1976… Cheyenne WY… Carey Jr High School… the choir rehearsal room…The corner cabinet housing a bitchin Marantz integrated amp, and a Dual direct-drive turntable. All this feeding two pioneer HPM100s that were slung high on the wall to project supreme tonal supremacy. I know this because I was there. and the reason I remember this place is because the intro to Detroit Rock City was massaging my what the hell is this gland! I immediately stumbled to the cabinet and searched for meaning of my sensatory distress. Elbowing my way through the chattering 14-year-old girls that thwarted and beguiled me at every step. I finally reached my goal, my Tanelorn, my reason to move to the next moment. There leaning against the inner cabinet was a record cover. Dark around the edges and there pulling my prize towards my face I saw the familiar Kiss emblem… menacing, and unkind. If it had eyes they would of followed me about the room, but it didn’t… DESTROYER it read, and below… our hero’s! Floating in a sea of chaos! Oblivious to any battle damage that was hurled their direction. Time slowed. My senses reeled. Or time reeled then my senses slowed? Either way I found myself basking in the sonic splendor that is Kiss Destroyer! And somehow I felt a little cooler.

Mark

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   I can still remember seeing this album for the first time on the shelves at a mom and pops record store. I was not a big Kiss fan at the time. I knew Dressed to Kill and Alive, but this cover looked different and more polished! Because I was a horror magazine fan, the cover art was straight out made for me. I would buy the album a couple weeks later when I had the money. I was probably more excited about Bob Ezrin production than anything else since I was a big Alice Cooper fan. Boy I was not disappointed. But if you were a fan of Alive this was a big change. Maybe too big of change? Not for me! Loved it!!! ...except one track.

Jeff

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     Destroyer was my introduction to Kiss, as I received it and Alive for my 11th birthday. Because of this, I wasn't aware of the quantum leap forward Destroyer was for the band, in songwriting, musicianship and production. Bob Ezrin's impact, both on this album and the band's career arc, cannot be overstated. I immersed myself for about a week in Alive, so even I could hear the difference in the songs when I finally listened to Destroyer, but since I hadn't yet heard the previous studio albums, I wasn't as impacted, both positively or negatively, as earlier Kiss fans turned out to be. While it has been WIDELY debated on the myriad Kiss sites, there really is no denying that in terms of studio albums, Destroyer is their defining statement. Oh...and there has never been a better or more indicative album cover in rock history.

Kip

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1. Detroit Rock City (Stanley, Ezrin) A+

   I think the band at this point has reached point where the money has reached the same level as their musical ambitions. Or not. Maybe they were shoved in this direction. The intro to this tune is more akin to Prog rock than a heavy rock album. The story driven intro works great until the beginning riff kicks in. One of the first things I noticed was the production. More sophisticated, deeper, I think. And the guitars are smoother with more sustain. Paul’s vocals are wonderful as usual. The whole band seams united in a way I haven’t heard before. The solo is so melodic. It really sticks with me. These tracks don’t seem to be live takes to me. Maybe built from the ground up with layers of overdubs. I love the direction the band took with this album. I wish they would’ve continued in this more story driven vein…The Elder!

A

Mark

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   When I listen to this song and think about writing an opinion it reminds me of the seven blind men trying to describe the elephant. I just have so many thoughts and memories that pertain to this Paul Stanley tune. My first thought of this song is how fresh at the time it sounded with Bob Ezrin’s production, the shimmery sound of the band… it was quite magical, and it was so different. I just remember that the first time I heard it was at Budgets Records and Tapes.  I asked to listen to it and I only had time to hear Detroit Rock City. It was High School lunchtime. I remember it was so unlike Dressed to Kill’s or Alive’s sound. My second thought on this song is that DRC is definitely in my top 10 favorite Kiss tunes. I wouldn’t be surprised if it isn’t my most listened to Kiss song. It’s lost that freshness, but it still sounds great and is a perfect opening number for the band to this day. I like how the tune has two instrumental breaks and the flamingo section is my favorite. Thank you Bob Ezrin! Just makes the song timeless and classy! Lastly, I love chasing different versions of songs and Detroit has many different versions/mixes to check out. There are six possibilities for this song. You can listen to the original Destroyer version. You can listen to the Double Platinum remix which along with being a different mix, this version removes the engine noises, crash and introduction. There’s a more modern remix of the song on Smashes, Thrashes & Hits version, it sounds good, but just seems to have lost some energy with that mix.  Also, the controversial newer Bob Ezrin mix from 2012’s Resurrected release. You could listen to the single version on 45. It is an abbreviated version of the song with a different mix, but retains the engine. The 45 version has such rough edits, I hear everyone. Have to admit its last edit with the crash then returning to the song with a fade is unique in all these versions. One more: The Paul Lynde Halloween version. It’s shortened, different mix and has added hand clapping throughout.

A+

Jeff

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   While 'Rock and Roll All Nite” is Kiss's inarguable anthem, “Detroit Rock City” is their best song. Because of the internet, it is easy to find the earliest incantations of most songs, and this one is fascinating in its development. It is also the first of almost every song on the album that demonstrates Bob Ezrin's absolute genius, in production, dynamics, and by far the most underrated, songwriting. The radio broadcast used as the opener for the song introduces a cinematic theme that runs throughout the album and, honestly, throughout everything Ezrin has ever produced. Opening with a driving riff that was part of the earlier composition “Much Too Young,” DRC tells the tale, LOOSELY based, on a tragic accident that killed a young audience member earlier in their career. Paul Stanley had the framework for the song, but Ezrin turned it into a classic rock staple, with his use of piano (!) to augment guitar power chords, by slowing down the pace of the song and by writing the twin guitar solo that has become iconic in the rock world, whether people like the band or not. Gene Simmons’s bass line utilized throughout the song gives it a groove that is atypical in the Kiss canon. While I am of the unpopular opinion that Simmons was a terrific bass player, at least up to this album, this riff is not one he would have created. Ezrin strikes again. This is just the perfect Kiss song.

A+

Kip

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2. King of the Night Time World (Fowley, Anthony, Stanley, Ezrin) A-

   The transition to this tune always gets me going! The Peter Criss cymbal crashes, and rolling snare. Topped off with creamy guitar feedback. Then into the bass less verse. True rock Kissy-ness. Great chorus singalong as per usual. Good times. Good tune.

B

Mark

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   Once again, with KOTNW, the sound is so different than the Kiss I had known from the previous two albums. I’m still really fond of this song and I was trying to think what I like so much about it, because I think the mix is kind of bright, I actually prefer the Bob Ezrin Resurrected mix, this version doesn’t sound as thin, I think the biggest selling point for me liking this track is Paul Stanley’s voice, without his vocals I don’t think it’ll been near as good. Love the drums throughout this album! This song is no exception, real strong with a military precision drum attack throughout.

A

Jeff

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   Because of the monster tune that preceded it, I have always felt like KOTNW would be an absolute Kiss classic if DRC had never existed. In my mind, they have always been “twin” songs, and not just because of their placement on this album. This easily could have been the album opener (as it was on the Dynasty tour,) with the feedback leading into the driving riff that somewhat mirrors DRC. A “cover” song of sorts, with the infamous Kim Fowley getting the co-writing credit, the song again creates the image of a young man with his girlfriend, getting in trouble and growing up in the 70's. One listen to the original version of the song again demonstrates the genius of Ezrin, as the original has neither the scope nor the dynamics of the Kiss version. This song too features a twin guitar solo that is quite different from the usual fare of Ace Frehley. This is just pure bombast and just brings back such memories of listening to this tune (LOUDLY) and staring at the iconic Ken Kelly album cover. Another, somewhat underrated, classic.

A

Kip

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3. God of Thunder (Stanley) B+

   I don’t know about this song… its iconic riff is a classic. Up there with the best. A live favorite and a toe tapper as well. But…I must admit that this tune never grabbed me. For me the production is to washed out, and there’s too much extra sound effects or voices in the sonic nooks and crannies. The solo is super cool though. Kind of haunting wailing. Go Ace! I should like this more! What’s wrong with me!? I have failed as a Kiss fan…Forgive me…

C

Mark

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   This song is perfection for a Gene song. Powerful stuff! Seen it many times live and it’s amazing to see them perform it! Wouldn’t change a thing. But I still love the Paul Stanley demo! That version is awesome. I’d give anything to hear a production from that period with Ezrin producing how Stanley first heard it in his head. I still understand and know that this Simmons version is the better idea!

A

Jeff

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   Ezrin is all over this one. A Paul Stanley composition that has long been considered Gene Simmons's theme song, GOT is “heavy” Kiss. Full of spooky sound effects, children's voices and a threatening tempo that just screamed Gene Simmons's on stage persona, GOT has been referenced by many musicians who became famous for MUCH heavier music, as the song that set them on a career path. With Peter Criss playing a surprisingly complex drum part over the bulldozing riff that HAD to have influenced Kelly's cover art, GOT had young boys banging their head, long before that was a thing. Give me credit for not using the expression, “what a monster of a song,” but there you go.

A

Kip

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4. Great Expectations (Simmons, Ezrin) D-

   Ok, this mo-chuck did not age well for me. I’m sitting hear listening in utter agony trying to make it through this thing… and… and…I’m wondering what evil entity spews this into existence. Ivan the terrible? Mr. Keen my 5th grade home room teacher!? WHOOOO! And WHYYY! I’ll sum up: Genes voice? Bad. Subject matter? Cringy (even for Kiss standards). The production? Over blown. Do I hear a glockenspiel!? Do I!? Oh man, I’m sorry…My tinnitus liked it though…

F

Mark

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   I realize that Simmons and Ezrin worked hard on this song, but I’m not a fan and wish they would’ve went in another direction for the last song on this first side of the album. I never put this song on a playlist. It’s funny though I’ve listened to it a few times recently and it’s a real earworm for me, I’m humming and singing it for days afterwards! Doesn't mean it's a good Kiss song. Frick I hum "Look For The Bare Necessities" too, doesn't mean it would be a good Kiss song. Even lyrically this is not for me! It just always leaves me cold and I can’t help but think of the possibilities if they just had a different song close this first side. A more rocking song for Gene here, rather than this fluffy sounding last song to what was an amazing start to the album with the first three songs knocking it out there and then this…bummer! Luckily, we turn the album over and it picks it up again!

D+

Jeff

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   Here we go off the rails a bit. While co-credited to Simmons, this is largely an Ezrin production. This sounds like his work with Alice Cooper, at least lyrically. The song tells the tale of a female audience member fawning over each band member, imagining what it would be like to be the one “they were doing it to.” The juxtaposition of pretty creepy lyrics (especially considering Simmons's later reputation) with classical music motifs was supposed to show how Kiss was evolving, I suppose, but I just never got this song. I really think Ezrin was trying to show a different side to Kiss, but like most of The Elder album, he overcooked this one.

D

Kip

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5. Flaming Youth (Frehley, Stanley, Simmons, Ezrin) B+

   Now this is what I’m talking about! OH YEAH! Nothing like a angst riddled teenage anthem to get This over sixty year old going. Great hard rock melodic tune. My flag is flying higher and higher and higher!

A-

Mark

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   This is another favorite of mine. Great Paul Stanley vocal. I love the lead on this song, it is so unique! To me Flaming Youth has almost a Beatles/Beach Boys style happiness and then there’s that little calliope vibe going on. This song just changes my mood, I feel like I did when I was 16: life looks great and I have the energy to take on the world.

A

Jeff

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   Another song that is a combination of earlier songwriting attempts, mainly by Simmons, that somehow ends up attributed to Simmons, Stanley, Frehley and Ezrin, in a song that clocks in at 2:59. This was one of the first singles I ever bought, complete with it's own Destroyer type picture sleeve, so I immediately wanted to like this song. The entire album has a loose theme of being misunderstood by clueless parents and the verses fit that to a T. It always just felt like the chorus was a bit of a let down. Flaming Youth being the name of an actual band, this seemed like a title that was in pursuit of a song it never quite found.  The verses felt angry, while the chorus, replete with a calliope (!), sounded weak and forced. There's a reason it was quickly dropped as a concert piece, rarely to be heard again.

C+

Kip

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6. Sweet Pain (Simmons) B

   Why is Genes voice annoying me so much? I love Gene. He’s your pal and mine, the blood spitting demon. Right? Maybe I’m not qualified to judge, to grade his demonic fire breathing highness? Hmmm… Let’s break it down to the basics. Do I like this song? Yes I do. Do you like the guitars, drums and bass? Yes I do…Do you like Genes voice? Nooooo! I’m… not… worthy…

C+

Mark

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   When this album came out my best friend at the time a great guy named Doug. He loved this song! Doug had the album on 8 track and I rode with him many times to go to lunch or cruise the strip and Doug blasted this song every time it came on and sang to it. It was his theme song. Good memories! And thank God for Dick Wagner! When I listen to the Ace Frehley version I’m surprised how much his lead work on this song don’t work for me. I don’t ever listen to that version. Great song! Fits perfectly into this Destroyer family of songs; fits so well couldn’t imagine the album without it.

B+

Jeff

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   A song that fits Simmons's persona perfectly, it is actually quite a unique song in the Kiss catalog. The reverse sweeping guitar riff, the stumbling musical parts following each of his verse lines, the guitar solo (famously ghosted by Dick Wagner) that almost seems to go into another key, all result in a song that ends up being greater than the sum of its parts. It would seem this song would have fit perfectly into a set list, being an over-the-top extension of Simmons' s character, but maybe the emergence of “Calling Dr. Love” relegated it to the throwaway bin, only to be brought out on the Kiss Kruise, to the delight of the hardcore fans. It also suffered from being the lead in to a Kiss classic.

B-

Kip

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7. Shout It Out Loud (Simmons, Stanley, Ezrin) A

   This is a great song from the get go. I prefer it to "Rock and Roll All Nite" as a party anthem. The way Paul and Gene trade off verses is so cool. The new production style really suits this tune. Yay Bob!

A

Mark

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   I think this is such a great party song and for Kiss is one of their more accessible songs. My whole family knows this song. It has really stood the test of time. I thought it was catchy the first time I heard it.  I can still remember it playing on the radio at high school and some girls in the room singing along with it. It didn’t become a big hit. It disappeared, but it’s still used in movies and on the band’s setlist to this day. Any Kiss greatest hits compilation would have this song. I love the Paul Stanley/Gene Simmons trade off. I wish they would’ve done more songs that way. It deserved to be a bigger hit than it was. But the real hit is coming up next.

A+

Jeff

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   I had to work really hard to remember my initial reaction to a song that has become, like “Rock and Roll All Nite,” a tune we could all go without hearing again. I do remember absolutely loving the song initially, if even my 11-year-old brain remembers thinking “they tried to write another anthem.” The decision to have Simmons and Stanley trade vocals on this was brilliant, and ultimately, is what makes it work so well for me. Again, another song of rebelling against the mundanity of the lives they saw their parents living, SIOL is filled with some extremely cool instrumental parts. Simmons mirroring the guitar riff really works, as does his walking bass line throughout the song. It also features the most “Ace” solo on the record, filled with wild, wide bends that fit the melody of the song, always a strength of early Ace. Somewhat begrudgingly, I have to admit this is a pretty great tune that, again, perfectly fits the persona of the band at the time.

A

Kip

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8. Beth (Criss, Penridge, Ezrin) B+

   I always knew Peter Criss was a crooner. Most drummers are. I love Peter’s voice. He can sing it soft and he can scream it out with the best of them. Great arrangement as well. The first ballad from the band and it sells like hotcakes. Well done. I’m into it.

B

Mark

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   When I met my wife who is 7 years younger than me this is one of the few Kiss songs she knew. This was quite the hit and I remember it played a lot over our local stations. I’ve always had a pretty wide taste in music so Beth wasn’t a stretch for me. But I get it when some friends would say that this song is not a Kiss song. But this song saves the day by putting Kiss back on the map and is a lifesaver for this album's sales and for their career, so for that reason alone, “Beth” is part of Kiss just as much as any other song. It’s part of their lore anymore. I just can’t listen to the Eric Carr version, sorry!  That didn’t work. Eric deserved better than that.

A

Jeff

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   Here's a song that gets the Kiss diehards going. While it's difficult to believe, as has been endlessly stated, that “Beth” saved Kiss from what was initially somewhat tepid reactions to the album, it can't be OVERstated that the song brought Kiss to a MUCH broader audience. Initially a song from Criss”s earlier band Chelsea, this song again shows the brilliance of Ezrin. The song initially was directed at the nagging wife of Criss's previous band member, with a much more singer/songwriter vibe based around an acoustic guitar. Ezrin changed it into a sympathetic piano based ballad illustrating the difficulty of “loving a music man.” I DO have to imagine that Kiss fans who had been there since the beginning went “what the hell??” upon first listen to this, but it somehow worked in the sequence and tenor of the album. The orchestration and Wagner's barely audible acoustic playing ARE stunning and I have to admit, I loved the song on first listen. I just probably don't ever need to hear it again. A VERY important Kiss song.

B+

Kip

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9. Do You Love Me? (Ezrin, Fowley, Stanley) A-

   This Paul Stanley tune is my favorite on the album! I love the drums and voice intro. I love when the band kicks in on the verses, and the lyrics kinda make me think everyone loves you when you’re on top. Who do you trust? Great tune, and great ending to a special album.

"Do you love me?

Do you love me?

I wanna know.

Do you love me?"

A

Mark

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   This song is like the fricking coolest song ever! That killer drum beat dropping after the last echoing violin of Beth trails off is such a killer segue. I love the contrast between those two! Once again, this song didn’t sound like any of the earlier Kiss to me. I mean wow, tubular bells! I like the bells, but it’s a shame because they bury a cool guitar riff that is being played at the end of the track. You can use a program like Odyssey to hear it, but you don’t really hear it in Ezrin’s mix. Only thing I would change, otherwise perfection!

A+

Jeff

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   Another piece that attempted to bridge the gap between the audience and the individual members, this song makes me a bad Paul Stanley fan, as most of those consider this a stone cold classic. Like “Flaming Youth,” this one just missed for me. I thought the subject matter was cool and the power chord riff always resonated with me, but this became plodding and repetitive. Unlike my dislike of the calliope in FY, I thought the descending bells worked brilliantly in this. I have come to appreciate the live version, as they substitute a cool finger picking lick in lieu of the bells. I might have changed my mind had they put this on Alive II, but when they chose to leave it off, I took it as an affirmation of my initial feeling. Oh, the logic of an 11-year-old.

B-

Kip

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Bonus Points:

   “Rock and Roll Party”- While not a listed track, this one has become the point of discussion since the album's release. A time filler that is simply an amalgamation of earlier tracks (even banter from Alive), this one will always be a memory for me. I was still listening to my albums on my mom's record players when I got this. Her turntable was one with the bar that allowed for the stacking of records for uninterrupted play. My musician brother was always on my mom and me to quit that practice, as it was so hard on the vinyl. I remember sprinting up the stairs on first listen to this, as I was sure it was somehow (illogically) “bleeding” through from my Alive record and that I had ruined them both. The look on my brother's face of both humor and disbelief when I told him my concern, is indelible.

​

Kip