In 1978, Kiss were arguably one of the biggest bands on the planet. A slate of platinum albums — Destroyer, Rock and Roll Over, Love Gun, Alive II and Double Platinum — sold-out tours in the U.S. and Japan, and millions of dollars generated by the sales of Kiss merchandise (from board games to dolls) solidified their status as reigning rock gods. They were enlisted by cartoon titans Hanna-Barbera for their own movie, Kiss Meets the Phantom of the Park, and it seemed the perfect vehicle to their fervent global following. Yet all was not rosy in Kiss world.
During the filming, interpersonal band tensions became toxic, precipitating rumors of an impending breakup. To appease warring factions and defuse the growing disharmony, Kiss manager Bill Aucoin opted for the band members to record their own solo album; a solo album clause was already in place within their Casablanca Records contract. On September 18, 1978, in an unprecedented move, four solo albums by Paul Stanley, Gene Simmons, Ace Frehley and Peter Criss were released on the same day. The dark horse of Kiss, Frehley surprised industry wags and fans with a spectacular solo effort; the Russ Ballard-penned “New York Groove” became the only major hit from the album. Frehley’s eponymous long player is universally cited as a watermark in The Spaceman’s recording career.
Forty-six years after its release, join us for a conversation with Frehley, producer Eddie Kramer, drummer Anton Fig and Kiss creative director Dennis Woloch detailing the back story of a
