ERIC CARR – Rockology (2000 EMI/2023 Culture Factory RSD CD release)
This release provoked a bit of controversy early in 2023. Vinyl fans and 
collectors were pleased that Eric Carr’s collection of unfinished tracks, Rockology, was being reissued on LP. They were doubly elated by the retro-1970s cover art that fit in with the original 1978 Kiss solo albums. It even came with a poster to match the original four solo albums, and the CD was printed on a disc replicating a vinyl look. The packaging, with obi-strip and brilliant black and orange coloration, looks sharp. They even threw on five extra bonus tracks that weren’t on the 2000 release or 2011’s Unfinished Business.
Unfortunately, much like 2011’s Unfinished Business, the bonus tracks are hardly-listenable throwaways and castoffs that were never meant for public consumption. What’s more, like all RSD releases, the LP and CD copies were so poorly distributed that fans were soon paying ridiculous amounts of cash on the second-hand market. Music should be accessible and affordable to everyone, but this reissue was hardly worth it for what amounts to fancy packaging and five ragged unreleased tracks.
We’ll start this review by discussing the five bonus tracks.
Part One – the five bonus tracks
First up is a “long demo” of “Tiara”, a ballad from the original Rockology. The original track was 4:28 and this “long” version is 23 seconds longer, but it is a completely different demo version. It is much rougher and laden with occasional noise. The lyrics are incomplete, as Eric improvises “do-do-do” vocals over the instrumental opening. Bruce Kulick provides overdubbed lead guitars, but sadly it sounds like a poor quality cassette. This is the kind of thing we got too much of on the Unfinished Business CD.
Another “alternate demo” is next, of “Can You Feel It”, a song that Eric hoped Bryan Adams would cover. Like “Tiara”, this demo is earlier and much rougher. Similarly incomplete lyrics over a drum machine. The liner notes claim it’s Eric Carr playing drums, but it’s obviously a drum machine. Shoddy liner notes.
An “accapella” version of “Eyes of Love” is just a rough multitrack vocal take with no backing music. It’s not the exact same vocal take used on the other demo version. It is of limited enjoyment. It doesn’t sound like there’s a pop guard on the microphone, therefore, lots of noise.
Finally, something we’ve really never heard before: A 1967 version of the Beatles’ “Ob-La-Di, Ob-La-Da”. This is a very rough sounding tape with lots of noise, but due to its age, we’ll allow. It’s a fairly faithful take of the Beatles classic, with Eric on lead vocals and drums. It features his band The Cellarmen and is the earliest Eric Carr recording yet to be released. A difficult listen, but at least something of value. You’d think they could have used AI noise reduction to get rid of that crackling sound.
The last of the five bonus tracks is a 1974 original called “Stranger” by his band Creation. Eric is on drums alone this time, with bandmates John Henderson and Sarita Squires (also the songwriters) singing lead. It is a decent soul-rock song and one of the better sounding recordings. Though the drums are not the main feature of the song, and buried back in the mix, you can hear Eric’s personality shine through his fills.
Part Two – the original album (review posted 2018/06/19)
The late Kiss drummer Eric Carr was frustrated towards the end. He was writing good material, but it was always being rejected by Paul and Gene. In the press, Eric would tow the company line and explain that everybody else had such good songs, that there was no room for his. In his heart, he was hurt and felt shunned.
Eric Carr wasn’t just a drummer. He could sing lead, and he could write. Kiss’ single “All Hell’s Breaking Loose” was an Eric idea. He co-wrote “Don’t Leave Me Lonely” with Bryan Adams. Although his writing credits on Kiss albums were sparse, he had plenty of material in the can. 2000’s Rockology is a series of those demos, some in a near-finished state and some left incomplete. Much of this material was intended for a cartoon Eric was working on called The Rockheads. 10 years later, Bruce Kulick finished recording some guitar parts and mixed it for release. He also wrote liner notes explaining the origins and Eric’s intentions for each track.
Eric didn’t have a particularly commercial voice, falling somewhere south of a Gene Simmons growl. There’s no reason why Gene couldn’t have sung “Eyes of Love” from 1989, which has more balls than a lot of Hot in the Shade. This demo has Eric on drums and bass, and Bruce Kulick on guitar with a solo overdubbed in 1999. It doesn’t sound like a finished Kiss song, but it could have been tightened up to become one. Same with the ballad “Everybody’s Waiting”. It sounds custom written for Paul Stanley. But it was 1989, and nothing was going to displace “Forever” from the album, nor should it have.
Many of the demos have no words. “Heavy Metal Baby” features Eric scatting out a loose melody. This heavy and chunky riff would have been perfect for the later Revenge album, had Eric lived. In a strange twist, several of the best songs are instrumentals. The hidden gem on this CD is the unfinished “Just Can’t Wait”. It could have given Journey and Bon Jovi a run for their money. Eric, Bruce and Adam Mitchell wrote it for Crazy Nights, and you can almost hear a killer chorus just waiting to leap out at you. This potential hit could have been the best song on Crazy Nights, had it been finished.
“Mad Dog” has nothing to do with the Anvil song of the same name. The chorus is there but the verses are a work in progress. This hard rocker from 1987 was probably too heavy for what Kiss were doing, though it would have added some much needed groove. “You Make Me Crazy” is in a similar state of completion and boasts a tap-tastic solo by Bruce. Apparently this demo was originally called “Van Halen” and you can hear why. Two versions of a song called “Nightmare” exist, including a really rough one without drums. This incomplete song could have really been something special. It has a dramatic feel and different moods, and was probably too sophisticated for Kiss, though any number of 80s rock bands would have been lucky to have such good material.
The last batch of tracks show off the Rockheads material. Whether Eric’s cartoon idea ever would have happened or not, the advent of bobble-heads and Pops would have made marketing easy. The songs are virtually complete though the drums are programmed. “Too Cool For School” is a little cartoony, which is the point, right? For keyboard ballads, “Tiara” showed promise. It’s not the equal of “Reason to Live” but it demonstrates a side to Eric unheard before. Next, Bruce says that they always wanted Bryan Adams to cover “Can You Feel It”. It would have fit Adams like a nice jean jacket. Not that Adams really needed the help, it would have been awesome on Waking Up the Neighbors. The set closes with “Nasty Boys”, nothing exceptional. It sounds like a song called “Nasty Boys” would sound…or anything by 80s Kiss really.
Part Three – the packaging and remastering
The selling point for the majority of fans for this reissue was the packaging. The original cover featured Eric in 1989 or 1990, obviously without makeup. The new version is designed to look like an Eraldo Caragati portrait matching the first four Kiss solo albums. It does, after a fashion. It doesn’t have the depth or realism of a Caragati, but it matches. The aura colour is orange. Inside, there is a poster that similar recalls the original four from 1978.
The liner notes from the original CD release are missing. This is unfortunate. As such you don’t get the stories or context or knowledge from Bruce Kulick about the background of these songs. Instead you get a CD that looks like a record. This is pressed in black plastic, and has actual ridges on the face side that look like record grooves. The play of the CD is inhibited in no way by this.
The remastering is much louder. It does sound like somebody messed with the tapes. “Eyes of Love” sounds like it has more echo on the drums compared to the original. Is this due to more echo being applied, or more being audible due to the raised volume? Possibly just a listener-induced effect, but it does sound different.
If you want but don’t have Rockology yet, seek out the reissue. If you’re dying to make a display of the five lookalike solo albums, get the reissue. If you don’t feel like listening to rough demos with tape crackle bonus tracks, run away like a fox.
Original score: 3/5 stars
Reissue value: 1/5 stars
Original mikeladano.com review: 2014/04/24
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