Ace Frehley’s distinct, unconventional guitar style was a defining element of Kiss’s early sound. Tracks like “Deuce,” “Cold Gin,” “Detroit Rock City,” “Love Gun,” and “Shock Me” wouldn’t be the same without the Space Ace’s signature approach.
However, Frehley’s time in Kiss wasn’t permanent. His tenure in the band spanned from 1973 to 1982, and again from 1996 to 2002. During his absence, the door was opened for new guitarists, including Vinnie Vincent, Bruce Kulick, and Tommy Thayer, to step in.
Frehley, known for his unschooled, raw energy, stands apart from his successors in many ways. Despite his lack of formal training, he became a massive influence on guitarists from Kim Thayil to John 5. Reflecting on his impact, Frehley recently shared, “If I’d known I was going to influence that many people, I probably would have practiced a bit more. But it makes me proud and happy to know that I’ve inspired many great guitar players.”
Frehley’s approach to solos is one of the key elements of his appeal. “The best solos are the ones you can hum,” he explains. He credits blues guitarists like Jimmy Page, Eric Clapton, and Jeff Beck—whose Les Paul playing influenced Ace’s own style—as significant inspirations. Even Robby Krieger of The Doors had an impact; according to Gene Simmons, Frehley famously replicated Krieger’s solo from “Five to One” for Kiss’s “She.”
When it comes to rhythm guitar, Frehley draws inspiration from Pete Townshend. “Townshend was number one for me. He could take a chord and play it in different positions using inversions. I learned a lot from studying his work.”
However, Ace doesn’t exactly fit the mold of a traditional student. “My style is a mix of all those guys. It’s distinctive. I don’t use many effects—I just crank the Marshall amp all the way up and always use the bridge pickup.”
As for the players who replaced him in Kiss, Frehley has some candid opinions.
Bruce Kulick
Frehley recognizes Kulick as an exceptional guitarist, stating, “Bruce is technically a better player than I am. He can play things that I can’t. He’s a more polished musician, but when it comes to melodic solos, I’m the best.”
Frehley credits much of his melodic approach to his unique technique. “It’s all about how you hit the string with the pick and your finger at the same time to create harmonics. It takes a while to master that, but it’s a winning combination.”
Though Frehley and Kulick have only jammed together a few times at conventions, they share mutual respect for one another. On Frehley’s latest album Origins Vol. 2, Kulick played on a rendition of “Manic Depression” by Jimi Hendrix, with the two musicians trading solos remotely through Pro Tools.
Vinnie Vincent
Frehley’s thoughts on Vinnie Vincent are more critical. “Vinnie played too fast. I didn’t really pay much attention to him. Paul [Stanley] used to complain about him, saying that Vinnie was like a loose cannon. He’d double the length of the guitar solos and play too fast, which they couldn’t control.”
Frehley also shares a humorous memory of meeting Vincent for the first time: “I hadn’t met him for years, but when I finally did, I was surprised by how short he was. I was towering over him!” Frehley doesn’t hold back in his critique of Vincent’s style, adding, “Shredding isn’t memorable. When you play 64 notes in a couple of bars, it’s hard for anyone to remember what you were playing. I’m more about melody.”
Tommy Thayer
Frehley acknowledges Tommy Thayer’s technical skill but feels that he lacks the “swagger” that Frehley himself brought to the band. “Tommy played the right notes, but he didn’t have my technique or style. My dad, an excellent pianist, always taught me that it’s not just about hitting the right notes—it’s about how you play them and how you use the pedals. I applied that mindset to my guitar playing.”
Despite their differences, Frehley has fond memories of playing alongside Thayer during the reunion years. “Tommy is like an encyclopedia of Kiss songs. He knows how to play all the right notes. But when I returned for the reunion, he had to show me some of the old parts because I hadn’t played them in years.”
Frehley also finds humor in their contrasting playing styles. “Tommy thought I played certain solos in different positions on the neck than he did. I told him, ‘I’m not a schooled musician—I play where I feel like it!’ It turned out he wasn’t playing them correctly either, which was funny. We both laughed about it.”
Despite the differences, Frehley’s influence on these players—and on Kiss as a whole—remains undeniable. His raw, instinctive guitar style set a standard that his successors have had to navigate and adapt to in their own way.
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