RECORD STORE TALES MkII:
Getting More Tale
Music, Movies, and more
There is an informal rule that a band should have at least three albums out before they entertain the idea of a live or “greatest hits” release. Aerosmith obviously had lots of albums out in 1994, but on two different labels: Columbia, and Geffen. Their 1994 best of, not-so-cleverly titled Big Ones, drew from only three Geffen albums. Therein lies its weakness, though Aerosmith have often had issues trying to balance their classic and pop hit eras on compilations. Big Ones is easily made redundant by later compilations, but how is it for a straight listen?
A long one: 73 minutes with lots of hits and perhaps a few too many ballads, although there is no denying their chart power.
Three songs were new to the majority of buyers. “Deuces Are Wild” was a fine ballad, one of their best from this era. It wasn’t entirely new; it was written for Pump and considered for Get A Grip before being released in 1993 on the Beavis and Butt-head Experience CD. The other two were brand new recordings: “Walk on Water” and “Blind Man”. Fans who dug the heavy Aerosmith on tunes like “Eat the Rich” will enjoy “Walk on Water” as one of their harder rockers. OK song, but long forgotten now. Unfortunately “Blind Man” is just another ballad, this one similar to “What It Takes” from Pump. It’s the better of the two new songs, but sadly another ballad is not what Big Ones needed.
Making this CD even less valuable to buyers, every single track is on the later album Young List: The Aerosmith Anthology (2001). Even the three new songs!
Otherwise Big Ones plays much like a run-though of Aerosmith’s radio staples that you can hear on the FM dial just about everywhere. Each and every big hit from the three massive Geffen albums is here. How often do you need to hear “Crazy”, “Cryin'”, “Amazing”, “Janie”, “Rag Doll”, “Angel”, “Dude”, “Elevator” and the rest? That is up to you.
Even the cover art is devoid of imagination.
Heir to the throne of the Trailer Park Boys: Letterkenny has arrived!
And what the hell is a “Letterkenny”? It’s a fictional town in southern Ontario, named after a real town in Ireland, and based upon the real life Listowel Ontario (birthplace of Helix). It was however filmed in northerly Sudbury Ontario. According to the tagline for this Canadian comedy show, “Letterkenny consists of hicks, skids, hockey players and Christians. These are their problems.” And that pretty much sums ‘er up.
Creators Jared Keeso and Jacob Tierney tapped into something real about living in rural southern Ontario. The produce stands, the accents, the personalities. Keeso, who plays lead character Wayne, has mastered a dialect so fast and witty that multiple viewings are required just to understand all the jokes. Keeso may be better known to readers as Don Cherry from TV’s The Don Cherry Story. Comparing this show to Trailer Park Boys is natural as both shows are proudly Canadian and crude. Dare I say it, Letterkenny is smarter and more likable.
Keeso plays Wayne, a “hick” (he’s a farmer) who seems to make a decent living with his roadside produce stand. Anyone who has spent any time driving from town to town in rural Ontario knows the allure of a well stocked produce stand. Wayne is the toughest guy in town, never loses a fight, and still you can’t help but like him. His best friend Daryl (“Dairy”) is a loyal sidekick. So is the smart and super-sized Squirrely Dan. Wayne’s super-hot sister Katy Kat is sought by other players in town: Jonesy and Reilly, two wanna-be hockey losers, and Stewart the meth-making goth. Their adventures and agendas often collide in amusing ways.
When the show begins, Wayne is a bit of a broken man, having been dumped by his girlfriend. His girl didn’t lets him get in fights y’see, and his reputation as toughest guy in town has been long lost. Time’s to reclaims it! One by one, challengers arrive: Sled Ted, Rat Ass, and Joint Boy. If Wayne can take back the Toughest Guy in Town title, then other adventures lay ahead, such as creating a new popular fart sharing website called Fartbook. They also start a pest control business while Wayne continues to search for love (or at least action).
The idiosyncratic dialogue is so quick and slippery that just about every line is quotable. Certain phrases recur: “Let’s take about 5-10% off it over there Squirrely Dan.” “Not my forte.” “Hard no.” “Pump the brakes.” “That’s what I appreciates about you Katy.” Pay attention, because you’ll also hear about a couple deviants named the Ginger and Boots. And the boys might just need backup from the Ginger and Boots by the season finale.
Shows with a Canadian heart and such likable characters combined with lightning fast wit are few and far between. Letterkenny, now standing at two seasons, is the one not to miss.
Sammy Hagar released his solo album I Never Said Goodbye in 1987, right when he was still in Van Halen. It was co-produced by Sammy and Eddier himself. It was a mixed bag, with some killer tunes and a few things that were far too wimpy. A couple singles were released, and “Give to Live” was the best. As a power ballad, it probably could have suited any of the Van Hagar albums except For Unlawful Carnal Knowledge. That’s Eddie on bass, by the way, and listen to how great he is. No surprise, right? When you’re as great at music as Eddie Van Halen is, it must be hard for other musicians to cut it in his eyes. (Cough cough Michael Anthony cough.)
Also on the A-side is album opener “When the Hammer Falls”, an OK rock track. As discussed in the album review for I Never Said Goodbye, “When the Hammer Falls” has a good riff but not much of a chorus. That’s too bad since it was one of the hardest rockers on the LP. (And just listen to Eddie’s bass…again!) you can’t hit a homerun every time, though there’s nothing here to be embarrassed of.
If you buy the single, there’s no point unless you get the 12″ with the non-album bonus track. On the B-side you will find the full-length version of “Standin’ at the Same Old Crossroads”, which was only 1:46 on album. It served as an introduction to the song “Privacy”, but on this single it’s unedited. This is a real treat for fans of Sammy’s underappreciated guitar playing. The song is just Sammy and an electric slide guitar, bluesing it up. The intro is longer and there’s a lot more playing than the album version. Stuff like this is the reason to have B-sides and buy singles in the first place.
I will be going LIVE at 12:30 AM (ET) Saturday morning with Robert Daniels on VISIONS IN SOUND. Tune in on your dial to 98.5 or internet to CKWR! You folks in the UK can tune in as you enjoy some morning coffee or tea!
Rob says: “May is Star Wars month on Visions In Sound and we will be celebrating the 40th Anniversary with a slew of special shows. Joining me this week will be special guests Jason Drury, Michael Ladano & Erik Woods to help with the celebration. Featured music will be from the Star Wars prequel trilogy (John Williams). Join Us THIS Saturday 12:30-2:30am (ET)”
Includes: Star Wars: The Phantom Menace, Attack of the Clones, Revenge of the Sith, A New Hope, The Empire Strikes Back, Return of the Jedi, and three bonus discs.
Star Wars on blu-ray…it took a lot less time than it did for Star Wars to arrive on DVD! In special features and deleted scenes alone, it was well worth the wait. You can’t do a box set like this without the bonus of unseen footage. The good news is, The Complete Saga is loaded with unseen special features and deleted scenes. In fact, the Tosche Station scene (deleted from A New Hope) is worth the purchase alone for the true fan. It’s that great.
Will this be the last time we buy the first two Star Wars trilogies? Heck, no! When 3D comes out, everybody will be having the same discussion all over again! And when the sequel trilogy is complete, we’ll be doing it again. Will Greedo still shoot first? Well, in my mind I have long accepted that Han shot first. Only in some weird Lucasverse is there a way that Greedo could shoot and miss at that range. That close, I’m sorry, Han is toasted smuggler stew. Disney says there is no way to re-release the original trilogy without its Special Edition enhancements, as the original film materials are too far gone.
However about 10 years ago or so, Lucas did an official DVD reissue of the ORIGINAL original trilogy, which I went out and bought on day one. It was satisfying, it looked better than my old VHS copy, but it wasn’t cleaned up nice like the special editions were. Which, in my opinion, is fine. It looks good and it’s as close to your childhood memories as you’ll ever get. After all, we didn’t have 1080p TV tubes.
Accepting that a Blu-ray version of the “ORIGINAL” original trilogy will never happen, I am very satisfied with my Blu-ray of the Complete Saga.
The sound is awesome, very deep, and annoying to the neighbors.
The video is perfect; I realize there are probably some colour changes here and there but I’m not about to do an A/B test and find them. I don’t care, it’s sharp and bright and clear and even Phantom Menace looks good!
Content wise, you know what? Hell, I’m actually enjoying Phantom Menace. I’m lost in that moment in 1999 or whatever it was, when we sat there watching it the first time, trying to figure out who the new baddies were and checking out all the cool designs, which all stand up today. Except Jar Jar. Take him out and the movie’s not half bad at all, flawed as it may be.
Bonus featues: I wanted to watch the deleted scenes and there is good news and bad news. The bad news is, I hate how the deleted scenes are organized. You have to click the movie you want, click the planet you want, and then pick deleted scenes from the features. You can’t just go to a menu called “Deleted Scenes”. Anyways, these were mostly great although some action scenes were just animatics. And, I don’t think these deleted scenes overlap at all with the scenes provided on previous DVD editions. For example there was no Greedo scene in the Episode I deleted scenes, but there certainly was on the original DVD release for Episode I. That goes for the special features in general…I don’t think there are many that overlap at all with the ones you already have. That could be good or bad; for most fans that’s good. You’re buying new stuff, not the same stuff you have already.
Highlights: As mentioned the Tosche Station scene, which has all the soul of old Star Wars along with finally tying up the Biggs storyline. Also welcome was the attack on the droid control ship from Episode II — previously only available to subscribers to Lucasfilm’s ill-fated Hyperspace service.
There’s also an hour and a half (!) of spoofs from all over the place, including The Simpsons, Family Guy, Robot Chicken, Saturday Night Live (including that hilarious Kevin-Spacey-as-Christopher-Walken-as-Han-Solo one), Colbert, That 70’s Show, and many more. Most of these, I have never seen.
This is exactly what anybody who had reasonable expectations wanted.
A moment of utter shock: waking up on the morning of May 18 2017 to discover that Chris Cornell, the pipes behind Soundgarden, Audioslave and Temple of the Dog, has passed away at age 52. One of the greatest (if not the greatest) set of lungs behind the grunge era is gone.
According to the BBC, Cornell played a concert with Soundgarden last night in Detroit. His passing was “sudden and unexpected”. The family is asking for privacy at this time.
What are your memories of Chris Cornell? For us it’s the psychedelic and insane video for “Jesus Christ Pose”, a landmark of the grunge era and a showcase for his finest lead vocals.
R.I.P Chris Cornell.
The KISS RE-REVIEW SERIES Part 21:
No matter how you feel about Kiss’s concept album Music From the Elder, it was a commercial dud. It was Kiss’ first serious flop as a band since hitting the big time in 1975 with Kiss Alive! More significantly, it was part of a trend: Kiss chaos. Since the solo albums, Kiss were fragmented. The band weren’t playing on all the songs anymore, and members were leaving. They had strayed from their music roots and become a comic book novelty act. The Elder was not so much an album that people didn’t “get”, but one they didn’t care to “get”. Fans were moving on.
The European record label, Phonogram, was in damage control mode. They drew up plans to issue an album consisting of new and old songs; a compilation to put some money back in the coffers. They weren’t mucking around. They wanted a batch of new rock songs, but Kiss had effectively become a trio. Ace Frehley hadn’t left the band officially, but he was no longer involved creatively. Filling the guitar slot again was Bob Kulick. As he did on Kiss Alive II, Bob played lead guitar on the new songs. A 1988 book called Kiss: Still on Fire also named Ratt’s Robbin Crosby as a guitar player on the new songs, though this is a claim not backed up in any other source. Paul provided the new songs, written with old and new friends: Mikel Japp, Adam Mitchell, and some Canadian guy named Bryan something. Bryan Adams? Cuts like a knife indeed! Adams co-wrote the lethal “Down On Your Knees”, and it wouldn’t be his last songwriting credit with Kiss either.
The best new tune in the batch was called “Nowhere to Run”, and it was one of the rockers that Kiss were working on before they decided to do The Elder instead. The sheer quality of this Stanley-penned underdog really supports the theory that doing The Elder was a mistake. “Nowhere to Run” was classic Stanley, as good as anything on his solo album and exactly the kind of song that Kiss should have been doing. In an alternate universe where The Elder never came out, what could have happened to Kiss? Unfortunately the new compilation called Kiss Killers was never released in North America. “Nowhere to Run” could do very little to change Kiss’ fortunes without being released in their native country.
The second-finest of the new songs is a little ditty called “I’m a Legend Tonight”. Paul has somewhat disowned these songs since, but it is really hard to understand why. This is a hard hitting Paul rocker, as only Paul can do. It’s all innuendo and hot guitar licks. The riff is simple and hooky, while Kulick plays for all he’s worth. No longer was Bob being told to “play like Ace”. His signature scorch really makes these new songs sound like a continuation of the Paul Stanley solo album. Then there is “Down on Your Knees”, the one with Bryan Adams’ fingerprints on it. It’s hard to tell, although it’s not outside the Adams ballpark. It’s a sleazy rocker, spare and sounding great. The new tracks were produced by Michael James Jackson, who finally captured Eric Carr’s drums properly. Bob Ezrin buried them under mud on The Elder. Kiss Killers sounds more like the real Eric Carr debut album. The last of the new songs, “Partners in Crime”, is the weakest of the four. Paul takes it down to a slow sexy grind, but “Partners in Crime” lacks the charisma of the other three.
As far as the new songs could be considered a “comeback”, it’s close but no cigar. There’s no discernable Demon. Where is Gene Simmons? The lack of any audible Simmons vocals makes you question whether he even played bass on the new songs. Regardless, Kiss is about a balance between Gene and Paul, and Killers represents the first heavy skew towards Paul.
The hits on the record make for great listening. Most of the key bases are covered: “Detroit Rock City”, “Shout it Out Loud”, “Love Gun”, “God of Thunder” and even “I Was Made for Lovin’ You”. There are no Peter Criss songs, and the only Frehley is “Cold Gin”, which Gene sings. The only ballad is “Sure Know Something”, a minor hit in Germany where this album was issued. In a cool touch, the record closes with the “live” (quotation marks!) version of “Rock and Roll all Nite” that made them superstars. It is the more well known, and arguably superior version. (Some of the other tracks are edits or single versions.*)
Kiss’ very first Japanese bonus tracks were on Killers. The Japanese version is an even better listen. They put a bonus track in the second-to-last position on each side: “Shandi” (massive hit in Australia) and “Escape From the Island” (previously unreleased in Japan — it wasn’t included on their version of The Elder). “Shandi” is just a great fucking song, and “Escape From the Island” is a cool inclusion because of a) its obscurity, and b) its total Ace Frehley shreddery. It is interesting to note, that only Japan had tracks from the two most recent Kiss albums, Unmasked and Music From the Elder. The rest of the world did not. Were Kiss already trying to bury those records?
Periodically, the new songs on Kiss Killers have reappeared on single B-sides, compilations and box sets. The best way to get them is just to pick up a copy of Killers. Choose your format, sit back and rock!
* “Shout it Out Loud” is a single version with a different mix on the lead vocals and an early fade. “Detroit Rock City” and “I Was Made for Lovin’ You” are edited versions.
Original mikeladano.com review: 2012/07/27
GETTING MORE TALE #565: The Price We Gotta Pay
(And All the Games We Gotta Play)
I was reminded of this story recently, when J from Resurrection Songs asked about pricing schemes for new release albums.
We had a pricing schedule, created by the manager that I have called “The Bully” in these pages. I’m sure she did a fantastic job of purchasing, pricing and stocking goods. She was horrible at managing people, and never should have been in any position of power over others.
The pricing schedule was pretty simple. Any time we’d get a shipment of brand new stock, there would be an invoice packed with it showing our cost on each title. The Bully made up a pricing schedule based on cost, so we could price incoming items easily. For example, if the cost of the item fell between $10.40 and $11.60 (plus shipping), our sell price might have been $13.99. (That’s not an actual pricing scheme, that’s just an example of how it worked.) This way, all of our stores would have consistent pricing across the board. That was important. It also made it easy for us to price things on our own without having to ask for too much direction.
The pricing scheme was created and implemented during one of the periods when The Bully was no longer speaking to me. Who knows why anymore. A manager who stops speaking to her direct reports is the very definition of unprofessional.
I came in one Tuesday afternoon, which is when the brand new stock arrived. Remember New Release Tuesdays? I began pricing the new releases using the pricing scheme she made. Suddenly she broke her silence and started going at me.
“You’re pricing these all wrong!” she yelled. Unfortunately nobody was in the store to witness the exchange, so you’ll just have to believe me. I looked down at the paper in front of me. “But this is the price right here on the new pricing schedule.” I looked at it again to make sure I wasn’t wrong. I wasn’t.
She paused and yelled again. “Forget about that!!” Then she stormed into the back office, slammed the door and stopped speaking to me again. No witnesses, no apology either. An updated pricing schedule was issued shortly after. I never reported this behavior. As discussed in a prior chapter, I had brought up her abuse before and didn’t see any changes. I just sucked it up until I couldn’t anymore.
Some may doubt these stories, which is understandable, but I’m the guy with the journals. I’ll never forget the way I was treated by one very unprofessional jerk.
The KISS RE-REVIEW SERIES Part 20:
Kiss had gone as far as they could go in the pop direction that they travelled on Unmasked. The band’s stature was in jeopardy. The image was outweighing the music and they suffered their first member defection. As discussed in chapter 18, Peter Criss was out, but he was replaced by an energetic young drummer henceforth known as Eric Carr. His abilities put sounds in reach that the band weren’t able to do with Peter Criss. The smartest move, albeit the safest, would be a return to the band’s hard rocking roots. Songs were written and demoed, including “Don’t Run” (Frehley/Anton Fig), “Every Little Bit of My Heart” (Stanley), “Deadly Weapons” (Stanley/Simmons), “Nowhere to Run” (Stanley), “Feel Like Heaven” (Simmons) and an instrumental called “Kix Are For Kids”.
Based on what we know of these songs today, Kiss easily could have turned them into a classic sounding album. Whether it be ego, fear, ambition or sheer hubris, Kiss scrapped the demos and aimed instead to shoot in another direction. That is, Paul Stanley, Gene Simmons and manager Bill Aucoin changed direction at the protest of Ace Frehley. Eric Carr had no say, being an employee. Playing on the strengths of Kiss’ larger than life comic book image, Gene concocted a fantasy story that they wanted to turn into a concept album. If that was successful, they could spin the album off into sequels, a tour and a movie. And who else would be better to produce a concept album than Bob Ezrin?
The addition of Ezrin was another grievance for Ace Frehley. It was Bob Ezrin who replaced him on 1976’s Destroyer album with Dick Wagner on “Sweet Pain”.
So a fractured Kiss went into separate studios to record the concept album. Ace stayed in his new home studio in Connecticut and recorded his guitar parts there, painstakingly taking his time to get just the right crunch. Much to his chagrin, Bob Ezrin used only bits and pieces of what he was sent. Bob was dealing with a severe drug problem, and had isolated himself so that the only lines of communication regarding the album were Kiss and Bill Aucoin. Nobody outside of the circle heard a note until they were done. There was talk of a double album, but it made sense to do it one at a time…just in case it didn’t sell. Hence the title, Music From the Elder. Like Star Wars, this was meant to be only a part of the whole story.
A word about the running order. When Music From the Elder was first released in North America, the story didn’t make much sense. It was supposed to begin with the instrumental “fanfare” and then the acoustic strumming of “Just a Boy”. Instead the record company shuffled the song order to start with something heavier: “The Oath”. But the concept never made any sense. In 1997, Mercury released the Kiss remastered series, and restored the original intended track order. They even restored a snippet of “lost” music, a Gregorian chant bit between the first two tracks. The original Japanese pressing came with the tracks in the right order, but was missing one overall (“Escape From the Island”). The Japanese version also came with a neat full cover obi with pictures of the band — something fans missed out on with the normal release. (When fans did finally see pictures of the 1981 Kiss, they were taken aback by the modern hair and image.) The current 2014 LP edition on 180 gram vinyl also has the restored track order.
The album begins quietly (and pretentiously) with strings and woodwinds of “fanfare“, credited to Ezrin and Stanley, and based on the melody of second track “Just a Boy”. “Who steers the ship through the stormy seas? If hope is lost then so are we. While some eyes search for one to guide us, some are staring at me.” The Elder is the tale of a reluctant hero known only as “the boy”. He is the archetypal “chosen one” selected by the mysterious and powerful Council of the Elder. “When the Earth was young, they were already old,” reads the liner notes. He must face the evil Blackwell, but he can’t believe there is anything special about him.
Although “Just a Boy” is a deep cut loved only by those with Kiss infecting their blood, you can hear its charm. It sounds nothing at all like Kiss, and its soft acoustics don’t even sound like a rock band. Paul sings the chorus in an insane falsetto, which he also utilizes elsewhere on the album. The powerful guitar solo is all his, and one struggles to hear Ace Frehley on the track at all. “Just a Boy” is a good song, with structure and dynamics and thoughtful composition. It isn’t something that could be performed well on stage, and the production leaves a muddy haze over the lead vocals. It’s hard to hear 50% of Paul’s lyrics. Fortunately, the 2014 vinyl reissue comes with something the 1997 CD did not: a lyric sheet. With that in hand, you can follow the story.
In fact, it must be recommended to listen to The Elder on vinyl at least once to fully appreciate the album. Something about sitting there with a gatefold jacket open and following a story on a record sleeve works as a sort of time machine. It’s truly an experience that you cannot feel with CD alone, and the only way to do that with the songs in the proper order is with the 2014 vinyl reissue.
Kiss have thrown obscure covers on their albums before, but it’s strange to see such a thing on a concept album. “Odyssey” by Tony Powers fit the story at this moment, although nothing could sound less like Kiss. It is a fully orchestrated song and it doesn’t even have Eric Carr on it. Ezrin didn’t think he was getting the right vibe so he brought in Allan Schwartzberg who also played on Gene’s solo album. “Odyssey” is as overblown and pretentious as a song can get, as if Kiss suddenly became the Beatles and this was their “Hey Jude” moment. This many soft, un-Kiss like songs right off the bat is a good way to throw listeners, so the record label ended up moving it to side two. Paul Stanley has disowned the song, but what Paul failed to appreciate is that though campy, “Odyssey” is also incredibly fun. It has no place in the Kiss canon, but there it is, and it’s hard to forget that delightfully pompous orchestra.
The first appearance of the mighty demon Gene Simmons is “Only You”, a choppy and spare guitar number that is the first rock moment on the album. It’s an attempt to be progressive and rock, and it more or less works. It’s simple and blocky, but it shifts into a few different sections including a reprise of the “Just a Boy” theme. Paul also guests on a verse as the boy character, questioning his destiny: “I can’t believe this is true, why do I listen to you? And if I am all that you say, why am I still so afraid?” The Elder respond, “In every age, in every time, a hero is born as if by a grand design.” In an interesting twist, Doro Pesche later covered this song with completely different lyrics.
According to their self-written Kisstory (volume 1) tome, Eric Carr expressed some doubt as to the band’s current direction. In response Gene challenged him to come up with something of his own, so Eric provided the beginnings of “Under the Rose”, on which he also plays acoustic guitar. “Under the Rose” became his first writing credit on a Kiss album, with Gene Simmons. “Under the Rose” is soft/heavy, soft/heavy, and features an ominous choir on the chorus. But through this, Ace Frehley’s presence cannot be felt. Such an important part of the Kiss sound before, now relegated to the sidelines. Ace had only one lead vocal on The Elder, a song based on a riff written by Anton Fig. Their “Don’t Run” demo was re-written by Gene Simmons and Lou Reed, yes Lou Reed, to become “Dark Light”. In context of the story, “Dark Light” warns of coming evil. Ace’s presence is welcome, providing some much needed rock foundation and a brilliant guitar solo. Unfortunately “Dark Light” is probably his weakest in his Kiss career, a disappointing followup to prior classics like “Talk to Me”, “Save Your Love” and “Shock Me”.
Lou Reed co-wrote the lyrics to the single “A World Without Heroes”, which originated as a Paul Stanley ballad called “Every Little Bit of My Heart”. Reed came up with phrases like “a world without heroes is like a world without sun.” These clicked with Gene and Bob Ezrin who completed the song. Paul plays lead guitar on a somber single that, again, sounds little like Kiss. Kiss had done ballads before and even had hits with them, but nothing like “A World Without Heroes”, one of their darkest songs. Strangely, it ended up being covered by Cher.
At this point of the story, the boy agrees to fulfill his destiny and become the hero. This happens on the most heavy metal song on the album, “The Oath”. This is the track that opened the original released running order of the album, completely destroying any comprehensible plot. You can still understand why they did this. Its metal riff and impressive drums are the intro that the album really needed. Paul sings in falsetto again: “Now inside the fire of the ancient burns, a boy goes in and suddenly a man returns.” The song was performed live once in 1982 on a TV show called Fridays. Although the performance seemed sloppy and awkward, Ace burned up a couple wild guitar solos. If this is the kind of material that Bob Ezrin cut from the album, it was a big mistake.
So the boy has taken the oath, and it’s time to meet the evil one. Gene and Lou Reed wrote “Mr. Blackwell” about the character, who doesn’t seem to be too worried about the discovery of the chosen one. “Here’s to the kid, a real man among men,” mocks Blackwell in the lyrics. (The song also contains the phrase “rotten to the core”, which was a song title Gene had been batting around since the mid-70s.) Musically, “Blackwell” is spare and revolves around the words. A bumping and thumping bass is the main feature of a song that is more words than music.
At the exact moment that you need Ace Frehley to come back and save the album, he does with the instrumental “Escape from the Island”. Co-written with Eric Carr and Bob Ezrin, “Island” delivers the thrills and action-packed guitar action. Because it’s an instrumental it’s hard to determine exactly how it fits the story, except it sounds like an action scene. Perhaps Blackwell launched a preemptive strike on the boy, who escaped. Ace’s guitar attacks the surroundings, chopping them down with fatally loud riffs.
The final song (on all versions of the album) is the single “I”. Gene and Paul split lead vocals on this Simmons/Ezrin song, but once again Eric Carr was secretly replaced on the recording by Allan Schwartzberg. The story is wrapped up with the boy now proclaiming he believes in himself and is ready to take on the evil. The end of the album, yes, but clearly intended as only the first chapter of something bigger. Gene spoke of a heavier sequel album called War of the Gods which would depict the conflict. Instead, “I” serves as the ending, and at least it’s a kicker. Like vintage Kiss, the riff and chorus meld into one fist of rock. The lyrics are suitably uplifting. “I believe in something more than you can understand, yes I believe in me!” That’s pure Kiss in a nutshell right there.
A short hidden track following “I” provides the only dialogue on the album (over a reprise of “fanfare“), although more was recorded. The hidden coda reaffirms that the Elder have found the right kid. “He’s got the light in his eyes, and the look of a champion. A real champion!”
There are two ways to listen to The Elder. If you want the whole enchilada and would like to hear the story in its correct order, pick up a remastered edition of the album either on CD or vinyl. If you’d like a more even listening experience that is the same as that of fans who dropped the needle on the album in 1981, then go for the original CD or vinyl release. But if you’re a Kiss maniac, you simply must do it both ways.
Music From the Elder is a flawed album, mostly marred by sonic muddiness. It has an uncharacteristic quantity of ballads and un-Kiss-like songs, so fans stayed away in droves. What they missed was a decent concept album for Kiss, a band that never should have attempted a concept album in the first place. Because the album failed to sell, Kiss’ ambitious tour plans were scrapped and the band stayed home. Aside from the three songs played on the Fridays TV show (“The Oath”, “A World Without Heroes” and “I”), Kiss never played any songs from The Elder live until their 1995 acoustic Konvention tour. The lack of a tour meant Kiss’ momentum was all but halted. The new drummer that fans barely knew only ever played one show in North America!
A bigger problem was brewing, and that was a bitter and disenfranchised Ace Frehley. Once again, fans were not aware of the problems brewing in Kiss, but The Elder was the last album Kiss Ace played on until 1998. It was a repeat of the Peter Criss situation only two years prior.
If Kiss had stuck to their plan of recording a hard rock album again, perhaps things would have played out completely differently. We’ll have a chance to check out some of the songs they were working on in upcoming chapters for they would not stay buried long.
Uncle Meat’s rating:
Meat’s slice: Some of my favorite records ever have been “concept” records. Operation: Mindcrime, Misplaced Childhood, 2112, Metropolis Pt 2: Scenes From a Memory, El Corazon; to name just a few of many. When it comes to The Elder, my one sentence review of this album would simply be: Some bands should not make concept albums. Bob Ezrin came straight from The Wall to record this mess. I read somewhere recently, and it may even have been in the comments here perhaps, but Ace Frehley hates this album. Which completely makes sense considering he had been on such a roll until it halted with this record. It’s kind of a hard album to break down individually, but some quick notes:
“The Oath” – Very chuggy heavy song. I think the [domestic] album starts off with the best song. Song begins as if it’s Manowar meets Kiss. More reminiscent of Creatures of the Night than this record. Perhaps some bombastic Tenacious D-like moments.
“Just A Boy” – Starts off like early ELP and first reaction is that Paul Stanley could never come close to singing this song again. Solid song. Overall I get a Wishbone Ash feel.
“Dark Light” – As mentioned earlier, Ace’s roll slows down with a dull track. I do like the guitar solo over the bongos though.
“Only You” – An even duller track that starts with Gene singing, and morphs into Stanley singing with some stupid effect on his voice. Right producer, wrong band. (That could be another one sentence review of The Elder)
“Under the Rose” – This clunker doesn’t flow for me. Gregorian Monks? Bah….
“A World Without Heroes” – I thought it was lame then and it’s only slightly less lame to me now. Could have used more Lou Reed.
“Mr. Blackwell” – Funky novel track. Dancy and quirky but one of the strongest songs on The Elder for me. One of the only songs for me that has a great hook to it. Unmasked this album is not.
“Escape From the Island” – Good solid rocker. Great drumming. This would have been a great live jammer, but I’m doubting they have ever played this live. LeBrain? [Nope]
“Odyssey” – WTF? Was this Paul’s tryout demo for Phantom of the Opera? This song alone is an unforgivable sin, and just another reason why this album should have been aborted in the womb.
Favorite Tracks” “The Oath”, “Mr. Blackwell”, “Escape From the Island”
Forgettable Tracks: Take your pick….
To be continued…
Original mikeladano.com review: 2012/07/26
Brief explanation: After the #200wordchallenge, I was inspired to come up with an even more daunting task. Could I do a review in 0 words — without using any words at all? I invite you to the #0wordchallenge! Mine is below, but use your imagination and come up with something uniquely you! This review is a part of…
The KISS RE-REVIEW SERIES Part 19:
Original mikeladano.com review: 2012/09/03