Episode 131 - Peter Criss - Cat #1 - Part 2

[00:00:00] Speaker A: Foreign. [00:00:05] 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. [00:01:14] Speaker C: Hey everybody. Welcome back to another episode of Rock Roulette Podcast. That's right, the crazy ass podcast that took over 1400 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 it track by track and we talk about the music, the lyrics, production, the melody and the arrangement and we give it scores. Again, nothing professional here, just a bunch of friends who love music, want to do a podcast, and first and foremost, as we always like to do, we want to thank all the listeners. Again, we seem to be going up every week, so whoever you are, thank you so much. And it's not only the new stuff we're releasing, it's going back to the old catalog. So hopefully that means that you like what we do and you're going back to the old episodes. So again, thank you so, so much. And hey, leave a comment, tell us what you like, what you don't like, what we could do differently and spread the word, man. So tonight we are a trio again, which is always great. We've got Frank. [00:02:08] Speaker D: My name is Frank. [00:02:15] Speaker C: And I'm sexy. [00:02:22] Speaker A: Great to be back. Hello, everybody. [00:02:24] Speaker C: We've got Mark. Oh, hi, Mark. [00:02:26] Speaker B: What's up, guys? [00:02:28] Speaker C: And I'm Sav. So last week we got Peter Chris's Cat Number One album, or Chris Cat Number one, depending on whatever the hell you want to call it, which was a return to rock style, I guess, for him since really since he left Kiss, since he really hadn't done anything like this. And I think it was kind of an answer to his fans saying, hey, why don't you put out a rock album? I thought the first three songs all had some pretty good opening riffs. The production I'm not crazy about, especially the sound of the drums, which is pretty funny considering it's Peter Chris. I think there's some good stuff there. I think honestly, it's pretty much a matter of kind of the songs being fleshed out a little bit more. I think that it would have been a much stronger album. And I went in with low expectations. Mark, how low were your expectations? I mean, no offense to Peter Chris. [00:03:17] Speaker B: Obviously, my expectations are kind of low. So I agree with everything you said. I like some of the riffs. I think there are good songs there. I just don't think his production team and whoever else is helping him write or maybe good enough to make these songs better. That's really what the problem is for me. I want to like it. I want him to do well. I want this, you know, to be a good album, but there's just pieces of it that are just not great. [00:03:40] Speaker C: Yeah. And, Frank, obviously, you. Your major opinion was you think he was still living in the shadow of Kiss, right? Yeah. [00:03:45] Speaker A: Yeah. You hear a lot of that sound, a lot of influence there and just kind of like in a lot of ways, just following that model that worked for so long for him for so many years. [00:03:53] Speaker C: I mean, again, I was interested. I was happy this came up. I think I may have heard this sometime in the past. I really don't remember anything at all. Obviously, we're going to hit side two today, but before we do that, we do our segment of New Bets. And we've got the Baby Wheel up. Mark, I see it. If you want to give that a whirlwind. In a world where new music is not easy to find, welcome to New Bets. [00:04:30] Speaker B: All right, so let's do this. Are we ready for the Wheel? All right, here we go. [00:04:50] Speaker C: Motley Crew canceled. We already did the other release. Dogs of War, right, Mark? [00:04:56] Speaker B: Yep. [00:04:56] Speaker C: Which you hated. [00:04:57] Speaker B: It sucked so bad. [00:04:59] Speaker C: Have. Have you guys heard this? Frank, have you heard this? Canceled by Motley Crue. [00:05:03] Speaker A: Not as of yet. This is gonna be the first listen. [00:05:05] Speaker C: I think I've listened to it, and I really don't remember it. So I. I am curious to. To. To listen to it. [00:05:11] Speaker B: I haven't heard it, so I'm curious, too. It can only go up from Dogs of Served. So maybe it's better. [00:05:16] Speaker C: Maybe. [00:05:17] Speaker B: All right, here we go. This is MLE Crew. Cancelled. [00:06:19] Speaker D: Show was good Lord got canceled. [00:06:21] Speaker C: Right in the capital. [00:06:22] Speaker D: Princeton Ramble Tik Tok video Smell like lamb. Watch your ass. You might get canceled. Everybody wake up. Wake up. Everybody shut up, Shut up. Everybody stand up, stand up. Bang your head against a wall Will you love me where I you goodbye when you love me when I die make your mind you might get Cancel Cony Trash Burn down my castle Free the shot met the masquerade Taking out my dirt I walk Crusade model singing with Shelby in the backseat she said yes and they arrest me lock me up, run me in shackle Watch your ass, you might get cancer Wake up, wake up Everybody shut up, shut up Everybody stand up, stand up Bang your head against a motherfucking wall when you love me when I fall Everybody shut up, shut up Everybody stand up, stand up Bring your head against a motherfucking wall when you love me when I die Everybody wants to make you break Everybody loves to hate Will you, will you love me? When I fall all down, goodbye Will you love me When I. [00:10:04] Speaker C: Was evince Neil at the end, I mean, I guess it's better than the other one. I. I hear silence. I. I think Mark and, and. And Frank are speechless. [00:10:16] Speaker A: I mean. Yeah. Speechless. Yeah, a little bit. [00:10:22] Speaker B: I think it's better than the last one. [00:10:25] Speaker C: Yeah, Overall, I think it's better. [00:10:27] Speaker B: The riff's okay. [00:10:29] Speaker C: I think the beginning of that solo is a little Make Mars reminiscent. And then he kind of goes into something that doesn't sound like him. [00:10:36] Speaker B: Yeah, but that's fine though. [00:10:37] Speaker C: Yeah. [00:10:38] Speaker A: I will say that opening. The opening sounded a little bit like Dr. Field got there. The structure of the song sounds a little bit to me. And you're gonn say I'm crazy for saying this? [00:10:49] Speaker C: Pretty Boy Floyd? No, just busting balls. [00:10:53] Speaker A: It sound a little bit like Ace. Fairly into the night, Downtown Street. Like that kind of style and rhythm. [00:11:01] Speaker C: Yeah. I mean, it's a coupling thing, right? [00:11:06] Speaker A: Yeah, that's what it sounded like. A little bit not terrible. [00:11:09] Speaker B: I like it better than last one. So as long as it's better than Dogs of War, I'm okay. I mean, it's not something I go running out and play again, but if it came on, I probably wouldn't turn it off. [00:11:19] Speaker C: I mean, musically, I think it's better than the other one. [00:11:21] Speaker B: How long did it take for them to get Vince Neil to record those vocals? [00:11:26] Speaker C: I don't know. [00:11:26] Speaker A: Are they him, you think, or you think he's just AI? [00:11:31] Speaker B: I think it's him. I think he has some help from back in the day. I mean, even they said that they had to take like word by word, right? Isn't that what Tom Worm was saying, like word by word? [00:11:41] Speaker C: To record him, they really had to break him down piecemeal to. To get the full recording that they got. [00:11:46] Speaker B: So this technology helped him out. [00:11:49] Speaker C: Yeah. Singing wise, he sounds good on both songs, I think. I mean, he sounds like the old Vince Neil. Right. There's no change in his voice from this. And let's say Dr. Feelgood, if you want to go back to the glory days, who knows? I don't know. I'm not going to say anything because I've seen the live stuff. [00:12:08] Speaker B: They're still making music. This one's not as bad as the last one, so maybe it'll get better. I don't know. I mean, it's fine. [00:12:14] Speaker C: I would say this one sounds a little bit more. Right. Kind of Motley Crue than the other one. [00:12:19] Speaker B: Yeah. Because the last one didn't really sound like Motley Crue at all. And the drum sounds weird. Like, I don't like the drum sound at all. [00:12:25] Speaker C: So they didn't strike me as much as the other one. So I'm not sure if the production is different in this one or it's just the new headphones that I have. Thank you, Mark, and thank you for the mic. Hopefully I sound better this week. I don't sound like whatever. But the other one was, to me, that production that I. Drum production that I keep complaining about. This one wasn't as bad. So, again, it could just be the headphones maybe. [00:12:49] Speaker B: I don't know. [00:12:49] Speaker C: But, yeah, we covered the two newest Motley Crue songs. Right. And that there's nothing other than the covers, which obviously we're not going to do. Yeah. Cool. [00:12:57] Speaker B: Yeah. All right, well, that's another New Bets in the book. [00:13:00] Speaker C: Absolutely. [00:13:01] Speaker B: Let's play this. [00:13:03] Speaker C: In a world where new music is not easy to find. Welcome to New Bets. So from one legend of the genre, we go to another legend of, quote, unquote, the genre. Let's say we go back to the second side of Cat Number One by Peter Chris. And I'm. I'm very curious. I mean, Mark, like, you definitely commented, the last two songs on the first side were definitely more cohesive. There wasn't as much, I guess, experimentation. I am curious to see what's on the other side. Obviously, it ends with a massive song from the past. I'm curious to see what goes on before it. [00:13:49] Speaker B: All right. Yeah, me too. So this is good times. [00:14:23] Speaker D: I'm coming home to an empty house where my wife and child would meet me yeah, now there's another man living there so there won't be no one there to meet me for the good times Everybody have a cheer My baby said goodbye last night for the good times Everybody have a chill Everything going to be all right tonight. [00:15:17] Speaker C: So I'm pretty sure when he presented these lyrics if he wrote them, they're like, wait, Peter. The song is called Good Times, but it doesn't sound like you're having a good time. Yeah, but don't worry about it, man. It's cool. It's cool. Bit odd. [00:15:27] Speaker A: Maybe he's just singing about the good times from a broken heart. [00:15:30] Speaker C: Yeah, I. I mean, I understand where he's coming from. Busting balls. I can understand the sentiment behind the song. The production's better, I think, maybe because of the type of song it is. What do you think, Mark? [00:15:41] Speaker B: Guitars are weird, acoustics too loud, and then it's mixed a little strange. [00:15:46] Speaker C: I did have the volume down a bit. I just realized, too, Yeah. [00:15:50] Speaker B: I don't know, the acoustic was, like, overpowering. And then the bass. I don't know. The levels were a little weird for me. I still think this is a little more cohesive than the first side. The beginning of the first side. Whether he keeps it going is a good question. It's not horrible. [00:16:03] Speaker C: I just hope it breaks out into, like, some thrash now. [00:16:06] Speaker B: I don't think that's going to happen. [00:16:08] Speaker C: I don't think so either. [00:16:09] Speaker B: All right, so let's read some lyrics. I'm coming home to an empty house where my wife and child would meet me now there's another man living there There will be no one there to greet me for the good times Everybody have a cheer My baby said goodbye last night for the good times Everybody have a cheer Everything's going to be all right tonight I assume this is probably autobiographical, about his divorce. Maybe. [00:16:33] Speaker C: Yeah. I mean, I take it it's tongue in cheek. Kind of like shit sucks. But, hey, the good times let's raise a toast to those times. Not these times. [00:16:40] Speaker B: And it's a little Bethish in some weird way. [00:16:44] Speaker A: You don't say. [00:16:46] Speaker C: You got all. You got all Sherlock there. The game is afoot I wonder where. [00:16:53] Speaker B: I heard that before. Let's continue. Here we go. [00:16:57] Speaker D: Now I'm on the road again. [00:17:04] Speaker A: Now. [00:17:04] Speaker D: I know she's with someone new that's okay But I don't care I gotta play what I play yeah. Even if it takes dying behind my drum oh, Lord, while I'm there for the good times Everybody have a cheer My baby said goodbye last night. [00:17:38] Speaker C: For. [00:17:39] Speaker D: The good times Everybody mighty have a chill Everything going to be all right tonight Was it wasn't me. Oh, Lord, help me See oh, yeah, yeah. [00:18:05] Speaker C: So I raised the volume on my headphones and production sucks. Holy moly. Wow. What a difference. [00:18:13] Speaker B: Yeah, it's really all over the place. [00:18:15] Speaker C: You know what? To me, it sounds like. It sounds like a demo. Like, he's basically. He's got kind of a drum machine going in the background, and he's got the acoustic, like, right up on the mic. [00:18:26] Speaker B: Peter. Peter. Yeah. And the melody is a little wacky in this part, too. He's doing a little bit of improv there. Not in a good way. I mean, his vocal itself sounds fine. Like, his singing is fine. [00:18:37] Speaker C: Yeah, he gives a lot of heart on this record. I mean, that's one thing I don't think any of us have really have complained about at all, is his vocals. These are the vocals on this record, are the. The things that Kiss fans love about his vocals. The soul in his vocals, the rasp. And it's good rasp. It's not like bad rasp again, that there's. There's a song here, right? [00:19:00] Speaker B: Yeah, no, it's just a strange melody and the words a little bit jammed together. [00:19:05] Speaker C: It's. To me, it's that bar song, right? It's that kind of the, you know, you grab the mic and you kind of like a honky tonk kind of song. You know what I mean? Where someone just kind of starts singing and whatever. I think that's the sentiment he was going for. But, yeah, the production is weird. Frank, what do you think? [00:19:21] Speaker A: You hit all points. Everything. I was thinking about number one. It sounds like a demo. It sounds like a demo that was recorded in a bar, like, after hours kind of thing. That raspy voice. Yeah, I hear it there. This is the kind of song you actually would hear, like, in the 80s movie. Like some scene like that bar scene like you just described, walking in. [00:19:42] Speaker C: Like, nobody leaves here without playing Singing the blues Adventures and babysitting. [00:19:49] Speaker A: Yeah. Nobody leaves here without singing the blue. Great movie. Yeah. [00:19:55] Speaker B: Yeah. [00:19:55] Speaker A: So it's just like one of those kind of songs. Maybe like, you know, like a Patrick Swayze roadhouse kind of song. [00:20:04] Speaker B: Every song on this album, there's a song here. There's a good song here. It's just mired by bad production and maybe not great arrangement. And so. So playing. I mean, his vocals, I think, are the best part. [00:20:16] Speaker C: Yes. He's giving it his all. Absolutely. [00:20:19] Speaker B: And like you said, this is what Kiss fans like. They like his voice. They like the way his voice sounds. They wish he sang more because they like, you know, the raspiness, the Rod Stewartishness of his voice. So here are lyrics. Now I'm on the road again and I know she's with someone new But I don't care. I gotta play what I play, even if it takes dying behind my drums. Like, there's no rhyme there. He wants to say he was gonna. He's gonna play on his drums till he dies, but there's really nothing that, like, ties anything together. And then chorus and then this little part. Was it her or was it me? Oh, Lord, help me. [00:20:52] Speaker C: See, I do appreciate that dime behind the drums line, though. As a drummer, it's like, die with your boots on. Right? [00:20:57] Speaker B: It could have been written better, that's all. So it was a little more rhymy, I think. [00:21:02] Speaker C: Yeah. [00:21:02] Speaker B: Okay, here goes. Solo. Let's see if this guy can save this. Here we go. [00:21:36] Speaker C: I like the solo. I thought it fit. [00:21:39] Speaker B: Yeah, he did a good job. [00:21:40] Speaker C: Not withstanding production, give this song to Bon Jovi. Right. With the cleaner production, I just. I don't know. It's upsetting, man, because I think this is. Could be a really good record. It's not a great sounding record, but I. Again, man, I think he's firing on all cylinders and he. I really feel like he or they did their best here. [00:22:03] Speaker B: He's trying. [00:22:04] Speaker A: What I'm disappointed about is that there's not more drum solos. There should be drum solos in this album. [00:22:11] Speaker C: I wish the drums were just better produced overall, but, yeah, why not? [00:22:14] Speaker A: Yeah, why not? [00:22:15] Speaker C: I agree with you. Why not? Give it. Give it a little. I mean, who knows what's coming down the pike? [00:22:20] Speaker B: Yeah, the drums are a little disappointing, too, for it being Peter Crass. I would expect the drums to be better. [00:22:24] Speaker A: Yep, exactly my point. It's like, you know, you would think better drumming, a couple of jump solos being Peter Gris, but no. [00:22:31] Speaker B: All right, let's finish this up. Here we go. [00:22:34] Speaker D: Everybody had a chill My baby said goodbye last night yeah all the good times Everybody have a chill Everything going to be all right tonight for the good times Everybody have a cheer I want cheer, Baby My baby said goodbye Le good night for the good times Everybody have a cheer Everything going to be all right tonight Everything's going to be all right for the good times Everybody have a cheer My baby said goodbye this night for the good times Everybody have a cheer Everything gonna be all right tonight Everything's gonna be all right. [00:24:00] Speaker C: Don'T worry, baby I think, too, it would have helped if they had any background vocals. I think this is a song that definitely deserves kind of like drunken, loose background vocal to it. And I think it would have. It would have elevated the song a bit, too. [00:24:19] Speaker A: And I thought that's what this Song was going when the other guy kicked in and started singing. I was like, oh, okay, the music is gonna stop. And they just gonna do a whole vocal part. Kind of like, hey, everybody all together now. But no, didn't happen. [00:24:32] Speaker B: I was thinking the same thing. If they had a little more background vocal that wasn't him, it would have been better. [00:24:37] Speaker C: It was just him backing himself. And it wasn't even him doubled up or anything. Right? It was just single him and single him. I mean, I know that he's also a big fan of, like, the gospel and stuff like that. Have maybe some, you know, some female singers in there. I'm telling you, I would have loved to be a fly on the wall when they were making this record. Weird. Who am I to say anything? Obviously, to Peter Chris. I don't know. [00:24:59] Speaker B: It's a money thing. He didn't have the money to do it. Right. That's got to be what it is. So let's have Franco first this time. Frank, what do you think? [00:25:06] Speaker A: I mean, you know, this is gonna be simple for across the lyrics, you know, I mean, he's going with some of the. Some of the lyrics there for the music production, everything. And it's just. I don't know, it just. It was a bummer what you guys were saying along. It's like, there's a good song here waiting to come out. It's just. [00:25:25] Speaker C: Just. [00:25:25] Speaker A: It was poorly executed, and it could have been a little clean up in the lyrics and a little cleanup in the. The music. Stop. [00:25:34] Speaker C: So I'll say five on the lyrics. I'm gonna say six on the music. I'm gonna throw a bone there because I don't think the music is bad production. I'll probably say four arrangement, the arrangement. Oh, I'm trying to think. I'll say five on the arrangement. And then I don't think the melody's terrible. I'll say five. It kills me, kind of given these scores, because I think that these songs could maybe not be eights or whatever, but sixes and sevens. There. There's possibilities there. Sixes and sevens that none of us are giving. So, Mark. [00:26:09] Speaker B: Yeah, I think I'm gonna do the same thing you did, Sav. Five lyrics, five melody, six music, five arrangement for production. Production is really the problem. It's produced like a demo. It may be a demo for all we know. There was some stuff released before it was put out as an album. So who knows? If I know they took a couple songs or one song from that to here, so who knows? I Think this is a money thing. I don't think whoever he was signed with doing this had the money to do it right, and he had to do what he had to do it. Like Frank said, it doesn't come out good. He's not executed well. Hopefully it'll get better. All right, so the next song is called Strike. [00:27:19] Speaker D: By the time it gets to you been stung by 40 bees so the lotion just won't do. Hey, big brother, don't you have a mother to wash the blood from your hands? You gotta say, no way, I ain't gonna play that game. You gotta strike for. [00:28:06] Speaker C: You may think I'm crazy. Mark, to me, this almost kind of sounds like a dynasty holdover. I feel there's a little bit of the rock that was presented on there, and there's a little bit of the kind of. Of Peter Chris thing. I could be wrong. Even the opening riff sounds a bit like. Not the bass thing, but once the guitar comes in, it's reminiscent of Kiss. And I don't know who's singing with them. It almost sounds like a drunk. Ace Fraley, who's singing with them? [00:28:34] Speaker B: That's the bass player. He's singing lead vocal. This is a song he wrote with Peter Chris. I guess my assumption, it's probably his song and probably everything Peter Chris was going to get credit on this for. So it's more likely I would think it's his song. He's singing it. And Peter sounds good on the chorus and stuff. [00:28:50] Speaker C: Mm. [00:28:51] Speaker B: Those are the things he does well. [00:28:52] Speaker C: Yeah. [00:28:53] Speaker B: And it does have a structure still, so it's not veering off into weird directions anymore. Bass part was good. That little bass intro was interesting. I don't think it's produced any better. [00:29:02] Speaker C: No lyrics. [00:29:04] Speaker B: Poison ivy ain't nothing by the time it gets to you been stung by 40 bees so the lotion just won't do. Hey, big brother, don't you have a mother to wash the blood from your hands? You gotta say, no way, I ain't gonna play that game. And the chorus is, you gotta strike for a reason. You've gotta strike for the night. You've gotta strike for emotion. You've gotta strike to be free. Not horrible. It's okay. I mean, listen, it's not spectacular. It's not the worst I've heard. It's not the best I've heard. It's weird, like on a Peter Chris album, to have someone else singing lead vocal. But, you know, Ace really does that too. Ace really does it, too. So it's not you know, not that big of a deal, but I don't know. I want to hear Peter sing here. And it's really. It's really the part of it that's almost saving the album a little bit is his vocal. [00:29:52] Speaker C: Yeah. [00:29:53] Speaker B: You know what? At the beginning, what I thought it sounded like. It almost sounded a little bit Alison Chainsy to me, weirdly. I don't know if it's just the. The way the melody is the bass look. No, even the melody just in the vocal. Not like exactly. I wonder if, you know, since this guy wrote this, whether he was influenced by that a little bit. Because this is 94, right. So it's possible. [00:30:12] Speaker C: Yeah. Well, I mean, the verse is coming back up, right. So probably hear that again. [00:30:16] Speaker B: Frankie, what do you think of that? [00:30:17] Speaker A: Better than the last song for sure. I'm gonna now start listening into that Alice and Chains influence thing. When did the song was released? [00:30:26] Speaker B: 1994. [00:30:27] Speaker A: Okay, interesting. All right, I'm gonna look for it now. I'm gonna look for that sound. [00:30:31] Speaker B: All right. [00:30:44] Speaker D: How to shake him There won't be a living hell goddess Steal the money. How will you know it's real? They'll say they love you behind your back they'll spill. Hey, big brother, don't you have a mother who washed the blood from your hand? You gotta say, no way. I ain't gonna play that game. You gotta strike for a reason. You gotta strike for the fight. You gotta strike for emotion. You gotta strike to be free. Cause people see our angel and it's my way. So be careful. [00:31:58] Speaker C: Yeah, I could hear it. The Ellison chain. I really like that. Because he's a CIA agent part. [00:32:04] Speaker B: I don't. [00:32:04] Speaker C: I want to say it reminds me of like something. Ellis Cooper, when he kind of did the, like the. The trash record and something from there. Maybe. Maybe. I don't know. It is a little. Still a little discombobulated, I feel. [00:32:19] Speaker B: While. Listen to it again. I heard a little bit of Alison change, a little bit of SCP on the second part of the verse. Sorta the CIA agent in the first one. I don't know what the hell they did. There was a little bit of a break and stuff. I was like, oh, come on, you guys were doing so well. Why'd you have to muck around with it? So. [00:32:34] Speaker C: But honestly, that's my favorite part is. Is. I don't. It's just. I just think it's the catchiest part of the song, whether or not it fits, because again, it. It is. The arrangement is a little odd. Because he, you know, he goes from that you gotta strike where the music kind of drops out and then it goes back into that big kind of thing. I think it would be better if the CIA agent part was like a pre. Chorus and then it went into the other thing. Yeah. [00:32:59] Speaker B: See, you need people to actually help you write songs. I guess. Here it is. Because he's a CIA agent agent and he's always on your tail but if you know how to shake him he won't be your living hell Gotta see the money's real they'll say they'll love you behind your back they'll steal hey, big brother, don't you have a mother to wash the blood from your hands? You gotta say, no way, I ain't gonna play that game. Chorus. And then back to the CIA agent. The first CIA agent. They had like a little drum stop thing, which they didn't do in the second time time. So, Frank, did you hear. Did you hear the little Alison Chains thing? [00:33:37] Speaker A: Yeah, I hear the dual vocals in there and the guitar blaring. [00:33:41] Speaker B: Yeah. [00:33:41] Speaker A: So you can hear some of that. I. I could definitely see the reference when you said it. [00:33:45] Speaker B: Yeah, it's not exactly the same. Definitely some things that they were influenced by. At least this guy who wrote this song had a little bit of that going. Because even the progression of the chord sounds a little bit like that. It sounds like something that I can't place my finger on. [00:33:56] Speaker C: It probably could have had guest people on this record too. Too. I mean, 94, right? I mean, considering that the. The Seattle grunge scene put out a Kiss cover record. [00:34:07] Speaker A: Kiss my Ass, right? [00:34:09] Speaker C: No, no, it was. Kiss My Ass was. That was another cover thing. But specifically, like grunge bands. Nirvana, I think, was on it. I don't specifically remember who was on it. [00:34:19] Speaker A: Really? I don't remember that. [00:34:20] Speaker C: Yeah, yeah. [00:34:21] Speaker B: I forget the name of it. But you're 100, right? [00:34:23] Speaker C: I'll look. I'll look it up while maybe. While we're. This song's going on. [00:34:27] Speaker B: All right, so it looks like we're gonna have some wawa for the solo. Let's see if he does it right. Here we go. [00:34:44] Speaker D: You gotta strike. [00:34:49] Speaker A: You gotta. [00:36:39] Speaker C: Mark. I'll let you speak to that. Since technically that was an ending solo. [00:36:43] Speaker B: What the was that all about? No, there were parts that were okay. The first couple times he did the melody okay. And then maybe he could have played over it and not stopped on every time it went back to the riff again. There were parts there that could be okay. I don't know what the fuck that was supposed to be. I understand the idea, but it wasn't executed right. This is having really no production and nobody to tell you this doesn't work right. And I even liked the ideas he was doing on the drums. I thought that was cool. [00:37:13] Speaker C: Yeah, but there was no variation, right? I mean, it just. It again was like one of those runoff sentences. And there's. Again, like you said, there's some cool stuff going on on the guitar. I think if they could have just broken out of that. Even if they went back to it and ended it that way. But it was just a minute and a half or however long it was of just a bump. [00:37:34] Speaker B: At least it was better than just the drum stuff that he's been doing. So I was appreciating some of the change. I just think that after he did the melody thing a couple times, and if he was going to play it out, play over it, let the guitar underneath it, keep doing the riff, and you play the solo stuff on top. Instead of stopping every time to play the stupid riff again. Like, he'd play his little lead thing. As soon as the riff comes, he stop and play the riff. He plays a bunch of these stuff. Then he stopped and played a riff. That's cool. The first time, the second time, the sixth time, I just. It's just bad arrangement, bad production, bad arrangement again, good song stuck in here somewhere that really can't really, you know, make its way out of the production in the arrangement. [00:38:14] Speaker C: Do you want to go first? [00:38:15] Speaker B: No, I'll let you go first. [00:38:17] Speaker C: You want me to go first? [00:38:18] Speaker B: I want you to go first. Go ahead. [00:38:20] Speaker C: I mean, words. Words are fine. I'll say five, I guess. Music, I'll say. It's hard, man. It's hard. I'll say five on production. I mean, I do think it's better sounding than the last one. Arrangement is weird. I'm gonna say. Say. I'll say. I don't know if I want to say four. I feel so badly, given these scores, I'll say four. Because I don't think it's arranged as well as the other one. Again, it's odd with that CIA. I felt like it was kind of weird and I really didn't like that ending part. Music, I'll say. Did I say music yet or no? Five, I said, right? If not, I say five in lyrics. I'll say five. Frank. [00:38:54] Speaker A: Definitely to your point. Better than the previous song, for sure. The overall production, I'll do with the production here, giving it a five. I didn't find the lyrics to be anything special. Unique in melodies, I guess. You know, they're fun. We'll go with a five of that as well. The music like the music a little bit more. So I get. I'll give that a six. And what am I missing there? I got them. All right. Lyrics, melody, arrangement, arrangement. I'll give that a five. Mark. [00:39:22] Speaker B: I'm gonna say five in the lyrics to it and not horrible melody. I guess that's a 5. 2 music. I hate to, like, ding them in music. I don't think music wise, do I dig it on arrangement or do I ding the guitar player on. On what he did at the end? I think I have to. Have to do a combo, so I'll probably do five on the music. Four under arrangement. I really don't. I still think the production is a problem here. I'm gonna say four. I think it's gonna be a problem for me through the whole thing. I don't think that's gonna change very much. I mean, the guitar thing, I was expecting. All right, he did. He did the melody. Did the melody. Now he's just gonna play it out over it. But he just kept stopping when the riff came and played the riff, riff, and then played his little thing, then played the riff. That works for the first couple of times, but after that, like, Jesus, is this ever gonna stop? So that. It's very frustrating. Again, I want there to be a song here and there is a song here. It's just executed like Frank is perfectly right, just not executed correctly so that. [00:40:17] Speaker C: Just before you jump into the next song, it was called Hard to Believe, a Kiss Covers Compilation. It's not just the grunge bands. It's actually technically underground independent punk bands of the late 1980s. But it did feature their village, Nirvana, and it did feature the Melvins. And Nirvana actually had the other guitar player at the time, Jason Everman. [00:40:36] Speaker B: Oh, so this is before they were even big. They recorded that? [00:40:39] Speaker C: Yeah. This is one of two released Nirvana recordings with Jason Everman on guitar. Oh, yeah. So this is a. It came out in 1990. [00:40:47] Speaker B: Gotcha. Okay, interesting. The next song is Blue Moon Over Brooklyn. This is about his mom, I guess, who passed away. Hoping we're gonna have, you know, at least get some good lyrics and. And maybe. Maybe the arrangement will stay kind of straight. Blue Moon over Brooklyn. [00:41:22] Speaker C: It was a. [00:41:23] Speaker D: Winner'S day When I heard the phone ring it was my brother's voice he said, come on home he said, mom was dying he started crying I felt the pain I felt that pain I knew inside I had to get there I didn't know how I just had to get there why she had to leave this place behind Knowing that we all be hurt Life is so hard for me Tell me what your reasons for my despair. [00:42:32] Speaker C: That'S not bad. This isn't the song I thought it was. It must be somewhere else in its catalog. I thought this was it, where it was, like, really mellow. This is actually more upbeat than it. I thought. Not terrible. I don't know. What do you guys think? [00:42:43] Speaker B: The verse is really weird. The end part of the verse, it just doesn't feel right. When it goes into the next part, it feels very jammed together. Like he needed to get these words out, but he couldn't figure out how to do it. He probably needed two more lines to figure it out, but he didn't give himself two lines. I mean, as long as it is, it's a long verse. So, you know, it's one of those things where the arrangement is just not great. Again, as with everything here, there's a better song here. Frank, what do you think? [00:43:11] Speaker A: More of the same. I think at the end of the day, we. This is what we're going to listen to the rest of the way. There's a lot of potential here. The whole arrangement just fell short. The execution just fell short. Whoever was overseeing the production just didn't guide it the right way. [00:43:25] Speaker B: Yeah, I don't think there's any guidance nor anyone overseeing the production. That's the problem. And again, could be a money thing. You know, they're producing it partially with this other guy. And who knows how much he can really tell Peter Chris what to do? If you believe all the things about him, he's a little tough to work with. And, you know, does he still have the big ego from Kiss pushing him in whatever direction he wants to go? I mean, obviously this song's personal to him. It's just a little strange. [00:43:50] Speaker C: What did Paul say? And they call him the Ayatollah Chris Quala in his book. [00:43:54] Speaker B: Yes, he did. So the lyrics are, it was a winter's day When I heard the phone ring it was my brother's voice he said, come on home he said, mom is dying he started crying I felt the pain I felt that pain I knew inside I had to get there I didn't know how I just had to get there why she had to leave this place behind Knowing that we'd all be hurt Life is so hard to bear Tell me what your reasons are for my despair Blue moon over Brooklyn Never saw such a light shining down on me Blue moon over Brooklyn Never saw such a light shining down on me Me again. Could be better. There's a decent song here. I don't know if it's going to get better. Maybe they'll straighten the arrangement out a little bit. Maybe. He's trying to jam a lot of words in that first verse. Let's see if he does a little bit better job. Ironically, too. This is Ace Fring on lead guitar. So that beginning port was Ace Fry. It sounded pretty good. I thought so. Maybe Ace can do a good thing here. Who knows? He had two shots before and he didn't do it. This is the last shot he's got. [00:44:51] Speaker C: Yeah, that was Hoof. The first sighting. Ace. [00:44:54] Speaker B: Yeah. Come on, Ace. [00:44:55] Speaker C: I'm sure Ace probably knew his mother, too. [00:44:57] Speaker B: Oh, I'm sure he probably did. [00:44:59] Speaker C: That was his funeral speech, his eulogy. [00:45:02] Speaker B: All right, here we go. [00:45:04] Speaker D: I was all alone the night I flew home I was going insane I felt to blame My heart was beating do you know that feeling? I didn't want to be late Lord hold you way why she has to leave this place behind Knowing that we'd all be hurt Life is so hard Tell me what your reason for my dismay Brooklyn there was no such shining down on me Blue no such a light shining down on me My mama told me son, you better shut. [00:46:12] Speaker C: The. [00:46:17] Speaker D: Postman comes once Lucky if he comes again oh, yeah, you got to be nice Take my advice it's time to go. [00:46:40] Speaker C: I don't understand that part. The Shop around that to me kind of crashed. Come crashing in. Overall, possibly my favorite song. I didn't like that specific part, though. Like he had to make a reference to Shop Around. You know, My mama said, that's just weird. And even the drums that are going on behind it. I don't. I don't think the rest of it is that bad. [00:47:01] Speaker B: The verse was better this time when he didn't elongate it. So that transition between the verse and pre chord chorus was better. The pre chorus is whatever. And then that other part. Yeah, I don't understand the. You better shop around. Why would she be telling you that now? The postman comes once. Okay, yeah. [00:47:16] Speaker C: Maybe it's about the casket. She didn't like the casket. So she's like, you better shop around. [00:47:21] Speaker B: Jesus Christ. Okay, hold on. So here. Words. I was all alone the night I flew home I was going insane I felt to blame My heart was beating do you know that feeling? I didn't want to be late. Lord, I hope she'll wait. And back to the pre chorus and chorus. And my mama told me, son, you better shop around. Postman comes once, lucky if he comes again. You got to be nice, take my advice, it's time to go. Mama, I miss you so. Again, the sentiment is nice. I mean, obviously, he missed his mom. Yeah, that part is a little weird. Didn't need to be there. No, we're going to say it a million times. There's a better song here. Just it didn't get treated the right way and didn't have the right people to take it from okay to being better. They're not bad. They could be better. And his voice again, right? His voice is good here. [00:48:08] Speaker C: Yeah. He's giving it his all on this record, without a doubt. That is definitely the number one thing on. I think on this record, there's. There's no phoniness. Right. He's. He's really giving it his own. And he pro. He probably does this on all his records, I would think. You know, he does. He does. He gives it his all. [00:48:24] Speaker B: Okay, here comes Ace Fry. Here we go. [00:48:31] Speaker D: It's time to go. [00:49:00] Speaker B: And it's a good solo. I don't know if it's right for the song, though. [00:49:05] Speaker C: So much for my solo. I feel like he plays so oddly on this record. I mean, what condition was he in at this point? In 94? [00:49:15] Speaker B: Oh, he wasn't in good condition. He wasn't in good condition. But, I mean, the solo is not bad. The solo's okay. It just doesn't really fit what's going on here. That solo could have been better in a couple of the other songs that he was on. [00:49:28] Speaker C: I mean, the songs on the first side, whatever the hell he's playing. Ouch. Here's an Ace Fraley puppet that a fan made, I think 1977. We have tons of this stuff. [00:49:37] Speaker B: And this puppet says, I'm alive and well. [00:49:40] Speaker C: Where am I? [00:49:41] Speaker B: I mean, it's okay as far as, like, a playing solo. It's fine. I just don't know if it fits. That would be my thing. [00:49:47] Speaker C: And he was right. I mean, I think he's wide on everything he's played on this record. Record. [00:49:51] Speaker B: I don't think there was one on that thing. I don't think so. [00:49:54] Speaker C: Oh, no. Oh, I thought. I thought I heard a little bit in the beginning. I could be wrong. [00:49:57] Speaker B: I didn't hear it. [00:49:58] Speaker C: Listen, I trust you more than I trust me, so I'll take your word for it. [00:50:02] Speaker B: This Is almost done. Let's ride this out. Here we go. [00:50:16] Speaker D: Heart tell me what your reason for my dismay Sat think I'm going to be sad. [00:51:56] Speaker C: Ladies and gentlemen, the Beatles. I was like, where's he going with this part? [00:52:02] Speaker B: He started to do something, didn't he? That was another song. That's what it sounded like. I don't know. [00:52:08] Speaker C: Listen. Clearly he was trying to throw in some. Some lines in there. Influences and I mean, honestly, who knows? Maybe those specific. I mean, obviously Mama said Shop around is. Is the song and it's about his mom. It could be on the nose or maybe it's just something. Obviously that line from the Beatles is Ticket to Ride, which. Which could be a metaphor. [00:52:30] Speaker B: Well, I'll go first since I haven't gone first for a little bit. Lyrics, they're not horrible. I'm gonna give them a five. I might even give them a six. Just because it's just about his mom. And I can kind of understand that. So that's fine. Melody's okay. 5. I'm gonna give the music a 6. Even though Ace Freely's solo is good and even some of his outro solo is good, I don't know if it fits the song, but it's still good regardless. Arrangement for production, I think this is produced a little bit better. Not by very much. So I'm gonna say five. Saf. [00:53:00] Speaker C: See, arrangement is a little bit difficult. I was actually gonna go sixes across because I said I can't just keep giving like these massively low scores. I. This could be overall my favorite song. Just kind of straight through. I don't like those two bits that he added in, but I can't keep digging Peter all the time. I'm just gonna say six is a crush cross. Make it easy. [00:53:21] Speaker B: Savino's getting soft. [00:53:23] Speaker C: Oh, no. I mean, I just. I feel again, I feel badly, right? I mean, being a fan of the guy again, I think he's trying his ass off on this record. Whatever happened, happened. And again, this is. This is our opinion, right? There might be people like, you know, what the hell are you guys talking about? Like, this is great. Okay. I can't keep dinging. I could give a five in the arrangement because I don't really like those two parts. I don't think it ruins overall song. [00:53:46] Speaker A: So Frank, towards the end of that song there, whoever were kicked in, in the background vocals, it sounded a little bit like Small Stanley. Who was that kicked in? Do we know who sang back up with him? [00:53:57] Speaker B: I don't know if it says we're saying background vocals on that? [00:54:00] Speaker A: No, he didn't. No, he was nowhere near there. [00:54:02] Speaker B: No, it's not him. [00:54:03] Speaker C: I don't know that Paul Stanley would have helped him out on this record. [00:54:07] Speaker A: And Ace played this song too, right? [00:54:09] Speaker B: Yeah, he had all the lead guitar. Yeah, lead guitar. [00:54:12] Speaker A: I think I'll go with Sav. Six of the Cross. I mean, so far, it's been my favorite song. Like, the lead lyrics about it obviously has some sentiment there. Liked it a lot. The arrangement. This one's better produced than the other songs. I don't know who may have produced this specific song, but better than we've heard so far. So, yeah, I would st on this one. Six across. [00:54:31] Speaker C: It almost reminds you a little bit of something that could have been on his first solo record with Kiss. There's a little bit of that sentiment to me. So maybe that was it too, because there are some parts of that record which I thought I never liked until I listened to it again. I'm like, oh, some decent stuff. And it's two songs, actually. Really? Like on his solo album. I'm sorry, the first solo album, if we ever get to that. [00:54:51] Speaker B: Yeah, maybe we'll get that one. Who knows? So the next one is down with the sun. [00:55:36] Speaker D: Again. I don't care anyway. You got to deal with yourself someday. If you refuse it, you can lose it. You know you love that water you going down, down. [00:56:10] Speaker C: Sounds like if someone finally gave Gene Simmons a drink and they said, here, just sing this line, that riff. I think if you sped it up, it would be Starseed by Our lady peace. [00:56:20] Speaker B: Yeah, it's 90s. [00:56:22] Speaker C: That beginning part is the 90s. But once he kicks in, then it's not 90s anymore. [00:56:26] Speaker B: Once he gets in, it's very, very solo album. Ish. Like, first Kiss solo album that he did. Just the groove of it. I actually don't mind that part of it, actually. I think that's one of my favorite parts so far in the record, that little one verse. And his voice is really good on this. [00:56:41] Speaker C: Yeah, his voice has been good on everything. He's. He's singing within his range. Right. There's no straining. There's none of that where it's like, oh, let me. I mean, again, I think his voice is the star of this record. [00:56:54] Speaker B: His voice sounds really, really good. So the verse is, hey, baby, how you been? I hear you're running around again. I don't care anyway. You'll have to deal with yourself someday. If you abuse it, you can lose it. You know you love that Dirty water, you're going down with the sun. Going down with the sun. [00:57:11] Speaker C: All I can think of when he says dirty water is dirty water. Dogs from New York City. [00:57:15] Speaker B: I know. Me, too. [00:57:16] Speaker A: Me, too. [00:57:17] Speaker C: Yep. [00:57:18] Speaker B: All right, here we go. [00:57:22] Speaker D: Down on me any town. I really don't mind it. I really, really like it. The way you look at me really takes me aside. You love the way she moves it. You know you love down with the sun. You're going down with the sun. [00:58:05] Speaker B: More of the same, yeah, it is what it is. If you got emotion and you got the notion you can go down on me anytime time, I really don't mind. I really, really like it when you look at me. It kind of shakes me inside. [00:58:23] Speaker C: I take a look at my enormous penis. [00:58:28] Speaker B: Yeah. [00:58:31] Speaker C: I didn't realize that that's what he had said. [00:58:33] Speaker B: What did you think he said? [00:58:35] Speaker C: I don't think I was paying attention, honestly. He kind of lost me after the beginning and only came. Here is Gene Simmons again. I just picture them, like, arm in arm, and Gene Simmons just passed out and. And he just hands in the mic, and every time he puts the mic next to Gene, he's like, down with the sun. And he puts his head back down and then he sticks the mic again and he says it again. Yeah. [00:59:02] Speaker B: Oh, boy. I read it the first time I went. They didn't just say that, did he? Oh, yes, he did. He won't say, but he'll say that. That's fine. Excuse me, but I think a modicum. [00:59:13] Speaker C: Of gratitude would not be out of line here. [00:59:15] Speaker B: Oh, boy. Okay, here we go. Solo. [00:59:33] Speaker D: It. [01:00:00] Speaker C: Was it me or was that solo really low on the mix? [01:00:03] Speaker B: It's lone, the vix, it's very trebly. It's not bad, though. Like, the actual guitar one is pretty good. Yeah. [01:00:09] Speaker C: Yeah. It's just so low in the mix. [01:00:12] Speaker B: Mike McLaughlin, that's the guitar player. So he's doing pretty good. I mean, again, production, all this, and his drumming on this, a little bit better, I think. [01:00:21] Speaker C: Well, he does a couple of extra kicks on the kick drum, which is nice. But again, I think that they sound like a machine. Shame could have been programmed. That's where I definitely. I mean, if I have to say, his voice is number one, the drums are towards the bottom. I mean, I don't know what condition he was in. I know he had to do some reconditioning when he played with Kiss. And then obviously he had the carpal tunnel thing. I mean, if this is what he could do based on that, then fine. I'M not going to begrudge him that. But I do think that he lacks that Peter Chris groove. Right. The thing that kind of set his era apart from the others stuff. So that's, you know, as a drummer, it's. It's disappointing. But again, if this is what he could do, depending on what was going on at that point, then I, you know, I won't knock him for that. [01:01:04] Speaker B: Yeah, it could be. And again, maybe this. Like we said in part one, if this was recorded on dad, we could understand why this doesn't sound great. It's very possible, especially if he was doing it on the cheap. He couldn't afford maybe to do it on 2 inch tape at that point. And maybe he did it on digital tape. And digital tape, when we recorded on, it would sucky. So I could just imagine that it wasn't much better for anybody else. [01:01:27] Speaker C: But, I mean, specifically to me, if you listen to the snare sound, it's not a bad sound, but it doesn't sound real to me. But I'm assuming it is. Again, it just could be the hookup or whatever. [01:01:37] Speaker B: Yeah. These times it's real. It could just be. The production just sucks. [01:01:40] Speaker C: Yeah. [01:01:41] Speaker B: All right, here we go. [01:02:41] Speaker D: Yeah. Down with the sun, baby Jump on that thing. [01:03:37] Speaker C: I think that that end part is, to me, the best arrangement for the whole album. I just think with his vocal, the guitar just keep going. It was a bit long. I think it could have been a little bit shorter, but I just think it was the fullest sounding this whole album has been like. I really thought they nailed it there. For me, the production, again, is a little bit whatever, but just as far as everything coming together, I just thought it was really good. Even the down with us. Like, I really felt like they nailed it on. On that one. [01:04:06] Speaker B: You know what I was gonna say. I hated that part so much. You know why, though? I'll tell you why. Because they went and did the beginning bass rift, but there was too much on top, but you couldn't even hear it. Yeah, I wouldn't have minded if they would have did that part out of the solo and did the bass part and then came back in, then did the lead stuff. Maybe that would have been better, but I heard the thing underneath I and went, why? Why are they still playing over it? I thought, wouldn't they want to stop it there or come into that part? Did you hear the actual stuff he was saying at the end? [01:04:36] Speaker C: Was he saying, put your lips on it? [01:04:38] Speaker B: Yes, we get on top of it. I like the way you do it like that. It just takes the name of the song now, down with the sun, to a whole nother level of stuff. [01:04:48] Speaker C: Yeah, I'm guessing it's. Yeah, it's kind of, you know, Gene Simmons is like, good job, Peter. I like these lyrics. [01:04:56] Speaker B: Yeah, he be. He'd be really happy with that. [01:05:01] Speaker D: You like that, huh? [01:05:03] Speaker B: Frank, what you think of that? Down with the Sun. Now you know what down is, you. [01:05:08] Speaker A: Know, not as good as the MLE Crew version, that's for sure. They. You know, I like the music of this song. I think it's by far the better one. The guitar was great. [01:05:19] Speaker B: So why don't you go first then. [01:05:20] Speaker A: For the lyrics and the melodies. I mean, I'm going to give that a five. I don't know. I mean, I guess it's okay. It's funnyish. I guess it wasn't one of my favorites. I'll give that a five. The music I liked a lot on this one. I'm gonna give the music A7. The guitar was really good. The arrangement, I'm gonna give that a six. And in the production again, I think this is one of the. By far one of the better produced songs, so I'm gonna give that a six. [01:05:48] Speaker C: So nice. Lyrics are horrible. This has nothing to do with any of the stuff. It's just the, the. The rhyming. They're all just rhyming to rhyme. So, I mean, if I've given other stuff four, I'm going to give this a three. I mean, if you got emotion and you got the notion music, the more it went on, the more I liked it. So again, I have to throw some bones here since some of the other stuff was so low. So I'll say a six on the music. I'll say a five on the production. I still don't think production was good. I'm gonna say a seven on arrangement. I, I have to give it something. I mean, I, I like that part. I do hear what you're saying, Mark. Absolutely. They probably could have done it different. I just. Again, for me was just a bit long, but it was the fullest sound I think they got on this whole record so far. Melody. I'll say a five on them. The melody wasn't that great, so I'll say a five on the melody. [01:06:34] Speaker B: Mark, this song, for whatever reason, everyone's in all different places here. It's so strange. Lyrics. Yeah, they're not great. Motion and notion, I'm going to say four. I like, like the melody, I think, a little bit better. I'm gonna say a six. The music is good. I can't fault the music. I'm gonna say six. The arrangement, though, where they just. He just played over everything and they didn't, like, get that bass part back again. I'm gonna give that a 4. And I don't like the production on this thing whatsoever. I'm gonna give it a four. It's so weird. Savino's giving higher stuff for Peter, Kristen, me. This is just not. There's something wrong here. Here. [01:07:11] Speaker C: Well, listen, if you consider. I mean, honestly speaking, have any of the songs made the playlist? [01:07:17] Speaker B: Well, there'll be a. There'll be a playlist. The bar has to be set a little bit lower, otherwise. No, no. There would be zero songs on the playlist if it was at the normal level. But I have to give it a little bit of help because if I don't give it some help, we won't have a playlist. [01:07:30] Speaker C: That's the thing. I mean, again, if. If you look at the scores, it's more about production and arrangement than anything else. I mean, lyrics I wasn't expecting. You know what I mean? Like poetry or whatever. So the lyrics, I don't even care. I think music overall is probably better than I thought. And no ding on him, but, yeah, this production and arrangement is really where it's losing it. [01:07:51] Speaker B: Okay, so one more song before the big song. This is. We want you. [01:08:17] Speaker D: Don't turn your back, we'll make you pay. It's true. You gotta take a stand, you gotta breathe. It hurt, baby, don't hold back don't take the world, you know it's true. The time has come. Stand up. We want you. You know we do. I know you know want you. [01:09:02] Speaker C: Yeah. Oh, my Lord that we want you was like Joe and Jet. Is that what I'm thinking of? [01:09:11] Speaker B: It's so bad. [01:09:12] Speaker A: Yes. I love rock and roll. A little bit of that in there. [01:09:15] Speaker C: Is that. [01:09:16] Speaker A: Yeah, I hear a little bit of rat in there. [01:09:19] Speaker C: I hear rat. Rats scurrying away. [01:09:23] Speaker B: Running away. Running as fast as they can away from that. [01:09:26] Speaker C: But, I mean, you. You hear the drums. It sounds like someone is demoing to a drum machine. There's no power behind the drums whatsoever. The vocal, I don't know what that tone is. And this is so much. I mean, Frank, you want to talk about Shadow of Kiss? This is one of those, right? Kiss anthems, Fist in the Air kind of what it's trying to be. But again, I love it loud on Creatures of the Night versus I Love it. Lo on. Smashes, trashes. That's what it should be, but that's what it is. [01:09:56] Speaker B: Do you know what I'd rather hear instead of this? [01:09:58] Speaker C: I could think of so many things. What are you thinking of? The drums sound better in that song. [01:10:10] Speaker B: It's so bad. It's so bad. It doesn't even want to be a Kiss song. It wants to be something else. The vocal of the bass player is not great here. I just don't know know what's up. [01:10:21] Speaker C: I'm saying, right? This technically is a rah rah anthem, right? It's the last song and it's like, Peter, why the hell are you not singing this? [01:10:28] Speaker B: Yeah, I don't know. [01:10:29] Speaker C: He had nothing to do with this. He didn't write this according to a website I'm sewing. [01:10:34] Speaker B: Oh, that makes sense. Yeah. I don't even hear him on background vocal or anything. [01:10:39] Speaker C: It's bad. [01:10:40] Speaker B: Okay, I'm gonna read it. Here we go. Let me break it down. I've got something to say. What is that from? [01:10:46] Speaker C: What isn't it it from? [01:10:47] Speaker B: I know that's the answer. Don't turn your back or we'll make you pay. You know it's true. You got to take a stand. You got to be heard. Baby, don't hold back. We're going to take the world. You know it's true. Time has come to stand as one. Oh, you're right. This wants to be like the Kiss anthem. [01:11:05] Speaker C: Yeah. [01:11:06] Speaker B: Oh, it just sucks. [01:11:07] Speaker C: Latter day Kiss anthem. [01:11:09] Speaker B: But listen, let's put the ex in sex as a better song than this. This is bad. [01:11:13] Speaker C: Yeah, probably. It's definitely better produced. Produced. [01:11:15] Speaker B: No, it's a better song. No, it's a better song. We want you. You know we do. I know you know we want you. Or something like that. [01:11:23] Speaker C: I know that you know you know that I know. [01:11:27] Speaker B: And then you make a song called we want you. And Kiss has a song called I want you. Someone should have said, maybe we should call this this. Maybe we should change this up. Is nowhere in that thing. [01:11:38] Speaker C: I didn't even think about that until you mentioned that it's. That's bad. [01:11:42] Speaker D: I wanna ride. Look, it's rock and roll. [01:11:45] Speaker B: I can keep playing these all day. Here we go. Let's continue. [01:12:00] Speaker D: Every chance you take to help us out a little is going to bring you to the center of the circle in the middle. Break. It's no we do. I don't. You know we want you. We want you. You don't want know it's true. I Know, you know. [01:12:48] Speaker C: Doesn't get any better. [01:12:49] Speaker B: It's so bad. I don't even want to read the words. That's how bad it is. Okay, you ready? Together we stand Divided we fall all. You gotta push to see it all and break it through Every chance you take to help us out a little, it's gonna bring you out to the center of the circle in the middle, you know it's true Time has come to stand as one. Oh, boy. It's horribly written. [01:13:15] Speaker C: Frank, you've been quiet. What do you think so far? [01:13:17] Speaker A: I'm sorry, I'm just stunned. [01:13:19] Speaker C: So I'm just speechless, but not in a good way. [01:13:24] Speaker A: I wonder. I wonder if this is like we're missing a trip track. Let's just put something. And this is what happened. [01:13:30] Speaker C: I don't know. You don't know the order they were written? [01:13:33] Speaker A: Yeah, don't know the order. But it feels a little bit like a filler song. Hey, we need to get one more in there. And this is it. Throw it in there. [01:13:40] Speaker C: Honestly, if you told me that the guy wrote this, it was him and the drum machine and he just played the string instruments, I'd be like, yep, that makes total sense. I mean, unless Peter kicks in somewhere. [01:13:50] Speaker B: I don't know. [01:13:51] Speaker A: I don't know what they were thinking. [01:13:52] Speaker B: All I know is I came for a Peter Chris song and this is what I got. I turned Peter Chris on and I got Rick Astley. I'm like, what the. [01:14:06] Speaker C: I wish we got Rick Astley if that was the last song on this album. [01:14:09] Speaker B: Like, damn, yo Tens, just so bad. [01:14:14] Speaker D: How would you like to suck my butt? [01:14:16] Speaker B: All right, here we go. Solo. [01:14:44] Speaker C: Best part of the song. [01:14:45] Speaker B: I was just gonna say. And it was very Ace. Frailish. [01:14:50] Speaker C: It was. I was gonna say that too. I was like, that kind of reminds me of Ace Fraley, but let me not say it. [01:14:56] Speaker B: That was true. That's the best part of the song. [01:14:58] Speaker C: Absolutely. [01:14:59] Speaker B: And you know what's coming off after this? Because this would be. This is so maybe eight years too late. It's eight years too late. This should be like 1986 or 1985. [01:15:09] Speaker C: Yeah, that would have sounded better. [01:15:11] Speaker B: The style of this is very. Then there's nothing here that says Peter Chris is on the scene song. [01:15:16] Speaker C: Yeah, I don't think he is. I really don't. [01:15:18] Speaker B: He might not be. [01:15:19] Speaker C: I don't hear him in the background. Nothing. [01:15:22] Speaker B: Let's try to finish this out, cuz it's just a painful. Here you go. [01:15:28] Speaker D: We want you. I ever going to realize we're all in this together Time is going to stand up on me Want you, you know we do I know you know we want you, we want you, you know it's true I know you know who you are we want you, you know we do I know you know we want you, you know it's true. [01:16:44] Speaker C: You know what else? It reminds me of a bad version of We Got your Rock when it's, like, right here, right? He's like. Like that part of it, and it almost sounds like he's giving it, like that kind of lazy Ace Fry vibe to his vocals. He's like, oh, brother, this guy stinks. I thought that was Frankie saying that, actually, when I first started. [01:17:08] Speaker B: I'm going first just because I have to go first do it. I've never given this low of a thing to anything we've done, ever. I think I'm going to go. I hate this song so much that I think I'm going to go ones across. Hate it. I hate it. Even the guitar solo, which is okay and saves it for me almost. I hate the song so much that I didn't want to read the rest of the lyrics of the song. Whatever was left. I don't even want to read it. It sucks. It's definitely. There's no Peter Chris here. This is just like Frank said, this is filler. It's a filler song and just sucks the big one. All right, go ahead. Everyone has to be better than me. Saf. [01:17:48] Speaker C: I was actually going to say threes across. I don't know why. Maybe I'm giving it a Mercy 3 thing. I don't know. I just. I don't get it. I. Again, I don't understand. Here's a ding. When. What's his name? Is it Todd Howarth? Is that his name? Okay, so when he wrote a song and. And just sang on it again on. On Second Sighting, I thought his songs were really some of the strongest on there. Like Without a Doubt and even Remember Mark, we. We got to see them Four by Fate and I mean, he sounded good and it was good hearing him play his songs from the Ace Frehley album. I think they're really strong songs. Strong melody. Obviously, the production was better, the musicianship was better. And then this guy comes around. I'm just like, pete, dude, what's going on here? I don't understand that at all, Frank. [01:18:35] Speaker A: It was just very. I don't know. It's. It's just one of those. I. I truly think this is a filler song. It was Done very lazily. It wasn't. I don't know, man. Mark gave it one. Savino, you gave it threes. [01:18:48] Speaker C: Yes. [01:18:48] Speaker A: I think I'm gonna go with two across. There you go. [01:18:52] Speaker C: I'll give him threes as a dedication to. To Peter Chris. That's my logic. That's my excuse. I could probably give it twos as well. I just. Yeah, that was. I don't get it. [01:19:04] Speaker B: I've never viscerally hated a song so much than that song. The solo. I could have given it a little for the solo, but I didn't want to give it for the solo because that thing didn't need to be on this record. They could have just left that. The off. It has nothing to do with Peter Chris. This. It's a wannabe song from mid-80s, bad fifth level band that someone just decided to sign because it sounded like what was selling at that time. It's horribly bad. There's not one good redeeming quality in that whole song for me anyway. [01:19:34] Speaker C: Horrible. [01:19:35] Speaker B: Okay, so here we go. So this is Beth. This is an acoustic version of Beth. At least. Hopefully we get a little cleansing out of our system of that fucking thing. [01:19:44] Speaker C: I hope you think this is as good as the. As the Beth from Kiss Me's Phantom of the Park. [01:19:50] Speaker B: I don't know. Maybe. We shall see. Here we go. [01:20:10] Speaker D: Beth. I hear you calling But I can't come home right now Me and the boys have been playing and we just can't find the sound Just a few more hours and I'll be right home to you I think I hear them calling oh, Beth, what can I do? Beth, what can I do? You say you feel so empty that a house just ain't a home I'm always somewhere else while you're always there alone Just a few more hours and I'll be right home to you I think I hear them calling but Beth, what can I do? Honey, what can I do? [01:21:25] Speaker C: This makes me appreciate our version more. I think production wise. I think it's good. I do. I think the. I think the acoustic guitars sound good. I think this is his worst vocal on the record though. I don't understand. I'm so disappointed by it. [01:21:39] Speaker B: It sounds like he is struggling to sing the song. [01:21:42] Speaker C: Oh my God. I mean, he's belting out the rest of the. And he. And he this up. I don't get it. Pete, right? It's not just me, right? [01:21:50] Speaker B: No, no. And the vocals are mixed so far front that everything that's wrong with the. You hear everything that's right. It needed to be backed out a little bit. Like, he's around with the melody a little bit and the timing, which is fine. [01:22:03] Speaker C: But he has so much emotion to me, even in the worst of songs that we've rated his voice again, I think we'll all agree is. Is the star of this record. I hear the acoustic, I'm like, okay, whatever. I said okay, but it sounds good. And then he starts singing. I'm like, dude, really? This is where you kind of lose it. [01:22:18] Speaker B: I don't know. Frank, what do you think? [01:22:21] Speaker A: I mean, I'm not as passionate about Savino is, you know, about how. How disappointed he is. The guitar, the acoustic part of it, really great. When it opens up, I'm like, oh, okay, great. We're gonna end strong. And then he comes down and starts singing. You're like, wow, okay, dude. [01:22:36] Speaker C: I mean, Mark, what do you think of the guitar? [01:22:37] Speaker B: I think it's okay. I do think I like other versions. I've heard of Beth that has played acoustically. I mean, the unplugged version of Beth is pretty good. You know, it's fine. That's not the problem here. I mean, I could deal with the playing of the guitars fine. I just can't believe that his vocals are sounding like this after his vocals have been great through the whole album and you get to the song where it's his signature song, Someone didn't go to him. Dude, you gotta do that again, because it's not sounding good again. Does anyone have that ability here? I don't know. Probably not. I don't know. I'm a purist when it comes to these kind of things. And I'm not liking that he's mucking with the melody a little bit. I mean, I guess it's his song. You can do whatever he wants. He wrote it. I wish he would have just stayed true to it and sang it well, did that and ended the record this way. I just feels like he's struggling to sing this. [01:23:25] Speaker C: Yep, absolutely. Which makes no sense. [01:23:27] Speaker B: It's bordering almost. Not in key bordering. [01:23:31] Speaker C: It's almost like karaoke, but it's karaoke. [01:23:34] Speaker B: Chris. [01:23:34] Speaker C: Honestly, I'd rather he would have done like a swing version and just belt out the way he did the rest of the record. Even if you would have hated it with, like. Well, Lisa's voice sounds good. I mean, Pete, dude, come on, man. [01:23:45] Speaker B: Sereno's upset how you this up. [01:23:47] Speaker C: But think about it, right? I mean, this is. Listen, I've always liked this song. I've always Been a fan of Beth. I think it's a good song. I think the album version of it with the string arrangements and everything and. Yeah, listen, has he always been great singing it live? No, again, just. I don't know if. If you're going to put this on the record, I say, hey, here's my version of it. Here's a simple version, what I can do with it. And maybe that's the thing too. Maybe I'm. I'm always kind of in his corner, no matter what is said about him or listen, he admits it too. It isn't as if he says he was a saint and everything. It's almost like I'm putting this here to kind of prove a point. You let Eric Carr sing my song, and it may have nothing to do with it, but no matter what, I feel like you got to shine a bit. [01:24:30] Speaker B: Well, it's recorded. You have another chance to change it. You don't have to leave it like that. Unless he thought he did it. Well, I don't know. It's possible, I guess. [01:24:37] Speaker C: If anybody listens to this podcast, please tell us. Tell us we're wrong. Tell us why we're wrong about this. [01:24:44] Speaker B: Yeah, I don't know. All right, let's finish it out. Here we go. [01:25:26] Speaker D: I hope you'll be all right. Cause me and my boys will be playing all night Whoa, whoa, all night Whoa, whoa all night. [01:25:58] Speaker C: I mean, I think that last verse was his best without the wo. I didn't really like that part, but I felt that there was a little bit better there. Mark, what do you think of the. The guitar solo piece? [01:26:08] Speaker B: Listening to all the guitars a little bit more now? The guitars are not the problem. The guitars are fine. They're good. The guitar solo was good. He was trying to kind of cop what happens in the orchestration version. So that was good. And that last verse was the best. But the whoa whoa's at the end. I don't. [01:26:23] Speaker C: Yeah, I don't like that. [01:26:24] Speaker B: I'm not liking that at all. I would have liked him just to sang a good strong version of this. It didn't have to be any different. It just had to be, hey, look. Look what I still can do. The Eric Carr version is superior to this, and I don't really like that one that much. [01:26:38] Speaker C: At the end of the original bet, right. He had said high note. Right. All night riding high. And it's sounds based on the way he's singing on the other record. He could have done that. [01:26:46] Speaker B: Oh, yeah, yeah, he's. His singing was Fine. Well, since you have such a big opinion about this, you can go first. [01:26:52] Speaker C: We're rating this song then. [01:26:54] Speaker B: Yeah, you can rate it. Go ahead. [01:26:56] Speaker C: All right. Production wise, I think it's probably the best produced. I think the guitars are clear. I really like the way what they're doing and everything. I think they did a really good job, like, recreating it on acoustic. So I'm going to say an 8 on production because I've pissed all over the production for the rest of the. The record. Melody is great. I'm going to say Nate on the melody. This has nothing to do with his singing, though. This is based on the melody of what Beth is. But he did change it a bit, didn't he? Dude, man, this is hard. It's Beth, right? Ah. I'll say seven on the melody because most of it is there. Arrangement is fine. I mean, it's really. It's a replica of the other ones. I'll say an eight on the arrangement. Lyrics. I'll say six. They're fine. Fine. I'll say it on music, too. I mean, I think the guy did a really good job. I don't know where to fault him not putting his heart. It didn't feel like his heart was in this one until the last verse. I don't know where to fault that. I don't think it's a bad version. I just think that he didn't bring his A game to this one, which I thought of all the songs, this is the one where he would have just really listened the one about his mom. But I don't think it's a bad version. Musically, it's really good. They did a really good job recreating what was in the original. The original mark. [01:28:07] Speaker B: All I can do is maybe knock the whole thing down. Overall, even though it's probably not my best way of saying I don't like the vocal because normally, probably if I rated this on the record, I would probably give it eights or nines. It's a great song. I'm gonna give it sevens across just because I don't particularly like the vocal and the changes. To me not to say that the music's not great and the production is better here and the arrangement's the same as it was. Musicianship is good. I just don't know where to knock the vocal. So I'm just gonna give it seven across. [01:28:37] Speaker C: Okay. [01:28:38] Speaker B: And then I gotta do this. [01:28:39] Speaker C: Guess who's back? It's quintuple seven. Nikki Titty baby. Wait, is that supposed to be Nick. [01:28:48] Speaker B: Wow. [01:28:51] Speaker C: They're always here in spirit. [01:28:53] Speaker B: He's here in spirit. Well, Steve was here and now he's here. [01:28:56] Speaker C: Oh, I never realized that Dick sounded like James Hetfield all these years. [01:28:59] Speaker B: There you go. All right, Frank, what do you think? [01:29:02] Speaker A: I mean, it's best, right? So lyrics and the melody, I'm gonna give those. I've always liked the song. One of my favorites. The music. I like this. I. I like the playing on that. I'm gonna give that a. I'm gonna give that a 7 for the music part. The production. Gonna give that a seven as well. Yeah. [01:29:20] Speaker B: What. [01:29:20] Speaker A: What am I missing here, Mark? [01:29:21] Speaker B: Arrangement. [01:29:22] Speaker A: Arrangement. I like the orange. Yeah, the arrangement. I'm gonna give that. I'm gonna give that a 7As. [01:29:27] Speaker B: As well. [01:29:27] Speaker A: You know, listen. Not his best performance on there, but, you know, it's not terrible. [01:29:33] Speaker C: You know what the of it is? Even though I got some of the highest scores, I don't think I'd ever listen to that version again. [01:29:40] Speaker B: Oh, no. I'm gonna try to forget that version exists. [01:29:44] Speaker C: Yeah. I'll just go back to the original. [01:29:46] Speaker B: And put it out of my memory so I don't have to know this thing is here. So I'd never have to list. Do it again. A bad version of it. That's all. Just bad version. You can't give the song bad stuff because the song is great. It's just this version of it and the way he's doing it here is just not great. And his vocals have been great to the whole album. [01:30:03] Speaker C: Yeah, that's what I'm saying, man. He's. He's hit good notes. He doesn't really sound like he's straining. He sounds like Peter Chris. And then I just don't get it. He gets to this and he's like, to me and to us, I guess all of us, it's like, Pete, what. What happened, man? [01:30:18] Speaker B: Well, maybe someday we'll get one of the other albums and we can hear how much different those things are. Or a 70, you know, a 78 solo album or one of those things. And see. But, yeah, I'm glad we got this. This is interesting. When it came up, I'm like, oh, we got to do this, because this is. We're rarely going to probably ever get this again. It's just there's not enough of his stuff on here to, you know, warrant skipping it over it. [01:30:40] Speaker C: So out of curiosity, do we have all the solo albums by all the members, like the. The two, Paul Stanley's, the three, Gene. [01:30:48] Speaker B: Simmons, I guess we have the one Gene Simmons on there. [01:30:51] Speaker C: Didn't you do another one or no, maybe I'm wrong. It was just the 78 and yeah, I believe so. I thought there was another one for some reason. [01:30:59] Speaker B: And I have Paul Stanley's Live to Win and I have his solo album on here and I have Peter Chris's stuff and I have Ace really stuff, obviously. And all the solo albums from Kiss are on here. So we may run into one of the solo albums eventually. [01:31:10] Speaker C: We've never officially gotten a Kiss album, but we've gotten two solo albums. [01:31:16] Speaker B: So funny. [01:31:18] Speaker C: That is very funny. Very funny. Listen, I'm. I'm glad we got this. And again, no knock to him. I think at this point they, they did the best they could. Overall, I don't think it's a bad album. I think there's some really good stuff in here that probably, at least with better production would have made a better record. And again, other than Beth, I think he gave his all and obviously other than, than the stuff he wasn't singing on, I really do think he gave it his own. He sounded great. [01:31:42] Speaker B: And this could have been an audition for Kiss, you know what I mean? Because they had done the unplugged stuff like right after this. So maybe they heard him and said, oh, he still can sing. We may have to work on some of his drum stuff because he hasn't played in a while. But you know. But it's great that we got it. All right, Sav, why don't you do your thing? [01:31:57] Speaker C: So we are part of the Deep Dive podcast network again, like I always say, great bunch of guys who took us in. If you want individual digital lights podcast about bands, check them out. Tom Petty, Rush, Judas Priest, I mean, you name it, it's probably on there. So check them out. And Mark, where can they find this on the Interwebs. [01:32:14] Speaker B: Rock with that pod on all the social media. Rockwoodletpodcast.com Please leave us a new Bets idea to put in the wheel. Take a look at the polls, check out whatever else we have going on there. Our merch store is on there. I never really mentioned that, but there is a merch store there. And then, you know, put us on for auto download because we release every Tuesday and give us a five star on every place that you listen to your podcasts because that just helps move us up and more people will listen to us and share us out to other people if you like. What we do next week will be a wheel spin. So that's would be awesome. Can't wait for that to happen. Who knows? Maybe we'll actually get a Kiss album. It could happen. It won't happen because I'm saying it's going to happen. So it's going to do something totally opposite, I'm sure. [01:32:54] Speaker C: You should say you don't want a Kiss album. Like you didn't want 80s and then you got rat after two van hammers. Feelings. [01:33:00] Speaker B: Yeah, I don't want 80s again. And I'll probably get 80s. It's just. It's. The wheel is just. It sucks sometimes. It does what it wants. All right, I guess we'll see you next week. [01:33:09] Speaker C: Ciao. Ciao. [01:33:10] Speaker A: Good night, everybody. [01:33:11] Speaker B: Later. [01:33:25] Speaker D: Sa.