1 00:00:15,476 --> 00:00:15,956 Speaker 1: Pushkin. 2 00:00:20,196 --> 00:00:23,116 Speaker 2: Gene Simmons is known for his theatrics, and man, did 3 00:00:23,116 --> 00:00:25,636 Speaker 2: I get a concentrated dose of that in this episode. 4 00:00:25,956 --> 00:00:28,636 Speaker 2: Jean's the co founder, basis and frontman of Kiss Salama 5 00:00:28,676 --> 00:00:32,836 Speaker 2: Paul Stanley and built an outrageous, maybe obnoxious persona dubbed 6 00:00:32,916 --> 00:00:36,196 Speaker 2: the Demon. Now seventy six years old and retired from touring, 7 00:00:36,316 --> 00:00:38,996 Speaker 2: he's finding new ways to keep Kiss fans known as 8 00:00:39,036 --> 00:00:42,396 Speaker 2: the Kiss Army, engaged, including a three day event this 9 00:00:42,476 --> 00:00:46,716 Speaker 2: November called the Kiss Cruise Landlocked in Vegas. I'd arranged 10 00:00:46,716 --> 00:00:48,356 Speaker 2: for an hour interview with Jeane, like I did with 11 00:00:48,396 --> 00:00:50,716 Speaker 2: Paul Stanley a few months ago, to talk about the 12 00:00:50,756 --> 00:00:53,796 Speaker 2: event and Kiss lore. I was excited to pick his 13 00:00:53,836 --> 00:00:56,716 Speaker 2: brain since he has an almost encyclopedic memory for a 14 00:00:56,756 --> 00:00:59,476 Speaker 2: certain era of music. But things got off to a 15 00:00:59,556 --> 00:01:01,316 Speaker 2: rough start, stayed rocky. 16 00:01:01,196 --> 00:01:01,756 Speaker 3: And an end. 17 00:01:02,196 --> 00:01:05,236 Speaker 2: This may be the strangest interview I've ever done. We 18 00:01:05,276 --> 00:01:07,476 Speaker 2: only talked for about thirty minutes, but it's still worth 19 00:01:07,516 --> 00:01:09,716 Speaker 2: running to me because it is a pretty good inside 20 00:01:09,756 --> 00:01:12,676 Speaker 2: I think into the man they called the Demon, Gene Simmons. 21 00:01:15,436 --> 00:01:24,916 Speaker 2: This is broken record, real musicians, real conversations. Here's my 22 00:01:24,996 --> 00:01:27,036 Speaker 2: conversation with Gene Simmons. 23 00:01:28,196 --> 00:01:29,556 Speaker 3: Can you hear me? Oh? 24 00:01:29,636 --> 00:01:35,116 Speaker 1: I hear you loud and clear? Sound great? Okay, docent 25 00:01:35,196 --> 00:01:43,556 Speaker 1: tones of Gene Simmons amazing. Wow, i'minating for my own passage. 26 00:01:44,076 --> 00:01:47,796 Speaker 1: Are you in la? Oh? I'm straight. I'm so sorry. 27 00:01:51,396 --> 00:01:55,916 Speaker 1: We just met. We already want to know, so where 28 00:01:55,916 --> 00:01:56,516 Speaker 1: ready to live? 29 00:01:57,636 --> 00:01:59,916 Speaker 2: We're off to the best start I could imagine. This 30 00:01:59,636 --> 00:02:05,556 Speaker 2: is This is perfect man, great to meet you. 31 00:02:05,676 --> 00:02:08,276 Speaker 1: Thank you, and thanks for trusting for the event. You 32 00:02:08,356 --> 00:02:11,476 Speaker 1: look great, Thank you, Thank you. You look much better. 33 00:02:11,556 --> 00:02:19,156 Speaker 2: But would suspect you would always you know, I saw. 34 00:02:18,956 --> 00:02:25,196 Speaker 1: You by the way, speaking of potato chips. Unfortunately, my apologies. 35 00:02:25,236 --> 00:02:27,796 Speaker 1: We're going to have to cut it shorter than i'd 36 00:02:27,876 --> 00:02:31,836 Speaker 1: like to go because I got the stink of from 37 00:02:32,156 --> 00:02:35,076 Speaker 1: one of the guys just says I've got a lawyer 38 00:02:35,156 --> 00:02:37,276 Speaker 1: conference thing, So I'll shut up so you can do 39 00:02:37,316 --> 00:02:39,756 Speaker 1: the talk. Okay, sounds good. 40 00:02:41,116 --> 00:02:45,676 Speaker 2: You know, I saw you recently talking about Ozzie's death 41 00:02:45,716 --> 00:02:50,876 Speaker 2: and being quite verclempt about about it, as many people are. 42 00:02:52,556 --> 00:02:54,156 Speaker 1: But I was I was thinking you. 43 00:02:54,156 --> 00:02:59,596 Speaker 2: You guys obviously must have first met on opening for Sabbath, right, Yeah. 44 00:02:59,396 --> 00:03:03,196 Speaker 1: We were both trying to make our mark, you know, 45 00:03:03,436 --> 00:03:07,516 Speaker 1: And we came a little bit later than Sabbath, a 46 00:03:07,596 --> 00:03:11,396 Speaker 1: year or two after, so they were starting to make 47 00:03:11,436 --> 00:03:14,116 Speaker 1: some headway, but we were still in the two three 48 00:03:14,196 --> 00:03:20,236 Speaker 1: thousand seater level you know of in the end, you know, 49 00:03:20,276 --> 00:03:25,476 Speaker 1: a long time ago, before digital, before anything, you had amplifiers. 50 00:03:25,476 --> 00:03:28,276 Speaker 1: You had a chord that connected to your guitar and 51 00:03:28,356 --> 00:03:32,236 Speaker 1: you plugged it into the amplifier. There's no ear, no 52 00:03:32,396 --> 00:03:36,796 Speaker 1: auto correct nor nothing. You're not just meeting potatoes. And 53 00:03:37,196 --> 00:03:42,836 Speaker 1: since neither Sabbath nor Kiss wrote singles, you had to 54 00:03:42,876 --> 00:03:44,996 Speaker 1: get in the back of the station wagon, go from 55 00:03:44,996 --> 00:03:48,276 Speaker 1: one city to the other and take your case to 56 00:03:48,356 --> 00:03:51,556 Speaker 1: the people. So in a lot of ways, it was 57 00:03:51,556 --> 00:03:53,596 Speaker 1: a much more honest time. 58 00:03:53,756 --> 00:03:53,956 Speaker 3: You know. 59 00:03:54,036 --> 00:03:58,156 Speaker 1: The bands that became big bands became big bands because 60 00:03:58,236 --> 00:04:00,516 Speaker 1: the fans liked what they heard and what they saw. 61 00:04:03,956 --> 00:04:08,316 Speaker 2: When you say neither Sabbath nor Kiss wrote singles, what 62 00:04:08,356 --> 00:04:08,956 Speaker 2: do you mean by that? 63 00:04:11,476 --> 00:04:14,196 Speaker 1: Well, if we took a look at the lyric, our 64 00:04:14,276 --> 00:04:17,796 Speaker 1: first quote single was called Nothing to Lose. I happened 65 00:04:17,836 --> 00:04:23,636 Speaker 1: to write it before I had a baby. I tried 66 00:04:23,756 --> 00:04:28,396 Speaker 1: every way. She didn't want to do it, but she 67 00:04:28,476 --> 00:04:31,916 Speaker 1: did anyway. I thought about the back door and it 68 00:04:31,996 --> 00:04:40,756 Speaker 1: was about you know, the six from the backside, but 69 00:04:41,396 --> 00:04:42,836 Speaker 1: radio didn't pick up on it. 70 00:04:43,356 --> 00:04:44,796 Speaker 3: But that's what it was about. 71 00:04:45,916 --> 00:04:53,996 Speaker 1: And you know, Sabbath came on sort of more darker, perhaps, 72 00:04:54,196 --> 00:05:00,516 Speaker 1: but even we dabbled me as a demon and gout 73 00:05:00,556 --> 00:05:03,236 Speaker 1: of thunder and all that. Later on, I did some 74 00:05:03,556 --> 00:05:10,956 Speaker 1: darker stuff, unholy stuff like that, but until I was 75 00:05:10,996 --> 00:05:14,516 Speaker 1: made for loving you, I mean rock and roll All 76 00:05:14,636 --> 00:05:19,316 Speaker 1: Night was a single but not really a hit, so 77 00:05:19,436 --> 00:05:25,116 Speaker 1: we tended to write about chasing skirt and enjoying life. 78 00:05:25,956 --> 00:05:28,596 Speaker 1: We didn't write a song about how cold? How could 79 00:05:28,596 --> 00:05:31,996 Speaker 1: I you know, how could I live without you? You know, 80 00:05:32,076 --> 00:05:36,036 Speaker 1: all those songs that are directed at chicks. In fact, 81 00:05:36,076 --> 00:05:40,356 Speaker 1: even Best, which was a big hit, Best, I hear 82 00:05:40,396 --> 00:05:43,356 Speaker 1: you calling, but I can't come home right now because 83 00:05:43,436 --> 00:05:45,716 Speaker 1: me and the boys are playing all night. In other words, 84 00:05:45,796 --> 00:05:50,356 Speaker 1: what's more important me or the band? Actually bitch the band? 85 00:05:53,236 --> 00:05:53,476 Speaker 3: You know. 86 00:05:53,836 --> 00:05:57,636 Speaker 2: It brings up a point I was curious about, which is, 87 00:05:59,956 --> 00:06:05,956 Speaker 2: you know, I feel like your songwriting is so is 88 00:06:06,076 --> 00:06:08,476 Speaker 2: unique in the sense if you mentioned nothing to lose, 89 00:06:08,556 --> 00:06:11,556 Speaker 2: But if you think about I mean, some of your 90 00:06:11,636 --> 00:06:15,716 Speaker 2: later songs seem not better, but they seem almost that 91 00:06:15,796 --> 00:06:19,116 Speaker 2: you knew who you were and what you wanted to say. 92 00:06:19,436 --> 00:06:23,716 Speaker 2: Your writing became almost more direct and clear. From my perspective. 93 00:06:23,796 --> 00:06:25,956 Speaker 2: Could be wrong, I'm happy to be wrong. Then some 94 00:06:25,996 --> 00:06:27,916 Speaker 2: of the mid career kiss songs or even some of 95 00:06:27,956 --> 00:06:31,996 Speaker 2: the songs from like say Monster, sound like fully flatted, 96 00:06:31,996 --> 00:06:35,316 Speaker 2: like this is, you know, Gene Simmons, the demon of Kiss. 97 00:06:35,356 --> 00:06:36,796 Speaker 1: Well, I don't know if you feel that way. I 98 00:06:36,836 --> 00:06:41,316 Speaker 1: will say that all of us, going back to I mean, 99 00:06:41,356 --> 00:06:44,276 Speaker 1: the Brits really started writing their own songs, even though 100 00:06:44,316 --> 00:06:48,636 Speaker 1: Sam Cook wrote his songs and Chuck Berry, but predominantly 101 00:06:49,316 --> 00:06:55,396 Speaker 1: you have the brill building filled with my people, Labor 102 00:06:55,516 --> 00:06:58,516 Speaker 1: Stoler and all that, who wrote all the hit songs. 103 00:06:58,276 --> 00:07:00,876 Speaker 3: You ain't nothing about. How about now, these are not. 104 00:07:01,876 --> 00:07:06,196 Speaker 1: African Americans who wrote They were Jews who wrote all 105 00:07:06,236 --> 00:07:10,156 Speaker 1: this you know on broad with all the sort of 106 00:07:10,276 --> 00:07:16,036 Speaker 1: blues tinged new Et, nonbud Hound, Libre Stoller to New York. 107 00:07:16,116 --> 00:07:20,196 Speaker 1: Jews wrote that because they loved black music, So artists 108 00:07:20,236 --> 00:07:26,556 Speaker 1: of the previous time, previous generations, lined up. They came 109 00:07:26,596 --> 00:07:29,876 Speaker 1: to the studio and they were given the music that 110 00:07:30,036 --> 00:07:33,716 Speaker 1: somebody else wrote. They had hits written for them, specifically 111 00:07:33,756 --> 00:07:37,276 Speaker 1: by other writers and the Monkeys is probably the pre 112 00:07:37,396 --> 00:07:39,956 Speaker 1: eminent example. You show up in the studio and you 113 00:07:40,036 --> 00:07:43,556 Speaker 1: have great writers, Boys, Boys and Heart, Neil Diamond. You know, 114 00:07:43,636 --> 00:07:47,756 Speaker 1: all the best writers would write hit songs for them. 115 00:07:48,676 --> 00:07:54,116 Speaker 1: But when the Beatles came along, it changed everything. These 116 00:07:54,156 --> 00:07:57,916 Speaker 1: guys started writing and performing their own songs, playing all 117 00:07:57,916 --> 00:08:00,836 Speaker 1: the instruments. As opposed to the Temptations, one of my 118 00:08:00,876 --> 00:08:05,076 Speaker 1: favorite bands, didn't play instruments. They just sang and you know, 119 00:08:05,196 --> 00:08:10,036 Speaker 1: did stage movements. They had full bands, and the Beatles 120 00:08:10,036 --> 00:08:14,196 Speaker 1: were fully contained. They play their own instruments, wrote their 121 00:08:14,236 --> 00:08:17,876 Speaker 1: own songs, and in a lot of ways, crafted and 122 00:08:18,596 --> 00:08:22,516 Speaker 1: designed their own you know. It's like a sculptor who's 123 00:08:22,516 --> 00:08:26,516 Speaker 1: got a big block of rock. He's got, you know, 124 00:08:27,076 --> 00:08:29,636 Speaker 1: a hammer and a chisel, and you know, kind of 125 00:08:30,036 --> 00:08:32,516 Speaker 1: bangs his way through it and finds the form that 126 00:08:33,116 --> 00:08:35,476 Speaker 1: he sees in his mind. But I want to say 127 00:08:35,516 --> 00:08:42,236 Speaker 1: that all of us, Henrik Optega whoever, and of course 128 00:08:42,236 --> 00:08:46,316 Speaker 1: they are much higher life form, are self taught. Nobody 129 00:08:46,356 --> 00:08:51,236 Speaker 1: studied music theory. Nobody to this day who's popular can 130 00:08:51,316 --> 00:08:56,116 Speaker 1: read or write music. Nobody's trained in music theory. 131 00:08:56,196 --> 00:08:56,516 Speaker 3: Nothing. 132 00:08:56,596 --> 00:09:00,756 Speaker 1: We're just you know, deaf and dumb, just bumbling through 133 00:09:01,196 --> 00:09:06,476 Speaker 1: a forest of musical notes and trying to find that 134 00:09:06,556 --> 00:09:14,396 Speaker 1: thing that you know appeals to us, versus real songwriters 135 00:09:14,916 --> 00:09:20,716 Speaker 1: who knew exactly how to craft a hit song. Max Martin, 136 00:09:20,836 --> 00:09:24,836 Speaker 1: you know, the more modern who wrote Britney Spears, Christine Naguilar, 137 00:09:24,916 --> 00:09:26,756 Speaker 1: all that stuff. He sits there, Okay, what kind of 138 00:09:27,356 --> 00:09:29,956 Speaker 1: and they craft, you know, this kind of song. The 139 00:09:29,996 --> 00:09:33,956 Speaker 1: rest of us are just bumbling our way through it. 140 00:09:32,916 --> 00:09:39,756 Speaker 1: It's actually quite an interesting enigma of how we get 141 00:09:39,836 --> 00:09:44,276 Speaker 1: from I didn't know how to play a chord, teaching 142 00:09:44,316 --> 00:09:48,596 Speaker 1: myself that first chord, and then I'm talking about all 143 00:09:48,596 --> 00:09:51,436 Speaker 1: of us figuring out how to write songs because nobody 144 00:09:51,436 --> 00:09:53,596 Speaker 1: sat down and said, okay, here's how you write a song. 145 00:09:55,116 --> 00:09:58,236 Speaker 2: We'll be back with more from Jean Simmons after the break. 146 00:10:01,956 --> 00:10:03,276 Speaker 3: For you. 147 00:10:03,276 --> 00:10:05,956 Speaker 2: You know, you go from playing that first chord to 148 00:10:07,036 --> 00:10:10,556 Speaker 2: writing that first crap songs nothing to lose and co 149 00:10:10,676 --> 00:10:13,916 Speaker 2: writing some stuff obviously with Paul strutters your song. But 150 00:10:13,956 --> 00:10:16,076 Speaker 2: then you know, you bring it to Paul, he adds 151 00:10:16,076 --> 00:10:19,276 Speaker 2: some stuff one hundred thousand years. But then and then 152 00:10:19,316 --> 00:10:21,116 Speaker 2: you move along and it's like, you know, you mentioned 153 00:10:21,316 --> 00:10:27,596 Speaker 2: holy unholy Domino love it loud, young and wasted. Uh, 154 00:10:27,756 --> 00:10:30,436 Speaker 2: you know Russian Roulette even or The Devil Is Me 155 00:10:30,596 --> 00:10:32,996 Speaker 2: like these are songs like we're now getting much later even. 156 00:10:34,236 --> 00:10:37,956 Speaker 2: You absolutely not only did you figure out songwriting, but 157 00:10:38,036 --> 00:10:40,516 Speaker 2: it seems as if over the arc of your career 158 00:10:41,276 --> 00:10:43,796 Speaker 2: you didn't lose it where some people maybe did. You 159 00:10:44,076 --> 00:10:46,996 Speaker 2: maintained it, perhaps even got better, would be my estimation. 160 00:10:48,156 --> 00:10:50,796 Speaker 2: What then, have you learned about songwriting? And obviously all 161 00:10:50,796 --> 00:10:53,596 Speaker 2: into it, you intuited it along the way, but you must've. 162 00:10:53,476 --> 00:10:56,636 Speaker 1: Learned songwriting is a trip where you never get there, 163 00:10:57,836 --> 00:11:00,196 Speaker 1: definitely do. I mean I know Elton well, and all 164 00:11:00,236 --> 00:11:06,276 Speaker 1: of a sudden you know great songwriters and they're always uh. 165 00:11:06,596 --> 00:11:09,276 Speaker 1: I mean Elton must have written hundreds of songs, three 166 00:11:09,356 --> 00:11:14,996 Speaker 1: hundred maybe maybe more. You're never there. You're always looking 167 00:11:15,076 --> 00:11:19,956 Speaker 1: for that thing. And maybe that's the magic of that thing. 168 00:11:20,116 --> 00:11:20,636 Speaker 3: I don't care. 169 00:11:20,676 --> 00:11:24,476 Speaker 1: If you went through the Renaissance Mozart, Beethoven, Might you 170 00:11:24,476 --> 00:11:28,516 Speaker 1: know Rockman and off Hide and Chopin, all those guys 171 00:11:28,756 --> 00:11:34,436 Speaker 1: they kept writing searching for that elusive butterfly. Bob lind 172 00:11:35,476 --> 00:11:41,676 Speaker 1: you might wake up some morning before your time. Elusive 173 00:11:41,756 --> 00:11:46,876 Speaker 1: Butterfly a smash hit which barely had any rhyme in 174 00:11:46,916 --> 00:11:51,036 Speaker 1: the In the verses, you might wake up some morning 175 00:11:51,436 --> 00:11:56,196 Speaker 1: to the sound all of a sudden so blowing in 176 00:11:56,276 --> 00:12:04,316 Speaker 1: the wind. There's no rhyme. The words just flowed nicely. 177 00:12:05,876 --> 00:12:07,796 Speaker 3: So watching. Hey. 178 00:12:07,836 --> 00:12:11,476 Speaker 1: Look, I come from a time when you had more 179 00:12:11,556 --> 00:12:15,956 Speaker 1: serious songs. You had ballads, you had blues, you had 180 00:12:16,036 --> 00:12:21,036 Speaker 1: country rockabilly. Country artists were having hits right down the middle, 181 00:12:21,396 --> 00:12:25,836 Speaker 1: and you had novelty songs. And the first rap so 182 00:12:26,076 --> 00:12:30,916 Speaker 1: I ever heard was well, even before Wild Thing, which 183 00:12:31,276 --> 00:12:36,556 Speaker 1: don't kids yourself is spoken word goes like this wild Thing, 184 00:12:37,356 --> 00:12:40,916 Speaker 1: you make my hearts. There's no melody, it's just the 185 00:12:40,996 --> 00:12:43,236 Speaker 1: chords and background. In a lot of ways it's rap. 186 00:12:43,516 --> 00:12:47,596 Speaker 1: But before then we had a song by number one 187 00:12:47,756 --> 00:12:49,276 Speaker 1: Napoleon the fourteenth. 188 00:12:49,676 --> 00:12:51,316 Speaker 3: Yeah, yeah, it goes like. 189 00:12:51,236 --> 00:12:57,836 Speaker 1: This, They're coming to take me a work, They're coming 190 00:12:57,876 --> 00:13:01,516 Speaker 1: to take me away out to the funny farm, and 191 00:13:01,556 --> 00:13:04,036 Speaker 1: the guy talks for you know. It's about a guy 192 00:13:04,076 --> 00:13:07,316 Speaker 1: who's crazy, I guess, and they're coming to take him away. 193 00:13:07,396 --> 00:13:10,756 Speaker 1: That's it totally. On the cover, there's a guy with 194 00:13:10,796 --> 00:13:13,716 Speaker 1: a Napoleonic hat with his hand and his thing, and 195 00:13:13,756 --> 00:13:17,196 Speaker 1: that was it. And then there was Dicky Goodman, who 196 00:13:17,236 --> 00:13:23,036 Speaker 1: would string together pieces of hit songs. This isn't before sampling, 197 00:13:23,116 --> 00:13:26,196 Speaker 1: because it was sampling. They'd take eight miles high by 198 00:13:26,236 --> 00:13:28,996 Speaker 1: the birds and you know, wild thing and so little 199 00:13:28,996 --> 00:13:31,876 Speaker 1: snippets and he'd craft the story, Well, there's a flying 200 00:13:31,916 --> 00:13:33,676 Speaker 1: saucer landing over there. 201 00:13:33,756 --> 00:13:35,036 Speaker 3: I wonder where it came from. 202 00:13:34,916 --> 00:13:40,036 Speaker 1: Eight miles Uh, well, it can't be, you know, my goodness, 203 00:13:40,116 --> 00:13:44,916 Speaker 1: it looks like a big fish coming out of the water. Bump, 204 00:13:44,996 --> 00:13:48,636 Speaker 1: bump ump. In fact, one of his hits was Mister Jaws, 205 00:13:49,316 --> 00:13:51,756 Speaker 1: about a guy going fishing who catches a big thing 206 00:13:52,156 --> 00:13:57,036 Speaker 1: and they string together hits, some big hits. 207 00:13:57,076 --> 00:13:57,916 Speaker 3: So what chan. 208 00:14:01,076 --> 00:14:05,956 Speaker 2: Well, the larger point is that you have, though you 209 00:14:05,996 --> 00:14:08,436 Speaker 2: did not go to school to study music, you clearly 210 00:14:08,476 --> 00:14:12,436 Speaker 2: have an incredible ear for music, have an incredible given. 211 00:14:13,716 --> 00:14:17,716 Speaker 3: Incredible incredible is overused. 212 00:14:17,836 --> 00:14:23,596 Speaker 1: There's a wonderful movie called Amadaeus about Salieri, who was 213 00:14:23,676 --> 00:14:30,716 Speaker 1: the King's composer, did operas and stuff, and well well 214 00:14:30,756 --> 00:14:37,236 Speaker 1: known historically as a you know, fine melody craftsman during 215 00:14:37,276 --> 00:14:42,396 Speaker 1: the Renaissance. And he was a childhood friend somewhat of 216 00:14:42,436 --> 00:14:46,236 Speaker 1: Mozart who was a little bit younger, and he was 217 00:14:46,636 --> 00:14:50,356 Speaker 1: tortured his entire life by how Mozart would sit down 218 00:14:51,676 --> 00:14:56,476 Speaker 1: and he would write full pieces, full symphonies and operas 219 00:14:56,516 --> 00:15:01,876 Speaker 1: and everything like as if he's just putting it down 220 00:15:01,916 --> 00:15:04,556 Speaker 1: because it had already been written. The rest of us, 221 00:15:04,676 --> 00:15:07,356 Speaker 1: poor mortals. You know, you take a piece from here, now, 222 00:15:07,356 --> 00:15:09,596 Speaker 1: I got to fix this. Then you go back to it. 223 00:15:09,676 --> 00:15:10,916 Speaker 3: You know, it's like. 224 00:15:11,116 --> 00:15:15,556 Speaker 1: It's like even even da Vinci would paid something. Now 225 00:15:15,596 --> 00:15:17,236 Speaker 1: I don't like that. Then he's got to go back 226 00:15:17,276 --> 00:15:19,316 Speaker 1: and do that thing. Nope, not most are to go 227 00:15:19,796 --> 00:15:22,036 Speaker 1: from right to left. And when he was done, that 228 00:15:22,196 --> 00:15:25,796 Speaker 1: was that was you know, some something happens that is 229 00:15:25,836 --> 00:15:32,716 Speaker 1: a prodigy. That's the word incredible. And Beethoven was actually deaf. 230 00:15:33,396 --> 00:15:41,236 Speaker 1: He wrote music in his mind, and he had wrote 231 00:15:41,276 --> 00:15:47,716 Speaker 1: the entire symphonic arrangement, every single notation, the bassoons and 232 00:15:47,756 --> 00:15:50,996 Speaker 1: the you know, what every instrument was doing is a 233 00:15:51,036 --> 00:15:55,476 Speaker 1: countermlley and everything in his mind. He never heard any 234 00:15:55,516 --> 00:16:00,396 Speaker 1: of the compositions he wrote. That's incredible. Wow. I would 235 00:16:00,396 --> 00:16:04,396 Speaker 1: almost argue it's miraculous more than incredible. Okay, these these 236 00:16:04,396 --> 00:16:07,396 Speaker 1: are semantics, But I'm not anti semantics. 237 00:16:09,956 --> 00:16:11,556 Speaker 2: I'm pleased to hear that. I mean, no, but it's 238 00:16:11,796 --> 00:16:15,236 Speaker 2: your point. I mean that is, that's clearly a gift. 239 00:16:15,476 --> 00:16:17,516 Speaker 1: There's no explanation for it. 240 00:16:17,516 --> 00:16:18,236 Speaker 3: It just is. 241 00:16:18,556 --> 00:16:22,396 Speaker 1: You know, it's like an idiot savant. There was a 242 00:16:22,436 --> 00:16:26,556 Speaker 1: wonderful movie called Rainman, and I was at the studio 243 00:16:27,836 --> 00:16:30,836 Speaker 1: liaising with some guys and developing my own stuff as 244 00:16:31,116 --> 00:16:35,036 Speaker 1: Rainman was being developed into a movie basically about I 245 00:16:35,076 --> 00:16:38,116 Speaker 1: don't want to use the term, but an idiot who 246 00:16:38,196 --> 00:16:40,636 Speaker 1: in life didn't know where. 247 00:16:40,436 --> 00:16:41,556 Speaker 3: He was going, bumbling. 248 00:16:41,596 --> 00:16:44,316 Speaker 1: He would cross the street and not pay attention to 249 00:16:44,396 --> 00:16:48,876 Speaker 1: red light, green light and stuff. But the first hint 250 00:16:48,996 --> 00:16:52,956 Speaker 1: that there's something else going on happened when he was 251 00:16:52,996 --> 00:16:56,996 Speaker 1: in a restaurant and he went over to reach for 252 00:16:57,036 --> 00:17:01,236 Speaker 1: a toothpick, and the toothpick holder fell off the table 253 00:17:01,276 --> 00:17:03,556 Speaker 1: and all these toothpicks were, you know, on the floor, 254 00:17:04,116 --> 00:17:08,516 Speaker 1: Tom Cruise, Dustin Hoffman, And when they were walking out 255 00:17:08,516 --> 00:17:12,356 Speaker 1: of the restaurant, Cruise tells Hoffmann's character, don't worry about it. 256 00:17:12,756 --> 00:17:16,116 Speaker 1: You know those toothpacks, you know, it's fine. I'm sure 257 00:17:16,116 --> 00:17:19,076 Speaker 1: you put all that in. They said, yes, two hundred 258 00:17:19,076 --> 00:17:19,756 Speaker 1: and thirty seven. 259 00:17:20,116 --> 00:17:21,156 Speaker 3: And Crusad what. 260 00:17:22,636 --> 00:17:25,396 Speaker 1: Two hundred and thirty seven, Yeah, two hundred and thirty seven. 261 00:17:25,476 --> 00:17:27,596 Speaker 1: I picked up when it was two hundred and thirty six, 262 00:17:27,876 --> 00:17:29,836 Speaker 1: and when I put mine and it became two hundred 263 00:17:29,836 --> 00:17:32,276 Speaker 1: and thirty seven because it was two hundred and thirty siven, 264 00:17:32,716 --> 00:17:34,916 Speaker 1: are you talking about? So he went back in. How 265 00:17:34,956 --> 00:17:37,156 Speaker 1: many toothakes were in there? He says, well, sir, let 266 00:17:37,236 --> 00:17:41,516 Speaker 1: me count them. Two hundred and thirty seven. You and 267 00:17:41,756 --> 00:17:46,236 Speaker 1: based on a real person, there was a idiot savant 268 00:17:46,276 --> 00:17:48,196 Speaker 1: and they asked him, could. 269 00:17:48,116 --> 00:17:52,676 Speaker 3: You name that that day? You know what day was? 270 00:17:52,836 --> 00:17:57,716 Speaker 1: You know, July third, eighteen forty eight, Friday? Without thinking 271 00:17:57,756 --> 00:18:00,116 Speaker 1: about it that people go and they check it. Sure 272 00:18:00,156 --> 00:18:04,156 Speaker 1: enough it is. There's no explaining what that is. So 273 00:18:04,196 --> 00:18:07,916 Speaker 1: an idiot savant is a genius in one area and 274 00:18:07,996 --> 00:18:10,396 Speaker 1: helpless in others. I mean, the mystery of the brain. 275 00:18:10,916 --> 00:18:12,876 Speaker 1: I don't know how we got off to this tangent, 276 00:18:12,956 --> 00:18:16,636 Speaker 1: but as you can barely see, clearly see, I love 277 00:18:16,676 --> 00:18:19,116 Speaker 1: the sound of my own voice. Well you were demure, Well, 278 00:18:19,116 --> 00:18:21,316 Speaker 1: in fact, you're being a bit demure. I would say, 279 00:18:22,076 --> 00:18:25,196 Speaker 1: that's a big word, like dramasium. I haven't met another 280 00:18:25,276 --> 00:18:28,916 Speaker 1: human being in real life. I use that word, not 281 00:18:28,996 --> 00:18:31,796 Speaker 1: the straight guys. Anyway, Well, we're on zoom. 282 00:18:31,876 --> 00:18:32,636 Speaker 3: So not yet. 283 00:18:32,676 --> 00:18:34,596 Speaker 2: You have still yet to meet someone in real life 284 00:18:34,596 --> 00:18:37,716 Speaker 2: to use that who uses that word to you. But 285 00:18:37,796 --> 00:18:39,996 Speaker 2: what I was saying is you have an incredible recall. 286 00:18:40,396 --> 00:18:43,156 Speaker 2: And we could argue if it's incredible or just good 287 00:18:43,236 --> 00:18:44,316 Speaker 2: or good. 288 00:18:44,876 --> 00:18:45,836 Speaker 3: I have a good recall. 289 00:18:45,916 --> 00:18:50,036 Speaker 1: It helps not to use drugs or alcohol or cigarettes. 290 00:18:50,116 --> 00:18:52,596 Speaker 1: And that way I can put my hand in front 291 00:18:52,636 --> 00:18:56,076 Speaker 1: of my face and it doesn't do this. I'm turning, 292 00:18:56,596 --> 00:19:01,876 Speaker 1: turning seventy six in three weeks. You look incredible. I 293 00:19:01,916 --> 00:19:06,036 Speaker 1: was saying that to myself, I said, self, looking good. 294 00:19:06,956 --> 00:19:08,916 Speaker 2: But I mean you're talking about a song, songs like 295 00:19:08,956 --> 00:19:10,716 Speaker 2: you know, I mean the Bob linds On it's what 296 00:19:10,836 --> 00:19:12,196 Speaker 2: sixty five sixty six? 297 00:19:12,316 --> 00:19:15,156 Speaker 1: So even is right? Yeah, so even if he. 298 00:19:16,956 --> 00:19:18,796 Speaker 2: Even as a kid, though you proceed so long before 299 00:19:18,796 --> 00:19:20,876 Speaker 2: you would have even gotten into could have gone well. 300 00:19:22,116 --> 00:19:25,436 Speaker 1: But I had an advantage because I wasn't born in America, 301 00:19:26,436 --> 00:19:29,396 Speaker 1: so everything was so vivid. You know, I came from Israel. 302 00:19:29,476 --> 00:19:32,276 Speaker 1: I'm sure you can tell. I wasn't born in Sweden, 303 00:19:33,036 --> 00:19:37,476 Speaker 1: and so I came here with my mother when I 304 00:19:37,636 --> 00:19:39,436 Speaker 1: was eight. As a matter of fact, I was eight 305 00:19:39,516 --> 00:19:43,716 Speaker 1: before I was nine. See what I did there eight 306 00:19:43,796 --> 00:19:47,076 Speaker 1: before I was it's rain Man with the numbers, that's really. 307 00:19:46,996 --> 00:19:47,756 Speaker 3: What the dumpers. 308 00:19:47,836 --> 00:19:51,716 Speaker 1: And so one of the first music I heard was 309 00:19:51,796 --> 00:19:55,756 Speaker 1: black music, Chuck Berry, Fats Domino, Little Richard. I was 310 00:19:55,916 --> 00:19:59,556 Speaker 1: fortunate enough to know Little Richard and spent time with 311 00:19:59,676 --> 00:20:04,516 Speaker 1: him and introduced my young son at that point to Richard, 312 00:20:04,636 --> 00:20:08,556 Speaker 1: I said, you know, we went to see Richard play live, 313 00:20:09,356 --> 00:20:11,756 Speaker 1: and I took my son because I wanted him to understand, 314 00:20:11,796 --> 00:20:13,756 Speaker 1: you know what some of this stuff was on backstage, 315 00:20:13,916 --> 00:20:16,716 Speaker 1: young man. You know, I I in rented rock and roll, 316 00:20:16,756 --> 00:20:18,716 Speaker 1: you know all this stuff. I'm only three am. I 317 00:20:18,796 --> 00:20:19,716 Speaker 1: don't know what's going on. 318 00:20:19,756 --> 00:20:21,236 Speaker 3: You know, it was hilarious. 319 00:20:22,156 --> 00:20:26,516 Speaker 1: Strangely, life is what happens to you while you're busy 320 00:20:26,596 --> 00:20:30,956 Speaker 1: making your plans. And sadly, I seemed to be the 321 00:20:30,956 --> 00:20:35,436 Speaker 1: only one of note on some level who did the 322 00:20:35,436 --> 00:20:41,556 Speaker 1: eulogy for Chuck Berry's funeral. I was at the open casket, 323 00:20:41,636 --> 00:20:45,116 Speaker 1: you know, where the whole family and friends and family 324 00:20:45,156 --> 00:20:49,156 Speaker 1: were there in an auditorium and I was in the back. 325 00:20:49,236 --> 00:20:51,916 Speaker 1: And the Barry family found out I was in the back, 326 00:20:51,956 --> 00:20:55,076 Speaker 1: and there were no beending on McCartney, Keith Richards. They 327 00:20:55,076 --> 00:20:59,076 Speaker 1: were not there. I don't know why, because without Chuck Berry, 328 00:20:59,076 --> 00:21:02,076 Speaker 1: they wouldn't be the Beatles, Stones, Hendrix, you know, any 329 00:21:02,076 --> 00:21:06,116 Speaker 1: of these guys that was the backbone. And I was 330 00:21:06,196 --> 00:21:08,676 Speaker 1: just there out of respect and they came up, Would 331 00:21:08,676 --> 00:21:12,396 Speaker 1: you step up and say a few words about Chuck 332 00:21:12,476 --> 00:21:16,676 Speaker 1: As a matter of fact, you can google and smoogle 333 00:21:16,676 --> 00:21:20,436 Speaker 1: it and all that button pushing stuff that tortures me. 334 00:21:21,996 --> 00:21:23,116 Speaker 3: And I was. 335 00:21:23,436 --> 00:21:28,436 Speaker 1: I became so overcome by emotion because when I first 336 00:21:28,476 --> 00:21:31,076 Speaker 1: came here as an eight and a half year old 337 00:21:31,156 --> 00:21:34,556 Speaker 1: kid with my mother and hearing that music and not 338 00:21:34,676 --> 00:21:37,996 Speaker 1: understanding the words, I just, you know, felt the feelings. 339 00:21:40,276 --> 00:21:42,076 Speaker 1: I didn't know what the words were, and I tried 340 00:21:42,076 --> 00:21:45,356 Speaker 1: to maybe you know, I didn't know what I was saying, 341 00:21:45,756 --> 00:21:50,436 Speaker 1: but the feeling of it made me move the way quote. 342 00:21:50,476 --> 00:21:56,716 Speaker 1: White music didn't, you know, torn between two lovers. It 343 00:21:56,756 --> 00:21:59,956 Speaker 1: doesn't make you want to Yeah, you know that feeling 344 00:22:00,036 --> 00:22:04,236 Speaker 1: that's in the groin, under the belt buckle, that down there. 345 00:22:05,076 --> 00:22:07,356 Speaker 1: White music just didn't do that. Da da da da 346 00:22:07,956 --> 00:22:11,556 Speaker 1: da da da. Oh yeah, I'm feeling it dead. No, 347 00:22:11,676 --> 00:22:12,316 Speaker 1: it doesn't. 348 00:22:12,676 --> 00:22:13,556 Speaker 3: That's head stuff. 349 00:22:14,356 --> 00:22:17,876 Speaker 1: Black music was all like down there kind of stuff, 350 00:22:18,236 --> 00:22:20,716 Speaker 1: which is why you move your hips and your butt 351 00:22:20,796 --> 00:22:24,156 Speaker 1: and do all that. That's the magic of black music. 352 00:22:24,276 --> 00:22:28,716 Speaker 1: And again, nobody took music theory. It's all self taught, 353 00:22:29,156 --> 00:22:31,316 Speaker 1: and it came from the heart and from the soul, 354 00:22:31,356 --> 00:22:36,276 Speaker 1: and that's why that music continues to resonate. But American 355 00:22:36,436 --> 00:22:43,276 Speaker 1: music really was founded on the backs of creative former 356 00:22:43,436 --> 00:22:48,116 Speaker 1: slaves who could barely play guitar. And somehow these melodies 357 00:22:48,156 --> 00:22:52,156 Speaker 1: came out of I mean, blues, jazz and then rock 358 00:22:52,196 --> 00:22:54,876 Speaker 1: and roll and rap, all that came from black music. 359 00:22:56,236 --> 00:23:00,356 Speaker 2: Yeah, most certainly, Well, Night's break and we'll be back 360 00:23:00,396 --> 00:23:08,556 Speaker 2: with Gene Simmons. Some of the funkiest kiss songs of 361 00:23:08,676 --> 00:23:12,636 Speaker 2: your song almost Human from love Gun. I mean, so 362 00:23:12,676 --> 00:23:16,476 Speaker 2: that's a monster as a bass player, as a songwriter. 363 00:23:17,356 --> 00:23:20,156 Speaker 2: You know, obviously beatles, I know are paramount for you, 364 00:23:20,276 --> 00:23:22,876 Speaker 2: the Beatles, But there was there was that other layer, 365 00:23:22,916 --> 00:23:25,076 Speaker 2: there was another there was something else you. 366 00:23:25,076 --> 00:23:29,476 Speaker 1: Were I didn't I didn't have a uh. I didn't 367 00:23:29,476 --> 00:23:34,356 Speaker 1: come from a genre because I first picked up a 368 00:23:34,396 --> 00:23:38,476 Speaker 1: guitar and tried to strummer a few chords. Because it wasn't. 369 00:23:38,556 --> 00:23:44,916 Speaker 1: I literally have never taken a lesson. I don't know why. 370 00:23:45,036 --> 00:23:46,756 Speaker 1: The smart thing would have been to sit down with 371 00:23:46,836 --> 00:23:49,596 Speaker 1: somebody who could play how do you play a sea chord? 372 00:23:49,636 --> 00:23:52,356 Speaker 1: And so on and what does that mean? But I 373 00:23:52,756 --> 00:23:56,276 Speaker 1: never did, and that goes all the way down to 374 00:23:58,116 --> 00:24:02,636 Speaker 1: that e Van Halen, like all the best players taught themselves, 375 00:24:03,116 --> 00:24:07,596 Speaker 1: and well, I didn't start playing bass. I started strumming 376 00:24:07,956 --> 00:24:12,956 Speaker 1: those stupid songs My Uncle is a Raft and Stanley 377 00:24:13,036 --> 00:24:16,556 Speaker 1: the Parrot, which became Strutter and all that. There's just 378 00:24:16,676 --> 00:24:20,476 Speaker 1: strumming CG D and coming up with my own melodies 379 00:24:20,996 --> 00:24:24,156 Speaker 1: and then hearing hit songs House of the Rising Son 380 00:24:24,236 --> 00:24:27,076 Speaker 1: and so and trying to figure out what those chords 381 00:24:27,076 --> 00:24:30,036 Speaker 1: were and of course getting it wrong. But then I'm going, well, 382 00:24:30,076 --> 00:24:32,236 Speaker 1: wait a minute, I just these are my chords now, 383 00:24:32,916 --> 00:24:35,356 Speaker 1: and I can do my own melodies. Here's a song 384 00:24:35,396 --> 00:24:38,156 Speaker 1: called Spice Islands. I don't know where that came from. 385 00:24:38,196 --> 00:24:42,276 Speaker 1: And making up melodies, but I didn't have a genre 386 00:24:42,316 --> 00:24:45,996 Speaker 1: because I grew up on Chuck Berry, Little Richard, you know, 387 00:24:46,076 --> 00:24:48,756 Speaker 1: black music. And then the Beatles hit, which was like 388 00:24:48,796 --> 00:24:50,436 Speaker 1: a kick in the nuts. 389 00:24:50,476 --> 00:24:51,956 Speaker 3: It was like, what is that? 390 00:24:52,396 --> 00:24:54,956 Speaker 1: You know, she loves you? Yeah? Yeah, yeah, and then 391 00:24:54,956 --> 00:24:57,996 Speaker 1: you get that harmony that minor nine, yeah, you know 392 00:24:58,076 --> 00:25:01,636 Speaker 1: that thing with I never heard that in popular music 393 00:25:02,636 --> 00:25:05,476 Speaker 1: to this day. It's not easy to do. It's easy 394 00:25:05,516 --> 00:25:11,676 Speaker 1: to sing the root and then the you know, do 395 00:25:11,836 --> 00:25:15,756 Speaker 1: re me? Do you know that kind of the triad thing, 396 00:25:15,796 --> 00:25:18,636 Speaker 1: which sounds very nice, it sounds good, but that thing 397 00:25:18,796 --> 00:25:21,836 Speaker 1: was like on another level when you started to hear 398 00:25:21,876 --> 00:25:27,116 Speaker 1: those Beatles harmonies. So, you know, I digress. It is 399 00:25:27,236 --> 00:25:33,916 Speaker 1: interesting that the most successful songwriters of all time, Paul 400 00:25:33,996 --> 00:25:38,356 Speaker 1: McCartney single handedly, by the way, is the most successful 401 00:25:38,396 --> 00:25:42,276 Speaker 1: songwriter of all time. Just Yesterday on its own has 402 00:25:42,356 --> 00:25:47,556 Speaker 1: been covered by over a thousand different recording artists on 403 00:25:47,596 --> 00:25:50,756 Speaker 1: their own, which is unheard of. 404 00:25:52,516 --> 00:25:53,876 Speaker 3: But all the other songs too. 405 00:25:54,276 --> 00:25:59,316 Speaker 1: I used to manage Liza WESAMNELLI went to see Sinatra 406 00:26:00,076 --> 00:26:03,356 Speaker 1: at the book and he comes out and introduces, I've 407 00:26:03,396 --> 00:26:05,436 Speaker 1: got Sam Riddle on the man. I've got to do 408 00:26:05,476 --> 00:26:07,756 Speaker 1: a song for you. It's one of the finest songs 409 00:26:07,796 --> 00:26:10,636 Speaker 1: ever written. It's called something, and then it goes into 410 00:26:10,716 --> 00:26:15,516 Speaker 1: a Beatles songs like yeah, And it's worth noting again 411 00:26:16,156 --> 00:26:19,836 Speaker 1: those guys didn't know how to play. When they started 412 00:26:19,836 --> 00:26:22,436 Speaker 1: to pick up. They were doing what it was called skiffle, 413 00:26:23,156 --> 00:26:26,436 Speaker 1: and then Buddy Holly and then the Everly brothers, and 414 00:26:26,436 --> 00:26:29,316 Speaker 1: then you know they self taught. And the fact that 415 00:26:29,396 --> 00:26:34,796 Speaker 1: all these amazing writers came from a place called liver Pool. 416 00:26:35,716 --> 00:26:37,836 Speaker 1: You couldn't come up with a crazier name. Now it's 417 00:26:37,916 --> 00:26:42,476 Speaker 1: all poetic. Oh Liverpool, No, No, it's liver Pisca River. 418 00:26:42,996 --> 00:26:45,836 Speaker 1: You know, it just makes When I first heard that, 419 00:26:45,916 --> 00:26:50,276 Speaker 1: I thought that's disgusting. A Liverpool, yeah. 420 00:26:50,716 --> 00:26:52,836 Speaker 2: The other day, but even hard Day's Night. That opening 421 00:26:52,916 --> 00:26:55,756 Speaker 2: chore that is so strange and it's amazing, but they 422 00:26:55,796 --> 00:26:56,596 Speaker 2: never returned to it. 423 00:26:56,596 --> 00:26:56,916 Speaker 3: It's like. 424 00:26:59,436 --> 00:27:01,796 Speaker 1: Serious, it's like, let's do open with this and never 425 00:27:01,876 --> 00:27:02,676 Speaker 1: come back to it. 426 00:27:03,076 --> 00:27:04,316 Speaker 3: Genius, genius. 427 00:27:04,476 --> 00:27:08,636 Speaker 1: They heard a sound in their head and they did it. 428 00:27:08,676 --> 00:27:10,916 Speaker 3: Just genius. As a matter of. 429 00:27:10,876 --> 00:27:16,676 Speaker 1: Fact, if I felt follows opera in a way that 430 00:27:16,876 --> 00:27:20,636 Speaker 1: rock and roll does not popular music. If I fell 431 00:27:20,676 --> 00:27:22,996 Speaker 1: in love with you, would you promise it'll be true? 432 00:27:23,196 --> 00:27:26,956 Speaker 1: And ilpe he understand because I've been in love before 433 00:27:27,156 --> 00:27:31,076 Speaker 1: and I found that love was well than just holding hands. 434 00:27:31,516 --> 00:27:34,276 Speaker 1: Then the song takes up. If I give they never 435 00:27:34,356 --> 00:27:37,716 Speaker 1: come back to that intro. That's what opera does. Opera 436 00:27:37,756 --> 00:27:41,356 Speaker 1: has this kind of mood setting, melodic intro, and then 437 00:27:41,396 --> 00:27:43,836 Speaker 1: the material starts and you never come back to it, 438 00:27:45,916 --> 00:27:50,236 Speaker 1: And the genius of these guys is still unequal. 439 00:27:50,396 --> 00:27:50,636 Speaker 3: Here. 440 00:27:51,076 --> 00:27:54,436 Speaker 1: I'm one of the beatles in your dream Simmons. And 441 00:27:54,476 --> 00:27:56,436 Speaker 1: you say, so you got a new song? Yeah, got 442 00:27:56,476 --> 00:27:57,036 Speaker 1: a new song? 443 00:27:57,356 --> 00:27:57,716 Speaker 3: How's it? 444 00:27:57,916 --> 00:27:59,916 Speaker 1: What's it called? It's called help? Okay, how's it going? 445 00:27:59,956 --> 00:28:03,156 Speaker 1: It goes like this help? I need some bad But 446 00:28:03,196 --> 00:28:07,676 Speaker 1: there's a pause. It's the song title, which is the 447 00:28:07,716 --> 00:28:12,156 Speaker 1: first thing you hear up. Pause, I need somebody help, 448 00:28:12,796 --> 00:28:15,396 Speaker 1: not just it, there's a pause. It's not help, I 449 00:28:15,516 --> 00:28:16,196 Speaker 1: need somebody. 450 00:28:16,196 --> 00:28:16,276 Speaker 2: No. 451 00:28:17,116 --> 00:28:18,916 Speaker 1: Do you have another that's really good? You got another one? 452 00:28:18,996 --> 00:28:19,196 Speaker 3: Yeah? 453 00:28:19,396 --> 00:28:20,356 Speaker 1: Well, what's it called? 454 00:28:20,436 --> 00:28:24,156 Speaker 3: Yesterday? How's it go? It goes Yesterday? Pause? 455 00:28:24,756 --> 00:28:29,476 Speaker 1: All my trouble seems so far? It's you got another one? Yeah, 456 00:28:29,516 --> 00:28:30,236 Speaker 1: it's called Michelle. 457 00:28:30,276 --> 00:28:30,716 Speaker 3: How's it go? 458 00:28:30,916 --> 00:28:30,956 Speaker 1: Me? 459 00:28:31,436 --> 00:28:31,716 Speaker 3: Shechell? 460 00:28:33,436 --> 00:28:34,076 Speaker 1: You got any more? 461 00:28:34,116 --> 00:28:34,356 Speaker 3: Yeah? 462 00:28:34,716 --> 00:28:35,836 Speaker 1: Got one called she loves You? 463 00:28:35,876 --> 00:28:37,956 Speaker 3: How does it go? She loves You? Yeah? 464 00:28:37,996 --> 00:28:42,116 Speaker 1: It's crazy if you're right, If you're right, And they've 465 00:28:42,116 --> 00:28:44,996 Speaker 1: written hundreds of songs like that, Paul, do you have 466 00:28:45,076 --> 00:28:48,676 Speaker 1: a song? Yeah, it's called Penny Lane and Penny Lane 467 00:28:48,796 --> 00:28:54,036 Speaker 1: there what so if you write songs, or you try 468 00:28:54,636 --> 00:28:57,996 Speaker 1: the hardest thing to do is to write a really good, 469 00:28:58,476 --> 00:29:01,676 Speaker 1: simple song that hits the nail on the head right away. 470 00:29:02,356 --> 00:29:05,236 Speaker 1: We love the stares with satisfaction as much as we 471 00:29:05,316 --> 00:29:08,436 Speaker 1: love it doesn't touch that because you got to get 472 00:29:08,476 --> 00:29:13,596 Speaker 1: through and we love the rip. You gotta wait about 473 00:29:13,636 --> 00:29:19,796 Speaker 1: forty seconds until satisfaction comes in the title. Is there 474 00:29:19,796 --> 00:29:22,756 Speaker 1: a Stone song to you that approaches the Beatles? 475 00:29:22,796 --> 00:29:22,876 Speaker 3: Like? 476 00:29:22,956 --> 00:29:25,116 Speaker 1: If there were one, would it be satisfaction? Or is 477 00:29:25,116 --> 00:29:30,796 Speaker 1: there another that you think? I love the Stones, but 478 00:29:30,836 --> 00:29:36,556 Speaker 1: they don't approach that songwriting. In point of fact, you 479 00:29:36,676 --> 00:29:40,076 Speaker 1: may like the Stones more, but that's taste. In fact, 480 00:29:40,076 --> 00:29:43,676 Speaker 1: the first hit the Stone Side was written by Lennon McCartney. 481 00:29:44,316 --> 00:29:47,156 Speaker 1: I want to be Your love a baby, I want 482 00:29:47,156 --> 00:29:50,316 Speaker 1: to be oh man. They gave it to the Stone 483 00:29:50,396 --> 00:29:52,956 Speaker 1: that they didn't write songs at that point. They were 484 00:29:52,956 --> 00:29:57,636 Speaker 1: doing you know, blues covers, John Lee Hooker, stuff like that. 485 00:29:59,476 --> 00:30:02,556 Speaker 2: Well you know the lessons of that stuff. Is it 486 00:30:03,276 --> 00:30:06,156 Speaker 2: unconsciously in your mind as you're writing? Is it top 487 00:30:06,196 --> 00:30:07,796 Speaker 2: of your mind as you write? I think, I mean 488 00:30:07,836 --> 00:30:09,916 Speaker 2: even a song this is a little the Beaten Path, 489 00:30:10,036 --> 00:30:13,236 Speaker 2: but it it felt always felt a bit beatlesque to 490 00:30:13,276 --> 00:30:17,756 Speaker 2: me in a sense, I confess from Carnival of souls. 491 00:30:17,836 --> 00:30:21,836 Speaker 2: You know, it's just a really it's kind of it's 492 00:30:21,876 --> 00:30:25,476 Speaker 2: it's it's really experimental and abstract in its way, like 493 00:30:25,956 --> 00:30:28,996 Speaker 2: are you thinking, like, let's try to do something out 494 00:30:29,476 --> 00:30:30,396 Speaker 2: or is it just coming? 495 00:30:30,676 --> 00:30:31,996 Speaker 3: Oh? It just comes. 496 00:30:32,036 --> 00:30:35,036 Speaker 1: So I wish I had the talent of the Bill 497 00:30:35,076 --> 00:30:40,476 Speaker 1: Street building, all those guys that wrote hit songs, even 498 00:30:40,516 --> 00:30:43,316 Speaker 1: Phil Spector and all these guys. It's a very it 499 00:30:43,316 --> 00:30:47,596 Speaker 1: was a very strange building because all those writers, will 500 00:30:47,676 --> 00:30:51,596 Speaker 1: you Still Love Me Tomorrow? Carol King, who was Carol Kleinb. 501 00:30:51,916 --> 00:30:56,436 Speaker 1: They were all of a certain persuasion. They were all 502 00:30:56,516 --> 00:30:59,756 Speaker 1: members of the tribe Neil sedaka Carol Kleinb, Neil Diamond. 503 00:31:00,636 --> 00:31:03,596 Speaker 1: You know, they all americanized their names. Carol King, No, 504 00:31:03,756 --> 00:31:09,796 Speaker 1: they were my tribe. Uh. Phil Spector genius, No, him too. 505 00:31:10,956 --> 00:31:20,316 Speaker 1: And they knew how to write hits. And that just 506 00:31:20,516 --> 00:31:23,676 Speaker 1: comes with talent. The rest of us, you know, just 507 00:31:23,796 --> 00:31:25,756 Speaker 1: bubbling our way through it. And if you come up 508 00:31:25,796 --> 00:31:28,476 Speaker 1: with something that people like, certainly doesn't have to be 509 00:31:28,516 --> 00:31:31,356 Speaker 1: a hit. Certainly one of the biggest fans of all 510 00:31:31,436 --> 00:31:33,276 Speaker 1: time didn't write hit songs. 511 00:31:33,356 --> 00:31:34,116 Speaker 3: Led Stepplin. 512 00:31:35,116 --> 00:31:41,716 Speaker 1: The hits. The astonishing thing about Page Who over the 513 00:31:41,796 --> 00:31:45,876 Speaker 1: years I'm proud to see has become a friend. Are 514 00:31:45,916 --> 00:31:50,196 Speaker 1: those amazing riffs? This guy who played on Donovan Records 515 00:31:50,236 --> 00:31:56,756 Speaker 1: and every British artists who had hits had Jimmy Page 516 00:31:56,796 --> 00:31:59,996 Speaker 1: playing guitar, but he himself has come up with more 517 00:32:00,116 --> 00:32:04,596 Speaker 1: classic riffs than all the other English guitar players put together. 518 00:32:05,516 --> 00:32:07,396 Speaker 1: And it's instantly recognized. 519 00:32:08,796 --> 00:32:11,236 Speaker 3: You know that is you know. 520 00:32:11,556 --> 00:32:12,556 Speaker 1: It's not air supply. 521 00:32:14,396 --> 00:32:16,476 Speaker 2: I want to ask you once to go back to 522 00:32:16,516 --> 00:32:18,316 Speaker 2: something we were talking about the top of our conversation. 523 00:32:18,356 --> 00:32:20,356 Speaker 2: Then I just want to quickly ask you about the 524 00:32:20,436 --> 00:32:22,236 Speaker 2: Kiss Cruise and you can. 525 00:32:22,316 --> 00:32:25,636 Speaker 1: Well, this is a fan run event. This ain't a 526 00:32:25,716 --> 00:32:29,316 Speaker 1: Kiss concert or anything that's being held in November in 527 00:32:29,396 --> 00:32:32,556 Speaker 1: Las Vegas. We're just trying to stay in touch with 528 00:32:32,596 --> 00:32:39,036 Speaker 1: the fans because since Pophouse bought Kiss, we are. In fact, 529 00:32:39,036 --> 00:32:41,316 Speaker 1: we had a conference call this morning. There's a movie 530 00:32:41,396 --> 00:32:44,636 Speaker 1: coming and the Kiss Avatars and a cartoon show and 531 00:32:45,236 --> 00:32:50,956 Speaker 1: I'm awful lot of stuff, if anything, since Pophouse came 532 00:32:50,996 --> 00:32:55,076 Speaker 1: into the picture, we're really ramping up to big, big stuff, 533 00:32:55,796 --> 00:32:58,956 Speaker 1: the kind of stuff that hasn't been done respectfully by 534 00:32:58,996 --> 00:33:02,276 Speaker 1: other bands. Just because you know, while you're alive, try 535 00:33:02,356 --> 00:33:07,236 Speaker 1: you know, reach for the stars and so the fans. 536 00:33:07,956 --> 00:33:09,996 Speaker 1: This is a different kind of stuff, not like a tour, 537 00:33:10,116 --> 00:33:12,476 Speaker 1: so we're sort of we're not seeing the fans so 538 00:33:12,516 --> 00:33:16,156 Speaker 1: you can talk touch. So this is more of a 539 00:33:16,236 --> 00:33:19,236 Speaker 1: chance for us to stay in touch with the fans. 540 00:33:20,356 --> 00:33:23,596 Speaker 1: Open to only a few thousand fans. It's going to 541 00:33:23,596 --> 00:33:26,996 Speaker 1: be at the Virgin Hotel. No, you don't have to 542 00:33:27,036 --> 00:33:28,116 Speaker 1: be a virgin to a ten. 543 00:33:28,436 --> 00:33:29,556 Speaker 3: See what they just did there. 544 00:33:30,796 --> 00:33:34,636 Speaker 1: And it's going to include Q and A and photos 545 00:33:34,716 --> 00:33:36,796 Speaker 1: and you know, all that kind of stuff, and we'll 546 00:33:36,836 --> 00:33:40,836 Speaker 1: get up and we'll you know, strum and do stuff 547 00:33:40,836 --> 00:33:43,036 Speaker 1: for shits and giggles. But there's not going to be 548 00:33:43,036 --> 00:33:44,876 Speaker 1: a kiss show. It's not like going to blow up 549 00:33:44,916 --> 00:33:48,396 Speaker 1: the Virginal Hotel. I just got the stink guy from 550 00:33:49,356 --> 00:33:53,236 Speaker 1: the other side of the room. Yeah, yeah, okay, I 551 00:33:53,316 --> 00:33:53,676 Speaker 1: got it. 552 00:33:56,156 --> 00:33:57,716 Speaker 2: Well, you know, I thought I had longer, but I'll 553 00:33:57,716 --> 00:34:00,796 Speaker 2: tell you what. We wrapped everything we could possibly wrap it. 554 00:34:00,876 --> 00:34:03,596 Speaker 2: I got made fun of, I got lectured. We had 555 00:34:03,596 --> 00:34:05,996 Speaker 2: a great talk some kids, we talked to kids. Cruise 556 00:34:06,356 --> 00:34:09,476 Speaker 2: no charge, beatles, we did it all no charge. You know, 557 00:34:09,716 --> 00:34:11,196 Speaker 2: we we we we. 558 00:34:10,916 --> 00:34:16,196 Speaker 1: We can conclude. Well, I had fun. Thanks so much, 559 00:34:16,796 --> 00:34:19,876 Speaker 1: and I wish you well. And by the way, when 560 00:34:19,876 --> 00:34:23,956 Speaker 1: did you quit modeling? I never did, I never did. 561 00:34:23,996 --> 00:34:27,076 Speaker 1: I don't know, man, I never did. Yeah, well, I 562 00:34:27,116 --> 00:34:29,076 Speaker 1: have a I have a sneaking suspicion. 563 00:34:29,676 --> 00:34:34,556 Speaker 3: You would be very popular in jail. Well, let me 564 00:34:34,876 --> 00:34:35,276 Speaker 3: let me go. 565 00:34:35,316 --> 00:34:37,116 Speaker 1: Maybe let me go try some blue collar crime or 566 00:34:37,196 --> 00:34:37,916 Speaker 1: white collar crime. 567 00:34:37,996 --> 00:34:38,316 Speaker 3: It's all. 568 00:34:38,596 --> 00:34:40,556 Speaker 1: You won't need to do anything. They're going to bring 569 00:34:40,596 --> 00:34:42,636 Speaker 1: you hot tea in the morning and tuck you in 570 00:34:42,716 --> 00:34:43,956 Speaker 1: at night. Don't you worried. 571 00:34:45,596 --> 00:34:47,676 Speaker 2: That's a that's a real I'll wear that with the 572 00:34:47,756 --> 00:34:49,076 Speaker 2: badge honor everywhere I go. 573 00:34:49,356 --> 00:34:49,756 Speaker 3: Thank you. 574 00:34:50,116 --> 00:34:55,916 Speaker 1: Just don't tell what happens in jail stays in jail. 575 00:34:55,996 --> 00:34:56,516 Speaker 3: You don't have to. 576 00:34:56,556 --> 00:34:59,596 Speaker 1: You know, if you don't tell, it doesn't count. Man, 577 00:34:59,596 --> 00:35:01,396 Speaker 1: it's incredible. I hope, I hope we get the chance 578 00:35:01,436 --> 00:35:03,876 Speaker 1: to speak again. It was real real, I mean, you know, 579 00:35:04,036 --> 00:35:05,676 Speaker 1: you have a real You demurred. 580 00:35:06,396 --> 00:35:09,916 Speaker 2: Here's the word again, you demurred, But you really interesting 581 00:35:09,996 --> 00:35:12,556 Speaker 2: musical mind and it's appreciated. 582 00:35:12,716 --> 00:35:14,756 Speaker 1: And hopeing you to speak again. Thank you, I wish 583 00:35:14,796 --> 00:35:18,556 Speaker 1: you well. Bye Bye. 584 00:35:18,756 --> 00:35:21,116 Speaker 2: An episode description, you'll find a link to a playlist 585 00:35:21,116 --> 00:35:24,876 Speaker 2: of our favorite Gene Simmons sung or written kiss tracks. 586 00:35:25,436 --> 00:35:27,636 Speaker 2: Be sure to check out YouTube dot com slash Broken 587 00:35:27,676 --> 00:35:30,196 Speaker 2: Record Podcast to see all of our video interviews, and 588 00:35:30,276 --> 00:35:32,516 Speaker 2: be sure to follow us on Instagram at the Broken 589 00:35:32,556 --> 00:35:35,516 Speaker 2: Record Pod. You can follow us on Twitter at broken Record. 590 00:35:35,996 --> 00:35:38,276 Speaker 2: Broken Record is produced and edited by Leah Rose, with 591 00:35:38,396 --> 00:35:41,596 Speaker 2: marketing help from Eric Sandler and Jordan McMillan. Our engineer 592 00:35:41,716 --> 00:35:45,556 Speaker 2: is Ben Holliday. Broken Record is a production of Pushkin Industries. 593 00:35:45,716 --> 00:35:48,196 Speaker 2: If you love this show and others from Pushkin, consider 594 00:35:48,236 --> 00:35:51,796 Speaker 2: subscribing to Pushkin Plus. Pushkin Plus is a podcast subscription 595 00:35:51,836 --> 00:35:54,596 Speaker 2: that offers bonus content and ad free listening for four 596 00:35:54,756 --> 00:35:57,036 Speaker 2: ninety nine a month. Look for Pushkin Plus on Apple 597 00:35:57,076 --> 00:36:00,556 Speaker 2: podcast subscriptions, and if you like this show, please remember 598 00:36:00,596 --> 00:36:02,676 Speaker 2: to share, rate, and review us on your podcast app. 599 00:36:02,956 --> 00:36:05,396 Speaker 2: Our theme music's by Kenny Beats. I'm justin Richmond.