It's been said that KISS is like a family. People may leave home but they are always a part of it. The original KISS was a family. Gene and Paul were the Mom and Dad; they were ultimately in charge, attempted to keep everyone in line and kept the whole thing going. Peter Criss was your crazy uncle...alot of fun to be around and warm-hearted but one too many stories about him ended with something to do with firearms, an ingested chemical of some kind or a car-crash. But Ace was your cool older brother: he had all the good albums, the best weed, threw the best parties and knew all the latest dirty jokes. He was always a blast to be around but he never got along really well with Mom and Dad and would eventually split from home under not so great circumstances. But even though he had his share of personal demons, you always knew how talented, smart and good-hearted he is and you just keep rooting for the guy to get his shit together someday, no matter how many times he's come close to total self-destruction.
Well, the prodigal son returns! Ace is back and he is sober. Also, refocused and more creative than he's ever been. Anomaly is a record from a man who has come to terms with who he is, what he's done and knows where he wants to go.
The album opens strong, with three solid from-the-hip rock n roll tunes: "Foxy And Free", "Outer Space" and "Pain In The Neck". Nothing subtle here as the album blasts to life with big riffs, kick in the gut drums and lyrics sung with that quirky "wink, wink, nudge nudge" style we all love from the Spaceman. The only "meh" moment is the weak chorus on "Neck".
Next up is his stellar cover of Sweet's "Fox On The Run". Gene Simmons once said Ace has the incredible ability to take some else's song and make it all his own. He has "New York Groove", "2000 Man", "Hide Your Heart" and "Do Ya" under his belt and can add this one with pride. I'd love to hear a total covers album from Ace someday. Most bands who do that with mixed results but I think Ace could hit that one out of the park. (Hey Ace, you'd sound amazing doing Joan Jett's "I Love Rock n Roll", Motorhead's "Ace Of Spades" and Alice Cooper's "School's Out". Just sayin'.)
One of the coolest tracks is "Genghis Kahn". It's got a plodding "Kashmir" type groove, with a tight riff played with a scritch-scratchy guitar tone that reminded me distantly of the James Gang "Funk #49". It's one of the brightest spots on the album, marred only slightly by a pointless chorus. There are no other lyrics on the tune, so the chorus sounds a bit misplaced. Edit those out and you'd have flawless instrumental. It also features the best guitar solo on the record. You know it's an Ace Frehley solo within the first three notes but you quickly see that Ace has (gasp!) matured with his playing over the years. There is a freshness that hasn't been there in a long time and you hear the wah-soaked solo just open up and blossom.
Ace threw us some curve-balls with "Change The World" and "A Little Below The Angels". Some pretty personal, socially-concious lyrics on these, where Ace confesses the mistakes of his past and how he wants to reconcile with the world for the future. Mellow and melodic, we see yet another side of Frehley's muse rear it's head. It's great to hear him still trying new things..he's obviously creatively rejuvenated and is being fearless with what he's allowing himself to express. There's a slightly cringe-worthy moment in the middle of "Angels" where he talks to his daugther (talking in a song is always lame to begin with) but it's tolerable and doesn't get in the way of an otherwise beautiful song too much. If we're talking cheese-factor, I'd still take it over anything from KISS '87-90 period.
Mr. Frehley has always sighted another New York native, Leslie West of Mountain, as an influence (listen to the first riff on Mountain's "Never In My Life" and then listen to Ace's "Rip It Out") and you can really hear it on the instrumental "Space Bear" (if you don't kow what Ace means by the term "Space Bear", do yourself a huge favor and seek out the 1979 KISS interview with Tom Snyder). A thick, back-beat hugging twisted heavy blues riff that sits on yer chest, refusing to let you up for air.
"Sister" is a song that has been floating around in the bootleg world for 15 years on demo reels and live-bootlegs. It finally makes it officially recorded debut here and it is a pummeling, crushing bit of Space Rock. Strong enough it could've served as the album opener with ease if they had wnated it that way. A favorite.
The album closes with another instrumental "Fractured Quantum", the fourth in the "Fractured" series. This is by far my favorite of the sequals to the original "Fractured Mirror" from his '78 solo album. This left me with the same feeling I had the first time I heard "Mirror" and that's saying something. Ace is one of the flashiest lead guitarists in the world who came to fame in one of the world's flashiest bands, but this isn't some guitar-hero wankfest here. He shows the caliber of his compositional skills by building a beautiful crescendo throughout the piece with simple melody, dynamics and instrumentation. Leaves me with goosebumps everytime.
The only bland spots in this album are "Too Many Faces" and "It's a Great Life". Neither are bad tunes and are enjoyable, they just simply didn't make much of an impression on me the way the rest of the album did.
Overall, I love this album. It's just what I wanted and expected from Ace, plus a little more. Ace has claimed that he's going to be putting out albums with more regularity now and this is he beginning of a long creative streak for him. To that I say with much affection, "Welcome home big brother. We've missed you."
