Casablanca - 1981
6.5/10
After tampering with their little disco run, Kiss would head into 1981 revealing that they’re more susceptible to trying to fit in with their surroundings than they’d likely admit at the time (or ever). Music From “The Elder” was not only the band attempting the rock opera style that Queen and Styx had nailed by now, but this would also see the full official exit of Peter Criss with Eric Carr as replacement on drums. This isn’t exactly the record where that matters, considering how little a role the drums play. If you thought them doing disco was weird, strap yourself in; this is a true shark-jumper.
Weirdly, heavy passages get worked in more than you may imagine, but the focus is heaviest on the vocals and the theatrical aspects. Paul Stanely actually has an incredible voice for this; hearing his highs shine in opener “Just A Boy” rings in serious vibes from The Who’s Tommy. Transition from song to song feels tighter than you’d expect (at times), with a piano playing a heavier role than any album to date. The following track “Odyssey” lets this on nicely, coated with horn sections and strings to yield epic feels following a calm ascent. For how different this is than the band’s usual schtick, I can’t complain too much; yet.
Unfortunately, Music From “The Elder” tanks after that, having a bit of an issue with consistency, and every good moment moving forward is good in its own isolation, often not fitting with the operatic style of the rest. “Dark Light” has always been a favorite of mine, tapping into the groovier elements Ace Frehley has given us previously, working with an aforementioned heavier passage. "The Oath" is also a stripped down banger that borders heavy metal territory. These tracks hardly fit, however, and I think may have stuck with me by accident. The other tracks either go on too long, such as the closer “I,” or just don’t feel nearly as organic, making them rather forgettable after I’m finished listening. I'm not sure at all what was going on with "Mr. Blackwell," and they really lean into the opera on “Under The Rose" painfully hard.
Honestly, I think if Paul Stanley attempted an effort like this with another band entirely, it could have worked absolute wonders. Nobody else in Kiss has ever been cut out for this type of thing, and recruiting Eric Carr for a completely atypical effort likely got off to an awkward start. Paul has the voice and energy for this, but the band as a whole wasn’t meant for operatic music. I appreciate the idea, and there’s some worthwhile things to walk away with; but I can’t accurately call this an objectively good album.
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