Episode 113 - KISS - Creatures Of The Night

[00:00:05] Speaker A: This is our musical reaction, breakdown and commentary analysis of the album and songs. We intend no copyright infringement and this is not a replacement for listening to the artist's music. The content made available on this podcast is for educational and informational purposes only, notwithstanding a copyright owner's rights under the Copyright Act. Section 107 of the Copyright act allows limited use of copyrighted material without requiring permission from the rights holders for purposes such as education, criticism, comment, news, reporting, teaching, scholarship and research. These so called fair uses are permitted even if the use of the work would otherwise be infringing. Now onto the Roc Roulette podcast. Happy Halloween. [00:01:57] Speaker B: Hey everybody. Welcome to the special Roc Roulette Halloween episode. That's right. We decided to do something a little bit different tonight since it is Halloween, even though it's hot as balls in New York, doesn't feel like Halloween. But we figured, you know, what the hell, we're all, we're all Halloween fans and rock fans and we figured, why not do a special episode? So, you know, we'll tell you the album in a little bit because we're not spinning the wheel this time. We actually went off the cuff. We pulled an audible, like we say, and we're gonna do something off the off the cuff. We are threesome tonight. We have Mark. Oh, hi, Mark. [00:02:36] Speaker A: What's up, guys? [00:02:38] Speaker B: We have Frank. My name is Frank and I'm Sexy. [00:02:56] Speaker C: Hello again. [00:03:00] Speaker B: And I'm Sav. Ciao buona. So again, first and foremost, we want to thank our listeners. Again, we had a little bit of an uptick recently. So anybody who's listening, please spread the word. Tell us, you know, tell us what you like, what you don't like, what you want to hear more of, less of any albums you want us to do, any songs you want to throw into our baby wheel for the new bets. Again, we really appreciate it. So as mentioned, we are doing a special Halloween episode tonight. We figured we'd do something like that and Mark threw out two ideas and one of them said to myself, you know what? We have to do this one. Because Mark is a massive Kiss fan and we in all these spins, we have not gotten a Kiss album even though they have how many studio albums, Mark? [00:03:48] Speaker A: What is like 20, 20 something? And they're all on the wheel and we get forget them. And just to make sure this is not my idea, I threw a couple things out. I didn't pick the Kiss thing. This is Savino. [00:03:58] Speaker B: Yeah, I, I, well, I picked the Kiss because that King diamond was the first one that popped into My head, but I'm like, oh, we did King diamond already. And then Mark threw out a couple, and Kiss was one of them. I said, you know what? Kiss, Creatures of the Night, by the way, obviously, it's on the Avatar. Anybody looking at it so you'll know what it is. I think it's a great album. It kind of ties in with the Halloween theme. It was the last makeup cover right before they reunited. I think it's the best Kiss cover. Me personally, and I think it's a pretty strong album. From what I remember, it's been a little bit since I've listened to it, but overall, I think it's. It's pretty strong. I think we could have a lot of fun with this. So, Mark, is this one of your favorite covers or favorite cover? [00:04:41] Speaker A: I think it's one of the most iconic. I mean, they have so many. I mean, they're kind of like the king of covers. But, yeah, I like it. I think I bought the, like, the 40th anniversary thing. I think the eyes glow on that one. I haven't opened the box yet, so I don't know what it does, but I tend not to open my new stuff up just because I have the old stuff. Anyway, whatever reason, I don't remember if I remember the actual first cover. I remember the reissue cover with Bruce Kulick on it, like, in the. It was a 85 somewhere around there. [00:05:08] Speaker B: That's what I remember. I didn't even know about this cover. [00:05:12] Speaker A: I don't think it was easy to get back in the day. I mean, if I would have seen it, I think I would have bought it. I just don't remember seeing the COVID I don't know why. [00:05:20] Speaker B: Yeah, I wonder why they did that, too. It's like, people. I mean, not that he's. I mean, Ace Fraley's on the COVID but he didn't play on it. But, I mean, considering doing a cover with, you know, Bruce Kulick, it's just without makeup, and that was a pretty funny cover. I think for this album, they were. [00:05:36] Speaker A: Capitalizing on the popularity of Kiss again. And it's kind of funny, both of the guitar players on the album cover didn't play on the album. [00:05:45] Speaker B: That is pretty funny. So, yeah, I mean, this is. I don't know, Mark, if you want to go into. I mean, I know a little bit of history, obviously, about this, but I'm sure you probably know more than either one of us, so I'll give you the. The stage if you want. [00:06:00] Speaker A: I'm sure people know More about Kiss than me. But this, you know, came off the elder, which really didn't do very much for them, so they figured they're going to go back to being in a harder rock band. Ace really is not on this album, even though he's on the COVID So he ended up only being there for contractual reasons, I guess. I think they need three people, three original members, or they wouldn't get some money or something of that nature from back in the day. Yeah, I think. I think it's a great album. It only. I think it only went gold, like, in the 90s, though, was kind of funny. It didn't really do. I think it went to 45 and the elder went to 97 or somewhere around there. So it didn't really do much. You know, the songs are great, but, you know, the. The makeup was kind of getting old for them, and, you know, that's why the next album, they ended up taking the makeup off. But this has Vinnie Vincent on a bunch of tracks and Robin Ford in a bunch of tracks, Steve Ferris on a track. So it's great. It's a great album. It's just, you know, it's kind of a transition thing up and, you know, to do Lick it up next. So. I gotta say, I do like. Vinnie Vince's playing on Kiss. I'm not a big fan of his outside of Kiss, but in Kiss, I think he did a great job. [00:07:11] Speaker B: Yeah. And he's got a. He's got his songwriting credits on this album, too, right? He's got some songwriting credits, I think. [00:07:18] Speaker A: Yeah. Not. Not as much as you think, though. Two songs, I think. [00:07:22] Speaker B: Yeah. [00:07:23] Speaker A: Brian Adams is a songwriter on this. Adam Mitchell has a bunch. [00:07:27] Speaker B: Speaking of which, Brian Adams write the two songs. He has writing credits here. He just released YouTube videos doing. [00:07:32] Speaker A: Right. [00:07:34] Speaker B: Which is pretty funny. Like, wait, what's this? Is this old? And then I'm like, wait, this. Do you see, Brian? I was like, this is not old. This is definitely new. So I thought that was really cool that he. That he did that. [00:07:44] Speaker A: Yeah. Frank, what do you. What do you remember from this album at all? Do you remember anything from this? [00:07:48] Speaker C: I remember you blasting it while we used to hang out on your stoop a couple of times. I remember that, but that's pretty much it. And I mean, you know, like Steph said, you were always playing Kiss when we used to hang out at your place, so I don't remember all the songs. I just remember them vaguely. I do remember, though, for whatever reasons, when Kiss first album, when they were without the makeup. We drove to Pelham Parkway to go and get it in your car. I remember that. [00:08:15] Speaker A: I don't even remember that. No, I couldn't have been because I wasn't driving then. [00:08:19] Speaker B: Yeah. I was gonna say, I don't think Mark was driving yet. [00:08:22] Speaker C: I don't remember why I thought that, but. [00:08:24] Speaker A: Okay. Yeah. [00:08:25] Speaker C: But no, it's been a long time since I heard this, so. Can't wait to hear it. [00:08:29] Speaker A: We might have went there. [00:08:30] Speaker B: We did. We did get a few albums there, though, after Mark driving. I know that probably. I mean, you know, once you started driving. I remember getting a few and my first CDs ever were there. So. I mean, one major thing right on this album is the drum sound. I think that's a massive standout on this record. They're loud up front, thunderous, but in a very good way. I definitely. I'm looking forward to. To hearing that. And it carried over a little bit into Lick It Up. Yeah. Michael James Jackson. Right. Who was just Michael Jackson. Right. Didn't Gene Simmons say you need something in between to differentiate? [00:09:09] Speaker A: Yeah, he said you have to change it. You can't be Michael Jackson. There's only one Michael Jackson. [00:09:13] Speaker B: Yeah. He said, you gotta be Michael James Jackson. You know how many Michael Jacksons are probably out there? [00:09:20] Speaker A: Probably a lot. All right, Are we doing our normal new bets? This is Frank's term for new bets, isn't it? [00:09:24] Speaker B: Yeah. He gets to either pick or spin the wheel for new bets. The baby wheel. [00:09:29] Speaker C: Do I? [00:09:29] Speaker B: Yeah. [00:09:30] Speaker C: Huh? What to do here? What to do? Let's spin the wheel. [00:09:34] Speaker A: Okay. I like spinning the wheel. Spin the wheel's good. In a world where new music is not easy to find welcome to New Bats. Here we go. Ah, See there? Judas Mine. [00:10:10] Speaker B: Oh, yeah. I knew they had something new up. I don't think I've heard this song. I think I heard another song. [00:10:16] Speaker A: Yeah. I haven't heard their stuff in a long, long time. [00:10:18] Speaker B: Yeah, the first album wasn't bad from what I remember. I had the first one. [00:10:23] Speaker A: I never had this, so I don't really know. I've never had their stuff. I've heard stuff on the radio, and that's about it. All right. So you excited, Frank? See there? [00:10:33] Speaker C: Absolutely. Let's hear it. [00:10:34] Speaker A: Okay, here we go. So this is Cedar, Judas Mine. [00:11:52] Speaker D: Broken Some I know Are filled with courage but host I know Will not be chosen But God Feel afraid as a storm goes his way Feel afraid as the star roses Flame of truth in dreams we escape To a world unbroken and those whom we hate will become awoke you. A song I hope will die as martyr. The most divine souls will end in slaughter. But God feels afraid as the storm blows his wind. Truth in fade alive chain. I don't feel afraid as a storm rose as way know that fruit can fail us. You can shine your eyes as you surround me with doing as you become. Betray me again. Sing again as you surround me. As you betray me. [00:15:06] Speaker B: Yeah. I remember liking that first album, then I just kind of never really followed up, but I liked them. That's a good song. Snare sounds good. I wish the bass drum was a little bit more up there. I don't think the snare really has that typical now sound, you know what I mean? The bass drum, I thought, was a little bit low in the mix. The production overall, I wish was slightly crisper, I guess. [00:15:33] Speaker C: I like that raw sound. Yeah. I like the beginning. It was just like. It starts off really low, and then all of a sudden just kind of blows up and just hits you hard. I like that. [00:15:44] Speaker B: Yeah. And I like that he screams. The chorus, it's catchy. It's very. It's definitely got a 90s vibe to it. [00:15:49] Speaker C: Yeah, it does. I like it a lot. I forgot. I really did forget how good they are. I got to see them live, and I think they're better. Band live. [00:15:59] Speaker B: Where they from? From, like, South Africa or somewhere. They're. They're from somewhere. [00:16:04] Speaker C: Yeah. South Africa. I got to see them with Bok Cherry Stone, Temple Pilots and Puddle of Mud on the same. On the same venue, on the same ballot. Yeah. [00:16:16] Speaker B: Cool. I like that. Good stuff. [00:16:20] Speaker A: I think the drums are kind of real, so that was always good. I hate when I have to hear, like, the sample drums, even though the, you know, the bass drum wasn't that loud, though. But I. I kind of like that it was real. [00:16:29] Speaker B: Yeah. I mean, the snare sounded like a snare. It didn't sound like it went through anything, so. Cool. Good way to kick off the Halloween show, I think. [00:16:37] Speaker A: Yeah, it's a good song. All right, so here's our outro. In a world where new music is not easy to find. Welcome to New Bets. Okay, so now for the main attraction. So it's not a long album. It's like 38 minutes. So we're gonna get this done in one sitting. I think this is Creatures of the Night. Steve Farris plays lead guitar on this from Mr. Mister. [00:17:12] Speaker B: Wasn't he close to being the guy or a consideration for the guy, you know what I mean? To fill in. [00:17:18] Speaker A: I don't think his look was right, so I think that's what the problem was. All right, we ready? [00:17:22] Speaker B: Ready. [00:17:23] Speaker A: All right, here we. [00:18:01] Speaker D: Just Deep in doubt Living in the whisper Till we start to shout we're creating of the light we're creatures of the night. [00:18:38] Speaker B: Yep. So, I mean, great intro track. Love the drums, powerful guitar. I mean, just simple. I mean, I love like that pretty strong lyrics. I don't. Just to me it's a. It's a great opener. What do you think, Mark? [00:18:55] Speaker A: What I didn't realize is that there's so much, like a little bit of delay on the vocal. Like, I didn't realize how much that is. Now, this is remastered, so maybe they did bring that out a little bit, but they didn't remix it, so I don't think that that's something that was different from the original. I like it, though. It's great. [00:19:10] Speaker B: Yeah, Great opening track. [00:19:11] Speaker C: I just love how they get right into it, right down to it. Let's just get start. Rock and rolling. Classic pits right there. [00:19:18] Speaker B: Yeah. [00:19:18] Speaker A: And I gotta say that those stupid little lead lines, they were pain in the ass to figure out which ones. Those are just like the little lines, like right in the middle, like during the verses and stuff. Those little weird little. The timings. The timing is really stupid and weird. I always have problems with that. Stupid. Those stupid things. For whatever reason, I don't know why. [00:19:36] Speaker B: We are going to get to a part in this song we're not there yet that I don't like. [00:19:41] Speaker A: No. Okay. [00:19:42] Speaker B: At least from memory. But we'll see. You never know. [00:19:44] Speaker A: Let me read lyrics. Searching in the darkness Running from the day Hiding from tomorrow Nothing left to say Victims of the moment Future deep in doubt Living in a whisper Till we start to shout Ooh, we're creatures of the night and repeat. So lyrics are pretty decent. [00:20:00] Speaker B: Yeah. Pretty cool. Endowed creatures of the night so here. [00:20:06] Speaker A: We go. [00:20:14] Speaker D: Searching for an answer Keep your alibi Just nowhere with no wind Just nowhere within the block. [00:20:58] Speaker B: Strong man. Even that little doom, doom. Simple, but nice, strong, strong song. [00:21:04] Speaker A: If they didn't have makeup on, this would have been a bigger song, I think. [00:21:07] Speaker B: You think so? [00:21:09] Speaker A: I think so. [00:21:10] Speaker B: Yeah. I guess people are still associating them with the Elder. And before people had the American version of the Elder, that came out swinging too, right? [00:21:18] Speaker A: Yeah. [00:21:18] Speaker B: Not the original. [00:21:19] Speaker A: No, it was a different track listing. [00:21:21] Speaker B: Yeah. This is just like straight up. [00:21:24] Speaker A: This is probably one of the. One of their best opening tracks. [00:21:28] Speaker B: Yeah, it's really strong. [00:21:29] Speaker A: Yeah, I like it. I mean, I've Always been a fan of this record. [00:21:32] Speaker B: Me too. It's one of my favorites, honestly. [00:21:34] Speaker A: Yeah. I mean, it's. It's really strong. Obviously not the original four. So I take it outside of the original four stuff, because there's better stuff I like from the original four people in the first six records, you know, it's good. I like it. I like the guitars. I like the sound. I mean, at least they. After, you know, getting a little softer. This was, you know, them trying to come back. It's just, you know, with the makeup being on and the. And the thing about being still in the 70s, you know what I mean? They had to. They had to lose the makeup. [00:22:02] Speaker B: Yeah. [00:22:02] Speaker A: At least for a little bit of time, because there's no way they could have survived the 80s with the makeup on. So they had to do it. And I don't think they could have survived with Ace Freely playing guitar or Peter Crisp playing drums in the 80s. I don't think it would have worked for them. They may have stayed around, but I don't think they would have had the success that they had later if everybody was all together. [00:22:20] Speaker B: Yeah. Well, he really said he couldn't survive if he stayed, so. [00:22:23] Speaker A: All right, let's go. So this is going to be solo and stuff coming up. So. [00:22:49] Speaker D: Range. [00:23:18] Speaker B: So we know for sure who's playing that. Is it Steve Ferris? [00:23:22] Speaker A: It's 100. Steve Ferris? Yep. [00:23:23] Speaker B: Yeah, I heard one time it was Paul Stanley. No, I don't know where I heard it, but I heard it was him. [00:23:28] Speaker A: No, it was Steve Ferris. He did a really awesome job. I don't think you can do much better than. I mean, he probably would have been good for the band if the look was right. Yeah, it's just. He didn't have the right look for them. I think they were a little bit of flux here, too, because they didn't know who they. I mean, really, there was no real guitar player. They were kind of a trio at this point. [00:23:43] Speaker B: Yep. [00:23:44] Speaker A: So they were just trying lots of people to see who would work. And, you know, Vinny Vincent ended up being the default, even though they probably didn't want him. [00:23:50] Speaker B: Well, Michael James Jackson is the one who kind of brought them together. Right. [00:23:54] Speaker A: No, Adam Mitchell. Yeah. [00:23:56] Speaker B: So I don't like that. Bam, bam, bam, bam, bam. I think it's so weak. I just don't. I don't know why. Me personally. And they go through it, like through eight bars. I never. I mean, I've never liked it. I just think that it goes into a crawl. Even if they had done it like, bam, bam. You know what I mean? The rhythm, the way the beginning is, the way the verses are. I just. I don't know, me personally, I just never liked it. I don't know. I just. I feel it's so weak compared to how the song gets to me. It just slows it to a crawl. I'm like, what. What is this? And then it goes right back into with the solo. [00:24:28] Speaker A: It was better live. [00:24:29] Speaker B: Yeah. I've just never been a fan of that. [00:24:35] Speaker A: I could see that. I can see that. I mean, I'm. I'm fine with Days. Doesn't bother me. It doesn't ruin the song for me, though. [00:24:40] Speaker B: No, no, it doesn't ruin the song. But, I mean, I'm not going to knock it. I'm not going to say, oh, well, because of this. I mean, overall, I still think it's a great song. I hit tap once on the fast forward and it's already done, so it's cool. I just go right into the solo. [00:24:55] Speaker A: Yeah. All right. So verse two is Breathing in the madness Spitting out the lies Searching for an answer Keep your alibis don't know where we're going Just know where we've been Remember when the clock strikes 12 the losers always win. So supposedly this is supposed to be about people, you know, going out at night, all hours of the night, and then coming back and then in the morning, like, being vampires because they were out all night, and then coming back when the sun comes back and then trying to lead normal lives. So that's supposedly what it's about. [00:25:22] Speaker B: So basically, like rock and roll, people. [00:25:24] Speaker A: All right, let's. Let's continue now. [00:25:33] Speaker D: From the game Hiding from tomorrow Nothing left to say Gathering up by car Ready for the fight How Ring in the shadow Till we start to fight. [00:26:34] Speaker B: And that ending, I've never been crazy about either that. And there's a piano there at the end, isn't there? I never noticed that. [00:26:41] Speaker A: I didn't hear it. [00:26:42] Speaker B: I think there's a. I think there. [00:26:44] Speaker A: Was maybe, maybe, maybe. And you got to give it up for every car on the drums. You did a really good job. [00:26:51] Speaker B: Yep. Good drums. Absolutely. [00:26:53] Speaker A: Yeah. He's been. He was waiting to do this. I mean, he ended up coming in the band and they, you know, came in and unmasked and then did the elder like he was wanting to do something else. I felt bad for him. [00:27:03] Speaker B: Yeah. But he got to do some cool on the elder, too, though. I mean, again, a lot of. I know people who knock it. I think it's good. I've always enjoyed the Elder, so. [00:27:11] Speaker A: Oh, I think it's a good album. I don't know if it's a good Kiss album, but it's a good album. It would be better off if it had all the parts that were supposed to make it an actual movie, but you know what? [00:27:20] Speaker B: That wouldn't have. It wouldn't have saved it out there, right? [00:27:25] Speaker A: Oh, no. [00:27:25] Speaker B: Maybe would have been Beta for us listening to it. [00:27:28] Speaker A: But we can only hope that one day those things were recorded and someone will put them all together on. On a thing all together. But I have no. I'm not really going to hold, you know, my breath and think that's gonna happen, so. [00:27:38] Speaker B: Yeah, well, they knock it so much, so. [00:27:40] Speaker A: Yeah, well, they don't like it. You know, hey, listen, they tried something and didn't exactly work. So. Back to Creatures of the Night. We read the verse. The last verse is Searching in the darkness Running from the day Hiding from tomorrow Nothing else to say Gathering up our courage Ready for the fight Howling in the shadows Till we start to bite not really typical suck lyrics that generally Kiss does. So I think it's a little bit. I think it's a little bit better. I'll let you and Frankie go. [00:28:06] Speaker B: Oh, you let me go first on Kiss. Nice. Nice. Yeah, I'll say seven on the lyrics, seven on the music. I'll say eight on production. I really like the sound of this album. There may be a few eights throughout arrangement. I'm going to ding. That's where I'll ding this. I'm going to ding that. I'm going to give it a six on arrangement. I just don't like that. It doesn't ruin the song. So I won't go lower than 6 because overall, I think it's a strong song. Melody is good. I mean, I think it's a strong melody. You can sing to it. You know, the chorus is simply. It doesn't really do anything, but it. But it fits. It goes in. So I'll give that a seven, too. I mean, again, I've always liked this song. It's a strong opener and just a strong song overall. So now let Franco make Marco last, then, Frank. [00:28:50] Speaker C: Yeah, you know, I'm gonna give it seven all the way across. I. I love. I like the lyrics. I like the sound, the production, everything. It just feels like a song for that era. I just. I. I just. It just brought me back, and it kind of gives me that. That kind of like Lost Boys movie kind of vibe, you know? So really like that all the way around. So I'm going to seven across. [00:29:14] Speaker A: Honey, that ain't no pistol. It's quintuple seven. Nikki titty baby. All right. [00:29:21] Speaker B: Nice. [00:29:22] Speaker C: Mark. [00:29:23] Speaker B: Hey, Mark. Let's do this. What are you going to do? [00:29:25] Speaker A: Do? I think this is my favorite song on the record. Probably not, but I'm probably going to give seven on the lyrics, seven on the melody. I'm gonna give it eight on the music. Because I think Steve Ferriss does a really good job. I think it was a very unexpected thing, especially, you know, what he did later on. Mr. Mr. Wouldn't. You wouldn't think that he'd be able to play guitar like this, right? I'm gonna give it eight. Production. I'm gonna give it eight, and I'm gonna ding the arrangement. Two for six. I can live. It doesn't. It doesn't kill me, but I could. I could do. Hear what you're saying about that little part there. I think live. It was much better when they did it live. I think it didn't take. Didn't drag the song down as much, you know, I could see, you know, part where. Yeah, it does drag it down a little bit. But anyway, so the next song is Satan's Sinner. I like this song, too. I like. I like most of the stuff on here, man. It's just. I'm probably not going to give very low scores too much on here. Oh, and by the way, we're not sure if Gene Simmons played bass on Creatures of the Night. He might not have, so. I didn't know that either. [00:30:20] Speaker C: How is that possible? [00:30:21] Speaker A: He didn't. He didn't. Mike Pecoro from Toto played bass on Creatures of the Night, supposedly. [00:30:27] Speaker C: Really? [00:30:27] Speaker A: Yep. This album is full of ghost layers all over the place. You don't know who's playing what here. Okay, let's do Satan Center. Here we go. [00:31:03] Speaker D: You can do as you please, you know. Well, I'm not gonna fall on my knees. No, not at all. [00:31:46] Speaker B: It's a cool little bass, huh? [00:31:48] Speaker A: Yeah, his bass playing on this song is good. That's him. [00:31:50] Speaker B: Yeah. I mean, I feel bad if it's not him. I feel bad. [00:31:53] Speaker A: No, you can tell. You can almost tell when it's him, especially on his songs. He generally plays bass, generally. So you can kind of tell his playing. Although, you know, it's not as, like the walking stuff or the earlier Kiss stuff, but it's, you know, it's a little distorted. It's got a. It's up front, you can hear it. So you're not missing the bass on this. [00:32:11] Speaker B: Yeah. It's got his tone, though, I think. I think they did his tone pretty well. [00:32:15] Speaker A: Yeah, And I like the. I like the little drum pattern thing. He has, like, a weird, like, thing on the hi hat. [00:32:20] Speaker B: Yeah. But just that. I mean, when they first come in, you know what I mean, they're just so powerful. My only criticism is that even. It's just. I wish it was more like a. You know what I mean? Like a more constant on the bass drum, just to fill it up a little bit. Just because the guitar is not chugging. You know what I mean? It's kind of. But again, I mean, that sound is just so iconic. [00:32:42] Speaker A: No, his drums sound really, really good on this. I mean, I think there's some. [00:32:45] Speaker B: Absolutely. [00:32:46] Speaker A: I think there are some tracks like, I Love It Loud and War Machine Drums even better than this. But, you know, generally, I think the drums are really good on this. Frank, what do you think of that? [00:32:56] Speaker C: Well, yeah, I could definitely hear the drums out there, and I like it. I haven't heard this in a very long time. Very long time. So it's great to hear it again. [00:33:05] Speaker A: All right, so the verse is getting off this carousel. You can do as you please. You can go to hell. Put my back against the wall well, I'm not gonna fall on my knees no, not at all. So you're a saint I'm a sinner but deuces are wild Better wake up, it's breakup I ain't got the time so you can kiss my heart bye bye I know you're not a big fan of his lyrics generally. [00:33:26] Speaker B: Yeah, this isn't exactly. [00:33:29] Speaker A: It's better than some of the other stuff, though, on later stuff, so. [00:33:33] Speaker B: Yeah, it's better. It is better than some of the stuff coming down the pipe. That's for damn sure. That is for sure. [00:33:38] Speaker A: It's definitely his. His speed as far as that goes. So. [00:33:41] Speaker B: Yeah. Yeah. [00:33:43] Speaker A: Here we. [00:34:28] Speaker D: Can. Kiss my heart Kiss my heart bye bye to lift my heart this time around. [00:35:00] Speaker B: I really like the bass, man. I don't think I really paid attention a lot to the bass in this, but it's really. It's really good. I mean, I like the sound of it and the. You know what I mean? I think he could have done this. I mean, I'm not. I know the consensus is that he didn't play it, but. [00:35:18] Speaker A: No, he played on this. [00:35:20] Speaker B: I. Oh, he didn't play in the first one. [00:35:23] Speaker A: He didn't play in the first one. [00:35:24] Speaker B: Oh, See, that's what I was saying. Yeah. See, that's why I was confused. I was like, this sounds like him. [00:35:30] Speaker A: Oh, it's 100 him. [00:35:31] Speaker B: His tone and everything. Oh, okay, now. Now it makes sense. Yeah. [00:35:36] Speaker A: In the first song he didn't play, that was that one with Mike Porcaro. [00:35:40] Speaker B: Okay, I'm sorry. I was confused. I mean, I didn't really listen to the bass in the first one. This one's very. It's very upfront and obvious, which I do like. So. [00:35:51] Speaker A: Yeah, no, I think in general, I think it's very. It's very good. [00:35:55] Speaker B: Would you consider him an underrated bass player? [00:35:57] Speaker A: Oh, 100%. Especially stuff in the 70s. Stuff in the 70s is really, really. He had. He was super underrated in the 70s. You know, in the 80s he tended to be a lot more just playing the root kind of thing. And I think, you know, once they took the makeup off, he kind of, like, lost who he was. Because, you know, back in the 70s, he was the guy. You know what I mean? He was the. He was the guy. He was the demon. He spit the blood, he spit fire. Like he was Kiss. So in the 80s, you know, it became Paul Stanley's band. But, you know, he didn't know what to do. It took him probably to Revenge before he felt comfortable. And whatever he was doing, I mean, there was some bad. There was the Asylum era where he was wearing the Maud colored thing. Like, his hair was all messed up and he had that bad wig and animalized because I think he had cut his hair because he did run away. The movie, huh? [00:36:43] Speaker B: Is Runaway the one with the little robots? [00:36:45] Speaker A: I think so, yes. I haven't seen a long time. [00:36:47] Speaker B: Is it the Ramsey? I don't know if it's that one or the other one. [00:36:52] Speaker A: It's kind of funny. I think that this song. I knew he was going through a breakup. I don't know if it was Diana Ross here, maybe during this time. But if you read the. Like, the verses next to you. I feel I'm all alone Love's turned to stone Cross my heart and hope to cry well, I'm not gonna die without you it's aces high. And then he does the chorus, and the bridge is Kiss my heart bye bye. You missed my heart this time around. Kiss my heart bye bye. I don't need no woman at all. So you wonder if it's about, like, his breakup. One of the reasons I think he didn't play all the bass is because he was going through a breakup. I think I Mean, whether. Whether he would have played bass on Creatures of the Night, the song anyway. Who knows? But, yeah, this feels like a breakup song. He doesn't really do breakup songs, though, generally. [00:37:34] Speaker B: No, it's mostly like he's the man. [00:37:38] Speaker A: He's always the man. As far as he's concerned, he's the man. I believe all the guitars here were done by Vinnie Vincent. I don't even know if Paul Stanley's playing on this. [00:37:48] Speaker B: Yeah, I just saw lead, at least. Lead. Vinnie Vincent. [00:37:52] Speaker A: Yeah. I think it's all him, what I can gather. All right, here's guitar solo. This is the first taste of the Ankh Warrior there. [00:38:40] Speaker B: Highly controlled, right? I mean, I don't. I don't think he's allowed to let loose. [00:38:46] Speaker A: Well, no, not like what he did later, no. But I think it fits the song. I don't think it's great, but I think it fits the song. And it's melodic. Like, this song didn't need, like, super shreddy guitar. It needed melodic, melodic solo. So I think for that, you know, for that thing, I think he did well. And I, like. I said, I like his playing on Kiss generally. I thought it was good. [00:39:09] Speaker B: I mean, I like the solo in Creatures better than this, though. [00:39:12] Speaker A: Different guy, though. [00:39:13] Speaker B: Yeah. Maybe a little less. A little more freedom. So, I mean, I heard a story about when we get to I love it loud that I can say later if it's true. And I remember about Vinnie playing on that, so. [00:39:29] Speaker A: Okay. I'm curious now, though, because I don't know if I know the story. All right, let's continue. Here we. [00:39:43] Speaker D: I got a loud single stone, baby. You no bow, baby? No, I'm not really there. [00:41:20] Speaker B: Slightly more room right at the end. A little bit. A little bit more space. I mean, and it's actually. It's actually funny if you hear those very last notes, it almost sounded like he was starting to go off a little bit, and then the volume just went down. It's like. Cut him off. [00:41:38] Speaker A: Yeah, there's always good stuff at the end. [00:41:41] Speaker B: Yeah. [00:41:42] Speaker A: Again, I like the end solo playing, too. I don't. I don't hate the solo, but. Yeah, you're right. He did. He definitely got a little bit of. A little more room toward the end. [00:41:49] Speaker B: Yeah. Are there any more lyrics or. [00:41:52] Speaker A: Yeah, I got some more. So there's no right and there's no wrong But I'm moving on I'll go it alone because love's turned to stone and back to the chorus. The outro is. No, I'm not gonna die Cross my heart and hope to cry no, no, no, no I'm not gonna die so bye bye bye bye bye, babe well, I'm not gonna die without you, babe no, I'm not gonna die so even though it is a breakup song, he's kind of like saying, well, it doesn't matter. Because it doesn't matter. I'm gonna be. I'm gonna be fine, baby. Bye bye it's like the in sync of the early 80s. [00:42:26] Speaker B: Yeah. [00:42:27] Speaker A: I want you guys to go first. [00:42:28] Speaker C: I'm gonna be honest. Lyrics. [00:42:32] Speaker A: You know, I don't know. [00:42:33] Speaker C: I think. I don't know. I. Not my favorite, for sure. So I'm gonna give lyrics a six. As far as music, I'm gonna give that I. I like to. I'm gonna give that a seven. Arrangement. I. I started to hear the bass like you. Like, you met. Once you started mentioning it, you started hearing it coming through. I love the drums also on this one. I do. I'm gonna give arrangement A7. And what was the last one? [00:43:07] Speaker B: The melody. [00:43:08] Speaker C: The melody. No, again, not my favorite. I'm gonna give that a six. How about you, Seth? [00:43:14] Speaker B: Yeah. I've never been a massive fan of this song, honestly speaking. And I always thought it was kind of weird going from this. From Creatures of the Night into this one. I felt like it needed something a little bit stronger right after that. I mean, even though, again, the drums are really good. I mean. [00:43:32] Speaker C: Lyrics. [00:43:33] Speaker B: I'm gonna say five again. They're just kind of strung together rhymes. Music is okay, I'm gonna say, because of the bass playing of the drum sound, I'll say six. Production, I'll say seven. I don't think it's as good as the. The one before melody is okay. I'll say six. On the melody and arrangement, I'll say six. I mean, it's fine. Again, this. This one it's not. Again, it's not terrible. Obviously, I didn't give it, like, whatever, but it's never one. I tend to skip this one kind of if I listen to it. [00:44:09] Speaker A: Mark, you know, this stuff is hard for me because I have to now, like, actually listen and actually give a real thing because I really do like all this stuff. Lyrics. I agree. Six melody, six. Musicianship. I'm gonna give it a seven because I do like his bass playing and I do kind of like Vinnie Vincent's guitar playing. So I'm gonna give it a 7. Arrangement, 6. On that and production, 7. I think the other song was better. I mean, as far as the Gene Simmons 80s song goes. It's not the worst thing that's out there. [00:44:39] Speaker B: No, I like his voice. This is like, kind of like another era for his voice. Right. I think he had kind of a makeup voice. Then he kind of went into this idea. [00:44:48] Speaker C: Yeah, you. [00:44:48] Speaker B: Kind of thing. But I do like it, like, even on Lick It Up, I do like his voice. I mean, I've always liked his. His voice. [00:44:58] Speaker A: Yeah, he can still. And he can still sing, actually. So I think. Anyway, so. So the next one is Keep Me Coming. So this is Paul Stanley. This is Stanley and Mitchell. So Adam Mitchell. Adam Mitchell's all over this record. [00:45:11] Speaker B: Yep. [00:45:12] Speaker A: All right, here we go. Keep me coming. [00:45:27] Speaker D: I know what you're like? You're not sleeping at night? Under your militant control? I know your plans? Where you're taking your hands? I know it's taking St. Sweet little innocent girl. [00:46:27] Speaker B: Anytime I've ever heard anybody, any other podcast review this record, everybody says the same thing. This is his Lead Zeppelin. This is his grab at Zeppelin. [00:46:39] Speaker A: It's like Love Gun part two, though. [00:46:41] Speaker B: I. I hear it in his vocals, in his. Not tone. What. What's the word? His expressions that he's using. I can. I can hear it there. I know. Have you. I mean, Mark. How. Have you. Is this like one of your. What. What is your general fear? What are your general feelings about this one? [00:47:00] Speaker A: I like their musicianship. I mean, obviously, the lyrics are kind of. You know, they're what they are. [00:47:05] Speaker C: Semen is. [00:47:07] Speaker A: Is another kind of milk, so. But no, I generally like the music. I like the riff. And it is a little Zeppelin. I could see that. I mean, he's a big Zeppelin fan, so that would not be surprising. [00:47:16] Speaker B: Yeah. Jimmy Page, right? Massive. [00:47:19] Speaker A: Yeah. And the drums are very John Bonham in this whole record, so. Yeah, it kind of does sound that way. Like I said, I like the riff. I think the riff's good. No, you're gonna have to take the lyrics with lyrics. Yeah, which. Which I will be reading right now. [00:47:33] Speaker B: Yes, please. [00:47:34] Speaker A: I know where you're like, you're not sleeping at night? I know you're losing control? I know your plans? Where you're keeping your hands? I know it's taking its toll? Sweet little innocent girl? Making your way in this world? Something you're feeling tonight? Tells you what's wrong and what's right? You got to keep me coming? Keep me coming? You got to keep me coming? Whoa, Keep me coming, babe. That part is really Zeppelin right there, that last line. [00:47:57] Speaker B: Yeah, but he does that baby cow. [00:48:00] Speaker A: Yeah. [00:48:01] Speaker B: A lot of that in this one. [00:48:03] Speaker A: I actually. I like the pre chorusy thing. The little sweet, little innocent girl. I like the change up there and the rhythm. And I always like that part of the song because it comes out of that riff and then it goes into. Into the. [00:48:16] Speaker B: Yeah, there's some cool little bass fills too. I'm hearing in this. [00:48:19] Speaker A: Gene Simmons was still on his game here. This is before he was totally Hollywood. So, you know, before the 80s where he really took a backseat and really wasn't playing a lot probably on the records as it was. And you know, he played a lot differently in the 80s than he did in the 70s. So. Yeah, I don't hate the song at all. But I do. I do hear the Zeppelin. That's okay. And listen, I mean, if you're being compared to Led Zeppelin, good for you. [00:48:42] Speaker B: Yeah. The worst rock bands to be compared to. [00:48:46] Speaker A: Frank, what do you think of this so far? I don't know. [00:48:47] Speaker C: You guys have better hearing than me. I don't hear that Zeppelin yet. I didn't hear it. But maybe now I will pick it up. I do. But I do hear the. But now that you. That said mentioning very bottom like drum so far I can hear that for sure in the first two songs. Yeah, you can definitely hear it. [00:49:08] Speaker A: Listen to the riff and stuff and when it comes back in again, you'll. I think you'll hear it. Now that someone tells you it's there, you're not. You're probably not gonna be able to unhear it. [00:49:15] Speaker C: Probably. [00:49:16] Speaker A: Here we go. Here we go. [00:49:23] Speaker D: Bulldo. Your feels are slipping away. Each little fight makes me know that you're right. You're bigger, baby. Okay. Now that you're burning to know how far you're willing to go. Now that you conquer your skills. Now that you let me. You gotta keep me coming. Give me calling. You gotta keep me coming. Watching me coming day, you gotta keep me coming. You gotta keep me coming. You gotta give me coming. What? [00:50:37] Speaker B: Do you hear it now, Frank? [00:50:39] Speaker C: Yep. [00:50:43] Speaker B: The way he does that is really. Yeah. Rubber plant. [00:50:48] Speaker C: Yeah. No, I hear it now. Yeah. Oh, I don't know about so much the chorus, but no, I. I don't think. [00:50:55] Speaker B: Overall, I don't think it's a Zeppelini as I've heard some other people say. I just think some of the phrases he uses definitely a reminiscent of. Of Robert Plant. [00:51:06] Speaker C: Yeah. But I hear it now. [00:51:07] Speaker A: I like that they doubled the chorus up. I thought that was a good idea. And then to keep it short, you know, you have to break. I Mean, it's just one thing. [00:51:15] Speaker B: Yeah. I do like the pre chorus too, though. I agree. [00:51:17] Speaker A: Yeah, I've always liked that change. Yeah, right there. That was always one of my favorite parts of the song, is that thing. So here's lyrics. Hands on my shoulders now you're getting bolder? Your fears are slipping away Each little bite lets me know that you're ripe? You're thinking maybe you'll stay. Now that you're burning to know how far you're willing to go. Now that it's under your skin? Now that you're letting me in. You know it is what it is. You don't come to kiss for thoughtful lyrics generally. I mean, it happens once in a while. In general, I like this song too. Like, I don't really hate anything on this album. I don't think as far as, like, an 80s record, it's probably one of the better 80s records. I mean, I don't know if of. [00:51:56] Speaker B: Of theirs. [00:51:57] Speaker A: Of theirs. Yeah. Yeah, there. [00:51:59] Speaker B: Oh, yeah. [00:51:59] Speaker A: It's one of the better 80s records for them. I mean, I do like the later 80s stuff too. [00:52:03] Speaker B: I mean, I'm not a massive fan of this song either. Honestly. It's not bad. I just like the overall. Even though I'm like, oh, great song, like. And I was like, wait, do you like this album or not? I'm like, yes. Like, as a. As a whole, he prod. You know what I mean? But these kind of back and forth, these two, I've never been a massive fan of. But there's, you know, definitely some strong stuff coming down. [00:52:26] Speaker A: Oh, yeah, definitely. And stuff that's being played that was being played till the end of their road thing. They were still playing songs, so. [00:52:32] Speaker B: Yep. [00:52:33] Speaker A: Vinnie Vincent time. Here we go. [00:53:02] Speaker B: What you think? [00:53:03] Speaker A: He was definitely on a short leash. I think they were trying to. I don't know if they were making him try to play like Ace Fry at all. But, I mean, there's some things there that you could sort of think it may be him, even though you kind of know that it's not. But, I mean, I think it's fine. I don't think there's anything wrong with it. And it's not like my most favorite thing in the world, but it's fine. It works for the song and it's. [00:53:27] Speaker B: Fine for the song. [00:53:28] Speaker A: Yeah, he needs to be controlled. When he's not controlled, you see what happens. I mean, he needs to be reined in a certain way. I mean, this is kind of really reined in. [00:53:38] Speaker B: Oh, yeah. [00:53:39] Speaker A: He was probably trying to get into this. You know what I mean? So he's probably doing whatever they wanted. All right, let's go back to the common part. Here we go. [00:54:08] Speaker D: Got to keep it coming. You got to keep it coming. You got me coming, coming, coming. You gotta keep it coming. Right here, right now, Right here, right now. Right here, right now, Right here. [00:54:44] Speaker B: Right here, right now. [00:54:50] Speaker A: You know, it's. It's what it is. But he is trying to do his best Le Zeppelin impersonation. He's trying to be Rubber Plant. He's trying. All right, you guys go first. I'm going to end for all these, so. No, I can't. I can't because I. I need to have some grounding of other people telling me things. [00:55:06] Speaker B: I'll go first. I mean, lyrics are. I'm gonna say four, and they're pretty bad music. I'm gonna say five. I just. This song has never stuck with me, honestly. Production. I'm gonna say six. I find it kind of boring compared to the other ones, but they're terrible. Melody. I don't really like the melody. And, my God, if he says keep me coming and he's so loud in the mix, I feel, too. So you know what? I'm gonna say five on production. I say five on the melody. I mean arrangements, Fine. There's nothing wrong with the arrangement. I'll say six. I just. Again, never. One of my favorites, Frank. Oh, you know. [00:55:48] Speaker C: You know, when you don't want to talk shit about someone because you really like them, at the end of the day, it's just like one of those situations. [00:55:55] Speaker B: Yeah. [00:55:56] Speaker C: You know, Lyric. I guess. I guess a 5. Just because it's Kiss. I want to go lower than that. The music I like. I like the music. I'm gonna give that. I'm gonna give that a six. The arrangement, you know, I don't know, man. That's six there. And. And as far as the melody, I'm gonna give that a five. Just. I don't know. It's just not. I'm not liking it so far, Mark. [00:56:27] Speaker A: Well, you guys are killing this thing. Jesus. See, this is why I can't go first. I have to start thinking about this now. [00:56:33] Speaker B: Well, listen, listen. You could give everything tense if you wanted to. I mean. [00:56:37] Speaker A: No, I mean, listen, I have to be realistic regardless how much I like them. I mean, this has never been my favorite song on this album. So, I mean, I think the lyrics are. You know, the lyrics are some of his hokier stuff. To me. I don't think I'm to do five. I'll do six. I'm probably going to do sixes all across. Just because I'm going to keep myself very politically correct to the rest of the Kiss fans out there, because I can't be a Kiss fan and, like, destroy this. [00:57:01] Speaker B: You can't be a destroyer. [00:57:04] Speaker C: I picked up Marcus Drop. [00:57:08] Speaker A: I'm going to give it sixes across. I think that's fair. I think that's fair. I do like the song. When you start breaking things down, you're like, do I really like this song? I'm not too sure. I like that one part more than anything. [00:57:19] Speaker C: You know, it's. It's one of those popcorn songs, I think. You know, like, they're just meant to be heard and fun and take it at face value kind of a thing. [00:57:28] Speaker A: Oh, yeah. You're not supposed to analyze it. That's bad when you. [00:57:31] Speaker C: Yeah, yeah, yeah. It's bad when you analyze it. Exactly. It's just one of those songs. You hear it. Cool. It's fun. It's kind of like one of those songs like the. You know, the fellas hanging out, playing poker is playing in the background while you drink your PBRs. You know, like, that kind of thing. [00:57:47] Speaker B: This song is a PBR of beer. [00:57:49] Speaker C: It's like. It's one of those kind of songs. Eating pizza on a Friday night with the fellows, playing cards and stuff like that. Or just hanging out. Yeah, just hanging out in the park. Right? That's what they used to do back in the 70s, right? Just drink to the park, have a cake. So that's what it's like, pretty much. [00:58:05] Speaker B: Listen to Keep Me Coming. [00:58:06] Speaker C: Keep Me Coming. [00:58:06] Speaker B: Well, no, wait, Mark, this album is, what, 81? 8? No, 80. 82. 82. [00:58:12] Speaker A: Really? It's that early? [00:58:13] Speaker C: I thought it was later. [00:58:15] Speaker A: No, 82. It's early. [00:58:17] Speaker C: So when. So when did they take the makeup off? [00:58:21] Speaker A: 83 year. [00:58:22] Speaker C: Did they go into hiatus that nobody heard from them for a long, long time? Was that 90, 91? [00:58:28] Speaker A: There was never really a hiatus at all, really. Technically. [00:58:31] Speaker C: I mean, I thought there was a period that nobody heard from them for a long while. And then they decided to show up. I think. I want to say it was the MTV Music Awards, but they decided to show up in full makeup. [00:58:42] Speaker A: Well, yeah, that was 96. But they put an album out in 92. Four years, I guess. Yeah, they were doing stuff for four years. [00:58:49] Speaker C: I thought. I thought. I thought they were a little bit longer than that, though. They were, like, from 90 to 96. Unheard of. Nobody Heard of them? [00:58:55] Speaker A: No. [00:58:56] Speaker C: No. Okay. [00:58:57] Speaker A: There's not. Never been a big, gigantic gap where they stop. Not more than the four years in that time frame. But even that time, it wasn't. It really wasn't a stop because it was MTV Unplugged in between that. So there would. There's. Maybe it was a couple of years, maybe. Maybe. So they've never really stopped, so. [00:59:12] Speaker C: All right. By the way, I want to ask you, Mark, did you ever eat at that pizzeria? [00:59:17] Speaker A: Pizzeria? [00:59:17] Speaker C: They have a pizzeria? [00:59:18] Speaker A: No, I've never ate that pizzeria. Oh, what, the Rock and Bruise thing? No, I've never done that. [00:59:22] Speaker C: Yeah, the Rock and Bruce thing is pretty cool. I got stranded in LA and lax. They have one over there. [00:59:31] Speaker A: No, I've never. I've never been to a place where they would. It's actually been anywhere. [00:59:35] Speaker B: So is that the only place they have it, though, is la? [00:59:37] Speaker C: No, no, they have. They have. They have it a few. In a few states. This. [00:59:41] Speaker A: I think Vegas, too, right? [00:59:42] Speaker C: I believe so, yeah. Yeah, I can definitely see it in Vegas. Yeah, that makes sense. But definitely. Yeah, I remember it was lax, and we just kind of crashed there, and our flight was delayed by hours, and we happen to find this little gem right there. And it. It was a good time, you know? [00:59:59] Speaker A: Yeah. If. If it was around, I would go. I just haven't. I've had it, you know, I haven't been to any place where it's been around. I'm surprised there's not one in New York City. [01:00:06] Speaker C: I am surprised there is not one in New York City. Absolutely. [01:00:10] Speaker B: Well, they may. Maybe they were trying to test it. [01:00:12] Speaker A: Out first, and it's been around for a while. [01:00:14] Speaker C: Yeah, it has been. What, is there a Kiss museum? [01:00:17] Speaker A: I think there's, like, the. There's like, the Kiss mini golf thing in Vegas, and I think they have a bunch of memorabilia there, I believe. [01:00:23] Speaker C: But there's no Kiss museum. [01:00:25] Speaker A: No, not yet. Can they make money from you if they can make money for you? They're working on it. Don't worry. All right, so rock and roll held. Sabino. Did you know that it's a rewrite of a Bachman Turner Overdrive song? [01:00:36] Speaker B: Yes. [01:00:37] Speaker A: I did not know that. [01:00:39] Speaker B: I knew that because either it's in the box set or I heard somebody say it. So. Yes, I actually did know that. [01:00:48] Speaker A: Yeah, I never had a clue. [01:00:50] Speaker B: Which is reminiscent of what they did to. What do you call. Right. God gave rock and roll to you? [01:00:54] Speaker A: Yeah, but they rewrote lyrics and Stuff. Yeah, I've never heard the original, so I'm assuming it's rewrote. Totally rewritten. [01:01:00] Speaker B: I don't remember the lyrics, but I want to say I've heard the original. It's pretty much the music is. Is similar, you know what I mean? So it's not a complete. Like, musically, it's not a rewrite. [01:01:07] Speaker A: Yeah. And H. Freely recovered this too, I think. On one of his origins thing, I think he did this. So this is Jim. This is Brian Adams, Bar. This is Brian Adams, Gene Simmons and Jim Valance. [01:01:22] Speaker B: Jim Valance is BRS with him. Brian Adams. [01:01:25] Speaker A: Yeah, that makes sense. All right, so here we go. This is rock and roll hell. [01:01:50] Speaker D: 16 years just waiting for his time to come he fought the last Fought back of tears can't wait to hear that Start again. Nobody don't stop falling Scream, you get me out of this rock Take me far away get me out of this rock get me out of this rock I need to get away get me out of this rock oh, hell yeah. [01:02:48] Speaker B: Sing me a song. You're a singer. [01:02:54] Speaker A: It's good though. [01:02:55] Speaker B: Yeah, that Heaven and Hell. I. You know what? I never like that opening riff, but I like the rest of the song. That baron in hell. [01:03:06] Speaker A: No one like that. [01:03:07] Speaker B: I was never crazy. But I do like the rest of the song. I do like, obviously the drums. [01:03:13] Speaker A: So the guitar player on this is Robin Ford. Robin Ford's a really good guitar player. Really blues, rock guitar, but he's really good. So he's on two songs on this album because I guess they didn't know what the hell to do as far as lead people. So I like. I. I like the song. I mean. Yeah, that riff is a little. A little bit. But I mean, I can get it. I like the bass and the drums. That beginning part there sounded pretty good. Every car is praying his ass off on this album. Good for him. It's definitely not Peter Chris. Totally different. Well, I think it comes more from the bottom style of drumming, right? [01:03:49] Speaker C: Yeah, just different. Different sound, different drummer, different. Different sound drumming. So you can't compare the two. [01:03:57] Speaker A: No, I like it though. He's doing a good job. [01:04:00] Speaker C: I think you're right when you were saying that they were. He was the right drummer for the group at the right time. [01:04:07] Speaker B: Well, they auditioned a bunch of drummers, didn't they? [01:04:10] Speaker A: Yeah, but I don't think that. Like I said, I don't think any. If the original band went on, I don't think they would have had much success in the 80s. I think it had to be the way it was. They had to take the makeup off and they had to change people just because, you know, this. Look at a lot of the 70s bands couldn't make it past into the 80s, right. They kind of, like, faded away or even big bands were big in the 70s, but they came back. [01:04:31] Speaker C: Some of them came back in the 90s. [01:04:33] Speaker A: Yeah. But very few bands, like, made that transition into the 80s and had success. It was hard. Oh, yeah. No. [01:04:39] Speaker C: The 80s was his own little weird world. It was a very strange time. [01:04:43] Speaker A: Yeah. Because everything that was cool in the 70s wasn't cool in the 80s anymore. [01:04:48] Speaker B: Nope. [01:04:48] Speaker C: Here's the lyrics. [01:04:50] Speaker A: Been on the fire 16 years just waiting for his time to come he fought the lies fought back to tears can't wait to hear that starting gun There ain't nobody going to step on his dream so he held his hands high and screamed get me out of this rock and roll hell Take me far away get me out of this rock and roll hell get me out of this rock and roll hell I need to get away get me out of this rock and roll hell so. [01:05:14] Speaker B: It'S this time to come Now, Kevin, he's. The way he says that is really funny. But again, I do really like his voice. I think his voice is really good. I mean, you know, Paul Stanley typically sounds good on every record, except for maybe two. [01:05:29] Speaker A: Well, you know what it is voice is that. I think in the 70s, his voice was a little bit lower. I think his voice got higher, or at least he was trying to push it a little higher. In the 80s, even on this album, there's a little bit more pushing than there would have been in the 70s, I think, you know, it was a different time. Different music was coming out. So, you know. 82, when was the new. The new wave of British heavy metal was that 82? 83. I forget. [01:05:53] Speaker B: I want to say it was around this time. [01:05:55] Speaker A: So there's a lot of change happening. [01:05:57] Speaker B: Yeah. [01:05:57] Speaker A: So you had to get a little bit heavier or if you wanted to stay in the rock scene, right? Pretty much. So. All right, let's continue. [01:06:13] Speaker D: This time, the presence really on. He's gone to fight it Might even steal the guitar he's got no more he'll be gone I need to get away Catch me out of this rock ra. [01:07:37] Speaker B: Oh, sure. Right. I mean, probably the shortest one so far. [01:07:40] Speaker A: Yeah. And it's a weird. I mean, it's got to be weird for Robin Ford to be playing on this. He's not a hard rock guitar player. [01:07:47] Speaker B: Where was he from Ford? Yeah. Was he a studio guy? Was. [01:07:51] Speaker A: He's a blues, jazz, rock guitar baby. He was a member of LA Express and Yellow Jackets. [01:07:56] Speaker B: Oh, the Yellow Jackets. Okay. Yeah. Fusion. [01:07:59] Speaker A: He's crazy good guitar player. So the mere fact he's even playing on this, you're like, huh? I don't understand. Why is he here? But I have to say, he plays on maybe my. One of my favorite songs on this album. And this playing on that is really, really, really, really good. All right, let's read some more lyrics here. And I don't. I don't want to dwell too much on all this, but. So he's on the edge. He can feel in his heart this time the pressure's really on he's gonna fight it. Might even steal a guitar. Ooh, very rock and roll. Steal a guitar. This time tomorrow this time tomorrow he'll be gone There ain't nobody gonna tell him what to do. I think he's a little like me and you. Lyric's not bad, that whole story, right? [01:08:39] Speaker B: Yeah. It paints a little picture. [01:08:41] Speaker A: You got a couple. Couple of decent writers on this. So it's not like just Gene Simmons by himself. So it's gonna be. The lyrics are gonna be probably better than if it was just him. Continue. [01:09:18] Speaker D: He seems to think it is destiny. Get me out of this mon. I need to get away get me out of this rock. Take me far away get the. [01:10:11] Speaker B: And I just remembered, I wrote. I lyrically had written a song called Rock and Roll Heaven. [01:10:15] Speaker A: That's pretty funny. [01:10:16] Speaker B: Yeah, it was about the rock people who died. 27 Club, I was like everybody. It wasn't even musicians. Actually, now I think about it, I think Marilyn Monroe's in there, too. I just remember one of the singers talking about, hey, let's do this. [01:10:30] Speaker A: Yeah. All right, so first three, he's on the run he won't stand for second place but he's. His turn may never come Whoa, whoa He's not a victim. You can see it in his face but he can't see what he's become well, he wants it bad but he wants no charity he think. He seems to think it's his destiny and then, you know, get me out of this rock and roll hell for the rest. So I'm still going to be going at the end of all this. Just because they think about this a little bit. Go ahead. [01:10:57] Speaker B: Well, I went first last time, so Frank can go first. [01:11:00] Speaker C: Oh, Jesus. Again, I'm not. What, you're thrilled about the whole song going around, so I'm you know, lyrics. I'm gonna give it a five. The music I do, like. I don't know why. I'm trying to figure out why, but. But I'm gonna give that a seven arrangement. I'll give a six. Melody. I give a five in production. I mean, it is what it is. We're gonna give that a six. What's that? [01:11:36] Speaker B: I mean, I do like this one definitely better than the. The two before it. I'm gonna say six on the lyrics. Especially since we kind of. I guess being kind of musicians, you always think about the making it, not making it. And music. I'll say six as well. I don't like it as much as Creatures of the Night, but, you know, in general, I do. I do like it, like, even now, listening to it. And production. I'll say seven on the production. Melody. Yeah, I'll say six on the melody. And I'll say six on the arrangement as well. I mean, again, I don't like that intro and that when they play it again. It's just that one little. Whatever. But it. It definitely doesn't ruin the song for me. I do. Since Creatures of the Night, this is my. My favorite. You know what I mean? It's my next favorite in order mark. [01:12:25] Speaker A: Okay. I think it's gonna be. It's gonna be similar to yours. So six on lyrics, six on melody, seven on music, six on arrangement, and seven on production. It is one of my better songs, I just think, on the record, personally. So, like I said, I don't really hate anything on here. I think it's better than the last two. And it's kind of weird because it. I mean, you know, in the 80s, like, Gene Simmons stuff wasn't really always my favorite. This is kind of maybe the last record where. I mean, he has some stuff in the 80s I like later. 80s. But yeah, this is. This is not bad. And it doesn't hurt that Brian Adams is writing on this too, so. All right, so we're coming to end. Decide one. This is Danger. This is a Paul Stanley, Adam Mitchell joint again. Here we go. [01:13:36] Speaker D: I will be waiting Ready to go soon after Daylight is waiting in the night My heart is beating out of control can't stop the way that I'm feeling I want to know oh, how far you go Taking my life in my hand Hell on my own Fighting alone Call me the desperate name Danger Danger Give me Danger Danger Give me danger and pain Boy, there's no blood in my bed. [01:14:48] Speaker A: I don't know. [01:14:48] Speaker B: I always thought it was a Pretty good song. So that's my opinion. [01:14:52] Speaker A: Yeah, this is one of my favorites on the record. I like. I like the riff, I like the melody. I like pretty much everything about this. [01:14:59] Speaker B: Yeah, I've always liked this song. [01:15:00] Speaker A: This is not Gene Simmons either. This is Jimmy Haslip. He was the bass player in the Yellow Jackets with Robert Ford. [01:15:06] Speaker B: I was gonna say. Wasn't he also in the Yellow Jackets? Yeah. [01:15:10] Speaker A: It's kind of weird. You can kind of see where Gene Simmons is kind of playing. His stuff is really on. His stuff mostly. I mean, he's playing on, I think, one of the Paul Stanley songs, but, like, you can see how the. This. The separation is already happening, so. Yeah. [01:15:24] Speaker C: You know what I hear a little bit here? [01:15:26] Speaker A: What? [01:15:27] Speaker C: It's. I don't know if you guys remember Pretty Boy Floyd elect. [01:15:33] Speaker A: No. [01:15:33] Speaker C: Electric Boy. Let me see, what was it? Electric Boys or Electric Toys? If you listen to the drums a. [01:15:40] Speaker B: Little bit, you know. You know that this is a second song you've said already, right, that came up with that. [01:15:45] Speaker A: It. [01:15:46] Speaker B: I hear it. Isn't that funny? [01:15:50] Speaker C: I hear it in drums. [01:15:51] Speaker B: Well, because it's that, right? [01:15:56] Speaker C: Yeah, you hear it. And the drums. You hear it. Holy. [01:16:00] Speaker A: Maybe that's where they stole it from. [01:16:02] Speaker C: Yeah, that's what I'm saying. Yeah. [01:16:03] Speaker B: Maybe it's a simple little. I mean. [01:16:06] Speaker A: Well, no, my assumption is that Pretty Boy Florida is KISS fans, right? I would assume. [01:16:10] Speaker C: I think so. Yeah. I think so. But I hear it there in the drums. [01:16:14] Speaker A: And I do notice that his voice is a little bit lower here. This is more like 70s Paul Stanley voice. It's not. [01:16:19] Speaker B: Yeah, but he does do that little in the chorus. All right. He kind of gives that screen. [01:16:24] Speaker A: Yeah, yeah, he does a little bit of it, but. Yeah, but it's. It's generally on the low in a lower key, though, because he doesn't really scream all the time. [01:16:30] Speaker B: But. Yeah, I mean, I've. I've always liked the song. [01:16:33] Speaker A: No, I like the song a lot, so. In the night I will be waiting Ready to go as soon as the daylight is fading in the night My heart is beating out of control can't stop the way that I'm feeling I want to know how far to go Taking my life in my hands out of my own fighting alone Call me the desperate man Danger, danger Give me danger Danger Give me measures of pleasure and pain Boiling the blood in my veins Danger, danger Give me danger danger Give me nothing to stand in my way I'll make the best of my days I think it's Pretty good. [01:17:04] Speaker B: So, Mark, I have a very serious question to ask you here. Do you prefer danger or danger us? [01:17:10] Speaker A: Oh, I prefer danger over danger us. Yeah. Danger us can go suck a big dick. [01:17:20] Speaker B: I had a. I was gonna bring it up before, but I'm like, let me. Let me wait. Let me. Let me wait. [01:17:24] Speaker A: If it's a choice between danger and danger us, I take danger all night, all day long. [01:17:29] Speaker B: Oh, man. Yeah. [01:17:32] Speaker A: Yeah, I know. Satan center over danger. I take. Keep me coming over Danger us dangerous. Yeah. Satan center over dangerous. Not danger. I like danger better. All right, here we go. [01:17:55] Speaker D: In the night I will be dreaming I will find power Living the life that I'm dreaming Until the storm I'll be the one Walking the edge of the night Taking the best leap in the red I'm going to brush my Danger, Danger lift me Danger Danger Danger the pleasure and pain Boiling the blood in my day Danger, Danger lift me Danger Danger. [01:18:54] Speaker B: Yeah, this could be too. A little bit in that kind of. Was it Numb style? N. A little bit. I can hear some of that in here, I think. [01:19:06] Speaker A: Yeah. His. His vocals in the. In the verses are definitely 80s Paul Stanley, like, later 80s. Like, he's going forward a little bit more. And then the choruses are kind of 70s. Paul Stanley's a little bit lower, and you kind of forget how good of a singer he was. [01:19:21] Speaker B: Yeah. [01:19:22] Speaker A: I mean, obviously the end wasn't great for him, but, you know, you can't. I mean, as far as a front man goes in rock, I mean, it's hard. He's one of these, probably. He's probably in the top 20. Probably. I would think, right? [01:19:34] Speaker B: I think so. I think so. I think it was very influential too. There's people who sometimes you don't realize sound like Paul Stanley. And they do. Like. I don't know. I can never remember the name of this band, if I think of it, though. But it was kind of like he. Like post grunge 90s kind of like heavy. But he sounded like Paul Stanley. And even he said it, he goes. People say. Sound like Paul Stanley go, yeah. And like, he wasn't pissed about it. You know what I mean? He's like, yeah, okay. [01:20:04] Speaker A: He was a great singer. When he was on, man. He was on. He was so versus in the night Whoa, I can feel it Time slips away if I can't pay I will steal it in the night I will be screaming Hour by hour Living the life that I'm dreaming Under the gun I'll be the one Walking the edge of the Knife take Taking the best leaving the rest I'm going to run from my life. You know, this always reminded me. I don't know why. It reminds me, like, this verse could be on Animal Eyes. I don't know why. It just gives me that animalized vibe every time I listen to it. It is one of my favorite songs on this record. It's a good way to end the side, too. [01:20:39] Speaker B: Yeah. [01:20:40] Speaker A: So now we got Mr. Vinnie Vincent. What's he gonna do? What's he gonna do? [01:21:15] Speaker B: That sounded like Vinnie Vincent. [01:21:17] Speaker A: Yes. And so far, the. The best solo. [01:21:20] Speaker B: But it sounded good, though. [01:21:21] Speaker A: It's the best solo. [01:21:23] Speaker C: Yep. [01:21:24] Speaker B: Yeah, they gave him some room, you know what I mean? Just. Just enough. He didn't hang himself with the rope. [01:21:30] Speaker A: Nope. I like the low octave thing. He was doing the second part of the solo, and then, you know, he finished it up good. He came back down the fretboard and went up really high, which, you know, it was a little composed, so it was good. If he could only, you know, kept that kind of stuff going while he did his own stuff would have been great. [01:21:46] Speaker B: Hey, listen, he's on the list, right? [01:21:49] Speaker A: Oh, he's on the list. [01:21:51] Speaker B: He's on the list. Like, I'm looking forward to hearing what you. What you think of that. [01:21:56] Speaker A: So I haven't heard it a long time. Maybe I like it more than I remembered, but I always remembered. Like, I remember the Gene Simmons quote. What did he say? It was like a bee buzzing around. You have to shoot it. Even though. Even though he was talking about a different guitar player at that point. That's what always made me feel like. It's like, all right, how much do I have to listen to this? But here I have nothing bad to say at all. Continue. Here we go. [01:22:17] Speaker D: How far to go? Taking my life in my hands out of my own lighting alone I'll be the death arrestor Danger Danger Give me danger Danger Endlessly burn the point of return d d. [01:22:58] Speaker B: You like that end, Mark, or do you want to finish? [01:23:00] Speaker A: No, I like the end, but it's always funny. You hear his New York accent. Danger. Danger. [01:23:06] Speaker B: Yeah, Danger. [01:23:09] Speaker C: I don't hear it right. [01:23:11] Speaker A: Okay. What are you talking about? What are you talking about? [01:23:16] Speaker C: I don't hear. [01:23:19] Speaker B: What was I gonna say? Not a lot of. Not a lot of background vocals. I mean, you hear. I mean, he backed up. I'm assuming it's. It's him, right? [01:23:27] Speaker A: Yeah. There's some cool background vocals going on. [01:23:30] Speaker B: I'm curious to hear. Gene, if you can hear. [01:23:33] Speaker A: No, but see, Here it is in the 80s. I don't think it was. I think. I don't think it was as much as it was in the 70s. I mean, there's some stuff. But I think. I think the majority. They're doing their own background vocals. Once in a while, you can hear, like, in a Gene Simmons song, you'll hear the Paul Stanley background vocal. Right. And vice versa. But I think a lot of it. I think, you know, a lot of it was done separately, I think. [01:23:53] Speaker B: Yeah, Well, I mean, Paul Stanley did a lot of. Even if. Well, at least based on what he says in his book. Right. Gene Simmons would bring in scraps and he would piece them together so you can hear, obviously, if he's working on the song, he would throw in his own. His own vocals, because they have very distinct voices. You can tell when they're backing. When they're backing each other up. [01:24:16] Speaker A: Yeah. When you don't hear it, then, you know, it's not. They're not there. It's just. They're the guy. [01:24:20] Speaker B: Exactly. [01:24:21] Speaker A: All right, go ahead. I'm still going last. [01:24:23] Speaker B: I'll go first. I mean, lyrics. I'm going to say five. I don't think they're that great. I'm going to say seven on everything else. I mean, I've always really liked the song. I think it's strong. It's. It's, you know, it's simple. It's nothing, whatever. But it drives and it's got a good melody. You know, obviously the production is good. Actually, an 8 on production. It. I mean, it's just. I think it's produced just as well as Creatures of the Night. Yeah. I mean, again, this has always been one of my favorites, and that's why I've heard at least a couple of other podcasts. And just on this song, I'm like, really? You know, I mean, obviously, everybody's entire to their own opinion, but, Frank, the. [01:24:57] Speaker C: Music arrangement and production, I'm gonna give those seven. I really do like it a lot. The drums are great. That guitar solo was. I think it was just the right guitar solo. It didn't go too long. It wasn't too much. It was just perfect for the song. So I like it a lot. Lyrics. You know, it is what it is. A five melody. They give those a six mark. [01:25:23] Speaker A: Okay. I think I'm doing. I'm doing seven for them. The lyrics. I don't think the lyrics are that bad. I think, you know, compared to some of the other stuff, I like this better. The melody, I'm giving that a 7. I do like the music. Just Vinnie Vincent's guitar solo that he actually did something that I really liked. I'm gonna give it an eight. Arrangement, I think. I think I'm gonna do a seven. I like the arrangement. It was good. And production, I'm gonna give an eight because like Sabino says, I think it's. It is produced just as well as Creature of the Night. It's. It's one of my favorites on the record. [01:25:52] Speaker B: I mean, it's the most driving one since Creatures Like a Knight, I think. [01:25:58] Speaker C: So I can hear it. I can hear that. [01:26:00] Speaker A: Yeah, yeah. Well, it is, it is. You know, it starts strong and end strong this side, so it's good. So now here comes one of the big mamas. This is. I love it loud. We gotta talk about that. [01:26:21] Speaker B: So my understand this is not the story that I talked about before because that's going to come in the solo, but my understanding was that they did a demo of this and that's how the drum sounded when they did the demo. Michael James Jackson liked it so much and that's why he tried to get the sound throughout the record. Again, if I'm wrong, I mean, Jesus. I'm pretty sure that if nothing else, this is going to be the podcast where people be like, you're an idiot. You don't know about this. [01:26:50] Speaker A: Well, they're going to say that about me too. [01:26:52] Speaker B: No, but this, no, but maybe all of us. So this was my understanding and I think I read it actually in. In the box set. That that's. That's what. This song, the demo for this song, is what inspired the rest of the drum sound. [01:27:04] Speaker A: But I tell you though, this drum sound is still there. So far, there hasn't been any drums that sound like this sound. They're trying to get there. But this sound, whatever's going on here, they. They found. They found the secret sauce and I'm happy. [01:27:19] Speaker B: It's my drum sound like this now, dude. [01:27:21] Speaker A: It's greater drum sound. I mean, I don't know if you're a drummer. I don't know how you wouldn't like your drums to sound like that if you're a rock drummer. Fuck me. I mean, you can tell me anything you want about how new drums sound better. They don't sound fucking better than that. [01:27:32] Speaker B: Yeah, and they've ruined this in smashes. [01:27:37] Speaker A: There's lots of things about smashes and thrashes. [01:27:39] Speaker B: Oh, my Lord. [01:27:41] Speaker A: All right, I'm gonna start from the beginning again because I want to hear it again here we. [01:28:07] Speaker D: Stand up, you don't have to be afraid get down cuz it's like a hurricane. Sweet boy never leaving Guilty, innocent we're blast heavy metal accident rock I want to be president. You are here loud come in the ey for the medicine to p step to the very end. No more treated like aliens we're not going to take us no light Turn it up. Got me in the tranquilized. [01:29:36] Speaker B: So the best part of this song is definitely Ace Fry. I mean, he's in the video, right? So he's playing in the song. [01:29:41] Speaker A: Yeah. Now. [01:29:44] Speaker B: Yeah. [01:29:46] Speaker A: The video is kind of funny, though. [01:29:47] Speaker B: I mean, this is so iconic. [01:29:50] Speaker A: All the kids with the glowing eyes in the video. [01:29:57] Speaker B: Even Beavis and Butthead, like, this son. [01:30:00] Speaker A: Played so much that you may not want to give it a high score because it's played so much, but how can you. How can you not give this. I don't know, just the melody alone. [01:30:13] Speaker B: You can kind of go back to the feeling of when you heard something the first time. But even if you can't replicate it exactly, you can still have a vibe. And again. Yeah. Have we heard this song? A million times. Yeah, but I mean, like, I always say a good song is a good song. And then we imagine if we judge some of these songs based on how many. I mean, like, Wild side, for example. Right. Like when we did Motley Crew. If we judge that based on how many times we heard it, no matter how much you like it, then you're like, oh, I heard this so many times. But no, you gotta judge it on, hey, damn, this is a good song. [01:30:48] Speaker A: Yeah. Same thing with this. I mean, how many other songs have you heard? [01:30:51] Speaker B: Yeah, absolutely. [01:30:52] Speaker A: So many times. And, you know, sometimes you just don't want to hear it anymore because you've heard it so much. But, you know, whether that's like, jump from Van Halen, like, or whatever, pick a big popular song, Streets have no Name by you too, right? You heard it so many times. [01:31:04] Speaker B: Yeah, absolutely. With or without you? [01:31:06] Speaker A: With or without you? How many times we played that song. [01:31:09] Speaker B: Yeah. [01:31:10] Speaker A: You can't deny a good song when it's a good song, regardless of how many times it's. You know, if it's been overplayed, it's overplayed for a reason. [01:31:17] Speaker B: Yeah, I mean, we. We definitely can't judge that here. Based on that. We have to. Really. [01:31:22] Speaker A: No, if you're a kid and you put this record on, you turned on to the second sign, you heard boom, boom. Yeah. Oh, okay. [01:31:28] Speaker C: Yeah. Okay. [01:31:28] Speaker B: Yeah. [01:31:29] Speaker A: You're gonna Be like, holy. [01:31:31] Speaker B: Yeah. I mean, this is a great. I mean, this is the first, second side, right? Starter. [01:31:35] Speaker A: Yep. [01:31:36] Speaker B: Yeah. I mean, this is, like, perfect for the second. [01:31:39] Speaker A: Yeah. For any kind of an opening side of whatever. [01:31:41] Speaker C: Would you think that this is, like. You know, some bands just are known for one song, others are known for two. Very rarely crop bands that are known for four, five and six songs. Would you think this is, like one of them? Like, when you hear it, you just automatically think that's a Kiss song. This is it. This is who they are. [01:32:04] Speaker A: Me? Well, I don't know if it's. I, I don't think I. I don't think I say this is who they are because this is so far in their career. I don't think that, but I think that, you know, it's them, but I don't think this is. I don't think this is, like, what you would say. This is what Kiss is. [01:32:22] Speaker C: Okay. [01:32:23] Speaker A: Not to me. I think there's more stuff in the 70s I would think would be more what I think Kisses. But I think that, you know, this is one of those bands that has five or six songs. You go, okay. I mean, they were around for 50 years. So you don't. You're not around for 50 years. Regardless of what my feelings are of the last 25 years of KISS, which I didn't particularly like, you know, up to a certain point, you know, you got to say, no one's around 20, 25 years or any more than that without being a decent band. You, you know, for whatever reason, not. I'm sure there's lots of people who don't like them, but that's fine too. [01:33:03] Speaker B: Oh, yeah, Absolutely. But, I mean, who likes everybody? [01:33:09] Speaker A: Nobody, right? Nobody. But as far as this song goes, yeah, I, I, It's a great song. Regardless. Regardless. Whether you like them or not. I don't know how you would. I mean, unless you just such a dating person that no matter what they do, don't like. But for me, yes. As far as this record goes, this is one of the best songs on this record. [01:33:29] Speaker C: Oh, yeah. Oh, yeah. By far. Yeah, by far. [01:33:33] Speaker A: I mean, so, so the verses stand up. You don't have to be afraid get down Love is like a hurricane street boy no I never could be tame Better believe it Guilty till unproven Innocent whiplash Heavy metal accident Rock on I want to be president I love it loud I want to hear it loud Right between the eyes Loud I want to hear it loud don't want no compromise and then the second Verse is Turn it up Hungry for the medicine Two fisted to the very end no more treated like aliens we're not going to take it no lies no more alibis Turn it up Got me hypnotized Rock on. Won't be tranquilized which I find funny is. I'm pretty positive they never did that second part of the verse live. [01:34:15] Speaker B: Oh, really? [01:34:17] Speaker A: I think if everything you hear is turning up Hungry for the medicine Too twisted Two fisted to the very end no more treated like aliens we're not going to take it. And they went back back into the chorus. I don't know why they cut that part out. [01:34:28] Speaker B: Either that or Gene Simmons forgot the lyrics, Right? Isn't he famous for forgetting lyrics and repeating verses? [01:34:34] Speaker A: He could have forgot the lyrics. [01:34:40] Speaker C: Can I just share? There's nothing worse than when you go to a live show and the singer forgets the lyrics. It's a horrible experience. So it's extremely uncomfortable. [01:34:53] Speaker A: Most of them have them now in the monitor with what looks like a monitor. And lyrics are going through most people. It's hard to forget these days. But, yeah, it happens. Amen. Even if you sang it a million times. Oh, yeah, you could have a brain fart. [01:35:06] Speaker C: Oh, well, let me just tell you, like, that concept I was talking about earlier with, see their Puddle of Mud and Stone Temple Pilots. Buck Cherry. Puddle of Mud. They forgot their lyrics. More than one song. [01:35:22] Speaker B: Nice. [01:35:22] Speaker A: Man, that sucks for them. [01:35:24] Speaker B: I could imagine, like, the two big hits. Everything. Yeah, everything's so blurry. Blur. [01:35:31] Speaker A: Blurry. [01:35:31] Speaker B: Yeah, blurry. [01:35:34] Speaker C: No, no, that's what they say. [01:35:35] Speaker A: Take it away. [01:35:37] Speaker C: Let the fans sing it. [01:35:41] Speaker A: Yeah, it was like Vince Neil and you can't sing any more than two lyrics in a row without putting the microphone out. Now to the crowd. It's very. It's very frustrating. Come on, Vince, get it. Get it together. Anyway. All right, let's continue. Here we go. I'll stop it before the. So you want me to stop it after. Before the solo. Would you like to tell your story? When would you like to do that? [01:35:59] Speaker B: No, go after the solo. [01:36:02] Speaker A: Okay. [01:36:02] Speaker B: Yeah, to the solo. [01:36:03] Speaker A: Here we go. [01:36:42] Speaker B: So again, I think it was in the box set, Vinnie Vincent had this whole other solo, you know, and Jean Simmons was like, no, you're going to play chords. And he said, no. He goes, you're gonna do what I tell you to. And that's why that solo is like that. So that wasn't what he had originally written for it. I think he had written something way more involved. But Gene Simmons said, nope. [01:37:06] Speaker A: Sounds about right, though. [01:37:08] Speaker B: Because, I mean, it is just. I mean, even I can play that solo. [01:37:13] Speaker A: Well, it's just. It's just Ben's. [01:37:14] Speaker B: Yeah. [01:37:15] Speaker A: Eunice and Ben's. That's all it is. But you know what works for the song, though? He wasn't wrong. [01:37:20] Speaker B: No. [01:37:21] Speaker A: Nope. Wasn't wrong. [01:37:22] Speaker B: He wasn't wrong. It fits, it goes. It's. It's. You don't need something fancy in this. You know, maybe something fancier. Even though it may have been more impressive, I. I think this is a song where you need to hear the words. You need to hear the singing of it. So the fact that that thing is so short, it just goes right back in. Would it works? [01:37:42] Speaker A: It's what the song needed. [01:37:43] Speaker B: Yep. [01:37:45] Speaker A: Well, even the bridge that. Hey, yeah. I mean, there's nothing going on there, but it's just so. It's just so good. [01:37:51] Speaker B: No, it's very Hetfield. [01:37:55] Speaker A: All right, let's continue. Here we go. [01:39:04] Speaker D: Oh, yeah. [01:39:42] Speaker B: I made sure to wait. I knew it faded and then came back in. [01:39:45] Speaker A: So I gotta say, though, that's the only part of the song I don't like. Yeah, I really don't like to fade back and fade in. I just. I don't. I never like that part of the song. It's. It's only going to take one little part. I'm going to do first on this because I'm pretty sure everyone's going to do pretty decent on this. [01:40:02] Speaker C: Oh, wow. [01:40:03] Speaker A: I'm going to say. I'm going to say eights across. I'm going to give the music. Music A9, and I'm going to tell you why not. Because it's like super duper technical or super duper. Whatever. The drum sound by itself for me just makes the song. I don't really think you could have had any better of a drum song. And I don't think they really captured that sound again on this album even. They came close. Whatever's going on there, wherever they recorded that, I'm sure there's a story I'm forgetting about where they recorded it in some kind of hallway or something. I'm sure that it was a weird thing that they recorded it and why it sounds that way. Even though I've heard this song a million times. Like, what am I going to say? Like, the words are good for the song. The solo is good. The drums are great. There's actually no Paul Stanley on this. [01:40:53] Speaker B: Yeah. I was trying to hear if he was even in the background. [01:40:56] Speaker A: Like vocals, backing vocals. Is Dave Whitman. I don't know who he is. Vinnie Vincent does all the guitars. Eric Carr does backing vocals. [01:41:06] Speaker B: Oh, yeah. [01:41:07] Speaker A: It's kind of funny that there may not be any Paul standing on this. Will we really know that? I don't know if we'll really know that, but from what we can gather, what do you guys think? [01:41:16] Speaker B: So, yeah, I mean, the words for the. For a simple. I mean, it is a simple song, right? When you really think about it, I mean, the words are actually. I mean, I'm gonna say seven on the lyrics. I'm going to say eight on everything. And you know what? I'm gonna. I'm gonna do the nine on the production as opposed to the music. I think that's where I'm gonna up it up. Because, again, I mean, it's just so powerful. And I think to myself, right, the drums are just so simple in this song. But if I were playing this song and I heard myself sound like this, I would say, you know what? I don't need to do anything else. I just a simple, like, don't, don't do. And it just sounds so good. So, yeah, I mean, it's just. It's a great song. It's a great song. So, Frank. Yeah. [01:42:08] Speaker C: You know, when I think about metal and rock during that time frame, this is one of those songs that just jump front and center. So for me, music arrangement, production, I'm gonna give those eight the melody. I. I gotta. I kind of gotta give it a nine on that. And the lyric, I'm gonna give that a 7. It's just such one of those songs that you. When you really think about rock and metal, this just. And you hear this song, you just can't get. You can't help but get psyched about it. And again, this is one of those songs where when you hear it, you're like, oh, yeah, that's Kiss. And very few bands by this point, Mark, what, like six songs in that you can say they were hits? [01:42:56] Speaker A: Well, there was really no hits on this record. Really. [01:42:59] Speaker C: No. But if you're a fan, a music fan of rock and metal and you hear it. [01:43:07] Speaker A: I mean, I think objectively, if you're a KISS fan, you probably love everything. If you're like a super duper KISS fan. But I love everything. [01:43:14] Speaker C: Yeah. Yeah. [01:43:15] Speaker A: But putting that aside realistically, one, two. There's at least three or four good songs so far. There's a couple sketchy things in the middle. But, you know. You know, if I take it as being a KISS fan, I like this whole thing, but objectively you know, you have to say objectively, maybe a couple songs in the middle are not the greatest. I mean, they're not horrible. [01:43:35] Speaker B: Yeah. [01:43:36] Speaker A: I like. [01:43:36] Speaker C: I love this song. I just love it. [01:43:39] Speaker B: No, I was gonna say, if we ever do Revenge, we may be having the same. The opposite conversation where some of the stuff I might like more than Mark, believe it or not. [01:43:48] Speaker A: Oh, I already know one song he likes more than I do. Yeah. [01:43:51] Speaker B: But we won't talk. We won't get there until we get there. [01:43:55] Speaker A: All right, so the next song is. Is the ballad, I guess. The ballad, Right. I still love you. There's an awesome version of this on the Unplugged. This is Robin Ford again. And some of the best guitar playing on this, I think, on this side. On this record, probably. [01:44:15] Speaker B: Yeah. Some good drumming in this, too. A lot of fills. [01:44:17] Speaker A: This is, again, one of my favorite songs on this record. I mean, I'm gonna say it coming right up. I'm gonna say coming right out at it. And his vocals are really awesome. [01:44:25] Speaker B: Yeah. Yep. This is a high in his career, without a doubt. [01:44:29] Speaker A: I don't think Jim Simmons plays bass. It's not saying he plays. No, he plays bass. Except tracks one, five and seven. So he plays B. He plays bass on. No, he doesn't play bass on this. I don't know who plays bass on this. Maybe Paul Sandler or maybe. Maybe Jimmy Haslip or Mike Picaro plays base on it. Who knows? I don't know. But here we go. I still love you before we get started and before all the Kiss fans try to kill me. Bass playing Eric Gar. [01:45:18] Speaker B: Wow. Nice. Yes. [01:45:21] Speaker A: I forgot about that. I didn't want to get. I didn't want to. People screaming at me. It's Eric Carr. What do you know about Kiss? [01:45:27] Speaker B: Yeah. [01:45:27] Speaker A: Eric Carr. So that's pretty funny too, right? [01:45:29] Speaker B: Yeah. [01:45:30] Speaker A: What do you think of the riff so far? I think it was pretty. Pretty decent. [01:45:33] Speaker B: Yeah. It's very simple, right? I mean, I think it's more of the melody that he brings into it. And again, the. The singing. I mean, it just. He's so strong in this song. [01:45:45] Speaker A: Yeah. It's really awesome. All right, here we. [01:46:03] Speaker D: I had myself believing I should take it like a man but if you gotta go then you gotta know that it's killing me in all the things I never seek to shout Gotta make you see Girl, it's been so long Tell me how could it be One of us knows the two of us don't belong it hurts so much inside you telling me goodbye you Wanna be free, you know that you're gonna leave me behind I gotta make you free I gotta make, I gotta make you free. I still love you I still love you I feel, I feel I love you I still love you. [01:47:58] Speaker B: I've always liked this song too. It's a strong. I always love the fact that he does so many fills, you know, as a drummer, especially in a ballad, I was like, yeah, Eric. [01:48:13] Speaker A: Yeah, the melody is really strong in this too. And his vocal is strong. Like I said. I do think that the unplugged vocal is even better than this vocal. And this is a great vocal. [01:48:23] Speaker B: Yeah. I always thought this was one of his strongest, but, like, without a doubt, obviously, the more the song progresses and he really starts. I mean, he. Again, he. He's a. He's got a great voice. And I mean, he was, you know, I mean, listen, everybody has their missteps live or whatever, but he was pretty on point live as well, so we got to give him credit. Without a doubt. [01:48:49] Speaker A: Yeah, like. Like we said, he's got to be within top 20 of front man. He's the whole time rock. Yeah, yeah. [01:48:56] Speaker C: Top 20. That low. You say top 20 in the top 20. [01:49:00] Speaker A: I mean, listen, am I gonna put him. I mean, am I gonna put him over Robert Plant and stuff? Like, I don't know if I could do that. [01:49:06] Speaker C: No, no, we're not talk. I'm just saying you. You're saying top 20. [01:49:11] Speaker B: He's being conservative. [01:49:13] Speaker A: I'm being conservative. [01:49:14] Speaker C: Okay, let's be. [01:49:16] Speaker A: All right. I could say top 10 and everyone be like, really, really douche. Maybe me, I could say top 10, but I don't know. Okay, top 20. [01:49:28] Speaker C: I mean, I think top 20 is safe. Yeah. Okay, I got you. [01:49:32] Speaker A: Yeah, Put him wherever you would like in the top 20. Does that feel better for everybody? Yeah, in rock. [01:49:38] Speaker B: Rock. Dumb. [01:49:41] Speaker C: Yeah. Well, so, Mark, let me ask you that. Do you consider Kiss like stadium rock or just rock? Arena rock. That was the genre. Arena rock during the 70s, I guess. [01:49:54] Speaker A: They had to have been playing arena, so. Yes, I assume that's what you were call them. [01:49:59] Speaker C: Okay. [01:50:00] Speaker A: Yeah. I mean, I don't know. They're. They're rock and roll to me. I don't know that. You know, they're definitely not metal. They got more metal in the 80s, I think, than they were ever. And even then. [01:50:10] Speaker C: Yeah. [01:50:11] Speaker A: What's. What's metal? I mean, what we called metal in the 80s, no one would call metal now. [01:50:16] Speaker B: But I think this is a metal ballad, though. I mean, this is a full on Power ballad, right? [01:50:23] Speaker A: Oh, yeah. [01:50:25] Speaker C: Call it what you want. This is something you hear on Skinimax. [01:50:28] Speaker B: There you go. [01:50:32] Speaker C: Show time. Show it. What's the other one there? So the Cinemax and the Showtime. Is it showtime? [01:50:39] Speaker A: It's Showtime. [01:50:40] Speaker C: Showtime After Dark. There you go. [01:50:42] Speaker A: There you go. Oh, boy. Frankie was twiddling on the box trying to get those lines away when he went on the cable. When he couldn't see. [01:50:50] Speaker B: How do he goes, you know, check the T now. [01:50:55] Speaker C: You kidding me? During my teen years, like people say, frank, why you bounce your head so much? Because I was trying to watch. Between squiggly. [01:51:06] Speaker A: Very true. [01:51:08] Speaker C: Yeah. The pain, the struggles, struggles. [01:51:13] Speaker A: Okay, can I do lyrics now? [01:51:15] Speaker C: Go ahead. [01:51:15] Speaker A: Okay. So you're telling me that you're leaving and I'm trying to understand I'd had myself believing I should take it like a man but if you gotta go Then you've got to know that it's killing me and all the things that I never seem to show I gotta make you see Girl, it's been so long Tell me how could it be one of us knows that two of us don't belong in each other's company it hurts so much inside. You're telling me goodbye, you want to be free and knowing that you're gone and leaving me behind I gotta make you see I gotta make you see I gotta make you see. I still love you I still love you I really, really love you I still love you. [01:51:55] Speaker B: I think this song is about Donna Dixon. I could be wrong. [01:51:59] Speaker A: I was gonna say I think it's about Donna Dixon, that she left him for Dan Aykroyd. Right. Isn't that what this is about? [01:52:06] Speaker B: I believe so. [01:52:08] Speaker A: No. You know, happens to everybody. Even to rock stars, I guess. [01:52:11] Speaker B: Yeah, but they. They were. I think they're still together, though, the other two. So, I mean. [01:52:16] Speaker A: Yeah. Well, he got us a good song out of it anyway. Yeah, it'd be worse. All right, let's continue. And what did you think of the guitar playing so far in the solo parts? It was good, right? [01:52:27] Speaker B: I think probably it's that one little part could be the best playing I've heard on the record so far. And I say that because it's some with so much feel. And the sound of it, too, is. I think it's different than any other guitar sound that's been on the album. It's very feel. You know what I mean? [01:52:48] Speaker A: I think it's good. [01:52:49] Speaker B: Yeah. Yeah, absolutely. [01:52:51] Speaker A: You know, I always say it's like that little 1%, whatever the 1% is. That goes from good guitar plays to great guitar players. He has the great guitar player thing. [01:52:58] Speaker B: Yeah. [01:52:59] Speaker A: His choice of notes, his phrasing of the notes, the way he plays and attacks the notes. It's just because he's really good. Yeah, he's great. And that's. And even that little bit of snippet. [01:53:10] Speaker B: Yeah. [01:53:11] Speaker A: That little piece you hear, it's totally different. Like, what the Is that? [01:53:15] Speaker B: Yeah. Who's that playing? That's somebody different or. [01:53:19] Speaker A: Yeah, obviously. Well, you know, this record's such a mishmash, man. You know, they. They did. They didn't know what they were gonna do. [01:53:24] Speaker B: Yeah. [01:53:25] Speaker A: So. All right, here we go. [01:53:28] Speaker D: People tell me I should win at any. When I see a smoke? There's a way. The battle has been lost. I see it in your eyes. You never have to lie. I'm out of your life tonight? [01:53:57] Speaker B: I'll dream away? [01:53:58] Speaker D: And you can still be mine. But I'm dreaming alive. Dreaming alive Makes me wanna die. Cause I still love you. I still love you. I love you? I still love you. [01:54:38] Speaker B: Stop before the solo? [01:54:41] Speaker A: Yeah, I had to stop before the solo. [01:54:42] Speaker B: Yeah. [01:54:43] Speaker A: There's a lot of fills. Oh, my God. I forget how many fills are in this. [01:54:47] Speaker B: That's what always struck me, because when I first heard this song, I was like, jesus, look at all these fills. I've never heard that many fills in a rock ballad before. [01:54:56] Speaker A: Well, it's good, though. [01:54:58] Speaker B: Oh, yeah. I mean, the drums sound great in this, too. Honestly. There. This is. I mean, I would say creatures of the Night. This and I Love It Loud are probably the three best drum sounds. I don't remember. I know there's a couple of other songs coming up, and not that they sound bad in the other ones, but they're just so powerful in those three. [01:55:18] Speaker A: Songs in this song, I think that it's close as it could be to I Love it Loud. I just. I think that the drums are really good. And you're right. Like, how many. How many drummers would play this many fills in. In. In a ballad? [01:55:30] Speaker B: Yeah. No, they love the space they gave him and. [01:55:34] Speaker A: Yeah, that's great. [01:55:35] Speaker B: Yep. [01:55:35] Speaker A: All right, solo time. Here we go. [01:56:23] Speaker B: I always thought that was Paul Stanley. I think I just assumed because it was clearly his song, and I know that he did some leads, but obviously it's not right. What do you think of the Solomon? [01:56:38] Speaker A: Oh, it's great. It's. It's almost all about what he doesn't play. It's the. It's the places of space that's More impressive than even the notes that he plays. [01:56:49] Speaker B: Yeah. [01:56:50] Speaker A: And I like that he used the melody at the end, too. That was good. That's a. That's a great guitar player. [01:56:56] Speaker B: Yeah. [01:56:57] Speaker A: You know, we. We talked, you know, about the. Any other things we've talked about where, you know, the solos just are just not as good. And not that people are bad guitar players, but very few people are as good as this. [01:57:09] Speaker B: Yeah. [01:57:10] Speaker A: And even in a weird. Like a weird place he's putting here, like, this is not his thing. He's a jazz, like, jazz bluesy guitar player. Like, what's he doing here? Why is he even playing on this album for? It's very strange. He even said it was. It was one of the weirdest session things you've ever done. He's like, why does he belong here? But, yeah, the solo is great. Soul is great. And there's gonna. Be. There's a little more guitar playing, I think, in this, too. And it's a great song. [01:57:33] Speaker B: Yep. [01:57:34] Speaker A: It's gonna get high marks again, I'm sure. All right, let's. Let's play it out. [01:57:53] Speaker D: Way. My help to every day. I still love you. I still love, love you. I better, I better love you. I still love you. I love you, I love you. [01:59:22] Speaker B: I always thought this was the album Closer for some reason. And I think the reason is because I had borrowed this record from you. I think I put the songs, for whatever reason, these last few, out of order. I put this last. I know that the Scorpions also had a thing where they put their ballads last. So maybe in my head, that's what I thought. I was like, this is not the album Closer. I think it would have been a good album closer, too, though, honestly. That's a strong way to end the record. [01:59:49] Speaker A: It would have been a strong way to end the rest. The record ends strong anyway. But still. [01:59:53] Speaker B: Yeah, yeah. [01:59:54] Speaker A: No, it's. It's a great song. Did I read all the lyrics? Did I do the second verse? I don't know if I did the second. [01:59:58] Speaker B: I don't remember. [02:00:00] Speaker A: All right, I'm going to do the second verse. So people tell me I should win at any cost. But now I see as the smoke clears away the battle has been lost. I see it in your eyes. You never have to lie. I'm out of your life tonight I'll dream away and you can still be mine. But I'm dreaming a lie. Dreaming a lie Makes me want to die in chorus. And then the ver. The last verse is when I think of all the Things you'll never know there's so much left to say because, girl, now I see the picture the price of losing you Will be my hell to pay My help to pay each and every day Hear what I say why don't you guys go first? I'll go last. [02:00:35] Speaker B: Frank, you go first this time. I went first last time. Or time before. [02:00:41] Speaker C: You know what, it's funny you say very Scorpion Light because the closing ballad that the same thing. So I like it a lot. I like the song. As far as rating the lyric, I'm gonna give that a seven. I think I like this a lot, actually. I haven't heard in a long time, but now that I listen to it, give it a seven. Arrangement, music, arrangement, production. I'm giving those a seven as well. In the melody. I'm gonna give that a six. I do like the song a lot, though. And this is not the last song you said, right, Seth? [02:01:23] Speaker B: There's actually two more which I knew were on this record. But like I said, I just thought that this was the album closer for some reason. [02:01:32] Speaker C: Okay. Yeah, I would have thought the same thing. [02:01:36] Speaker B: I'm gonna say seven on the lyrics. I mean, some of the stuff is a little whatever, but in general, he gets a lot of emotion across and obviously, you know, the fact that, you know that it's really about somebody carries more weight. I think I'm actually going to do sevens across. But an 8 on the production because again, I think for what it is, it's produced perfectly and it's a great song. Mark? [02:02:08] Speaker A: Yeah, I think I'm going to be very similar. I think so. I'm going to do. I'm gonna do seven on the lyrics. I'm gonna do eight on the melody because I think the melody and the singing make this eight on the music. I think the arrangement's good. I'm do eight on that. I'm gonna do eight on production. It's one of my favorite songs on this album. I mean, I like it a lot. Yeah, you'd be hard pressed to have a better ballad. I mean. And the drum parts are ridiculous. [02:02:32] Speaker B: Yeah. [02:02:33] Speaker A: Have that many fills and stuff and had some off time fills and. [02:02:36] Speaker B: Yeah, those are my favorites. I. Yeah, I really like those a lot. Well, he came to play. [02:02:46] Speaker A: Oh yeah, he came to play. Well after the last record. He was probably chomping at the bit to play some actual music. [02:02:52] Speaker B: Listen again, there's some good stuff on that album too, so. [02:02:55] Speaker A: I mean. No, I know, but it wasn't. Wasn't what he thought he was Going to be stepping into, I don't think. And it's got to throw you off a little bit. The next one is killer. This is a Gene Simmons, Vinnie Vincent thing, and I think this is one of the first things they worked on together. So here we go. Killer. [02:03:32] Speaker D: She deals in pain She's a killer who's your country? Please don't you want to Please so I see this is what I need Nothing is real yeah Back lace, little heels See the killer crack a whip this is real She's a killer who can he? Mistress of the sea There's a spiel her next meal Search in front of me She's a killer don't to kill her Killer no tone. Killer Watch. [02:04:24] Speaker B: I've always loved the chorus in this song. I love that bang. And this, too, reminds me a little bit of. A little bit of that new wave British heavy metal as well. [02:04:37] Speaker A: I was going to say. It's very early 80s metal. [02:04:40] Speaker B: Yeah. [02:04:41] Speaker A: Even the riff at the. [02:04:45] Speaker B: And honestly, though, I'm. I think production is where this song suffers a bit. That guitar in the beginning is very weak. I think if it was more like. You know what I mean? Like powerful, I think the song would sound better. I mean, again, this is a song that I kind of listen to when I listen to this record, so it isn't one that I skip. Production is a little bit of weak, I think, in. In the verses. But it picks up in the chorus, especially with that. [02:05:16] Speaker A: Yeah, I like the chorus riff a lot. [02:05:18] Speaker B: Yeah. [02:05:19] Speaker A: Okay, here's verse. Her lover's a gun her lover's a blade She's a killer Is insane She deals in pain She's a killer and will be coming back if we ever get to do Animal Eyes. So, you know, it's just what it is. Oh, she'll cut you clean and then she'll watch you bleed so obscene she's what I need she loves to hear me scream Black lace stiletto heels She's a killer Crap the whip submission trip She's a killer oh, cat and heat Mistress of deceit Nerves of steel her next meal she's searching for her meat she's searching for the meat She's a killer Stone cold killer Killer Stone cold killer yeah. [02:06:00] Speaker B: This is Dylan compared to some of the stuff he's got going on after this. [02:06:05] Speaker A: That's very true. Yeah. Even this suffers a little bit. There's a little bit of stream of consciousness, I think, going on here, too. [02:06:13] Speaker B: Yeah. Well, he. I mean, any rhymes, Right? That's the thing, too. Ultimately, it's like that forced rhyme that you have to find that word that rhymes and which I think, unfortunately kind of can incapacitate you sometimes. But, you know, we've also said, though, a lot of times, especially bands like this, they rhyme, rhyme, rhyme. And then they kind of throw that one thing that's off, and it just sounds like a car wreck. It just. It hits you so hard. So it's like. But you rhymed all this. Where did this other thing come from? [02:06:46] Speaker A: Yeah, that's true. All right, let's continue. [02:06:53] Speaker D: Watch out for your jugular Male She's a killer animal with a twist and brave She's a killer who she guarantees Wicked queen life machine to make you walk through fire your love from your life your love will see fire the love from the night the love will see light from your back tonight Killer don't hold Killer season Killer don't call killer killer. [02:08:57] Speaker B: So hearing this song now, especially that back stuff going on that I said to myself, I would love to. I would love to have heard Judas Priest do this song back in the day. [02:09:08] Speaker C: Good call out. Good call out. Me neither. Good call out. [02:09:13] Speaker B: I think they would just give it that kind of special because the arrangements a bit odd on this song. I think the way it comes in and out and even the solo was odd. Well, I mean, what do you think of the solo, Mark? It sounded odd, almost like spliced together where it almost sounds like it. He. The. They faded one thing, and then they kind of faded up into something else. It was weird. I thought. I never really caught that before. [02:09:44] Speaker A: It's not really my most favorite thing in the world on this, but, I mean, you know, I like the chorus. [02:09:49] Speaker B: I love the chorus. [02:09:51] Speaker A: Well, let me read the verse, then you guys can do your thing. Watch out for your juggler vein She's a killer animal with a twisted brain She's a killer Ooh. She guarantees you suffer with desire Wicked queen night machine she'll make you walk through fire and then the bridges Killer Run for your life killer Will she bite? Killer Run for your life, killer Will she bite? Suck your blood tonight. Is this about vampires? I'm not sure. I never thought of it that way. Yeah, it could be, but maybe it is. Which would be very apropos for it being a Halloween episode. Yeah, I didn't think about that. [02:10:30] Speaker B: I think she's just a killer. [02:10:33] Speaker A: Think about that. Yeah, maybe. Yes, we do, Gene. We like it. It's fine. All right, go ahead. [02:10:40] Speaker B: I'll say five on the lyrics. I mean, I can appreciate kind of like the Evil element in there. If we do take it as almost kind of like a movie thing. Music. I don't know what to do with the music arrangement. I'm gonna say five. It just. I know the song is weird to me, which I never realized before, but now hearing a piece like this, I can't put my finger on it, but it's just odd. The melody isn't bad. I like the first verse and I like the chorus. That thing in between, I don't really like that. Black lace, little heels, I think. Or cat. And he. One of those parts that he does before the chorus. So I'm gonna say five on that as well. Production. I'm gonna say five. I'm gonna ding it on. Production. I think compared to the other ones, this one really needed something that wasn't there. And the funny thing is, is that the thing that I think is missing is in the Paul Stanley songs, like the ballad and Creatures of the Night. Obviously I love it loud, but I mean, in terms of this, just because it's kind of like a little bit more up tempo, what am I missing? I'm missing one. [02:12:04] Speaker A: Music. [02:12:04] Speaker B: Oh, music. I'll say five on the music. And I don't dislike this song. I mean, I typically kind of listen to it, but again. Right. It's sometimes when you pick them apart and you don't hear it straight through, you're like, wait a second, this doesn't sound that good broken up. Maybe you have to hear it that way. So, Frank. Yeah. [02:12:25] Speaker C: I'm going to give the lyric and the melody of five. I mean, there's not a whole lot there to wow me. Music. I'm going to give that a six. Arrangement is six. Production. I'm gonna give a seven. I mean, I think the production did the best they could with what they had in hand. [02:12:48] Speaker A: So, Mark, I'm gonna make this easy. I'm gonna do six across. The whole thing. I don't hate it. [02:12:56] Speaker C: I don't. [02:12:57] Speaker A: It's not my most favorite. Do I listen to it when it's on? Yes. I don't shut it off. You know, I could see where, you know, fives and stuff. It's probably. This is probably one of the lowest things in the record. I mean, really, we've given this record a pretty good. I mean, the only thing that came really low was really Keep me Coming, Satan, sinner. But everything else is pretty. Pretty decent. [02:13:19] Speaker B: Yeah. I mean, overall, like stem to stern. I mean, I do consider it. I've always thought of it as one of my favorite kids Album. So even the stuff that I skip, the stuff that I don't skip, even. [02:13:32] Speaker A: If it's songs you don't like, you might even just leave it on. Just because you leave it on, even. You might not even skip it. You might just let it go. [02:13:38] Speaker B: Yeah, well, sonically. I mean, sonically, just. Even for the sonics of it, I can let it go overall, like, without a doubt. [02:13:50] Speaker A: Yeah. Okay, so now we're at the end and War Machine, which is obviously another song they've played forever. They always play generally. Who wrote this? This is Simmons, Brian Adams and Jim Valance. So the riff is really good in here. [02:14:11] Speaker B: It's been used. So it. This is another riff. That bomb, bomb, bomb. Right. That's another one you'll hear if you start listening to other bands. There's. There's a massive trope to this, I'm sure. [02:14:26] Speaker A: Yeah, that's a good riff. That's why. Here we go. War Machine. Now, before I let that go. See, that's what the other guitar should have sounded like in the last song. [02:14:42] Speaker B: Agreed. [02:14:43] Speaker A: Yeah. Production is already better. [02:14:44] Speaker B: Absolutely. [02:14:46] Speaker A: All right, we're gonna back it up and start again. [02:15:18] Speaker D: Wanna turn the tides? Set the demons Be a monster fly Strike down the one who leads me I'm gonna take his place don't abdicate the human race Better watch out Cause I'm a wax out. [02:16:01] Speaker B: This is, like, one of my favorite Gene Simmons vocals. I think he really shines in this song. And this is kind of like his revenge for Paul Stanley having written God of Thunder, even though it was given to him. That's what I kind of feel like. It's like, I'll write my own War Machine. I'll write my own God of Thunder. This is it. Even though, you know Brian Adams from Canada will help me, but still. [02:16:25] Speaker A: And he plays rhythm guitar on this. [02:16:27] Speaker B: Oh, nice. [02:16:27] Speaker A: Another thing where Paul Stanley's not playing. [02:16:29] Speaker B: Yeah. I mean, just such a simple riff. But again, it's. It's good. It's. It's heavy sounding. The drums are heavy sounding. You know, even that little fill he does in the beginning is really cool. [02:16:41] Speaker A: Oh, yeah. I was gonna say. That's like. I was gonna mention that. It's an awesome film. [02:16:45] Speaker B: Yeah. I mean, to me, this goes hand in hand with. I love it loud. [02:16:48] Speaker A: Oh, yeah. The drums sound. I don't know if they're as good as. I love it loud, but they're close. [02:16:52] Speaker B: But just like, song for song, like pound for pound. It's just really good. [02:16:57] Speaker A: Yeah, it's a good way to End. I mean, you could end with the other song too, but this is not a bad ending for the record, regardless. And I always forget there's that little flange thing on his voice till I listen to it again. I'm like, oh, yeah, there is that there. Forget about that. That's there. All right, so versus. Want to bite the hand that feeds me. Want to turn the tides? Set the demons free and watch them fly. Strike down the one who leads me. I'm going to take his place. Going to vindicate the human race. Better watch out because I'm a war machine. Better watch out because I'm a war machine. You know, I never really thought about the God of Thunder thing, but it is kind of like a companion song, isn't it? Because the theme is very similar. [02:17:34] Speaker B: Yeah. And it's kind of like a. Like an Iron man theme and painkiller theme. You kind of got this hero, this anti hero. That's what it feels like. Yeah. You know, he's not the best of people, but he's going to save us. [02:17:50] Speaker A: All right, let's continue again. It's one of those songs you've heard a million times, but you can't judge it on the million times you've heard it. [02:17:56] Speaker B: No. [02:17:57] Speaker A: And that. You mean I want to hear it again. Because you've heard it so many times, you got to kind of judge it on what it is, which is not that easy when you've heard the song so much. Here we go. [02:18:26] Speaker D: Tear them down with the voice of reason. Let the arrows fly. You're free to just fade away. Yeah. Better watch out. Cause I'm the wall machine. You better watch out. [02:19:39] Speaker B: I think that that could be the only. Almost a freely sounding thing on this whole record. [02:19:47] Speaker A: You know what? Killer 2 with that part was very similar to that, too. There's a little bit of that going there too. Yeah, I. It's really weird. He has a really specific solo tone that he did and that he did on the next Kiss record and that he did on his solo thing. It's that mid rangy kind of. I don't particularly like it. [02:20:08] Speaker B: I don't really like this solo, honestly, like, now that I listen to it, it doesn't do anything for me. I think. I don't know what this song needed. I don't think that this. I think actually this is without a doubt my least favorite part of the song. I mean, I don't know, maybe let him go a little bit in this. Even if he just some stupid. Blah, blah. I think the song needed Something more here than what he. I'm gonna say was allowed to do. I mean, you probably. I mean, I know you, you know, but if you. Let's say you didn't know that Ace really wasn't on this record, I would say there's no way that he's. He's not playing on this. There's nothing that sounds like him on this record. [02:20:54] Speaker A: No, they weren't trying to copy him at all. [02:20:56] Speaker B: Oh, no. This wasn't a matter of hiding anymore. Without a doubt. Nobody's pretending to be Ace here. That's for sure. [02:21:03] Speaker A: No, and I can tell you that the solo doesn't probably still gonna give it a high mark just because of what it is. Could it be better? Yeah, I mean, but. But it is. It's what Vinnie Vincent sounds like. This is what you got. You know, you're gonna have a little bit more. A little bit better on the next record. I think is more. Is soloing. Soloing is better. And his playing, I think, is better on the next album. His playing specifically, whether the album's better as a whole in the story. But there's a lot of good songs on that one, too. Let me read lyrics. So the second verse is. Take the reins of power and seize them. Draw the battle lines. Armageddon is just a matter of time. Tear down the voice of reason. Let the arrows fly. Your freedom is just a state of mind. So you're right. It's in that same vein of the antihero. And his vocals, really good. [02:21:50] Speaker B: It's a very Gene Simmons. [02:21:52] Speaker A: Yeah. [02:21:52] Speaker B: Song. But a good one, right? I mean, he's still a character. Like, he's good at those characters. Even though he didn't write God of Thunder, but still he made it his own. No, Even though I like that version, that sped up version. [02:22:06] Speaker A: It's just weird to hear it so fast and him singing it. You're like, yeah, I know. There was a little disco beat there, wasn't. [02:22:12] Speaker B: There it is. But it's cool. That could have been a good disco song, man. [02:22:16] Speaker A: Yeah. [02:22:16] Speaker B: Wow. It's like. [02:22:19] Speaker A: All right, let's continue. Let's finish it up. Throw. I think I'll go first. I think I'll throw eights across. I think it's a good song. I mean, the riff is super strong. The vocals are super strong. Your guitar solos, irrespective of whether I like it or don't like that, I don't think it ruins the song for. [02:24:00] Speaker C: Me, you know, this is one of those songs that brings back a lot of memories, actually. Nicolo taught me how to play bass for the first time to this song. Yep. We were hanging out at his place. We were waiting for Headbangers Ball. We had some time to kill. He was like, hey, how would you like to learn how to play bass? I was like, sure. And he was like, how would you like to learn how to play War Machine? I was like, sure. And he told me the bass line for a War Machine. So this song, I always will have a special place in my heart for that. With that being said, I. I give it sevens. All agree across. I like the lyrics, the music, the production, all about it. Everything about the song is just flows very well. So I like it a lot. [02:24:41] Speaker A: For that Nicky Titty Baby Quintuple 7. [02:24:44] Speaker B: I'm going to say a 7 on the lyrics, an 8 on the music. I'm going to say a 9 on the production. I think it's produced exactly the way it should be. Especially then. I mean, this is an early 80s album. I like the melody. I'm gonna say seven on the melody. Ding it on the arrangement. Because I wasn't crazy about the solo. Not too much, though. I'll say seven. I'm not gonna ding it that much, but I. I wanted to suffer just a little bit because I don't like the solo. But again, like you said, Mark, it doesn't, you know, it doesn't ruin the song. I mean, I would never say, oh, that great song was great, but the solo ruins it. [02:25:33] Speaker A: No, no, it doesn't at all. No, I mean. I mean, it's a great song. I mean, regardless of whether you heard it a million times, it doesn't matter. A good song is a good song. No matter, you know, just because it's overplayed and it's overused and you heard it a million times. There's a reason why it's that way. Because it's good song, that's why. [02:25:51] Speaker B: So I don't know if you remember, I was just thinking about it when I was hearing him do the chorus. I'm pretty sure it's the. I think it's Kiss exposed. When they show them doing this song in Brazil and they pan from. They have a shot from behind Gene Simmons, and you see the crowd in front of him and it's just an insane amount of people. But not only that, when he does War Machine, when he's like, you better watch out, he does this little hip sway, remember? And that's all I could picture now is him doing that little. That little hip sway. [02:26:28] Speaker A: It's A good record for. For Halloween. Even though, you know, it's not super duper spooky, but it is a good. The sentiments there and a bunch of songs, so it's. It's good. Now. I have to say one thing, though. This doesn't negate any Kiss album that's coming after this. [02:26:43] Speaker B: Oh, see, I knew there was a catch. So if we spin next week and we get. We get kissed. [02:26:49] Speaker A: Yes. Because there's no way. [02:26:51] Speaker B: There's no way we get it back. [02:26:52] Speaker A: To back that I could do that. So. [02:26:57] Speaker B: I know you. You've. You've waited so long for it to officially come up that I think that's. That's fair. That's. [02:27:04] Speaker A: Yeah, this is. This is not a. This wasn't always on our track to do this, so we rearranged a couple of things, so. To kind of get this done. [02:27:12] Speaker B: No, but listen, we gotta get something weird, man. If she spins, you know, she can't spin something I really like. Like, she gotta spin some weird from them. [02:27:24] Speaker C: Well, all I want to say is that my vote was to do the soundtrack to the Crow or the soundtrack to Halloween. I was upvoted, so there's that. [02:27:33] Speaker B: Oh, I didn't see those suggestions. [02:27:36] Speaker A: It was in his head. [02:27:37] Speaker C: Oh, I mean. [02:27:43] Speaker A: And again, I did not pick this. This was a Savino pick. I. I threw out a couple other things, and he's one that. He wanted to do this one. So that's why. That's why it's done. [02:27:51] Speaker B: Well, I figured. Listen, we never got them. It's a good album. [02:27:56] Speaker C: I just don't understand how we now have had them yet. [02:27:59] Speaker B: Well, it took us how many spins to get you? 2. And they have a bunch of albums on here, too. And there's bands we haven't gotten yet, Right? We haven't gotten any ac dc. We had the one Aerosmith. We got the Van Halen right away. [02:28:13] Speaker C: Do we get Ozzy? [02:28:14] Speaker B: No. [02:28:15] Speaker C: Was Ozzy there? No. Ozzy? Yeah. Oh, my God. [02:28:20] Speaker B: We haven't got. No, we did get Black Sabbath, actually. Mark, did we get Black Sabbath twice? Did we kind of put one in the till or. No, I don't know. I don't remember. [02:28:28] Speaker A: Yeah, we have one in the tail. Yeah, we have one to tell. [02:28:31] Speaker C: All right. [02:28:32] Speaker A: All right, Sav, why don't you do your thing? [02:28:33] Speaker B: Okay. Well, again, happy Halloween. Hopefully everybody had a safe one. And we are part of the Deep Dive Podcast Network. Again, great bunch of guys who took us in right away. You want individualized podcasts, that's where to go. You name it. Rush, Judas Priest, Uriah Heap, Tom Petty, Zeppelin, Queen, you name it, it's on there. So go check them out. And Mark, where can they find this? [02:28:56] Speaker A: On the Interwebs rock roulette pod on all the socials. Rockroulettepodcast.com leave a new BET suggestion. We're always looking for songs to do, so we're all going to spin the wheel up, but I think next week Sabino is going to pick this thing. [02:29:09] Speaker B: Yeah, Frank, you got to be there. [02:29:12] Speaker C: Oh, yeah, definitely will. I just have to say that I think the cedar one was great. [02:29:16] Speaker B: It was very good. [02:29:17] Speaker C: Oh, my God. It was very good. It was very good. I had one in mind and I was just like, let's just see what the wheel picks. And I'm glad I went with the wheel. It was better than what I had in mind. [02:29:29] Speaker A: It was really good. And so I guess we will see you guys next week. [02:29:35] Speaker C: All right. Definitely. Later. [02:29:38] Speaker A: Later. [02:29:39] Speaker D: Happy Halloween.