ALICE COOPER Part 7 – Between High School And Old School

Throughout his career, Alice Cooper has made a habit of confounding the expectations of fans & critics by rarely repeating himself, especially on successive records. One exception, however, took place when he followed up the brilliant Brutal Planet (which I discussed, and raved about, in my previous post) with its thematic successor, Dragontown (2001). Bob Marlette returned as producer along with guitarist Ryan Roxie, and one notable addition is drummer Kenny Aronoff, best known for his work with John Mellencamp in the ‘80s & ‘90s (and a personal inspiration for my own drumming). Even though this album functions as a sequel, it’s not as dark, ominous & oppressive as Brutal Planet. “Dragontown” has a cool pre-chorus (“Come on, I’ve got something to show you”) that leads into a melodic chorus (“We can dig you a hole deep in the ground, burn your soul down in Dragontown”), and features references to the “wicked young man” and “family of bones” from the previous album. “Fantasy Man” is a crunchy, power-pop-metal tune that reminds me of Stone Temple Pilots (like numerous Alice songs from this era). I like how the title is a misnomer, as he’s “not your fantasy man” and “Hey hey, I ain’t gonna change, hey hey don’t you love it this way?” “Disgraceland” is a tasteless but hilarious rockabilly song about the dark side…and sad demise…of Elvis Presley, with Alice singing in a faux-Elvis voice. As a huge Elvis fan I should be offended, but it’s too funny to let it bother me and I assume Alice’s tongue was planted firmly in cheek on this one.

“Sister Sara” has a midtempo chunky rhythm and a great story about a disgraced nun. The music is very heavy & a bit one-dimensional, and I don’t really like the mostly spoken verses, but the quieter pre-chorus with female vocals and the killer lyrics make it worth repeated listens. “Every Woman Has A Name” is a tender ballad with strings; another example of female solidarity & empowerment in a similar vein to earlier songs “Only Women Bleed” & “Take It Like A Woman.” I could imagine this being turned into a great country ballad. The album closes with two strong songs. “It’s Much Too Late” is brighter than much of what came before it; a pop-rock tune written from the perspective of a “nice guy with good intentions” who ends up in Hell. I like that irony as well as the Beatle-y “la la la” backing vocals. “The Sentinel” is dark & raunchy, and seems to be about suicide bombers. It’s interesting to note that it was recorded before September 11 of that year, since this is the kind of song you would expect on a post-9/11 release.

When I bought this album I was fortunate to find a copy of the 2-CD “Special Edition” that includes one new track, two live performances & one decent if forgettable remix. The highlight of the bonus disc is a song I loved the first time I heard it: “Can’t Sleep, Clowns Will Eat Me.” Based on a quote (I assume) from Bart Simpson, it’s funny & fun with a riff that recalls The Kinks’ “You Really Got Me.” How can you not love a song with this lyrical refrain: “And if you think this isn’t real, I’ll show you wounds that never heal, to them I’m just a happy meal”? Based on reviews I’ve read, a lot of fans seem to prefer Dragontown over Brutal Planet, but I think this album…like most sequels…doesn’t quite reach the heights of the original. That’s a minor criticism, as I like the majority of the songs and even the ones I didn’t mention are worth checking out at least once.

With the release of The Eyes Of Alice Cooper (2003), I went from being a casual fan with a couple of individual albums & the Life And Crimes box set to someone who needed to hear everything in the Alice Cooper catalog. That’s how good the reviews were at the time, and how much this album lived up to the hype. Completely switching gears from the various strains of metal he had become known for in recent years, Alice turned to producer Mudrock (aka Andrew Murdoch), best known for his work with modern rock bands Godsmack & Avenged Sevenfold (two bands I know next to nothing about) to help deliver a collection of thirteen short garage rock and power-pop songs that are still as instantly enjoyable as they were the first time I played them. The lineup this time includes guitarists Eric Dover & Ryan Roxie (who co-wrote most of the record), bassist Chuck Garric & drummer Eric Singer. “What Do You Want From Me?” is a bright splashy rocker with a greasy/sleazy glam rock vibe. I love the alternating vocals in the chorus. “Between High School & Old School” is a return to the Alice Cooper Band’s early-‘70s heyday, like an updated “School’s Out” for an aging…but still vital…rock star. Like in the old days, he’s a sneering outsider delivering great lines like, “Nobody wants me hangin’ ‘round, unless it’s from a tree in the middle of town.”

[Alice Cooper - "Between High School & Old School"]

“Man Of The Year” has tongue-in-cheek lyrics set to a Green Day-esque chugging punk-pop groove. I love the sunny, harmony-laden chorus, and it’s interesting how the last section includes references to depression & suicide yet somehow finds a positive spin. “Novocaine” is a rootsy rocker that reminds me of Steve Earle. It’s loose, slightly ragged and very catchy & bright, especially the chorus (“’Cause when you touch me…hold me…kiss me, I don’t feel anything”). Things slow down for the heartfelt jazzy ballad, “Be With You Awhile,” where Alice just wants to be the right man for his woman. “Detroit City,” featuring MC5’s Wayne Kramer on guitar, is his homage to the titular city with references to MC5, Iggy Pop, Ted Nugent & Bob Seger, and humorous nods to Detroit “kids” like Kid Rock, Eminem & Insane Clown Posse. It’s a cool sleazy rocker with great guitar interplay shifting between the left & right channels. “This House Is Haunted” returns to the sparse, creepy feel of much of Welcome To My Nightmare, with Alice singing from the perspective of a kid who’s been tormented all his life (Steven perhaps?). Musically this one’s really interesting, with raging guitars, theremin and clarinet in the mix. “Love Should Never Feel Like This” is Cheap Trick-esque power-pop. It’s not an amazing song but it is insanely catchy, and I love the organ sound. “The Song That Didn’t Rhyme” is a self-referencing tune about mediocre songwriting (“the melody blows in a key that no one can find, the lyrics don’t flow but I can’t get it out of my mind”) that even features an offbeat drum fill to intentionally match the lyrics. I really can’t speak highly enough about The Eyes Of Alice Cooper, as I think any fan of the Alice Cooper Band’s ‘70s albums with an open mind for modern production would love the songs & performances. Even now that I’ve gotten to know those early albums extremely well, I still feel this record stands proud among those acknowledged classics.

My initial reaction to Dirty Diamonds (2005) at the time was, “it’s very good but not in the same league as The Eyes Of…” That was eight years ago and now, after spending a lot more time with it this past week, I regard it nearly as highly as its predecessor. Album opener “Woman Of Mass Distraction” is kind of a throwaway; an AC/DC-type hard rocker with big riffs & pounding drums that could also be a Gene Simmons-sung Kiss song. Things immediately pick up with “Perfect,” a T. Rex-ish glam rock stomper with a slinky groove, great hooks & strong clean vocals addressed to all those untalented wannabe pop stars (“She’s perfect until the lights go on, and then it all goes wrong…”). “Dirty Diamonds” combines the drama of a spy film soundtrack (especially the flute & trumpet intro and the mid-song instrumental section) with a pulsing rock song. The chorus is its greatest asset: “Dirty diamonds, blood soaked money in your shakin’ fist…stone cold killers & you’re on their list.” “The Saga Of Jesse Jane” is a hilarious but serious-sounding quasi-country ballad with Alice singing, in a deep mocking voice, the story of a cross-dressing criminal. Lyrically it recalls Monty Python’s “Lumberjack Song” while the music had me thinking of off-kilter ‘80s band Wall Of Voodoo.

[Alice Cooper - "Sunset Babies (All Got Rabies)"]

“Sunset Babies (All Got Rabies)” is a raunchy rocker with a punk energy & swagger and a huge harmony-filled chorus, like a less glossy version of his hair metal years.
“Pretty Ballerina” is a lovely, lilting pastoral tune with hints of ‘60s recordings by Love, The Zombies & The Moody Blues and vocals on the sweeter side of John Lennon (think “#9 Dream”). I love the slowly insistent groove in “Run Down The Devil,” which features tight harmonies & a stellar chorus. It’s repetitive in a good way. “Steal That Car” isn’t a major song but it’s a blast of fun with a killer organ-infused chorus (“Everybody knows, I’m gonna steal that car”). “Six Hours” is instantly memorable with that weeping lead guitar, and the slow waltz tempo sets it apart from the rest of the album. “Your Own Worst Enemy” is the shortest track at just 2:15, with tambourine hits pepping up this steady, Smithereens style rocker. I especially like the amusing lyrics (“Your stock went south & your girlfriend is gay, your dog ate your cat and that was your good day”). It’s followed by album closer “Zombie Dance,” a sparser, bass-driven tune with guitars providing the accents and Alice’s harmonica adding a slightly bluesy dimension. Peggi Blu & Edna Wright add soaring blues/gospel vocals; the song could’ve used even more of them. There’s also a bonus track called “Stand” that features rapper Xzibit. It has a repetitive programmed groove with a good melodic hook (“If you don’t stand for something, you will fall for anything”) but it’s not a song I’ll revisit frequently. All in all I was pleasantly surprised by how much more I enjoyed Dirty Diamonds this time around. It quickly became a new favorite.

I’m glad I finally got to hear the audio disc that came with the Live At Montreux 2005 (2006) DVD, as I considered picking it up a number of times but never made the purchase. In fact, I hadn’t heard any Alice Cooper live releases until I began this series. The CD only has 19 songs compared to 28 on the DVD, but over the course of those tracks Alice & the band cover a lot of ground: 7 songs come from four Alice Cooper Band albums while the other 12 songs span 9 solo albums. “I Never Cry” is the only ballad, performed in an “unplugged” setting, while the rest of the set emphasizes the more upbeat, rock & roll side of Alice. While there are no particular standouts, overall it’s an excellent show by a lineup that consists of guitarists Ryan Roxie & Damon Johnson, bassist Chuck Garric and drummer Eric Singer. It’s hard to compare this to previous live albums, other than to say that Alice is in fine voice and the set list is well chosen. Considering he was only a few years shy of 60 when this show was recorded, it’s pretty impressive to hear him still at the peak of his powers. Not many of his contemporaries could make that claim.

I’ve already begun listening to his two most recent albums. I’ll be giving those discs a number of spins this week, along with two more live releases, before I write my final post on the Alice Cooper catalog. Stay tuned, and as always please share your thoughts on the albums discussed here in the Comments section. Thank you.

ALICE COOPER Part 6 – Picking Up The Bones And Boxing Them Up

With the advent of grunge signaling the end of hair metal, Alice Cooper’s change in direction after 1991’s Hey Stoopid came at a perfect time. On The Last Temptation (1994) he didn’t necessarily trade in his makeup and spooky image for a flannel shirt & jeans, but he did update his sound to incorporate everything from a horn section to down-tuned guitars while still delivering a collection of memorable, melodic songs. The fact that he chose three modern rock producers (Andy Wallace, Don Fleming and the team of Duane Baron & John Purdell) to each work on a handful of songs could’ve turned this album into an unfocused free-for-all, but instead it’s one of the most consistently enjoyable records of his solo career. “Sideshow” has a fun party vibe; a chiming, peppy horn-infused power-pop song that’s super catchy, especially at “I feel my head spinnin’ round and round…” and those “aaaah” backing vocals. “Lost In America” is a driving rocker with great catch-22 lyrics (“I can’t get a girl ‘cause I ain’t got a car, I can’t get a car ‘cause I ain’t got a job, I can’t get a job ‘cause I ain’t got a car”), and I love the retro ‘60s organ. “You’re My Temptation” has down-tuned guitars and rumbling bass but remains bright & upbeat. It’s insanely catchy, which is unsurprising considering it was co-written with Damn Yankees’ Tommy Shaw (Styx) & Jack Blades (Night Ranger). There’s some great staggered guitar work by Stef Burns that shows a huge Jimmy Page influence with those Middle Eastern touches. The backing vocals recall Alice In Chains in the pre-chorus before reverting to hair metal in the chorus. Right now this is my favorite song on the album.

Alice collaborated on two songs with Soundgarden’s Chris Cornell. The first, “Stolen Prayer,” is the stronger of the two (with Cornell’s inimitable vocals at “Yeah, like an old straitjacket” and Alice’s strong & soaring voice), while “Unholy War” could be a Guns N’ Roses album track (and the tom-tom pattern reminds me of AC/DC’s “Dirty Deeds Done Dirt Cheap”). “Lullaby” was co-written with Jim Vallance (best known for his hit collaborations with Bryan Adams). It features a cool circular guitar & vocal melody, with a sing-songy section and a piano part that gives it a “Bohemian Rhapsody” feel. The title is ironic, as lyrically it’s the opposite of a real lullaby; a creepy/scary return to Welcome To My Nightmare territory (“I am the one who growls in your closet, I am the one who lives under your bed”). “It’s Me” is another co-write with Shaw & Blades and it’s another super-melodic gem. I love how it builds to the huge, harmony-laden chorus. The rest of the album rocks pretty hard (often reminding me of Stone Temple Pilots) while never losing Alice’s keen sense of melody, but none of the other songs left a lasting impression on me. It’s still a pretty impressive record for an artist 25 years into his recording career.

Alice didn’t release any more studio albums in the 20^th century, but before the turn of the millennium there were two more noteworthy additions to his catalog. The first of these is A Fistful Of Alice (1997), a live recording of a 1996 performance at Sammy Hagar’s Cabo Wabo club in Mexico. I had never heard this album until last week and, even though it’s not quite a definitive document of Alice Cooper in concert, it does capture him in strong voice and with a stellar band (including guitarists Reb Beach of Winger and Ryan Roxie) that showcases great dynamics over the course of 14 songs (7 from the original Alice Cooper band and 7 from the solo years, including one new studio recording). Slash joins in for “Lost In America” and “Only Women Bleed,” adding some tasteful lead guitar on the latter, and Rob Zombie sings on “Feed My Frankenstein” and “Elected.” Alice’s tribute to The Doors’ Jim Morrison, “Desperado,” grabbed me more here than on the original recording. I’m glad he included the beautiful ballad “I Never Cry” in the set list, as it showcases a side of his music that many people probably aren’t familiar with. My only complaint, and it’s a minor one, is the synth horns on “Welcome To My Nightmare.” The new studio recording, “Is Anyone Home,” blends strummed acoustic guitar with a splashy pop beat, giving it the feel of Tom Petty as produced by Jeff Lynne. The verses are a little nondescript, but the Cheap Trick-esque choruses are very catchy (“I’m so lonely I can almost taste it, in a perfect world I’d just be wasted…hello, hello, hello, is anyone home?”). Although no audio recording can fully capture the full spectacle of Alice in concert, this well-recorded live album is certainly a very good document of a particular era in his career; not a must-have but a whole lot of fun.

The other special release referenced above is the incredible 4-CD box set, The Life And Crimes Of Alice Cooper (1999). The packaging is beautiful, with an image of Alice set behind the bars of a prison cell. When I got this collection in 1999 I only owned a handful of Alice albums, so for several years it was my only exposure to the majority of his (and the original band’s) music. Now that I’ve acquired the entire official Alice discography, and having revisited & written about it here, I can confirm that it’s a well selected compilation with only a handful of glaring omissions & questionable inclusions. There are also a number of rarities that make it worthwhile for longtime fans while still functioning as a perfect introduction for the uninitiated.

Disc One includes a number of previously unreleased or hard-to-find tracks. There are three songs by The Spiders, an early incarnation of The Alice Cooper Band: “Don’t Blow Your Mind” (dirty, grungy Nuggets garage rock), “Hitch Hike” (a British Invasion-influenced take on the Marvin Gaye song that’s based on the Rolling Stones’ version) and “Why Don’t You Love Me” (more British Invasion influence). Another pre-Alice Cooper group, The Nazz, is included with “Lay Down And Die, Goodbye,” the original version of a song re-recorded for Easy Action. They were obviously hugely influenced by The Yardbirds at the time. I’m glad they included a demo version of “Nobody Likes Me,” which I previously heard on the Live At The Whisky A-Go-Go 1969 CD. I love the overall feel and you can tell the band was having fun with their performances and the lyrics. There are a handful of songs I would have included from the era covered on this disc (through School’s Out), but only “Hallowed Be My Name,” “Sun Arise” and “Public Animal #9” seem like essentials that are missing.

Disc Two doesn’t offer many surprises other than a handful of single versions and “Respect For The Sleepers (Demo),” which is an early version of “Muscle Of Love.” This song sounds like a cross between The Rolling Stones & David Bowie, and features a fantastic guitar solo section with wild drumming. I’m not sure why the compilers left off “Generation Landslide” but included “Working Up A Sweat.” I would’ve also selected “Wish You Were Here” to showcase how Alice successfully dabbled in disco, even though a lot of fans might have been turned off by its inclusion. Otherwise this is probably the most consistently rewarding disc in the box set, covering the period between Billion Dollar Babies and Goes To Hell.

Disc Three was likely the hardest of the four to compile since it covers the years between Lace And Whiskey and Dada, not the most revered portion of Alice’s catalog. Now that I’m very familiar with those albums, I have to commend whoever chose the songs for this disc. In addition to most of the excellent album tracks (some of which appear in their single versions), there are nine rare & previously unreleased tracks. “I Miss You” is performed by Billion Dollar Babies, which was The Alice Cooper Band without Alice. Musically it’s a good, chunky riff-rocker, but Michael Bruce’s lead vocals aren’t unique enough to make this anything more than a curiosity (although I’d like to hear the album they released in 1977, Battle Axe). “No Time For Tears” was written by Van McCoy (of “The Hustle” dance craze) and was recorded for a movie called Sextette. It’s a simple & pretty piano ballad with tender vocals (“Tears always dry & all lovers lie…that’s all”). “Because,” his collaboration with The Bee Gees on this Beatles classic from the much-maligned Sgt. Pepper’s Lonely Hearts Club Band film, is well recorded, but Alice’s creepy/sinister vocals don’t really work with those glorious Bee Gees harmonies. “No Tricks,” a collaboration with R&B singer/songwriter Betty Wright, is one of the biggest surprises on the box set. Co-written with Dick Wagner & Bernie Taupin, this bluesy song with hints of jazz is a dynamic conversation between an addict and his long-suffering woman who’s not buying his claims of being clean. I love the guitar work by Wagner and Steve Lukather.

[Alice Cooper with Betty Wright - "No Tricks"]

Even though “Road Rats” has a great lineup that includes Elton John’s guitarist Davey Johnstone and all four members of Todd Rundgren’s Utopia, it’s just a faceless rocker from the movie Roadie. “Look At You Over There, Ripping The Sawdust From My Teddy Bear” is a simple yet surprisingly enjoyable driving rock song with Alice’s Elvis-inspired vocals. Apparently the long-winded title was included on the packaging for Special Forces but not included on that album, and this was its first official appearance. The final three songs on this disc first appeared in two different movies. The first two, from Monster Dog, are cool but inessential and sound like demos. I don’t need to hear them again. I can say the same thing for “Hard Rock Summer” (from Friday The 13^th Part VI), which sounds like the generic opening song from an ‘80s teen sex comedy. A number of cool songs from this era were overlooked, with “Skeletons In The Closet” being my favorite missing track. Hopefully some fans whose first exposure to this portion of his catalog came via this box set have further explored the spotty but unfairly overlooked studio albums covered here.

Disc Four covers the hair metal years through The Last Temptation. They did a decent job selecting the best material from those albums, although I’m not sure how “Roses On White Lace” was skipped over in favor of “Prince Of Darkness.” As for the rare tracks, only a handful are worth noting. “He’s Back (Demo)” was the original submission for the Friday The 13^th Part VI soundtrack, but when a different Alice song of the same name was used this tune was later reworked as “Trick Bag” from Constrictor. The version of “Under My Wheels” recorded with three members of Guns N’ Roses (Axl Rose, Slash & Izzy) in 1988 is good but doesn’t come close to the 1971 original. “I Got A Line On You” is a solid if unremarkable cover of an excellent song by the band Spirit that was recorded for the movie Iron Eagle II. Even though it features well-known hard rockers Adrian Vandenberg & Rudy Sarzo, as well as Alice’s old friends Flo & Eddie, this track is undone by the processed drum sound & slick late-‘80s production. Alice’s take on the Jimi Hendrix classic “Fire” is a fiery performance (pun intended), with a big production that works for the song. It sounds a lot like the version by fictional band Crucial Taunt in Wayne’s World, a movie that included a memorable appearance by Alice (“We’re not worthy!”). “Hands Of Death (Spookshow 2000 Mix)” is a duet with Rob Zombie that appeared via a different mix in the first X-Files movie. It’s very modern and industrial, in a similar vein to Nine Inch Nails and, naturally, Rob Zombie. All in all, The Life And Crimes Of Alice Cooper is a beautifully crafted career retrospective that covers most of the major accomplishments in Alice’s career to that point.

After a lengthy hiatus from the recording studio, Alice returned with a vengeance on his next album, Brutal Planet (2000). Without a doubt it’s the heaviest album of his career, thanks to the production work of Bob Marlette (who co-wrote every song and contributed guitar, bass & keys), lead guitarists China, Phil X & Ryan Roxie and outstanding drummer Eric Singer (now best known for replacing Peter Criss in Kiss). Album opener “Brutal Planet” is a huge, monster track with bleak lyrics delivered with authority by Alice. Natalie Delaney’s backing vocals recall Shirley Manson of Garbage, and her performance adds a lightness to this otherwise bleak (yet impressive) song. “Wicked Young Man” is dark and melodic at the same time, reminding me of Stone Temple Pilots at their heaviest. I believe this is Alice’s response to the previous year’s Columbine High School massacre, as he sings “it’s not the games that I play, the movies I see, the music I dig, I’m just a wicked young man.” “Sanctuary” is a fast-driving rocker with a super catchy chorus (“I’ve got a radical place, I got my own private space” and “Go, a-way, sanctuary!”). It’s also probably the best use of the name Quasimodo in a hard rock song (are there others?). “Blow Me A Kiss” is a midtempo heavy rocker co-written with Bob Ezrin that has a couple of great hooks at “Say goodnight then blow me away…” and “I’m in my room, I’m Dr. Doom.”

“Eat Some More” has a slow, plodding Black Sabbath feel with a super heavy riff & pounding drums, as Alice delivers a commentary on our culture of consumption. “Pick Up The Bones” is one of the scariest songs in his catalog, with disturbing lyrics about a man who comes home to discover the bones of his family, possibly a response to genocide in places like Rwanda (“There were demons with guns who marched through this place, killing everything that breathed, they’re an inhuman race”). The Sabbath influence returns for the ominous “Pessi-mystic,” with the band delivering a dynamic performance. The chorus is intense: “I’m pessimistic, I’m so fatalistic…I don’t believe a thing…I’m so nihilistic…of what tomorrow brings.” “It’s The Little Things” chugs along at a super-fast pace, and has funny lyrics about someone letting the little things get to him. I love the hook (and self-references) at “Welcome to my nightmare, no more Mr. Nice Guy.” “Take It Like A Woman” is a piano-based ballad that comes across as a lyrical sequel to his early classic, “Only Women Bleed.” The string section gives it a grandeur missing from some of his other ballads, and there’s tasteful guitar work as well as a great melody (“You’ve been beaten down, kicked around, on the ground, but you took it like a woman”). The album ends with “Cold Machines,” all heavy tom toms & metallic, crunchy guitars. He seems to be worried about just being a number; a faceless automaton (“You don’t know my name, you don’t know my number, you don’t know my face at all”). Only one song here, “Gimme,” didn’t make an impact on me, while the other ten are keepers. This style may not be for everyone, but Alice has delivered a modern hard rock album that’s as consistently heavy as anyone else while never losing his unique viewpoint…and always featuring memorable melodies. I’m not sure if this is an overstatement, but Brutal Planet deserves a place among the list of Alice’s best albums.

Later that same year he released Brutally Live (2000), recorded in England in support of Brutal Planet. The aforementioned Ryan Roxie & Eric Singer head up a stellar band that also includes Alice’s daughter Calico Cooper on backing vocals. The group delivers sympathetic arrangements on all the material, so it’s not just heavy & one-dimensional. Although it focuses on his most recent album, he also includes songs from nine other albums, and the set list was very well chosen. The only real surprise is the energetic version of The Who’s “My Generation.” Depending on your tolerance for the pummeling sound of Brutal Planet, this may or may not be the live album for you, but I thoroughly enjoyed it and I might have to get a copy of the related DVD so I can experience the stage show.

Once again, I want to point you in the direction of an excellent Alice Cooper-related website (Sick Things UK) that’s been a great source of information as I work my way through Alice’s catalog:

http://www.sickthingsuk.co.uk/

This was an absolutely thrilling & enjoyable batch of releases. The rest of his catalog has a lot to live up to, and based on my memories of those albums I should have a good deal of fun before wrapping up his discography in a couple of weeks. Stay tuned, and please let me know your thoughts on the albums discussed here. Thanks.

 

ALICE COOPER Part 5 – Might As Well Be On Mars / The Hair Metal Years

After Alice Cooper cleaned himself up following the release of 1983’s Dada, he re-emerged three years later on a new record label with Constrictor (1986). Putting the early-80s synth-pop & new wave sounds behind him, this album and its three successors found him streamlining his music into a more radio-friendly “hair metal” package that resulted in his biggest commercial success in over a decade. Constrictor was produced by Beau Hill (best known for his work with Ratt, Kix & Gary Moore), and was Alice’s first collaboration with guitarist (and Rambo look-alike) Kane Roberts.  Roberts also co-wrote all 10 songs, and future Winger frontman Kip Winger played bass. I should point out here that I’ve never been much of a hair metal fan. At the time I especially disliked it, with only the occasional song by Kiss, Aerosmith, Whitesnake or Def Leppard making an impact on me, but I’ve since come around to some artists of that era. I don’t, however, like Poison, Bon Jovi or Mötley Crüe, and since a number of songs during this era are influenced by these artists, my tolerance for them may be lower than that of other listeners. Album opener, “Teenage Frankenstein,” might be my favorite song here. Once I got past the brittle, digital-sounding production and ‘80s drum sounds, the melody & stinging lead guitar won me over. The snarling Alice character is in full force (and strong voice), and the lyrics…dealing with the discomforts of adolescence…could be a sequel to the early Alice Cooper Band hit, “I’m Eighteen.”

[Alice Cooper - "Teenage Frankenstein"]

“Life And Death Of The Party” is another highlight. I like the dynamics, where things come down for the verses but build to the Ratt-like choruses, and Roberts’ guitar solo is excellent. “Trick Bag” has a similar feel to The Romantics’ hit single, “Talking In Your Sleep,” especially in the guitar riff and echoed vocals.  “Crawlin’” starts with a cool chugging guitar riff, and even though the sex-obsessed  lyrics are a bit adolescent, I like the high harmonies and the catchy melodies are undeniable. “He’s Back (The Man Behind The Mask)” was the theme song for the sixth Friday The 13^th film. It’s a glossy pop/rock song (with a synth bass that reminds me of Styx’s “Too Much Time On My Hands”) that’s not very scary or creepy, but it works outside the context of the movie. The other five songs are pretty good, with strong melodies and solid performances, but they border on generic. Of these, only “The World Needs Guts” is worth mentioning: a dumb but enjoyable driving rocker, with lyrics about standing up for yourself (“Hey you! Fighting for your life…”). Overall, Constrictor is split equally between memorable & forgettable, but as a product of its time I enjoyed it more than I expected to.

For the follow-up, Raise Your Fist And Yell (1987), Alice tapped Michael Wagener (best known for his work with Accept, Dokken, Poison & Metallica) to produce. With Roberts & Winger returning, it’s more of the same, although the full digital recording makes it sound a bit more sterile than Constrictor. Before discussing the music, I should point out that the album cover is one of the worst I’ve ever seen by a major artist, but I didn’t let that affect my enjoyment of at least half the album. “Freedom” starts things off on a high note; a driving metal song with powerful double-kick drumming from Ken Mary. This album is one of his first credits, and he really shines in his big league debut. Alice sounds engaged on this political tune, which I assume is pointed at the PMRC (the government-backed group that attempted to censor “objectionable” music in the ‘80s, resulting in those “Parental Guidance” stickers that are still used to this day). I love the big group vocals in the chorus (“Freedom to rock, freedom to talk”). “Lock Me Up” has some huge, impressive drums and a cool chugging riff with searing lead guitar. It begins with an indictment of Alice, “How do you plead?” (spoken by Robert Englund, the actor who portrayed Freddy Krueger in the Nightmare On Elm Street movies), to which Alice proudly replies, “Guilty!” I really like the catchy pop-metal chorus: “If you don’t like it you can lock me up, whoa-ohh-ohh-ohh.”

The second half of the album could be the template for an excellent horror movie, and it reaches its peak on the final three songs. “Chop Chop Chop” features a cool circular guitar melody & riff in the intro, which gives way to a driving rhythm. The narrator, a “homicidal genius” who “never leaves a trace,” is a psychopath who’s murdering prostitutes (“I’m a lonely hunter, city full of game, walkin’ in the neon lights”). He speaks/snarls his way through the final verse, much like Megadeth’s Dave Mustaine, and it segues into the next song with a reference to the title character, “Gail.” Here he revisits the creepiest parts of Welcome To My Nightmare (“The bugs serve time in her skeletal jail, I wonder how the bugs remember Gail”) as the killer revisits the spot where he buried her body. I love how it progresses from eerie (with organ/harpsichord) to a big slow, plodding, Black Sabbath-indebted vibe. This leads into the peak of the album for me, “Roses On White Lace.” It’s very heavy and chugs along with super-fast drumming as Alice tells the story of a bride killed on her wedding night (which I suppose is connected to the song “Tag, You’re It” from Zipper Catches Skin). The music, lyrics, and Alice’s powerful vocal performance make this a winner. One other highlight is “Not That Kind Of Love,” whose stop-start riff and “I never wanted, I never wanted love before” refrain recall Whitesnake at their commercial peak. Kane Roberts’ superb liquid guitar work deserves special mention. The remaining songs are a bit more by-the-numbers than the rest. With 6 noteworthy tracks out of 10, however, Raise Your Fist And Yell might be a slight step up from Constrictor…but only slight.

Teaming up with hitmaker Desmond Child, who had written & produced blockbusters for Kiss, Bon Jovi, Cher, Aerosmith & many more, helped spawn one of the biggest albums of his career: Trash (1989). However, what he gained in sales he lost in personality. He may have scored a Top 10 hit with the infectious single, “Poison,” but most of the songs could’ve been performed by any number of artists. That’s not to say it’s a bad album; it’s just not a very distinctive one. The aforementioned “Poison” is a great, super-catchy song filled with melodic hooks and excellent backing vocals. “Only My Heart Talkin’” is a power ballad with Steven Tyler adding his inimitable vocal embellishments. It sounds like one of Aerosmith’s many ballads but it’s missing a killer chorus that keeps it from being a classic. “This Maniac’s In Love With You” has a loping, slightly funky groove with cowbell & chugging guitar. Keyboards are highlighted more on this track than on the rest of the album, and it’s not far from the heavier end of the band Toto (which I consider a good thing, but others might disagree).

[Alice Cooper - "Trash"]

“Trash” has a fantastic propulsive groove & great guitar work, and sounds like a cross between Aerosmith (whose Tom Hamilton & Joey Kramer play on this track, along with Jon Bon Jovi on vocals) and Kiss in the ‘80s. The way Alice sings “traaaash!” could be Gene Simmons on vocals. The guitar solo, by Alice’s bandmate John McCurry, really rocks, and I love the way the lead guitar weaves through the funky riff. “Hell Is Living Without You” is a song I shouldn’t like, as it was co-written with Jon Bon Jovi & Richie Sambora, but I love the huge chorus with lines crossing over one another (“Hell is living without your love ain’t nothing without your touch me heaven would be like hell”). Toto’s Steve Lukather shares guitar duties with Sambora on this song. The remainder of the album features strong songs that are all radio-friendly but didn’t do much for me. One example is “House Of Fire,” a minor hit single co-written with Desmond Child & Joan Jett. It’s a big, echo-y stadium rocker that’s in the same ballpark as Bon Jovi’s “Living On A Prayer.” “Bed Of Nails” is another Bon Jovi-esque rocker, co-written with Diane Warren, that has an insanely catchy chorus. Did I mention I’m not a Bon Jovi fan? That’s the reason these songs, which I admit are professionally written & performed, are just not my thing. Only a couple of songs from Trash would be included if I put together an Alice Cooper compilation, and I doubt I’ll revisit it very often in the future.

For Hey Stoopid (1991), Alice turned to producer Peter Collins, whose credits cover the pop & rock spectrum from Nick Kershaw & Tracey Ullman to Rush, Billy Squier & Queensrÿche. Collins did an excellent job of delivering a glossy yet diverse & raucous album of hard rock fun. My biggest complaint is that it’s a little bloated at 56 minutes, with 10 of its 12 songs clocking in at 4+ minutes when they would’ve been more effective in slightly shorter form. With that in mind, there’s a lot to like here, and a number of noteworthy collaborators. “Hey Stoopid” is big, glorious, over-the-top bliss, with Joe Satriani & Slash on guitar. It’s a word of warning to fellow rockers with addiction issues that doesn’t come across as preachy and, fittingly, Ozzy Osbourne is one of the guest vocalists. “Love’s A Loaded Gun” was a minor hit single that has a vibe similar to Bon Jovi’s “Wanted Dead Or Alive,” mixing acoustic guitars and louder rock sections. The chorus is really enjoyable (“One down, one to go, just another bullet in the chamber”). See, I can enjoy something that reminds me of Bon Jovi after all. “Snakebite” begins with rattling sounds before booming drums & a heavy guitar riff show up. This could be a Ratt song from the ‘80s, and I really like Alice’s vocal inflections.

“Might As Well Be On Mars” is a 7+ minute track co-written with Desmond Child and Alice’s longtime cohort, Dick Wagner. Beginning with a mysterious acoustic intro and Alice’s clean vocals, it moves into huge choruses and a tasty guitar solo by Stef Burns that teeters between heavy metal & Pink Floyd’s David Gilmour. The whole song has an incredible vibe, with his voice showing a lot of emotion as he attempts to get over a relationship. The strings add an epic quality. “Feed My Frankenstein” is the one song I was previously familiar with. Co-written with Zodiac Mindwarp (who I’ve read about but have never heard), it may be typical hair metal but with a song this good that’s a compliment. Steve Vai & Joe Satriani deliver some unsurprisingly great guitar work and Mötley Crüe’s Nikki Sixx plays bass. “Little By Little” is another dynamic song that moves from sparse, pulsing verses to big choruses (“Little by little we cross the line, ohh-ohh-ohh”). “Die For You” is a peppy & catchy pop song co-written with Mick Mars & Nikki Sixx from Mötley Crüe and Bryan Adams collaborator Jim Vallance. I found myself instantly singing along with the chorus (“I could’ve been someone, I could’ve been something, it would have been nothing to die for you”). “Wind-Up Toy” closes out the album. It’s a loud, stomping midtempo rocker that shifts to sparse, half-time verses with various sound effects. He’s a child whose parents put him in a loony bin (“Now I’m all smiles, these good little shots must be working…”), and Alice’s vocals deliver a perfect combination of creepiness & humor. It could be a Cheap Trick song with Rick Nielsen on vocals instead of Robin Zander. A child’s voice yells “Steeeeven” at the end, which must be a callback to the character first introduced on Welcome To My Nightmare. Like its predecessor, the rest of the songs on Hey Stoopid are solid if unspectacular, but the hit-to-miss ratio is a lot higher here. It’s not quite a classic, but it’s my favorite of the four studio albums discussed in this post.

Traveling back in time just a bit, I also checked out Live At The Whisky A-Go-Go 1969 (1991), a concert recording of the original Alice Cooper Band from 1969 that features 7 songs from their debut album, Pretties For You, and one previously unheard song. It’s only 25 minutes long and has very good sound quality. Had I not gotten to know the first album recently I probably wouldn’t have thought much of this live recording, but now that I recognize the songs I appreciate the energy they brought to these performances, capturing the off-kilter psych-pop charm of the studio versions while giving them extra punch. The “new” song, “Nobody Likes Me,” has a touch of The Beatles’ “I Want You (She’s So Heavy)” with an added dose of Flamenco-inspired guitar and splashy psychedelia, as well as excellent vocal harmonies. My favorite lyrical moment comes at the end: “Right, we all hate you, we hate you a lot, we hate all your family, we hate your dog Spot.” “Even Spot?” “Yes.” The final two songs are also two of my favorite tracks from the first album: “Sing Low, Sweet Cheerio” and “Changing Arranging.” The rest is very good, but they were still a band in their infancy, and I would only recommend it to Alice Cooper completists.

These hair metal years don’t hold up as well as some other eras in Alice’s career, but they were essential in returning him to the charts and the public consciousness after a number of years in the wilderness. I’m not sure some of his later career triumphs would’ve been possible without the success he achieved during this period. I might not come back to these albums as often as his earlier work, but I acknowledge their importance and the best songs from those four albums could form a fantastic compilation.

ALICE COOPER Part 4 – Skeletons In The Closet (1978-1983)

The five albums released by Alice Cooper between 1978 and 1983 may not form the most highly regarded portion of his catalog, but after spending a lot of time with these records this past week I came to appreciate them a lot more than I ever have.  Not only was Alice succumbing to his alcohol addiction (which would lead him to a sanitarium more than once), but he was also transforming his image & music to conform with the times. To many music fans he probably seemed like an artist whose best years were behind him, but in many ways the experimental nature of this era opened up possibilities for him in the future which may not have been the case had he stuck to a single image & sound. This era in music might be my favorite, covering the tail end of the so-called “dinosaur bands” of the ‘70s, like Led Zeppelin, The Who and progressive rock, the rise of new wave artists like Joe Jackson, Elvis Costello, Pretenders & Nick Lowe, and the introduction of a new generation of guitar-based bands that influenced me for the last 30 years (Big Country, U2, REM & The Alarm). So while some people look back on the questionable sonic choices & production techniques of that time with negative connotations, I have an affinity for it all & happily focus on the songs buried underneath. Fortunately, Alice had a number of good ones. They may have taken some time to sink in, but I’m glad I stuck with them.

From The Inside (1978) documents Alice’s stay in the sanitarium (the cover has Alice’s face superimposed over the sanitarium door), with songs about specific people he met there as well as first person accounts of his harrowing time “inside.” All songs were co-written by Alice and Bernie Taupin (Elton John’s longtime lyricist), and the album was produced by David Foster (a composer & arranger who went on to produce Chicago’s 1982 comeback album and a slew of adult contemporary artists). On paper it shouldn’t work, but I really like at least 6 of its 10 songs. “From The Inside” sets the tone with bouncy piano giving way to a funky dance groove (a bit like Boz Scaggs) as he confesses about his addictions and how the rock & roll lifestyle took its toll on him (“I never dreamed that I would wind up on the losin’ end”). “The Quiet Room” is a stark electric piano ballad that finds him writing to someone on the outside, asking about things back home & reporting on his experiences. I love the soulful backing vocals, and the way Alice barks in anger & frustration in the chorus. He even admits to contemplating suicide (“I just can’t get these damn wrists to bleed”). “Millie And Billie” is a duet with Marcy Levy, best known for her work with Eric Clapton (“The Core”) and the duo Shakespears Sister. Although it sounds like a Broadway show tune, which isn’t something I usually respond to, it was stuck in my head for days (especially at “He was thinkin’ of us”) and I love the revelation that they’re both “criminally insane.” “Serious” is a driving, dramatic rocker that sounds like a cross between Sammy Hagar, The Tubes, Rick Springfield & Foreigner. It’s pop with a rock edge that features several hooks, most notably at “All of my life was a laugh & a joke & a drink & a smoke & then I passed out on the floor.”

[Alice Cooper - "How You Gonna See Me Now"]

“How You Gonna See Me Now” is the highlight of the album for me. It’s a piano ballad with a super catchy chorus: “How you gonna see me now? Please don’t see me ugly babe, ‘cause I know I let you down in oh so many ways.” I haven’t been able to put my finger on who or what this reminds me of, but it’s another song that could’ve been a huge hit by someone without Alice’s reputation (although apparently it did reach #12 on the Billboard chart…not bad). “For Veronica’s Sake” is a cool melodic pop-rocker with a tight arrangement and a great chorus about how he needs to get out of the sanitarium to visit his woman on death row (“For Veronica’s sake I gotta get out of here”). “Inmates (We’re All Crazy)” has a stop-start rhythm with a haunting string section & synths that point to Foster’s work with Chicago. It also has elements of Meat Loaf and Toto, and features strong hooks at “Good old boys & girls, congregating, waiting in another world” and “We’re all crazy.” The other three songs I haven’t mentioned (“Wish I Were Born In Beverly Hills,” “Nurse Rozetta” and “Jackknife Johnny”) are all excellent but didn’t impact me like the others. The last of those, which is about a Vietnam vet who went crazy when he returned from the war (I think), has a great solo, moving from guitar to Hammond organ. This album certainly deserves a place among his best work, even though it was part of his commercial decline.

I remember when Flush The Fashion (1980) was first released; not being much of a fan at the time, it was a shock to see the gaunt figure on the back cover. Clearly a new decade was upon us. At less than 29 minutes, this is a sparse, new wave-influenced album with more than a hint of that same year’s Scary Monsters by David Bowie. This time Roy Thomas Baker, best known for his work with Queen, The Cars, Foreigner & Journey, handled production, and notable musicians included Elton John’s guitarist Davey Johnstone and Flo & Eddie (The Turtles, Mothers Of Invention) on backing vocals. Album opener “Talk Talk” is an interesting choice; a tightly produced, minimal garage rock cover of a ‘60s song by The Music Machine. This segues into “Clones (We’re All),” a futuristic, sci-fi tune that adds in a steady electronic drum pattern and synth melody, recalling The Cars at their best. “Pain” is the song that stuck with me the most. The piano intro leads to a booming, midtempo song, and I love the squealing guitar accents & the great chorus (“I’m pain…I’m you’re pain…unspeakable pain”), as well as the clever arrangement.

“Leather Boots” is a manic-paced, 95-second new wave raver with throwback ‘50s guitars & a walking bass line: a minor blast of fun. In “Aspirin Damage,” I love the synth squiggles, sparse guitar riffs and steady beat, along with the memorable chorus. The lyrics are funny but troubling, about his addiction to over-the-counter headache medications. “Nuclear Infected” is a fast paced rocker with synth washes being the most modern touch. The lyrics are silly but a whole lot of fun (“I’m nuclear infamished, I need something to eat, a China Syndrome salad with plutonium & cheese”), equating nuclear infection with a man or animal on the prowl. “Model Citizen” has Alice playing the counter-culture bad guy & having fun with it (“He’s a model citizen…he’s an ultra sweety guy”). Album closer “Headlines” is a pulsing but generic rocker, with lyrics that are even more appropriate in the age of reality TV (“I wanna be in the headlines, anything to be in the headlines”). The rest of the album is mostly forgettable yet it’s an enjoyably brief record that I will revisit a lot more in the future.

Special Forces (1981) is a mixed bag, combining some excellent material with a number of songs that I’ll never need to hear again. Beginning with this album and continuing through the next two, Alice has admitted to being so drunk that he barely remembers writing or recording them. With that in mind, it’s surprising to find any good material, but it’s there if you look for it. Production duties this time were handled by Richard Podolor. He was best known for his work with ‘70s hit makers Three Dog Night, as well as Iron Butterfly and Blues Image (of “Ride Captain Ride” fame), whose singer/guitarist, Mike Pinera, plays guitar throughout this album. After the generic rocker “Who Do You Think We Are,” where the only noteworthy feature is the biting lead guitar, and a mediocre version of the Arthur Lee/Love classic, “Seven & Seven Is,” he hits a high note with “Prettiest Cop On The Block.” Driven by a rolling & tumbling drum beat, Alice delivers an interesting, double entendre-laden story about a secretly gay vice cop (“I’m the prettiest cop on the block, I’ll handcuff your desires, I got a stiff reputation with a stick like a rock, my kids are confused & my wife is in shock”). “Don’t Talk Old To Me” is weighed down by generic verses but I love the chorus, where the tempo shifts and Alice’s voice is multi-tracked to layer the line “Don’t talk, don’t talk old to me” on top of itself.

[Alice Cooper - "Skeletons In The Closet"]

My favorite song here is “Skeletons In The Closet,” which comes closest to capturing the essence of classic Alice Cooper (the harpsichord-esque intro is somewhat creepy) while also being a moody, synth-pop song. The arrangement is fantastic, and the overall mood points to The Fixx, who would hit the charts the following year. “You Look Good In Rags” could be a Cars song from that era (it reminds me of their minor 1982 hit, “Cruiser”). Basically it’s a modern rock song with a great guitar sound, and the lyrics find him complimenting his woman (“you look good in rags, with dirt in your hair”) compared to high class prostitutes and millionaires’ girlfriends. It may not be a traditionally romantic expression but it works. The album closes with “Vicious Rumours,” a fast-paced driving rocker with a memorable chorus (“Vicious rumours, paranoiac fears, sonic boomers ringing in your ears”) sung in a sneered, half-spoken voice. There’s a cool chunky rhythm guitar and a reprise of “Who Do You Think We Are” at the end that might have tied things together more tightly had the album been more consistent. However, I like half the record, so it’s far from a bust even though there are a handful of completely unnecessary songs.

Zipper Catches Skin (1982) was co-produced by Alice and Erik Scott. I don’t know anything about Scott, but based on this mediocre album I’m not inspired to look any further into his production career. Then again, I shouldn’t place the blame on him, since it was probably a combination of drunkenness, poor songwriting and an overall lack of inspiration. Keeping that in mind, I did manage to find a handful of songs I really liked, while the rest mostly fell flat. “Make That Money (Scrooge’s Song)” has a nice heavy guitar riff & stomping drums, and at times had me thinking a bit of Deep Purple. Although based on the Charles Dickens titular character (“When it’s time for me to croak, bury me with all my dough”), this is no Christmas song, but it’s got a great chorus (“Make that money run like honey on your tongue”) and memorable melodies throughout. “I Am The Future” was featured in the low-budget movie Class Of ’84, which I saw years ago but don’t remember much about (other than a very young Michael J. Fox). It’s a moody, jazzy ballad with ‘80s production touches (mostly synth splashes) that was written by Elton John collaborator Gary Osborne with film composer Lalo Schifrin. I like the hook at, “Take a look at my face, I am the future, how do you like what you see?” Album closer “I’m Alive (That Was The Day My Dead Pet Returned To Save My Life)” is a silly little chugging rocker that would only be enjoyable to those who see that title and think “fun” instead of “ridiculous” (I’m in the former group). The chorus, where he sings the title, is extremely catchy, and was probably burrowed into my brain more than any other song from this batch of albums. His sneering vocals sound like a precursor to Megadeth frontman Dave Mustaine, which is something I probably should’ve noticed on some earlier songs but this is the first time I’ve made that connection.

The bonus track on my copy of the CD, “For Britain Only,” is aptly titled as it was a UK-only single in 1982. I like the driving midtempo groove, cool bass line and stabbing guitar chords. It’s as good as any of the songs I’ve mentioned, and better than all the songs I haven’t. Even though the remainder of the album is mediocre at best, there are a few things worth noting. “Zorro’s Ascent” has a swashbuckling swagger with Spanish touches while still rockin’, and “I am the fox & I go where I want” is a good hook. “I Like Girls” features an excellent guest vocal performance by Patty Donahue of The Waitresses (“Christmas Wrapping”; “I Know What Boys Like”), who’s credited with “vocals and sarcasm.” “Tag, You’re It” doesn’t have any discernible hooks but features interesting lyrics with Alice describing a scene from a horror movie he’s directing, where a bride is killed by her new husband on their wedding day. Sometimes his lyrics make up for mediocre music. The album title comes from the song “I Better Be Good” (“If zipper grabs skin I’ll know I had it out when I shoulda kept it in…Ow!”). Ow, indeed. I’ll be curious to find out if there are any fans out there who love this album, which to me has too many clunkers and therefore it won’t be a record I’ll come back to very often.

Bob Ezrin returned to the producer’s chair for Dada (1983), and he co-wrote most of the songs with guitarist Dick Wagner and Alice. It may not be on the same level as the classic albums the three of them worked on together in the ‘70s, but at least 5 of the 9 songs stand up to repeated listening, which is a very good hit-to-miss ratio, especially considering Alice’s physical state at the time. “Dada,” which was written solely by Ezrin, is a creepy & atmospheric mood piece with sound effects, a baby’s voice (an Ezrin trademark), and a barely audible conversation between therapist & patient. The album really begins with “Enough’s Enough,” a catchy pop-rocker with a programmed drum beat, sung in the character of a boy whose father becomes abusive after his mother dies (“I just want to tell you you’re a lousy dad, to Hell with you”). During the section where he sings “go buck & buck & make a buck,” the first two “buck”s sound like something that would now give the album a “parental guidance” warning. “Former Lee Warmer” is a dark, twisted tale about his dead brother “living” in an upstairs room (“formerly warmer”). Musically, it sounds like something from Pink Floyd’s The Wall, possibly Ezrin’s most well-known production. “Dyslexia” is a percussive synth-pop number with a steady programmed rhythm, catchy melodies in the verses & choruses and clever word play (“Is dis love…or is dys-lex-i-a?).

“Fresh Blood” probably goes on a little too long, at just under 6 minutes, but it might be my favorite song here; a synth-pop tune with steady, loping percussion and keyboards that recall Genesis’ Tony Banks circa Abacab. Musically it’s atypical for him, even considering the wide range of styles he’s recorded, but the lyrics (he’s a predator…either animal or psychopath…stalking random people) are classic Alice Cooper. Wagner’s tasty lead guitar work deserves special mention. “Scarlet And Sheba” is another new classic, with a swirling Middle Eastern synth melody, sharp guitar chords and programmed drum accents. The catchy melody in the chorus (“I just want your body, Sheba, I don’t want your brain”) stayed in my head for days. “I Love America” gets old pretty quickly, but the first couple of times it’s enjoyable: a parody of patriotic redneck anthems…in the form of a patriotic redneck anthem. Album closer “Pass The Gun Around,” with verses that have a John Lennon vibe, is a midtempo semi-ballad that’s a good change of pace, although it’s a relatively minor song. Some fans probably hailed this as a return to form, mostly due to the presence of Ezrin & Wagner. For me it slightly misses the mark, but the handful of highlights I mentioned makes it worth exploring, and without a doubt it’s more consistent than either of its predecessors.

Alice would spend the next couple of years cleaning himself up…for good this time. When he returned with a new record on a new label in 1986, he adapted to the changing musical climate by embracing hair metal (not my favorite genre, but it had its moments), which led to a well-earned career resurgence. In my next post I’ll discuss that era, which I’ve already begun listening to. Until then, I look forward to hearing your thoughts on the portion of his discography addressed above.

ALICE COOPER Part 3 – Nightmares, Hell And A Shot Of Whiskey

When Alice Cooper (the band) split up after 1973’s Muscle Of Love and Alice Cooper (the singer) continued recording as a solo artist two years later, most people probably didn’t notice the difference. I wasn’t even 10 when his first solo album was released, and I was unaware of the back story. To me, Alice Cooper was the guy in the makeup cavorting with snakes, having his head sliced off by a guillotine in concert and influencing the biggest band of my formative years, Kiss. It wasn’t until years later that I understood the difference between the original band and everything that followed. Alice (the singer) may have been the front man but he wasn’t the sole creative force, and once he went out on his own he needed to find collaborators who could bring his artistic visions to life. Fortunately for him, he immediately began working with producer Bob Ezrin (who had produced the majority of the Alice Cooper band’s best records), and Ezrin brought along three key musicians from his recent work with Lou Reed: bassist Prakash John and guitarists Dick Wagner & Steve Hunter. They would form the core of Alice’s backing group for his first few solo albums, and even though the sound & approach was different from the original band, they brought stellar musicianship to everything they recorded.

The biggest difference between the old & the new is that Alice the solo artist was no longer confined to fronting a hard rock band. A lot of his songs still rocked pretty hard, but now he was more of an all-around entertainer/showman and new elements immediately began appearing on his first album, Welcome To My Nightmare (1975). This was the album I most closely identified with Alice Cooper throughout my adolescence since it was the only one I owned. When I played it again for the first time last week, after spending so much time with the first seven records by the original band, it seemed tame by comparison. Once I left behind those expectations, I was reminded of how great the majority of the songs are. “Welcome To My Nightmare” was one of a handful of songs that defined my childhood. It has a creepy vibe, as Alice plays a proto-Freddy Krueger (without the murderous intent), introducing a young boy named Steven (who would reappear on several future albums) to all manner of nightmarish suggestions: “a nocturnal vacation, unnecessary sedation…” The funky groove continues to impress all these years later, but the horn section turns it into a TV variety show theme…which was probably Alice’s intent. I was so enamored of this song that at 10 years old I recorded an a capella version on cassette, which I recently digitized. No one outside of my family has ever heard this performance…until now. Here it is, in two takes interrupted briefly by someone…most likely my brother…recreating some kind of sports broadcast. I’ve also included the original version for you to compare & contrast. Enjoy, and try not to laugh too hard. I was only 10.

[Rich(ie) Kamerman, Age 10 (1976) - "Welcome To My Nightmare (a capella)"]

[Alice Cooper - "Welcome To My Nightmare"]

The remainder of the album is filled with one gem after another. “Devil’s Food” and “Black Widow” are connected by a spoken-word section voiced by horror legend Vincent Price, who gleefully describes the deadly effects of a black widow spider bite. The former song has a great sleazy guitar riff and the latter is a driving rocker with Alice proclaiming “we’re all humanary stew if we don’t pledge allegiance to…the black widow.” Both could be mistaken for the original band. He shifts gears with “Some Folks,” a swinging, finger-snapping tune with an English music hall vibe before opening up for the bright chorus (“Baby, baby, come on and save me…”). I’m not sure if it continues the nightmare theme, even though he sings “it makes my skin crawl,” but who cares about the album concept when the music’s so good…especially the fantastic dueling guitar solo? “Only Women Bleed” is an unfortunately named but well-intentioned ballad that shines a light on domestic abuse. Melodically it’s a strong song, undone only by the title. I don’t think anyone expected this type of song from Alice Cooper, but it’s a pleasant surprise and I’m glad he recorded more ballads after this. “Department Of Youth” is a blast of exuberance; a stomping glam-rock song with gang vocals in the chorus and excellent group harmonies that recall Queen and The Sweet. “Cold Ethyl” is a cowbell-infused pounding rocker with a swaggering groove & awesome guitar interplay that really drives at “Ethyl, Ethyl let me squeeze you in my arms.”

A couple of songs (“Years Ago” and “The Awakening”) are more mood pieces than stand-alone songs, but they work within the context of the album. “Steven” begins with a tinkling piano melody that recalls the theme from The Exorcist, and Alice singing in the voice of a frightened child adds to that comparison. Things open up for the chorus, and there’s an instrumental section with sweeping strings. The album ends with “Escape,” which features a cool guitar riff and propulsive drumming. Its anthemic quality is similar to “Department Of Youth,” but this song has a more melodic pop edge. I imagine there are certain fans, especially the ones who were following Alice since the early days, who hated the direction he began with this album. Judged on its own merit, it’s every bit as strong as the best records he/they had released up to that point. While it’s lacking the immediacy of a tight-knit rock & roll band, Welcome To My Nightmare presents Alice Cooper as a completely different kind of musician & entertainer. It didn’t hurt that he surrounded himself with such extraordinary collaborators.

The nightmare continued on Alice’s next album, Goes To Hell (1976), although this time it seems like Alice is the one being tormented instead of young Steven. On album opener “Go To Hell,” I love the sinister, insistent rhythm with hints of Spanish music in the instrumental intro. The chorused vocals through much of the song, and the accusatory lyrics, make it sound like a cross between “You’re A Mean One, Mr. Grinch” (especially at “you even make your grandma sick”) and Pink Floyd’s “The Trial.” I’m sure a lot of rock fans ran screaming when they heard “You Gotta Dance,” an upbeat disco song that tosses in elements of funk with rock guitars. It’s actually a great song and I really love the half-time section (“I’m so hot it makes me shiver, makes me wet, makes me slide”). “Didn’t We Meet” begins as a light piano-based tune with lilting percussion accents & tasteful guitar swells until shifting gears at “They say that you are the king of the whole damn thing.” Apparently he’s in Hell and speaking with the devil: “Didn’t we meet in the night in my sleep somewhere?” For such a sinister song the melody is lovely and it’s set to a super-tight arrangement. He returns to heartfelt ballad territory with “I Never Cry,” adding in some country elements on a song that could’ve been a hit by a less controversial artist. The melody at “take away, take away my eyes, sometimes I’d rather be blind” is simply gorgeous and has been stuck in my head for days.

Another song that must have caused confusion among his fans is “Wish You Were Here,” but it’s probably the highlight of the album for me. It’s another funky dance song with chicken-scratch guitar, a groovy bass line & stellar percussion, and I love the hook at “I’m having a hell of a time my dear, wish you were here.” The rest of the album may not reach the levels of the songs I’ve already mentioned, but some of them are still pretty good. “Give The Kid A Break” is a 6/8 bluesy, old-time rock & roll-type song. It’s fun & lighthearted, and I like the call & response between the female vocals & the deep devil voice as Alice questions why he’s in Hell. This song wouldn’t really work outside the context of the album, and at times it comes across as too gimmicky for my tastes. “Guilty” is a bright, pulsing rocker with a simple riff and a recurring hook that reminds me of the “sloppy Joe, slop, sloppy Joe” refrain from Adam Sandler’s “Lunch Lady Land,” and at times it could be mistaken for a Blue Öyster Cult album track. His cover of the 1918 Vaudeville standard, “I’m Always Chasing Rainbows,” was an interesting choice, and I’m still not sure how I feel about it. It comes off a little too campy for this record. Perhaps only Queen could pull off something like this. Goes To Hell is not on the same level as its predecessor, but perhaps it’s an unfair comparison. He introduced some new flavors to his sound that he would continue to explore on future releases and at least half the songs are worthy of inclusion on a comprehensive career-spanning anthology. I don’t think that will be the case with many of the records I’ll be revisiting in the coming weeks.

For his next record, Lace And Whiskey (1977), he took on the character of fictional private detective Maurice Escargot. I’m not quite sure if there’s a story linking the songs to this portrayal, but I like the fact that he was adopting new personas to expand the scope of what Alice Cooper is about. It has a slightly better hit-to-miss ratio than Goes To Hell as it veers further from the hard rock sound that he was known for. Once again Ezrin was the producer, and he also co-wrote nearly every song with Alice & Dick Wagner. “Lace And Whiskey” is a syncopated rocker with Spanish flourishes and a phased vocal effect. I could easily hear Elton John doing this song at that time. It’s dramatic without being over the top, and the chorus is super catchy: “Give me…lace and whiskey, mama’s own remedy, double indemnity, fill me with ecstasy, la-a-ace and whiskey.” “Damned If You Do” is a loose, ramshackle country-tinged rocker that sounds like something Ringo Starr would’ve recorded with his drinking buddies in the ‘70s. It’s fun, groovy & lightweight in the best possible way. “You And Me” is an absolutely stunning ballad. As with Alice’s prior ballads, his name & reputation probably prevented this from being a huge hit, which could’ve been the case with any number of artists (in fact, Frank Sinatra performed this song in concert). It features another chorus that’s been burrowed in my head for days (“You and me ain’t no movie stars, what we are is what we are”), and his voice is strong & confident while displaying a softness & vulnerability most fans wouldn’t associate with him. The orchestral accompaniment could’ve been sappy but instead it perfectly complements the understated arrangement.

“King Of The Silver Screen” is a stabbing, midtempo riff rocker that finds him playing a regular guy who fantasizes about being any kind of movie character. Or at least that’s how it initially seems, until it’s later revealed that he’s actually a cross-dresser (or the “Queen of the silver screen”). He incorporates old-time horror movie music as well as “The Battle Hymn Of The Republic” for dramatic effect, but those added sounds & references detract from an otherwise strong song. “Ubangi Stomp” is a minor but fun cover of a ‘50s rockabilly song that sounds like it was a lot of fun to record. “(No More) Love At Your Convenience” begins with a horn fanfare over a steady beat before developing into a sweeping disco song. This is the strangest of his dance songs to date, if only because there’s no “rock” element at all…it’s pure disco…and you can barely distinguish Alice’s voice among the chorus of female vocals. This could’ve been any booty-shaking tune of the era. I would’ve detested this song had I heard this album in the late-‘70s but now I can appreciate it for what it is. I still question why he included it here, as it would clearly turn off a lot of his longtime fans, but I love that he was unafraid to show all sides of his musical personality. That’s the mark of a true artist.

Album closer “My God” is by far my favorite song on Lace And Whiskey, since it touches on symphonic progressive rock (which I love) without being too artsy or esoteric. It begins with a church organ that morphs into electric keyboard/synth (a nod to Yes’ Rick Wakeman, perhaps). The lyrics are overtly religious & reverential, but never come across as preachy. I know that Alice was suffering from alcoholism at the time, so perhaps this was his way of trying to find balance in his life. All I know is that the music is incredible…I felt an emotional connection to it…and I love the AOR guitar solo. It’s a stunning way to cap off a very good yet stylistically confused album.

His first live album, The Alice Cooper Show (1977), was recorded with several of the musicians from the three recent studio albums, including the trio I mentioned earlier (Prakash John, Steve Hunter & Dick Wagner) who played on Lou Reed’s brilliant live album, Rock N Roll Animal. While they bring top-notch musicianship to the 11 tracks included here (two of which are medleys, so a total of 13 songs were performed) and everything is delivered professionally, it’s lacking a certain punch…especially on the 7 songs first recorded by the original Alice Cooper Band. While there are no particular standout tracks, it was nice to hear earlier songs like “Under My Wheels,” “I’m Eighteen,” “Is It My Body” and “Billion Dollar Babies.” I know when it comes to an Alice Cooper concert the music is only part of the appeal, and although I missed out on the visual aspect of the show, I did enjoy every song. It’s a pleasant listen that just doesn’t seem like an essential release.

Next time I’ll be discussing the 4 or 5 albums he released during the height of his alcohol addiction, a period in his career that has a spotty reputation. It’s also an era of music that I really enjoy (1978-1982), so I look forward to seeing how Alice’s albums hold up against my favorites of that time.

For anyone seeking additional information on anything related to Alice Cooper, I highly recommend a visit to SickThingsUK, “The Largest Unofficial Alice Cooper News And Information Source.” They’ve done a wonderful job, and the info they provide has been a great addition to my education about the Alice Cooper discography.

Audio Files Not Working

[Update: Fileden appears to be up & running again, so all of my audio files are functioning. Apparently they're updating their servers, so hopefully these disruptions will be a thing of the past. At least now I have some other options to explore should similar issues arise in the future. Thanks for your patience as I worked to sort this out.]

It’s come to my attention that the audio player is not functioning in any of my posts (embedded YouTube clips are still working). This is due to an issue with Fileden, the site where I store my audio files, and not a problem with WordPress. I’m currently looking for an alternative to Fileden so my readers can once again access the audio files I’ve chosen to highlight each post. This might take some time, as I’ll need to re-rip each song as an MP3 and then upload them. If anyone has a suggestion for a reliable (and free) service where I can store my files, please let me know. Thank you. I’ll return shortly with my next post on Alice Cooper as soon as I resolve this issue. It will include a really fun audio file that you won’t want to miss.

ALICE COOPER Part 2 – Hard Hearted Alice

The early 1970’s were a great time to be the Alice Cooper band. Hit records, sold out tours, and success beyond their wildest dreams. Over the course of their first four albums, which I discussed in my previous post, they went from late-60’s psychedelic garage rock also-rans to rock ‘n’ roll hit makers, but they were only scratching the surface. The band, which consisted of singer Alice Cooper (formerly Vincent Furnier), guitarists Glen Buxton & Michael Bruce, bassist Dennis Dunaway and drummer Neil Smith, were definitely one of the best hard rock groups of their time, even though their glam/horror look & stage antics overshadowed their underrated musicianship and songwriting abilities. The final three albums by the original group, prior to Alice becoming a solo artist, found them enjoying their success but not succumbing to it, resulting in some of their best & most enduring songs. Prior to this past week I had probably only listened to each of them a handful of times over the years, so although I knew there would be plenty of good music I didn’t expect the diversity that’s on display. Their secret weapon, at least on the first two albums to be discussed here, is producer Bob Ezrin. His arranging, songwriting and production skills elevated them from a great band to a legendary one. I don’t think his contributions can be overstated.

School’s Out (1972) was the band’s first mega-successful album, reaching the Top 5 and spawning the huge hit single, “School’s Out.” This rockin’ teenage anthem, which was written by all five band members, is a statement of intent that sets the tone for the rest of the album. The taunting/teasing vocals, especially the part that features actual children’s voices, give it a unique flavor (children singing became an Ezrin production choice that he would use for other artists). The rebellious nature of the lyrics (“We got no class and we got no principals”… or is that ‘principles’?) was a precursor to Pink Floyd’s “Another Brick In The Wall” and The Ramones’ “Rock ‘N’ Roll High School.” “Luney Tune,” a song about a man locked up in an asylum, has a cool syncopated, almost Latin rhythm with a fat bass line and searing lead guitar. The strings & horns at 1:40 (and the violin later on) were a nice surprise. “Blue Turk” is slow & slinky, like Peggy Lee’s “Fever.” There’s a great hook at, “You’re so very picturesque, you’re so very cold. Tastes like roses on your breath but graveyard on your soul.” The jazzy horns add an authentic swinging late-night vibe. “My Stars,” written by Alice & Ezrin, is a long, dramatic song with climbing piano runs & precision drumming that breaks into a manic jazz/psychedelic section with rapid-fire vocals (“Come all ye faithful you know all you people should come to me…”). “Public Animal #9” was one of the few Alice songs I knew growing up. Back then I sensed a connection between it and my favorite band, Kiss, thinking it could be a Gene Simmons tune, and although I’m not sure I hear that as clearly anymore (other than Alice’s growling vocals at the end), it’s still a wonderful song; a bouncy pop-rocker that reminds me a bit of The Beatles’ “Hey Bulldog.” The super catchy melody & infectious handclaps belie the defiant nature of the lyrics about a bad-boy student (“Hey Mr. Bluelegs, where are you taking me? I’m like a lifer in the state penitentiary”).

[Alice Cooper - "Public Animal #9"]

“Alma Mater” begins with the sound of rain and soft acoustic guitar, with Alice’s processed vocals. Production-wise it recalls The Beatles (aka The White Album), with equal parts Lennon & McCartney. I love the jazz-light music and the great melody at, “But you know it breaks my heart to leave you…” I wonder if this is sung by the same bad-boy character from earlier in the record who will actually miss school & his friends. Maybe he wasn’t so bad after all. Album closer “Grande Finale” is a chugging, funky instrumental with synths and horns that could be a ‘70s soundtrack song. Musically it points to Welcome To My Nightmare, the first solo Alice Cooper album that I’ll be discussing in my next post. One other song worth noting is “Gutter Cat Vs. The Jets,” which captures the feeling of a West Side Story-like gang musical before giving way to some actual music from that show. It features fantastic musicianship and clever lyrics, but it didn’t hold up after multiple listens. School’s Out cemented their reputation as a premier hard rock band, but the diversity on display shows that they were capable of so much more than that limited description.

With Billion Dollar Babies (1973) they had their first #1 album. The overall theme seems to be celebrating, as well as dissecting, the effects of their massive success, offering humorous songs of debauchery after their quick rise to fame. Two notable additions are guitarists Steve Hunter and Dick Wagner, who filled in on several songs while Bruce &/or Buxton were unable to perform. Both of these brilliant players featured heavily on some key Lou Reed albums (produced by Ezrin) as well as Alice’s solo work later in the decade. Album opener “Hello Hooray” is a cover of a song written by Canadian songwriter Rolf Kemp and previously recorded by angel-voiced singer Judy Collins. It’s like a splashy glam-rock overture, setting the celebratory mood for the rest of the album: “Hello, hooray, let the show begin, I’ve been ready.” In some ways it’s similar to Pink Floyd’s “In The Flesh” (which began their concept album The Wall), except here they show no contempt for their audience. “Raped And Freezin’” is a stomping riff-rocker with tongue-in-cheek lyrics about Alice being taken advantage of by the woman who picked him up hitchhiking (“Hey, I think I got a live one”). The title is misleading; it’s so catchy and lots of fun. “Elected” is a much tighter re-write of their earlier song, “Reflected,” which finds them skewering the popularity contest of the political process. It could also be seen as them seeking approval from their fans (“I never lied to you, I’ve always been cool…I gotta get the vote & I told you about school”). “Generation Landslide” begins like a peppier, sped up take on The Beatles’ “Dear Prudence” before moving on to a subtly driving groove. It’s very pretty & melodic with a sheen of menace. Alice accepts the fact that society can’t get past the band’s look and stage antics, with self-referential lyrics like, “And I laugh to myself at the men and the ladies, who never conceived of us billion dollar babies.”

“No More Mr. Nice Guy” was a Top 25 hit and is still one of Alice’s most recognizable songs. It’s a Stones-y riff-rocker with a pop edge, and covers similar lyrical territory as “Generation Landslide.” He tries to present himself as “a sweet sweet thing” but understands that he’s “no more Mr. Clean…they say he’s sick, he’s obscene.” Many people would be surprised to find out that Donovan, the Scottish singer-songwriter with all those folk/pop/psychedelic hits in the ‘60s & ‘70s, alternates vocals with Alice on “Billion Dollar Babies.” It features a creative drum pattern, dual guitars and a chugging rhythm, and is simply fantastic from start to finish. “Mary Ann” is a short and sweet piano ballad that reminds me of Harry Nilsson. “I Love The Dead” closes things out on a dark & macabre note. This is the Alice Cooper that most fans think of, with dramatic music & lyrics that could be the basis of a horror movie. It’s subtle & intense, and the playing by everyone involved is stellar. I’m not sure there are any other artists who can turn a song about necrophilia (“I have other uses for you, darling”) into a sing-along. I believe “Unfinished Sweet” is a commentary about everyone wanting a piece of the band that covers a little too much ground over the course of 6+ minutes. It’s notable for a reference to the James Bond theme, which will tie in to a song from the next album. Billion Dollar Babies is probably the strongest of the band’s first 6 albums. I’m sure some fans feel that it’s a little over the top (like comparing Elton John’s expansive Goodbye Yellow Brick Road to his more subtle earlier albums), but song-for-song I found it to be their most consistent work.

The 2-CD Deluxe Edition contains an 11 song live performance from 1973 that includes 8 songs from Billion Dollar Babies plus powerful versions of “I’m Eighteen,” “Dead Babies” and “My Stars.” As the only officially released document of the original Alice Cooper band in concert during their commercial zenith, it makes this version the definitive statement on an already essential album. The band is on fire from the first note, plowing through the songs as if their lives depended on it. There are no particular standout tracks; it’s something that should be experienced in its entirety. As an added bonus, there are two studio outtakes, “Coal Black Model T” and “Son Of Billion Dollar Babies (Generation Landslide),” as well as “Slick Black Limousine” which originally appeared as a flexi-disc in a UK magazine. All three of these songs are fun but inconsequential, with the band showing their love of early Elvis Presley and Jerry Lee Lewis on the first & third, and the middle track sounding like a polished demo version.

The final album by the original band, Muscle Of Love (1973), doesn’t seem to have the reputation of its predecessors but I’m not sure why. It may not have the consistent songwriting of the previous album, but to my ears it’s every bit as good as the other high points in their catalog so far. Ezrin stepped aside this time, so production duties were handled by Jack Douglas (best known for Aerosmith, Cheap Trick & John Lennon) and Jack Richardson. The album may be lacking some of Ezrin’s panache, but the more straightforward punchy production is a perfect fit for these songs about sex, depravity & debauchery. “Big Apple Dreamin’ (Hippo)” has a sleazy midtempo groove with wailing guitar throughout. There’s a great melody at “New York is waiting for you and me baby, waiting to swallow us down,” and I love the subtle nod to Gershwin’s “Rhapsody In Blue” in the instrumental section (at least, that’s what it sounds like to me). The organ intro to “Hard Hearted Alice” reminds me of Led Zeppelin’s “Thank You.” It slowly builds with acoustic guitar & soft vocals moving to a nice falsetto that’s similar to John Lennon (“Time…is free as a jailbird, at least that’s what I’ve heard”), and then shifts at 1:45 to an uptempo jazzy groove. “Crazy Little Child” is a piano-based barroom blues that’s a cross between Elton John and New Orleans jazz. Guest musician Bob Dolin plays some beautiful piano runs. This isn’t far off from Tom Waits’ early material and shows how diverse this band was.

“Working Up A Sweat” is catchy but a little silly; an upbeat rock shuffle with bluesy harmonica and tasty slide guitar. It was probably a lot more enjoyable to hear it live, if they ever did perform it. “Muscle Of Love” is a fast-driving splashy rocker with a catchy chorus (“Holy muscle of love…”) and a super tight arrangement. “Man With The Golden Gun” was written specifically for the James Bond movie of the same name, but was submitted too late for inclusion. Instead of throwing it on the scrap heap they made the right decision and placed it on this album. I haven’t heard the theme song by Lulu in many years, but I can’t imagine anything being more appropriate for the movie than this incredible performance. It swings & grooves; it’s over the top yet subtle at the same time. Alice shows how flexible his voice is, and it’s particularly strong at “But you’ll never see him” and “You better believe…” “Teenage Lament ‘74” is a noteworthy highlight. It’s midtempo dramatic pop with a killer chorus that features backing vocals by Liza Minnelli & The Pointer Sisters: “What are you gonna do? I tell you what I’m gonna do. Why don’t you go away? I’m gonna leave today.” I’ve been singing that in my head all week.

[Alice Cooper - "Teenage Lament '74"]

The album closes with “Woman Machine,” a pulsing midtempo rocker that’s more about sonic textures & space-age psychedelic effects than memorable verses & choruses, although there’s a decent hook when they sing, “Oh, woman machine.” I’m curious to find out if other fans enjoy this album as much as I do. Although the band was disintegrating during the recording sessions, you wouldn’t know it from the final product. It’s a shame that these five guys never recorded another album together.

Coming up next time I’ll be discussing the beginning of Alice Cooper’s career as a solo artist. I grew up with one of the albums that I’ll be revisiting, but I’m only vaguely familiar with the others. Over the next week I’ll be listening to them numerous times until I really know the songs, and I hope they live up to my expectations. Until then, please let me know what you think about the final three albums by the original Alice Cooper band. Thanks.