EUROPE – Best Ballads (1999 unofficial Russian compilation)
Ah Russian imports! Those funky and cheaply printed covers, the lack of liner notes or label information…how quaint. It is clear the Tempest Administration had no collusion with anyone in Russia. Yet the Russians did hack their database and release Best Ballads anyway, a weird collection of 12 Europe songs and three solo tracks by Joey Tempest. This CD originated during the period right before Europe’s triumphant reunion album Start From the Dark, so Best Ballads only contains music from the first five Europe discs.
Because it’s unauthorized and the Russians can do whatever they want, why not have both versions of “Open Your Heart” on one CD? The sweeping 1988 version from Out of this World inaugurates the album, a brilliant version often forgotten in favour of the 1984 original. What’s the difference? John Norum played on the 1984 version from Wings of Tomorrow, and the re-recording has his replacement Kee Marcello. The 1988 version also has more modern keyboards added. Since both are included, you don’t have to pick a favourite. We can all agree it truly is one of Europe’s Best Ballads.
What else is present? The “big one” of course, which would be “Carrie”. It’s the only track from The Final Countdown, because it was the only hit ballad from that album. Other crucial Europe ballads: “Dreamer” (Wings of Tomorrow), “Coast to Coast” and “Tomorrow” (both from Out of this World). All timeless and flawless ballads. From their first album (1983’s Europe) are a couple songs I wouldn’t have considered ballads. In my review, I stated that “Words of Wisdom” has “an acoustic verse [but] that doesn’t make it a ballad!” The other track, “Return of the King”, is “still pretty epic and wouldn’t be considered wimpy by anyone”. Do they belong on a CD called Best Ballads? Who gives a fuck; it’s just a Russian import!
You’ll even find a couple rarities included. “Sweet Love Child” and “I’ll Cry For You (Acoustic version)” are both B-sides from the Prisoners in Paradise (1991) period. The title track “Prisoners in Paradise” is also present but again, not really a ballad. Either way…all the Europe tunes included are fantastic no matter how you classify them. Each one has at least a foot in ballad territory so it all works out.
But what about those Joey Tempest “bonus tracks”? Surprisingly good and un-Europe. “Under the Influence” flies close to adult contemporary levels. “Lord of the Manner” could have been a hit for Rod Stewart, but that’s not a bad thing! This is more like soft rock than balladeering. “Elsewhere” sounds more like a ballad, enhanced with strings and all the accoutrements. All good songs and worth checking out.
Europe’s Best Ballads is not a bad little CD, but being an unofficial release, it’s difficult to reason out a rating out of 5. I did the best I could.
When a band like Cinderella, who only have four studio albums, get a double CD “best of” compilation, it had better be good. Fortunately Cinderella’s edition of the Gold series offers value for the money and unreleased live tracks to boot.
All the Cinderella albums are represented, including the criminally underrated Still Climbing album from 1994. Cinderella did not “go grunge” as so many others did. As “Bad Attitude Shuffle” indicates, they simply doubled down on their own brand of bluesy hard rock with bite. From the same album, “Free Wheelin'” and “Talk is Cheap” both show fearless commitment to the genre. Then the ballad “Through the Rain” also from Still Climbing provides the balance. Cinderella have successfully employed ballads since day one, because they happen to be quite good at them.
Among their greatest ballads: “Don’t Know What You Got (‘Til It’s Gone)”, “Heartbreak Station”, “Coming Home”, “Wind of Change”, and “Nobody’s Fool”. Each one of these tracks is worthy to be on this compilation. Some of their slower material either bordered on blues, or were just flat-out blues songs. Some are here: “Long Cold Winter”, “Dead Man’s Road”, and “Sick For the Cure”. Then there is the soulful “Shelter Me” that is harder to categorize. But of course Cinderella are best known as a hard rock band, and most of the material falls into that vast category. Many of these tunes are truly awesome. “Shake Me” was first to gain attention, with some noting similarities to AC/DC. “Hot and Bothered”, originally from the Wayne’s World soundtrack, combines the blues and rock in a tasty confection. “Second Wind” from Long Cold Winter kicks ass, and “Gypsy Road” is here too, albeit in live form.
The live tracks are all credited to a Japanese promo CD called Last Train to Heartbreak Station, which appears to be a completely different thing from their Japanese EP called Live Train to Heartbreak Station. Rarities are always welcome on a compilation, but one has to wish that the great single “Gypsy Road” was also included in its studio version. It’s a good enough tune that it wouldn’t be a crime to have two versions on the same CD.
Because of their feminine name and some really bad wardrobe choices, Cinderella was written off by many people without hearing any of their rocking material. While that is a real shame, Cinderella hasn’t made a new album in 23 years so this would be a good one-stop-shop to get much of their best material. Augment this baby with a copy of their classic Long Cold Winter CD and you will have enough Cinderella to have a good representation of their best stuff.
DIO – The Last in Line (originally 1984, 2010 Universal deluxe edition)
Ronnie James Dio used to consider the second albums he did as inferior to the first ones. Second Rainbow wasn’t as good as the first; same with the second Sabbath, according to Ronnie. Is that also true for The Last in Line compared to the legendary Holy Diver?
Comparing the two is much like splitting hairs. The two albums are so close in style and quality that it really doesn’t even matter.
A better opener than “We Rock” is hard to find. The blitz of drums and riff was custom made for bangin’ on the stage. It’s unusual to hear a song where the drums are a major hook, but Vinny Appice has a way of doing just that. He gives you the urge to air-drum every time he throws down a fill.
Dio had an interesting pattern for his albums in the early days, up to Dream Evil (1987). The albums always began with something fast. In the song two position: always the title track! (The title track of each album always had a few lines of lyrics printed in the album sleeve too!) And so it is with “The Last in Line”. The soft and ballad-y opening lures one into that “safe place”…before Dio lets it loose. One of his best and most memorable music videos went with “The Last in Line”, absolutely one of the legendary man’s most notable songs. Its reputation is well earned, as all the pieces are in the right and you never get tired of hearing it.
We’ll know for the first time, if we’re evil or divine, we’re the last in line!
With the first two tracks being so legendary to Dio fandom, it’s easy to understand how the next batch often get lost in the shuffle. “Breathless” lacks for nothing. Vivian Campbell’s solo spot is blazing stuff, and the song is memorable enough for head banging. Accelerating into “I Speed at Night”, hooks are sacrificed for tempo. It’s quintessential 80s heavy metal when speed was such an important thing. Not a bad tune, but one with only a single purpose — banging thine head.
“One Night in the City” takes the time to allow the hooks to percolate through. Vinny and bassist Jimmy Bain lock into a mid-paced groove while Ronnie lays down one of his typically emotive melodies. Though it simmers on a back burner, “One Night in the City” is hot just the same. “Evil Eyes” is also a high quality tune, and if it’s familiar that might be because an earlier version was a B-side, included on the Holy Diver deluxe edition. Naturally, the album version is more polished, but as for which is better, that’s up to the listener. Then there is “Mystery”, arguably Dio’s most “pop” single. Not such a bad thing, after all Ronnie James Dio also did right by “Love is All” from the Butterfly Ball.
We are lightning, we are flame, and we burn at the touch of a spark.
“Eat Your Heart Out” is the only stumble, but it’s soon paid back with “Egypt (The Chains are On)”, a Dio epic in true metal fashion. Who doesn’t love a good plodding metal epic about Egyptian legends? It’s a second or third tier metal motif! Ronnie brings his own metal melodrama to the fore.
The Last in Line is already a great album, certainly up to the quality of Holy Diver with equally memorable material. This carries over to the bonus CD included in the deluxe edition. Four single B-sides from the era are included. They are live versions of “Eat Your Heart Out”, with “Don’t Talk to Strangers”, “Holy Diver” and “Rainbow in the Dark” (all originally from Holy Diver). The only two B-sides missing are “Stand Up and Shout” and “Straight Through the Heart” live at Donington 1983, from “The Last in Line” 12″ single. These tracks however can be found on the 2010 CD release, At Donington UK: Live 1983 & 1987 .
Finally we have Dio’s entire set from the 1984 Pink Pop festival. Naturally there is some overlap with the previous live tracks: “Holy Diver”, “Rainbow in the Dark” and “Don’t Talk to Strangers”. This is offset by a smattering of Rainbow and Black Sabbath classics: “Stargazer”, “Man on the Silver Mountain” and “Heaven and Hell”. The audio is quite good and Jimmy Bain’s bass has a nice full thump to it. The Last in Line is one deluxe you’ll want to add to your collection
JON BON JOVI – Destination Anywhere– The Film (1997)
Directed by Mark Pellington
I bought this on VHS when it first came out. I watched it once, put it away for a decade, and finally sold it at a garage sale for 50 cents. Why? Because this is one of the most boring pieces of vanity projects ever foisted upon the loyal. You can see all the JBJ fanboy-esque reviews on Amazon: “The Destination Anywhere film is perfect…something to have if you are a true Bon Jovi fan. Good movie plot too…enjoy!”
True Bon Jovi fans need not apply except for “the collection”. Let’s please be objective.
This vanity project was very loosely based on the Jon Bon Jovi solo album of the same title. As such, the music from that movie acts as the soundtrack. The music is the best thing about this film. Sure, the actors are all great — Kevin Bacon, Whoopi, Demi — but there’s no script here worth filming.
Jon Bon (“Jon”) and Demi Moore (“Janie”) are struggling with alcoholism and the death of a child. A dark film, Destination Anywhere mostly just follows Jon around town while he tries to figure things out. The characters he runs into offer various pieces of advice, but there are no epiphanies. The film sadly falls flat, sitting there purposeless, and smelling like something that Jon thought would elevate his movie career. It didn’t, and I think that’s the proof in the pudding.
HELIX – Walkin’ the Razor’s Edge (1984 Capitol, 2009 Rock Candy reissue)
If you’re from Canada, then chances are you already know how to properly respond when somebody requests of you to “Gimme an R!”
You give them a fuckin’ R!
To quote Ricky from Trailer Park Boys, “Helix was a wicked concert. Fuck I sold a lot of dope at that concert. They had good lyrics, like ‘Gimme an R, O, C, K,’ and then the crowd yells ROCK really loud. Now that’s a fuckin’ concert.”
Bob Halligan Jr. wrote it, but Helix made it legendary. In turn, “Rock You” put them on the map. It’s pure arena rock: “Don’t just sit there, come on get up and move!” With a riff, a catchy tune and a shout-along chorus, “Rock You” was custom built for 1984. The Pepsi Power Hour gave it regular play, and the boys toured relentlessly. Helix’s rep as a down n’ dirty hard rocking band was secure. The music video scared away my neighbor, David Dolph, a kid from across the street whose very Catholic parents wouldn’t let him listen to rock music or watch Dr. Who. Instant street cred!
“Rock You” opened Walkin’ the Razor’s Edge (their fourth LP) with a punch. “Young & Wreckless” followed with a kick in the ass. This chugging rocker is all about a good time. Strangely enough, this track somehow frequently ended up on Kiss bootleg CDs. Bootleggers most likely confused it with Kiss’ own “Young and Wasted” from 1983’s Lick it Up. Needless to say, if you find a Kiss bootleg claiming to have an unreleased song on it called “Young & Wreckless”, it’s not Kiss. It’s Helix. And it kicks ass.
“Animal House” is a Helix concert classic, a bar-bustin’ rocker with a sweet slide guitar licks from Brent “The Doctor” Doerner. He and gui-partner-in-crime Paul Hackman formed a formidable and underrated duo. They supplied Helix with a seemingly bottomless well of riffage and tasty guitar hooks. Meanwhile lead howler Brian Vollmer was in peak voice, driving the whole thing home. Next up is “Feel the Fire”, basically a re-write of “Heavy Metal Love” from 1983’s awesome No Rest for the Wicked LP. Though the songs are similar, both kick equal amounts of ass, so we will allow some self-plagiarism. The first side was finished off with a real sledge: “When the Hammer Falls”. It’s a real headbanger in the classic sense, fast and loud.
“Gimme Gimme Good Lovin'” kicked off the second side, a Crazy Elephant cover that became one of Helix’s most notorious music videos. There was a TV version and a uncensored cut with full frontal nudity. One of the girls in the video was an underage Tracy Lords. Whoops! Meanwhile, a 13-year-old me couldn’t take my eyes off the TV! (A classmate of mine called Ian Johnson was known for his tall tales, and took credit for giving Helix the idea for the video!) “Gimme Gimme Good Lovin'” was one of those instantly catchy songs that seemingly everyone dug, and check out Doerner’s killer solo.
The shot with Doctor Doerner kicking the lightbulbs is possibly the coolest of all time.
Helix want to tell you what turns them on in “My Kind of Rock”, but I think it’s the biting riffs. Not a bad tune, but Helix have done better. That’s just filler before the ballad “(Make Me Do) Anything You Want”, a cover of A Foot in Cold Water. Helix’s take is remarkably true to the original. It’s considerably softer than anything else on the album, but that’s the function of a ballad on a rock album. Vollmer’s performance helped make it a Helix favourite that’s still played live in concert. Another track called “Six Strings, Nine Lives” is the only tune that should have been excised. Good chorus, but without a song to go with it. One of the best Helix originals was saved for the closing position: “You Keep Me Rockin'”. Dark and edgy, it’s a heavy and memorable tune to end Helix’s best selling LP.
Walkin’ the Razor’s Edge is a good record, but as is so often the case with the “big hit” albums, it’s not their best. No Rest for the Wicked is the one to seek out for the “all killer, no filler” experience. Razor’s Edge has some essential cuts, but a couple fillers too. If you’re thinking about picking this up, the wisest purchase would be the 2009 reissue by Rock Candy. This remastered disc contains rare photos and liner notes including an interview with Brian Vollmer. It also has three must-have bonus tracks: Live versions of “Young & Wreckless”, “Rock You” and “Animal House” from the uber-rare promo EP Live at the Marquee. Since Helix were (and are) known for their blitzkrieg live shows, these tracks are well worth having on CD.
– Creatures of the Night(1982 Casablanca, 1985 Polygram reissue, 1997 Mercury remaster)
The internal problems with Kiss continued full-bore into their next album, the surprisingly powerful Creatures of the Night. Ace Frehley was on the cover, and in the music video, but like Peter Criss before him, he didn’t play a note. In the midst of recording with new producer Michael James Jackson (Red Rider), they were also auditioning new guitarists to replace the Ace.
As a result of the embarrassing failure of their concept album fiasco Music From the Elder, Kiss had little choice in what to do next. If they had any hope of survival as a musical entity, they had to return to rock. What may have come as a surprise given their recent history including two pop “Kissco” albums was that their new music was really, really heavy. Kiss were unleashed and went full-bore heavy metal.
Aiding and abetting this: drummer Eric Carr was unchained on Creatures of the Night. His drum sound, inspired by the massive slam of Zeppelin’s John Bonham, was completely off the hook. These are by far the biggest sounding drums on any Kiss album. Also helping the band get heavier: a new songwriting partner. Vincent Cusano wrote and played on several tracks on Creatures. His talent was evident to all.
In fact there is a school of thought today regarding Mr. Cusano, later redubbed “Vinnie Vincent”. A large vocal group of fans proclaim today that “Vinnie Saved Kiss”. And that theory does hold some water.
Other contributors to the LP included Canadian writing team Bryan Adams and Jim Vallance. Adam Mitchell and Mikel Japp also wrote with Paul and Gene. Guitarists Robben Ford, Steve Farris and Adam Mitchell lent chops and solos to the album. One guy who Gene claims came to the studio, but did not play, was one Eddie Van Halen. According to Gene Simmons, Eddie came down and poured his heart out complaining how miserable he was in Van Halen…and then asked to join Kiss. Believe it…or not?
The incendiary title track “Creatures of the Night” is powerful and instantaneous enough to be used as a concert opener. The metallic chug was new to Kiss, but not alien to them. This anthemic Paul Stanley rocker had the goods. Kiss were back, and in a big way. Just listen to those opening drums! It’s as if Kiss knew that Eric Carr still needed a more suitable introduction, and they gave it to him.
Creatures is notable for one major “first”. It was the first of many Kiss studio albums to only feature two lead singers, Gene Simmons and Paul Stanley. Gene’s debut on Creatures is the incredible “Saint and Sinner”, heavy but low-key and based on a killer verse melody. “Get me off this carousel, you can do as you please…you can go to hell,” sings an angry Demon. And that’s Vinnie, absolutely smoking with a brilliantly melodic guitar solo. What a player…but only when he can control his instincts to play too fast.
Paul turns up the sex on “Keep Me Comin’” (har-de-har har!), a sleazy Kiss rocker with a heavy Zeppelin groove. While not quite filler material, “Keep Me Comin’” and another Paul track called “Danger” are definitely on the lower rungs of this album. “Danger” is the prototype for a kind of speed metal Kiss rocker that Paul threw on all the albums from this point to 1985.
One of Paul’s best songs, and longest lasting in concert, was the ballad “I Still Love You”. This is one heavy ballad, but Paul’s singing is completely over the top. Again, it’s more like a heavy Zeppelin blues ballad. A track like this proves why Paul is considered one of the greatest hard rock singers of all time. Not too many can do it like Paul on “I Still Love You”…and that’s Eric Carr on bass, by the way. Gene doesn’t play bass on most of Paul’s songs. Jimmy Haslip (ex-Blackjack featuring Michael Bolton and future Kiss member Bruce Kulick) and Mike Porcaro took over bass duties on “Danger” and “Creatures” respectfully.
As for Gene, Creatures really sounds up his alley, with tunes like “Rock and Roll Hell”, “Killer”, and “War Machine” suiting his dark persona. And what tunes these are, particularly “Rock and Roll Hell” which simmers with a midnight intensity. The song rides the basic bassline with not much in the way of additional crunch, into chorus time. The interesting thing is the song is actually a thorough re-working of an old Bachman-Turner Overdrive song written by Jim Valance. In fact, Valance claimed that Simmons only insisted on reworking the song in order to get writing royalties. Either way, “Rock and Roll Hell” just burns like an ember. Then in another interesting twist, the song was later covered by Ace Frehley (Origins Vol. 1)! A Kiss cover of a Kiss song he never played on.
“Killer” reeks of Vinnie Vincent. One of the key guitar riffs sounds quintessentially Vinnie, and kind of similar to his later solo track “Boyz Are Gonna Rock”. It’s a brilliant track, right up Gene’s alley, with intense speed and hooks. The female backing vocals in the outro are a surprise. “War Machine” on the other hand sounds purely Gene, even though it’s a co-write with Valance and Bryan Adams. Something about it personifies the “monster plod” sound that Gene specializes in. It’s apocalyptic Kiss metal for your nightmares. It’s strong and relentless.
The single was, of course, the overplayed “I Love it Loud”, which in turn was transformed into a killer music video featuring Ace Frehley miming Vinnie Vincent’s guitar. “I Love it Loud” is insanely catchy and unshakeable during its first several listens. After that, it’s too simple to maintain interest too long. It’s kind of baffling how this song has remained in set lists well past its sell-by date, especially when tracks like “Killer” and “Saint and Sinner” are not.
In 1985 this album was reissued with new non-makeup cover art. On the cover they replaced Ace Frehley, who never played on the album, with Bruce Kulick…who never played on the album. Three songs were remixed: “Creatures of the Night”, “War Machine”, and “I Love it Loud”, but only “Creatures” was included on the 1985 album. The remixed “I Love it Loud” was later issued on a compilation, and the remixed “War Machine” has yet to be released. The remixes by Dave Wittman generally toned down the awesome drum sound, weakening the experience overall.
Vinnie Vincent joined the band officially after Creatures was recorded, and was given his own makeup design: The “Ankh Warrior”. A strange choice for a new character; perhaps Kiss were plain out of ideas or just didn’t care. It’s the only Kiss makeup design to never be seen on an album cover. Then, Kiss embarked on their first American tour in years, the 10th Anniversary Tour. It featured a stage with a tank for a drum riser. “Killer” indeed!
Today’s rating:
4.5/5 stars
Uncle Meat’s rating:
2.5/5 steaks
Meat’s slice:When Creatures of the Night was released in 1982, Kiss had been on the back burner for me for a couple years. Obviously still loved the classics, but 12 year old Meat was starting to become a huge fan of Heavy Metal music. Two different friends of mine and I were discovering new music together. Albums like Ace of Spades, Maiden Japan and Saxon’s Denim and Leather were the gateway drug for me on my way to being addicted to Heavy Metal. So when Creatures came out I recall being so into it, primarily because this was a “Heavy Metal” Kiss record. What’s not to like? The video for “I Love it Loud” was awesome and renewed my love for the band at the time.
So I listened to Creatures from stem to stern the other day, 35 years after it was released, and my take on this album is now quite a different story. I am expecting that many will disagree with my slice on this one, but circumstances dictate my review. Metal music just doesn’t inspire me the way it used to. The love is still there but the lust is gone. Obviously there are staples that I will always love, and new exceptions pop up all time time, but the truth is I would rather put on stuff like Steely Dan, Sly and the Family Stone, Grand Funk Railroad, Yes, Steve Earle, Drive by Truckers etc etc.
If I would have done these Meat Slices let’s say…20 years ago?…I probably would have panned Unmasked and praised this album. But now it is the opposite. The album’s title track, “I Still Love You” and “I Love it Loud” are still enjoyable to me, but pretty much every other song sounds very forced and downright boring to me. This is what happens when a band, who was used to ruling the world, tries to regain said status by joining the new Heavy Metal revolution. Trying to be something they are not. The albums previous (with maybe the exception of the song “The Oath”) and the albums that followed were not Metal albums. The following albums have some heavy songs, but are definitely not Heavy Metal records. You have to fast forward a decade until they released Revenge, and even that album had some different styles within it. It’s so strange to me that a Kiss record that sees Kiss trying SO HARD to be a heavy metal band, turns to Bryan Adams for inspiration? What’s Metal about that? Hello. McFly?
Rating this album was tough for me. I had to consider how much I loved it when it came out, and that the Creatures of the Night tour was my first Toronto arena concert. I can’t say I dislike the album, but I can say that of all the Kiss records I have revisited doing these slices, it’s this album that truly disappointed me because I went into the listen looking forward to hearing it again.
My final thoughts are this. Would diehard Alice Cooper fans consider Flush the Fashion a classic Alice Cooper record? It’s an album I owned on vinyl and I like the album, but it’s a blatant grab at the New Wave market and sounds nothing like the rest of his career. Celtic Frost has done everything possible to erase the memory of the deplorable Cold Lake, since it is a very un-Celtic Frost like record for the band. Creatures of the Night is not genuine to me. Most of the album sounds like the inspiration for Spinal Tap’s album, Smell the Glove. Especially the song “Heavy Duty”, and not surprisingly it was released not long after this in 1984. So, to end this slice I will refer to the immortal Derek Smalls and put it like this. Creatures of the Night is a disingenuous collection of head banging bullshit that to me is forgettable. It sounds square, clunky and has way too many forgettable songs on it. I would rather listen to Bryan Adams’ 1983 album Cuts Like a Knife. But Kiss…I still love you.
Favorite Tracks: “I Love it Loud”, “Creatures of the Night”, “I Still Love You”
Forgettable Tracks: The rest
LeBrain’s rebuttal:You’re Wrong on Creatures
For this Kiss Re-Review series, I have purposely avoided reading Uncle Meat’s reviews, and vice-versa, until they are ready to post. We wanted to avoid influencing each other. Creatures is an exception. Meat sent this to me a couple weeks ago, long before I even started my review. And now that I have read it…I feel like crying a single solitary tear of sadness, just like the one Gene shed in the video for “A World Without Heroes”.
Uncle Meat has a point about the switch to heavy metal music seeming like an act of desperation. I don’t doubt that if The Elder had been a hit instead of an abject nearly career-ending failure, Kiss would have continued in that direction. But we are talking about Kiss here. This is a band that have usually been followers, not leaders. Were they the first to wear makeup and heels? No. Did they invent disco with “I Was Made For Lovin’ You”? No. Going forward into the future, you will see Kiss continuing to chase other people’s sounds, such as Jon Bon Jovi and Alice in Chains. Even Revenge, which Meat mentioned above, seemed like an effort to bring things in line with what was happening in rock and roll.
Having listened to Creatures again for what must be the 30,000th time, my love for it is still strong. I’ve bought Creatures five times over the years. Every time I play it, I’m a 13 year old again. I sink into the guitar tones, which Vinnie just nailed on this album, and enjoy the booming echo of the drums. “I Love it Loud” no longer pitches my pup tent, but mostly due to overexposure.
On this, the Meatmaster General and I will have to agree to disagree. It’s something we often do when it comes to music, but the benefit is that it generates rich discussions, just like this one. — LeBrain
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.
SAMMY HAGAR – “Give to Live” (1987 Geffen 12″ single)
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.
– Killers (1982 Casablanca, German and Japanese versions)
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!
Today’s rating:
4/5 stars
* “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.
– Music From the Elder (1981 Casablanca, 1997 Mercury remaster, 2014 Universal vinyl)
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.
Today’s rating:
3.5/5 stars
Uncle Meat’s rating:
2/5 steaks
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”
EUROPE – Best Ballads (1999 unofficial Russian compilation)
/5 ЗВЕЗДЫ
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