Destroyer is the fourth studio album by American hard rock band Kiss, released on March 15, 1976, by Casablanca Records in the US. It was the third successive Kiss album to reach the top 40 in the US, as well as the first to chart in Germany and New Zealand. The album was certified gold by the RIAA on April 22, 1976, and platinum on November 11 of the same year, the first Kiss album to achieve platinum. The album marked a departure from the raw sound of the band's first three albums. Background After attaining modest commercial success with their first three studio albums, Kiss achieved a commercial breakthrough with the 1975 concert album Alive! It was the first album by the band to be certified gold. The success of Alive!, which spent 110 weeks on the charts, benefited not only the struggling band but also their cash-strapped label Casablanca Records. Kiss signed a new contract with Casablanca in late 1975, partly because the label had been very supportive from the start of the band's career. The contract was for two albums, an indication that Casablanca was unsure if the group could duplicate the accomplishments of Alive! Songwriting and recording Rehearsals for Destroyer began in August 1975, while the group was embarked on their supporting tour for Alive! Bob Ezrin, who had previously worked with Alice Cooper, was brought in to produce the album. The band felt that Ezrin was the right person to help them take their sound to the next level and to maintain the commercial success they had achieved with Alive! Before meeting with Ezrin, the band had written and recorded a 15-song demo in the Magna Graphics Studio in August 1975. The first demo recorded during the Destroyer sessions was "Ain't None of Your Business" featuring Peter Criss on vocals. The plodding, heavy song, written by country songwriters Becky Hobbs and Lew Anderson, was rejected by the band and later appeared on the 1977 debut album by Michael Des Barres' band Detective. Although this song was rejected, other outside songs and suggestions were accepted by the band. In particular, Kim Fowley and Mark Anthony became important contributors during the songwriting process., bringing in the title and basic structure of the song "King of the Night Time World" from their previous band Hollywood Stars' then-unreleased 1974 album Shine Like a Radio (which also featured the original