was in front of 18,000 screaming fans at Madison Square Garden. As Frehley explains, that was quite a step up from how he recorded the vocals in the studio for Love Gun: lying flat on the floor on his back, racked with stage fright.
Frehley recalls that he ripped most of his solos through a dimed Marshall stack, and always on the bridge pickup. Turns out, he never went for pedals or boards because he’d trip over them onstage. “Wearing those boots?” he snorts. “Forget about it. It’s like a minefield!” His signature sauce, he says, is in the way he picks the strings: He holds his picks loose, but plucks in such a way that his thumb often hits the string at the same time, producing a sound just shy of a pinched squeal, but more spunky than a regular strike.
Frehley drops tons of golden bits of KISS history: the engineering behind his famous “smoke bomb” effect, the time he woke up in Paris with his eyes swollen shut from makeup, how he accidentally roadied for Hendrix, the shared genealogy between his technique and Eddie Van Halen’s, and which KISS member smelled the worst after shows.
Credits
Producer: Jason Shadrick
Executive Producers: Brady Sadler and Jake Brennan for Double Elvis
Engineering Support by Matt Tahaney and Matt Beaudion
Video Editors: Dan Destefano and Addison Sauvan
Special thanks to Chris Peterson, Greg Nacron, and the entire Volume.com crew.
Then we give a Takamine guitar & Fishman amp to an up-and-coming Nashville musician.
Music City is always swirling with top-notch musicians performing anywhere they can, so Takamine and Fishman challenged PG's John Bohlinger to take his talents downtown to—gig on the street—where he ran into YouTube sensation DØVYDAS and hands over his gear to rising star Tera Lynne Fister.
PG contributor Tom Butwin dives into the Rivolta Sferata, part of the exciting new Forma series. Designed by Dennis Fano and crafted in Korea, the Sferata stands out with its lightweight simaruba wood construction and set-neck design for incredible playability.
The "Sandblasted" SE Series features a swamp ash top with a unique sandblasted finish in five color options.
This limited edition is built on the CE platform and pairs a swamp ash top and mahogany back with a 24-fret, 25” scale length bolt-on maple neck and rosewood fretboard. The Swamp Ash tops have been “sandblasted” to accentuate the wood’s inherent figure and are then grain-filled in one of five colors: Sandblasted Blue, Green, Purple, Red, or White.
“We have done runs with this treatment before, but this is the first time we are offering it at scale worldwide. I really fell in love with these guitars after watching the sandblasting process in person. It’s transformational. But, these guitars are more than just eye-candy – they take a ton of care to make, and they are made to be played,” said Jack Higginbotham, PRS Guitars COO.
For more information, please visit prsguitars.com.
SE Swamp Ash CE 24 "Sandblasted" Limited Edition | Demo | PRS Guitars
We’re unpacking Reid’s playing—from his early days in the NYC jazz underground through his work with Living Colour and into supergroup superstardom—and his longstanding gear-acquisition-syndrome.
We love “Cult of Personality” because it’s one of the hardest hitting riffs in the classic rock canon. Catch it on drivetime radio and it’ll get your heart pumping faster than an extra double-shot of espresso. But we also love it because it launched Vernon Reid’s guitar into the mainstream. We’re unpacking Reid’s playing—from his early days in the NYC jazz underground through his work with Living Colour and into supergroup superstardom—and his longstanding gear-acquisition-syndrome.