Most artists would describe the art of making an album as a labor of love. No matter how much you may be at each other's throats in the process of making the music, the act of having something to show for it that's able to touch millions of people says more than any notes on a page could. Then again, some of the best parts of albums don't exactly come from notes on a page, do they?
No, the real things that keep you coming back for more are actually done as an afterthought once the main tracks are completely finished. Whether it's some weird bit of percussion or some spoken word that you put in for a laugh, these are the little hidden details that you would never notice if you were just given the sheet music. Though it can usually come off as dumb for professionals to be doing this, these end up giving their respective tracks a lot more character.
For the dyed-in-the-wool fans, these are the little bits and pieces that they always look for and wait until the exact moment where things fall out of place. It ain't perfect, but then again, when has rock and roll ever been about perfection?
10. God Of Thunder - KISS
For as much as they may have seemed larger than life at the time, KISS' track record wasn't really that respectable when it came to raw record sales. It wasn't until Alive! blew everyone off their feet that these shock rockers finally managed to capture their circus like rock and roll energy onto the tape. Going into the recording of Destroyer though, things started to get a bit weirder.
Rather than being written by Gene Simmons, God of Thunder was composed by Paul Stanley only to be handed off to Simmons' original Demon persona. Before any riff comes in though, fans are treated to some strange sounds which sound like demonic chattering, almost like the God of Thunder is calling his subjects to attention. However, the owner of that sound is a lot more innocent than it might let on.
During the recording sessions for Destroyer, the band's producer Bob Ezrin was watching his son in between takes, which prompted him to use him for the opening of a song. Recorded off the floor, most of these noises are just the sounds of Ezrin's son laughing and making whatever funny noises he could think of to use in the final mix. Seeing how this translated to one of the most famous openings in KISS' catalog, it's safe to say that the kid was onto something.