Asymmetric Rhymes in Kiss' "C'mon and Love Me"

I've never been a big fan of the band Kiss, but yesterday I discovered a peculiar use of asymmetric rhymes in their hit "C'mon and Love Me", from their 1975 album Dressed to Kill.

First, here's a basic formal and choral analysis, plus a PDF transcription:
0:00  Intro      C5(2) Ab5(2) C5(2) Ab5(2)
0:14  Verse 1    C5(4) Ab5(1) Bb5(1) C5(2)
0:29  Verse 2   C5(4) Ab5(1) Bb5(1) C5(2)
0:44  Chorus     Eb5(2) Bb5(2) Eb5(2) F5(1) G5(1) C5(2) Ab5(2)
1:06  Verse 3     C5(4) Ab5(1) Bb5(1) C5(2)
1:21  Verse 4    C5(4) Ab5(1) Bb5(1) C5(2)
1:35  Chorus     Eb5(2) Bb5(2) Eb5(2) F5(1) G5(1) C5(2) Ab5(2)
1:51  Solo    C5(1) Ab5(½) Bb5(½) C5(1) Ab5(½) Bb5(½) C5(1) Ab5(½) Bb5(½) C5(1) Bb5(1)
2:05  Chorus     Eb5(2) Bb5(2) Eb5(2) F5(1) G5(1) C5(2) Ab5(2)
2:20  Coda    C5(1) Ab5(½) Bb5(½)  repeat and fade

c_mon_and_love_me.pdf
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The first thing that caught my attention was the chorus, which employs hypermetric asymmetric rhymes. In the first line, the syllable "tate" from "hesitate" rhymes with "wait"; in the second line, "knees" rhymes with "please".

All four syllables occur essentially on beat 3 of their measures (more precisely the & of 2). But "tate" and "knees" (highlighted in blue) fall on even-numbered measures (two and six, respectively), while their rhyming counterparts "wait" and "please" (highlighted in red) fall on odd-numbered measures (three and seven). This discrepancy results in hypermetric asymmetric rhymes. It's as if the music is too impatient to rhyme on hypermetrically symmetric measures (two rhymes with four; six with eight), which reflects the "don't hesitate cuz I just can't wait" lyrics.

Interestingly, the verses also incorporate asymmetric rhymes, though in less obvious and less consistent ways.

Each of the four verses rhymes on the downbeats of the even measures (verse 1: romancer/cancer, verse 2: get me/let me, verse 3: baby/lady, verse 4: nearer/mirror), all shown in blue. But notice how verses 1 and 2 also rhyme on the downbeat of the first full measure (verse 1: dancer, verse 2: met me), shown in light blue, also resulting in hypermetric asymmetry. These additional rhymes conspicuously disappear in the third and fourth verses. Why? The first and second verses (0:14 and 0:29) are both heard BEFORE the first chorus (0:44), while the third and fourth verses (1:06 and 1:21) are both heard AFTER. So the additional rhymes in the initial two verses foreshadow the hypermetric asymmetry of the chorus. And once the chorus has been heard, there is no need to continue foreshadowing it in the subsequent verses.