Music doesn’t have to be written. Music doesn’t have to be made with conventional instrumentation. Music doesn’t have to have a beat. Hell, it doesn’t even have to have a sound. Lou Reed knew this. Whether it was simply a middle finger, or a larger experiment, his Metal Machine Music double album defied everyone and everything to become a cult classic.
The fluttery, echoey mess of sounds drone on dissonantly. Metal Machine Music was initially issued as a two record set, with four tracks at roughly 16 minutes apiece. The fourth side featured an endless loop, which meant that you could listen to Metal Machine Music for eternity, if you so chose. There is very little variation in sound over the course of an hour, but interestingly, nothing is repeated and everything is unique. The random nature of these sounds ensures that recurring “hooks”, or “melodies”, or just “collections of noises that sound good together” never recur. There are certain peaks and valleys; seconds of slow action before quick snakey violence.
It sounds alien, jittery, intelligent, deep, scary, spontaneous, yet created with deliberate intent all at once. You are reminded of a signal from a neutron star deep in space, as scientists search for patterns in the noise. It is not only brilliant and stupid, but it is also the fine line in between. Why a double album? Why not just a single LP with the infinite groove at the end? Why not just a single track? Therein lies the middle finger aspect of Metal Machine Music.
There have been reams and reams of words written about Metal Machine Music by those far more literate than I, such as David Fricke and Lester Bangs. It has been performed live by Reed and it has been covered by chamber ensembles. It regularly makes both extremes of “Best Of” and “Worse Of” lists. It was released in stereo and quadrophonic, and even on DVD replicating the locked groove and quad mix. The demand for Metal Machine Music, which was originally deleted after a brief three-week release, has been immense. From curious onlookers to audiophiles, there is a release of Metal Machine Music for you. You can boast that you listened to the whole thing. There is obviously something to it; something our primitive brains can perceive and feed off. Whether it provides you with nourishment, or if you can’t finish the album, it will leave you with a strong impression.
Please welcome guest writer Robert Daniels, from radio’s Visions In Sound
ROCK AND RULE (1983 Nelvana)
“Oh what will the signal be for your eyes to see me…”
Back in about 1984 or 85 I remember watching TV one afternoon and stumbling on an animated movie. Interested, I stopped to watch. It had weird, trippy images and some scantily clad cartoon woman singing and a strange creature growling. My 14 year old mind was intrigued and then was completely blown when one of the animated characters said “Shit!” Cartoon characters were not supposed to swear!! Clearly this was a mistake. No, it was not a mistake, it was Rock and Rule. Although at the time I didn’t know the title and didn’t see the movie on TV again for a while. Rock and Rule was set in a post apocalyptic future where the street animals evolved into a human like society. MOK is an aging rock star trying to find a specific voice in the guise of a worldwide talent search. MOK hopes to unleash a powerful demon from another dimension, his dwindling popularity driving him to destroy the world in vengeance and immortalize himself in the process. After returning to Ohmtown he finds the voice he’s looking for in Angel, a singer in a local band along with friends Omar, Dizzy and Stretch. MOK invites her to join him and when she refuses he kidnaps Angel and forces her to sing to raise the demon.
This was the era of the edgy “adult” cartoon, Heavy Metal, American Pop, Wizards, Starchaser: The Legend Of Orin and others. I do remember getting into an argument with my Mom back in 1981 about not being able to see Heavy Metal. “It’s a Cartoon…it HAS to be for kids!!!”.
It would be several years later when I was in high school that I described the ending scene to someone and they said “Oh yeah, that’s Rock and Rule…” Bingo, I had a title and looked high and low for a copy on VHS. Nothing. I was obsessed to find Rock and Rule. Of course, in the late 80s early 90s there was no internet so the only thing I could do was continue to bug the people at Steve’s TV to try and find a copy. Again, nothing. Then one day out of the blue I got a call from Steve’s. They said they found a copy and would order it for me. “Great” I said, “How much.” “$129.99”. My heart sank, that was far too expensive for my blood. So the film continued to sit in the back of my mind for years.
“My Name Is MOK, thanks a lot”
Then one day in (about) 2003, I heard of a showing at the former Hyland theatre. A local Anime expert and film buff rented the then-empty theatre to show the a cut of the film.
Also Don Francks, the voice of MOK, was going to be there. I jumped at the opportunity.
The film was nothing like I thought it was going to be. First, it was produced by Nelvana Studios that I only knew for Care Bears, Strawberry Shortcake, Droids and Ewoks, etc. All kids’ cartoons. It was also one of the first films I ever saw that listed “Songs by…” first above the main cast. This list included Cheap Trick, Debbie Harry, Lou Reed and Iggy Pop, with a special performance by Earth, Wind and Fire. After the movie there was a Q & A with Don Francks, who I later found out provided the voices for such characters as Dr. Claw from Inspector Gadget, Lackki from Captain Power and the un-credited voice of Boba Fett from the Star Wars: Holiday Special. I asked him if he based his performance of MOK on David Bowie. He said that he didn’t have any particular person in mind when he voiced MOK. I later found out that MOK’s full name was MOK SWAGGER a spin on Mick Jagger. However, the talent representation of The Rolling Stones’ lead singer objected and forced the producers to drop the character’s surname. It’s also interesting to note that David Bowie, Tim Curry, Michael Jackson, Mick Jagger and Sting were all considered for MOK but the budget of the film couldn’t afford them.
“I dunno about this, nobody seems to be buying these ‘I survived the MOK concert’ T-shirts.”
This year (2018) is the 35th anniversary of this masterpiece of Canadian animation. Rock and Rule is the first English speaking Canadian animated feature film entirely produced in Canada itself. Unfortunately the film sat in near obscurity for years after being shelved by distributor MGM and never got released in North America. The film did develop a cult following after being shown on CBC (who held the Canadian TV Rights), HBO and Showtime. Bootleg copies would show up at comic book conventions oddly enough with Ralph Bakshi being credited as director.
“She can sing, or she can scream!!!”
Much like Heavy Metal from 1981 music was a huge part of the film and also much like Heavy Metal the music got tied up in rights issues.
Back in about 2005 just before the release of the Rock and Rule DVD, I was actually in contact with someone from Nelvana Studios who told me that director Clive A. Smith, whose wife Patricia Cullen had also written the score, had the tape masters for the soundtrack in his garage and that he might be willing to let me have them for mastering. Unfortunately nothing came of this as I lost contact but it was the closest I came to producing a soundtrack release. In 2010 the film was released on Blu-ray and unfortunately has become quite expensive on the used market.
It was previously believed that no official soundtrack album had ever been issued for Rock and Rule. In fact, Deborah Harry mentions on a “Making Of…” documentary that she hopes the music gets a soundtrack release. However, as it turns out, a handful of film critics received a cassette tape featuring nine songs (“Hot Dogs and Sushi” and “Send Love Through” were omitted). All songs are extended from how they appear in the film and in familiar copies. “Born to Raise Hell,” “I’m the Man,” “Dance Dance Dance,” and “Ohm Sweet Ohm” have been officially issued on CD, along with an alternate version of “Pain and Suffering,” and “Maybe For Sure” (an alternate version of “Angel’s Song”).
Though a deliberate Google search will turn up a couple of versions of the soundtrack, this is the most common track list:
[2:46] 01. Born To Raise Hell (Cheap Trick – Album Version)
[5:14] 02 Angel’s Song (Deborah Harry)
[4:22] 03 My Name Is Mok (Lou Reed)
[2:11] 04. I’m The Man (Cheap Trick – Album Version)
[3:12] 05. Earth Wind And Fire – Dance Dance Dance
[2:49] 06. Ohm Sweet Ohm (Cheap Trick – Album Version)
[3:15] 07. Triumph (Lou Reed)
[1:28] 08. Hot Dogs & Sushi (Melleny Brown)
[3:28] 09. Invocation Song (Deborah Harry)
[3:41] 10. Pain & Suffering (Iggy Pop)
[5:56] 11. Send Love Through (Deborah Harry and Robin Zander)
[4:30] 12. Maybe For Sure (Deborah Harry)
[5:22] 13. Angel’s Song (Cassette Mix)
[3:29] 14. Invocation Song (Mono Cassette Mix)
[4:35] 15. My Name is Mok (Cassette Mix)
[3:42] 16. Pain And Suffering (Iggy Pop)
[0:52] 17. Triumph (Movie Mix)
[2:35] 18. Angel’s Song (Movie Mix)
[1:38] 19. Invocation Song (Movie Mix)
[1:49] 20. Pain & Suffering (Movie Mix)
[2:06] 21. My Name is Mok (Movie Mix)
[3:36] 22. Triumph (Mono Cassette Mix)
Rock and Rule falls into the category of “…what could have been”. Had MGM had more faith in the project and released it in North America it may have been a hit rather than the cult classic it would eventually become. If you haven’t seen it or are interested in a look at a piece of Canadian animation history check it out, you will not be disappointed.
A solid 4/5 stars. Dark, and yet at the same time fun.
– 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”
Hey folks!It’s The Best Fucking Collaboration Week Ever, Pt. 2! Just like last time,Mike andAaron will be doing simultaneous daily reviews of albums these two intrepid music reporters have sent to each other. Buckle up, buttercups, it’s gonna be a blast!
RACHEL FULLER presents: In The Attic with Pete Townsend & friends (2009 Eel Pie 2 CD/1 DVD set)
A long time ago, Aaron found this triple disc set at Giant Tiger, for the ridiculously low price of $1.00! Not being a foolish man, Aaron bought three of them. One for me, one for the Heavy Metal OverloRd, and one for himself!
Pete Townsend and Rachel Fuller are life partners and musical collaborators. She hosted a web show called In the Attic that featured performers from all over the musical spectrum. The Pete Townsend & Friends installment was gifted to me by buddy Aaron! What he did not know is this: I’m only a casual Townsend fan (not a collector), but by buying me this, he added some more Tenacious D to my collection of that band!
The DVD contains most (but not all) of the same material as CD, but also a lot more. For example Tenacious D’s “Tribute” is only on the DVD. Jack Black was suffering from strep throat that night, and they had to lower the song an octave. For a guy with a sore throat, he still sings pretty great…and even more demonic and evil! Their “Tommy Medley” is damn impressive, but it’s really too bad that Jack wasn’t in full voice. Kyle Gass apologized to Pete for this jokey, uber-fast medley, but I don’t think the apology was necessary, since Pete yelled for an encore!
Joe Purdy was unfamiliar to me before, a folk musician with a large discography. When he invites his dad Dad onstage, and Pete Townsend fixes his mic stand, there is a brief “we’re not worthy” moment that must have been mind-blowing. The pair does an original song called “Daisy” (great bluegrass) before Joe performs a couple more: “Let My Love Open the Door” and “Talk About Suffering”, both with Pete. “Let My Love Open the Door” is the familiar Townsend classic, and delightful in its tender acoustic guise.
Rachel Fuller then performs her original song “Sir Walter Raleigh”, an f-bomb laden piano ballad! A song is cut here from the DVD, another Fuller original called “I Can Fly”, on CD 1. This pretty song is a nice contrast. British solo artist Alexi Murdoch is next with two songs, both originals: “Dream About Flying” and “Orange Sky”. His impressive bluesy picking creates a dark folk sound on these songs. “Orange Sky” is performed with Pete and Rachel which I would imagine reduces most people to jelly. Imagine having Pete Townsend and his significant other playing on a song YOU wrote….
Most folks should be familiar with Ben Harper who takes the stage next with cellos and violins! “Please Bleed” is incredible. With Pete, he does his hit “Diamonds on the Inside”, still great today. Finally, and still with Pete, they do “I’m One” from Quadrophenia together. I imagine this is something you would stroke off a bucket list. “I want this to last a really long time!” says Ben mid-song.
The final guest of the evening is Pete himself, with four acoustic songs. “The Real Me” takes on a funky vibe, but brilliant as always. “Acid Queen”, “Drowned” and “Won’t Get Fooled Again” complete this Who set. Even just solo on an acoustic guitar, this set is incredible. Townsend’s presence and expertise soak through every note.
That’s the end of that night’s show, but not the end of the DVD. The release is split in two sections – “The Hotel Cafe” and “Joe’s Pub”. The “Joe’s Pub” section has plenty more big name stars. This came from a traveling version of Fuller’s show, shadowing the Who at their festival gigs. In New York, they did a show at Joe’s Pub, and the first guest was a starstruck Amos Lee. His two songs are “What’s Been Going On” and “Freedom” (CD only), with special accompaniment by Pete himself. “What’s Been Going On” is an incredible moment of folk power and feeling. “Freedom” celebrates with a big soulful chorus. These are great songs.
Rachel Fuller played two songs at Joe’s Pub: “Jigsaw” (CD only) and “Cigarettes and Housework” (what, you mean you and Pete can’t afford a maid to do the housework?). “Jigsaw” is bright and pretty with lyrical references to some certain Who songs! Fuller’s remarkable voice is the main feature on the sparse “Cigarettes and Housework”.
Of all people, Jimmy Fallon is next. “Carwash for Peace” reveals that he actually has a pretty good singing voice. It’s a silly but fun sing-along. “Let’s have a car wash for peace, there’s trouble in the Middle East,” he sings. If we do this, there’ll be no more wars, or dirty cars! It’s hard to argue with that logic. “President’s Day” is a folksy send-up on the subject of getting totally wasted on President’s Day, because hey, it’s a day off. “Beer and a shot with my man Dick Cheney!” Hey, it was 2007, still the Bush years.
Rachael Yamagata takes the stage with Pete Townsend and Kevin Salem for “Paper Doll”, a sultry original acoustic number with some amazing soulful singing. There’s a nice moment on the DVD when Rachael smiles, looking at Pete playing her song, a real “pinch me” experience I’m sure. Her other song, “Be Be My Love” (CD only) has a similar chord progression as Bon Jovi’s “I’ll Be There For You”. This is her first song on her first album and I’m sure any similarity is coincidental. Then it’s Townsend’s turn to go it alone, with “Acid Queen” and “Won’t Get Fooled Again” (both CD only).
The final guest on this set is Mr. Lou Reed. “White Light/White Heat” with Pete is a moment so gravitous* that news reports suggest a new black hole formed over New York that night! “Pale Blue Eyes”, with accompaniment by Pete on the chorus, is delicate and weighty at once.
For a mere buck, I would postulate that In the Attic with Pete Townsend & friends has to have the most bang-per-dollar value of any purchase made for my collection. This is great stuff for music fans of all tastes.
Part 17 of my series of Kiss reviews, leading up to the release of Monster!
KISS – Music From The Elder (1981, 1997 remaster)
Exit Peter Criss. Enter Eric Carr.
Music From The Elder has grown on me a lot since I first heard it back in 1986. It will grow on you if you let it. Its reputation is that this is the worst album Kiss have ever made, but I disagree. It’s very flawed, but it does grow on you and it does have many redeeming values.
Here’s a brief version of the story behind The Elder: Kiss intended to make a rock album, after the way-too-pop Unmasked. The material they were coming up with (including “Nowhere To Run”, released on the next album Kiss Killers) was deemed to be too much like what Kiss had done before. Producer Bob Ezrin (Destroyer) was brought back into the picture, and he encouraged them to do a concept album (he had recently finished The Wall). Gene dug up a short story he wrote about a group of god-like beings called The Elder, who seek a hero in every time to fight evil. This hero, The Boy, is the protagonist of the story. Got that?
If you have the original LP, cassette, or CD editions of Music From The Elder, the songs are in the wrong order. Y’see, the record label (Casablanca) wasn’t too confident in Kiss’ new music, so they decided to change the track order so that the album started with a rocker (“The Oath”). This makes the story completely jumbled and unintelligible. The 1997 remaster with the restored track order also has some Gregorian chanting at the end of “fanfare”, that was previously cut.
I won’t get into the story except that there’s a boy (“Just A Boy”) who is recruited by The Elder (“Under The Rose”) to fight the evil (“Mr. Blackwell”). There’s an escape (“Escape From The Island”) and some self-affirmation (“I”) and that’s about it. All the epic battles were to happen in Music From The Elder 2: War of the Gods. Ahh, but that’s another story.
Here’s a song breakdown.
“fanfare”: An orchestral bit by Ezrin based on Paul’s “Just A Boy” melody.
“Just A Boy”: Fantastic Paul ballad featuring his falsetto. Acoustic and powerful with epic verses and choruses. Great guitar solo too.
“Odyssey”: Paul sings this orchestral song as well. When I was a kid, I loved any rock songs with orchestras.
“Only You”: Gene’s first song, and the first tune that resembles a rocker. Starts off slow, then goes into a groove. Not a bad song, although not a standout. At the end it goes straight into Paul’s “Just A Boy” melody again, which recurs on the album. This has been covered by Doro, on a Gene Simmons produced solo album.
“Under The Rose”: Eric Carr’s very first songwriting contribution to Kiss. Gene sings this slow song, which has a very gothic chorus sung by what sounds like a men’s choir. Very odd, but I quite like it.
“Dark Light”: Formerly “Don’t Run”, this is Ace’s first song and only vocal on the album. It’s not as great as any of Ace’s songs on previous albums. Still, it sounds like basic stripped-down Kiss, and it’s Ace, and it is one of the few songs on the album that has noticeable Ace guitar.
“A World Without Heroes”: Formerly, “With Every Little Bit Of My Heart”. Paul’s excellent demo apparently impressed Gene, who rewrote the lyrics with Lou Reed. One of Kiss’ softest songs, it has since been covered by Cher.
“The Oath”: Finally, a real rocker of a song that showed off Eric Carr’s drumming for real. Possibly the best song on the album, “The Oath” was just epic. Kiss could play it live today if they chose. The riff is the main focus of this song. Paul sings in falsetto again on the chorus.
“Mr. Blackwell”: A Gene song, probably my least favourite.
“Escape From The Island”: A Frehley instrumental, and a firecracker of a song. Ace makes some interesting sounds on his Les Paul and the song just rocks along at a furious pace. Eric Carr had a hand in composing this one as well. This song didn’t make the Japanese release for some reason.
“I”: “I don’t need to get wasted, it only holds me down”. Obviously this is Gene’s baby, it is his philosophy on life. It is also a great song and a great single. A fast rocker, Carr doesn’t actually play drums on it. Allan Schwartzberg (of Gene’s solo album) does. I didn’t know that at the time. Ends with a spoken word coda.
Music From The Elder was thus named because it was supposed to be the first part of a series, perhaps a series of soundtracks to a movie. Thus, Music From something. It was so poorly received that all plans were cancelled, and the band never toured for it. The shame of it is, when they played on “Fridays” with Ace Frehley, these songs sounded great. Frehley complained that Ezrin cut out half of his guitar work, and live there were ample extra solos. It makes you wish for what could have been.
Frehley left the band, sick of being sidelined by Gene and Paul and The Elder was his last straw. The fans hated it because, frankly, it doesn’t sound like Kiss. I don’t know what it sounds like. It doesn’t sound like progressive rock because it’s a little too clumsy, a little too blocky. It is Kiss after all, not Genesis. They get an “A” for effort, and the truth is the songs are pretty good. Production could have been better and there could have been more guitar. It is what it is.
3.5/5 stars.
Incidentally there are some great demos and outtakes from this album that are worth checking out, and one track was later used by Ace Frehley on his first solo album as “Breakout”. The very same track was used by Kiss on Revenge as “Carr Jam 1981”. I have a CD (seen in the gallery below) called Demos 1981-1983. It features intrumental Elder outtakes such as: “Heaven”, “The Council of the Elder”, and “The Unknown Force”.
I was as surprised as anyone upon hearing “The View”. Lou Reed’s toneless vocal jarring up against Hetfield’s “YEAAH-HAH!” style of singing?…weird stuff. But compelling. Something about Lou’s tone-deaf delivery and the weird lyrics. Something about Hetfield’s always addictive yowls.
Tellingly, the Metallica logo is nowhere to be found. Buyers should probably consider this a Lou Reed album featuring Metallica, than a Metallica album featuring Lou Reed.
Lulu is definitely not for 99% of Metallica fans. It may also not be for a good deal of Lou Reed fans, although they are more likely to embrace Lulu for what it is. What it is, I’m not too sure, but I do know that I can’t stop listening to it.
I’m not even going to try to figure out what the lyrics are about (based on a German play of which I have no knowledge). I dig portions of the lyrics, every once in a while Lou Reed will come up with a cool set of words that just sound right, independently of the context. I mean, it’s Lou Reed, right?
I do find it weird when in the middle of “Pumping Blood” Lou proclaims “Come on, James!”
As for Metallica? There are bits and pieces of this album that shred. The odd riff just jumps out every once in a while, and kind of make you wish for a complete Metallica song to surround it. Some guitar bits will take you back to Justice-style melody, some riffs sound like Death Magnetic.
Yet, I keep coming back to the weird soundscapes. The stuff that sounds more like Metal Machine Music than Metal Militia. If you like a healthy dose of the abstract in your music, you may like a fair deal of Lulu, particularly the long songs. Personally I think Metallica deserve a hell of a lot of credit for stretching out. This kind of music is something I’m used to anyway, and consider to be highly accomplished.
Highlights: The speed metal shred of “Mistress Dread”. The strangely melodic “Cheat On Me”.
There’s an argument to be made that Metallica are not the kind of band that should be experimenting with the avante-garde, but those kind of arguments veer a little too close to “stay in your lane”. Lulu is definitely not for everybody. Don’t buy based on my review alone, if you’re in any way unsure, listen first.
LOU REED – Metal Machine Music (1975 RCA)
/5 stars
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