Episode 130 - Peter Criss - Cat #1- Part 1

[00:00:00] Speaker A: Foreign. [00:00:04] Speaker B: This is our musical reaction breakdown and commentary analysis of this song. Under Fair use, 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 on to the Rock Roulette Podcast. [00:01:13] Speaker A: Hey everybody. Welcome back to another episode of Rock Roulette Podcast. That's right, the crazy ass podcast that took over 1,400 albums, stuck them in a list, stuck them in a wheel and typically every other week we spin the wheel. She picks a record for us and we go through a track by track and we talk about the music, the lyrics, the production, the melody and the arrangement. And we rated just based on our own personal taste. Again, just a bunch of friends who love music want to do a podcast. And first and foremost, like I always say, we want to thank anybody who listens. And we really had an uptick last week. It's one of the biggest weeks we've ever had. So whoever's listening and going back through our catalog, we absolutely appreciate it. The, the Van Halen stuff really seemed to hit so you know that that was a good idea, Mark. I applaud you for that. And yeah. So again, anybody who's listening, thank you so much. And you know, drop a drop a word. We're getting more followers too. Mark said so you know, let us know what you like, what you don't like. Any any criticism is is acceptable. So anything that'll gather more listens where we're more than willing to to listen at an album had a song to the the Baby Wheel when we do the the new Bets whatever it is man. We'll we'll check it out. Tonight we are a threesome again. We have Frank back. My name is Frank and I'm sexy. [00:02:45] Speaker C: Great to be back but I'm going to speak less because of Mark. Thank you so much, Mark. [00:02:51] Speaker A: Frank found out that he doesn't like the sound of his voice and he's kind of blaming Mark for it. But it's not really Mark's fault. But we we all say the same thing. We when we listen back to the podcast, none of us like the sound of our voices. So we're Trying to encourage Frank. [00:03:04] Speaker C: So I have not heard one podcast that we recorded until now, and Mark made it a point. Hey, this is what you sound like. Thank you so much, Mark. I sound like a douche. I. I will be speaking less moving forward and that. [00:03:22] Speaker A: That will be the last time Frank listens to. To one of these podcasts. So, Mark, we're going to lose at least one lesson every week. Speaking of Mark, we have Mark. Oh, hi, Mark. [00:03:33] Speaker D: What's up, guys? [00:03:34] Speaker A: And I'm Sav. [00:03:35] Speaker C: Ciao, buena sira. [00:03:37] Speaker A: So last week we wrapped up the second half of Ghost Meliora. If I'm saying it correctly. Me personally, I think that the first side was. Was better overall, a little bit more interesting in terms of what they were doing musically. Ken, my biggest complaint is some of the riffs are decent. I just wish the production was just a little bit heavier. Maybe the melody and the way he sings and not that there's. I mean, I think there are times when he kind of stretches out and it sounds pretty good. I guess I just want a little bit more of that on the second side and find as much as the first side. But Mark, I mean, would you say the same first time was stronger than the second? [00:04:12] Speaker D: Well, I like two songs on the first side much more, so I don't know if it's stronger. I do agree that I would rather have it a little heavier than it is, but I always thought that about them. I always thought it was very metal light and he was a little glossier than I would expect. You know, something of the visually striking ghost thing to be a lot heavier than that. But it's not. But I mean, in general, I like it. But I do understand that his voice is very monotone, but I assume that's specifically on purpose. I would guess. Yeah, but I like it. [00:04:42] Speaker A: I would think so. I mean, especially seeing him in interviews without all the get up and everything. He seems, again, just. He seems like that guy that you've known, that, that. That metal guy that you kind of grew up with, listening to the same music and everything that you hang out with and just so he seems like a pretty cool guy. Frank, did you get a chance to listen to second side or no? [00:05:02] Speaker C: I mean, yes, I did hear the second side. Love Ghosts. It's one of those bands I feel before now I will listen to it after they came out in the Wheel. Love them. Yeah, Love them. [00:05:18] Speaker A: Cool. Yeah, I was. I was definitely happy they came up. As we mentioned before, we have our newest segment, which at this point, again, isn't as new, but we call it the New Bets, which is the Baby Wheel and Mark, if you want to spin, that'd be cool. In a world where new music is not easy to find. Welcome to New Bets. [00:05:52] Speaker D: Here is the Wheel. Here we go. [00:06:07] Speaker A: Linkin Park. Cut the Bridge. I have not heard this one yet. Have you guys heard this one? [00:06:12] Speaker D: I haven't heard this one. I've heard the first two singles. I haven't heard this one. I don't think. [00:06:16] Speaker C: Me neither. [00:06:17] Speaker A: I know for sure. I haven't. I heard the first two, but I didn't hear this one. [00:06:21] Speaker D: Yeah, I know the album's gonna come up. I mean, by the time the album comes up, we might have been done, like three of these cuts already. Half the album, probably. Frank, have you heard any of the new Linkin park with the new singer? [00:06:34] Speaker C: No. [00:06:35] Speaker D: Oh, cool. So this is gonna be good for you. Well, I'm curious to see what you think. Were you a fan of the old singer 100? [00:06:43] Speaker C: So we went to see a Stone Temple pilot's live venue, and he performed there, so it was awesome. [00:06:52] Speaker D: Oh, so you saw him with Stone Temple Pilots? [00:06:54] Speaker C: Yes. [00:06:55] Speaker D: Oh, wow. Cool. All right, well, let me know what you think of the new girl singer in Linkin Park. I'd be curious to see what you think. [00:07:02] Speaker C: Me too. Yeah. [00:07:03] Speaker D: All right, so here we go. This is Cut the Bridge. [00:07:33] Speaker E: You're too ignorant to fail I can look you in the eye and I can't even tell if you've been telling me a lie Every time you start it's like the fourth day of July Reckless like you're making rockets Just a blow up in the sky Feeling like it's chemical all under my skin like it's medical Stuck on repetitions that are only hypothetical Acting like the truth and your opinion are identical and I can't. [00:07:57] Speaker F: Seem to let it go Everything, everything was perfect Always made me nervous knowing you would burn it just to watch it burn Cut the bridge we cut it down Cut it down, down Cut it, cut it down until it's gone Cut it down cut it down, down Cut it, cut it down Never touch it all just to time the friends we're all going down, down I'm too. [00:08:38] Speaker E: Color for the win I don't have a way to choose Grew up thinking, trying that you never really lose didn't put the powder in the keg when it blew I was sitting on a dynamite beyond like the fuse oh Looking like a criminal Sneaking in the dark you're invisible Hitting your Wrapped around my neck just like A tentacle acting like the truth and your opinion are identical? And I can't seem to let it? [00:09:03] Speaker F: Everything was perfect? Always made me nervous knowing you would burn it Just to watch it burn? Cut the B.R. s.W. Cut it down, cut it down, down? Cut it, cut it down until it's gone? Cut it down, cut it down, down? Cut it, cut it down? Never touch it all just to. [00:09:42] Speaker E: Something in my head feels broken? I'm the gas from a burner left open? I'm a tight rope held up by a close pin? Hold it out but the pressure keeps growing? Want to go to the light and not the shadow? But the branch isn't shiny as the arrow? You don't ever find a way around a battle? You will always choose? Just to watch it burn? Just to watch it burn? [00:10:20] Speaker F: Cut the press we cut it down? Cut it down, down Cut it, cut it down? Let's go. Cut it down, cut it down, down? Cut it, cut it down. Seven touch it all just. [00:10:54] Speaker A: I like it better when he comes in with the. With the lyrics, the. The singing or the rapping, whatever he's doing over the. Over the riff. I still kind of hearing her saying. I still think it's. It's a guest. When I hear him, I'm like, okay, that's Linkin Park. And then she comes in. I'm like, oh, who's this in my. I'm not saying she's doing a bad job. [00:11:15] Speaker D: This is my least favorite out of the all of them. I don't like this one as much. I like the first one. I sort of like the second one. I don't really like this one that much. [00:11:24] Speaker A: It's. It's okay. I like. Like I said, I like his part. Frank, what do you think? [00:11:28] Speaker C: I have to say, it's very ever essence. Love it. [00:11:33] Speaker A: That's the vibe you get. [00:11:34] Speaker C: Yeah, that's the vibe I got. Totally awesome. [00:11:36] Speaker D: Oh, so he likes it. [00:11:41] Speaker C: I do. 100%. [00:11:42] Speaker D: All right, cool. Well, another one in the books for them. Not my favorite so far out of the three I've heard. So I like the first one much better. [00:11:50] Speaker A: I like the second one the best. [00:11:53] Speaker D: Well, there you go. And Frank likes this one. So everyone likes one other one. [00:11:57] Speaker C: Yeah, I mean, she was awesome in this. [00:12:00] Speaker D: You liked it that much, huh? [00:12:02] Speaker C: Oh, yeah. Oh, yeah. Oh, yeah. Awesome. Very Amy Lee. Soundish. [00:12:07] Speaker D: All right, cool. Nice. All right, so let's put. Let's do this. Put a rubber stamp on this. Here we go. [00:12:13] Speaker A: In a world where new music is not easy to find. Welcome to new bets. Now we get to spring the mama wheel. The Big Wheel. [00:12:35] Speaker D: Yep. It's time for the Big Wheel. I'm very excited at Piccolino. [00:12:40] Speaker A: Yeah, well, that was. That was the Piccolina. [00:12:43] Speaker C: Piccolino. The Piccolino. [00:12:45] Speaker A: Are you guys wanting anything specific or hoping for anything specific? [00:12:50] Speaker D: Whatever you want. Tell me to say I don't want it, and then it'll probably come up. [00:12:56] Speaker A: I don't. I don't know what I want. I'm trying to think where. Well, we did an 80s run, right? We did three 80s in a row. One of them by choice, but two not by choice. Then we had ghost. [00:13:08] Speaker C: I don't want Zach Wilde to show up. I don't want him to show up. [00:13:12] Speaker D: Oh, you don't want Zach Wilde. [00:13:13] Speaker A: You just want Pretty Boy Floyd. [00:13:16] Speaker C: Yeah, there's that. No, Mark said, hey, you wish. That doesn't show up. That's who show up. Then I don't want Zach Wilder's job. [00:13:24] Speaker D: Yeah, you know what? I. I don't want Zach Wild to show up. [00:13:27] Speaker A: So I'm supposed to say, I do want him to show up, and. Okay, I want Zach Wild to show up. [00:13:32] Speaker D: It's not going to be anything like that. You know that, right? [00:13:35] Speaker A: There you go. Well, I'm assuming he's got a few things on there, right? [00:13:39] Speaker C: You know you do, bro. You're missing the point. We don't want who to show up so they can show up. [00:13:47] Speaker A: No, but I think Mark is saying that if I say I want it and he says he doesn't, then he might get it. [00:13:51] Speaker D: No, I'm saying that whatever I say I don't want, it's gonna bring up just like, I didn't want any more 80s and I got rat. [00:13:58] Speaker A: I don't think get any more 80s than that, man. [00:14:00] Speaker D: No. [00:14:02] Speaker A: Ah, whatever. Let's see. [00:14:03] Speaker D: I'm gonna let the wheel fly. [00:14:05] Speaker C: I don't want Zach wild. I don't want SAG wild. [00:14:09] Speaker D: Okay, you know you're not gonna get Zach Wilde because you really want Zach Wilde. It's not gonna happen. Here. [00:14:36] Speaker A: Peter Chris Cat number one. [00:14:39] Speaker D: Oh, boy. [00:14:40] Speaker A: Technically, it's not Peter Chris. It's Chris. I guess it's more of a band thing. Or if he was just using it as. As Chris. [00:14:50] Speaker D: You know, I know one song from this. I know Ace Freely plays on, like, three tracks. I've never super delved into a lot of the Peter Chris catalog, even though I'm a gigantic Kiss fan. I just never delved into, like, this stuff at all. I've heard pieces of it, so this is going to be, like, weird for me. So this is 1993, I see. [00:15:11] Speaker A: 94, actually. [00:15:12] Speaker D: Oh, it is 94. I was reading something else. Yeah, yeah, yeah, it is. It is 94. Wow. But still, 94. That's right before the reunion. Right. I think this is when they went out on the tour. They had, like, a Bad Boys tour together, him and Ace Raheeli. So I think that's. That was the tour they were on, probably more likely. [00:15:29] Speaker A: So I heard a story, actually, from the History Science Theater guys. They went to go see this, the Bad Boys Tour, and they said that Peter Chris was outside playing basketball with his band, and he actually signed their basketball. And they said, you know, he was actually pretty cool. They were waiting for Ace, but he never came out. [00:15:46] Speaker D: I don't think Ace was doing too good in 94. He was supposed to be clean on the reunion tour, but that's not true. He was doing his Ace Frehley stuff. I'm sort of kind of excited for this now. It's either going to be okay, or it's going to be really bad. So I don't know how this is going to work out. [00:16:01] Speaker A: I'd be happy just for something in between. [00:16:05] Speaker D: Yeah. He doesn't have the best reputation as a solo artist about stuff being good, as far as I'm concerned. I know maybe some people love his stuff. I actually have softened on his Kiss solo album over the years. When I was a kid and that thing came out, I didn't really like that at all. I was like, what the hell is this going on? But later on down the line, I was like, oh, yeah, his album. He actually did it the right way. He did what he wanted to do. But when I was a kid, I wanted to hear Kiss. You know, I want to Kiss music. So his thing, I listened to that and went, what the fuck? You know, I'm hoping, from what I hear, this album is a little more rocky. I hope it's going to be good. [00:16:41] Speaker A: I'm curious, too. I kind of skimmed through his catalog after Kiss, and I don't remember anything kind of really sticking. This will definitely be, like. I'm hearing it the first time. [00:16:51] Speaker D: Oh, yeah, me too. [00:16:52] Speaker C: You know, he's playing Morgan Son next Friday, if you guys want to go. [00:16:57] Speaker D: No, thank you. [00:16:58] Speaker C: It's really well. Bret Michaels, I think. I think he's playing with Bret Michaels. [00:17:03] Speaker D: I didn't hear that he was playing with him, but it's possible. I thought you meant Peter Chris. He's not playing anymore. I was confused. The Band is Peter Chris on lead vocals, drums and percussion. Mark Montague on bass guitar, backing vocals and vocals on track seven and 10. Mike Stone, rhythm guitar, vocals on track five. And Mike McLaughlin, lead guitar. [00:17:25] Speaker A: Is that like the Mike Stone producer? [00:17:27] Speaker D: Yeah, I don't know if it's Mike Stone, the producer? Yeah, I. I don't know. He's a guitar player. I don't know. He's best known for his involvement in progressive metal band Queens Reich. Oh, okay. Yeah, I guess. He joined Queen Reich in 2003, so he's later on. Well, I'm excited about this. [00:17:42] Speaker A: Yeah, me too. [00:17:43] Speaker D: Because it's technically not Kiss, even though we did Kiss in October. This is not technically Kiss. [00:17:47] Speaker A: That's fine. Yeah, it's cool. This is a different animal. Literally. [00:17:53] Speaker D: It's a different cat. All right, so are we ready to do this? [00:17:57] Speaker A: Yeah. [00:17:57] Speaker D: All right, so the first song is going to be bad attitude. [00:18:28] Speaker F: It's 3:00 in the morning I'm getting ready for bed it came without a warning this paper that I read how do they know me? How do they dare? Let's spread all the lives around us why should they care if they're just a player? I got a bad reputation I've got a bad attitude Ain't nobody going to put me down Ain't nobody gonna shut me around I got Bad. [00:20:06] Speaker A: I don't think that's that bad. My only complaint kind of is the productions. It's weak. I think it's very weak. Especially the drums. There's no oomph in the drums. I mean, this is 94, at least. Not for this. He could have jumped on the grunge bandwagon. Clearly he didn't with this. I've always liked his voice. Possibly my favorite voice in Kiss. And I mean that stuff in the. In the beginning, the guitar. Doing the one was kind of weird. I mean, one part, if anybody's ever watched Godzilla, Gabra. I mean, the melody is pretty strong, I think. What do you think, Mark? [00:20:39] Speaker D: The guitar thing in the beginning. That's where I hate people using whammy bar when it's not used right. And that's used totally wrong. That part. [00:20:46] Speaker A: Well, I just assumed. He fell down the steps and they left it in. [00:20:52] Speaker D: I don't like that part at all. The melody is okay. I just feel some of the melodies a little forced. I like his voice a lot. I always have. [00:21:00] Speaker A: I think it could be a lot worse. Maybe that's what I'm judging it against. But I. I mean, I don't. I mean I know. Sorry. I know you're going to read the lyrics, but I'm sure that it's 3 o'clock in the morning. Obviously he makes a lot of references, right, to the numbers three. Yeah. [00:21:12] Speaker D: Number three is this thing. I just feel like it doesn't flow good enough. And that's been always my problem with his solo stuff. Does it seem like it flows? Feels like it has, like, gaps and it's just not thought out very well. I don't hate it. It's better than I thought it was going to be, but. Yeah. I don't really know what I. What I like about this so far. [00:21:31] Speaker A: Let it sink in. Let its claws sink in Let his. [00:21:34] Speaker D: Claw sink into you. The kitty cat clause. [00:21:36] Speaker A: Make a lot of cat references during this. [00:21:39] Speaker D: Frank, what do you think? [00:21:40] Speaker C: I feel like he's clinging on to his kiss ex. [00:21:45] Speaker D: This is the first time he's really had anything that sounds like this heavy, as far as I know. [00:21:49] Speaker C: Yeah, exactly. [00:21:50] Speaker D: All right, let me read some lyrics. It's three o'clock in the morning I'm getting ready for bed it came without a warning this paper that I read how do they know me? How do they dare? They spread all their lies around us why should they care if they're to blame? I'm just a player in their game See that part right there? I don't like that at all. Yeah, I've got a bad reputation I've got a bad attitude Ain't nobody gonna push me down Ain't nobody gonna shove me around I've got a bad, bad, bad reputation Is it horrible? No. [00:22:24] Speaker A: There was an issue with him, though, right? I know. There was one point. Some guy was imitating him saying that he was homeless. Right. There was a big issue with that. [00:22:32] Speaker D: And then it was like 10 years before this, I think. [00:22:35] Speaker A: But maybe there was something past that, too. I don't remember. I did read his book. I just. I don't remember it. [00:22:40] Speaker D: Yeah, I mean, I don't hate it. It's just, you know, I find sometimes, like I said, some of the words are a little. I'm surprised you like the melody. [00:22:47] Speaker A: I like the beginning. It's 3:00 in the morning. [00:22:52] Speaker D: Yeah. But it gets worse after that, though. It's just. It doesn't feel like it flows. [00:22:56] Speaker A: Yeah. [00:22:56] Speaker D: Let me hear the second verse and then we'll kind of see how that goes. Because right now I'm not too. I'm not feeling this too much. And I don't like the guitar right now already, so I'm sure That's not going to get much better. All right, here we go. [00:23:30] Speaker F: I don't even. Even though you sleep, it doesn't matter at all until it happens to you. Don't you know it, baby. I got a bad reputation I got a bad attitude Ain't nobody there gonna put me down Ain't nobody gonna shove me around I got a bad, bad. [00:24:26] Speaker A: Got the Wawa cooking in. Did you like it better that time around or less or same? [00:24:31] Speaker D: I don't really like the melody of that at all. [00:24:34] Speaker A: I don't know. I'm kind of digging it, man. [00:24:36] Speaker D: Well, H really plays the solo on this. I don't think he. I don't think that's him at the beginning, though. I'd be very surprised. [00:25:21] Speaker A: What do you think? Would you know that that was Ace Freely if you didn't know it was him? [00:25:25] Speaker D: There was one or two things that made it sound like that. Now I'm hoping it wasn't Ace Fraley at the beginning because I really didn't like that stuff. [00:25:32] Speaker A: That weird kind of Wawai thing? [00:25:34] Speaker D: Well, no, the whammy bar thing at the beginning of the song. I don't know. [00:25:37] Speaker A: Oh, okay. You mean the very beginning. I got you. [00:25:40] Speaker D: Yeah. I don't know if that's him or not. I don't think so. That's the best part of the song for me. [00:25:45] Speaker A: Yeah. I wasn't crazy about that solo, honestly. [00:25:48] Speaker D: No, I don't think it's great, but I don't think it's. It's the worst part of the song. And you rarely ever hear Ace freely play Wawa outside of some of his solo stuff, so it's kind of weird. [00:25:57] Speaker A: Yeah. Maybe he's like, it. I can do whatever I want here. [00:26:00] Speaker D: Yeah, I guess. Like I said, that's the best part of the song for me and his singing. I like his vocals. Yeah. I'm not a big fan of the melody and stuff, but. What'd you think of that? You didn't like it, right? [00:26:10] Speaker A: It was okay. It was okay. I kind of. I think I like the way it started, and then there's just too much of it, and it felt a little empty to me. I mean, I think the production's probably getting my worst score on this song. I'm not. Listen, I'm not saying I'm giving this thing stands. The production is just very weak for me. [00:26:27] Speaker D: Who's the producer on this? Ditto Godwin. [00:26:30] Speaker A: Yeah. No idea. [00:26:32] Speaker D: Motley Crue, Peter Chris, Ace Fraley, Kiss, Great White. No doubt. [00:26:35] Speaker A: As. As main producer. [00:26:37] Speaker D: No, I don't think so. For his production works. I don't know what that means. No clue. Peter Chris and then the. I guess the guitar player. You know, the bass guitar player. Which is kind of funny because on. In Ace Fraley's band, John Regan did a lot of stuff for Ace Fraily, and. And here, this band, Mark Montague does some stuff for Peter Chris. It's funny how that works out. [00:26:56] Speaker A: I heard a couple little basic things that were kind of boom, but not too bad. [00:27:00] Speaker D: Production is tough. It's not great. [00:27:02] Speaker A: I mean, it's clean, right? It's clean. It's just. There's no. Oh, he's belting out vocals, but the music behind is like Dink, Dink. [00:27:12] Speaker D: The first riff sounded kind of like it was gonna be heavy, and then it kind of like it wasn't as good after that. [00:27:17] Speaker A: He's pouring into it, man. He's. He's into it, right? I mean, he's given strong vocal. [00:27:22] Speaker D: Oh, yeah. So here's the words, and then we'll. We'll play it out. It read that I was down and out I had no place to go Then this chick came out of nowhere who I don't even know how do you sleep at night Knowing the things you do? It doesn't matter at all Till it happens to you and then. Chorus. So maybe this is about the situation he had. [00:27:40] Speaker A: I mean, the lyrics. Okay. Right. I mean, they're telling whatever story they Technically, they could be. [00:27:45] Speaker D: Well, anything can be worse. This is true. All right, let's play it out. We're almost done. Here we go. [00:28:01] Speaker F: My God, I put it down Ain't nobody gonna shut me around I got better stopping reputation. [00:28:26] Speaker A: Kind of a weak. [00:28:27] Speaker D: Say it. [00:28:27] Speaker A: It wasn't terrible, I guess. Wasn't a bad way to end it. Do you think that was Ace at the end? [00:28:32] Speaker D: Oh, yeah. 100. That's what it sounded like. [00:28:34] Speaker A: Honestly, I would have rather heard something like that in the middle than all that wawa he was doing. [00:28:39] Speaker D: I mean, this is going the way I expect it to go. There's parts of it I like and then parts of. I'm just like. I don't understand why someone didn't say that wasn't good when they did it. [00:28:47] Speaker A: So listen, you're the. You're the resident KISS guy, man. You gotta go first. [00:28:50] Speaker D: Oh, you want me to go first? Crap. [00:28:53] Speaker A: Yeah. Come on, get it out. [00:28:55] Speaker D: The lyrics. I probably could go less, but I'm gonna say 5. Melody. I'm gonna say 4, because I don't really like it. I mean, the music is played well. I'm gonna say six, I guess. Arrangement. I don't know what I'm gonna do for arrangement. I'm gonna say six, I guess. In production, I'm gonna say four. I like his vocal. I kind of like the Ace, really, thing. I'm hoping that the beginning part wasn't Ace. Really. I mean, could it have been? Yes. I didn't really like it if it was. I didn't like those first two guitar breaks at all. [00:29:23] Speaker A: It was weird. [00:29:24] Speaker D: All right, what do you think how they'll say? [00:29:26] Speaker A: You have five in the lyrics. I mean, they're not terrible. I would say six on the melody. I do like the melody. I would say six on the music arrangement. I'll say five. I'll ding the solo for that. And production. You said four. I don't know if I want to go as low as. I was gonna say five on production, so I'll say five. I don't think it's a. It's a bad song. I think, again, with them, for me, a better production would have served it better because again, he's. He's belting out this emotion and the music behind him, which is kind of. I mean, the drums, really, mostly. [00:29:59] Speaker C: So Frank, again, there's five across. To your point, Sav, I feel he feels very passionate about the music he's singing. At the end of the day, it's falls short of Kiss. Five across. For me. [00:30:11] Speaker D: I'm actually surprised that Savino gave it aside as it is. [00:30:14] Speaker A: I. I honestly didn't think it was bad. I don't think it was. It was that bad. [00:30:18] Speaker C: It was not bad. It was just like someone trying to capture this, the success of Kiss. [00:30:24] Speaker D: I don't really think. I don't. I don't feel that way. [00:30:26] Speaker A: No. Because this is what, like, his fourth album at this point? [00:30:29] Speaker D: Something like that. Yeah. [00:30:30] Speaker A: Yeah. He's up there. Three or four. [00:30:32] Speaker C: Is it really. Is it really fourth? [00:30:34] Speaker D: This is really the only one that really has any kind of rock going on. Other stuff was never, like, rocked like this. [00:30:40] Speaker A: Yeah. Not that I know, but I don't really know his stuff. [00:30:42] Speaker C: I am. I have not heard anything else outside of. [00:30:45] Speaker D: There you go. And there's a reason why most people don't listen to this. It's hard. It's a hard listen. Again, there are parts of it that I like. I wish I could give it more because I really do like his voice, and I. I think he is really trying. It's just the melody, for me just falls short and it feels like it's just jammed together and they're not really listening to what they're doing or trying to change it. This part of the world stops and then weird chord progression thing. I don't know. Just weird for me. You would think me being the Kiss fan, I'd be like, all over this. Maybe he can win me over. [00:31:15] Speaker A: Listen, Nick, it could also mean you be more critical because, I mean, if it doesn't sound like the Kiss that you like, I mean, honestly speaking, what's gonna happen if we get Sonic Boom or Monster? You being a Kiss fan, you think you're gonna say, oh, I'm a Kiss fan, so I'm gonna give this. Because there's gonna be scores all over the place for that. [00:31:32] Speaker D: Yeah, I know. No, I'm not even looking at it as a Kiss thing. I just. I don't think. Think it's. It's well produced. I don't think the songs are well written. That. That's really my problem with him. I think that's really what it is on a lot of his solo stuff. It's just not put together as well, you know, short of his solo record with Kiss. That's a whole nother thing. I don't count that because that's a Kiss record. The stuff he did after Kiss, it never was strong. So that's really. I mean, I have this thing on vinyl. I've never listened to it. [00:31:58] Speaker A: Oh, do you? [00:31:59] Speaker D: I have it, but I've never listened to it. Yeah, I shouldn't say I haven't listened to it. I have listened to it a long time ago, so I don't. I remember parts of it. So this song is a little bit familiar. Just. I remember the riff. I haven't listened to it in long, long, long, long time. [00:32:13] Speaker C: So, Mark, it's still sealed. You get $25. [00:32:16] Speaker D: I think I have to pay somebody to take it from me. All right, so the next song is. [00:32:36] Speaker F: You don't have to face me. You don't give a damn, you don't need no love it, baby, you don't understand. Well, I don't need that motion strictly guaranteed. Your lying face can be that chase not to be for free. Oh, man. Mess around with me, your majesty, I'm not joking. Stop your smoking if you going to talk to the man, you got to make him understand. Don't fight with me, you don't want the. [00:33:43] Speaker A: This sounds like a Gene Simmons song to me. I just kind of reminds you of something maybe he would have written for Peter Chris. I think the Opening riff is good. Again, the production is very weak. The bass in the verse sounds almost like a keyboard. Someone playing the bass on a keyboard. I do like that it gets a little bit heavier in the middle. Again, he's belting out these vocals. And if I were in the studio, be like, peter, why does this sound so. Why don't you get some oomph into this, man? I'm telling you, it would sound better. Mark, what do you think? [00:34:14] Speaker D: The production is kind of hurting this a lot. I actually like this better. I think it's a little more structured. Doesn't feel as jammed together to me. I mean, I don't think the lyrics are great. His singing is good. I think he's trying. And the bass does have a weird tone on it. It's like very. It's like slap based, like, where there doesn't need to be slap bass. It's very trebly. [00:34:33] Speaker A: I mean, this isn't like Flee playing slap base. [00:34:36] Speaker D: No, I think I do like this better. I think the songs have possibilities. I just don't think he has anyone to help him make the song better. And the people that are around him maybe are just not good enough to help it. That's just my. That's what it feels like. [00:34:50] Speaker A: There's a better song in here. I think the melody isn't terrible. The opening riff is good. I think it's pretty good. [00:34:56] Speaker D: And listen, I'm sure it was done super cheap. I mean, and this is what, 94. So this could be even on. This could even be on DATs, if, you know, you remember how that sucked. [00:35:05] Speaker A: Yeah, that sucked. [00:35:07] Speaker D: That's maybe that's why it sounds like it. [00:35:09] Speaker A: Maybe that could be it. Because there's no soul to this thing. And I think he goes back to his roots in. In the chorus, right? That whole. I feel like that could have shown up on his Kiss solo record when he kind of does that middle part after the chorus. [00:35:23] Speaker D: And the drums are solid, I think. Played solid. Yeah, they're fine. [00:35:26] Speaker A: But I mean, even if you listen to. I mean, it'll probably do it again, right? The kick drum was loud. You could barely hear the snare. But even the kick drum sounded like there was some kind of effect on it. [00:35:35] Speaker D: I gotta pay attention. I don't know. All right, here's some lyrics. You don't have to face me, you don't give a damn. You don't need my loving baby, you don't understand Well, I don't need emotion Strictly guaranteed. Your lying face don't need that taste it's got to be for free. Don't mess around with me, your majesty, I'm not joking. Stop your smoking. If you're going to talk to the man, you're going to make him understand. Don't with me. You're going to walk the line. And then various other walk the line stuff. It's not bad. He had better people around him. I don't know how good these musicians are or whatever. No one's helping these songs along. If it is a DAT that they're recording to, I can understand why. It's very lifeless. When we've recorded on dat, it sucked. Sucked the life out of everything. So it's very possible that's why it's around that time frame. Because we did that in what, 97, right? So that was around. [00:36:29] Speaker A: I think so, yeah. [00:36:30] Speaker D: So it makes sense. Let's continue. Here we go. [00:36:38] Speaker F: People say what they feel I should do what they kissing as to. Don't mess around with me, your majesty, I'm not joking. Stop your smoking. If you going to talk to the man, you got to make a understand. Don't you with me. [00:37:27] Speaker A: I do find it funny that he buries the right. He doesn't belt it out. This one sounded like someone honked a car. A car horn over it. I'm like, if you. If you're gonna say it, say it. Why would you swallow that part of it when you're kind of. Again, when he's expressing all this emotion, he gets to that word and he's trying to hide it. [00:37:45] Speaker D: And then on the smoking thing they do. Smoking, smoking. All right, let me read the one change in lyrics, which is that first part of the verse. Let me tell you, baby, come on, give me a break. Some people say what they feel. I should too, but they're kissing ass too. That could be better. Someone should have said, this doesn't work. And when you read it out, it's worse. [00:38:07] Speaker A: I wonder if that kissing ass too is a reference to Kiss. [00:38:10] Speaker D: Probably. He wasn't happy right at this point. This is before they got back together, right? A couple years. So, yeah, maybe again, I don't think it's terrible, right? [00:38:19] Speaker A: I don't think it's. It's. It's not terrible. It might be two of the best things he's kind of done since. I don't really remember the. The other stuff since he left Kiss this, but I remember kind of breezing through it. And other than one of the songs, which I think Kiss had recorded but never used, which I can't remember out Of Control, actually, which. It's like the name of the oven, because I think that's a pretty good song. To me, one of the worst things is, and we've been through this before, where you. You want to like the song more, the production. You say to yourself, wait, what. What happened, man? Don't. Don't you hear? So it's like Tinny. I mean, that's kind of like almost like an 80s bass sound, too, right? That. It almost reminds me a little bit if it were stronger. Of Faith. No, more that. [00:39:05] Speaker D: It's definitely not mixed well. Things are getting in everybody's frequency, so everything's getting mushed together. So it's not as easy to hear stuff. Even the drums, you can't hear it. I was sitting there trying to, like, listen, even to hear the separate parts of the drum kit, you can't hear it. [00:39:18] Speaker A: I mean, as a drummer, you would think. I would expect to say, well, of course the drums are up front, but they're not, and they should be. Not upfront to bury everything. But I just think it would. It would make both songs more powerful. [00:39:28] Speaker D: Yeah, I want to like this more. I do want to like it more. I do like it better than the first one. Well, this is another Ace Fraley solo, so. [00:39:35] Speaker A: Oh, let's see. [00:39:36] Speaker D: Here we go. Let's see what Ace does. Come on, Ace. Save it. [00:40:31] Speaker A: I mean, if you. If you told me this was a drum machine, I would believe you. And I mean, there's really no. No life to it. And, I mean, was that even a solo? [00:40:39] Speaker D: That's a very good question. There were pieces there. [00:40:43] Speaker A: I don't know what was going on there. [00:40:45] Speaker D: Yeah, it didn't do very much for me. I mean, there were pieces that I heard, like, on the right hand side. I was waiting for something else to come up, but it was just. But this is indicative, I think, of what the record is going to be. Things that could be better. But no one listened to that and went, no how. We can't. We can't do that. It just doesn't sound good. [00:41:02] Speaker A: And there's no hiding the fact that Ace Freely is on the record because it says it right there on the guitar pick. Pick on the front cover. Special guest Ace fr. I would never, ever think that that was him playing that solo. [00:41:12] Speaker D: Yeah, it wasn't even a solo. It was never. [00:41:14] Speaker A: It's buried. [00:41:16] Speaker D: Frank, what are you thinking so far? [00:41:18] Speaker C: I mean, for me personally, it sounds a lot like Jean Sims. Yeah, a little bit. Except that, you know, it's really praying in the Song. [00:41:28] Speaker D: Yeah. It's not even anywhere near as good as that. [00:41:32] Speaker C: No, it's not. It's not, it's not. I'm just saying it's like it copied that. That structure of the song. [00:41:37] Speaker D: It does sound a little Gene Simmons, just like Savino said, strangely enough, does have that structure. [00:41:42] Speaker C: Definitely the frame of that song, for sure. Oh, yeah. [00:41:46] Speaker A: There's parts of it that get dirtier. There's a couple parts. And I think even in the first song, there's a couple parts that it seemed like it got dirtier and it sounded better and fuller, but it doesn't last. [00:41:57] Speaker C: Okay. I, I, I, I. I didn't hear that there, but it just feels like this is a wannabe of that song. [00:42:04] Speaker D: He's trying to be a little more harder edge than his other stuff he put out. I just feel that he doesn't have anyone, whoever that guy is that's helping produce. This is not doing anything. I mean, I guess maybe the guy doesn't have any way to say, this is not good. We need to do better. The song has something there, but it needs something could. Because they don't have enough money to do this. And this is done so. So much on the cheap. Right? Maybe. [00:42:25] Speaker A: Who, what song did he sing with? [00:42:26] Speaker C: Ace. [00:42:26] Speaker A: Really? [00:42:27] Speaker D: On Trouble Walking, it's just background vocals. [00:42:30] Speaker A: Yeah. [00:42:30] Speaker C: I just want to say that Ace Fraley is going to be touring with Michaels next Friday, if anyone's interested. [00:42:36] Speaker D: I can tell you right now, Ace Frehley a bunch of times. And from what I've seen on videos right now, I wouldn't waste my money to go see Ace Frehley right at the moment. I've seen him where it's been better, but recently, the stuff that I've seen. And I'm a gigantic Ace Fraley fan. I don't know if I would go see that. I don't think I could do that. [00:42:55] Speaker C: Really. Even with Brett Michaels on the bill. [00:42:58] Speaker D: I mean, the Brett Michaels part would probably be better than his stuff lately. Anyway. Let's finish this up here. [00:43:47] Speaker A: I don't know. I was kind of like a weird but almost cool ending. [00:43:50] Speaker D: There's pieces in there that are okay. I don't know if I like that guitar part. I don't know. It kind of takes away from the song for me. Do you want me to go first again? [00:44:03] Speaker A: That's up to you. Do you want me to go first? [00:44:06] Speaker D: Yeah, why don't you go first this time? [00:44:08] Speaker A: I don't think the lyrics are as good as the other one. I would say four the lyrics, maybe. Maybe if he like actually said it. Not that. Whatever that noise is over it. Music. I'll say a five. I do think that there are good parts to it, but there's just kind of too much of that production. I'm gonna say four, because I think the first one produced better than this. If I gave the production. If I could give it a seven in either one, I think the other stuff would have been a little bit higher, too. Too. The melody. I'll say a five on the melody. I don't like it as much as the first one. Me, personally. Arrangement. I don't know what to say, man. Again, that's so two back to back solos, right? By Ace Fring. You would think, okay, he's gonna come in and it's gonna rip. It just feels like they specifically said to him where he said, hey, man, you know, I'm just gonna do something, whatever. Hey, Curly, I'm just gonna do something, whatever. I'll say five. Five. Yeah, exactly. That's. That's just trying to imitate. Frank, why don't you go second? [00:45:08] Speaker C: I'm giving five as cross because to your point, it feels a little bit like a bang. Copying another band's image a little bit or structure. I don't know. I just feel that's like a lot of Kiss influence in this song and it's not original to the artist. So five across for me, Mark, there. [00:45:28] Speaker D: Are parts of this song that I think could be better. I think there's a song here somewhere that if you had better musicians and better producer and people writing that, they could have pulled a better song out of this. Lyrics. I guess I'm gonna stay five with lyrics. Melody. I like it a little better than the other one, so maybe I'm gonna. I'm giving it a six just because I like to walk the line part. And you're right. If you're gonna say, just say. Don't try to hide it. Musicianship. I don't know. I'm gonna give it a 5. I was hoping Ace would come in there and save this, but. But obviously that's not going to happen. Arrangement, 5. Production, 4. I mean, I hate to do this to Peter Crisp because I do like him. I do like his singing. I think his singing is good. I just don't know. [00:46:09] Speaker C: Really, you think? Like, overall, his singing is good? [00:46:13] Speaker D: His actual singing part is fine. It's just. It's the arrangement and the melody and all the other things that make the song that's not good. [00:46:20] Speaker C: I just feel like he's chasing the Kiss success. This. The KISS architecture, if you will. [00:46:26] Speaker A: Well, I mean, listen, he's a. He's. He's an original member. He could. He could. [00:46:30] Speaker C: Okay, I get it. I get he's an original member, but that's not an original sound. Yeah, I like. For instance, let's. The three of us form a group, we come up with a sound. I break off and I create a sound that sounds similar. [00:46:43] Speaker A: And you steal all our. [00:46:46] Speaker C: No, we created a sound and I break off in my own lyric, my own song. But it sounds like you. Like us. Is that original? [00:46:56] Speaker A: I mean, I know he was the drummer, but again, they each had their part to do. [00:47:00] Speaker C: Exactly. But by the end of the day, we created a sound, but the three of us created a sound. I break off and I replicate that sound. Is it original? [00:47:09] Speaker A: I mean, again, I don't hear. I hear a little bit of Kiss in this. I also hear him. [00:47:14] Speaker C: I hear a lot of Kiss in this, and I hear a little bit of him again. [00:47:17] Speaker A: My main thing is the production. I mean, I'm assuming that the production is not going to get any better. I would assume Mark and you probably assume the same thing, that obviously, I don't think Ace had anything to do with the song other than hearing the solo. And who knows? Maybe he heard what was going on and he's like, I don't know. I don't know what to do over this. Like, what am I gonna do? I can't shred. [00:47:37] Speaker C: He's gonna play what he knows, and what he knows is Kiss in the story. [00:47:41] Speaker A: But I don't think it sounds like him. It sounds like him not trying to be him. And maybe again, once he hears the song, because it's kind of weak. The inspiration to go get out there isn't. Isn't there? Maybe that's what the. What the issue was. [00:47:55] Speaker C: No, I'm just saying you are. You're who you are. And the story, it's kind of like. Think about this way, right? It's like a little bit away of an actor who's associated. Associated with specific show. Tony Soprano. Can you see him playing anybody else? [00:48:10] Speaker A: Well, he has played other people. I. I do think he was similar, but. [00:48:14] Speaker C: But when you see them. But you would see him. Him. You think Tony Soprano. Yeah, exactly. That's the problem here right now in this song, in the solo album. [00:48:22] Speaker A: So you see. So Tony Soprano, when you see this. [00:48:26] Speaker C: Yeah, I see kids, I see Kiss. I see Kiss. I see a lot of Kiss influence right now in this song, in this production. It's hard to escape that shadow when you're extremely successful as a band and you break off to try to do your own thing. People associate you with that band forever. [00:48:44] Speaker D: I don't really think he's doing what you think he's doing. He's never really chased the Kiss sound ever since he left Kiss. This maybe is the only time where it's been more of a hard rock thing for him. That. [00:48:54] Speaker C: But he associated with that sound. [00:48:56] Speaker D: Yes and no. Yes and no to me. [00:48:58] Speaker C: But he's associated with that sound. [00:49:00] Speaker D: Well, of course he's always going to be associated with that song. [00:49:03] Speaker C: But this song that we heard right now, you don't hear this Gene Simmons. Oh, yeah. Song structure. [00:49:08] Speaker A: I hear more of an 80s Gene Simmons. [00:49:10] Speaker C: 80. Gene Simmons. Right. [00:49:12] Speaker D: I don't know. I hear pieces of it. [00:49:14] Speaker C: You hear original sound outside of Kiss. [00:49:17] Speaker D: On parts of this. Yes. Kiss with parts of this thing Kiss would never do. [00:49:20] Speaker A: I mean, that whole bass thing, I. I heard Gene Simmons in the beginning. I don't think he followed throughout the song. [00:49:26] Speaker C: I hear a lot of themes. Kiss throughout the song. [00:49:30] Speaker A: If you do, you do. I don't specifically hear it. I mean, again, if someone said, hey, listen to this music without. Without vocals, I wouldn't know. [00:49:38] Speaker C: I wouldn't. I would say it's definitely a Kiss song. [00:49:40] Speaker D: Yeah, I don't agree with that. But that's fine. I don't have to agree with that. I just think that he's trying to do something a little more rock. [00:49:47] Speaker C: All I'm saying is very hard when you're part of an generational band to break off and create your own sound. Very hard. [00:49:55] Speaker A: But he. He did, technically. I mean, again, this is like his third or fourth. But I'm saying, like, Ace really was rock. He was rocking Kiss. He was rock as Ace Frehley, Peter, Chris, Even his songs kind of within Kiss, the stuff he didn't write. But, I mean, you think about, like, Dirty Living, I think that he did. Even his solo album was the most different. [00:50:17] Speaker D: I'm hoping that the next song ends up being better than that song is, but who knows? We'll see. All right, so the next one is the Truth. [00:50:59] Speaker F: Brother Fighting Brothers. You know, there wasn't a soul left around. Where you going? You're going to go. Eventually you're going to find. You going to find the truth. You're going to find the. [00:52:02] Speaker A: I would say this one sounds not the. The main riff sounds the most like Kiss. I think this could have been on a Kiss record. Not the verse. The main Riff. Yeah, but I'm seeing it now. I didn't say it before. I mean, Mark, what do you think? Because I think it's kind of reminiscent. [00:52:18] Speaker D: Maybe, but he's never really done this ever. I would say, yes, like right out of Kiss, if he would have done this. That makes a lot of sense. This is. How many more, how many years later? 15 years later? 14 years later? [00:52:30] Speaker A: Yes. [00:52:30] Speaker D: Long time. I like the beginning riff. I understand what he's trying to do with the drum thing that. Like, it's war, but it's in the wrong fucking place. Does that make any sense? [00:52:40] Speaker A: I think the. The verse is too weak for that intro. It feels more jarring from going into that main riff into the verse, as. As opposed to the verse into the chorus. I mean, obviously a lot of people do the soft verse and then the loud chorus. I. I think that flows better when it goes from the riff to the main riff to the verse. It's a little bit jarring. [00:53:00] Speaker D: His drums sound better. [00:53:01] Speaker A: And I think the production is not that great either. It needs more power. And when he goes on the. When he starts drumming on the. On the downbeat, when he changes the. The thing again. And I think it's a cool thing to do, but because the drum sounds so weak, it almost seems like we were. [00:53:16] Speaker D: You know, I thought the drum sounded better. [00:53:18] Speaker A: Yeah, in the beginning, but then I think they kind of lose it a little bit too, though. Maybe if you did the hi hat instead of the ride, you know what I mean? It would have been louder or even a crash. [00:53:27] Speaker D: Maybe the part where he draws the military snare drum thing in the middle of that part is just not good. That shouldn't be where it is. My question is, is there no one around to say this isn't arranged right, or this isn't good, or can you not do that to him? I don't know. [00:53:42] Speaker A: It doesn't sound like him drumming, honestly. It doesn't sound like the style that I know from him. And maybe he's doing it on purpose. I mean, without a doubt. There is definitely no swing in any of this. I don't really feel that in the drumming. I mean, the song before, especially because of that whole bass thing or whatever. I don't know. Maybe she's trying to play like straight rock, which would be fine, I think, if the drums were just more. Not even up front. Just. I don't know how to say it. Just maybe. I don't know if it's louder or whatever. They just come across as weak to me. [00:54:12] Speaker D: I Just find that there are pieces in all these songs where it feels like they're just taking parts and throwing them together and they don't feel cohesive. I think that's my problem with a lot of this. Friends against friends. Brothers fighting brothers. When will it all end? Man, it sure was a sin. War is hell. Damn Yankees burned the place down. There wasn't a soul left around. Where you go, you're gonna know eventually you're gonna find. Gonna find the truth. You're gonna find the truth. You're gonna look out, baby. Cause you don't know. You're gonna find the truth. I like the riff. The riff is something that Kiss could have done back in the day. It is kind of jarring going into the verse. I've had other songs where it's heavy and then goes into the verse. It just doesn't flow enough. It's not written very well. It just. Here's the hard part, and then we're just gonna go to the soft part. [00:54:58] Speaker A: Yeah. I don't find that it's jarring the other way when it goes back into the main riff. I think that was okay. I think that was a better lead, if, than the other way around. [00:55:06] Speaker D: Again, I don't like that military drum thing that he's doing. And I understand why he's doing it. Because he's talking about war, right? Basically, I think this is Vietnam war talking. Just because the things that are coming next make it feel that way. There's a song here, a better song here. It's just whatever's going on here as far as the writing and the Met and the people in this are not making this thing work. It's the bottom line. He doesn't have as talented people around him as when he was in Kiss. Whether you think they're talented, you're not talented. The way more talented than this. Even if you don't like Kiss and you think they suck, this stuff, whatever is happening here, if this was a Kiss song, it probably would be better because the people would have been better than this. It's just. It's not arranged well. It's just not put together well. And again, his singing is not the problem. [00:55:44] Speaker A: No, not at all. Not at all. I mean, think about this. Think about Ace freely writing this riff, let's say, and then Anton Fig playing it. A completely different song, of course. And I'm gonna even talk about the guitar, because I think it's recorded well. I don't even think the guitar sound is a problem. Problem on this. I'm I'm. As a drummer, I think the drums are the problem. I think they're the weakest link. And not that he's playing it. I mean, obviously he's playing it simple. It's fine. The, you know, there's. Again, there's no umph to that. I mean, I hate repeating myself, but again I say to myself, okay, what if Anton Fig played this? It wouldn't sound like that. It would have that heaviness or whatever it is. And maybe he spoke up for himself or whatever. It was like, come on, Pete, man, you're the drummer. [00:56:24] Speaker D: Yeah, but this is 15 years on from his heyday and kiss. More than 15 years on from his heyday and Kiss. He was losing it toward the end of Dynasty anyway. Can't imagine it not, you know, what it's like now for him to play. I mean, he. Maybe he's lost some stuff, lost some touch and can't do the things he did before. And it just doesn't sound the same. And there's not a good editor for him here to edit his stuff. And I think that's probably been his problem since he's been a solo artist. He doesn't have anyone to edit his stuff and it comes out just feeling very janky and very non cohesive and parts don't fit and lyrics are just a little off. He doesn't have anyone to bounce it off of. Even though I think all these songs are co written. Right. [00:57:01] Speaker A: Isn't it easier, Wouldn't it be easier to say, wow, this sucks. Especially if you go into it saying, oh boy, no offense to Peter, if you go in saying, okay, I've heard some of his solo stuff and. And then you go into like, yep, this is no good, this is no good, this. But then you say to yourself, oh, but this part is good, this part is good. His singing is good. Again, sometimes it gets more frustrating when something could be better and it's not. [00:57:27] Speaker D: I mean, to me, this is his most rocky solo thing that he's done. He just can't put it all together. [00:57:33] Speaker A: Yeah, I mean, this is 94. There's no excuse for this production. [00:57:37] Speaker D: Well, yeah, there is. It's probably adat. It's not mixed very well either. Whoever's putting this together is not doing a good job. Let's not beat a dead horse. Let's continue. [00:57:58] Speaker F: Do you remember the day when they shut the king down? Where were you, my friend? Oh, it was the end. Where is hell. [00:58:24] Speaker A: Then? [00:58:25] Speaker F: That is found the place down there Wasn't a song go where you go, you're gonna find look out Eventually. Eventually. Just say your pray. [00:59:09] Speaker A: I mean, I don't remember. Did they go back into the rift sooner last time? [00:59:13] Speaker D: The main riff, I don't even remember now. All I can hear in my head is that Damn Yankees part and the bass doing all its things, and it's just stepping on everything. It's stepping on old words. It's not placed in the right places, and it has that. It's really trebly. It's too much. [00:59:29] Speaker A: Some of it sounds like farts. [00:59:33] Speaker D: But how do you listen to that and go, yes, this is good. [00:59:35] Speaker A: Wait, the bass player is producing it, right? Or. [00:59:37] Speaker D: No, the bass player. Him and the other guy. [00:59:40] Speaker A: Again, there's something here, man. There. There is something here. [00:59:43] Speaker D: Did he have to use the gunshot thing, though? [00:59:45] Speaker A: Two gunshots. [00:59:46] Speaker D: Oh, two gunshots. Sorry. [00:59:47] Speaker A: Yeah, there were two gunshots. Yeah. The first one's like, okay. And then it stopped again. I was like, wait, what? [00:59:52] Speaker D: Yeah, I understand what he's trying to say. I'm assuming it's Martin Luther King reference. My assumption is, do you remember the day when they shot the king down? Where were you, my friend? It was the end. War as hell again. There could be something in here. That other part's worse, though. The Damn Yankees part, where all the bass stuff is in and the background vocals just feel like they're stepping on everything. It's like everyone's playing a different song on that part. It's so jumbled around, and I want to like it better. And there's parts that I do like. I don't like that part. I just think it's so bad, arrangement wise. [01:00:22] Speaker A: I think that all three of them have pretty good opening riffs. That's another issue, because again, if you're like, oh, boy, like, this song just sucks straight through. I don't like it straight through. But then it kind of draws you in because I do think that all three riffs are pretty decent starting, but then it kind of falls apart. The construction of it just falls apart for me. [01:00:41] Speaker D: All right, let's continue. Here we go. [01:01:33] Speaker A: I think that was the best solo, so. [01:01:35] Speaker D: Me too. [01:01:37] Speaker A: I don't. That's not Ace, though, right? [01:01:39] Speaker D: No, that little acoustic part at the beginning, that little part was. There were parts that I like. The sum of the whole song just is not good. What was that big boom thing? [01:01:50] Speaker A: Yeah, there was a bunch. A few of them. Those explosions and stuff like that. [01:01:53] Speaker D: What's going on? [01:01:54] Speaker A: And if I feel badly, right, Because I like Peter. You know what I mean? He gets Kind of shifted. Not shifted, but kind of shoved to the back in Kiss. So the fact that three out of three, there's. There's really. I mean, again, this is us saying this. There's probably people who love this album or say, you guys don't know what you're talking about or whatever. And that's fine. It's all a matter of opinion. When you can draw something out of it and you want to be there in the studio with them saying, hey, don't you hear this? Come on, man. Rock this up. [01:02:22] Speaker D: Or. [01:02:22] Speaker A: Or do this. Ace, what are you doing? Wake up. But yeah, that was a good solo. [01:02:27] Speaker D: It's the best part of the song almost. Besides the beginning riff, which three, like you said, three songs in a row. The beginning riffs are good. And then it just gets shoved down the toilet after that, generally. And again, not his singing. Sing is good. We're gonna say it again. Singing is good. The drumming is. It's not what you think Peter Chris's drumming is. So I don't know what's going on there. [01:02:45] Speaker A: It's very simple. And not that he was. [01:02:47] Speaker C: Whatever. [01:02:47] Speaker A: But yeah, it was too simple. But again, I could even be okay with that. I just don't think that the drums were produced well. Do they sound like drums? Yes. You know, I. I'm not gonna. Obviously, I'm not complaining about the thing that I always complain about with the. The modern drum sound. So I don't find that. [01:03:01] Speaker D: Let's continue. Here we go. [01:03:06] Speaker F: With me. Eventually find the truth. You're going to find. You know, you're going to go. You're going to go. Eventually, eventually. [01:03:21] Speaker E: Eventually got to stay. [01:03:29] Speaker F: You're going to find. [01:03:56] Speaker A: I was wondering when. If they were going to go back to that. That main riff. [01:04:00] Speaker D: It's a good riff. [01:04:01] Speaker A: It is simple but good. [01:04:03] Speaker D: I guess I'll go first. Five in the lyrics, five in the melody. I'll do six on the music. Because I kind of like the solo and the riff arrangement for production four. I don't know what to say. [01:04:14] Speaker A: I. I think some. The shells of strong songs are kind of being. They're kind of imploding. I mean, I think I'm gonna say. Actually, yeah, I'm gonna say the same exact scores that you've just said. But I don't know if it's good or bad that we say that there's a good thing there and it's not coming out because I don't know what. What his other stuff fully sounds like. And I. I think again, there's there's something here. So, Frank, what do you think? [01:04:37] Speaker C: This is not one of my. I'm like, with you guys here, this is not a great song for me. I'm just gonna save time and just go five across the board on this one. The lyrics. There's nothing here. This. This is very, very thin. The melody is okay, but. But, you know, again, it matches that. That thinness of the lyrics, the musicianship in the arrangement. It's all fives. And of course, that production that we keep talking about is just lacking there. So for me, five across the board for this song. [01:05:05] Speaker D: All right, so the next one is Bad People Burn in hello. [01:05:18] Speaker A: Some People. [01:05:21] Speaker F: Are no Damn good. [01:06:13] Speaker A: So I think the drums sound better in this song, but I think it's the worst so far. That Elvis in the beginning. And this reminds me of. We always kind of talk about kind of like that hair metal towards the end. This is kind of like what it reminds me of. Me, personally, I mean, I don't know. What do you guys think? [01:06:32] Speaker D: I think it's the most cohesive song from the get go. Is it the best song? No, but as far as, like, cohesiveness and together and not fucking falling apart right after the beginning, I almost would think this is my best song so far. [01:06:48] Speaker A: Oh, yeah. [01:06:49] Speaker D: Just because it's all together. [01:06:50] Speaker A: Yeah, I hear that. [01:06:51] Speaker D: It's not janky all pieces and weird drum parts and weird bass parts, like, stepping on everything. I just think it's very together, arrangement wise. It's very together. You know, the. The vocal at the beginning, I was getting a little Danzig going on. On beginning vocals. Yeah. [01:07:07] Speaker A: I mean, obviously Danzig was influenced, so I can hear that as well. I was waiting for him to switch the voice, though, and I'm glad he did. Yeah, I. Yeah, it definitely, by far is the most cohesive. I. I will agree with. With that. [01:07:20] Speaker D: It may not be the best song, but it's the most cohesive. [01:07:22] Speaker A: I think it's the best produced as well so far. [01:07:25] Speaker D: Yeah. The drums sound decent, and the bass doesn't sound like it's so trebly. You can hear him. It doesn't seem like he's getting stepped on by other things. So I don't know if this was recorded in a different place. I don't know. All right, so here's the lyrics. Some people are no damn good Spend your money like I knew they would I got wise to their wicked ways why does justice have to be so blind? On their judgment day they left me behind My, my, my, my Bad people burn in hell Now Is this, like, about Paul and Gene? This is about, like, his managers or people stealing money from him. Who is it about? [01:07:59] Speaker A: Out. I don't know if it's. I mean, obviously he's. He's always talked about being religious. I don't know if it's a. A general reference like, hey, be good or else you're going to hell, but it could be. [01:08:09] Speaker D: Could be, obviously. [01:08:10] Speaker A: Well, I guess we'll see if it progresses. If there's any more where they go. Okay, yeah, that's about them here. [01:08:16] Speaker D: We. [01:08:24] Speaker F: It's not. Don't really, really, really care. You're going down in the. They all look for this, they all look for that. I won't get taller in my head. Real. Yeah, yeah, yeah. I'm going. [01:09:47] Speaker A: There. There's a little bit of a country element, too, to it, I think. Slight countryish little bit. Just that part, that paola thing, which I'm pretty sure I heard. [01:09:58] Speaker D: Yeah. He's belting out the lyrics, though. I mean, again, so far, on all the songs, he's. He's trying to sing the songs with something. [01:10:06] Speaker A: He's giving it heart. [01:10:08] Speaker D: Everybody's always going to associate you with whatever band you were. And he was in Kiss. They're always going to do that. But, I mean, I know because I know that most of his albums weren't like this, so generally he doesn't do that, though. But I can hear in this one, especially, because it's maybe the most cohesive song out of the four we've heard that I can hear more of the. What he would do in Kiss in here, especially in his vocals. Not made in music, but in the vocals. A lot like he's trying. I give him credit. I mean, his voice still sounds good. [01:10:37] Speaker A: Here, but I think, for what it's worth, he was the most unique member of Kiss. When you look at Kiss as a band and what they did. Again, look at their original solo album. Paul Stanley was very Paul Stanley. Ace Freely was very Ace Freely. Gene Simmons, I guess it's up for debate if that's really what he wanted to do, if he just. I mean, he just wanted to experiment, because, I mean, his thing didn't really sound like a lot of the stuff he wrote with his either, but Peter Chris was just way out there. And. Yeah, you can also make the argument, well, look at the two albums that came after that maybe wasn't. But if Kiss had kind of stayed with what they had done before the solo albums, his was absolutely the most. The most unique. I mean, there's. Unless I don't remember Mark, really. There's like, no real rock on his original solo album. [01:11:26] Speaker D: You're always going to hear part of Kiss in there because he came from Kiss and he had something to do with the sound that's there. It's just he doesn't really do the Kiss thing outside of kiss. This is more of the thing outside of Kiss than ever he did in his solo stuff. Most of his stuff is much more. I don't know, it's more rock and roll. It's more like that. It's. So there's parts that in the solo record are kind of like this, but not. Not the same. Like I said, this is the most cohesive. So I'm happy that at least he's. At least someone said, hey, dude, dude. We got to get something that sounds sort of like an actual song that we wrote and not just jam stuff together. It's not easy. [01:12:02] Speaker A: I don't know how much he actually writes. Right. I'm saying, Peter Chris, I don't necessarily think that he came up with these riffs. Like, he may have hummed. You may have. Whatever. I mean, if you look at Paul Stanley's book, he didn't do anything. But if you fiddle through his. His albums before this, you'll. You'll say to yourself, oh, wait a second. This doesn't sound anything like Kiss this. I mean, he. He did try to have his own voice. I think, if anything, this is more of response to people saying, hey, why don't you make a rock album as opposed to whatever you've been doing. And again, I don't. I don't think it's. There's some decent stuff here. [01:12:35] Speaker D: All right, let's. Let's see what the solo does here. We. [01:13:12] Speaker F: I. [01:13:41] Speaker A: That was funny, Strutter. [01:13:45] Speaker D: I was like, did I really just hear that? [01:13:50] Speaker A: Hey, it's his drum part, man. Wonder if that was a dig. [01:13:53] Speaker D: I'm telling you. Song has something to do with Kiss. [01:13:55] Speaker A: Yeah, dig. And Mark, you said solo. I don't really think there was. There's like, two little. [01:14:01] Speaker D: No, there was a little thing. I thought there was going to be a solo in there, but that wasn't. [01:14:04] Speaker A: You know what, too? [01:14:05] Speaker C: What? [01:14:05] Speaker A: I was just thinking, Peter Chris, you know, within the music industry, he's affected. God, right? People say he gets defended, that he's. You know what I mean? He's under whatever. I would think, too, at a point like this, Peter Chris says, you know what? I want to make a rock album. 94. Hey, guys, come join me on my thing. I think he may have been. And again, I don't know what the money was situation was, but I think maybe he could have gotten some peeps even from the 70s or 80s era to help out, like guest stars, you know, like, this is like Peter Chris's rock album. Let's. Let's rock this out. And I don't think this was ever going to get radio played no matter what he did, and not in 94. Like Steve Jones from the Sex Pistols. I forgot the monopoly had no mercy. No, that's the older one. But he put out a record and, you know, he had a bunch of people on it. I just think it could have been an opportunity to do something like that. [01:14:55] Speaker D: So I'll go first. This is the only song that is cohesive all the way from the beginning to end. I wish there was a solo, but there wasn't. Other than that, I think it was the best produced in this context of songs and how we're rating them. I'm gonna give it seven across, and I got a new little seven across in the thing. Let's see what you think about this. You ready? Here you go. Here's the new seven across. [01:15:20] Speaker A: Yeah, it's Steve and it's quintuple seven. [01:15:25] Speaker F: Mickey Titty baby. [01:15:26] Speaker A: Oh, my God, that's fucking awesome. And when it started, like, wait, who is this? Oh, man, that was awesome. He's. He's here in spirit. [01:15:36] Speaker D: Steve's here. He's here in spirit. [01:15:39] Speaker A: Yeah. [01:15:39] Speaker D: So I'm gonna give it seven. I think it's the most cohesive. It's my favorite so far. I think it's the only one that goes from beginning to end, and it's not all jumbled up. Maybe I don't like the words as much. Maybe I don't like the whatever as much. But I think as a song, I'm just gonn sevens across because I think it's the only one so far that they did the right thing on. Saf. [01:15:59] Speaker A: I'll start with the higher scores. I'm going to say seven on arrangement. I do agree that it is, without a doubt the most cohesive production. I'm going to say six. I don't know that I can give it a seven, but I give it a six, which is my highest production score so far. I'm going to say five on everything else. I think it is cohesive. It just didn't really. I didn't find it as interesting as the other one. What I found interesting and good in the other ones, I didn't find this much in this. I mean, I absolutely agree with what you're saying though. It is the most cohesive. They didn't around. I think the solo, they. I mean, again, especially in a song like this. Let the guy rip for. For four bars, right? [01:16:36] Speaker C: What I like about this song, the. The first two lines there sound a little bit like Mark Sandman of the Buena. That. Just that deep vocal that they're just talking out there. So I really like that opening there. Those first two lines. The rest of the song is okay. A lot better than the previous ones that we heard. For me, this is a big improvement across the board. So I'm giving it sixes. I really do like the lyrics on this one a lot better than we heard so far. The melody as well. The music is really good. I really like the. The solo. The guitar solo here. Really liked it a lot there. I thought. I thought that was the. One of the better. The brightest parts of the song, but overall a lot better song than what we heard. The six foot musicianship arrangement. A six and. And the production on this one was better than we've heard so far. So go ahead and give that a six as well. [01:17:22] Speaker D: This is the last song on the first side. This is show me. [01:17:53] Speaker F: So what. [01:17:54] Speaker A: What does it mean? [01:17:55] Speaker F: We're burning down like mercury God saves the killer queen and I know Box up in this life it ain't a. [01:18:05] Speaker A: Mess Mystery It's a fantasy It's a. [01:18:08] Speaker F: Long, long ride I'm like, hell, yeah I've got to know Tell me what you know. [01:18:49] Speaker A: All right, so that's clearly not him singing. [01:18:51] Speaker D: No, that's Mike Stone. [01:18:52] Speaker A: And I'm pretty sure Mike Stone was singing in the first song too. There was a part. I'm like, is that him? I think he did a part in the first song as well. [01:19:00] Speaker D: I don't know. Possibly. [01:19:01] Speaker A: That snare is so weak. I can't. I don't know. What do you think of this one, Mark? [01:19:06] Speaker D: I think people will have the same problem with this is anytime someone sings on Ace Fraley stuff, and it's not Ace Fraley. I don't have a problem with that, but I know some other people probably would have a problem with that. I mean, it's fine. You can sing. It's not as good as the last song, but it feels a little more cohesive than the first three. So I don't know yet. Yet. I'm kind of up in the air about this. [01:19:25] Speaker A: I think the beginning riff is cool. I don't know why he wouldn't sing This. I mean, he's been belting it out the whole time, right? Why give it to this guy? I. I don't understand that. [01:19:35] Speaker D: I don't know. [01:19:36] Speaker A: He has a co writing credit, so it isn't as if he didn't even have any part in this. [01:19:41] Speaker D: I have no clue. Let me read the word. Planes, trains and limousines so what, what does it mean? We're burning down like mercury God save the killer queen I know what's up in this life it ain't a mystery it's a fantasy it's long, long ride and it hurts like hell One track minds taking the best of me I've got an itchy trigger finger that will set me free and the chorus is. Tell me where you're going I know there's something better show me where you've been I've got to know Tell me what you're knowing I know there's something better show me where you've been I've got to know I don't think the words are horrible. No. I don't know if I like. I don't know if I like the chorus melody that much. The drums following the chord things. I don't know if I like that. It kind of like slows the whole chorus down a little bit. Not too bad. I mean, it's all right again. It feels a little more cohesive. So maybe that's going to change on side too, and it's going to stay this way. Let's continue. Here we go. [01:20:42] Speaker F: To kill a Kennedy From a magazine Mama Mary what's the use when we got nothing left to lose? Salvation always goes to my head One track Monster did the best of me I got my finger on the button I've been st of this what could be Just take me down take me down Take me down Tell me where you going well, I know there's something better show me where you been I got to know Tell me what you know. [01:21:46] Speaker A: Yeah, I don't like the chorus. I feel that the. The verses are pretty good. I think the melody is decent. He's belting it out and then it kind of just fizzles when it gets to the chorus. It just. They should have kept it stronger, I think. And he sounds like Vince Neil at times, too. [01:22:00] Speaker D: He has a decent voice. You can sing. [01:22:03] Speaker A: Yeah. Yeah. I just. I just don't understand handing the vocals over to. I mean, if. If his voice was suffering in the other songs, then I would say, oh, okay. Like maybe he couldn't do. But I think he can absolutely Sing this. So I don't know. [01:22:17] Speaker D: I think so. It's a mystery if someone knows Leave us a message Tell us why he didn't sing this. I have no idea why. All right, so the versus caffeine and nicotine. See Everett Coops looking out for me. You can buy a gun to kill a Kennedy from a magazine Mother Mary, what's the use When I ain't got nothing left to lose? Salvation always goes to my head One track minds taking the best of me I got a finger on the button of insanity I'm tired of hearing about what could be Just take me down, take me down, Take me down yeah, the got to know. Got to know. That part. [01:22:51] Speaker F: It. [01:22:51] Speaker D: I don't like that. [01:22:53] Speaker A: I don't like that. [01:22:53] Speaker D: It messes the chorus up. [01:22:54] Speaker A: I don't like the chorus. [01:22:56] Speaker D: Let's see what the solo does. Here we go. Did you like that? [01:23:47] Speaker C: I don't. [01:23:47] Speaker A: I don't think it was played badly. I just don't think that that was the right solo for the song. Because it started out with the beginning riff, which I liked. I heard it building up. I was like, okay, this is where I want it to go. And it started out okay, but then it just. I don't know. Again, it just fizzled out for me. I don't think what he was playing was bad, but I just. It should have just kept going. Strong song. Me, personally, I feel like it faded out a little bit. What do you think? [01:24:12] Speaker D: I like the beginning, and then it went to some double stop things in the middle, and I didn't really think that's where it should go. Just like you said. I don't think it was played barely. I just don't think it was a good solo as far as for the song. I mean, obviously he can play guitar. It just. It really wasn't that great. I was expecting something better, but again, it might have been better than the stuff that Ace did on the couple of songs that we heard so far. [01:24:34] Speaker A: Yeah, he was really off on this. [01:24:37] Speaker D: Yeah, I was expecting more from him, but, I mean, it wasn't horrible. There were parts of it that I liked. Like the beginning part that I liked, and then the. And then it kind of, like fizzled out, and I didn't. Wasn't as ecstatic about the rest of it. But it definitely wants to be in the style of him, though. It wants to be in the A style. I don't know if this guy was influenced by Ace or whatever. It wants to be in that style. [01:24:55] Speaker A: I definitely heard some Ace in There. [01:24:57] Speaker D: All right, let's finish this up. Here we go. [01:25:04] Speaker F: You got to know Tell me what you know Got to know. [01:25:46] Speaker A: Not a bad ending. I actually didn't mind the chorus as much that time. I mean, I still didn't like it, but I guess it wasn't as bad that time, if that makes any sense. I just enjoyed Dislike it as much that time for some reason. [01:25:57] Speaker D: Well, on that note, why don't you go first, then? [01:25:59] Speaker A: Let me see. Lyrically, I think it's probably the best one. I'll say it's six on the lyrics, I'll say six on the music, I'll say I'm still not crazy about the production. I think they kind of start out okay. He uses a lot. A lot of ride on this record, I noticed, and I think that helps to empty out the sound. I'm gonna say. What did I give the last one? A seven, right? [01:26:21] Speaker D: For production, you gave it a six. [01:26:23] Speaker A: I did say six. Six, yeah. I'll just say six. I don't want to keep going that low. I mean, I don't think it's as badly produced as the first three. So Arrangement. Arrangement is hard because I. I think it's. I do like the beginning, and I think the transitions in this are better than. Than the other ones that had different parts. So I'll say six. Even though I didn't like the solo, it's not. I don't think the arrangement was bad. I just think what he played could have been better. Melody's fine. I'll say six. Six, Frank. [01:26:52] Speaker C: Well, with this song, at least there's some consistency right now from the previous one. Again, not great, not horrible. It's showing that it's at least getting better along the way. At least. At least with the. The music that we've heard so far. So for this song, the lyrics, I'm gonna give that a six. I do like the lyrics and the melody as well. I'm gonna give that a six to just go hand in hand. This sounds really good. The musicianship again, Another really good guitar solo on this one. Really like it a lot. I'm gonna give that a six arrangement, and I'm gonna get the arrangement. Production at six. It's just. The song is okay. It's better than what we've heard. It's not great. It's not terrible. It's just right there at a six. For me. [01:27:32] Speaker D: Six is across from me, too. I think we're all on the same path with this. The one thing I can say so far is that there's a very little swing in his playing here. It's a very straight. I don't like it as much. I mean, if I'm comparing it to his playing in Kiss, it's nowhere as good. And maybe he can't do that anymore at this point. Who knows how long he hasn't played in between whatever his last record was. And this is a while, probably. I mean, I think that suffers a little bit. You know, overall, I'm glad we got this. Yeah, it's something that I. I think I had heard in passing. The Wheel does weird stuff. [01:28:06] Speaker A: Ultimately, I think this potentially. There's a really good version of something here that I think Kiss fans really could have clung on to something like. Yeah, man, and maybe they did. I mean, I. I do know of this record. I mean, I've heard a few people talk about it on the kids podcast, where this was kind of like a return to rock. Nobody said it was a good return to rock. They just said, oh, yeah, like it was a rock album. That's kind of like where it ended. There is something here that is good and could have been even slightly better. Would have elevated each and every one of these songs. Slight twists and I guess production is obviously a big thing for me, but it's not terrible. I mean, there's definitely some really good parts here and it probably, I would say, his strongest record up until this point. I'm glad we got this, too, because I don't know if I would have. I mean, I. I would love to listen to this on my own and probably would have gotten at some point. [01:29:03] Speaker D: But I think it is a reaction to him not putting out any rock stuff and he's trying to do a rock album. I think that's what it is. [01:29:09] Speaker C: I don't know what it is as of yet. Maybe we'll figure it out as we listen to Side Tube. Overall, I'm not feeling this album. Just expecting more from Peter Chris. [01:29:17] Speaker D: All right, Sav, why don't you do your thing? [01:29:19] Speaker A: So we are part of the Deep Dive Podcast network. Like I always say. Great bunch of guys took us in right away. If you want individual podcasts about bands, check them out. You'll find Queen, Zeppelin, Tom Petty, Uriah Heap, you name it, it's probably on there. And Mark, where can they find us. [01:29:34] Speaker D: On the Interwebs Rock roulette pod on all the social media. Rockwelletpodcast.com put a song in for new bets. Check out the polls, shoot us a line if it's something you want to talk about. An album you want us to add, put us on your automatic download and give us five star ratings. Wherever you do it, it. Because that just helps us out. And then next week we'll finish off Chris Cat number one. And hopefully it continues in the process of having songs that are very cohesive. Maybe. I don't know how it's gonna work. I know there's a song about his mom on the second side and there's Beth on the second side. Yeah. So I want to see how he does that. So it should be interesting. All right. We'll see you next week. [01:30:12] Speaker C: All right. And I'll see everyone next week. Have a great night. [01:30:16] Speaker D: Later. [01:30:23] Speaker F: It.