Tim McPhate | KissFAQ
KissFAQ has launched Back In The Solo Album Groove: The KISS Albums. 35 Years Later…, an ambitious multi-week retrospective dedicated to arguably the biggest milestone in KISStory: the 1978 KISS solo albums. Today, the site has published an interview with renowned bassist Will Lee, who played three tracks on Ace Frehley’s 1978 solo album: “Wiped-Out,” “I’m In Need Of Love” and “Ozone.”
The following are excerpts from Lee’s interview with KissFAQ’s Tim McPhate:
On a “She Loves You” moment during the album’s recording:
KF: By the time you came onboard for the album, several tracks were cut at the Colgate Mansion in Connecticut. So I believe the sessions you participated in would have been at Plaza Sound.
WL: That’s where we were. Plaza was really cool, it was right above Radio City Music Hall. It was in the same structure as that building. And I remember having this moment, I didn’t have this reference point at the time [because] I hadn’t really heard the story about the Beatles track “She Loves You.” But when they were at Abbey Road recording that in the studio, they were surrounded by women. And you can hear the confidence and the excitement and the testosterone that’s going on when you hear “She Loves You,” you can just imagine that [and] you can really understand where all that incredible spirit came from. There was energy surrounding the building. On the Ace project, we had the Rockettes looking in the window at our session.
KF: The Rockettes?
WL: Yeah, Radio City Music Hall had these chicks called the Rockettes. They’re like a bunch of chorus girls. They had heard what was going on upstairs, “Oh God, one of the guys from KISS is upstairs making an album!” So they’d come upstairs and you’d see them peering through the doors and it was like, “Yeah, this is our ‘She Loves You’ moment.”
On Ace Frehley’s attitude during the recording of his album:
KF: It seems Ace took people by surprise because everyone — from the band to the label — wasn’t sure what he was going to bring to the table with his solo album. And Ace ended up turning in this great, guitar-heavy album with lots of attitude and some slamming tracks from the likes of yourself and Anton. And on top of that, he scored the lone hit from the solo albums with “New York Groove.”
WL: Yeah, I think he said, “Fuck everything. I’m going to just go for it.” And he did.
There is a different feel for the verses, the pre-chorus and the chorus.
WL: The time turns around, it goes from like 6/4 to 4/4. I have to say, you know I’ve logged an awful lot of hours playing with Anton, not only with Eric Johnson when we did a bunch of stuff with him in the last couple of years, but also almost every Monday morning we play together with a guy named Oz Noy.
KF: Two fantastic guitarists
WL: It’s crazy. I’ve gotten to have Anton play stump the band with his turning the groove upside-down many a times.
KF: Your bass line on “Wiped-Out” is cool. Some of the lines almost have a funk feel, and you’re getting creative with some slides.
WL: Yeah, I tried to bring the funk (laughs).
On crafting his bass parts:
KF: Did you and Ace interact in terms of bass parts or did he pretty much leave you to do your business?
WL: Well, it was almost obvious what to play. I mean Ace could have played bass on the tracks that I played on. He could have played his ass off on that shit. But I just remember that everything was so guitar-based and there really wasn’t any need to stray too far from the established figures and grooves that the guitars had laid down. It was really strong, you know, you didn’t want to pull away from it too much. As a bass player, there’s this fine line between totally supporting the song and bringing something special into the song. You’re always riding that line. I always think of Ringo Starr. People say, “Was Ringo a good drummer?” I’m like, “You’re kidding me, right?” If you’re a songwriter, that’s exactly who you want to be playing drums on your song. Because he’ll not only support the song and bring the beat and basic groove that you need, but he’ll bring something so special to it that he’ll shape it in a way that nobody else could touch what he does. For me, as a bass player, I’m always trying to be Ringo. I’m trying to bring something but I’m also trying to not fuck with the song so much that it turns into a different piece of material
On who the musician in KISS was:
KF: You’ve worked with some amazing guitarists in your career. What’s your take on Ace’s guitar work in listening back to these tracks some 35 years later?
WL: Well, no diss to the other guys in KISS, but Ace was the musician in the band, as far as I’m concerned. He’s the real musical craftsman on his instrument kind of guy. What can you say? The guy’s a mother-fucker man.
Full Will Lee interview:
http://www.kissfaq.com/78/interview_will_lee.php
About Back In The Solo Album Groove:
As KISS celebrate their 40th anniversary in 2013, KissFAQ.com has launched Back In The Solo Album Groove: The KISS Albums. 35 Years Later…, an ambitious multi-week retrospective dedicated to arguably the biggest milestone in KISStory: the 1978 KISS solo albums. More than 30 brand-new interviews were conducted with various individuals who either worked directly on the solo albums or have a strong connection of sorts. The interviews will offer readers fresh first-hand perspectives straight from studio musicians, producers, engineers, and collaborators, and the creative professionals working in the KISS camp at the time. Topical features will shed more light on KISS’ activity in 1978 while dissecting the albums and offering in-depth analysis and biographical information on the albums’ participants. Also featured will be a 1978 KISS calendar, a roundup of other notable album releases in the rock genre in 1978, a spotlight on “Double Platinum,” and much more. Back In The Solo Album Groove will put the four 1978 KISS solo albums center stage like never before.