In this installment of Regarding… Music From The Elder, the panel gathers once more in the echoing halls of prophecy to determine what, exactly, just happened. And table read.

Chaz Charles, Greg “Wolfie” Wolf, Scott D. Monroe, Corey Morrissette, and guests Laura Morrissette and Michael and Debbie Pastore conclude their latest descent into KISS mythology by addressing the expanding cinematic ambitions of The Elder — including Scott’s taking up a quest to locate filmmaker Seb Hunter, who once attempted to turn the album into an actual motion picture.

Was it crushed by fate?

Was it too ambitious?

Did Bob Ezrin sneeze and blow several grand worth of Bolivian marching powder on the master and call it good?

No one knows. But we intend to find out.

The conversation drifts — as all noble quests do — into references to other towering rock epics, complete with knowing nods and the faint suspicion that everyone involved may have been borrowing from everyone else since 1969. There are priests, temples, and “great computers” briefly invoked, because of course there are.

From there, the tone shifts into something both reflective and mildly self-aware. The panel considers the peculiar joy of lovingly dissecting ambitious artistic misfires, acknowledging that ridicule and admiration can, in fact, coexist peacefully in the same medieval council chamber.

Scott’s screenplay project continues to loom large — a fully formed narrative attempting to give The Elder the structure it always seemed to promise. Whether this represents restoration or revisionism remains an open question. But it does involve sea monsters, councils, and an alarming amount of sincerity.

Guest Michael Pastore shares reflections on fandom, his book The Mighty Van Halen: One Fan’s Journey, and the enduring power of rock mythology — culminating in a wedding anecdote featuring Rock and Roll All Nite, because destiny occasionally wears platform boots.

By episode’s end, one truth remains:

The Elder may not have become a film.

But it has become a quest.

And we are apparently committed to seeing it through.

And Wolfie is committed to the musical...fully...completely. And you can hear it here.

The Regarding…Series — we listen so you don’t have to.

The Show

In this season of Regarding…, the panel tackles KISS’s Music From The Elder one song at a time—testing whether its epic ambition holds up under scrutiny. Alongside the analysis, Scott D. Monroe’s original screenplay tries to turn the album’s abstract mythology into an actual story.

Ambition meets accountability.

GO BONELESS

Certified boneless in the state of Ohio by the Boneless Podcasting Network. Go Boneless. Boneless Makes a Better Podcast.

Hosted on Acast. See acast.com/privacy for more information.

This episode of Regarding… Music From The Elder takes on “Only You,” Gene Simmons’ brooding, myth-heavy centerpiece that quietly shifts the album’s focus from spectacle to internal reckoning.

Chaz Charles, Greg “Wolfie” Wolf, Scott D. Monroe, Corey Morissette, and guests Sean McGinity and Michael Pastore approach the track after an ambitious table read of Scott’s unfolding Elder screenplay—where singing sea monsters, telepathic entities, blood moons, and a girl in a sundress named Mara blur the line between fantasy epic and fever dream. Where is Sigmond?

The panel quickly zeroes in on the song’s structure and perspective. Is this Morpheus addressing the boy? Is it the Council of Elders demanding answers? Or is it a call-and-response between mentor and initiate?

The episode unpacks:

• How the lyrics function as a psychological checkpoint in the hero’s journey
• Why the bridge provides the emotional vulnerability the rest of the album often avoids
• How the song’s theatrical tone suggests stage musical DNA
• Whether the chorus represents mentorship, manipulation, or both
• The tension between destiny being declared and destiny being doubted

There’s also deep musical discussion. The group notes Gene’s rhythmic bass presence, the riff’s metallic edge, and the possibility of Anton Fig vs. Eric Carr on drums. The performance itself gets more respect than some of the surrounding album mythology — this is one of the first moments where the panel agrees the music stands confidently on its own.

Context matters too. The song’s origins stretch back to 1970 under the working title “Eskimo Son,” later reshaped for The Elder. That long gestation fuels discussion about retrofitting older material into a high-concept fantasy framework — does it enrich the project, or expose its seams?

Meanwhile, Scott’s screenplay interpretation pushes the mythology further: the boy (Cornelius), the Council, Morpheus, the singing Aboleth, and the haunting image of Mara in her sundress — a vision blending memory, trauma, and prophecy. That imagery colors how the group hears “Only You”: less as exposition, more as psychic fallout.

The core tension of the episode becomes clear:

Is “Only You” reassurance?

Or is it pressure?

Is Morpheus empowering the boy?

Or cornering him into accepting a role he may not fully understand?

The panel doesn’t force a verdict. Instead, they embrace the ambiguity — because for once, the uncertainty feels intentional rather than accidental.

The episode closes looking ahead: the next table read promises to bring the boy before the Council of Elders, where the song’s call-and-response dynamic may become literal confrontation.

This isn’t about bombast.

It’s about responsibility.

And fear.

The Regarding…Series — we listen so you don’t have to.

The Show

In this season of Regarding…, the panel tackles KISS’s Music From The Elder one song at a time—testing whether its epic ambition holds up under scrutiny. Alongside the analysis, Scott D. Monroe’s original screenplay tries to turn the album’s abstract mythology into an actual story.

Ambition meets accountability.

GO BONELESS

Certified boneless in the state of Ohio by the Boneless Podcasting Network. Go Boneless. Boneless Makes a Better Podcast.

Hosted on Acast. See acast.com/privacy for more information.