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Check out live versions for the full Kiss experience.īonamassa’s reputation as a high-octane performer makes his work on this classic cover all the more impressive. The wild blues scale lick at 2:14 is worth stealing, too the timing of those massive three‑fret bends (played at fret 12 on the E string) feels like whiplash. The flurries of pull‑offs at 2:06 are played by pulling off 8‑7‑5 on the E string and then repeating on the B string (Ace is tuned down a semitone). There aren’t many things that unite hair metal and grunge guitarists, but this solo is one of them.
His licks are mostly not hard to play, and that’s a major reason they’ve been so influential. Ace’s signature strictly rhythmic vibrato is ever present, and he combines major and minor pentatonic lines seamlessly. Just when you think it’s winding down at 2:29, it instead changes key and keeps on rolling. He neatly distils the first 25 years of American rock guitar into 50 seconds, ready to be plagiarised for the next 25 years. Not so much a solo as a greatest hits compilation for the pentatonic scale, Shock Me sees Ace Frehley wheeling out his entire lick arsenal. Shock Me – KISS (Guitarist: Ace Frehley, 1977) Any other shortcomings were compensated by the fact that the guitars were super loud, well played and beautifully recorded!”Ĥ3. I have to say the guitars were recorded properly on this album. I think it was an old Mesa/Boogie Dual Rectifier with no effects, because effects are for the weak-minded. “Amps-wise, I would just go through whatever Dan and Pedro put me through. I used it for pretty much everything on the first record. “It’s still a great guitar, made before they started chambering the bodies, so it’s a proper heavy Standard with a thin and playable neck. I’ve still got it in the studio but it’s fucked, I think all the insides have rotted away with sweat because we did thousands and thousands of pub gigs with that thing. It was my first-ever Les Paul, actually – made in 2000. “For the recording, I think we were in 2KHZ Studios on Scrubs Lane in Willesden, London. I suppose this solo does deserve to be in this list, because I ended up copying everyone that matters to me. It’s perfectly feasible and justified, in some instances. It looks spectacular live because you can reach over the top of the neck and pull it with first finger on the fretting hand. “I love soloing in E and especially on Les Pauls, because there’s always an ‘out’ by bending on the highest fret you can have. I decided to do that on the top string to get myself up to where I wanted to be.“ On the Electric album, there’s that song called Bad Fun where he uses hammer-ons and pull-offs against an open string. “The next bit is where I was trying to be Billy Duffy from The Cult. I actually find the more extra notes you include, the more it makes everything sound posh.
“It’s not quite pentatonic because you have that extra note in there. That’s the one thing that we nailed Justin Hawkins I have to say the guitars were recorded properly on this album. And there’s more of that humble blues scale – honestly, you really can’t knock it! What can I say, people love saucy bends! “For the opening section I was clearly trying to be Brian May, but then comes this almost funky bit on the D and G strings where I’m going for more of a Slash vibe. “I like to call it the humble blues scale! I climb down the scale and then end that run with another saucy bend. From that opening bend, it’s all blues stuff around the 12th fret really.
“There’s a harmony guitar or two in there as well – in fact there’s all sorts of things going on under the hood, including five seconds of dramatic monologue for the discerning listener with a good stereo. I always start off with a big saucy bend, that’s always been my thing I guess. Then I was tasked with having the run home near the end. It’s more of a first chorus tag kind of thing. Justin Hawkins: “In this song I had the first solo, which was fairly easy to play, with a few of those licks I try to stick in pretty much everything.
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