Ace Frehley / CA, USA 11.24.2019 Complete

Ace Frehley, whose last performance in Japan before his death was particularly memorable, is featured in this new masterpiece, offering a full show experience after his return to the US. This album captures his performance in Pasadena on November 24, 2019, in a superb audience recording. While we carry Ace’s entire career, this is our first recording from 2019. Let’s first take a look at his activities at the time to understand the position of this album. 2018: February 1-3: US #1 (3 shows), May 4-26: US #2 (4 shows), July 11-August 18: US #3 (8 shows), August 28-September 1: Australia (4 shows), September 3-6: Japan (8 shows) ← *JAPAN TOUR 2018 Others (October 19th: “SPACEMAN” released) – October 31st – November 11th / December 9th: US #4 (8 shows) 2019 – January 23rd – 26th: US #5 (4 shows) – May 2nd – 26th: US #6 (5 shows) – June 28th – August 16th: US #7 (15 shows) – September 25th – 29th: US #8 (4 shows) – October 26th – November 24th: US #9 (11 shows) ←★HERE★ – December 12th – 14th: US #10 (3 shows) Activities suspended due to the COVID-19 pandemic. Extremely thick recording with a completely soundboard-like, intimate feel. This is Ace Frehley in 2018/2019. In his later years, Ace was unable to leave the country due to unpaid taxes preventing him from obtaining a visa. His visit to Japan in 2018 was his last overseas performance before his death, and after that, he focused entirely on activities within the United States. This Pasadena performance was held about 1 year and 2 months after that Japan performance. It was the final concert of “USA #9”. This release, which vacuum-packs that show, boasts an “ultra” superb sound. This latest work by the renowned “ijwthstd” is a masterpiece of what you might call “perfect soundboard quality”. While there are raw applause erupting between songs, the crucial instrumental sounds and vocals are intensely on, with zero sense of distance. The crispness of the sound, the superb separation, the fine details…everything sounds like a soundboard recording. All the instruments are incredible, but the guitar is especially amazing. The raucous, sharp edges are completely free of any muddiness or distortion, and you’re overcome with a sense of synchronization as if the strings are vibrating inside your brain. Normally, even the most line-like recordings have some kind of atmospheric quality, like the sound of the toms, but even listening carefully with headphones, there’s no evidence of it being a spatial recording. The person who recorded it has even revealed the equipment used, so it’s definitely an audience recording, but the sound that comes out seems to be proudly saying, “Doesn’t it sound like a soundboard recording?” A full set that is even more classical-focused than the Japanese performances. With such a powerful sound, we present a full show that is similar to, yet different from, the Japanese performances. The Japanese masterpieces “JAPAN TOUR 2018” and “TOKYO 2018 3RD NIGHT: UNRELEASED MASTER” have also become standard, so let’s organize them while comparing them. Solo (4 songs) ・1978 album: Snow Blind (★) / Rip It Out / New York Groove ・Frahley’s Comet: Rock Soldiers KISS (9 songs) ・Messenger from Hell: Cold Gin / Deuce (Black Diamond) ・Scream from Hell: Parasite / Watchin’ You (★) / Strange Ways ・Love Gun: Love Gun / Shock Me ・Others: Rocket Ride / Hard Times / She (★) / Detroit Rock City *Note: “★” indicates the Japanese masterpiece “JAPAN TOUR Songs that weren’t played at 2018. …And that’s how it is. I thought there wouldn’t be any new songs at the Japanese concerts because it was before the release of ‘SPACEMAN,’ but actually, that’s the same even with this album which was released afterward. Rather, they cut out songs like FREHLEY’S COMET and covers and added more KISS numbers, and the 80s “Rock With the exception of “Soldiers,” the entire repertoire is from the 70s—a testament to its thoroughness. The sheer, high-quality sound is simply astonishing. This live album delivers a superb, direct sound—like a soundboard recording, almost like a direct connection to the mixing console—cramming classic 70s tracks into your brain. A new masterpiece that will undoubtedly add to “ijwthstd’s” collection. This is a phenomenal audience recording of the November 24, 2019 Pasadena performance. A true “soundboard-quality” masterpiece, with raw applause erupting between songs, yet the crucial instrumental and vocal sounds are intensely clear and completely intimate. The sharp definition, the superb separation, the meticulous detail… everything about it is like a soundboard recording. With 70s repertoire including “Snow Blind,” “Watchin’ You,” and “She,” which weren’t heard at the Japanese performances, this new masterpiece offers a truly sublime full show experience. The Rose at the Canyon, Pasadena, CA, USA 24th November 2019 ULTIMATE SOUND Disc:1 (58:27) 1. Intro. 2. Rocket Ride 3. Parasite 4. Hard Times 5. Watchin’ You 6. Snowblind 7. Rip It Out 8. She 9. Strange Ways 10. Love Gun 11. Rock Soldiers 12. New York Groove Disc:2 (39:14) 1. MC 2. Shock Me 3. Ace guitar solo 4. Cold Gin 5. MC 6. Detroit Rock City 7. Deuce 8. Black Diamond (outro) 9. Band Introductions Ace Frehley – Guitar, Vocals Ryan Cook – Guitar Jeremy Asbrock – Guitar Philip Shouse – Bass Christopher Williams – Drums