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Track List
01) The Oath
02) Fanfare
03) Just a Boy
04) Dark Light
05) Only You
06) Under the Rose
07) A World Without Heroes
08) Mr. Blackwell
09) Escape From the Island
10) Odyssey
11) I
01) The Oath
02) Fanfare
03) Just a Boy
04) Dark Light
05) Only You
06) Under the Rose
07) A World Without Heroes
08) Mr. Blackwell
09) Escape From the Island
10) Odyssey
11) I
4:33
1:00
2:37
4:12
4:23
4:48
2:47
4:49
2:52
5:37
3:52
Data Complete
80%
Total Rating
80%Total Rating
(0 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1981
Classic Rock
Epic
Rock/Pop
---
Medium
Album
0 copies
Album Description
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Music from "The Elder" is the ninth studio album released by the American rock band Kiss. Album sales were so poor that Kiss did not embark on a supporting tour for the first time in its eight-year history, opting instead to make a handful of promotional appearances. Music from "The Elder" was the last Kiss album on which Ace Frehley appeared until the 1996 Reunion Tour. Frehley, disgruntled with the band's creative direction and production of Bob Ezrin, stopped actively participating in the Kiss operation by early 1982, and officially quit the group by November that year.
While "A World Without Heroes" was later performed on the band's 1995 MTV Unplugged appearance, the entire album has been largely ignored in live performances. During a 2004 Australia show, the band attempted to perform "I", but Gene Simmons had long forgotten the lyrics. Short performances of "I ", "Mr. Blackwell", and "Just a Boy", were played on the 2011 Kiss Kruise.
Kiss was in the midst of a transitional phase as the 1980s began. Drummer Peter Criss, who was not involved in the recording of 1980's Unmasked, officially left Kiss in May 1980. His replacement Eric Carr was officially introduced in July. The group had recently embarked on a hugely successful tour of Australia and New Zealand (where the group's popularity was at its peak) in November, but the band's commercial fortunes at home were drastically reduced from the 1975-79 era. Due to the lackluster sales of Unmasked, Kiss toured exclusively outside the United States for the first time in their career, except for one concert at the Palladium Theatre in New York. The overseas tours were well-attended, partly because Kiss had rarely ventured abroad and because the more pop-oriented Dynasty and Unmasked albums did better in the European markets than their earlier hard rock albums.
This commercial downturn is attributable to many factors, two of the biggest being the softening of Kiss's image in an effort to appeal to a broader fan base, and the softening of their music. Unmasked was a decidedly more pop-oriented effort than earlier albums, and represented a sales drop-off of 65% from 1979's Dynasty. It also became the first Kiss album to fail to achieve platinum status since 1975's Dressed to Kill. The glut of Kiss merchandising that had cropped up in the late 1970s led to a backlash from fans, who felt that Kiss was then more concerned with making money than with making good music.
In an effort to return to their hard rock roots, Kiss began recording music more akin to the hard rock style that launched them to popularity in the mid-1970s. The fall 1980 issue of the Kiss Army Newsletter hinted at the style the new album was to take — "It will be hard and heavy from start to finish—straight-on rock and roll that will knock your socks off." But at the same time, Simmons, Paul Stanley and creative manager Bill Aucoin felt that just returning to a harder sound was not enough. They believed that only a bold artistic statement would regenerate public interest in Kiss. To that end, they enlisted producer Bob Ezrin to work with the group, who in turn daringly employed members from the American Symphony Orchestra and St. Robert's Choir to record tracks for the album. Ezrin had worked with the group before, producing the group's hit 1976 album Destroyer. He had also co-produced Pink Floyd's landmark 1979 concept album The Wall. Simmons, Stanley and Aucoin felt that Ezrin could help bring their ambitions to fruition.
The original vinyl release was a gatefold sleeve. For the first time, a Kiss album featured no image of the group, let alone the customary front-cover appearance. According to one story, the hand reaching for the door-knocker is not that of Stanley: Aucoin has stated that it belongs to a hand-model, hired for the shoot. However, in 2011 a photo surfaced from the album cover shoot showing a partially naked-faced Stanley with his hand on the door knocker. The door itself belongs to the Park Ave United Methodist church on Park Avenue, New York City. The photo session displayed a change of image: the costumes were more streamlined, especially when compared with the costumes for Unmasked, as were the hairstyles of Stanley and Simmons in particular.
Recording sessions for the album commenced in March 1981. Sessions were held in Toronto, New York City, and Frehley's home recording studio in Wilton, Connecticut. During the recording, Ezrin and Kiss worked in complete secrecy. Ezrin in particular had insisted that he would only communicate with Kiss or Aucoin. No one other than Ezrin and Kiss ever heard the album in progress. Frehley became increasingly frustrated during the sessions, as he disagreed with the band's decision to abandon their original plan to record a straight rock album. Additionally, a number of guitar solos Frehley recorded were not included in the final cut. But as had happened frequently after Criss's departure one year earlier, Frehley was often outvoted 2-1 on band decisions. Carr was not a partner in Kiss as the other three members were, but rather an employee. Frehley also resented what he felt was Simmons and Stanley's domination of the recording sessions.
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Available in:
Music from "The Elder" is the ninth studio album released by the American rock band Kiss. Album sales were so poor that Kiss did not embark on a supporting tour for the first time in its eight-year history, opting instead to make a handful of promotional appearances. Music from "The Elder" was the last Kiss album on which Ace Frehley appeared until the 1996 Reunion Tour. Frehley, disgruntled with the band's creative direction and production of Bob Ezrin, stopped actively participating in the Kiss operation by early 1982, and officially quit the group by November that year.
While "A World Without Heroes" was later performed on the band's 1995 MTV Unplugged appearance, the entire album has been largely ignored in live performances. During a 2004 Australia show, the band attempted to perform "I", but Gene Simmons had long forgotten the lyrics. Short performances of "I ", "Mr. Blackwell", and "Just a Boy", were played on the 2011 Kiss Kruise.
Kiss was in the midst of a transitional phase as the 1980s began. Drummer Peter Criss, who was not involved in the recording of 1980's Unmasked, officially left Kiss in May 1980. His replacement Eric Carr was officially introduced in July. The group had recently embarked on a hugely successful tour of Australia and New Zealand (where the group's popularity was at its peak) in November, but the band's commercial fortunes at home were drastically reduced from the 1975-79 era. Due to the lackluster sales of Unmasked, Kiss toured exclusively outside the United States for the first time in their career, except for one concert at the Palladium Theatre in New York. The overseas tours were well-attended, partly because Kiss had rarely ventured abroad and because the more pop-oriented Dynasty and Unmasked albums did better in the European markets than their earlier hard rock albums.
This commercial downturn is attributable to many factors, two of the biggest being the softening of Kiss's image in an effort to appeal to a broader fan base, and the softening of their music. Unmasked was a decidedly more pop-oriented effort than earlier albums, and represented a sales drop-off of 65% from 1979's Dynasty. It also became the first Kiss album to fail to achieve platinum status since 1975's Dressed to Kill. The glut of Kiss merchandising that had cropped up in the late 1970s led to a backlash from fans, who felt that Kiss was then more concerned with making money than with making good music.
In an effort to return to their hard rock roots, Kiss began recording music more akin to the hard rock style that launched them to popularity in the mid-1970s. The fall 1980 issue of the Kiss Army Newsletter hinted at the style the new album was to take — "It will be hard and heavy from start to finish—straight-on rock and roll that will knock your socks off." But at the same time, Simmons, Paul Stanley and creative manager Bill Aucoin felt that just returning to a harder sound was not enough. They believed that only a bold artistic statement would regenerate public interest in Kiss. To that end, they enlisted producer Bob Ezrin to work with the group, who in turn daringly employed members from the American Symphony Orchestra and St. Robert's Choir to record tracks for the album. Ezrin had worked with the group before, producing the group's hit 1976 album Destroyer. He had also co-produced Pink Floyd's landmark 1979 concept album The Wall. Simmons, Stanley and Aucoin felt that Ezrin could help bring their ambitions to fruition.
The original vinyl release was a gatefold sleeve. For the first time, a Kiss album featured no image of the group, let alone the customary front-cover appearance. According to one story, the hand reaching for the door-knocker is not that of Stanley: Aucoin has stated that it belongs to a hand-model, hired for the shoot. However, in 2011 a photo surfaced from the album cover shoot showing a partially naked-faced Stanley with his hand on the door knocker. The door itself belongs to the Park Ave United Methodist church on Park Avenue, New York City. The photo session displayed a change of image: the costumes were more streamlined, especially when compared with the costumes for Unmasked, as were the hairstyles of Stanley and Simmons in particular.
Recording sessions for the album commenced in March 1981. Sessions were held in Toronto, New York City, and Frehley's home recording studio in Wilton, Connecticut. During the recording, Ezrin and Kiss worked in complete secrecy. Ezrin in particular had insisted that he would only communicate with Kiss or Aucoin. No one other than Ezrin and Kiss ever heard the album in progress. Frehley became increasingly frustrated during the sessions, as he disagreed with the band's decision to abandon their original plan to record a straight rock album. Additionally, a number of guitar solos Frehley recorded were not included in the final cut. But as had happened frequently after Criss's departure one year earlier, Frehley was often outvoted 2-1 on band decisions. Carr was not a partner in Kiss as the other three members were, but rather an employee. Frehley also resented what he felt was Simmons and Stanley's domination of the recording sessions.
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