Episode Transcript
[00:00:04] Speaker A: 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 onto the Rock Roulette Podcast.
[00:01:03] Speaker B: Foreign.
[00:01:15] Speaker C: Welcome back to another episode of Rock Roulette Podcast. That's right, the crazy ass podcast that took over 1, 500 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. We talk about the music, the lyrics, the, the production, the melody and the arrangement and we give it scores. Again, just a bunch of friends who love music that wanted to do a podcast. First and foremost, we want to thank anybody who's listening. You know, you guys are coming in dribs and drabs. You're kind of catching up. Some of the stuff that we wouldn't think would have listens, like Peter Chris, we were just talking about has listens. We are a trio tonight. We've got Frank.
My name is Frank and I'm sexy.
[00:02:04] Speaker D: Oh yeah. Hello buddy.
[00:02:07] Speaker C: We've got Mark. Oh, hi Mark.
[00:02:08] Speaker E: What's up guys?
[00:02:09] Speaker C: And I'm sad. Ciao Buena Sierra. Last week we wrapped up the debut album by xyz, an album that is actually pretty well received out there, especially for the time that it came out, 1989, as Hair Metal was wrapping up, they made a decent name for themselves. Overall, I think we said the production that Don Dawkin did was pretty good. Mark, I know you gave it the lowest scores. I mean, I'm not saying we all raved about it. I think it had a little bit of a warm feel to it that some of the other stuff I think back then was lacking. Mark, you did say obviously guitar playing was, was the best thing, right?
[00:02:40] Speaker E: Reduction in guitar playing for me were the best thing. I mean, his singing wasn't bad. It's just his accent sometimes got in the way of his singing. And I think that is what I heard that Don Dawkin had a hard time even getting background vocals done. He tried to change his voice, I think, but everyone kind of knew it was him anyway. I'd say guitar playing. I mean, he's a good guitar player and production was good.
[00:02:58] Speaker C: Frank, what do you think overall, overall?
[00:02:59] Speaker D: Great, solid album to your point. It's one of the last of the metal eras albums that to be released. Like Mark said. Hey, look, there's nothing groundbreaking about it. There were a lot worse albums being released right around that time for sure. Just a lot of groups just trying to make that final push and get their music heard. And it wasn't very well produced or anything like this album. Don Duncan was by far the star of the album and his production, it was decent.
[00:03:23] Speaker C: I wouldn't sit and say, whoa, it was amazing. And whatever I would say, at least half of it is definitely listenable. It was something that I was glad that we got. I was probably the most familiar with it. Like I said, it was kind of a transition album for me between that and Danger. Danger, that kind of came around the same year as far as me kind of letting go of the hair metal scene. Well, we do get to spin again tonight, which is always awesome. We usually have the new BET segments. I know Frank has picked something this week. Are we still going to do the intro music?
[00:03:50] Speaker E: Yes, sir. Here we go.
[00:03:52] Speaker C: In a world where new music is not easy to find, welcome to New bets.
Frank, do you want to announce your pick? No.
[00:04:12] Speaker D: You do such a great job.
[00:04:13] Speaker E: You do.
[00:04:14] Speaker C: Thank you. Frank has picked Rabbit Hole by Chevelle. Chevelle, who made a name for themselves. They're a trio. I actually saw them live on a mix tour at Jones beach in New York. And they made a little bit of a name for themselves kind of in that early 2000, I think. Post grunge era, if I remember correctly. I haven't heard a lot from them. I'm very curious.
[00:04:33] Speaker E: This is Rabbit Hole by Che.
[00:04:56] Speaker B: Survivors now reap what they somehow stole don't give them an inch I heard a change has begun how long you been to cowards?
Your fevers evolved I won't become you Come in Is it evidence? Clashing with confidence don't give him an inch it's just words how you meddling to catfish the double mint the final abyss Lighthouse Change has begun I won't count Cowards, your fevers evolved the town has fallen over they weaken your wall Accept the accept I heard change has begun how won't you ventures your favors you fall the down has fallen over they weaken your walls Accept the new world don't accept what you conspiracy.
[00:08:41] Speaker C: Here'S what I'm going to say you guys may or may not agree. I think there's a better song there. I think it suffers from the production. I don't like the production of that song at all. I think it's horrible. I think the main riff is cool. I like the melody. I think there's something really good there. I also don't like the way the drums are played, let alone how they sound. I think they need to be a little bit fuller. The beat needs to be fuller. It could grow on me. I'm disappointed because I think there's something really good there. But it suffers more from that then the songwriting. What do you guys think?
[00:09:12] Speaker E: I wasn't really paying attention to that. Now that you're saying it. Yeah, the production is a little janky. It's okay.
[00:09:17] Speaker C: It felt empty to me.
[00:09:19] Speaker E: The vocals are really far up front, but maybe that's what they want.
[00:09:22] Speaker C: Frank, what do you think?
[00:09:23] Speaker D: I'm with you. I was expecting a little bit of a warmer, deeper sound maybe. I don't know. It's very vocal, forward. There's something off about the song, the production. You could hear that very early 2000 New metal sound in there. There's something off about it. I don't know what it is.
[00:09:39] Speaker E: Well, let us know what you guys think. Do you like not like it? Does it sound like the Chevelle you remember, or is this something you don't like? Reach out on social media. Tell us what you think. Right, let's rubber stamp this. Here we go.
[00:09:51] Speaker C: My name is Frank.
In a world where new music is not easy to find.
[00:10:01] Speaker D: Welcome to New Bets.
[00:10:14] Speaker C: So now we get to spin the mama wheel. Are we placing bets? I'm gonna tell you what I would like something heavier. I think I've said that. You know what? I don't even know if it needs to be new heavy. It could be old heavy, but just something a little bit on the heavier side. That's what I think. Mark, any wants or no matter what.
[00:10:29] Speaker E: She does, I'm still going for 90s. I still want a real 90s grunge album. Early 90s is what I want.
[00:10:35] Speaker D: Frank, I think we're gonna get Chevelle im.
[00:10:39] Speaker E: That'd be funny.
[00:10:40] Speaker D: That would be fantastic. Oh, wow. I think we're gonna get something heavier. Probably from the early 2000s. Something heavy from the early 2000s. Maybe an Aussie 2000 album.
[00:10:50] Speaker E: That would be cool.
[00:10:51] Speaker D: Yeah.
[00:10:52] Speaker E: All right, are we ready?
[00:10:53] Speaker C: Ready.
[00:10:54] Speaker E: All right, here we.
[00:11:14] Speaker C: Ladies and gentlemen, if you listen quietly, you can hear Mark orgasm.
[00:11:18] Speaker B: Look, it's rock and roll.
[00:11:20] Speaker C: Wheel has Officially on its own, picked a Kiss album. Mark, do you want to announce what it is, since you have never really gotten the chance to do so?
[00:11:28] Speaker E: Yes. Kiss Music from the elder. Oh, my God. Of all the records to get. I really can't believe that this is what we got.
[00:11:35] Speaker C: I think this is an underrated gym. Let me rephrase that. I don't think it's an underrated gem because I think amongst Kiss fans, it is an appreciated album. Album, no matter how it's spoken of by the general populace and even maybe the band. I have to tell you that from day one, listening to this record, I've always enjoyed a decent amount of it. Frank, do you remember this record? Listening to this, I haven't heard in.
[00:11:59] Speaker D: A very, very long time. Probably the last time I heard it was in Larks Hyundai.
[00:12:06] Speaker E: I would never expect this album to come up. If it was going to be the one to come up. I would think this is one to come up just because there's so much to talk about.
[00:12:14] Speaker C: Are you happy with this pic, Mark?
[00:12:15] Speaker E: I think so.
I'm not sure.
[00:12:18] Speaker C: I think it should be fun. Oh, and then you have to. You have to find the right tracking so it makes a little bit more sense.
[00:12:25] Speaker E: Yeah. I think we'll do the European version, which is more sequenced to be in the flow of what the actual album should have been, as opposed to the US version, which ended up just having heavier tracks at the beginning. And that was done because they didn't really know what to do with this album when they got it. So they tried to put the heavier tracks up front.
[00:12:39] Speaker C: Front.
[00:12:40] Speaker E: So for people who don't know, this was their foray into concept album. Now, I do agree with a lot of people, they say it's not a bad record. It's just not a great Kiss record. I agree with that.
[00:12:50] Speaker C: I have an opinion about that. I think it is a Kiss record. Well, it's not a good Kiss record, but it is a Kiss record. Right. It's something that they did. I think it's something different that I think at least having my memory of it worked out well. Whereas there's an album that was purposely done later on in their careers in a style that people appreciate. And Mark, I know you appreciate that I don't really like. I think this kind of worked because they were showmen. Right. I mean, this is a showy out. And I know a lot of people say, well, it's the most basic story of the hero's quest. I think they did something interesting. They kind of Stepped out of their comfort zone. Even though there is some Kiss in here, I think. I think it's a bad Kiss record.
[00:13:31] Speaker E: I think the biggest problem with this is that it was supposed to be a movie and they didn't include any of the dialogue because I think dialogue was recorded for in between songs. I think if that would have came out in the record correctly, I think would have made more sense. I just think it feels a little disjointed because I think a. They resequenced it a little bit with America from what it was sequenced in because it didn't really make a lot of sense. I think that's kind of the problem too. This is the first record that Eric Carr played on. Who knows what he was thinking about this. He thought he got into a hard rock band and he ended up with the Elder, which is kind of be kind of funny, but I think his playing is really good on this album.
[00:14:04] Speaker C: Yeah, I think it's good too. And it's produced by Bob Rezeron, who had come off the wall. You may have realized this listening to the K3 guys. Bob Ezran produced three albums for Kiss. Correct. All three had different drummers. Destroyer, Elder and Revenge.
[00:14:19] Speaker E: Yep, very true. He had all the drummers. Technically, it's kind of funny.
[00:14:22] Speaker C: There are definitely shades of Pink Floyd in some of this.
[00:14:25] Speaker E: For sure. He was just coming off that. I know drugs were blowing on his side really bad. So I don't think he made all the best choices. Again, it's not a bad album. I know some Kiss fans don't like it at all. Other Kiss fans are with me, and they're like, okay, so this is not a Kiss album. It's not a bad album as far as Kiss goes. We're like, okay, this is the outlier album. Album. One of the couple of outliers in their catalog. I think it's going to be an interesting listen.
[00:14:48] Speaker C: I think so, too.
[00:14:49] Speaker E: Frank hasn't heard this in a long, long time.
[00:14:51] Speaker D: Oh, since forever and long. Forever and long.
[00:14:53] Speaker E: I haven't heard it. Oh, yeah. Probably 40 years. You haven't heard this.
[00:14:56] Speaker D: Yep.
[00:14:57] Speaker E: I think this is the correct sequence.
[00:14:58] Speaker C: Well, it's supposed to start with fanfare. That's how it's really supposed to start.
[00:15:02] Speaker E: That's how this starts. So this is not the one that was resequenced, I guess, with the Oath at the beginning. I think that's what they tried to do.
[00:15:08] Speaker C: The Oath. Yeah.
[00:15:10] Speaker E: This is gonna be cool. The first track is Fanfare. This is an instrumental. And if you were a Kiss fan back in the day, I'm sure you put this on and went, what the is this? What happened to my band? I don't get it. All right, here we go. This Kiss music from the elder Fanfare.
[00:16:28] Speaker C: I never realized those voices at the end. It's kind of like an enigma as we. For the beat to kick again.
[00:16:36] Speaker E: Without the actual conversation. And whatever's going on here to tell you what's happening. You don't know why it does this. So you're a Kiss fan. 81. You're already coming off of a little bit of a soft album from Unmasked, which is more power pop. Prior one had a little more of a disco flare to it. Not all disco. A lot of the beats in there kind of like that. And then you hit this. What do you do? You probably go, what the. I'm trying to think what I remembered when this came out. I was probably confused too. Too.
[00:17:02] Speaker C: So what was your first Kiss album bought? First to listen. Hey, this is my new Kiss. Do you remember?
[00:17:08] Speaker E: My first technical Kiss album was Alive too, but I think the first album I bought was probably double platinum because I played the crap out of that. As far as new studio album, I believe it was Love Gun. That had to be my first studio album. I'm correct. Trying to think if I had the solo records. I probably did because I think those came out in 78. Probably had a live two and then double platinum and then the solo albums. And then my first real Kiss Kiss album was Love Gun. Obviously I knew about them. They had Kiss meets the Fan of the park, that TV movie, which was pretty cheesy when I was a little kid. They were superheroes. I don't know why I was allowed to listen to Kiss technically, because it was way too young for that. So I have no idea why.
[00:17:49] Speaker D: I think A Life Too was a lot of people's first Kiss album.
[00:17:52] Speaker E: It has the best inside cover of any album ever created.
[00:17:55] Speaker C: Is that the riser?
[00:17:56] Speaker E: Yes, sir. When you open it up and they're on the rises and all the flames. How can you be a little kid and look at that and not go, wow, I want to do that? Because they were superheroes, really, when they were rock star. The kids of my age, I knew.
[00:18:08] Speaker C: Of Kiss, but until I met you, I didn't really listen to them. I can understand when everybody says when you come off something like Unmasked and it's not what people want, this comes on. I guess the way they sequenced it was correct, which is the Oath, which is the way I heard it. I was like, oh, my God, this song is. I mean, we'll get to it. Guess if you put yourself and in that mindset and saying, this is not what I want to hear from them, and obviously talk about damage control, because we did the album after this, which was Creatures of the Night, which is straight up rock. Separating yourself from that, it's fine. It's a cool little intro. Is it mind blowing or I say whoa. I mean, yeah, for them, like, what the hell, it's cool.
[00:18:45] Speaker E: I think that's what it was more than anything. People just didn't know what to do. It just felt like it was going into a weird place. Album before Dynasty was Love Gun. And then you have Dynasty, which has I was Made for Loving you on it. Then you hit on Mass, which is power pop. And then you have this. If you're a Kiss fan, I think at that time, if you're older than me, if you're like five years older than me and you're a teenager already when all this is happening, I think you're like this. Can we even rate this? I don't think you can rate that. Right. We're not gonna rate this, are we?
[00:19:10] Speaker C: Nah.
[00:19:11] Speaker E: So the next song is Just a boy.
[00:19:32] Speaker B: Who steers the ship through the stormy sea if hope is lost and so will we search for one to guide us Some are staring at me But I'm no hero Though I wish I could be too me.
[00:20:50] Speaker C: I know the main thing everybody talks about is the falsetto, and it never really hit me as much as it did now. And I know that he didn't want to do it. From my understanding, he's really upset by it. I guess he couldn't get that high and that's why he had to do it. I think the music is good and I'm. But a fel. Settle is a bit much.
[00:21:11] Speaker E: I think if you're going to criticize anything, the full settle things a little bit much. I think his voice was a lot lower here than it ended up being in the mid-80s when he was hitting really high stuff on, like, Crazy Nights. I don't think he could hit the notes. That's the part, I think, that a lot of Kiss fans are like, oh, like, what the fuck? Because the music really isn't that bad. Again, it's not typical Kiss, but it's recorded very well and it sounds good. And I think that guitar solo is Paul Stanley. I don't think that.
[00:21:36] Speaker C: Ace.
[00:21:37] Speaker E: Ace not. It doesn't sound like Ace. I'm pretty positive that's Paul Stanley. That solo was good. Was short and to the point. I don't hate this. I actually do like this album. But again, I do understand if you're a Kiss fan that's four or five years older than me. Probably just like this. I'm gonna go listen to Van Halen or AC DC or Judas Priest. I'm not gonna deal with this.
[00:21:54] Speaker C: But you can nerd out to this album, though, I think. I don't really hear a lot of people talk about, but kind of nerd out to this record.
[00:22:00] Speaker E: It's a weird thing because it was supposed to be a movie. And again, I think if they released an expanded thing which had all the dialogue in this, think it would sell really well, because then you'd have more of an idea what was going on. Because I don't think anyone knows what was supposed to be in between. So, Frank, what do you think of that?
[00:22:15] Speaker D: I. I'm speechless.
[00:22:16] Speaker C: I don't know. Are you speechless?
[00:22:19] Speaker D: Let's see how this plays out. But right now I feel like that fan who just spent 17.99 at Crazy Eddie and got this album, and I'm like, what the hell?
[00:22:28] Speaker E: Now, here are lyrics. Who steers the ship through the stormy sea if hope is lost and so are we While some eyes search for one to guide us Someone staring at me But I'm no hero Though I wish I could be For I am just a boy Too young to be sailing I'm just a boy and my future's unveiling and I'm so frightened of.
[00:22:46] Speaker C: Failing I never knew he said sailing.
[00:22:49] Speaker E: Me neither, actually.
[00:22:50] Speaker C: I thought he said too young to be seen. Too young to be seen.
[00:22:54] Speaker E: It's the high falsetto that messes you up and you can't figure out what's going on.
[00:22:58] Speaker C: Oh, man. But it's so funny because, again, I've always heard podcasts and people say, the falsetto, the falsetto. I'm like, I don't mind the falsetto, but, God, listening to it now on the headphones and really paying attention, it's kind of funny. I think the words are good. I mean, I think it's setting up a story. They flow well. Yeah. I don't think it's bad. He doesn't do this throughout the album. There's no worry where it's like, oh, my God. He does this through the whole record.
[00:23:20] Speaker E: No, but there are points that you're like, okay, there are points. And the melody's not bad.
[00:23:24] Speaker C: Not at all.
[00:23:25] Speaker E: And production's good. Bob Ezrin. No matter how much coke he was doing at this point, I still think he knew how to produce. Maybe it wasn't pushed in the right direction. He had just done the Wall, so maybe that was weighing on his decision. I think Kiss wanted to be taken seriously, and they thought if they did this, they would be taken seriously. I think it just had the opposite for them, unfortunately.
[00:23:41] Speaker C: If you want to call this. Oh, it's not a Kiss album. I mean, the Wall was done by Pink Floyd, a band that should have done the Wall.
[00:23:49] Speaker E: Yeah. Let's continue here.
[00:24:00] Speaker B: Good. Awesome. Staring at me But I no hero Though I wish I could be just a.
[00:24:43] Speaker C: I hear the sailing now. Is that technically the end of it?
[00:24:47] Speaker E: Yeah, right.
[00:24:47] Speaker C: It goes into the next one.
[00:24:48] Speaker E: Yeah, it just kind of flows into the next song. I think that the lyrics are pretty much the same. While some eyes search for one to guide us Some are staring at me and then back to the chorus again. Again, this is supposed to be made up of things in between and other things going on. And so it doesn't, like, make a lot of sense. I know he really didn't want to do this. He thought it was a wrong move from the get go. And he was probably correct. Technically. This is the last album he was on before the reunion, back before Psycho Circus.
[00:25:12] Speaker C: How much of this do you think is him?
[00:25:14] Speaker E: There's a lot of him on here. He didn't want to go up there and record, so he took the tapes back down to Connecticut where he had his studio. And he did a lot of stuff there, from what I gather.
[00:25:23] Speaker C: Well, I know who I think should go first. First. I think Frank should go first.
[00:25:27] Speaker D: I mean, I don't know, man. It reminds me a lot of while we're in choir class, this song in eighth grade. The whole high pitch and the vocal practicing like that. I don't know where to go with this. Thighs across to me there's not a whole lot there.
How about you, Seth?
[00:25:44] Speaker C: I like the lyrics. It sets up a story. And I can see the character that he's talking about. I'm gonna say a seven on the lyrics, six on the music. Just because there isn't much there. It's not really fleshed out. I actually thought the song was. Was more FL out. I'll say seven on the production, six on the melody. Where do you ding? I gotta ding that falsetto, man. I just. It's never hit me the way it has now. I guess a five on the arrangement. I'll ding it there. I Don't think what he's singing is bad. The melody, it's how he's singing it. I feel bad dinging it there because as arrangement, without that, I probably would have given a seven because I do like the way it flows from the verse into the chorus and everything. Everything. But I gotta ding that somewhere, Mark.
[00:26:26] Speaker E: I think the transitions between the chorus and the verse are very well done. I'm gonna have to ding it there too, just because of the falsetto. So I'd probably give it a six there. I have to ding it a little bit because of the falsetto. I'm gonna give six on the lyrics, six on the melody, six on the music and production. I gave a seven because I think Bob Ezran's still doing a good job, even though he's probably coked out of his mind. Other than that. It's a weird thing again, being a Kiss fan when this was new, it was a weird thing to hear. I don't think I ever hated it. I think I grew and had more of appreciation as it went on in time. I didn't like it as much then. Just like I didn't like Peter Chris's solo album very much when it first came out. I appreciate it more now than I did back in the 70s.
[00:27:02] Speaker C: This was my introduction to this record. Arthur Avenue Feast, One of the games, whatever it was. I don't know if it was dart throwing or ball throwing. The prizes were poster, this was there. And a certain drummer from a certain band that we all knew was like, that is the worst Kiss album ever. Ever. When I finally got it from you and I listened to it and the Oath was the first song, I'm like, okay, this is pretty cool. I mean, overall I thought it was. Was pretty good. I'm like, I don't know if it was because my expectations were slow, but I don't think so because I mean, I have listened to this album periodically and I still like what I like.
[00:27:33] Speaker E: There's stuff on here I really like. I just think execution wise, it was just executed poorly. I think that's really what it comes down to. It should never have been tied to a movie. I think if it was never tied to a movie and it was just songs and you cut some of the songs out that were a little iffy, I think you could have had a better record here. But since it was tied tightly to that movie idea, I think that's what really what screwed it up. Because you don't really know what's going on without the dialogue in the Middle these songs are just coming up and you're like, what the fuck is this? I think that's really where it suffers a little bit. Well, now you know the background story, so that's a little different.
[00:28:03] Speaker C: And I don't know if this has ever been mentioned. If you know or if you don't know and somebody knows who's listening. Maybe not a full blown movie. I'm not talking about Peter Jackson, Lord of the Rings. How about like a quick little animated move, get somebody to animate this shit or whatever, make it into a story, let this thing finally come out and live the way Gene Simmons envisioned it. I can't believe that this really has never, ever, ever seen the light of day. And I'm tell you what, I don't. I don't know about now, whatever, but at a certain point in time, I think it probably would have been a pretty big draw. Straight to video. I'm not talking in the theaters, but I mean, you mark knowing this, wouldn't you be curious to see how this actually came to shape with the songs and whatever?
[00:28:42] Speaker E: Of course, if they had tried to make something now that Kiss doesn't. Not really in control of their stuff anymore. And Pop House really is in control of their stuff, you may see something come out with this. I don't think Kiss themselves, while they were in control, were ever going to touch this and we're ever going to try to make anything out of this because they want to forget about this. As far as they're concerned, it was a low, low point in their career. They didn't want anything to do with this anymore. But now maybe it will happen. It's very possible. Okay, so the next song is. See.
[00:29:38] Speaker B: From a far off galaxy I hear you calling me we are on the galaxy through the realms of time and space in that enchanted place you and I come face to face Once upon not yet open door Someday Countless times we met Let them all away.
[00:30:24] Speaker C: This has never been one of my favorites. Honestly, I'm not crazy about the melody, the music. I kind of picture him dressed as Liberace at a piano and then just kind of standing up and picking the mic right under a disco ball or something. This one as a second song coming from that first one is where I would say, okay, where are we going with this now? Even though story wise, it kind of makes sense. Just a boy now it's the Odyssey.
[00:30:52] Speaker E: I never liked his vocals on this. I don't. They felt like he had a stuffy nose. It always bothered me. And this is a Song that wasn't written by anybody here, this is written by Tony Powers.
[00:31:00] Speaker C: Oh, that's right.
[00:31:01] Speaker E: And that guy played keyboards on it. Nobody in Kiss wrote this, so this is a song that was given to them. It doesn't fit on an album that doesn't fit. Does that make sense?
[00:31:09] Speaker C: But it makes sense. And when you think about the Odyssey, it's almost as if it was written for this.
[00:31:14] Speaker E: Yeah.
[00:31:15] Speaker C: But at least we can say, hey, if the scores are low, so it's technically a cover. I mean, I think it was recorded. I could be wrong. I don't remember.
[00:31:23] Speaker E: I think you're probably right. Frank, what do you think so far?
[00:31:26] Speaker D: I'm with Savino. If they were to make this into more like a video album, maybe it'll make a little more sense to me. But right now I'm completely lost as to why they made this or what the meaning of it so far. That's right now I'm just trying to figure out, is this really Kiss I'm listening to?
[00:31:41] Speaker E: You're not the only one. There were a lot of Kiss fans felt the same exact way. So what you're feeling right now is what every Kiss fan felt when they listened to it. They went, what? I just. I don't get get it. It's funny to have someone who really hasn't listened to this listen to it for the first time and have the same feeling that every Kiss fan had.
[00:31:54] Speaker C: Frank's a throwback fan when everybody talks about this record.
[00:31:57] Speaker E: Yeah, he's feeling exactly. Every Kiss fan felt like, okay, so let me read lyrics. From a far off galaxy I hear you calling me we are on an odyssey through the realms of time and space in that enchanted place you and I come face to face Chorus. Once upon not yet long ago someday Countless times we've met Met along the way I mean, it's not horrible.
[00:32:20] Speaker C: I like the lyrics. They're out there. I like them, though.
[00:32:22] Speaker E: This is maybe the song I like the least.
[00:32:24] Speaker C: I think this was toward the end of the track listing that we heard, the one that started with the Oath. I think Odyssey was toward the end. We can look it up while you play it, but I think it was.
[00:32:34] Speaker E: It's 10 of 12 on the remaster, which is the real sequence. It's number 3, but it was number 10.
[00:32:41] Speaker C: So by the time you got to this, you were probably either saying yay or hey.
[00:32:45] Speaker E: They tried to throw everything, I think, at the beginning, keep you away from this. I think then it just made the album feel even more disjointed. Because it didn't make any sense. At least this sort of kind of makes sense in the storyline. Since the album really didn't have much in it to tell you what the story was. People were still confused. What is this about? These weird songs are here, and why are they here? And is there something supposed to be going on that I don't know about? They really dropped the ball by not putting something inside the record to tell people what this is supposed to be about. About.
[00:33:11] Speaker D: I'm just surprised that they were able to bounce back and still be kissed after this.
[00:33:16] Speaker E: It took a long time.
[00:33:17] Speaker C: It took taking the makeup off, really.
[00:33:18] Speaker E: Right.
[00:33:19] Speaker C: I mean, that's what really bounced them back. I mean, even Paul Stanley said that Lick it up sold more than Creatures of the Night. But Creatures of the Night was a.
[00:33:25] Speaker D: Better record for me so far. It's like the Halloween movies. So you had Halloween 1 and 2 that were great. And then Halloween 3 comes out. You're like, the hell? What's this crap? This is how I feel right now. I'm watching Halloween 3. Except this kiss.
[00:33:38] Speaker C: Don't knock Halloween 3, man. Man, it's not bad. It's not Michael Myers, but it's not bad. I can definitely see that comparison, though, where people are expecting Michael Myers and they get sa.
[00:33:48] Speaker E: All right, here we go.
[00:34:02] Speaker B: As we cross the starry sea Powered by what we see now and then the victory once upon not yet all the ghosts of faith Countless times we met Nothing along the way In a sundress Looking at a rainy sky There's a place in a desert where an ocean once danced by There's a song in the silence Weaving in and out out of time we are notes in the music Searching for Remember. Right.
[00:35:40] Speaker C: I got to tell you, man, I don't know if Captain and Tenel would have done this song. God, this part. That part was really bad, too.
[00:35:47] Speaker E: Yeah, it's the worst song on the record, probably.
I hate his vocals here. I hate them. I hate them. I hate them. Now, that being said, if somewhere someone was making the whole elder thing, you'd be like, oh, they're playing. They're playing Odyssey. You'd be fascinated about that, because no one would ever expect the song ever to be played, ever. So it takes on some weird thing that if someone played it live, you'd be like, oh, it's not as bad as I remember.
[00:36:12] Speaker C: Yeah, there's probably a way of doing it where it's not as 70s grin, even though it's not. This album's 1980, right?
[00:36:20] Speaker E: 1981.
[00:36:21] Speaker C: 81. It feels very 70s, though.
[00:36:23] Speaker E: It's very schlocky.
[00:36:25] Speaker C: This is kind of Fletch Gordon Y to me.
[00:36:29] Speaker E: You forget the Queen did that. That wasn't a great thing on their part either. Let me read lyrics. Through the luminescent night on beans of neon light. You and I in winged flight as we cross the starry sea, Powered by what we see now and then a victory and then chorus again, and then the bridges. There's a child in a sundress looking at a rainy sky. There's a place in a desert where the ocean once danced by. There's a song in the silence weaving in and out of time. We are notes in the music searching for remembered rhyme. The words in the bridge are actually pretty good.
[00:37:03] Speaker C: No, the words aren't terrible. Especially since they're not written for this story. They kind of progress the story. You think about the boy in the first song, and now the boy and the sun dropped dress. And you can picture it. This to me, is where you're watching a sitcom and people are like, I don't want to go see this show. This. This Broadway show. You got to go see it. My friends are doing it. They're producing it. It's great. And then you go see it and you kind of see this. You're like, who's that guy? What's he doing? What's up with the long, flowy hair and the sundress, man?
[00:37:33] Speaker E: And this is not Eric Carr. This is Alan Schwartzberg playing drums, who.
[00:37:39] Speaker C: Played with Paul Stanley on his album, I think so.
[00:37:42] Speaker E: It's very possible. Yeah, I think you're right.
[00:37:43] Speaker C: I was going to say the drums are so boring.
[00:37:45] Speaker E: He does this. He does I. And there's some additional overdub drums somewhere along the line. I can't tell you exactly.
[00:37:50] Speaker C: I like the drums and I. That song, the production on that song is completely different than anything else on this album, if I remember correctly.
[00:37:58] Speaker E: Well, we'll find out. Here we go.
[00:38:25] Speaker C: I thought the tone sounded like Ace. Was that him?
[00:38:28] Speaker E: As far as I know, that's Ace Rarely. He's probably going, what the are we doing? We doing. What the are we doing?
[00:38:33] Speaker C: Still better than anything he played on Peter Chris's solo album. That show is boring.
[00:38:38] Speaker E: This is very true, I have to admit. It's very true. Frank, you still there with us? Have you fell asleep yet?
[00:38:45] Speaker D: I'm just trying to figure this out, like.
So this was supposed to be like. To a movie soundtrack, right? Is that what SAP said?
[00:38:54] Speaker E: It was supposed to be a movie they were putting together and they were supposed to be dialogue in between. Between these things of what I gather that had been recorded. The movie fell apart, I guess, and never happened. So they put the record out, but there's no context.
[00:39:06] Speaker D: So you put a soundtrack to a movie that never took place.
[00:39:09] Speaker E: Yes. Without any of the context. So no one knows what the fuck's happening. Correct.
[00:39:13] Speaker D: And no one has thought about empowering AI and feeding this into AI Say, make me a cartoon about this based on these lyrics to make it happen.
[00:39:23] Speaker E: I don't know if everyone ever has, but it's a good idea.
[00:39:25] Speaker D: I think we should do that. Mark, I think you should make this album right. Because right now it' ass.
[00:39:30] Speaker E: So, yeah, I think.
[00:39:31] Speaker D: I think we need to do this. I think we owe it to a lot of people.
[00:39:34] Speaker E: It's a good idea.
[00:39:35] Speaker D: Yeah.
[00:39:36] Speaker C: I think you need the rights to do it, though, right?
[00:39:38] Speaker E: Yeah, probably.
[00:39:39] Speaker C: You don't do Kiss music from the Elder. You do like Kis something from It's Them, but it's not really. It's kind of like them on Kiss My Ass. Not Kiss My Ass. Oh, what was I thinking? Where the makeup is is kind of weird. There was something where the makeup was kind of weird. Weird.
[00:39:56] Speaker E: Yeah, you're right. Well, that's what it is. We need to get past this song, because this is really, as far as I'm concerned, the worst song on this album. There's some a little bit better stuff coming up, at least. All right, here we go.
[00:40:07] Speaker B: On the mountain high Somewhere where only heroes dare stand the stallion we shall be each other's destiny One another's honesty what's upon God Countless times we matter let's along the way.
[00:42:09] Speaker C: God, it's long too, isn't it?
[00:42:12] Speaker E: 5:37. I'm gonna read lyrics and then I'll go first. Get this out of the way. Verse 3. On a mountain high somewhere where only the heroes dare stand the stallion and the mayor we have been and we shall be each other's destiny One another's odyssey and then back to chorus and then outro intro. Music wise, I don't think it's bad. Music wise, obviously it's played well. It's just. It's super boring. And it's really the worst song on this album. I'll give the music six. And the production maybe six. And everything else, I'm gonna give a four, too. Because even if the words are okay, it's just really not a great song. It kind of drags the record down, Frank.
[00:42:51] Speaker D: I mean, look, the production the production is lyrics. I don't know, I. I guess I gotta do fives across again.
I get the premise. I understand it. It's just this is not what I was expecting from Kiss. I'm not going to give it low grades because it's not terrible. It's just not what I'm expecting and it doesn't fit the profile. Sav.
[00:43:11] Speaker C: I think the lyrics aren't bad. I will say a six on the lyrics. Production five and a four and everything else. That is a song I never need to hear again. Actually forgot. Guess how bad that was. I don't think I ever really thought it was that bad. Maybe I shouldn't be listening to this record on headphones span. I shouldn't be paying attention. I know there's good stuff coming. I've heard this album plenty of times to know that. There's definitely some good stuff coming.
[00:43:36] Speaker E: Okay, so here we go. So this is only you.
[00:43:55] Speaker B: Only you have the answers of the questions you have defined.
Only you know the secret but the truth lies. Ask me in your mind.
Only you.
All the answer.
You turn the night into day.
Only you.
You are the light and you are the way.
[00:45:27] Speaker C: Yeah, I mean this is definitely the best song so far. I think his voice is. Is really good here. I like the way he sings it. I probably would have done maybe two bars to that just because it's so simple. Kind of to me it drags a bit. I like his melody and I think even though technically it's more simple than the other ones, it's the most interesting one.
[00:45:48] Speaker E: So he's playing rhythm guitar on this. I'm assuming he's playing bass too. It doesn't say so I'm assuming he's playing bass. The chorus is a little weird that. That weird effect on the voice. I don't know if I like the chorus that much. As far as song wise, it's at least. It's a little more uptempo. At least you're like, okay, well something's going on on here. And his voice is really good on here. I think his voice on this album in general is good. What do you think, Frank?
[00:46:09] Speaker D: Better not Kiss, but better.
[00:46:10] Speaker E: I feel bad for Frankie.
[00:46:12] Speaker D: I feel bad for all the kids fans during this time. I mean you had to go out and actually buy this album. So what is 81? Vinyl was still a thing. Cassette was probably more prevalent at this time. Right?
[00:46:22] Speaker C: In 81, yeah. No, well, I don't think so.
[00:46:26] Speaker E: I don't think so.
[00:46:27] Speaker D: But the point is you couldn't just Hit skip and go right to the next track. You had to fast forward or take the needle and jump it a little bit to hope that you get the. The right song and be like, okay, maybe the next song is better.
[00:46:38] Speaker E: It's a hard listen if it's not something you've heard before or you don't understand where it's coming from. But you're right. Whatever you're feeling is what every Kiss fan felt. I said that before. It's just. It's just so funny to hear someone going, I don't understand what's happening.
[00:46:49] Speaker C: I do wish the production was a little bit bigger, too, in this one. I think it suffers a little bit from that. I think it's a little subdued. And I think if the guitar was heavier and the drums were a little bit heavier, I think it would be even more impactful.
[00:47:00] Speaker E: Guitar a little weak. The sound is a little weak. I like the reverse delay thing on his voice and some of the verse parts. That's pretty cool. I never liked the chorus, though. I thought the chorus could have been better. Let me read words Only you have the answers but the questions you have to find. Only you know the secrets but the truth lies deep in your mind. Only you are the answer. You turn the night into day Only you are the man child? You are the light and you are the way. And the chorus is. Tell me the secrets I want to know Know Tell me the secrets I want to know. I want to know. It's even hard to understand the chorus if you're not reading it because the effect is so heavy. So that's the part I really don't like in the song. Really? I don't hate the verses.
[00:47:38] Speaker C: No.
[00:47:38] Speaker E: All right, let's continue. Here we go.
[00:47:51] Speaker B: You are the light and you are the way.
I can't believe this has changed.
Why do I listen to you.
[00:48:30] Speaker E: If.
[00:48:31] Speaker B: I am all that you say?
Why am I still so afraid?
You Only you.
Only you.
[00:49:07] Speaker C: I mean, the bass is good. I like the way the bass sounds. They do that kind of weird thing where you think when that second part comes in, that then. And then. And then you think the beat's going to go one way, but it kind of goes the other way, which is. Which is cool. I feel like Paul Sanley is saying, oh, my God, like, can I just sing this and be done with it? I feel that once he comes in, it loses it a bit. I feel like Gene Simmons is kind of passionate about what he's saying. And Paul Stanley's like, right, that's how.
[00:49:34] Speaker E: I feel I like the riff at the end. That riff right there. I like that riff a lot.
Could be a little heavier. I think if it was a little heavier, would have been more impact. Impactful. Paul Stanley coming in with his vocal again. There's a big effect on it. You're reading it now and, oh, I understand what's happening. The guy's saying, only you were the person who's going to do everything. But he's saying, why should I listen to you? I don't feel like I'm the person. And as many times as I've heard this album, I've never really put that all together. I've never sat down, analyzed all the parts like I'm doing right now. I'm reading the words while it's going on. I'm like, oh, that's what they're doing. How many times I've listened to this album, I can't even tell you.
[00:50:07] Speaker C: Honestly, though, if you don't listen to it in this sequence, you're really not going to put it together.
[00:50:12] Speaker E: Oh, no, you're right. The only part of the verse is the same as it was before. Only you are the man child, you are the light and you are the way Paul Stanley's part is. I can't believe this is true. Why do I listen to you? And if I am all that you say why am I still so afraid? I think that's the best part of the whole song, the end part.
[00:50:28] Speaker C: Well, I like the verses too, though.
[00:50:30] Speaker E: Yeah, I guess so. Verses are pretty good. So what do you think about that, Frank? So far, a lot better.
[00:50:34] Speaker D: I like Paul Stanley's vocals on this one. This sounds a little more like Kiss, but you can definitely hear a lot better Kiss here than the previous ones.
[00:50:42] Speaker E: That was the best line. This kind of sounds more like Kiss. Question mark. I'm not sure. Does it sound like Kiss? Maybe there's no falsetto and it's not Paul Stanley in a weird, like, low version of his voice. Gene Simmons is singing, so it sounds like Gene Simmons. So maybe that's why it sounds more like Kiss, I guess. Let's run this out. Here we go.
[00:51:02] Speaker B: Every age, in every time Name our hero is born as if by your grand design.
[00:52:06] Speaker C: I mean, I think this song is Kiss ish. I don't think this is overall, other than maybe some of the effects are using or whatever, and obviously maybe the lyrics in a sense, but I don't think it's too far removed from something that Kiss would do normally. That's just kind of my Opinion.
[00:52:21] Speaker E: It's more Kiss like again, I do like the riffic the end. I think that's the best part of the song for me. It's better than the stuff that's prior to this. Hopefully we only can get better as we go along. As far as lyrics goes, there's only one little part left. It's in every age and every time a hero is born as of a grand design. And then they go back to the I'm just a boy melody. That's pretty interesting too. I mean, obviously you can see that they were putting this together a certain way. Now that you hear it in order, they bring that refrain back from just a boy. If you're a Kiss fan, 81, you're not too happy about this. With a little bit of hindsight, you kind of understand what's going on here. Who wants to go first?
[00:52:56] Speaker C: I'll go first. I don't think I've gone first lyrically. I don't think it's as interesting as the other ones. Honestly gave us six of the one before. I thought the lyrics honestly were better. So I'm gonna say five. Even though it does progress the story, I can understand six on everything else. I'll leave six at everything else. I was thinking of ding in the production a little bit, but by the end of it I think it's a okay, so I won't ding it too much. Although I think overall a heavier production would have served this song even better. But it probably would have made it stand out way too much from what was before, depending on how whatever sequence they wrote this. Frank.
[00:53:29] Speaker D: A little more Kiss sounding for sure. I like this one better so far. And listen, you know, when you listen to four songs that not so great here, this one, it stands out really well. Still not the Kiss sound that I know. I'm giving these sixes across.
[00:53:43] Speaker E: I'm gonna do five and then sixes for everything else. It's the best so far. That's not really saying a lot. As far as the other songs. At least it's starting to get more into KISS territory. Sort of kind of. Okay, so the next song is under the Robe.
[00:54:07] Speaker B: And Listen.
And though you have been chosen to begin and yet you must be wor of the prophecy but see and you shall find your destiny your.
[00:55:30] Speaker C: So I think this one is more epic sounding in a good way. I've always kind of dug this one. I. I don't mind the voices. I think they come in at a good volume. There's a little bit of Rush I hear in this song too, even in the guitar tone and in the way it's played, I think not saying per se, the song sounds like Rush, but some of that.
That and even the tone of to use. I think Eric Carr actually wrote whatever main riff is here. And he actually plays acoustic guitar on this. I've always kind of dug this song.
[00:55:59] Speaker E: He plays acoustic guitar on this. Ace Fraley plays bass on this.
[00:56:02] Speaker C: I was going to say bass is.
[00:56:03] Speaker E: Good, is more grandiose. It's a very epic thing. The chorus comes in with all those voices. I don't hate that for what it is. It's just funny listening to it now in headphones, just sitting here listening to it. I get that anxious. I can't believe this is what Kiss turned into. Even though I've heard this a thousand times. It's something about sitting here with headphones on, listening to this changes everything.
[00:56:23] Speaker C: I just think that compared to what was going on in the first two songs, this is that mixed with more Kiss and Rock. To me, this comes off better than what was going on in Odyssey and Just Boy, I agree with that.
[00:56:37] Speaker E: Feels more like Kiss doing this thing as opposed to the other stuff, which didn't feel that way.
[00:56:42] Speaker D: It's getting better. I can hear that Rush sound that Savino was mentioning. I was saying, what does it sound like? As soon as Sav said sounds rushed. Yep, that's the match right there. So far, so good. This is the rest.
[00:56:52] Speaker E: Okay, so here are the verses. Though you may be pure of heart and free of sin, and though you have been chosen to begin, and yet you must be worthy of the prophecy, but seek and you shall find your destiny. Chorus. Loneliness will haunt you. Will you sacrifice? Do you take the oath? Will you live your life under the rose? Interesting lyrics. Not horrible.
[00:57:11] Speaker C: Taken away from the story. What the hell is this? But no, I know you have to listen to the lyrics, and you can't separate the lyrics from the store. Why would anyone, even Gene Simmons, write a song like this if it has nothing to do with what's going on?
[00:57:24] Speaker E: Well, again, you would have had no idea what was happening because you just got this album, had no pictures on it, had just a hand on the front, Kiss in the corner. Some of them didn't even have sleeves. It was just a plastic thing. The one I have just only has like a clear plastic insert. There's nothing in there. How the fuck do you know what this is about? That's the problem. I think that fucked people up more than anything, really. I don't hate this is a Very epic thing. And I think the production is pretty decent so far.
[00:57:48] Speaker C: Yeah, I think the production is good on this one as well.
[00:57:50] Speaker E: All right, here we go.
[00:58:15] Speaker B: But now before you lie suppressed and hang and from this morning you may become a man do you understand?
Will you understand Sacrifice under the rock.
[00:59:18] Speaker C: I like this one. I've always liked this one. I'm glad I still like this one. I think it's epic in a correct way for Kiss, as opposed to kind of what was going on in the very beginning.
[00:59:29] Speaker E: What do you think about the drums? How you like the drumming in this?
[00:59:31] Speaker C: I like them. I mean, I think they. They sound good. Like, I like the feels that he's doing. How do I say this? Some of Eric's earlier drumming, even on Creatures of the Night, it's a little bit more interesting to me in the sense that look it up and some of the stuff after that was a little bit more straightforward. And, yeah, he does some cool double bass stuff, obviously, later on, but here it's a little bit more about being creative and finding fills and things like that. I think that's why I enjoy it.
[00:59:56] Speaker E: Yeah, I think he's doing a good job. Again, I don't know if he expected to come into something like this.
[01:00:00] Speaker C: I don't think so.
[01:00:01] Speaker E: No, I don't think so. He's doing a great job. I think, as your first recorded thing, to have it be a concept record that you don't. You didn't expect to have happen. I think some of this stuff is interesting. He has some interesting feels. I do agree that this stuff is a little more interesting than some. Maybe some of the stuff that came later, because it was a little more straight ahead. But, yeah, I think he's doing a great job. All right, here we go. Guitar solo.
[01:01:09] Speaker C: I thought it was interesting. It was really cool. He could have probably done something more straightforward, but he didn't. It's an album where they get to stretch their legs a little bit, for better, for worse. And I think that in certain spots like. Like this, they really shine through. I mean, I thought that was a really cool solo.
[01:01:26] Speaker E: I've always liked that solo. I like the way he plays around with the delay at the end. It's definitely Ace Fraley playing. You can tell 100. The tone's a little weird, and I think it could have been a little higher in the mix. Some of the guitar solos are pushed back a little bit, maybe on purpose, I don't know. But I'd always like that. Generally, I like the song.
[01:01:42] Speaker D: I like the solo. I think that's the best part of the whole song so far. The rest I could do without. It's not me.
[01:01:48] Speaker E: It's tough.
[01:01:49] Speaker C: Frank will not live under the rose.
[01:01:51] Speaker E: No, he will not. He will not be under the road. All right, let's finish it up.
[01:02:05] Speaker B: Will you live your life under the road?
[01:02:49] Speaker E: I have to read one section lyrics that I didn't read. So the second verse is, the more you hurt, the less you feel the pain. And the more you change, the more you stay the same. But now, before you utilize the quest at hand and from this boy, you may become a man. I like the song. I've always liked the song at this point, like you're starving for something that's better. I'm gonna give Sevens on this. I always like the song. I like the solo. It is the most. Kiss, like, I guess, mixed with the concept thing. Like Sav said, so far, the best song on the album, I would think. And since we have Sevens, we might as well do this one. Honey, that ain't no pistol.
[01:03:20] Speaker C: It's quintuple 7.
[01:03:21] Speaker E: Nikki Titty Baby Saf.
[01:03:23] Speaker C: I'm gonna do the same. I'm going sevens across. I agree. That probably is my favorite so far.
Yeah, it's Steve, and it's Quintuple seven, Nikki Titty Baby Frank.
[01:03:35] Speaker D: I must have been listening to another song song because I don't hear Sevens here. Maybe the issue here is that so far, the songs that we've heard so far have been terrible to mediocre. So once you hear something that's just a little bit outside of that needle, you're thinking, this is a great hit, but it's not. It's still in my. For me, I'm gonna give these fives across on this one. I just don't get it. It's not that much better than what we've heard so far.
[01:04:00] Speaker E: I can't argue with you about that because I can understand why. I mean, I've heard this album a lot more than you, so maybe it's kind of in my brain a little bit more. Okay, so this is the end of the first side. Hopefully this will save us a little bit.
[01:04:12] Speaker D: Oh, my God, you're still going. Jeez.
[01:04:17] Speaker C: I think you'll like this one, Frank.
[01:04:19] Speaker E: All right, hopefully we'll see. Okay, so this is Dark Light.
[01:05:07] Speaker B: Look out. Cause there's something wrong and you don't know what it is.
Watch out or it's Sodom and Gomorrah. The Malevolent Order right now. Before. It's much Too late Before it's much too late A dark light A darkness never ending A dark light the devil gets his due A dark night is everywhere descending A dark light is coming for you.
[01:05:59] Speaker C: This is what I've always liked. And, Mark, I don't know if you remember, we actually jammed out to this song. Somewhere there is a recording of us doing this song.
[01:06:08] Speaker E: Is there really?
[01:06:09] Speaker C: There is. Well, I don't know if you remember, but I had mentioned. I was like, mark, we should do Dark Light. You're like, yep, we're going to do it. We're going to record it because somebody's doing a Kiss compilation locally, and we're going to throw it on there. When that never happened.
[01:06:22] Speaker E: Oh, it never happened. I don't remember that.
[01:06:24] Speaker C: I remember because, I mean, you thought that nobody would probably do this song.
[01:06:28] Speaker E: It's a good guess that no one would do this song.
I don't know about the Jaws thing at the beginning. I like the song. I just don't like the dun, dun, dun, dun, dun, dun, dun, dun. I'm like, okay. And then, I don't know, the cowbell in the middle or the beat. I think it takes something away from the song, the cowbell. Every time I hear it.
[01:06:43] Speaker C: I think the problem is that, again, it's a subdued drum recording. It's not a, like, Mississippi Queen cowbell. It's not that kind of cowboy where it's almost like a conga bell. I think that's where the song suffers a little bit. I can understand what you're saying. I think if it was a louder cowbell, a dirtier cowbell with a dirtier kind of production, it'd probably be cooler. Like, that's my only real complaint. I think it's a good song. I love the way he says the malevolent order. I've always loved that because it's so, like, whatever.
[01:07:15] Speaker E: The malevolent order.
[01:07:18] Speaker C: But to hear Ace Fraley say malevolent order with the New York accent, I've always loved that.
[01:07:26] Speaker E: It is a funny part. This is true. All right, Frank, what do you think so far?
[01:07:30] Speaker D: Yeah, I love to hear dirtier cowbells myself, but a dirtier sound. Like SA says, I like the jaws beginning there. It's a nice way to kick it off. This sounds a lot more like kiss to me, 70s kiss than anything else. So far. I like this better. So far. This has been the one I'm enjoying the most.
[01:07:49] Speaker E: It is one of my favorites on the album. I think Ace is doing a good job, even though I know he doesn't want to be here or do this. He's like, all right, so I'll take whatever I have and make this.
[01:07:58] Speaker C: But wasn't this something else that he reworked into to this?
[01:08:01] Speaker E: I believe so, yes. I think that was a song called Don't Run that he had wrote.
[01:08:28] Speaker B: What can I do about it.
[01:08:32] Speaker C: Now?
[01:08:33] Speaker B: Be strong.
You got problems. So does everyone. So does everyone.
You don't want me to give you charity.
So use your mind, it's all well. Your body's not too bad.
You're so upset.
That's not the way they do it.
Just stand and back, Use all your is on your mind.
Don't run, got to take a stand.
Don't run.
Good things are at hand. Don't run, got to understand don't run. Cause you're the man.
[01:09:45] Speaker E: And he rewrote the lyrics for this song. And that's how you got the Malevolent order.
[01:09:50] Speaker C: Yeah.
[01:09:51] Speaker E: Verse one. Look out because there's something wrong and you don't know what it is. Watch out or it's Sodom and Gomorrah, the malevolent order. Right now. Before it's much too late. Before it's much too late. A dark light, Darkness never ending. A dark light. The devil gets his do. A dark night is everywhere descending. A dark light is coming for you.
[01:10:13] Speaker C: So, Mark, speaking to you as a Ace Fraley fan, right, the last two times we saw him, would you have rather have heard this or Love Gun? I rather hear this Right Twice or Detroit Rock City.
[01:10:28] Speaker E: Yeah. He has lots of other stuff he can play, and I would rather him do this. I agree. Okay, here we go.
[01:10:35] Speaker B: Now look up all the spots of.
And they're getting darker all the time.
Watch out for the things that you believe in. You're gonna be attacked, and you won't know what it is. Wise up. You better watch a step. You better watch a step. A dark light, a darkness never ending. A dark light of perversion and hate.
[01:11:04] Speaker C: A dark.
[01:11:04] Speaker B: A dark night is everywhere descending. A dark light. There's no time to wait.
[01:11:14] Speaker C: I think this is an extremely fun a song. I think he could say whatever the hell he wants to, but I think he kind of had fun with us.
[01:11:20] Speaker E: I agree. I think he went, oh, you need lyrics about medieval stuff. All right, here you go. Here's some medieval lyrics for you. Even in line, you're gonna get attacked, and you won't know what it is.
[01:11:29] Speaker C: Yeah. I mean, his phrasing, I think, is an Ace phrase. Fan, you have to appreciate whatever it is. If you don't like the music, but you have to appreciate his singing on this. It's honestly, this is one of my favorite Israeli vocals of all time. Just because of his phrasing. And he won't know what it is.
[01:11:46] Speaker E: It's very funny.
[01:11:47] Speaker C: Everything.
[01:11:48] Speaker E: Let me read words and then we'll come to the guitar solo. Now look up. All the skies are black and they're getting darker all the time. Watch out for the things that you believe in. You're going to be attacked and you won't know what it is is. Wise up. You better watch your step. You better watch your step. A dark light again Darkness never ending. Dark light, the perversion and hate. A dark light is everywhere. Descending a dark light. There's no time to wait. So we're going to do the solo and I'll give you my thing about the solo. This parts of this I like, and this parts of this I'm like, why?
[01:12:17] Speaker C: Okay.
[01:12:18] Speaker E: All right, here we go.
[01:13:19] Speaker C: I really like that song. For somebody who was against doing a record like this, I think this song is standout on this album. But I want to hear what your take is on that mark.
[01:13:30] Speaker E: I always liked it. I just feel that having nothing in the back kind of diminishes what it is a little bit. And because now they're doing the little conga thing, sounding cowbell again, I just feel that beat is just not right for what's happening. I don't know. That part throws me off. I don't hate the solo, just the choice of not putting something back there. I just don't understand it.
[01:13:49] Speaker C: Well, they are doing percussion in this part, for sure. I. I don't know. I kind of like it.
[01:13:53] Speaker E: Do you.
[01:13:53] Speaker C: Would it sound fuller? I can understand, like, if there was something going on back there. I. I think to me, the part where he kind of stops, I don't like when he kind of drops out a bit. But I think when he's playing even that little. I like the tone and everything thing. I've always liked this song.
[01:14:09] Speaker E: Well, you're just kind of like, I need something more than what's happening.
[01:14:12] Speaker C: Yeah. Because on the other recording, this is technically the third song, full length song because it's the old fanfare. Just a boy and then this. It's just so weird the way these things were sequenced.
[01:14:25] Speaker E: It was sequenced to stick the oath at the beginning. From what I gather, they listened to the whole album straight through, and they didn't know what the to do with it. So they're like, okay, we're Going to resequence it and put the oath at the beginning. Beginning. So at least when you put the record on, you get that first song as opposed to.
But I think it. It all up. They put it up because it was heavy.
[01:14:44] Speaker C: Yeah.
[01:14:45] Speaker E: Then Fanfare was the second song. You're like, really? What the is happening?
[01:14:49] Speaker C: I know. I knew that Anton Fig had a hand in this song. I didn't know that Lou Reed had a hand in this song as well.
[01:14:55] Speaker E: Yeah.
[01:14:55] Speaker C: Yeah. I actually either didn't remember that or didn't know that. It's one of those.
[01:14:59] Speaker D: This. This is the best song for sure. And that solo was great. I love the whole Congo sequence breakdown there. It just felt like they were rocking out. I like it a lot.
[01:15:09] Speaker E: It's so funny that everyone likes the Congo thing but me. Maybe I've heard this record way too many times possibly. And that thing just burned into my brain where I wish that wasn't there. I don't know. I don't hate the solo. I like the solo. I think he did a great job. You're right, though. When he hits like chord and then he tries to do that little fast thing, it just feels. Because there's nothing behind it. It just feels a little empty for that one second. And then it gets back to where it is. But you're right. So far it is the best song.
[01:15:31] Speaker C: I mean, like I said, I vote to always been one of my favorites on this record, for sure.
[01:15:34] Speaker E: All right, let's play it out. Here we go.
[01:15:39] Speaker B: Look out for the death of There will be no more love Watch out that you are fooling who you think you're fooling Shout out, shout it out It's a terrible thing Such a terrible thing A dark light A darkness never ending A dark light the sun is turning cool A dark night is everywhere descending A dark light is shining at you A dark light.
[01:16:39] Speaker C: Are there any different lyrics to read?
[01:16:41] Speaker E: Yeah. Verse three is, look out for the death of love There will be no more love Watch out, it's yourself that you're fooling who do you think you're fooling? That's another one of those lines.
[01:16:52] Speaker C: Love it.
[01:16:53] Speaker E: Let's shout it out. It's a terrible thing Such a terrible thing. And then the chorus is different. A dark light A darkness never ending A dark light the sun is turning cool A dark night is everywhere descending A dark light is shining at you and then the outro.
[01:17:07] Speaker C: I think Frank should go first since he said this is his favorite so far.
[01:17:11] Speaker E: Yeah. Frank, you go.
[01:17:12] Speaker D: Yeah, I'm Giving these sevens across. That solo is really epic. I like it a lot. This specific song saved a lot of the first half of what we've heard so far. Especially that solo.
[01:17:22] Speaker C: Yes, that's right. It's me.
I know I've been gone for a long time, but I'm back and it's quintuple seven. Nikki Titty baby.
So was that Hatfield? Did I ask that last time?
[01:17:33] Speaker E: Hatfield?
[01:17:34] Speaker C: Who was that?
[01:17:35] Speaker D: Nicolo?
[01:17:36] Speaker C: Wait, was that Nick?
[01:17:38] Speaker E: Yes.
[01:17:38] Speaker D: Yeah.
[01:17:39] Speaker C: Holy. It didn't sound like him that time. I got. I gotta tweak my headphones here. I thought that feels like. Wait, where'd he go?
Oh, my Lord.
[01:17:50] Speaker E: Why don't you go next?
[01:17:51] Speaker C: All right. I mean, I will say seven on the lyrics and let's go eight across on the rest. Make it easy. It's a great song. I think as Kiss fans, even though maybe I haven't heard specific specifically people say it as Ace fans, clearly knowing this is Ace. Really, they were probably like, oh, yes, Ace. Thank you. Thank you. At this point, if there was nothing else that they had really clung on to, let's say, you know what I mean, There was nothing for them to really hold on to if they felt that way. I think this one comes in and they're like, thank you, Ace. What do you think more?
[01:18:28] Speaker E: I know that's how I felt, so I'm sure everyone else felt the same way. Thank God. But you know what? It doesn't last very long cuz you never hear from him again. He gets one song and that's about it. I'm going to give it eights across. I think that so far it's the best thing here and the most Kiss like. And I do enjoy his vocal delivery.
[01:18:45] Speaker C: Yes. I'm going to say 10 for vocal delivery.
[01:18:49] Speaker E: Vocal delivery is good.
[01:18:50] Speaker C: This will have vocal delivery category and ace gets a 10.
[01:18:54] Speaker E: Realistically, Frankie's right. It kind of saves the side.
[01:18:57] Speaker C: I like under the Rose. I think that's a very strong song as well. I think this is a. A really nice kind of onew punch and almost three punch. I mean, only you kind of going into that. I do like these two songs better than that one, but I think these two back to back are stronger. Like a pretty strong combo.
[01:19:15] Speaker E: So I need to play my little thing. Here you go.
Yeah, I do agree. You know, at least in this sequence, at least it's been getting a little bit better. And I think, you know, the second side, I think Frank's going to like maybe two or three of these.
[01:19:28] Speaker C: I think I think so. I mean, I think the ballad is. Is a good one.
[01:19:32] Speaker E: It is one of the better songs on the album. All right, well, that's the end of the first side. I can't believe we got music from the Elder as a spin out of all the Kiss records that are on there. It must have knew it wanted us to talk about this.
[01:19:43] Speaker C: I think so. It wanted Frank to hear it. I think that's really what it comes down. If Frank wasn't here, it wouldn't have picked it.
[01:19:49] Speaker E: Oh, no.
It's like, frank, you have to hear this.
[01:19:52] Speaker D: Yeah.
[01:19:53] Speaker E: All right, so I want you to do your thing.
[01:19:55] Speaker C: Yep. So we are part of the Deep Dive Podcast network again, like I always say. Great bunch of guides took us in right away. If you want individual podcasts about bands like Judas Priest, Rush, Uriah Heap, Tom Petty, you name it, it's probably on there. Check it out. And Mark, where are we on the interwebs?
[01:20:10] Speaker E: Rock with Pod on all the social media. Rockerlitpodcast.com for our polls, our merch. Put a new bets idea in. Shoot us an email about an album that we can put on the list. Interact with us on all the socials. We try to be active on there, share us out, leave us a review on whatever podcast app that you listen to, and put us on auto download because we release every Tuesday. And next week we will finish up music from the Elder and hopefully Frankie won't fall asleep before the end of the episode and we'll be good.
[01:20:40] Speaker D: Yeah.
Oh, geez. That was horrible.
[01:20:43] Speaker C: Nice.
[01:20:45] Speaker E: All right, we'll see you next week.
[01:20:47] Speaker C: Ciao. Ciao.
[01:20:48] Speaker D: Take care.
[01:20:49] Speaker E: Later.
[01:21:06] Speaker B: It.
