Apache comments on each track on the album WHO DO YOU THINK WE ARE

 

WHO DO YOU THINK WE ARE is one of Alice Cooper’s best unknown songs. It comes from his early 80s new wave period (check out the albums Flush the Fashion and Special Forces). It was one of our first choices when selecting covers for this album, and this was also our first attempt at adapting it into a Midnite Razors song. I allowed myself to tweak one line slightly.

At first, we weren’t satisfied with this version — it sounded a bit too modern to us. So we recorded it again, this time heavily influenced by Twisted Sister. But the original version was really liked by a good friend of ours, who convinced us to give it a chance. Over time, we came to feel that it was actually the best possible choice to open the album.

Besides these versions, there’s also a new wave take on the song by our side project Young Analphabets — which only proves how important this track is to us.

And as if that wasn’t enough, we ended up using the title for the album itself. Given the way the record is conceived, it would have been hard to find a more fitting name.

EAT YOUR SHIT is a pure, completely spontaneous release of our frustration with what was happening on our YouTube channel (may it rest in peace). As another friend of ours put it, “it’s a total moshpit.” The song came together in about ten minutes and was recorded just as quickly. When something is inside you and needs to come out fast, sometimes it turns out surprisingly well. I think this one will remain unbeaten in our catalogue when it comes to sheer number of swear words.

 

COVER OF NIGHT was a Midnite Razors song a quarter of a century before Midnite Razors even existed. Back in the late 90s, when I received a Good Rats album to review for Spark magazine, this track stood out like a monument. From the very first listen, it was clear to me that this was something special. Melodic hard rock of this caliber, combined with such a great werewolf-themed lyric, felt like a breath of fresh air at the time. When we were choosing songs for this (half-cover) album, this one was an obvious pick.

 

ANOTHER RUSSIAN WEDDING is our best original song on the album. On Spotify, it’s also been the most successful track from the record in the long run — which says quite a lot considering the material we were covering. In any case, this one turned out exceptionally well, and we’re fully aware of it.

I think the title alone does a lot of the work. As for who or what inspired it, I’ll keep that to myself this time. A small hint: listen to early The Angels with Doc on vocals. Not only are they great, but if you dig deep enough, you might figure something out. Just don’t expect it to directly explain what “Another Russian Wedding” actually means.

 

We love Cheap Trick from the era when Bun E. Carlos was still in the band (which, until recently, was basically forever). They have incredible albums like Heaven Tonight, Dream Police, One on One, or Cheap Trick '97, and tons of fantastic songs on them. Some are almost completely unknown, like this one.

When they briefly signed with Warner Bros. in 1994, they released Woke Up with a Monster. The title track and YOU’RE ALL I WANNA DO were released as singles and even had videos. But it all went largely unnoticed — the grunge era. This song is a power pop masterpiece, and we can only hope we didn’t mess it up too badly.

 

There are quite a few songs called PAINKILLER in rock history. This one is by Ted Nugent, and we’ve always liked it. It comes from one of his weaker 80s albums. Even though it stands out there, it doesn’t quite reach the intensity of his classic material. We tried to approach it the way we think Ted should really sound and built it around a truly killer riff. I think it turned out great — although we might have overused that riff just a bit.

 

RUN, RUN… was an attempt to add another ballad to the Razors repertoire. We don’t really have many true ballads — until recently, basically just one, and even that is a cover (hopefully a good one). With this track, we went for a straightforward hard rock approach. At times, it reminds me of Demon in the early ’80s. (If you don’t know them, their first two albums from the NWOBHM era are seriously great.)

After a while, a bit of the Midnite Razors mythology appears in the lyrics, and I think the final chorus with the choir works very well. The closing solos stretch the track into one of our longest songs ever. Run, Run… has its fans as well as its critics. I don’t think it ranks among our very best, and you can tell the lyrics were written a bit quickly. But on the album, it serves as a breather, and in that role, it works just fine.

 

We recorded HELL BENT FOR LEATHER from our favorite Judas Priest album Killing Machine the day after finishing work on our third album. It was a completely spontaneous thing, done without any pressure, and it probably came together on the first try. It’s quite different from the original, and not exactly typical Midnite Razors either — but that instrumental section is really strong.

 

SLIPPERY SHOES was the second-to-last song we recorded for the album (on New Year’s Eve 2025). The inspiration came from an episode of The Twilight Zone (What You Need) and my own unpleasant experience walking on icy sidewalks at the time. Musically, we wanted a more bluesy follow-up to Another Russian Wedding, and I think that comes across quite clearly. Overall, I’d say it turned out pretty well.

 

If you explore all the corners of 80s glam metal, sooner or later you’ll come across Electric Angels. This one-album band was really good, and THE DRINKING SONG is their masterpiece. It was one of the first choices when we were selecting covers for this album. Our version might be a bit too close to the original — a bit more harmonica, a bit more piano, but otherwise not that different. Still, we really wanted to record it.

 

BLEEDING HEART is a gem that even some fans of German metal legends U.D.O. may not know. It was written by two former members of Accept — Udo Dirkschneider and Stefan Kaufmann. As far as I know, it was only released as a Japanese bonus track or something along those lines. I never really understood that — so much potential, and yet it’s basically a rarity.

I felt that in a slightly more rock and roll-oriented version, it could really suit Midnite Razors. And it did. I adjusted the lyrics a bit to make them fit us better, and in the end, it turned into one of the strongest tracks on the album.

 

BRIGITTE BARDOT wasn’t originally meant to be on the album. The song came together early in 2026 as a reaction to the passing of my childhood and early teenage sex symbol, Brigitte Bardot. It’s a simple, spontaneous rock and roll track where I also brought in Phoebe Cates — an 80s actress who could have become a huge star but is largely forgotten today (check out both Gremlins movies).

The iconic pool scene from Fast Times at Ridgemont High is actually more famous than the actress herself.

Originally, B.B. was released as a standalone single, but I felt the album needed a twelfth track. So we added it — and it turned out to be the right decision.