- Casablanca Records
While the other members of KISS were busy proving who could shout the loudest, Ace Frehley simply turned up his amp and let his guitar do the talking. His solo album fizzes with swagger, humor, and that unmistakable space-age groove — part Bronx grit, part cosmic mischief. “Rip It Out” tears through the speakers like a street fight in 4/4 time, while “New York Groove” struts down the avenue in platform boots and mirrored shades. It’s Ace unleashed: loud, free, and absolutely in orbit with his own sound.
In 1978, a sonic boom echoed from the KISS camp. Not one, but four solo albums crash-landed on record stores shelves, each featuring a member of the iconic rock band. Among them was "Ace Frehley," the self-titled debut from KISS' lead guitarist and vocalist, the enigmatic Spaceman himself.
Released on September 18, 1978, alongside solo efforts from his bandmates, "Ace Frehley" wasn't just a chance for the Spaceman to shine outside of KISS' larger-than-life persona. It was a revelation. Here, Ace Frehley stepped out from behind the smoke and pyrotechnics to deliver a potent blend of hard rock, glam, and even a touch of blues.
Frehley, known for his fiery guitar work and raspy vocals, takes center stage on the album. He tackles lead vocals and most of the instrumentation, showcasing a surprising versatility. Tracks like "Rip It Out" are pure KISS, fueled by his signature crunch and swagger. But "Ace Frehley" also ventures beyond the band's sound.
"Ace Frehley" wasn't just a critical success, reaching No. 25 on the Billboard charts, it was a commercial one too. It outsold even KISS' previous studio album, proving that the Spaceman had a dedicated fanbase hungry for his unique brand of rock and roll
American Hard Rock
Hard Rock in its late 1970s American form was high-voltage, riff-driven, and unapologetically loud — a perfect fit for Ace Frehley’s explosive solo debut.
Casablanca Records – Cat#: 6399 083
12" LP Vinyl Stereo Gramophone Record
Total Album (Cover + Record) weight: 230 gram
1978 – Made in West Germany
The “Mansion”, Sharon, Connecticut
Plaza Sound, New York
Jeanette Frehley for all her love and understanding.
Much appreciation and love to all the wonderful curly people who have helped since Ace stopped driving a taxicab in midtown.
Disclaimer: Track durations are approximate and may vary slightly between different country editions or reissues.
The front cover of KISS – Ace Frehley (Casablanca Records, 1978) presents one of rock’s most unforgettable solo portraits — a hyperreal painting by artist Eraldo Carugati depicting Ace Frehley in his full Spaceman persona. His face is painted stark white, bisected by jet-black outlines forming the signature lightning-bolt motif that frames his piercing, crimson-tinged eyes.
The smooth black background isolates Frehley’s ethereal visage, illuminated by an eerie blue glow that bleeds through his dark, shoulder-length hair. The effect gives the illusion that he’s emerging from deep space, weightless and electric, suspended in the void. His lips, painted black and slightly parted, hint at a smirk — half mystery, half defiance.
Every detail of Carugati’s brushwork enhances Frehley’s otherworldly image — the faint reflections along his jawline, the metallic shimmer of the silver makeup, and the subtle gradients of blue that contour his face like lunar light. The minimalist typography — the KISS logo in the upper left and “ACE FREHLEY” in crisp white type in the upper right — keeps the focus entirely on the face.
This cover defined Frehley’s solo identity, merging 1970s rock iconography with science-fiction aesthetics. The image remains an emblem of glam-era mysticism and the enduring power of painted album art in the pre-digital age.
The back cover of KISS – Ace Frehley (Casablanca Records, 1978) is a model of late-seventies rock album design: clean, symmetrical, and assertive. Against a glossy black backdrop, all song titles, timings, and credits are presented in sharp white and violet type, perfectly aligned to the center.
The upper half features a dedication reading “To: Gene, Paul & Peter,” a nod to Frehley’s bandmates. Below it, the tracklist for Side One and Side Two stands in stacked order — from the opening blast of “Rip It Out” to the introspective closer “Fractured Mirror.” The text contrasts beautifully with the dark background, emphasizing the album’s high production value.
To the right, detailed production notes credit Eddie Kramer and Ace Frehley as producers, with recording done at “The Mansion” in Sharon, Connecticut, and mixing at Plaza Sound in New York. Mastering is attributed to George Marino at Sterling Sound. Cover painting is credited to Eraldo Carugati, with design by Howard Marks Advertising Inc.
The lower section bears familiar Casablanca and Phonogram logos, along with the “Rock Steady” mark and licensing note, confirming it was printed in West Germany. Ace Frehley’s distinctive blue autograph-style signature rests near the lower right corner — a subtle personal touch that makes the cover feel intimate despite its cosmic theme.
The minimalist elegance of this design mirrors Frehley’s precision: no photos, no distractions, only pure rock confidence on matte black paperboard.
The Side Two record label of KISS – Ace Frehley (Casablanca Records 6399 083, 1978) captures the flamboyant identity of the label’s branding. The upper half features Casablanca’s famous desert marketplace illustration: palm trees sway beside domed white buildings under a pastel-orange sky, while camel riders, travelers, and traders bustle around the entrance to a walled city — a nod to Hollywood’s exotic glamour.
The label’s top arch displays the ornate red-and-gold Casablanca logo with “Records and FilmWorks” scripted beneath. The bottom half is cream-colored and contains the album’s essential details: the artist name ACE FREHLEY in bold, followed by Side Two track titles — “New York Groove,” “I’m in Need of Love,” “Wiped-Out,” and “Fractured Mirror.” Each song credit is neatly printed in black serif text.
Surrounding the spindle hole are the GEMA rights society box, LC 3272 label code, and ST 33 stereo designation, typical of German pressings from this period. To the right, the catalog and matrix numbers “AA 6399 083.2 Y” and “Made in West Germany” confirm its manufacturing origin. The fine perimeter text cites “Licensed by Phonogram International” and legal restrictions in German.
This label variation reflects Casablanca’s visual identity during the height of its disco and rock era — lush, cinematic, and instantly recognizable. The colors remain vivid, the typography sharp, marking it as an authentic first West German pressing from 1978.
The Side One label of KISS – Ace Frehley (Casablanca Records 6399 083, 1978) displays the iconic Casablanca Records and FilmWorks desert city illustration. Palm trees line a golden horizon where travelers, camels, and traders gather at the entrance of a domed white palace, bathed in a pink-to-orange twilight gradient. The rich scene captures Casablanca’s trademark cinematic flair, blending fantasy and Middle Eastern motifs.
At the top, the ornate Casablanca logo arches across in red and gold, while the lower half is a cream background that provides crisp readability for the album details. The text “ACE FREHLEY” is printed in bold uppercase, followed by the five Side One track titles: “Rip It Out,” “Speedin’ Back to My Baby,” “Snow Blind,” “Ozone,” and “What’s On Your Mind?” Each title includes full writing credits, reflecting Frehley’s dominant songwriting role.
Along the rim, fine black text lists copyright information — “℗ 1978 Casablanca Record & FilmWorks, Inc.” — and licensing by Phonogram International. Centered near the spindle hole are the GEMA logo, LC 3272 code, and ST 33 stereo mark. To the right, the catalog and matrix number “AA 6399 083.1 Y” and “Made in West Germany” confirm its pressing origin. The design perfectly balances aesthetic detail and production clarity.
This Side One label remains a visual signature of Casablanca’s 1970s rock catalog — vivid, theatrical, and unmistakably tied to the golden age of vinyl craftsmanship.
This 1978 West German pressing of “Ace Frehley” on Casablanca Records (6399 083) is easily identified by its smooth matte cover texture and vivid blue tones on the artwork. The record labels were issued in both silver and blue variations — collectors often debate which came first, but both originate from the same mastering batch by George Marino at Sterling Sound.
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