“Music from the Elder” vs. “Do Ya Think I’m Sexy?”: When Rock Stars Reinvent

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disco and prog rock imagery

It’s the music industry’s eternal problem: stay the same, and risk fading into irrelevance. Change things up, and you might alienate the fans who got you there in the first place. 

What’s a rock star to do when the creative itch strikes? 

Everyone wants to stay famous forever.

In the late 70s and early 80s, Rod Stewart and Kiss, two titans of rock ‘n’ roll, found themselves at this crossroads, each taking a wild turn down an unexpected path. 

One went full-on disco, the other… well, let’s just say they got a little mystical. And the results? About as different as you can get.

Actually – well, more on what Kiss did later. Keep reading!

Rod the Mod, known for his raspy vocals, tight jeans, and swaggering blend of rock and soul, was already a legend. But something in the air must have told him it was time for a change. 

In 1978, he dropped “Do Ya Think I’m Sexy?”, a song so smooth and undeniably catchy it could make even the most hardened rocker want to hit the dance floor. 

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For the single, out went the gritty guitars, in came the pulsating bass lines, shimmering synths, and a groove that just wouldn’t quit. Rod even swapped his usual rock-star threads for something a little more… Studio 54.

Oh, and it was co-written with one of the greatest hard rock drummers ever – Carmine Appice.

Naturally, everyone had an opinion. Critics, many of whom thought disco was a fad that would disappear faster than you could say “platform shoes,” accused Rod of selling out. 

But others, even those who weren’t disco’s biggest fans, had to admit: the song was an absolute earworm. 

And the fans? They ate it up. “Do Ya Think I’m Sexy?” shot to the top of the charts, becoming one of Rod’s biggest hits and a disco anthem for the ages. 

Sure, some die-hard fans weren’t thrilled with the new direction, but Rod had clearly struck a chord with a whole new audience, proving he could pull off just about anything.

Now, let’s talk about Kiss. These guys were the kings of spectacle  – you name it, they did it. No one expected them to suddenly trade in their guitars for lutes and their leather for robes. Spinal Tap’s β€œStonehenge” before there was Spinal Tap’s β€œStonehenge.”

That’s exactly what they did in 1981 with Music from the Elder, a concept album that was more Lord of the Rings than “Rock and Roll All Nite.” They for the most part ditched the power chords for orchestral arrangements, swapped their usual anthems for complex prog-rock epics, and even toned down the makeup. 

It was a bold move.

Opener β€œThe Oath” rocked. β€œDark Night” has one of Ace Frehley’s best solos. β€œEscape from the Island” has a real kick to it.

But the rest was mid-tempo and ballady. β€œA World Without Heroes” had true adult contemporary potential. It was β€œKrossover Kiss.”

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For goodness sake – Lou Reed has a songwriting credit!

It was also a massive flop. Music from the Elder landed with a thud. Critics hated it, calling it pretentious, convoluted, and just plain weird. Fans were baffled. This wasn’t the Kiss they knew and loved. 

The album became their biggest commercial failure. Kiss, realizing they’d maybe gone a little too far off the reservation, quickly backtracked, returning to their tried-and-true formula of loud guitars and explosive shows.

The difference between Rod’s and Kiss’s adventures in reinvention is a stark reminder that there’s no surefire formula in the music biz. 

Rod, despite some grumbling from purists, managed to tap into the spirit of the times, delivering a hit that resonated with a massive audience. 

Kiss, on the other hand, alienated their core fans with an ambitious but ultimately misguided project that just didn’t fit their image.

Whether it was a desire to stay relevant or a genuine artistic urge, both artists took a risk. Rod’s gamble paid off, while Kiss learned a valuable lesson about knowing your audience. 

Their stories are about the unpredictable nature of musical evolution, where sometimes a leap of faith leads to new heights, and other times, it’s a faceplant heard around the world.

SPLAT!

Rod Stewart’s Disco Fever: When Rock Met the Dance Floor

Rod Stewart, the raspy-voiced rocker with a heart of gold, was hardly a stranger to reinvention. He’d already navigated the wild ride from mod to rocker, fronting the legendary Faces while simultaneously launching a successful solo career. 

His sound was a potent cocktail of bluesy grit, soulful melodies, and a healthy dose of swagger, all delivered with that signature sandpaper voice. But even with a string of hits under his belt, something in the air must have told him it was time for another shake-up.

Enter 1978, the year disco fever reached its peak. While rock purists scoffed and clung to their guitars, Rod, never one to shy away from a good time, decided to dive headfirst into the glittering world of dance floors and mirror balls. “Do Ya Think I’m Sexy?”, the lead single from his album Blondes Have More Fun, was his declaration of intent. 

The song was a sonic shift as dramatic as a wardrobe change from ripped jeans to a white suit. Gone were the bluesy riffs and raw energy, replaced by a pulsating bass line, shimmering synths, and a groove so infectious it could make a statue tap its feet.

It wasn’t just the music that got a makeover. Rod, always a charismatic showman, amped up the glamor to match the disco vibe. The scruffy rock-star look was replaced by tighter clothes, a more sculpted hairstyle, and an undeniable air of Studio 54 chic. 

He was embracing the era’s extravagance, and it showed. This wasn’t just a musical shift; it was a full-on transformation.

Rod’s foray into disco was met with a healthy dose of skepticism, particularly from the rock press. Many critics saw “Do Ya Think I’m Sexy?” as a blatant attempt to cash in on a trend, accusing him of abandoning his roots for commercial gain. 

Rolling Stone, for instance, called it “a cynical exercise in calculated trendiness.” Others were less scathing, acknowledging the song’s undeniable catchiness while bemoaning the lack of depth compared to his earlier work.

However, not all reviews were negative. Some critics praised the song’s slick production and irresistible groove, even if they felt it was a departure for Stewart. 

Billboard  called it “a sure-fire hit,” praising its “pulsating rhythm track” and “infectious chorus.” Ultimately, the critical response was a mixed bag, reflecting the divisive nature of disco itself.

But while critics debated the artistic merits of “Do Ya Think I’m Sexy?”, the public had already made up its mind. The song was a smash hit, topping charts across the globe and becoming one of the defining anthems of the disco era. 

It dominated airwaves, filled dance floors, and even found its way onto the soundtracks of countless movies and TV shows. Rod had tapped into a cultural phenomenon, and his gamble had paid off handsomely.

Of course, not everyone was thrilled with Rod’s new direction. Some longtime fans felt betrayed, accusing him of selling out and abandoning the rock ‘n’ roll spirit that had defined his earlier work. They missed the raw energy, the bluesy grit, and the heartfelt ballads that had made him a star. 

Simply put – you can’t please everyone all of the time.

But for every disgruntled fan, there were countless new ones who embraced this smoother, more danceable Rod Stewart. He had broadened his appeal, proving his versatility and solidifying his status as a true musical chameleon.

Unmasking the Failure: Kiss’s Ambitious but Misguided Concept Album

Kiss were as known for their image as their music.  Emerging in the early 70s, they were the ultimate rock and roll comic book come to life.  

Kiss weren’t born with a silver spoon in their mouth, oh no. They clawed their way to the top with grit, determination, and enough hairspray to suffocate a small army. In the early days, they were the ultimate road warriors.

Critics turned their noses up at their theatrical antics and loud guitars, dismissing them as a cartoonish gimmick. But Kiss didn’t care. 

They knew they had something special, a raw energy and undeniable connection with the kids who craved a little rebellion and a whole lotta rock ‘n’ roll. 

With their face paint, S&M-inspired outlandish costumes, and pyrotechnic-laden stage shows, they eventually became the embodiment of hard rock attitude. A true rags-to-riches story. 

Through relentless touring and sheer force of will, they built a loyal following, one sweaty concert at a time. Those fans, the Kiss Army, embraced the face paint, the fire-breathing, and the anthems that celebrated being young and wild. It was a grassroots revolution!

Their music matched the theatrics:  anthemic, guitar-driven, and undeniably catchy, with a healthy dose of heavy metal thunder.  Songs like “Rock and Roll All Nite” and “Detroit Rock City” became staples of arena rock, cementing their status as larger-than-life figures.

Success later affected or changed their philosophy. Lean leather costumes gave way to sparkles and disco balls. More explosions. Bright colors. Kiss merchandise. Toys. Lunchboxes. Belt buckles. A sci-fi TV movie.

And yes – like Rod Stewart – a DISCO hit. Yes- it was a hit. “I Was Made for Lovin’ You” was the band’s second BIG HIT single, selling over 1 million copies. 

Their next album and continued venture into commercial music stalled on the charts. Kiss probably felt they had to do something. They were used to success. At least on paper.

But in 1981, Kiss decided to take a detour into uncharted territory.  Music from the Elder, their tenth studio album, was a radical departure from their established sound and image.  Conceived as a concept album, it was a sprawling, ambitious project steeped in fantasy lore and progressive rock influences.  

The album told the story of a young boy’s quest to become a warrior, complete with mystical characters, epic battles, and a whole lot of pseudo-mythological mumbo jumbo.

Credits stated there would be an upcoming movie starring Christoper Makepeace.

A soundtrack released before the actual movie is even made? Sounds like Garth Brooks lifted this maneuver for his Chris Gaines project.

Musically, Music from the Elder was a far cry from Kiss’s usual fare.  The heavy riffs and straightforward song structures were replaced by intricate arrangements, orchestral elements, and prog-rock inspired compositions.  

There were even acoustic ballads and spoken-word passages, a jarring change for a band known for its bombastic anthems.  Even their iconic image took a hit.  The face paint and costumes were toned down, replaced by more “serious” attire that seemed at odds with their theatrical persona.

The response to Music from the Elder was, to put it mildly, underwhelming. Critics were largely baffled by the album’s pretentiousness, lack of focus, and overall awkward execution.  

Rolling Stone called it “a bewildering, pretentious mess,” while other publications dismissed it as a misguided attempt to gain artistic credibility.  Even those who appreciated the band’s willingness to experiment found the album’s execution lacking.

Fans were equally perplexed.  Expecting a hard-rocking Kiss album, they were met with a confusing, overblown concept record that felt completely out of character.  

The album flopped, becoming their lowest-selling release at the time, and a source of embarrassment for the band.  Music from the Elder quickly faded into obscurity, a bizarre footnote in Kiss’s otherwise illustrious career.

The band themselves seemed to realize their misstep.  They quickly abandoned the concept, shelving any plans for a follow-up and returning to their signature sound and image.  

Disco vs. Dragons: Why Rod Stewart Succeeded Where Kiss Failed

Rod Stewart and Kiss, both eager to shake things up, clearly had different things in mind when they veered off course. 

For Rod, “Do Ya Think I’m Sexy?” felt like a calculated move, a savvy businessman recognizing a trend and jumping on board. Disco was dominating the airwaves, and Rod, never one to miss a party, wanted in. But it wasn’t just about chasing a quick buck. 

There’s a sense of playful experimentation in the song, a willingness to try on a new persona and see how it felt. Rod, the eternal showman, clearly relished the chance to swap his rock-star threads for some sequins and strut his stuff under the disco ball.

Kiss, on the other hand, seemed to be driven by a deeper urge. They’d conquered the world, but maybe they yearned for something more. Music from the Elder felt like a band trying to prove they were more than just face paint and explosions. 

It was an ambitious attempt to gain artistic credibility, to show the world they could tackle complex themes and intricate musical arrangements. Whether it was a mid-life crisis or a genuine artistic awakening, they were clearly aiming for something grander, something that transcended their cartoonish image.

When it came to pulling off their new sounds, Rod had the magic touch. “Do Ya Think I’m Sexy?” is a masterclass in pop craftsmanship. It’s catchy, it’s danceable, and it’s produced to perfection. 

Rod’s vocals, though a bit smoother than his usual growl, still had that unmistakable swagger. He didn’t just dip his toes into the disco pool; he cannonballed in, making a splash and owning the style.

Kiss belly-flopped. Music from the Elder is a sprawling mess, an ambitious idea that never quite comes together. The songs, while not bad on their own, feel disjointed and lack a cohesive narrative. 

The band’s attempt at seriousness feels forced, like a kid playing dress-up in their dad’s suit. They simply weren’t comfortable in this new skin, and it showed.

This brings us to the question of authenticity. Rod, despite his disco makeover, still felt like Rod. He was just having a bit of fun, trying on a new outfit for size. 

Kiss seemed to be playing a role, and not a very convincing one. Music from the Elder felt like an identity crisis, not a natural progression.

And let’s not forget the consequences. Rod’s disco gamble paid off big time. “Do Ya Think I’m Sexy?” became a global smash, expanding his fanbase and solidifying his place in pop history. 

Sure, some old-school fans might have grumbled, but that’s a small price to pay for such a massive win.

Kiss, on the other hand, paid a heavy price for their misfire. Music from the Elder alienated their loyal fans and tarnished their reputation. It was a commercial disaster and a critical punching bag, a harsh lesson in the dangers of overreaching. 

The Fine Line Between Evolution and Alienation: Lessons for Every Artist

So, what’s the takeaway from Rod and Kiss’s wild rides in the late 70s and early 80s? Well, it’s a tale of two rock stars, each taking a gamble, but with vastly different outcomes. 

Rod, the ever-stylish chameleon, took a chance on disco and struck gold. He proved that evolution doesn’t have to mean abandoning who you are; it’s about finding new ways to shine. 

Kiss tried to shed their image. Their misfire with Music from the Elder is a classic reminder that sometimes, the best way forward is to remember what got you there in the first place.

Their stories show just how tricky it can be to navigate the music biz. It’s a balancing act, a constant juggling of artistic ambition, what the fans want, and what the critics will say. 

Rod nailed it with “Do Ya Think I’m Sexy?” – a calculated risk that paid off big time. Kiss, however, learned the hard way that even the biggest bands can stumble.

The music world is all about pushing boundaries, about artists trying new things and keeping things fresh. But it’s a tightrope walk, a constant negotiation between staying true to yourself and keeping your fans on board. 

Whether it’s a subtle tweak or a complete overhaul, the magic happens when you find that sweet spot where artistic growth meets audience expectations. 

Sometimes, a leap of faith leads to a whole new level of success. 

Other times, it’s a reminder that your strengths lie in who you already are. 

And the Beat Goes On!

While “Do Ya Think I’m Sexy?” might have raised a few eyebrows, it certainly didn’t derail Rod Stewart’s career. He rode that disco wave straight into the 80s, scoring a string of hits with tracks like “Tonight I’m Yours” and “Young Turks.” 

He dabbled in new wave and synth-pop, proving his chameleon-like ability to adapt to the ever-changing musical landscape. 

Sure, some purists might have yearned for the Rod of old, the raspy-voiced rocker with a heart of gold. But there was no denying his knack for a catchy tune and his undeniable staying power. 

He continued to fill arenas, his concerts a mix of old favorites and new hits, proving that a little reinvention every now and then can keep the fire burning bright.

Kiss had some licking of their own wounds to do after the Music from the Elder debacle. 

The hard rock follow-up Creatures of the Night was a strong album with another attempt at an anthem – β€œI Love it Loud.” But it lacked one or two commercial hard rockers; it’s a bunch of well crafted album cuts.

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Like the proverbial phoenix rising from the ashes (with a healthy dose of hairspray, no doubt), they staged a comeback in 1983 with “Lick It Up.” This time, however, they weren’t just changing their sound; they were shedding their skin. 

Gone were the iconic masks and costumes, replaced by a raw, stripped-down look that mirrored the album’s harder edge. Guitarist Vinnie Vincent, with his flashy playing and songwriting chops, injected a fresh dose of energy into the band, contributing to hits like the title track and “All Hell’s Breakin’ Loose.” 

The gamble paid off. Kiss was back, proving that even when you seem down and out, a little reinvention and a whole lot of attitude can point you back towards the top.

The rest is Kisstory. Sorry – couldn’t resist!

When Kiss Got Real: The Unplugged “World Without Heroes”

Despite the disappointing sales of Music from the Elder, Kiss seemed reluctant to let go of its mystical misadventures entirely.

Years later, when MTV Unplugged became a cultural phenomenon, the band saw an opportunity to revisit “World Without Heroes,” which is truly a hidden gem buried within the album’s conceptual rubble.

Stripped of its bombastic production in an organic acoustic setting, the song took on a newfound poignancy.

Gene Simmons, his voice stripped of its usual theatricality, delivered the lines “A world without heroes, is like a world without sun” with a surprising tenderness, revealing a vulnerability rarely glimpsed beneath the band’s hard-rocking exterior.

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Critics, perhaps caught off guard by this unexpected display of emotion, responded with unexpected praise.

Entertainment Weekly noted, “A surprisingly effective rendition, proving that even Kiss can tug at the heartstrings.”

Kiss Unplugged, often overshadowed by other acoustic offerings of the era, became a commercial triumph, offering a glimpse into the band’s softer side and demonstrating that even a misstep can be redeemed with a touch of vulnerability and the simplicity of acoustic guitars.

Sources:

  1. Ewbank, Tim, and Stafford Hildred. Rod Stewart: The New Biography. Blake Publishing, 2004. An in-depth biography covering Rod Stewart’s career, including the creation of β€œDa Ya Think I’m Sexy?”. Available on Amazon.*
  2. Campbell, Michael, and James Brody. Rock and Roll: An Introduction. Cengage Learning, 2007. This textbook provides an overview of the fusion of disco and rock during the late 1970s and early 1980s. Available on Amazon.*
  3. Leaf, David, and Ken Sharp. KISS: Behind the Mask – The Official Authorized Biography. Warner Books, 2003. Offers detailed insights into KISS’s discography, including the making of Music from The Elder. Available on Amazon.*
  4. KISS. Music from β€œThe Elder”. Casablanca Records, 1981. This album reflects KISS’s experimentation with different musical influences, including disco. Listen on Spotify.
  5. Stewart, Rod. β€œDa Ya Think I’m Sexy?”. Blondes Have More Fun, Warner Bros. Records, 1978. A key single blending rock and disco elements, directly influencing artists of the period. Listen on Spotify.
  6. Kiss Wikipedia
  7. Rod Stewart Wikipedia
  8. Music from the Elder Wikipedia
  9. β€œDo Ya Think I’m Sexy?” Wikipedia

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**Featured image is AI generated**

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